RQ Network Feed Drop – Malevolent - THRESHOLD | Part 1 Dead Man's Mouthpiece

Summary

The Magnus Archives – RQ Network Feed Drop: Malevolent – THRESHOLD Part 1: Dead Man’s Mouthpiece

Episode Overview

This episode is a special feed drop from The Magnus Archives, spotlighting "Malevolent," another horror fiction podcast from the Rusty Quill network. The featured story, "Threshold | Part 1: Dead Man's Mouthpiece," is an immersive, eldritch horror audio drama mixing mystery, supernatural tension, and character-driven narrative. It follows Arthur, a blind private investigator sharing his body and senses with John, a fragment of the King in Yellow, as they return to Arkham and tackle a gruesome case involving ritualistic violence in a rural barn. The story probes the boundaries between mundane evil and the eldritch, exploring themes of parenthood, guilt, trust, and the traumatic legacy of cosmic encounters.

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Key Discussion Points & Plot Breakdown

Introduction to Malevolent (00:55–02:01)

• Shahan introduces the feed drop, summarizing Malevolent’s choose-your-own-adventure audiodrama format and current narrative: John and Arthur, after a harrowing quest, are returned to Arkham, where they must now face new threats and lingering trauma.

The Case Begins: The Arnett Farm Stakeout (02:01–15:10)

• Setting: Rainy, cold night. Arthur and John are on a stakeout at the Arnett farm.
• Dynamic: Arthur, blind but hosting John (an entity), relies on John’s senses. They bicker about nap privileges and review the case—the local farmers suspect someone is living in a barn; livestock has gone missing; a sigil was found painted on the floor, possibly in blood.
• Discussion turns personal, focusing on Arthur’s struggles reconnecting with his daughter Ferraud, whom he hasn't told about his supernatural condition.
• Quote:
  • Arthur: “People out there, they are desperate for times to change, for the next era. But me? I’m begging for life to just slow down to a crawl. I want to sit in every moment with her, catch up on all of those years missed, tell her everything. And yet I’m so nervous to say the wrong thing.” (09:36)

Confrontation in the Barn (15:10–25:18)

• Encounter: Following a shadowy figure into the barn, Arthur and John discover Sam, bloodied, clutching a knife, surrounded by occult symbols and a wounded young man.
• Tension rises as Sam, deranged and desperate, accuses Arthur of being sent to stop him, revealing he’s attempted (and failed) to perform a ritual needing a human heart.
• Arthur attempts de-escalation, but Sam moves to finish the ritual by murdering the young man; Arthur is forced to shoot Sam, saving the victim in a crucial, high-stakes moment.
  • John (after the shot): “You stopped him. He was laying across the chest of the young man, Arthur. The knife held over his head. He was about to kill him.” (23:05)
• Arthur and John collect a mysterious, blood-stained ritual page as evidence and prepare to call the police.

Arrival of Officer Callahan (25:18–33:33)

• Officer Callahan enters, gun drawn, but is relieved to find Arthur.
• Brief push-pull as they clarify the events; Callahan is skeptical of the occult angle but trusts Arthur's account.
  • Callahan: “You only take this kind of stuff, this devil’s work.” (27:54)
• Police backup is incoming; Arthur and John must leave or risk being ensnared in the investigation.
• They wrestle with questions—what did the ritual hope to accomplish? Who or what was Sam really running from?
• They contemplate luck, morality, and secrets as they retrieve the evidence and make an exit.

Reflection and Relationship: Arthur and John’s Partnership (33:33–41:05)

• As they leave, the partners discuss their intertwined existence, powers, and limitations.
  • Arthur describes past experiences being possessed by gods—comparing John's limits against the dread power of Lilith, another cosmic entity.
  • John notes the peculiar power he holds: touching the dead lets him witness their final moments, a boon in detective work but a source of both professional advantage and unease.
• The role of luck and the balance of guilt continues to haunt them.
  • Arthur: “You know, Parker’s death, it was a tragedy. But knowing what he owed and to whom, I don’t know if we could have saved him.” (38:52)
  • John: “It just feels like our luck is about to run out.” (39:40)

The Dinner: Arthur and Ferraud (41:05–52:14)

• Atmosphere and Tone: The narrative shifts to a more personal, heartfelt interaction as Arthur meets his daughter, Ferraud, at a cafe after being late due to the case.
• Ferraud, perceptive and kind, probes her father's emotional state and details about his ‘work’, gently teasing but also expressing concern.
  • Ferraud: “Did you have a choice?” (48:05)
• Arthur admits, quietly haunted, that he did have a choice in shooting Sam.
• The conversation moves to lighter topics—school, astronomy, childhood memories—revealing warmth and affection tinged by mutual worry and the lingering shadow of Arthur’s secrets.
• They make plans to stargaze together, underscoring their desire to reconnect.
• Ferraud gives Arthur a message about a new case—planting the seed for the next chapter.

Closing Notes & Hook for Next Episode (52:14–end)

• Ferraud, leaving, jokes about not understanding the nickname, “dead man’s mouthpiece,” underscoring Arthur’s reputation for communing with the dead (52:01).
• John and Arthur prepare to address the mysterious message referring to "Robert Pocket," blending the aftermath of the night’s events with the inexorable pull of their supernatural detective work.
  • Arthur: “The night is young.” (53:14)
• Teaser for listeners: Continue with the story by searching for Malevolent.

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Notable Quotes & Memorable Moments (with Timestamps)

• “Make your statement, face your fear.” — Tagline, thematic throughline
• Arthur (parental anxiety): “People out there, they are desperate for times to change… But me? I’m begging for life to just slow down…” (09:36)
• John (after Arthur’s fateful decision): “You stopped him. He was laying across the chest of the young man… He was about to kill him.” (23:05)
• Callahan (skeptical cop): “You only take this kind of stuff, this devil’s work.” (27:54)
• Ferraud (poignantly, about Arthur's burdens): “Did you have a choice?” (48:05)
• Arthur ("the dead man’s mouthpiece" nickname): “What even is a dead man’s mouthpiece?” (52:01)

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Important Segments & Timestamps

• Introduction and Series Context (00:55–02:01): Introduction of Malevolent and the episode’s premise.
• Stakeout and Character Dynamics (05:00–10:00): Arthur and John discuss case details and deep-rooted family anxieties.
• Confrontation in the Barn (17:00–23:30): Tense showdown with Sam, culminating in the decision to shoot.
• Police Arrival and Moral Ambiguity (25:20–29:50): Encounter with Officer Callahan seals the case’s outcome.
• Arthur and John’s Abilities and Relationship (33:35–39:40): Discussion of otherworldly powers and detective partnership.
• Arthur’s Emotional Dinner with Ferraud (41:05–52:14): Heartfelt, nuanced dialogue about family, choices, and normalcy.
• Next Case Teaser (52:42–53:15): Setup for future mysteries.

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Tone and Style

The episode blends noir detective patter, existential horror, and heartfelt familial drama. Intimate character moments, gallows humor, and creeping dread intermingle seamlessly:

• Arthur: Jaded but loving, clinging to hope and connection despite darkness.
• John: Cerebral, precise, struggling with his own existential strangeness.
• Ferraud: Intelligent, insightful, and quietly concerned, bridging the gap between the supernatural and the mundane.

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Summary

"Threshold | Part 1: Dead Man’s Mouthpiece" captures all the strengths of Malevolent—sharp eldritch horror, complex dynamics between host and entity, and a deeply humane look at trauma and parenthood. The core mystery—a failed ritual, a desperate perpetrator, and a narrowly averted murder—serves as both case-of-the-week and a springboard for ongoing character exploration, setting the stage for further dark adventures in Arkham’s shadowy streets.

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For more, listen to Malevolent or visit rustyquill.com / malevolent.ca.

Transcript

[Alex]

Hi, Alex Here, founder and CEO of Rusty Quill Ltd. In case you haven't heard, there is now a Magnus Archives novel. The Library of Jurgen Leitner is set in the world of the Magnus Archives and written by Nebula award winning author Premier Mohammed with our very own Jonathan Sims. The story follows Hugh, a university dropout desperate to find somewhere to belong and his new job at an esoteric library. The books he must investigate for the enigmatic Jurgen Leitner are not normal because the library is not a vault, sealed and silent, but a hive, alive, buzzing and ready to sting. The Library of Jurgen Leitner releases October 27, 2026, but you can pre order it right now in the US and UK from your local bookshop or by using the link in the episode description. If you live outside of the UK or us, you may be able to make an international order for this first publication, but it depends on individual retailers shipping policies.

[Shahan]

Hi everyone, it's Shahan here. Today we're sharing an episode from a podcast on the RQ network, Malevolent. Malevolent is a thrilling Eldritch horror mystery audio drama, brilliantly combined with elements of choose your own adventure and actual play via their Patreon. This is the first episode of Malevolent's second series, Threshold, which follows John and Arthur having returned to Arkham after their time seeking the Black Stone and facing the new and terrible truth this world has revealed to them. For faced with the new challenges before them and old foes perhaps still a threat, the duo must carve a new path in this strange world. Malevolent is from Harlan Guthrie, the same talented creator behind both Devisor and Dice. Shame. To listen to more, you can click on the link in the description or search for Malevolent. Wherever you listen to podcasts, you can also find more [e-mail] or Malevolent CA. Have fun and enjoy the episode.

[John]

Yeah, yeah, I'm coming. You must have been close. Thank you for stopping by so late. I.

[Ferraud]

Hello?

[John]

Who's there? I said who's there? I said who's there? You think you're fucking funny? Do you know who the fuck I am? You have any idea whose fucking door you're banging on? You got one chance to piss off before I end you,

[Arthur]

alright?

[John]

You bang on my front door, middle of the night. Yeah. Johnny, get the car. Overtime tonight. Cleanup duty. What? What the fuck? No, it's you.

[Arthur]

It's.

[John]

Stay away from me. You stay away from me. You. Come on. Come on. I'm sorry. I'm sorry. I'm sorry.

[Arthur]

No. Where am I.

[John]

In the car? You got to sleep in the car. The Arnett farm. The stakeout. Our case.

[Arthur]

Oh, right, right.

[John]

I.

[Arthur]

How's it going?

[John]

Going as well as it's been going for the last few hours.

[Arthur]

Well, thanks for keeping an eye on it.

[John]

Yeah, for four goddamn hours while you dozed. Remind me again, how exactly is this fair?

[Arthur]

How? You want a full refresher? Okay. Well, let's see. Last year, I opened a mysterious book that was delivered to my office.

[John]

And when I did, a fragment of

[Arthur]

an eldritch God known as the King in Yellow, that's you, John. Was somehow transferred into me. I meant leaving me completely blind. However, he. Again, that's you. Got control of my eyes. So when we do stakeouts or have to tail a client or hell, have to file a police report, you're sadly the one who watches.

[John]

Well, I. I get to nap. It's the napping I'm talking about. Feels like I have to work while you get to rest.

[Arthur]

That's exactly what it is.

[John]

Hardy har har.

[Arthur]

Oh, come on. You get plenty of time to rest, too, do you not?

[John]

I don't rest. I.

[Arthur]

Sure, sure. What I mean is, when I sleep, you get your time to relax, to pursue your own endeavors.

[John]

And you do the same when you want time alone. I let you put me in timeout willingly.

[Arthur]

You said you enjoy that space. You said it's like sleeping for you.

[John]

It is. I'm not complaining. In moments like this, shouldn't we both be working?

[Arthur]

What am I supposed to do here? We're stuck staring at the broadside of

[John]

a barn and the field surrounding.

[Arthur]

How am I supposed to know?

[John]

I mean, you could review the case with me, keep me company.

[Arthur]

I know, but it's so boring.

[John]

Like it isn't for me.

[Arthur]

Fine. The Arnett case. He hired us because he suspected someone of nefarious nature was living. Living in his barn.

[John]

It wasn't just him who hired us. A few of the local farms were concerned some of their livestock went missing.

[Arthur]

Rightly. Annette is the one who noticed the guy.

[John]

Yes. And for the past three nights, he's seen a figure skulking about the fields. And when he looked into the barn during the day, he saw signs of someone living there. Including.

[Arthur]

Including a sigil painted on the floor in blood. In what he thought looked like blood.

[John]

It can't be blood.

[Arthur]

It can be, but we don't know that. For all we know, it's a vagrant just needing a warm bed for the night.

[John]

A vagrant we don't know Anything.

[Arthur]

In fact, we don't even know if old man Arnold is all there.

[John]

Although.

[Arthur]

Oh, he's older than dirt John. And he said himself that his granddaughter was dating a troublemaker. Probably the two of them sneaking off to canoodle in the barn while the old man sleeps.

[John]

What about the sigil?

[Arthur]

I don't know.

[Ferraud]

Maybe.

[Arthur]

Kids these days make love in mysterious ways, you know? I'd rather not know.

[John]

Yeah, well, you better know. Farrow is bound to start dating soon.

[Arthur]

Don't bring Pharoah up, please, God, I'm having a hard enough time sleeping as it is.

[John]

Well, then wake up. Why is she keeping you up?

[Arthur]

You know why. It's been, what, a handful of months since.

[John]

Since we got back?

[Arthur]

Yeah. And, I mean, I can't tell her about you.

[John]

I know.

[Arthur]

You know how awkward that is for me.

[John]

I know. I know. I'm just. I need more time to.

[Arthur]

To what? Look good as I am without needing to see. She's bound to start asking questions. She's a sharp girl, John. Sharper than I am, Than either of us. She knows something's up.

[John]

Don't put this all on me. You're hesitant to tell her as well?

[Arthur]

Of course I am. Of course I am. Are you kidding me? All my life, I wanted a second chance with Ferraud. All my life, I had hoped to see the woman she'd grow into. And now. Now that I do, I. You know how terrified I am to upset the apple cart. She's such a force. She has such heart. You know, she's acing all of her classes at Miskatonic.

[John]

I know.

[Arthur]

People out there, they are desperate for times to change, for the next era. But me? And begging for life to just slow down to a crawl. I want to sit in every moment with her, catch up on all of those years missed, tell her everything. And yet I'm so nervous to say the wrong thing. I could lose her again.

[John]

You're not going to, though. She's not. She's not like that.

[Arthur]

I know.

[John]

I know.

[Arthur]

Look, I don't know what the manager did. I. I don't know what magic he pulled to have her here with us, but it's clear that she's never known anything else.

[John]

Same with everyone else, for that matter.

[Arthur]

Jack. God. Navigating the discovery was awkward. Oh, hey, Daniel. Did I ever mention Ferrero? Of course.

[John]

Arthur. She was staying with me while you

[Arthur]

were out dealing with those monstrosities.

[John]

It's as if she's always been here.

[Arthur]

Which makes it all the more awkward when I ask her things I'm supposed to know about, like where she's staying or what she's studying.

[John]

It's difficult to find out what you

[Arthur]

don't know without her thinking I'm a shit father who doesn't listen.

[John]

You're trying your best. Yeah, we both are.

[Arthur]

And thank God no one seems to question why I'm only 15 years older than her.

[John]

Speaking of, don't forget that we're meeting her for dinner after this. Don't.

[Arthur]

Don't forget. You're the one watching the time, aren't you?

[John]

I'm watching the barn.

[Arthur]

Well, how the fuck am I supposed to be watching the time?

[John]

Well, maybe if you weren't sleeping.

[Arthur]

Tell me you are fucking with me and that you're.

[John]

Wait. Wait.

[Arthur]

What?

[John]

Movement from the tree line behind the barn. I can barely see through the rain, but I. I think it's a figure moving from the wood toward the field.

[Arthur]

Stay with him.

[John]

He's crouched low. The light outside is very dim. The moon covered in shadow. He moves with a nervousness

[Arthur]

on it. Said he found some entrails in the woods. A creature.

[John]

Deer.

[Arthur]

Yeah.

[John]

Gutted with a knife.

[Arthur]

Do you see a weapon?

[John]

Tough to tell. All right, he scampered up the hay bales on the side of the barn and headed into the loft. Shall we confront this vagrant?

[Arthur]

Don't suppose the rain is going to let up, is it?

[John]

You're bringing the gun? Shouldn't I? What about this? Seems violent.

[Arthur]

Nothing. But it can't hurt, can it?

[John]

People get spooked by guns, Arthur. It speaks to intention.

[Arthur]

Speaks to intention? What do you.

[John]

I'm just saying.

[Arthur]

You said yourself, blood sigils.

[John]

You said it wasn't blood. Look, you're just nervous. I get that. But this isn't like it was before. You know, we're just outside the city. These are just people. And the majority of the cases that we've handled so far, they all end in mundane, simple explanations. Yeah, remember the Garnet case? Literally just misplaced. And the stained livery case?

[Arthur]

Oh, yeah, let it get.

[John]

But they're just people. You bring the gun and this could change a potentially friendly chat to an armed encounter. But look, it's your call. I support either way.

[Arthur]

People they may be, but it's people that I'm cautious about. John, as you said, these cases are mundane. But at this point, the mundane can do just as much damage.

[John]

Very well.

[Arthur]

All right. Damn.

[John]

What?

[Arthur]

It's so wet out there.

[John]

Get out. All right. The barn is straight ahead. Though the cloud covers the moon, there's still A fair bit of light coming, coming through. The barn sits black, drawn of all its color against the blue hue of the lightning strikes and obfuscated moonlight. The barn looks old. Not the oldest we've encountered, but surely one that has been around for some time. Do you want to enter the way he did, or would you rather move through the forest front?

[Arthur]

Let's follow him.

[John]

Alright. The hay bales are stacked up opposite the forest. Move to the right of the building. There's a small wooden fence here you'll need to. Yes. Yeah. Perfect. Now stay low. The rain may cover the sound of our movement, but it won't hide our approach. Should he look out. Here, Here. The hay bales, you'll need to climb them. Here. Okay. Okay. Okay.

[Arthur]

Good.

[John]

Here. Here. Excellent.

[Arthur]

Okay.

[John]

Okay. The opening. It's just ahead. Just stay low, crouched on this top bale of hay. See if you can peek over the edge just slightly. Give me a moment to look.

[Arthur]

Anything?

[John]

Darkness. It doesn't even look like he's using light. I don't see any movement.

[Arthur]

All right.

[John]

Hit him. Okay. Okay. From the dim light outside, it looks like there are crates. A few stacked against the far wall of this upper barn loft area. And a few to our immediate left. We are near the back of the barn, so.

[Arthur]

Okay.

[John]

This loft area is rather large. It looks like a maze of mold covered hay bales and wooden crates filled with various farm supplies almost serve as walls, creating a branching path deeper into the barn. I can understand why this vagrant would have gone undetected. He must be somewhere squirreled away near the front of the barn.

[Arthur]

Can you see? Can you navigate?

[John]

Barely. I can for a bit with a guiding hand, but eventually I'll need some light. Unless.

[Arthur]

Unless he has a light deeper in that we can't see.

[John]

Yes.

[Arthur]

All right. Slow and steady. Anything you see?

[John]

Yeah, of course. This loft feels maze like. A few flashes of blue light from the opening behind us cut hard shadows through the crates, painting the floor in angular patterns. Like a fun house, only.

[Arthur]

Only there's no fun.

[John]

I hear something. Listen, Listen. I can hear him, but I can't make out what he's saying.

[Arthur]

All right. I mean, look, we're not going to kill him. We need to tell him to shove off, so might as well just approach. Okay.

[John]

Okay, but. But it's still dark. Use the lighter. Show him that you don't mean him any harm. He's just around the crates to our right. You see the light?

[Arthur]

Who are you?

[John]

He stands.

[Arthur]

Who are you?

[John]

He's dropped a knife. He held it's okay. But his hands are.

[Arthur]

It's okay.

[John]

Covered in blood.

[Arthur]

I don't mean you any harm.

[John]

He clenches his fists in rage.

[Arthur]

Who are you?

[John]

His eyes are wild. Arthur.

[Arthur]

My name is Arthur Lester. I'm a private investigator. Here in Arkham or downtown.

[John]

He looks feral. Arthur. His eyes dart behind us, as if expecting others. He's shaking nervously or angrily, I can't tell.

[Arthur]

What are you doing to him? Who sent you? Who sent me?

[John]

Arthur? Behind him, on the floor, in dim candlelight, is the sigil and some blood. There's also a page from some book.

[Arthur]

The farmer who owns the barn sent me. Look, I'm only here to. Liar. He sent you, didn't he?

[John]

Who?

[Arthur]

Who do you think sent me? Didn't he? No, no, listen, listen. Whatever happened to you, I promise I am not part of it.

[John]

I'm not. Connect with him. Ask him his name.

[Arthur]

Look, look, let's just talk, okay? What's your name? What can I call you? Please, Please. I swear to you, I'm alone. Okay, okay. Sam, listen to me. I swear to you, whatever you're wrapped up in whoever you think sent me, it's not the case. I have nothing to do with it. Okay?

[John]

He unclenches his fist. His shoulders relax, but only slightly.

[Arthur]

You know? But maybe I can help you. Tell me, why are you here?

[John]

He glances to the sigil on the floor for a moment.

[Arthur]

What are you doing? I have to stop it. But it's not working. What's not working? He does such terrible things. Such horrible. But I found the way. I did. I found the way to stop him.

[John]

He scrambles to the floor to fetch the page. It's blood stained and it looks ripped, as if torn from a book.

[Arthur]

See? See? But it's not working. It's not working.

[John]

He's handing the page to you. His feet firmly planted, unmoving. But his arm is outstretched. You should take it.

[Arthur]

Okay, okay, okay.

[John]

A little lower there, Arthur. His eyes fall. He spots the gun in your holster, beneath your coat.

[Arthur]

It's fine.

[John]

It's fine, Arthur. Here, look.

[Arthur]

I always carry.

[John]

He scoops down to his feet and picks up the knife again.

[Arthur]

Look, I'll put it down. I'll put mine down. Look, okay, I need you for this way I started. I need to stop him. I believe you. I need to stop him. We can stop him together. I believe you.

[John]

He's taking a step back.

[Arthur]

Look, look. I'm putting my gun on the floor.

[John]

Look, he's watching you as you put your gun down.

[Arthur]

See? Look at it. At. Look at the page. Oh, the page. Yes, yes. Look.

[Ferraud]

See?

[Arthur]

I'm looking. I'm looking.

[John]

It looks like a ritual of some sort. An old page from some ancient tome. We've seen things like this before. It isn't in English, but it seems to depict a sigil like the one he's drawn and various symbols around it. Some seem familiar, others more.

[Arthur]

I tried animals first. I didn't want to hurt anything, but I was naive. I knew what it needed. What is the dwar.

[John]

God. It's a heart. Arthur.

[Arthur]

I have to save myself.

[John]

He's been cutting out the organs to harvest a heart.

[Arthur]

Knew an animal wouldn't work.

[John]

Oh, God. Arthur, step forward.

[Arthur]

What have you done? But you have to help me now.

[John]

Beyond the candlelight, I. I see.

[Arthur]

You can help me now.

[John]

A person. Oh. A young man. Jesus, Sam, he's laying on his back.

[Arthur]

He's still alive.

[John]

He's been stabbed.

[Arthur]

He's still alive. I couldn't. You need to finish him.

[Ferraud]

And then.

[Arthur]

And then I. I can harvest the heart.

[John]

Please, Arthur, he's.

[Arthur]

Please.

[John]

He's moving to the body. No, no, no, no.

[Arthur]

Sam. Sam, you cannot stop.

[John]

He stops. A look of petulant anger washes over him.

[Ferraud]

You.

[Arthur]

You. Not like this. Sam. Look, I can help you, but not like this. It has to be this way. It has to. Let's just talk.

[John]

The body is still breathing. Arthur, there's no.

[Arthur]

Fine.

[Ferraud]

Fine.

[Arthur]

I will kill him. Wait. Wait. Then you can get the heart. It'll be easier. You'll see. Sam, Now. Arthur, stop him.

[John]

Sam is stuck on Arthur. He's too far from the gun.

[Arthur]

I am sorry. No, this is not your father. Sam, stop.

[John]

Fire.

[Arthur]

Please.

[John]

Sam.

[Arthur]

Oh, we can.

[John]

Sam. Shoot.

[Arthur]

Order.

[John]

You. You stopped him. He was laying across the chest of the young man. Arthur. The knife held over his head. He was about to kill him.

[Arthur]

Is he.

[John]

It was a clean shot.

[Arthur]

A clean.

[John]

His head. Arthur, the body. The. The young man.

[Arthur]

Right.

[John]

Here. Here. Here. He can't be more than 18. Barely old enough for a beard. He's wearing slacks, a white collared shirt.

[Arthur]

Looks like he's the boyfriend.

[John]

Boyfriend? Oh, the farmer's granddaughter, maybe? Just wrong place, wrong time.

[Arthur]

You can say that again.

[John]

But he is breathing. Shallow. The cut that Sam gave him before we arrived, it's superficial, largely. I think he'll make it. Go.

[Arthur]

I should have tackled him. I could have taken the knife.

[John]

Arthur, I am telling you, had you tried to close the distance, had you not went for the gun, this boy would have been dead. You saved his life. There's no doubt in my mind. And there shouldn't be any in yours either, right?

[Arthur]

Fine. Okay.

[John]

What a mess.

[Arthur]

You're telling me.

[John]

What is this ritual for? Maybe we can learn something. We would need to translate it. But. Where's that paper?

[Arthur]

Paper? Oh, right. It's back here.

[John]

Yeah. We may as well take a second here before calling the police.

[Arthur]

Fuck.

[John]

Fuck. Arthur, put the page in your pocket. Quickly.

[Arthur]

Hide it

[John]

there.

[Arthur]

I understand.

[John]

Your gun. Drop the gun.

[Arthur]

My weapon is dropped.

[Ferraud]

Do not move.

[Arthur]

I'm unarmed. I'm back here. I am complying, officer.

[John]

They're moving back here. Through the maze of boxes we navigated. The light from the torch is bright. It's tough to make out who's

[Ferraud]

who.

[Arthur]

Keep on.

[Shahan]

Do not.

[Arthur]

What?

[John]

Oh.

[Arthur]

Ah.

[John]

It's Callahan.

[Arthur]

Michael. What the heck are you doing here? Oh my God, it's you.

[John]

He's dropped his light and holstered his gun. He looks equally relieved. He's come over to help us up. He hands you your gun.

[Arthur]

Thanks. What the heck happened? What happened? What the heck happened to you? What are you doing here? I got a call this afternoon about a suspicious looking maroon Plymouth park for hours on a nearby property and I. Oh God.

[John]

Callahan stares at the scene with a grisly expression.

[Arthur]

I had no idea it was you. What? What on guards are you up to? Well, I, I, I mean. Well, that was your shot I heard. I suppose, yeah. Look, this farm hired me. Mr. Arnold Ornet Arnnett. Yeah, he had someone poking around his barn. The one on his back or the one that you beamed? Listen, he had a knife. He brought the kid here to cut out his heart and I. His heart? Look at the floor. This symbol.

[John]

Callahan looks at the sigil with a detached eye. He's focused on Sam.

[Arthur]

Yeah, I see why they called you.

[John]

He sighs the way he does when you're telling him something he doesn't quite grasp.

[Arthur]

Look, I had to save the kid. He's still breathing. Cuts only skin deep. No, you made the right call.

[John]

Just. He looks as though he's trying not to remember something.

[Arthur]

Michael. Why you gotta take these cases? Arthur, you're a good pr Hell, I've seen your work. But you only take this kind of stuff, this devil's work.

[John]

He says devil with a chill.

[Arthur]

Hey, it's out there and someone's got to do it, right?

[John]

Same as I said last time, Arthur.

[Arthur]

Right?

[John]

It's clear Callahan is a skeptic. He doesn't want to believe there's more than thugs and brutes on the streets of Auk.

[Arthur]

As long as people keep believing in this spin.

[John]

He's a good cop. Trustworthy. Kind. His eyes, especially. But he'll never understand our work. Best to continue keeping him in the dark.

[Arthur]

People are the real devils.

[John]

And staying in his good graces for when we need him.

[Arthur]

Sam here wasn't a monster. Just a man I troubled. Sam? Yeah, that's what he said. I don't know if it's true. Oh, you. Ida? No, you came in right after I.

[Ferraud]

Right.

[Arthur]

Well, we're gonna have company soon, so.

[John]

Company?

[Arthur]

How so? When I heard the shot, I called the station. Fuck.

[Ferraud]

Shit.

[Arthur]

Callahan. Hey. Yeah, sorry. Look, Michael, I. I have to go. I can't.

[John]

Dinner with Ferraud?

[Arthur]

Yeah, I have dinner plans with Ferraud. I can't miss. I really can't. I'm probably late as it is. I. Why were you on a stakeout?

[John]

Priority issues.

[Arthur]

I'm bad at saying no.

[John]

He's looking through the body of Sam. Checking his mud soaked pockets.

[Arthur]

Yeah. How is she? Still lacking school? Yeah, she is. She's.

[John]

If the police come, we'll be stuck here for hours. Arthur, look,

[Arthur]

you have what you need, right? Yeah. He says you said Arnett hired you. You followed this salmon here. He threatened to kill the kid with a knife. And you did what you had to to save the kid. That about sums it from the horse's mouth. So are we jake here or. Yeah, you better make tracks.

[John]

Brilliant.

[Arthur]

Thank you. Hey, but look, I'm not signing for you again. I'll hide the signature till I see you, but I need you to actually sign it this time. Okay? I will swing by the station after dinner with Ferrero, I promise.

[John]

Let's go. Quickly.

[Arthur]

Oh, yeah. You didn't take anything, right? Nothing from the crime scene? Everything stays right.

[John]

I. Arthur, we need that.

[Ferraud]

Ah.

[Arthur]

Oh, yeah, I nearly forgot, Arthur. Forgot what? A piece of paper. He handed it to me. The stiff.

[John]

Well, now we have no idea what this was all about

[Arthur]

here.

[John]

Why do you want to call it a day on this job?

[Arthur]

You're a good man, Callaghan. And a good friend.

[John]

All right, I get it.

[Arthur]

What? In the places. I think Sam thinks he was trying to stop something. He kept muttering about stopping him.

[John]

Who's him? The kid?

[Arthur]

No, no, someone else. He was scared, Michael. Really scared. He thought someone sent me a man, but I didn't catch the name. He said he did horrible things. Terrible things. And he thought. Well, he thought this page was the key to stopping it.

[John]

He's studying the paper intently, darting his eyes between the sigil on the page and the One in blood at our feet. What do you think?

[Arthur]

I think he needed help. Well, I think you made an impossibly tough call, but did the right thing, as you tend to do.

[John]

He looks at you with admiration, respect, even.

[Arthur]

Here.

[John]

He's handing the paper back, Michael.

[Arthur]

You're sure? It's baloney to me, and I. I know they won't see it as much either. Even if we did have one cop like you on side, he'd still be laughed out of the room for taking anything on that with any sort of weight. I don't want to believe in any of this, Cooley.

[John]

He meets our gaze.

[Arthur]

But you do. And that's enough for me. Thanks, Michael. Now shake a leg.

[John]

Let's go.

[Arthur]

I will meet you later to sign a statement. I promise. Gonna hold you to that. You can.

[John]

This way, Arthur. Through the crates.

[Arthur]

See? What did I tell you?

[John]

You didn't tell me anything.

[Arthur]

You had doubts.

[John]

You didn't know he was going to let us keep it.

[Arthur]

I played a hunch, okay? Detectives play hunches. You should know that by now.

[John]

I do. My detectives have hunches all the time.

[Arthur]

I'm talking about real detectives. Where's the.

[John]

Here. It's the exit back into the rain. We need to hoof it before more arrive. Here. The hay bale. Climb down. Yes, there. But I'd say you just got lucky.

[Arthur]

Well, detectives get lucky, too.

[John]

No matter what I say, you're going to say you were right about this, aren't you? No doubt to your left.

[Arthur]

You just don't like to admit when I make a gamble and it pays off. You like to be the only one with a flash of inspiration, right? Right.

[John]

Oh, thanks.

[Arthur]

Okay. You want to be a wise guy?

[John]

Oh, sorry. Thought you'd get lucky and sense it. Look, the truth is, we both got lucky.

[Arthur]

That's what I said. I wasn't discounting you.

[John]

I mean, in general. Not just with the pages, but with Michael coming back from seeking the Blackstone. You know we were in a lot of trouble.

[Arthur]

Well, we thought we were. Parker's body was stashed in our closet,

[John]

and Eddie was dead in the basement.

[Arthur]

Both more or less dead by our hand.

[John]

We're at the car.

[Arthur]

Thanks. All right, we gotta step on it.

[John]

I'll get us there as quick as I can.

[Arthur]

Appreciate it. And hey, hey, I appreciate you. I was only making cracks earlier. I'm sorry. I was sleeping while you were working. Okay. You know, we can be as fair as you want.

[John]

I know. Believe me, by now, I know you well enough. Sorry for the fence.

[Arthur]

It's been a while since I had a good bruise.

[John]

You're okay if I take over?

[Arthur]

Yeah. Just the left.

[John]

All I can ever do. You know that.

[Arthur]

I know. But sometimes I do wonder.

[John]

Wonder what?

[Arthur]

I don't know. Your powers. You've embraced them.

[John]

I've tried to. You told me.

[Arthur]

Of course I want you to. I don't mean that negatively.

[John]

What do you mean?

[Arthur]

Well, you know, there was a time, brief as it was, that I had another God in my head. Lilith.

[John]

Nyarlathotep's daughter.

[Arthur]

Yeah. You know, she may have helped us trap Nyarlathotep in the end. Or Cain, as he prefers to be called. But before she agreed to help, you know, she took control of me. And not just of my left hand, but my whole body.

[John]

All of you.

[Arthur]

While I was passed out from pain. I know. You take control of my left side. My hand and leg.

[John]

Only when you're okay with it, of course.

[Arthur]

But I do wonder

[John]

if I can't do more sometimes. Perhaps it's that I'm not as powerful as Lilith after all. She is a great old one. But Arthur, I swear, and most I can control only your left side. Believe me, there are times I'd love to move a little more.

[Arthur]

Well, given how it felt to have something else control my body, I'm glad you can. No offense.

[John]

None taken.

[Arthur]

And besides, you have a few other tricks as well.

[John]

Projecting has common hand handy a few times.

[Arthur]

Projecting? I mean, that makes it sound so immaterial. But it literally saved the world from Kane's wrath. With a bit of effort.

[John]

Manifesting outside of your body into a somewhat physical form isn't easy.

[Arthur]

Yeah, I can imagine.

[John]

And draining on both of us.

[Arthur]

But it sure helps us in a pinch.

[John]

Though. We still don't want people seeing me. Not in that way.

[Arthur]

No, no, no. It's an ace up our sleeve, really.

[John]

The real ace is laying a hand on the dead.

[Arthur]

I can't deny that. I mean that that's a big reason that we've been getting so many jobs. You know, touching the flesh of the recently deceased. You seeing the final moments leading up to their demise. You know, it's put us head and shoulders above the rest.

[John]

Much to the chagrin of Arkham pd.

[Arthur]

Well, not all of them.

[John]

They have a nickname for us at the precinct.

[Arthur]

I know. Cut. I know.

[John]

You act as if I'm the only one whose talents have aided us. What about you? What?

[Arthur]

I'm the brains?

[John]

You can silence me? Lock me out of your body.

[Arthur]

Oh, you mean timeout? Yeah.

[John]

You're always so offended by the notion. As if we don't do it every night.

[Arthur]

I know. It just. It feels odd being able to push you out.

[John]

A reprieve from each other is nice for both of us.

[Arthur]

I know. I know. I just. I guess being the only one in control of it, you know, it makes me feel.

[John]

I get it.

[Arthur]

But you're. You're right. It gives us both time to think, you know, time to be alone, to

[John]

rest when I want to. It's a good thing.

[Arthur]

Yeah. Yeah. Lilith acted as if it was some kind of torture.

[John]

Lilith is a different manner of creature in every way.

[Arthur]

She's still out there in Larsen's body.

[John]

Let's not start counting the threads left undone by our time seeking the Blackstone.

[Arthur]

You're right. Let's just appreciate our luck. Like you said with Michael and Parker and Eddie.

[John]

It's an uneasy feeling.

[Arthur]

What is? Parker's death.

[John]

No, Eddie's.

[Arthur]

What do you mean?

[John]

Eddie was there for him all along. He thought we were covering for Parker.

[Arthur]

Parker owed two grand, John. I had no idea. He borrowed the money from an outfit. Otherwise I would have helped him.

[John]

No, I know he was a marked man, but when I.

[Arthur]

We've been over this, you know? You know, Parker's death, it was a tragedy. But knowing what he owed and to whom, I don't know if we could have saved him.

[John]

I mean, Eddie. Why were the police so content to have his death go unsolved?

[Arthur]

Because he was a low level enforcer for whatever outfit Parker borrowed money from. You. You remember what Callahan said? Look, they were probably all too happy to just cross his name off their shit list.

[John]

Maybe.

[Arthur]

Look, we were grilled. We kept our story straight, and we had Daniel to support our claims and thankfully pay our rent. It's not airtight, but we have covered our tracks as good as possible. And. Yeah, got lucky.

[John]

It just feels like.

[Arthur]

Like what?

[John]

Like our luck is about to run out. Anyway, we were back in Arkham, only a few streets away from the Junction Cafe on Washington.

[Arthur]

Yeah, that's across the street from St. Teresa's right?

[John]

Yeah. That's it, isn't it?

[Arthur]

Yeah. Yeah, I should have suggested somewhere nicer. Somewhere where we could talk.

[John]

Arthur, she chose this place. Relax.

[Arthur]

How late are we?

[John]

Yeah, you don't want to know.

[Arthur]

And you think I could keep a weekly dinner going?

[John]

You are. We are. Arthur, you need to give yourself a break. She loves you. She isn't holding you to the standards that you are holding yourself to.

[Arthur]

I know.

[John]

She doesn't know about what Came before. She's only known you her entire life.

[Arthur]

I know.

[John]

Okay. We're just down the street. Alright. To the right. It's warmer in the city. The autumn air is stifled against the cigarette smoke and automobile exhaust. But still the city is alive. People scurry about with various intents. Each an entire life of one wants and worry.

[Arthur]

October smells different. Something about apples and spices, Jack o' Lanterns and children desperately trying to get their fill of the dying days of warmth before winter sets in. I do love this time of year.

[John]

The junction is just ahead.

[Arthur]

Yeah. Hey, maybe we'll be able to pop over to St. Teresa's after dinner. Maybe Michael will be there. Or at least Sam's body.

[John]

Sh.

[Arthur]

Why?

[John]

She's sitting in a booth at the window for Ro. Her dark shoulder length hair is brushed behind one ear as her eyes dance across the pair pages of an open book as if holding a secret. The corner of her thin mouth curls up to one side. A crooked smile, a joke only she knows. Her brown eyes are so bright, sharing a keen intellectual like her father's, only unhidden. Her dimpled chin, her delicate ears, her sharp nose. They belong to her mother. But her eyes. Her eyes are her dad's. As are her freckles. She turns the page like a student, practiced and determined, uncaring for the paper, wanting only the knowledge within. All the while, her smile unmoving. She has the world figured out. A wisdom not bought or borrowed, but earned in some unknowable way. A young woman who knows this world through and through for all its bane and benefit. One who understands not just the people around her, but their role to play in the stars. And as she checks her watch, one who undoubtedly brought the book because she knows her dad all too well.

[Arthur]

Fuck. All right.

[John]

Are you gonna tell her about Sam? About the shooting?

[Arthur]

Tell her that I killed someone tonight? I don't think so.

[John]

She'll know you're hiding something.

[Arthur]

Right. And what's the harm in that? She said she doesn't want to know about my work.

[John]

She said she doesn't want to be your secretary, Arthur. That's different. Look, it's up to you. But if she looks up from that book and sees you standing here.

[Arthur]

Right, right, right.

[John]

She's at the last booth on the left. Her back is to us. Here, here, here.

[Arthur]

Can I get you anything?

[Ferraud]

Oh, sure. Another coffee?

[John]

She doesn't turn her head.

[Ferraud]

And a slice of pieces, if you're still paying.

[John]

She's not fooled for a second.

[Arthur]

Pie already. Did you eat?

[Ferraud]

Hey, can't Keep a girl waiting forever, dad.

[John]

She turns, a coy smile plastered on her face.

[Ferraud]

Sit down.

[Arthur]

How did you know it was me?

[Ferraud]

Oh, I'd know you with a blindfold on. You have a very distinctive way about you.

[Arthur]

Way about you. I mean, I should change my gait. Hate to think I'm predictable.

[Ferraud]

Definitely. Maybe even a new pair of shoes.

[Arthur]

What's wrong with my shoes?

[Ferraud]

Out of style, out of soul. Sounds like your socks are wet, too. Rainy up north.

[John]

The waitress walks over and drops a piece of pie between the two of you.

[Ferraud]

Thank you.

[John]

With two forks.

[Arthur]

How did you know I was up north? The west is water and two forks.

[Ferraud]

Not hungry.

[Arthur]

You saw me at the window.

[John]

She smirks and takes a bite of pie.

[Arthur]

You're a better detective than I am. We should hire you.

[Ferraud]

You weren't exactly hidden, and it's just you now.

[John]

Dad, you said we.

[Ferraud]

Uncle Peter is.

[Arthur]

Oh, right. Yes, I. Well, I should hire you.

[Ferraud]

No, you should pay me for taking your messages.

[Arthur]

Again.

[Ferraud]

Mm. Right before I came here.

[John]

She slides a small piece of paper across the table to you.

[Arthur]

Why were you by the office?

[Ferraud]

Grabbing my spare jacket. In case it rained.

[Arthur]

Well, you didn't have to take this message. You could have let it ring.

[Ferraud]

Well, it seemed urgent.

[Arthur]

You can sense when a ringing phone seems urgent.

[Ferraud]

Not any phone. Just yours.

[Arthur]

Why just mine?

[Ferraud]

I don't know. Suppose we have a connection.

[Arthur]

You're insufferable.

[Ferraud]

He says lovingly.

[Arthur]

Oh, I was just talking about apples and spices.

[Ferraud]

You always loved Halloween.

[Arthur]

I just did you.

[Ferraud]

What? Kid didn't do you remember when I was. For Halloween, when I was seven that year? Marnie, the neighbor we had in Boston, the year she started making those candy apples.

[John]

Pivot. Arthur, change the subject.

[Arthur]

Way to change the subject.

[Ferraud]

What subject?

[Arthur]

How did you know I came from

[Ferraud]

the north, didn't rain here, and I'm all wet. Dadio. So what were you doing? Anything worth sharing?

[Arthur]

Well, I. Yeah, I. It was a case. Watching a barn at the Arnett farm. I. I was trying to see if I could stop a perp from taking a nap. He was killing some local wildlife and cattle.

[Ferraud]

Killing?

[Arthur]

Yeah. Yeah, he was. He was troubled. He needed help, I think.

[Ferraud]

What happened to him?

[Arthur]

Well, he tried to hurt a kid he had up at the barn with him. He wanted to carve out his heart and. Well, I had to. I had to.

[Ferraud]

You didn't.

[Arthur]

I did.

[John]

Yeah. She stops eating the pie.

[Ferraud]

Dad.

[Arthur]

I'm sorry. Should I. Should I not have.

[Ferraud]

It's your work. Sometimes you do what you have to do. I guess.

[Arthur]

Right yeah.

[Ferraud]

You didn't have a choice.

[Arthur]

Yeah.

[Ferraud]

Did you?

[Arthur]

What?

[Ferraud]

Did you have a choice?

[John]

I.

[Arthur]

Yeah, I suppose I did have a choice.

[Ferraud]

Okay.

[John]

She looks to be. You don't want to know.

[Ferraud]

Well, whatever the case, I'm sorry it kept you.

[John]

She. She finishes the last bite of pie and leaves the crust for us. She stands from the booth.

[Arthur]

What? No, no, no, no. Please, no, Fern, please.

[Ferraud]

No, no, no, dad, honest. I'm okay with it.

[Arthur]

No, no.

[Ferraud]

I knew this was the deal with dinner.

[Arthur]

No, you're not. Please, please, dad.

[Alex]

Two minutes.

[Ferraud]

It's fine. I'm not leaving in a huff. I just have to head back to the dormitory before they lock the doors.

[Arthur]

What time do they lock them?

[Ferraud]

10, 30.

[John]

15 minutes.

[Arthur]

5 minutes.

[Ferraud]

The dorm is a 10 minute walk. Dad.

[Arthur]

2. 2 minutes. Please.

[Ferraud]

Okay, 2 minutes. But only because I couldn't care less what that old bag Hilda thinks.

[John]

She sits back down.

[Arthur]

All right, all right.

[John]

How school?

[Arthur]

How's astrology?

[Ferraud]

Astronomy.

[Arthur]

Astronomy. Of course. I'm sorry.

[Ferraud]

Don't be. I love it. It's amazing. It's surreal. Dad, you have no idea, no idea what it looks like to see through the telescope they have of the Brandywood building on the roof. The one just outside of town. My God, dad, it was breathtaking.

[John]

She speaks with such elation, such love.

[Arthur]

I can only imagine.

[Ferraud]

I love to. No, it's dumb.

[Arthur]

What is? What?

[John]

She shakes her head at herself.

[Ferraud]

I don't know. Maybe. Maybe I could get you in. Sneak you in, maybe. My professor is very larks. I'm sure I could convince him to

[Arthur]

make an exception to get me in. Like, we could go look together.

[Ferraud]

You could see the stars.

[Arthur]

I'd love that.

[Ferraud]

Yeah, but you have to be there. You could not show up late.

[Arthur]

I'd be there.

[Ferraud]

Promise.

[Arthur]

I'd move heaven and earth.

[Ferraud]

I'll ask him.

[John]

I'd love that.

[Ferraud]

Okay, now I should go.

[John]

She stands.

[Arthur]

All right. Yeah.

[Ferraud]

You don't need to stand too. Dad.

[Arthur]

Call me old fashioned.

[Ferraud]

Are you gonna stay?

[Arthur]

I may pop across the street to see a friend before heading home.

[Ferraud]

The morgue again?

[Arthur]

Yeah.

[Ferraud]

You're starting to earn that nickname. Dad.

[Arthur]

You know about that nickname, too. Hey, I'm sorry I was late. I promise next week.

[Ferraud]

I know, I know. I love you.

[Arthur]

I love you so much.

[Ferraud]

Dad. Don't cry.

[Arthur]

You just. You're growing up so fast. It's.

[Ferraud]

It's fine. I gotta go. I'll call you tomorrow. And I will answer and get a secretary.

[Arthur]

Oh, her book.

[John]

Arthur, she left it.

[Arthur]

Oh, Throw.

[John]

Grab it from the table where she was sitting.

[Ferraud]

Oh, thank you.

[Arthur]

You don't want to go losing books. I've been there. What is this anyway?

[Ferraud]

Oh, a puzzle book.

[Arthur]

Puzzle book?

[John]

The Torquemada Puzzle Book.

[Ferraud]

It's just a bunch of crosswords across six anagrams, all from the Observer.

[Arthur]

Keeping the mind sharper, eh?

[Ferraud]

I work out the muscles I want.

[Arthur]

Damn straight.

[Ferraud]

Talk soon, dad. Love you.

[Arthur]

Bye, love.

[Ferraud]

Oh, try to see that guy tonight.

[Arthur]

Who?

[Ferraud]

The guy who called. Sounded like he was in a tizzle.

[John]

Who?

[Ferraud]

The note, Dad. I forget his name. Robert something.

[Arthur]

Oh, yeah.

[Ferraud]

Take care of.

[Arthur]

Take care.

[John]

She walks away jogging down the sidewalk hoping to catch the light.

[Ferraud]

Oh, and for what it's worth, I don't get it.

[Arthur]

Get what?

[Ferraud]

The nickname. What even is a dead man's mouthpiece.

[Arthur]

Be safe.

[John]

Look, we're trying our best to get here. It's not always going to be perfect. We'll be early next time, right? We can do that for her. Make the effort, not take a job the same day. Right?

[Arthur]

Yeah.

[Alex]

Yeah.

[John]

Sorry. Sorry. What's wrong?

[Arthur]

No, nothing. Nothing. So. So the message.

[John]

The message.

[Arthur]

The one she took.

[John]

Oh, right.

[Arthur]

But what does it say?

[John]

No number, just an address on the east side and a name.

[Arthur]

And what name would that be?

[John]

One Robert Pocket.

[Arthur]

I don't recognize the name.

[John]

Neither do I, but Officer Callahan surely isn't at the mortgage yet. Nor the body of Sam. Care to take a drive?

[Arthur]

The night is young.

[John]

That's the spirit.

[Arthur]

Let's go see this Pocket.

[Shahan]

To listen to the next exciting episode, you can click on the link in the description or search for Malevolent wherever you get your podcasts or find more information on rustyquill.com or malevolent.ca. thanks for listening.