Romancing the Dungeon is a softcore DND podcast about
heroes navigating their daily lives while looking for love in
a world full of peril, monsters, and heartbreakers.
This show is intended for mature audiences as it contains adult
themes who are the best kind, but not the softcore thirst.
Oh, what's that point? Content warnings for specific
episodes can be found in the episode description.
So my bad, but I didn't listen to the last episode.
Could somebody catch me up? What if the hero you've been
cheering for wasn't a hero at all?
What if behind every valiant victory, there was a trail of
deceit, destruction, and wounded dogs?
I'm Misty Stepford and this brand new Straight Descending
Stone podcast series. I'm here to expose the truth
behind one of the realm's most dangerous figures.
This is Fallen Crown, the crimes of Thea Burbage.
In this exclusive series, we'll take you deep into the story
behind the mask of heroism. Eyewitnesses from Tesserab speak
out for the first time, revealing shocking details about
the young shader kite of and the suspicious actions she took
before she left the city of Tesserab in ruins.
And that's just the beginning. On her journey to the capital
city, BIA founds herself in the town of Warner, an unsuspecting
local Lord, a historic castle on a hill, and a stormy night that
changed everything. What was supposed to be a
gesture of thanks turned into a night of secrets, whispers, and
unanswered questions. Why was evil killed, and was the
fiasco at the castle simply a cover up?
And what at the next idyllic village that lay in her path?
What really happened in Little Horn, where Phoenix heroics were
followed by poisoned pies, terrified townsfolk, and a
brutal attack on a beloved town walrus?
Are these truly the actions of a hero, or is it the calling card
of someone far more sinister? Perhaps the most shilling
chapter in all of this is Via's seduction and corruption of the
heralded night scout Angelia Steele, a man once known for his
honor, his dedication to the King and country reduced to
nothing more than a disgraced, broken traitor.
What hold does Thea have over him and how far did she push him
down the path of ruin? On that fateful night, the masks
of Winter Ball, a nightmint to celebrate Thea's heroism, turned
into a blood soaked nightmare. In the King's private offices.
King Dreyfus stabbed the ambassador from Bazaj, barely
escaping with his life, and Lady Marigold Wolverine the Third,
one of the most respected noblewoman in Gileshire,
viciously attacked. Was this an elaborate
assassination plot, foiled the last minute by His Majesty's
Guard, or just simply and coldly, another night of
destruction orchestrated by Thea?
Who is Thea Berbidge, really? But before we dive any deeper
into the corruption of heroes and kingdoms, a quick message
from our sponsor. Are you lonely, miserable, or
just plain horny? Well, you've taken the first
steps to solving your problems. At least you're dating you.
I'm Phi Burbidge, my brother is Quillo, my mother is Una, and my
father was Forrest. I don't know anymore.
A voice rattling in your head. Yeah.
You feel the soft if not well worn comfort of a mattress under
you, and as your eyes kind of adjust and everything kind of is
blurry and blurry, you hear the groaning of the bed or cot that
you are lying in. The air is cold and dusty and as
you kind of come to your senses, you find yourself in a small
room no bigger than no bigger than your own bedroom at home.
And for a second it is that sort of.
No, I'm not this, this isn't home.
The room is sparse and as your eyes kind of glance around it
you you see just a smattering of half broken furniture and
crouched low and just sort of peering out a crack in the
curtains you see Una just focusing out the window, staring
out. She hasn't.
She hasn't noticed you are awake or anything yet.
What's going through your mind? And very much to ever get that
sensation when you've woken up and you've you feel sore because
you've laying on that, laying on that one side of your body that
whole time. That pain that sort of, I mean
it doesn't course through you. It's it's numbed through you.
It starts kind of in your fingertips, but it's sort of
settled and cemented itself all down kind of the right hand side
of your body and kind of half tossing or trying to kind of
even move in the bed. You you feel again the weight of
your whole body trying to trying to stir.
I would say there's also a resistance there for her because
it's like if she stirs then she has to deal with other things.
As you are kind of coming to you, you hear Una just kind of
half muttering to herself like it's not loud enough for you to
make anything out, but you can definitely hear and she stops.
The curtains are kind of drawn tighter.
Uh, the room gets that little bit darker based on, and I can
maybe if you wouldn't even notice it, but it's not, it's
not night time, but it's also quite a dark day outside like
there. And you can kind of, as you, as
all of your senses start to kind of come back or almost sort of
even switch on, uh, that moving past the pain, you, you can hear
a commotion outside. And as Una kind of pulls back
from the curtain, she sees that your your eyes are open out of
game. Just so, just so you're aware,
mechanically, Via has four levels of exhaustion.
At that level, you have disadvantage on ability checks,
your movement speed is halved, you've disadvantage on attack
rolls and saving throws, and your hit point maximum has been
halved. Fun, OK, love it.
That's not permanent, but you you'll need rests to to to chip
away at that exhaustion. OK, it's not a one long rest
cures at all sort of a thing. This is a process, Una.
She kind of steps closer to the bed a little bit, uh, kind of
crouches down and takes your hand in hers via Are you OK?
You can see she's not very still, not very with her senses.
Her eyes are not even really focusing very much on Una at
all. And she's kind of looking at her
hands in her mother's hand and realizing, I think actually
realizing for the first time how long I guess she was in the
prison because she can see my hands are they look gaunter.
And then now to. Be fair, like it has only been
about two weeks. Just so I don't know if that's a
trickery of the mind or something, but to her it like
her hands look gaunt her. OK.
She looks, she feels like she looks weaker.
OK, OK. Maybe even like kind of the
color in her skin. Like that?
Brightness is kind of gone. Yes, yeah.
Kind of seeing you kind of bleary eyed and not not
responding, still holding your hand in one.
She kind of turns to a small little stool where she has a jug
and a cup and she pours some water and she kind of offers it
up to you. And then letting go of your
hand, she lifts your head and she kind of tips some of the
water back. It's been it's been a day since
the prison. Can you can you sit up?
I. Try to.
Yeah, yeah. And.
Again, she helps. Again, she's not looking for you
to kind of get out of the bed, but she kind of just kind of
lifts you to try and sort of sit you back up into the bed.
How are you feeling? I don't know.
I'd I'd. It's OK, We don't have much time
left in the city. I'm going to get us out of here.
I just need you to rest and gather as much of your strength
as possible. Somebody is coming to help.
They're going to take us away from here.
But I didn't. Mummy didn't do it.
What like kind of life is this going to be for me now?
We can deal with that once we're safe.
We can figure those things out once we're out of here.
Sitting there and feeling sorry for yourself now and worrying
about what could be isn't going to help the situation via.
It's not what could be anymore though, is it?
It's what is. You can worry about all the
things that could come to pass. We'll deal with these problems
as they arrive. For now, you are safe, you are
alive, and we take it one day at a time.
I kind of slumped back into myself a little bit again, A
little bit of the tension is gone hearing that.
Not all of it, but a little bit and you can see Phia's shoulders
drop slightly. I'm going to check and see.
I won't be long. If anybody knocks or you hear
anything outside, don't react. Stay quiet, stay low.
Give me a wisdom saving through this.
Is disadvantage now. It is, yeah.
Yeah. 9. There's a flash.
It's, it's, it's that weird sense of deja vu.
It's, it's what she said. Stay quiet.
Stay low. She said that to you before, did
she? And you're then it's the thing
of, oh, you're mind, you're tired, you're exhausted.
And it is just that sort of rush of in the moment and in the
memory and the two things don't quite.
They don't quite line, yeah. But there is that sort of pang.
She gives your hands kind of a squeeze and she pulls the kind
of the the raggedy kind of blanket up around you a little
bit. I won't be long.
And she just kisses you on the forehead and moves out a
doorway, leaving you in the room.
I suppose a little bit after she's gone, not straight away, I
start kind of taking in my environment a little bit more
and trying to get rid of this haze that I have in my vision
and start reaching out a bit again just to see what this
space is actually like. It is, like I said it, it, it's
reminiscent of even your room at home.
It, this is obviously a, a, the box room, the, the cot as you
kind of, as you get a better sense of yourself and of the
space that you're in, the cot that you would find yourself
sort of thrown down in is probably for a child like your
feet. You're kind of bundled up as you
kind of stretch out and you kind of again, that numbness and that
kind of dull pain that aches in you.
You feel it, but your feet extend over the edge of the cot
and you see that you are wearing you're you're out of the prison
clothes that you've been put in. And Una seems to have dressed
you in some fairly sort of common garb, like it's just
linen pants and a shirt and your feet are cold as you kind of
stick them out from under the blanket.
There's no fire or anything going on in the room.
I took my feet back in under the cover and I was lying on my
right hand side. I want to roll over and lie on
my left. Just curl up.
And I guess what's going through my head right now is because
everything has been so dark and murky, I'm trying to to pull on
good memories to bring to take my focus away to just to stop
thinking about the situation that I'm in right now.
And I'm thinking back a lot to traveling on the road, which a
fester need and where we met with saying in urban and our
travels all up to Tezra and meeting Kayel and meeting AJ and
just trying to pull on those bright sparks.
As you're lying there and you're pulling on these memories and
you are trying to recall looking at those small little bits of
the details, the the conversations around the
campfire, the torment of Cynthia, the, you know, hanging
out with the little Erskinasi nomad kids, You know, talking
with a festa late in the night under the stars, listening to to
Nate play the lute interpretively, watching AJ
train first thing in the morning, kind of at the crack of
dawn while everybody else was asleep.
All those kind of memories kind of come flooding back and where
you were seeking comfort, where you were seeking something to
kind of warm yourself to. You just feel kind of welling up
around your eyes and then trickling down your face.
Just tears that are warm and as they kind of catch around your
lips, salty. And you feel both comfort and
sadness at the weight of those memories.
I guess it just kind of then just curl up on my other side
and just let my tears and memories try and take me back to
sleep to block out everything, to block out everything else
that's going on right now. Rolling to your side and kind of
churning away from the window and the the door kind of now
kind of just staring at the wall.
And it is, it's just a blank wall.
You feel kind of the heaviness in your body and that that that
exhaustion kind of coursing through you a little bit more.
It's not necessary that like you, you drift off to sleep.
It is just that thing of your body almost kind of just shuts.
Down, yeah. You find yourself not not
falling, almost suspended in darkness.
And you can. You can feel somewhere around
you the presence of those memories.
You can. You can recall Thane telling
great stories of his battles with terrifying monsters,
Hephaesta dishing the dirt on Nate, and the two of you
cackling under a blanket in a tent while all those memories
are present. It is it is the the image, the
sound, the smell, even the the feel of AJ that seems to trump
all others. And you can hear the sound of
the bowstring snapping as he fires an arrow, the small little
curl in his smile that he gets when he shots land, whether he
knows it or he doesn't know it, but it is the thing that you've
noticed. And that curl in his, in his
smile kind of also you see around his eyes as well as they
kind of light up a little bit. All of these memories sort of
pale in comparison to him. And there, in the the darkness
that you find yourself in, you can just about see the gardens
of Galeshire City Palace and the hedge maze.
The feel of the night sky on you, his hands in yours and then
along your back. The faint aroma of his own body
and his skin mixed with a very, very slightly warm, almost like
toasted cinnamon sort of perfume or Cologne that he was wearing.
The feel of his skin against your hands and that, the warmth
in it, and even the sensation of the goosebumps that sort of run
up along your arms, up along your neck.
And they seem sort of almost redden and flourish as you can
feel the heat in your cheeks and you can feel your heart pounding
all around you. You can.
It's as loud in your head as it is loud in your ears.
So all we have is tonight. And then his kiss.
And then the darkness shifts and there are two eyes staring at
you from above. These two huge purple eyes
looking down on you. My only snap open.
Fi, fi, are you OK? You're safe.
You're safe and you immediately you feel Una's presence and her
hands on you. I, I, I'd look at her just like,
sorry, sorry. No, Thea.
You're you're OK, sweetheart. It's it's me.
It's Mom. You're OK.
You're safe. I kinda, I sit up in the bed and
do you know when you see people like they have their their legs
up, their elbows on their knees and then their hands just in her
head, just her head down and she's just kind of just trying
to curl into herself again, really just.
She's taking she's she's trying to pull your hands away.
She's her hands have kind of taken your hands and just look
at me, look at me, breathe. And and then one of her hands
kind of kind of goes to your forehead.
OK, you don't have a fever, but the blankets are drowned.
You, we're you. We need to change.
And she's trying to kind of pull you up out of the bed.
I, I go with her, I, I don't have any kind of resistance in
me, really. Yeah, it's I think she's kind of
she whips the kind of the top that you were wearing off of
you. And again, you only then do you
feel kind of that coldness. You know when you've you know
when you've ran a sweat, and particularly when your body is
is low, your immune system is low and you're roasting in the
bed and you can feel as have pumping off of you.
But then the second you're exposed to have.
Like freezing and shivering. Yeah, yeah.
And your whole body starts to kind of come volts and that
shivering kind of ripples through you.
It was, it was, it was just a dream, sweetheart.
It was just a dream. And she's trying to kind of
comfort and coax you as she kind of pulls a, a fresh linen shirt
over your head. And as she goes to pull you into
a hug, there's just a short pronounced knock coming from
somewhere outside. Uh, and Una just gives you a
light squeeze and kind of takes a half a step back from you wait
here. That's I'm expecting them.
These are the people that are going to help us.
OK. She turns, walks through the
door again and closes it behind her, and again you can hear her
footsteps there, soft, but the, it's, it's the floorboards that
are kind of creak under her, uh, that give her away.
And then you hear several bolts sort of sliding.
Give me a perception check. Perception is good, so hopefully
even with the disadvantage I do already on this 26.
OK, you again, you you clearly hear Una's footsteps.
You hear the bolts, the metal kind of sliding and clanging,
the door slowly open. And then you hear plain as day,
Julia. What are you doing here?
Julia? OK.
And there's just a a softer voice.
You don't recognize it. Male or female are kind of tell
female. Female.
Yes Una, I've come to help and there is a moment or two where
it is just silence but the tension is almost unbearable and
you hear Una say thank you Julia, please, and you hear the
door close and the bolts slide. I realised you were of course
expecting the others, but when I had heard what you had and she's
cut off. Actually Julia, I would.
Really. Your expertise, could you?
And you hear Una's footsteps drawing closer to the door.
The handle kind of rattled for a second as she opens it.
I take a couple of steps back as I hear them approaching.
It's Thea, my daughter. She's not well, of course.
Una, anything for you. And as the door opens, you see
Una stepping in and then kind of pulling the door open further.
Swaying through the dark, you can hear the shifting of velvet,
that material sort of swishing and dragging along the ground.
Coming through the doorway, kind of half crouching, you see an
elvish woman with this deep brown skin, a warm sort of olive
tone to them, wearing this long black green knotted velvet
dress. Sort of glance under the door.
She stands at 6:10. Wow.
And quite a narrow frame actually, probably on the sort
of the almost gaunt. It's not even it's not even thin
like you, you thought God, you looked kind of like withered or
or tired. This woman is skeletal, is like
is is exaggerated, but she is dangerously thin, like she's
dangerously thin. She looks as if she'd snap, you
know, if she was to carry anything heavy.
But even even then, you see that the way she holds off, she
doesn't look sickly, she doesn't look unwell, she doesn't look
tired, and she doesn't look as if that dress is hanging off of
her. She it fits her and she is quite
petite and quite narrow and quite slender.
Her hair is just this slicked back, long deep earthen brown
straight the hallway down. She has no jewelry, she has no
accessories. She has nothing on her bar this
dress, her boots, and as she kind of, like I said, almost
sachets into the room. She smiles at you, and her smile
is very, very bright and warm, but her eyes don't necessarily.
There's no, they're not matching each other.
Yes, the. Expression isn't the same, OK?
It's not that her eyes are She's not scowling at you.
She's not glaring at you. But the smile's not reaching her
eyes. Yes, she, she seems very sort
of, it's that, it's that kind of, you know, when you, you meet
a, a doctor or a nurse and they're trying to present to
themselves as I'm friendly and warm, but this job means I have
to be detached. Yeah, yeah.
It's that, uh, and as she kind of presses into the room, she
just holds a hand out to you. I I take her hand and give it a
polite shake. Julia Lokotis.
Lokotis. I'm a friend of your mother's,
an old friend. It's.
Nice to meet you, I'm sorry you just see me like this.
Please, I've seen your mother in worse States and you see Una
kind of flush a little bit. Thea Julia is somebody I met
while travelling. She's offered to help us and you
see Una's eyes kind of flipped to Julia and then kind of again
back at you to help us get out of the city.
Uh, but she's going to, uh, just take a look at, she's one of the
greatest healers I know. Uh, yeah.
OK. Just just to make sure you're
fit for the journey ahead. Yeah, OK.
Yeah, that's that's fair. SU.
Sure. Thank, thank you.
And. Again, it's that that smile
hasn't left and her her head turned to face Una.
And then as you kind of speak to her, she turns back to you and
it's just kind of a nod. Una, uh, be a dear.
You can take a scan of the provisions that I have acquired
for the both of you. There's a carriage just down the
laneway you'll need. And she kind of stuffs something
into her hands and you see it's just like a small pouch, like a
kind of a cloth pouch. That's not to get too close to
the cadavers. And owner just kind of nods.
Thea. I'm just going to be outside.
I won't be long. OK.
As Una leaves uh, Julia, just with one hand, an effortless
thing, she just reaches for the door and just slowly shuts it
behind her. Now your mother says you're
unwell. Yeah, and.
What seems to be the cause of this ailment?
I don't know. Yeah, I, I, I, I don't know if
you've seen the news around the city.
Bush, I'd do it. And I've kind of and she goes,
she doesn't even finish the sentence.
She doesn't know how to answer this lady at all.
She and I think it's it's part how much should she reveal and
also part feeling quite intimidated by her presence as
well, and certainly not knowing her at all.
Oh, you mean the King's assassination?
My dear child, my profession requires that I refrain from
judging those who come to me for aid.
I provide healing to those in need, regardless of who they are
or what they may or may not have done.
OK, well, I spent I, I don't even know how, how, how long in
a in a prison. It was dark and cold and quite
tired from us. May I?
And she steps into the room a little closer to you.
I don't move. Seeing you kind of like stand
there almost like a statue. Her hand just kind of reaches
for you. She doesn't grab but her
movements are very quick and. I suppose it does make me like
flinch a little. And even with that, when you do,
she doesn't let go. She doesn't.
Her grip actually kind of gets a bit stronger.
Sorry, cold hands. She's checking your pulse and
she's listening to your breathing.
The back of her hand also kind of reaches to your forehead as
well. Well, unless I open you up I
can't tell. You seem to be in good health,
you're just suffering from exhaustion, which is to be
expected given your recent accommodation and situation.
So just rest really. Oh, plenty of bed rest, but I
don't think that's what Una has in mind for where you're going.
Oh yes, I just have to push through it so.
I wonder. No, it's not my place to ask.
I shouldn't. What?
I was just musing the idea how much of what your mother has
planned has she told you? I don't, I don't know what's
what we're doing. Typical Una, we know there's a
plan, but the details she tends to keep a little close to her
chest. I wouldn't know I I barely know
her. Oh yes, she had mentioned she
left when you were quite young. Yeah, yeah, she's been gone for
a for a long time from my life. And now she's back.
Yeah, for now, I guess. She did save you from the
executioner's axe. That's true.
If that's not maternal love, I don't know what is.
Do you trust her? That question seems lace to fee
as a ear. Can I do an inside check?
Yeah, eh, No 8. You all the while Julia is
talking to you. She is kind of moving around you
at this point and like her hands are still on you.
It's like she she is checking for any breaks, she's checking
for bruising, anything like that.
Oh, do I detect some hesitation? It could be difficult, I'd
imagine. Had my mother suddenly
reappeared in my life? After how many years was it?
It's. Been it's been over 100 years
now at this stage. Oh, a lifetime to some.
If not 2. I think, I think you're a very
smart young woman, Fear. Thank you.
I guess I mean you only just met me.
I have a I get a good sense of my patience.
It's called healers intuition. OK, what are you trying to say
to me right now? I'm not.
Only a fool would trust Una Izidrim completely, and you
don't strike me as a fool. Via tries her best not to react
to this statement because again, she's still weary of this
person. But she's also she does.
She doesn't know Una. She's always stood by that, that
she doesn't know her. She still absorbs this, what
she's been told from the stranger a little bit, but still
with the grain of distrust from her.
Well, exam is over. You seem fit enough to travel
though I am worried about the exhaustion.
I may have something for that. If you if you don't mind.
She reaching, uh, to her side and again under the, the, the
velvet gown that she's wearing the dress, you see your hands
kind of move and there is kind of a, a quite a strong floral
scent emanates from the room around you.
Her fingers like they kind of, it's almost like as if they're
counting as they kind of tap against each other and which is
kind of A twist in her wrist. She holds her hand upright and
there is a small white flower. The petals of it are quite
large, but it hasn't blossomed. It hasn't.
It's a it's the bud effectively, and you do see 5 little sharp
green leaves sort of enclosed around it and just a knob of a
stem. OK, now this should help when
you find the exhaustion taking hold.
One petal on the tip of your tongue and it should push you
through. Should I take any now?
Would you suggest? Oh, it's a very small flower.
I would only need this isn't. I won't lie to you, this is as
much a poison as it is a cure. There can be side effects.
OK. I'd keep this between us as
well. That's that's fair.
Yeah. And I kind of look around
because I've nowhere to kind of took it away.
Best we check on your mother. Oh and before I forget as well,
uh, and she produces another one of those cloth, uh, bags.
Uh, it reeks of earth and clove and it's quite, uh, a hot smell
as well. Like it's kind of, you know,
it's like it's, it's, it's like smelling kind of a.
Like any seed in a way is. That what you're saying?
Yeah, yeah, yeah. It's and it's quite pungent.
Like, you know, like as you kind of inhale it, you kind of feel
the heat coming off of it as well.
Well, I've already given one to Una and it is the safest, one of
the safest ways out of the city. And I was in quite a hurry.
You'll need this to ensure you don't catch it either.
And she reaches for the door. So she's giving me this
backpack. You know, it's, it's a small
little, a small little pouch. So you have the flower in one
hand and the pouch. And the other umm, I guess as
she's going to the door I'm looking, I'm going to see if I
can put the flower into the pouch as well and keep it safe
in there or what. It's like, I mean, this thing is
sealed like this is a umm, like you'd always tuck it.
Yeah, I think that's what I'll do.
I'll tuck the flower into like the the hem of my trousers.
I'll just kind of flip it over onto itself so that the flower
is tucked up into into the linen.
OK. She glides out of the room, uh,
into this kind of open space again.
It looks to be sort of the main living area here in this little
house. There's a table kind of lying
kind of half collapsed while the legs is broken from it.
You see there's a small fireplace that's dead and cold.
Uh, there's a black fat pot pellied pot pellied little pot
sitting there, uh, with a kind of a fine film of dust on it.
The windows here are all, uh, kind of, they've all been kind
of coated and smudged and smeared out.
Umm, and you do see there is a door and as you are you going to
follow Julia out? Yes, but still stay like into
the next room I think. Yeah, it's that main living.
Space. Yeah, I don't.
I'm still wary about going any further than that.
As you kind of come out of the room, Una kind of whisps back in
through that kind of main door and you do see that she's she
has kind of changed as well. She was wearing, she was just
wearing kind of a long cloak and hood over her, her gear.
Now she's kind of slipped into more kind of, uh, simple
clothing, uh, kind of close enough to your own, uh, it's
sort of a, uh, linen, uh, shirt and pants and kind of like boots
that are kind of just up past her ankle.
Uh, she's looking a little dirty as well, Like she looks to have
uh, kind of messed with her face, like using kind of like
soot or, or whatever. Umm, and she sees you.
She looks to, to Julia. Well then a clean bill of
health. Uh, Julia just sort of smiles.
FIA just needs rest, Una, uh, but I don't see why you couldn't
leave now. After all, it's quite urgent and
you see Una kind of shift a little bit.
Well, thank you Julia for your help via if you there's a small
carriage just outside and down the laneway.
Uh, you have your and she sees that you're holding the little
kind of pouch. Umm, it's not, it's not what I
had in mind, but it'll have to do.
Just don't look at the bodies. And, uh, Una kind of pulls the
door open for you and she kind of gestures for you to go out.
As I walk towards the door, I give Julia a little nod and a
very meek thank you, and I make my way.
Umm, not like urgently quickly, but like a a quick enough pace
to the carriage. And you'd as you kind of as you
pass Julia, she kind of again nods and smiles.
Her eyes lock on yours and you just hear her say tuna.
Such a polite young woman. You almost raised and the door
closes. You head out the door, you turn
right and there is just a small laneway by the house and you do
see a large black carriage. There's two horses to the front.
You see somebody is holding the reins like there's somebody up
there. They don't turn back to hear
you. They didn't hear back to look at
you. The doors on the back of the
carriage. As you get closer, you do see
written on them. Temple of Nan do not open
contagion. Oh.
Gosh, assuming this is what the pouch is for, for you kind of
hold it up to her face, closer to her face and gets into the
back of the carriage. And her eyes don't.
Her eyes stay up. OK, it is that thing as you as
you kind of step up into the carriage, like you open, you
have to pull on a latch to sort of get the door open again.
There's a heavy kind of groan. The door is it's made of metal
as you step up and again you it's a thing of you see in and
you just see it's you clearly see humanoid figures, but you're
not wanting to to look at them. That one thing you kind of look
up as you clamber up and you have to climb on top of these
cadavers. Now they are.
You're not lying on skin, but you can clearly see they've all
been kind of put into. Saxon yeah, OK.
I guess the main reason she she doesn't look down, she doesn't
her brains when going in where places and she doesn't want to
look down and imagine someone's face that she cares about.
She just want to imagine their face there.
So she's like, they don't exist right now.
She's just sitting on like not to minimize the bodies, but in
her just to cope. She's sitting on sacks of
potatoes or something like that. She's trying to disassociate.
Complete. Yeah.
So she's fall. She's she completely
disassociated where she is right now?
You, it is kind of as you throw yourself into the carriage and
over and onto the pile lying there, you are doing everything
you can to try and just disconnect.
It feels like an hour has gone past.
But you, it's just your sense of time and where you are and what
you're trying to block out. You don't know if it's if it has
been an hour or if it's only been 5 minutes, but you do.
Yeah, sorry, go. Ahead, I just, sorry, just as
well, I think because it's the first time she's really sitting
up, and after standing for a long time as well, she feels
kind of drained. Do you know where you just feel
like it's slowly the energy's just going down to her feet.
Yeah, it's what look, this is the most she's done in quite
some time. And it is that thing of yeah, I
get it that like even though it's quite a simple thing, the
exertion it's taken to do that for her in this state is a lot.
You again, and maybe that's why you can't track the time or keep
an eye or keep a sense on what's happened.
You do hear the kind of the door groan as as Una kind of clambers
in and it is you're able to kind of just turn an eye and you see
her. She reaches kind of past you and
she pulls a heavy wax and sheet kind of across you and lies down
next to you and her. You feel her hand kind of
reaching for yours. I take her hands again, more so
I think for the feeling of just trying to center herself.
She doesn't have that much energy now to like expunge and
care about whose hand she's holding right now, but it's
just, it's like it's someone's given her a hand.
She's just going to use that that feeling that touches
someone else to try and centre herself right now.
The door closes, and as it does, you just hear.
You hear Julia's voice. Good luck, see you soon.
And there's just a the clang of the metal, and you hear the
latch close. And you can as Una's hand kind
of as your fingers and her fingers kind of wrap around each
other, the carriage pulls off and you can hear the sounds of
the horses loads on the cobbles, the rolling of the the wheel and
the carriage actually sways and jostles.
And you, you do feel what you're lying on kind of move, just ever
so slightly. And you just hear Una whisper,
I'm so sorry. And we'll leave the episode
there. You've been listening to Romance
in the Dungeon with Louise, Esvia and me, Deppen, your
dungeon master. I'm really excited for you to
get to listen to Thea's story told her away.
It's been an absolute blast getting 21 play this game with
just one other person and Louise knocks it out of the park every
time. We sit down to record and you
ain't seen anything yet. And I always say that all the
time, but you haven't seen anything yet.
There's so much more to come before I forget.
A big thank you to Stephen Tynan and Abby Soiree for our kick ass
theme song fight for each other. You can find them and there are
links in our episode descriptions.
Title card and network is by Dicey Designs.
Again, link in the description. For more from DA Dungeon and to
check out our other shows, do find us and follow us on social
media at DA Dungeon and wherever you are, wherever you're
listening to this. If you could give us a review,
five stars, a thumbs up, whatever it is that platform
that you were on, that you were engaging with the show, we would
love to hear from you. We would love your thoughts.
We would love to see what you think, what you're theories are
and if you could leave a quick, short, snappy review.
We would thoroughly appreciate it.
That's it from us this week and we're back in two more weeks.
Why did that take so long to say?
Anyway, I'm out. Have a good begin.
Nate storming in kind of half addressing the rumours.
Half revelling in the. Half yes, half revelling and
then like saying embellish a bit more.
That would be great.