dollhouse
Episode Five
"Hunting"
Orpheus
A month has passed.
Everywhere in the city, rave parties are breaking out. Hard music, sweaty bodies and alcohol swirl in a mix made even more interesting with the introduction of pigment. The government begins calling for the public's support in locating "The Manhattan Monsters," the term that has been pegged to refer to the crucible as initiated by Madame Cassandra and the Arms of Light. With their faces being broadcast on television, and their identities exposed to the public, the group is forced to go underground and take refuge in a rest house in the nearby woods. Frighteningly, Marina and Sophie are made to be guests in Arms of Light itself, and they try to stress how their mother is innocent of the accusations. Seeing them on television, Natalie Kureya feels more the urgency to find a way to get her daughters to safety. Misha tries to reach his ex-girlfriend, but her Facebook page seems littered with comments from friends who are happy she is not seeing the terrorist. She does, however, post a message addressed to Misha on her wall - hoping he is well and that he should come back. Misha opts to send a Private Message suggesting a time and place where they can meet secretly. Fiona Parker barely talks to anyone. Alexander Carter tries to reassure people she is merely going through a tough time. There is fear of the fact no one from Orpheus seems to have remained as spooks. They wonder if the Black Smoke in the assault had something to do with that.
Shepherd tries to gain information from Jessie Osorio and his companion, whom he realizes used to work or Next World. He risks running his immaterial hand over her hair, and she feels the cold from his Touch of Frost, but does not react with any show of Projector training. She admits she never finished the course at Next World.
The group continues to receive advice from Radio Free Death, who communicates to them through radio static, emails and unexpected calls. Attempts to meet up, however, are rebuffed as Radio Free Death admits he is still unwilling to trust them. Both however are unconvinced that the crucible are terrorists.
Natalie tries to pay at the counter, but then encounters the people talking about how "that woman" abandoned her daughters. She ends up talking back, questioning why they believe everything they see on television. "That's a talk show, of course that is real. It is not like Grimm." As they head back out with the groceries, Natalie realizes she cannot leave her daughters to stay at that show and be grilled that way. She tells Wendell he has to head back on his own because she will have to find a way to get her kids. Wendell tries to talk her out of it, reminding her they are at the safest place being on national television. He even stresses it was probably their father who placed them on television.
Natalie tries to pay at the counter, but then encounters the people talking about how "that woman" abandoned her daughters. She ends up talking back, questioning why they believe everything they see on television. "That's a talk show, of course that is real. It is not like Grimm." As they head back out with the groceries, Natalie realizes she cannot leave her daughters to stay at that show and be grilled that way. She tells Wendell he has to head back on his own because she will have to find a way to get her kids. Wendell tries to talk her out of it, reminding her they are at the safest place being on national television. He even stresses it was probably their father who placed them on television.
At the television studio, Shepherd arrives with Osorio and the woman. He soon notices the band is staring at him, aware of his presence. None however are brave enough to talk. Osorio receives a phone call and separates from the rest to take it. Shepherd follows and listens in. The band turns out to be a group calling themselves "the Shepherds" and that they believe he is innocent. Their attempts to talk to Shepherd, however alert Osorio that he is present.
Fiona Parker, who has not been communicating with the others, reveals to Misha that she can now silence the chatter of the Crucible's hive mind that they share. The group attempts to learn more on what they can of the events that transpired. Shepherd actually makes contact with Roxxon, the spook haunting the bus lines, and learns that most of the talk has the public seeing the crucible indeed as the terrorists.
Fiona Parker, who has not been communicating with the others, reveals to Misha that she can now silence the chatter of the Crucible's hive mind that they share. The group attempts to learn more on what they can of the events that transpired. Shepherd actually makes contact with Roxxon, the spook haunting the bus lines, and learns that most of the talk has the public seeing the crucible indeed as the terrorists.
The studio, they discover, is not safe. The children's father claims parental rights to take Marina with him. Sophie tries to argue but it seems to be a losing battle. Shepherd uses his Wail to gently calm the children down. A hired gunman has secreted himself into the location, and nearly murders Natalie's children and the host herself, Madame Cassandra. With the bullets flying, Shepherd tries to locate the gun man as quickly as he can. Wendell, Fiona and Misha arrive as well, and do what they can to help in the fight. Outside, Natalie searches for the correct building where the show is being shot. They soon disable the gun man and Natalie gets her children to safety thanks to the help of Radio Free Death. But when Sophie endures a terrible moment, it is only thanks to Fiona learning to tap into her Third Tier in Puppetry that she remains alive. The group chooses to call this a win.
They also learn of the Burgoyne Academy which has taken over a school and the students inside.
They also learn of the Burgoyne Academy which has taken over a school and the students inside.
Elsewhere, however, Alexander Carter hands to what looks like a Spectre the unconscious body of Ellie Baker. The trade seemingly is intended for Alexander to barter for Fiona's missing body.
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