Track listing

1 Inhell 2 Welcome to DMT (Skit) 3 Remember Me (Feat. Mimi Grace) 4 WRS (Feat. King Kash & Snake Lucci) 5 JIFY 6 I Forget 7 Dementia 8 Like Me 9 DMT 10 Brain Scanned 11 FAM 12 Dark Side 13 Positivi-Tea 14 Ayahuasca 15 Brain Frog 16 BYOB (Feat. Rittz) 17 I Won't Quit (Feat. Tech N9ne & Awaiting Eli) 18 Keep Breathing 19 Jim Carrey 20 Thank You 

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Hi everyone! Just created this account to not get identified lol. I'm from the southern parts of BC, Canada. I've listed my academic stats and some of the extracurriculars I'm most proud of. I won't include awards/publications as I don't want to be identified just yet. Please note that I'll be quite vague with a few of them, as I don't want to get identified 😅. I also have a few questions for you guys at the bottom of this post, so please answer them if you do know what to do!
INTEREST: BUSINESS AND COMMUNICATIONS
MY ACADEMIC PROFILE:
My Citizenship: Canadian and Japanese (will apply with Canadian one?)
GendeAge: 16 (making my IB examination session in May 2024 🙏🏻)
Demographic: Wasian, middle income (European dad, Japanese mom)
SAT: 1550 (superscore), 1520 (highest w/o superscore)
GPA: I do the IB program, with a few APs as my IB school did not offer them. I just finished my DP1 finals, and am sitting at a 42/42 (excluding TOK/EE, as my school is not including them for the DP1 report card). My course selections are:
IB Film HL - 7
IB English Lit HL - 7
IB Biology HL - 7
IB Spanish HL - 7
IB Math AA SL - 7
IB Geography SL - 7
TOK - predicted 9/10 on my exhibition, haven't gotten my EE back yet. I wrote it in English.
Note - I don't think I'll get a 45/45 IB. Biology HL is getting pretty hard with all this plant stuff.
In terms of APs, I did:
AP Arts and Design - 5
AP Music Theory - 4 (I took this to prepare for my RCM theory exam - WILL NOT INCLUDE!)
AP Spanish Lit - 5
APUSH - 5
Research: Collaborated on a paper with some researchers from CERN through a Stanford professor (I took a chemistry "summer course" with him and was invited to do research - he had excellent connections, and I am still very grateful for that opportunity!)
Currently conducting independent research in my science lab at school. Getting my research supervised by my PHD science teacher. I want to submit it to some journals before the regular applications.
What I think: I think my academics are a relatively strong part of my profile. But, with many things, I can also be wrong. If there are some things that I should add/get/try, please let me know in the comments or DMs! I'm a very open person, and would love to chat about anything.
​
MY EXTRACURRICULAR PROFILE:

• FOUNDED A COMPANY BASED ON COMMUNICATIONS AND MEDIA:

Essentially, my team (credit to them! I would not be able to do much without them) and I help big brands more on the financial and marketing side. We've been grateful enough to be recognized by the Canadian Government, and have worked with brands such as Lululemon and Canadian Tire. On the media side, we're currently working on securing something with Apple (sorry, can't share more details about it here), and have signed a partnership with Facebook (for our gaming sector), and the photography sector has been recognized and promoted by Nikon. We've been sent a few of Nikon's gear to test out - again, very grateful. We're also in the works in something with the New York Times for the news/media newspaper we own... very excited for it!Currently, we generate around 90k USD per annum. No more details will be shared about finances until the management team release the August financial report to the team.
​

• TRACK AND FIELD:

I run the 100m/200m/400m/4x100m/4x400m relays. However, I'm pretty bad at everything except the 100m, where I've run a 11.14 (PB, legal, wind-aided (slightly)). Went to Canadian nationals with that score for my youth category (this was in 2022). Going to BC Champions for all events listed this year.
​

• EDUCATION NON-PROFIT (FOR STEM RELATED SUBJECTS):

The non-profit works partially with the IBO as well as Crimson Education and the CEMC (@Waterloo, Ontario) to provide mathematics and STEM education for people less privileged in BC.
​

• INTERNSHIP

Internship @ Paramount over the summer. Very cool experience. Parents did not have enough money to fund the trip, so did it myself with my portion of the income with the media business.
​

• BUSINESS NON-PROFIT:

We've currently helped around 3k students compete in business competitions (and win!). Business non-profit can be considered a "sector" of the media business, ig.
​

• MUSIC:

ARCT! I also love producing DNB and hip-hop, and may be getting a record deal to Interscope for it! Got some connections I'm trying to work with to get that to happen quickly. Also am part of a band that performed at some summer festivals in West Vancouver, BC, Canada & elderly homes, as well as street performances. By doing this, we've raised around 5k for dementia.
//
I am aiming for universities like McGill, Waterloo, some of the UCs (UCSD, UCLA, UC Berkeley), Upenn Wharton (why not), Harvard (why not), and Stanford (why not - might as well give it a try).
NOW, SOME QUESTIONS FOR YOU GUYS:
What should I add?
Is there anything I'm forgetting?
Should I re-take my SAT? I think 1550 is a bit low compared to what you guys are getting.Is it good to see IB and AP at the same time on applications? I'm fine with not including my APs since I will get my IB Diploma (hopefully).
Feel free to DM me! I want to partner and work with you guys (either on research or extracurriculars) and partner and branch out.

Continued from Pt. 1, which can be found at:
Pt 1: https://www.reddit.com/Horror_stories/comments/13wymkl/ghost_word_pt_1/
WARNING: This story contains depictions of non-consensual sex and gun violence.
---------------------------------
Lyle found himself on foot, the valise at his side, the night air crisp and noisy. He realized he was ravenous. No surprise there, he hadn’t had anything to eat or drink in twenty-six hours. The late evening traffic was brisk around the campus, and as he passed a roving pack of students Lyle realized it was Thursday night*. Thirsty Thursdays*.
In keeping with ancient tradition, the majority of undergraduates avoided Friday morning classes at all costs, preferring to begin their weekend revels on Thursday nights. Lyle followed his feet. He imagined power emanating from the briefcase at his side, thrumming up his arm. He felt, for perhaps the first time in a life of shrinking uncertainty, boundless.
And it felt extraordinary.
Somewhere inside of him a notion was forming that he did not dare articulate. But he followed his feet. The easy ebb and flow of walk signals, the pleasantly cool night air, the passing chatter, even the occasional car-horn—which in the past had never failed to startle him, jittery as he was—seemed buoyant and agreeable. The night was his. He realized he was sloping gently downhill, as he followed his feet. He realized he knew exactly where he was going. He found himself before O’Flaherty’s Pub, with its sandwich-board blaring LADIES NIGHT 1/2 WELL DRINKS -- TRUST ME YOU CAN DANCE in electric pink loops. It felt only natural to step beneath the awning, swing wide the knotted mahogany door, and enter the din.
The ham-hock manning security—probably a redshirt lineman in his off-season—turned toward Lyle on autopilot, one hand reaching out as a question formed on his lips, lemme see some ID. Lyle made no attempt to reach for his wallet because he knew the inevitable would happen when the bouncer took in his face, which he did a half second later. A tiny beat of recognition flickered and was gone, and the bouncer turned away. No need to card the old dude. Good luck navigating the vicissitudes of adult life, you Mongoloid, Lyle thought. The jag off had a Black & Mild tucked up behind one ear, Lyle felt an insane urge to snatch it off his head and break it in half. He did not do well with the pretend authority of chunky, dead-eyed adolescents.
But I’m not here for him.
Lyle wove his way into the evening crush with the delicate, shuffling little steps he always used in crowds. By fits and starts he made his way deeper, deeper, winding toward the back bar, the one with the full-length mirror. That was her favorite. O’Flaherty’s had a Crosley jukebox, wood-paneled and coin-operated, reaching for vintage but stuffed to the gills with Bluetooth and wi-fi and digital memory and whatever else. A woman’s voice was booming out of it, an empty pop ballad gussied up by her big, operatic sound. Lyle tried to think of the singer’s name, but couldn’t. He squeezed into a narrow gap at the back bar.
Darby was flirting as she mixed a rum-and-coke for a gawky, dough-faced kid in a flat-cap and a Harrington jacket. On the few occasions he had come out on Darby missions, Lyle had stayed well back from the bar, waiting for drink service at one of the small cafe tables lining the billiard room. But tonight, he wasn’t here to watch.
Darby handed off the drink and caught sight of Lyle. He winced—he could read the surprise, even discomfort, on her face. But she was tending bar, and she was quick on her feet, and she rearranged her expression into a smile. She held up a finger—*one sec—*to which Lyle nodded, as she took flat-cap’s (father’s) Amex back to the register and opened up a tab.
Lyle enjoyed watching her walk. Enjoyed looking at her from the back, or in profile. He usually saw her face, in class, big brown doe eyes and very pale, freckled skin. A shade away from clear, he had heard her joke once, to James, as she had invited him to touch the roadmap of blue veins on her inner arm. That had enraged Lyle—the sudden, unwelcome image of James with those long creamy legs locked over his waist, his long, slow thrusts.
Because he restrained himself from ogling her in class, it was a pleasure to come to O’Flaherty’s during her shifts and watch her as she worked. Darby was not the first of what Lyle thought of as his “favorites”. Every year or two there was a fresh, irresistible young thing, for him to think about, alone, late at night. One of the unspoken perks of professordom was the constant influx of eye-candy, of short skirts and long legs and high asses and pert young tits. In his mind’s eye it was an endless profusion of imagined aureoles, of wondering about their panties—boy-briefs or frilly little whatsits or g-strings or none at all—and even if Lyle never slept with them there was an intense eroticism in holding power over these girls he could never have bedded in his own college years. In pushing that term paper over the failing line and waiting, deliciously waiting, for them to come to his office hour and plead. Only Darby’s work was reasonably competent, so even that grimy thrill was denied him.
Darby finished up with the register and came over, the pale of her neck stark against her tight black t-shirt. O’FLAHERTY’S was printed on it in green, the name stretched to accommodate her bust. Her hair frazzled at the temples; she’d been working hard.
Just a little dirty, that’s how I like you, he thought.
“Dr. L! We missed you today, thought maybe you caught the gunk. You all right?” Darby beamed her big smile at him, a gift of the gods (and of immaculate orthodontics).
“I’m fine, Darby, thanks. Just a communication mix-up. I’m sorry you all waited.”
She kept smiling, seemed to be waiting for more. He didn’t give it to her.
“Well—can I get you anything?”
Lyle hesitated, trying to think of a manly drink, something urbane and—professorial.
“Scotch-rocks. A double.”
Darby continued to stare at him, expectantly. “Any… particular poison, or-?”
Lyle glanced up, made a show of studying the bottles arrayed behind her. He knew nothing about scotch. Stupid. He settled on Johnnie Walker Black, and Darby poured his drink.
Lyle realized his heart was racing. Darby set the drink in front of him and he downed half of it in one swallow. He managed to keep his face neutral as the liquor seared his throat.
“This is a—little bit of a departure, for you, huh?” Darby indicated the scotch.
“What?”
She must have known he heard her but she raised her voice anyway. The music had changed to a British pop group with a lot of electronic undertones, trying to sound haunting.
“The scotch,” she said. “Don’t you always order lemon drop martinis? When you come in?”
Busted. Two bright red circles appeared high on his cheeks.
“You know, it, it depends,” he replied. “Depends on my mood. And you—you make a hell of a lemon drop martini, here.”
Fucking idiot, he thought. They make the same Goddamn lemon drop martini as everybody else and she knows it.
Darby was smooth, though. Graceful. She rolled right past it. “I wondered why you never came over and said hi.”
“Well I don’t want to, you know, be a bother. You’re working. It’s always busy. And I’ve been coming here for years, off and on. You get used to seeing students out on the town. I try to give them their space.”
“Oh.” Her smile reappeared. “Well I’m glad you came over. Let me know if I can get you anything else?” She was already angling away.
“How was class today?” Lyle didn’t want to let her go. She glanced down the bar, she had customers waiting.
“It was great, really great,” she hurried her answer. She was giving him the brush-off. “James did great. He’s an awesome teacher. Awesome guy.”
“You know, I’d been meaning to ask you, about James…” Lyle leaned in, conspiratorially. Darby’s smile was faltering, but courtesy won out and she leaned in to hear.
“Are you fucking him?”
Darby recoiled, as though he had spit on her.
“What?”
“Do you laugh at me, when you do it? When you fuck, do you laugh at the scabby, horn-dog professor?”
Darby’s breath hitched in her chest, she looked like she was about to cry. She took a step back. She looked down the bar, and then past him—toward the door.
Bouncer, he thought. She’s looking for the bouncer.
“I think you need to—” she began.
Then Lyle said the Word. The alien Word, meant to be moaned, easy as pie, really, when you thought about it, how the sounds flowed together. The Word that meant libido.
Darby froze. Her pupils flickered, Lyle saw, they constricted down to pinpricks, and then dilated as wide as they could go, swallowing the puppy-dog brown of her irises. Her face went slack. That wide, expensive smile vanished, and her mouth hung slightly open.
“Moisten your lips, Darby,” he said.
Her tongue slid out, pink and supple, and she obeyed.
Oh, my God, she OBEYED.
Lyle’s penis twitched in his pants, he realized he was painfully erect, his balls aching. He realized he had been, had been since—since I said the Word—since he had her and a cruel, savage sense of triumph shook him, he felt his pulse hammering in his veins, he felt like standing up on the bar and—
ROARING I want to ROAR at this dewy twat and all her imbecilic peers—
But instead, he took his cock firmly in his hand, through the cheap fabric of his Ross trousers, squeezed himself, and said—
“What are we going to do with you, Darby?”
#
Lyle fucked her in the alleyway behind O’Flaherty’s. That meant hurrying more than he liked, the dumpster provided cover but the blocks surrounding the campus were too well policed. It was all right, though. Now that he was armed with the libido-Word, the next time could be more leisurely.
He took her in. All of her. The small, surprisingly dark nipples, nothing like he’d imagined. The fine, black hairs on the nape of her neck, the peach fuzz of her freckled low back, her inner thighs. Her panties were white briefs with green stitching, they were covered with tiny frogs. He tugged them down, and nuzzled her there. He left hickeys, on her ass, her mons. Her smooth, exquisite young cunt.
Lyle took her from behind and saw the groggy confusion in her dilated eyes, the amazement*—*and through that the pleasure, the unsuspected, unwanted, violating pleasure that jolted moans out of her.
Lyle sucked her neck, bit it, hard enough to sting. She gave a tiny mewl as she came, and her spasm triggered him also. Lyle buried himself to the hilt in her, finished in her, and felt—
Like a king. Like a GOD.
They stayed there as the minutes stretched out, panting, still joined. He savored her, until his own tumescence vanished, and he slipped out. Lyle patted her derriere.
“Get dressed and get back to work, Darby,” he said. “We don’t want you to get in trouble.”
She jerked her head, drunkenly, from side to side, as though she were trying to shake water out of her ears. Lyle breathed deep, in through his nose, the fine scents of the city. Fried food nearby, probably the Thai joint catty-corner to the pub. He stood and admired, as Darby tugged her frog-panties back up those long pale legs.
“I’ll see you in class.”
Darby stared blankly at him as he took up his suitcase, turned, and strode into the night.
#
When Lyle opened his eyes the next morning, he was only mildly surprised to discover that he felt no guilt at all. The sun streamed in, the world was up and running, coffee was calling, and by God he felt fine.
He sat up in bed, stretched. He glanced at the alarm clock, that hateful sentinel, now toothless—10:27AM. The mattress was bare, beneath him. He’d never washed the sheets. Puddled on the floor were yesterday’s clothes. He resisted the urge to tidy them up. Later. He padded to the bathroom and went about his ablutions, brushed his teeth, took out his shaving kit. He had used the sleep-Word on himself again, last night. After.
After! He let the memories wash over him. Her smell: the tang of sweat, bar-odors, the undercurrent of peach soap. The taste of her! And then the feast, afterward. He had followed his nose to Great Elephant Thai, wolfed down a plate of kai thot, fried to a crisp and dripping oil*.* It may have been the finest meal of his life.
And he had had such dreams! Dreams of Darby, and of favorites past. Dreams of fucking and of wealth and of slights avenged and of respectful, deferential looks, dreams of voices falling silent when he entered a room, of every eye on him. A song lyric drifted into his head, something from his childhood, a favorite of his father’s one long summer, repeated ad nauseam on the fourteen-hour drive down to Savannah.
“Twenty years a’crawlin’… were bottled up in Tommy… he wasn’t holding nothin’ back, he let ‘em have it all…” Lyle sang, full voice, into the morning. A stupid grin spread over his face, as he wicked away the last patch of Barbasol, the careful spot right over his Adam’s apple, and rinsed his razor. He took a long look at Mirror-Lyle, looked into his eyes. He almost always avoided a close examination of his reflection, force of habit, but today he was a new man, and he wanted to take that man’s measure.
“Everyone… considered him… THE COWARD OOOF… the COUNTYYYY…”
Something else surfaced, then, in his memory, something that cranked the wattage down on his smile. He didn’t get all of it, just a glimpse, like a dorsal fin rising above the water. He had dreamed of more than power and sex. There had been something else. Lyle had a vague red recollection of tangled depths and faceless figures. His mind offered up a fleeting image of a crumbling stone structure, of keening wind and squat pillars; and of a great broken vault overhead, through which could be seen a blasted sky.
Lyle charged his phone as he brewed up a fresh pot. It had run out of juice somewhere during yesterday’s festivities, and when it finally powered up again it began to vibrate against the Formica tabletop in his dining nook. He ignored the first two pulses, but the phone insistently continued, not with the regular rhythm of an incoming call, but rather the inconsistent bursts of message notifications trickling in from the cloud. He tapped the touchscreen, and saw he had seven missed calls: one from a colleague, yesterday; and six from James, each one with a voicemail attached. The most recent of these had come just twenty minutes ago.
Lyle sipped on his coffee as he retrieved the briefcase from beneath his bed. He sat at his dinette and removed the fascicle, easily finding the rigid page. He opened it, and this time the new Word was waiting for him below the first, long entry: the entry corresponding to the letter “A” itself. This Word was angry, Ks and Zs, a hornet-word, serpent-word. Lyle looked to the white space, where the definition would arise. He pricked his forefinger with the tip of a steak knife and squeezed out two droplets of blood.
der zorn
Lyle sipped. Lyle thought. Greek, then Latin, now German. Was it moving forward in time? He wondered again about those first shapes he had seen, in the library. The more he tried to remember the more he doubted they had been in Greek. Something older, maybe. Phoenician syllabary? He would likely never know. But the Words were changing. The book was changing.
And there was this: both of the—*spells, they’re spells, let’s cut the shit—*both of the Words it had given him so far had been…
“Intuitive,” he said finally. “Useful. Like it knew.”
Lyle took down the last foil sleeve of blueberry Pop Tarts from his cupboard. Pauper’s breakfast, he thought, but not for much longer. He searched through his contacts until he found the number for the Chancellor’s office. He thumbed the little blue phone icon beside it.
#
Lyle had just started boxing up his things when James burst into his office, perfectly symmetrical face distorted by fury, his generous features made ugly. Ah, the righteousness of youth. James took in the dense sheaf of Staples boxes, waiting to be folded; took in the bare walls, the stacked diplomas and photographs.
“What the fuck is this?” he demanded.
“Emergency leave,” Lyle answered with a dismissive wave. “I’ve had a family crisis. I’m afraid I have to attend to it. Professor Chole will be taking over my workload for the remainder of the semester, I’m sure she’ll be in touch—"
“What did you do to Darby? What the fuck did you do?” James spoke with the husky, quaking tone of pure adrenaline. He was just barely restraining himself from lunging across the desk, Lyle realized. He took the younger man in with bemused calm. He let the moment stretch out.
“Therese called me,” James continued, the words throttling out of him. “Darby’s roommate. She came home last night, she has—bruises, all over her, little, little *bites—*she won’t speak, she just sits there and cries, but she said your name. It’s the only thing she said. What did you do to her, Lyle? Did you rape her?”
“Dr. Hereford,” Lyle replied.
James craned forward. “What?”
*“*You don’t get to call me Lyle.”
Lower, now, almost a whisper: “Tell me what you did to her.”
“I made her come,” Lyle said. “And she fucking loved it.”
James did lunge then, he screamed and he leapt across the desk, coming down on Lyle in a tangle of thrashing limbs and rabbit punches, the two of them toppling Lyle’s chair, compressing awkwardly into the tight space between desk and wall. James kicked hard off of the gray metal drawers, managing to end up on top. His hands found Lyle’s throat and began to squeeze. Lyle felt himself constricting, felt the energy draining out of him, pinned, as he lost oxygen. He noticed the curds of spittle at the corners of James’s snarling mouth. He started to see spots in the periphery of his vision, and as he slapped ineffectually at James’s face he thought am I going to die here—?
Lyle dug down for the last of his strength. The Word chose me. This wasn’t the end. Couldn’t be the end. He extended his leg as far as it would go, and used the distance to drive his knee, hard, into James’s crotch. A grunting exhale was propelled out of the younger man*.* Lyle pulled back to do it again; James squeezed his thighs together to block, and when he did, he compromised his balance. He took one hand off Lyle’s throat and thrust out his arm to catch himself as be began to roll, allowing Lyle to draw in a long, ragged breath.
Then Lyle spoke the Word.
The der zorn-Word.
The word that meant anger, that meant rage, that meant WRATH.
#
“Son. Son, you’re bleeding, let me—let me help you, come on. Son, it’s gonna be okay, come on, now— “
The campus policeman approaches James like a dog that might be rabid, that slow hunched posture with arms wide, except for the policeman it’s only one arm because his right hand is flush up against his service weapon and his thumb snaps the little thumbsnap and it’s a very small noise but it’s so loud in James’s head and he shakes it, his head, does James, from side to side, in herks and jerks, like a dog that might be rabid, now, like there’s water in his ears and he’s trying to shake it out, is James, and the policeman is coming on and speaking in clear precise syllables that explode behind James’s temples, clusterbomb-words, and the cop is speaking but he’s hearing another voice, is James, and it’s Lyle’s voice, it’s Dr. L’s voice, not Lyle never Lyle, and Dr. L’s voice is saying snakebit you’re snakebit she fucking LOVED it and James touches his own face now and it must be true because there’s blood on his face and when he blinks his blink is heavy and liquid like he just dropped Visine in there but the thing is but only but except it’s blood and he’s bleeding from the eyes, is James, and now the policeman is right on top of him saying “son what happened can you hear me respond if you can hear me” and James hears the exploding words all right and he blinks and blood oozes from the corners of his eyes and the cop is changing now, in the blood, his face is BOILING and now it’s Darby’s face on the policeman and she opens her mouth and her head cranes back and she’s ruined inside OH FUCK SHE’S RUINED INSIDE SHOT HERSELF SHE SHOT HERSELF SHE’S SHOT and now it’s DR L IT’S DR L SCREAMING SNAKEBIT SNAKEBIT SNAKEBIT—
James rears back and head-butts the campus cop as hard as he can, the smooth acne-less center of James’s forehead connecting with the soft cartilage of the policeman’s nose. A sick crunch echoes in the lobby of the Humanities building, a young woman close enough to hear it vomits on the floor, it is the first puking incident of the day but not the last.
The cop recoils with a sick moan, in his surprise clapping his hands to his shattered nose; in that moment James bellows, an awful inarticulate animal sound of hate, and yanks the policeman’s service piece free of his holster.
The handful of rubbernecking students freeze as James shoots the policeman in the face.
The policeman’s name is (was) Lou, the students know, and he is (was) genial and well-liked. A silent second passes in the lobby, and then the screaming begins.
James dips down and pulls two spare clips out of Lou’s belt. He pockets them. When James looks up, he doesn’t see fleeing students.
He sees Dr. L.
A gaggle of Dr. L’s. A school, a clutch, a murder. He sees laughing Dr. L’s running in every direction, diving behind furniture, breaking for the street or hurtling into the stairwells. One Dr. L dives behind the reception desk. James starts after him on wooden legs.
When he reaches the desk, there is Dr. L beneath it, a cell phone in his hand, cackling. James shoots him in the stomach. Dr. L keeps right on laughing, howling with it now, whatever it is must be hilarious, a real knee-slapper, then James remembers its him, Dr. L is laughing at him so James shoots him again, shoots him so he’ll stop but there are so many more—
#
Lyle Hereford, Ph.D., rested his browning forearms on the wrought iron railing of his third-floor balcony. He looked out over the Gulf of Mexico. The breeze was warm and gentle, suffusing, but it no longer calmed him. He took no notice of it. He was lost, as he was always now lost, in thought.
The one, lone thought.
It had taken a little less than two weeks for James’s horrific shooting spree to drop out of the news. The demands for GUN CONTROL NOW (or, conversely, for guns in every classroom) receded and were shelved for the next go-round. Politicians took to the field and unfurled their heraldry for the usual pro-forma skirmishes. Then, mercifully, a Cabinet official fucked somebody he really shouldn’t have and the national discourse (such as it was) barreled off, like a dog chasing a ball that its owner had only pretended to throw. As to why a handsome, popular, well-adjusted student should suddenly snap and murder sixteen of his fellows? The theories ranged from medically reasonable (an inoperable tumor which could not be verified via autopsy, as James’s brains had been removed by the responding tactical unit); to the paranoiac (James had been the subject of a Manchurian Candidate-style CIA/NSA/Acronym-of-your-choice experiment gone horribly wrong); to the Occult (the Devil made him do it).
Lyle had enjoyed that last one.
What Lyle had not enjoyed was that some of the conspiracy theorists, and even some of the legitimate press, had mentioned him by name. He had disappeared, after all, on an auspicious and chaotic day, to manage a crisis no one could verify involving a family no one could find. It had not been difficult to remain ahead of any enterprising investigators, though. Not with the Words.
And there had been so many more Words. Words in French and Finnish and Russian and Spanish and Mandarin. Words that meant envy and silence and fear and blindness and, perhaps the most potent yet, a Word that meant stupid. Lyle had employed that one against a statie who pulled him over as he crossed the Louisiana line, coming through Vicksburg. The guy had been six-two, maybe two-twenty, with sharp, curious eyes sunk deep in his skull. Lyle hadn’t liked the way he had looked at him, so he used the Word. Now the statie—*Edmonds was his name, Trooper Edmonds—*was six-two, two-twenty of drooling simpleton, probably staring at a wall somewhere in the nearest brain injury ward and driving the resident neurologists absolutely bugshit.
By the time Lyle made it to a quiet, lazy town on the Cajun Riviera and decided to set a spell, he had traded in his Acura for a Beemer and was carrying close to a hundred and twelve thousand dollars in cash. He had also acquired a 9mm Ruger and a shotgun with a pistol grip (the dealer had called it a snake charmer just before Lyle killed him).
None of that matters now, though.
All that mattered was the Word. Which, he had come to realize, was the last Word.
Because the book was alive, of course, had always been alive, Lyle knew that. Hadn’t let himself come right out and say it, but he knew. It had slept, maybe, possibly, until he woke it, with his touch, with his blood, but if it slept, it woke up thirsty*.* The book was always ready with the next Word, the next thing he would need. The book was collaborating with him. It was dancing with him, and at first he had thought he was the one leading, but now he knew better.
Lyle felt it. Felt it—pulling on him. All the time. Felt it in the room behind him, pulling, knew that he would go back in, sooner or later, go back in, and open the book, the book that has been leading him. Knew that he would open its hundreds of pages, because it was longer now, because it had grown, because it was three inches thick and the front plating had vanished and it wasn’t pretending to be a dictionary anymore.
He knew that he would open it and on every single page, centered, would be a single Word, the last Word, the Word that he will say, that he must say, sooner or later, and under it swirling in blood, blood that must be the book’s own, the final explication, the final command, the final meaning, and God, oh God, Lyle was afraid, because the last Word was
DOOR

I was reading through this section of Mason & Dixon and I realized that it would make an absolutely bonkers beginning to a movie. I decided to write it up for fun. I moved things around and retouched certain things as you might with a movie script. I realize this post is thorough proof of my insanity.
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page 132 near bottom beginning "after all, what's being confin'd upon the Summit of a living Volcano" continuing to 134 "an instance of extra-terrestrial Plantation"
Scene 1 St. Helena circa 1730s: The camera races across a dark ocean at some point past sunset as this section of the text is narrated, ahead a dark shape looms (the island). There is no sound from the wind since the camera is utterly given over to it. Maskelyne and Mason are standing on a ridge outside the astronomy hut, though we cannot see them yet, we can hear their conversation as the camera approaches on the wind from afar. The moment the mysterious void envelopes them "till at length rolling overhead" the camera reaches overhead of Mason and Maskelyne. With Maskelyne looking past the camera in rapture, a terrific rainstorm begins. The scene continues on as they race around the hut shuttering open windows until they both sit down to drink. They discuss St. Helena as essentially an alien planet itself, and St. Helena is portrayed as like so many colonized planets in scifi, a property to be exploited and possessed in a desperate escape from the center..
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page 134 beginning "One cloudless afternoon.." continuing to 135 "How soon is this that we are talking about?"
Scene 2 Mason and Maskelyne at the dying Orange Grove On St. Helena: Maskelyne ruminates about the end of the world. Visually the shot conveys this imagery "Houses with red Tile roofs preside over small Valleys, the Pasture lying soft as Sheep, -- all, with the volcanic Meadow where the two stand, circl'd by the hellish Cusps of Peaks unnatural, -- frozen in mid-thrust, jagged at every scale". This serves to further clarify that the location is St. Helena. Maskelyne portrays St. Helena as alive and cursed.
​
--- Some segway of Mason wondering how Dixon is doing brings us to Cape Town ---
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page 154 beginning "I am done with that. I am a Farmer now." continuing to 154 "then enlarg'd the Hole myself"
Scene 3 Cape Town Dixon in the brothel with a former cop: An unhinged former police officer of the dutch slave colony talks about "escaping" what he perceives as colonialism to Dixon as they get drunk. This scene is connected to Scene 4 by slightly compressing things so that Dixon sees Vroom stumble out just as the cop finishes his narrative with "then enlarg'd the hole myself". Dixon drags Vroom out into the early morning.
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page 155 beginning "Dixon returns to the Vroom residence" continuing to 155 "as likely as the next to hold a chance of ruin"
Scene 4 Cape Town returning to the Vroom residence: Dixon stumbles back into the Vroom house early morning, both disheveled, Vroom clearly very drunk and barely able to stand. Some of the daughters are awake in the house and give them side eye without addressing anything directly, the weight of the atrocity and sin at capetown permeates everything. The camera raises up to the window of one of the girls who is still asleep (maybe Greet?) and enters her dream.
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page 155 beginning "In their Dreams they ever return to Prisons of Stone" continuing on to 155 "the traditional name, here, for an elder Brother"
Scene 5 The Dream and The Clock: "In their Dreams they ever return to Prisons of Stone, to Gates with Seals 'tis Death to break, the odor of soap and Slops, the Stillness of certain Corridors, the unchallengeable Love of a Tyrant, Yellow Light from unseen Watch-Fires flickering upon the Wall, and unexpectedly, rounding a particular Croner, to the tall Clock from Home, ringing the Quarter-Hour." There is a sequence of shots that roughly conveys the above imagery and ends with the girl rounding a corner to see the Vroom Clock (like a grandfather clock). The girl approaches the clock in rapture as the camera zooms slowly in, the clock "stands deep in the House, in a passageway between the Front and the Back,--- the two Worlds". The ticking becomes louder. The shot ends with her reflection in the glass panel of the clock, the next scene begins with a similar profile shot of her face.
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page 155 "When Mason and Dixon arriv'd with the Elliot Clock" continuing on to 156 "Go carefully"
Scene 6 Greet Warns Dixon About Clocks: Scene involves Greet and Mason alone in a side room in the Vroom house, this scene could be connected to Scene 5 by suggesting it is a further extension of the dream. Greet warns Mason for his own safety to keep the state secret of his accurate clock from the Dutch and its use to find a method of determining latitude a secret. She may be trying to seduce him but she might also just be using the cover of trying to seduce to genuinely warn him of a danger to his life.
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page 156 "Down in the Castle" continuing on to end of chapter
Scene 7 Zoom Out On The Ticking Time Bomb Of Cape Town: Narration here is accompanied by scenes that might involve showing interrogations, perhaps a montage showing multiple brutalities all with the camera focused on a clock in the corner, steadily dividing reality into a European colonialism... Scene 6 and Scene 7 could involve visual motifs on clock faces. A file by Dutch police on Mason is maybe shown.
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--- Some segway of Dixon wondering how Mason is doing brings us back to St. Helena ---
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page 160 beginning "I was out upon the Cliffs today" continuing to 162 "with all finer Motions lost in that Simplicity"
Scene 8 Back To St. Helena, The Ghost Of Dieter: The ghost story of Dieter is described here, the scene cuts between Maskelyne trying to talk Dieter back from jumping off the sheer cliff and Maskelyne describing it later to Mason. The wind is blowing extremely hard but there is no sound of wind in the shot with Maskelyne and Dieter. The shot begins with Maskelyne seeing Dieter alone facing the sea about to jump, as the scene ends with Maskelyne telling Mason "'We may sail with the Wind... at the same speed, working all its nuances, -- or we may stand still, and feel its full true Course and Speed upon us, with all finer Motions lost in that Simplicity." a shot of Dieter stepping off the cliff before Maskelyne even begins talking to him is shown.
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page 164 beginning "Once, long before dawn..." continuing to 165 "She nods, her smile not, so far, terrible"
Scene 9 Mason Wakes Up: Scene 8 is framed as a dream/memory Mason just woke up from. Pitchblack, howling wind, absolutely incessant loud banshee wailing that begins to drift almost back from a dissonant tone into "entire orchestral Performances, of musick dstinctly not British,---Viennese, perhaps, Hungarian, even Moorish" (perhaps some Steve Reich style music?). Mason comes awake to this mix of howling and orchestra, the hut practically rattling to pieces from it, his colleague passed out drunk on the other side of the hut underneath a pile of books and telescopes or something. At this point it might be explained by introduced dialogue that Maskelyne will be the future head Royal Astronomer. Propelled by some unknown force Mason wanders out of the hut into the wind. This is on the windward side of an extremely remote rocky, volcanic island with dramatic lava flow cliffs.
Scene 10 Mason walks out into the night: Mason "enters the Wind, picks his way 'cross Boot-slashing Rock up over the ridgeline and down unto the floor of a ruin'd ebony forest, where among fog-wisps and ancient black logging debris polish'd by the Wind, [his dead wife Rebecca] accosts him shiv'ring in his Cloak. The Ocean beats past the tiny accidental island" Mason sees his dead wife, this is made evident in the trailer through context. This scene might also include a flashback as Mason makes eye contact with his dead wife's ghost to the first time Mason sees her, allegedly, during the Octuple Cheese incident... Perhaps the sequence is 1. Mason looks up to see a gap in the clouds where for one moment the full moon passes through, this is a zoomed in telephoto with the moon occupying almost the entire shot 2. we flashback to the Octuple Cheese rolling by in an echo visual of the moon (not really understood by the audience now as anything but an abstract visual shot). 3. THEN mason sees her ghost as he looks down from the sky.
page 172 beginning "He tries teasing her with his earth-bound Despair" to end of chapter
Scene 10 Rebecca's ghost continued: Mason tries to figure out if it is really her by asking her annoying question about the stars that she would hate. She laughs at him for needing a reason for life and though a ghost laughing doesn't translate that well... this is the emotional beat Mason goes from being terrified this is some devilish creature imitating his wife to "knowing" it is really her somehow. Mason and Rebecca reminisce about how she believed the stars were aliens visitors in the sky when Rebecca was alive... Rebecca tells Mason to live life and move on. Rebecca's ghost disappears into the wind.
Scene 11 Next Day: Mason can't sleep the rest of the night, Maskelyne is passed out til basically noon the next day. Time is shown to pass. When Maskelyne wakes he asks if Mason came in at a very early hour in the morning. Mason, not really trusting the slightly insane Maskelyne and shaken from seeing the ghost of his dead wife denies it. Maskelyne says it must have been his soldier friend Dieter in an unhinged way. Perhaps Maskelyne is sitting with the two dueling pistols looking at Mason with a murderous intent, perhaps Maskelyne actually aims a pistol at Mason here. It is clear there is NOBODY else around and that Maskelyne could straight up murder Mason with no real repercussions.
*dissonant orchestral music and wind swell back*
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page 173 beginning "He runs without delay down to the shingle and begins assembling a Signal-Fire"
Scene 12 Drone Shot Of Mason Careening Down Slope To Shore: orchestral music plays here simultaneously dissonant with a voice singing one of Mason & Dixon's songs, perhaps the song on page 130 "Well Sailor ahoy". Perhaps Mason careening down the slope is mirrored by cuts to the Octuple Cheese careening down a slope, with the moment Mason reaches the shore and lights the signal fire cutting back on the strike of a match to the Octuple Cheese looming about to flatten Mason who is then shoved by an arm (Rebecca's) intruding from outside the frame at the last moment. When the dhow sees the fire and comes into shore the music and wind reaches a crescendo of silence for the moment that the disembodied voice whispers "Break-neck". Maskelyne is seen from the ridge as a sort of alien. The scene ends with the dhow leaving the shore.
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page 175 beginning of chapter
Scene 13 Zoomed Telephoto Shot Of Castle Rock: This is a short shot, it is mainly there to serve as the gateway between two worlds. The dhow crosses the zoomed telephoto shot, centered right at the moment it passes from the windward side to the leeward side with the volcanic cliffs filling the frame on one side and the sky and sea the other, the music ends here abruptly as the ship crosses back to the land of the living. Mason is shown in a closeup shot on the ship to be oblivious to the approach of this transition and is only made aware of it when a bit of cloth or rope whipping in the wind he was fixating on in a sort of distracted trance suddenly loses its animation and becomes motionless. Mason looks up, the boats crew presently sets lines out to fish and Mason briefly seems to come back to reality.
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page 175 beginning of chapter
Scene 14 Mason is left at Break-neck: Mason wades from the dow onto the beach, oddly at ease and continues in a "Road-Trance". A series of short shots convey a walk of some distance. Finally Mason finds himself walking along the wall to a building, nobody is around, the sunlight is harsh and austere. He sees the ear museum. Perhaps a shot along the wall of the building that closely suggests a side profile of a head.
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beginning page 176 "Mason is chargin'd to find set in a low Wall" and page 177 beginning "Naive Mason. First he must endure the [show]", the text of page 175 and 177 explaining the origin of the ear is conveyed in Nick Mournival's "show" (Nick Mournival cast as Danny Devito)
Scene 15 The Entrance To The Ear: A silent physical comedy scene is portrayed here where Mason sees the sign, has some expression on his face of "seriously, shit isn't weird enough today right?" (think Doc in the Inherent Vice movie). The camera shows a shot of the wall centered on the gnomelike entrance to the museum. You see Mason's legs walk into the frame, stop, shift, then Mason stoops down into the shot to look at the door. Mason then gets up and tries to hop up and peek over the wall. An overgrown garden is shown. While this is happening Nick Mournival begins his "show" as a voice over to the scene. This conveys the origin of the ear on (page 175 and page 177) to the audience as an audio over the (technically preceding in the text) physical comedy scene with Mason. Mason is strangely compelled to climb through the gnomedoor down the rabbit hole into the cave. The last shot of Mason from outside perhaps portrays the building as a head protruding from the island, the tunnel then the ear canal (or...?).
Nick Mournival ends his explanation of Jenkin's Ear with the description of Jenkin's governship of St. Helena. Mason through the darkness of the tunnel sees the portrait of Jenkin's revealed by a lit candle (on the bottom of page 177) . A slight re-arrangement of dialogue is done here so this sequence ends with Nick Mournival saying "Think of it as the closest thing you're apt to see to Helen's Face, and for one Pistole 'tis a Bargain" (page 176). Mason replies "Bit steep, isn't it? Where, ehm, are you, by the way... the Echo in here, --"
*Nick Mournival is revealed in a quasi-jumpscare*
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page 177 beginning "in the straight and increasingly malodorous space where they crouch" continuing to 180 "may you fare better in the life you resume, than ever did I in the one I abandon'd"
Scene 16 The Ear: the scene continues pretty much as it is written from here with the slight change that Nick Mournival directly prompts/threatens Mason to use the Chronoscope. Nick Mournival is established from being dressed extremely finely as some kind of rich CEO (that basically owns this island thousands of miles from any exterior help) that for some terrifying reason is now banished? to live under the earth caretaking for a supernatural ear... This scene is trippy and terrifying with the ear portrayed like a campy horror movie radioactive specimen. Nick Mournival is shown, like Maskelyne to be unhinged and ready to kill Mason.
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page 180 beginning "Having squirm'd past the last obstacle" continuing to "then Rain, salt from the Leagues of Vacant Ocean"
Scene 17 Mason Stumbles Into The Overgrown Courtyard: Mason stumbles out, Nick Mournival's song shut to silence as the door closes behind him. The camera hangs overhead looking down at the courtyard, Mason stumbles into the center of it, voices from all over the island can be heard as the camera rotates parallel with Mason as he begins "like a Dog, to explore the Walls, proceeding about the stone Perimeter. Bright green Vines with red trumpet-shap'd Flowers brighter indeed than the Day really allows". If the camera did not rotate with Mason, Mason would be proceeding like the hand of a clock from the camera's perspective above. The camera begins to rise over Mason, still looking straight down, the walls of the courtyard impossibly elongating like the tube of a telescope in a Dolly Zoom effect as another rainstorm breaks out echoing the one in the beginning of this movie.
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page 181 beginning "Are you suggesting there's some other reason for his long Sojurn there" continuing to end of chapter
Scene 18 On The Ship Home To England: It is established that time has passed and that Mason & Dixon are together on a ship back to England. During their conversation Mason stares down into his beer, the camera adopts his point of view looking down into a square beer glass (in a compositional echo of the courtyard shot in Scene 17). The shot shifts to Maskelyne to doing the same thing in his astronomy hut while the dialogue continues on between Mason & Dixon. Maskelyne is again drunk and looks up at the stars seeing double (from being drunk). Here is interjected Mason or Dixon quoting James Bradley's paper to the Royal Society that announced the Abberation Of Light Bradley discovered years earlier on St. Helena (that Maskelyne is in the shadow of) in a fashion like a famous quote not recited to inform but to repeat a well-worn mantra. The scene the continues on to the end of the chapter as written with the promise that Mason & Dixon will go on to survey the U.S. (the rest of the movie :P).
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Description Of James Bradley's discovery of the aberration of light
> While sailing the Thames, he noticed how a vane atop the mast changed direction as the boat turned, despite the fact that the wind remained blowing in the same direction. Bradley suggested that analogously, the apparent shift in the position observed in the stars was a result of of a combination of the transmission of light at a finite speed from the star and the annual movement of the Earth around the Sun. This is what is known as the aberration of light. The letter from Bradley to Halley referencing this phenomenon was read to the Royal Society in January 1729.
https://adsabs.harvard.edu/full/2010JAHH...13..149B

This post is part of a series looking at the massive amount of 'rhyming' (and occasionally rhyming) recursivity I believe exists between (a) the homecoming of Petyr Baelish to the Fingers and (b) the homecoming of Theon Greyjoy to Pyke.
While this series/post can be read simply as a study 'for its own sake' of the curious recursion between these storylines, it is my belief that the 'rhyming' explored here between the stories of Petyr and Theon exists (at least in part) to foreshadow that, like Theon, Petyr Littlefinger, is (among other things) a scion of ironborn kings, because Petyr is Hoare-ish: I.e. because Petyr's blood is (in some part) the blood of the ironborn kings of House Hoare of Orkmont and, later, Harrenhal.
You can find an index of every post I've made on the topic of a Hoare-ish Littlefinger (including every post in this sub-series) [HERE].
Even if I'm wrong about Littlefinger's lineage, the 'rhyming' recursivity between the homecomings of Theon and Petyr detailed in this series remains, and certainly merits attention.
NOTE: In what follows, all uncited quotes are from ASOS Sansa VI, which describes Petyr's homecoming to his "Drearfort" tower of the 'Smallest Finger', or ACOK Theon I, which describes Theon's homecoming to "drear" Pyke.
As in past posts, I sometimes use "→" as shorthand for "'prefigures' and/or 'informs' and/or 'is reworked by' and/or 'finds a recursive rhyme in'.
As in: ACOK Theon I → ASOS Sansa VI.
This post picks up straight-away from where Part 8 left off. You can read Part 8 [HERE].
If you want to begin at the beginning, Part 1 is [HERE].

The Myraham's Prophetic Cargo

After Theon makes port, the captain of the Myraham announces his cargo to the people on the docks of Lordport and we read about the offloading of the Myraham:

"We're out of Oldtown," the captain called down, "bearing apples and oranges, wines from the Arbor, feathers from the Summer Isles. I have pepper, woven leathers, a bolt of Myrish lace, mirrors for milady, a pair of Oldtown woodharps sweet as any you ever heard." The gangplank descended with a creak and a thud. "And I've brought your heir back to you."

Most of what we read there seems to be reworked in and around Littlefinger's homecoming in ASOS Sansa VI, when the Merling King brings the Dreadfort its heir, Littlefinger, as well as the seeming heir to Winterfell, Sansa. This begins with the Arbor wine and fruit we see off-loaded from the Merling King:

Oswell made two more trips out to the Merling King to offload provisions. Among the loads he brought ashore were several casks of wine. Petyr poured Sansa a cup, as promised. …
… The wine was very fine; an Arbor vintage, she thought. It tasted of oak and fruit and hot summer nights, the flavors blossoming in her mouth like flowers opening to the sun. She only prayed that she could keep it down. Lord Petyr was being so kind, she did not want to spoil it all by retching on him.
… "Grisel," he called to the old woman, "bring some food up. … Oswell's brought some oranges and pomegranates from the King." …
Grisel reappeared…, balancing a large platter. … There were apples and pears and pomegranates, some sad-looking grapes, a huge blood orange.

Besides the straight repetition of Arbor wine, oranges, apples, and heirs, the repeated Oldtown motif is baldly reworked by Sansa's description of the wine, which is patently Oldtown-summer-esque, per the only substantive pre-AFFC description of Oldtown, which associates it with hot, fruity summer nights:

"King Maekar's summer was hotter than this one, and near as long. … [T]he heat was fierce while it lasted. Oldtown… came alive only by night. … I remember the smells of those nights, my lord—perfume and sweat, melons ripe to bursting, peaches and pomegranates, nightshade and moonbloom." (AGOT Eddard V)

The Myraham's "mirrors for milady" prefigure Sansa being figuratively groomed by Petyr and literally grooming herself in Petyr's Eyrie after he takes over:

When Gretchel fetched her Lysa's silvered looking glass, the color seemed just perfect with Alayne's mass of dark brown hair. (AFFC Alayne I)

The Myraham's "woodharps sweet as any you ever heard" presage Sansa being attacked by Marillion, whose "voice was strong and sweet", (AFFC Sansa I) after he sings a song (about blowjobs?) called "Milady's Supper" (supper a la the Myraham-ish fruit Sansa eats for supper when she lands) during Petyr's wedding bedding:

Lady Lysa's singer launched into a bawdy version of "Milady's Supper"….

The Myraham's "woven leathers" and "Myrish lace" are reworked into the "laces unlaced" i.e. unwoven during said wedding:

By the time they had gotten him into the tower and out of his clothes, the other women were flushed, with laces unlaced, kirtles crooked, and skirts in disarray.

That it's a "bolt of Myrish lace" is interesting: After Sansa boards the Merling King, she sees a singular "bolt" from a crossbow strike Dontos, and then two more:

Lothor Brune dipped his torch. Three men stepped to the gunwale, raised crossbows, fired. One bolt took Dontos in the chest as he looked up…. The others ripped into throat and belly. (ASOS Sansa V)

Three crossbow bolts? What does that remind us if not… a Myrish crossbow:

"The king is playing with his new crossbow," Tyrion said. Ridding himself of Joffrey had required only an ungainly Myrish crossbow that threw three quarrels at a time…. (ACOK Tyrion VI)

What about the Myraham's "pepper"? I suspect this gets box-checked first by Sansa trying not to "retch" as she is off-loaded along with the wine with which Littlefinger tries to settle her tummy, as just two chapters later peppers are tightly linked to "retching" of the sort Sansa feels like doing:

[Tyrion] found himself on his knees retching… that double helping of fried eggs cooked up with onions and fiery Dornish peppers. (ASOS Tyrion X)

GRRM seems to play off the "pepper" motif in other ways, as well. Consider that the gathering to meet the Myraham and the shouted questions that prompt her captain to announce her cargo—

A handful of Lordsport merchants had gathered to meet the ship. They shouted questions as the Myraham was tying up.

—get reworked by Petyr's household all gathering "to meet" the Merling King and by their peppering one another with questions:

Servants emerged from the tower to meet them; a thin old woman and a fat middle-aged one, two ancient white-haired men, and a girl of two or three with a sty on one eye. When they recognized Lord Petyr they knelt on the rocks. "My household," he said. "I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."

She's a "popper", then, in case we didn't catch that retching → peppers. (This also reworks Theon "popping one off" with the captain's daughter, who is in many ways reworked by Kella, as will be discussed below.)

… [Petyr]… gave the old woman a kiss on the cheek and grinned at the younger one. "Who fathered this one, Kella?"
The fat woman laughed. "I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
"It is good to have you home, my lord," said one old man. … "How long will you be in residence?"
"As short a time as possible, Bryen, have no fear. Is the place habitable just now, would you say?"
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung." Petyr turned to Sansa. "Grisel was my wet nurse, but she keeps my castle now. Umfred's my steward, and Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord.…"
… Petyr gestured toward the fat woman. "Kella minds my vast herds. How many sheep do I have at present, Kella?"

A gathering, and questions, questions, questions, as when Theon docks.
Recall that Bryen and Umfred come from shore to offload Sansa (who's just been promised a cup of wine to help with her upset "tummy") from the Merling King's rowboat:

The two old men waded out up to their thighs to lift Sansa from the boat so she would not get her skirts wet.

This reworks the "shorehands… off-loading… casks of wine" from a Tyroshi trader docked with the Myraham—

[Theon] spied a Tyroshi trading galley off-loading…
Shorehands rolled casks of wine off the Tyroshi trader, fisherfolk cried the day's catch, children ran and played. A priest in the seawater robes of the Drowned God was leading a pair of horses along the pebbled shore, while above him a slattern leaned out a window in the inn, calling out to some passing Ibbenese sailors.

—which itself prefigures the above-quoted off-loading of the Merling King (when "Oswell made two more trips out to the Merling King to offload provisions" including "several casks of wine", from which Petyr immediately "poured Sansa a cup, as promised").

Kella & The Slattern

What about that "slattern lean[ing] out a window" to greet "some passing… sailors" while "children ran and played"? I submit that she is one of several motifs from Theon's homecoming prefiguring Petyr's servant Kella. I'll explain.
Consider that Petyr's servant Kella has many bastards i.e. children, popping one out every few years:

"I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."

We only see one; presumably the others are off somewhere, running and playing, perhaps.
Kella happily greets Petyr as he comes ashore, much as Lordsport's slattern "call[s] out to some passing Ibbenese sailors". Note that the sailors on the Merling King are likewise 'passing' — passing through:

"From here the King turns east for Braavos. Without us."

Consider most of all that Kella's something of a slattern herself: She's "not one for telling them no".

"I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."

Indeed, something Lysa says pretty clearly codes Kella as a verbatim "slattern", underlining the recursion:

"How would you like to spend your life on that bleak shore, surrounded by slatterns and sheep pellets?" (ASOS Sansa VII)

So I think the vignette with the slattern and the children in Lordsport pretty plainly prefigures Kella. But I think she's prefigured by two more pieces of Theon's homecoming.

Kella & The Captain's Daughter

Keeping in mind that Kella has a bunch of bastards ("she pops one out every few years) and that she's "not one for telling them no", consider also that she is (a) literally 'with child' — or rather, with a child—

a girl of two or three with a sty on one eye

—that she's (b) "fat"—

"Who fathered this one, Kella?"
The fat woman laughed.

—and that she's (c) coded as a bit stupid:

"Kella minds my vast herds. How many sheep do I have at present, Kella?"
She had to think a moment. "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."

All like Theon's "captain's daughter".
The captain's daughter is "plump", as Kella is "fat":

The girl was a shade plump for his taste…

She is likely pregnant with Theon's bastard, a la Kella the bastard-popper.
She tells Theon…

"You can put it in me again, if it please you…"

…and accedes to his request for a blowjob, so she's "not one for telling them no."
She thereby helps Theon 'pop one off', a la Kella "pop[ping] one out".
Like Kella, she seems a bit stupid:

She looked rather stupid when she smiled, but he had never required a woman to be clever.
The stupid girl did not seem to be listening.
She… learned quickly for such a stupid girl….
She looked at him stupidly, so he left her there.

And finally, she offers to work in Theon's castle—

I'd work in your castle, milord.

—just as Kella works for Petyr.

Kella: The Spreading Patch of the Smallest Finger?

Besides the "slattern" and the captain's daughter, I suspect Kella may also riff on — of all things — the "spreading patches" of "lichen" on "wet" Pyke as Theon sails by:

[Pyke was] wet by the same salt waves, festooned with the same spreading patches of dark green lichen, speckled by the droppings of the same seabirds.

Get it? A spreading 'patch'? In combination with "lichen" a la "licking" and Pyke being "wet"? And not just wet, but "wet by… salt waves", when as we know from the captain's daughter, semen tastes "salty", "like the sea". It's like Pyke is being described as a turned-on "slattern" with her legs spread.
A Hoare, we might say.
This connects to Kella, specifically because of her name: Kella is a near anagram for "kale", a dark green plant, like the "dark green lichen".
Actually, the name Kella may have anothere precursor in Theon's story: "Qalen", the maester Theon asks Helya about upon his arrival at Pyke:

"And what of Maester Qalen, where is he?"

Qalen would be pronounced Kalen. Qalen → Kalen → Kale → Kela → Kella. Anyway…

Grisel & The Captain's Daughter

Something similar is going on with Petyr's servant Grisel, the "thin old woman" who was his wet nurse but who "keeps [his] castle now":

"Grisel was my wet nurse, but she keeps my castle now.

Grisel is similarly prefigured by two people from Theon's homecoming, including first the captain's daughter who wants to work in Theon's castle as Grisel works in Petyr's "castle".
Consider first that Grisel, like the captain's daughter, seems slightly stupid (but eager to please), as she fails to grasp Petyr's sarcasm and takes his derisive joke about gulls' eggs and seaweed soup as an order:

"Ah, cold salt mutton. I must be home. When I break my fast on gulls' eggs and seaweed soup, I'll be certain of it."
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face.

Then there is the captain daughter's resume:

"I'd work in your castle, milord. I can clean fish and bake bread and churn butter. Father says my peppercrab stew is the best he's ever tasted. You could find me a place in your kitchens and I could make you peppercrab stew."

This surely prefigures what we're told about Grisel making a sea-based soup of her own (i.e. the just mentioned "seaweed soup"), baking bread, and churning butter for Petyr:

Grisel reappeared before he could say more, balancing a large platter. She set it down between them. … The old woman had brought a round of bread as well, and a crock of butter.
Grisel climbed up to the bedchamber to serve the lord and lady a tray of morning bread, with butter, honey, fruit, and cream.

Where Grisel used to be Petyr's wet nurse, Theon suckles the captain daughter's nipple as if she's a wet nurse:

Theon's finger circled one heavy teat, spiraling in toward the fat brown nipple. … He took her nipple in his mouth….
"You can put it in me again, if it please you," she whispered in his ear as he sucked.

And finally, where Theon kisses the captain's daughter on the ear—

[Theon] drew the captain's daughter close and kissed her on her ear.

—Littlefinger kisses Grisel on the cheek:

Oswell and Lothor splashed their way ashore, as did Littlefinger himself. He gave the old woman a kiss on the cheek and grinned at the younger one.

Helya & Grisel (& Gretchel)

Grisel also rhymes with and reworks Helya, who keeps Balon's castle:

A bentback old crone in a shapeless grey dress approached him warily. "M'lord, I am sent to show you to chambers."
"And who are you?"
"Helya, who keeps this castle for your lord father."

Get it? "Helya and Grisel", a la "Hansel and Gretel".
(Gretel is a variant of "Greta". "Grisel" sounds like gristle, whereas in Hansel and Gretel the witch is trying to fatten Hansel up — she don't want no stringy meat! Note the thematic symmetry as well: By treating Hansel kindly and feeding him delicious treats, the witch is essentially "grooming" him for her own benefit/consumption, as Theon and Petyr groom the captain's daughter and Sansa, respectively, for their own benefit. Finally, note that "pebbles" are a key motif in Hansel and Gretel, prefiguring the proliferation of "pebbles" on Pyke, the 'rhyming' "pellets" on Petyr's Finger, and the isle of "Pebble" that leads to Petyr's Finger.)
The two "old" castle keepers neatly invert one another. Consider Grisel's comments about the old rushes and fire in Petyr's tower:

"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung."

That's a recursive reversal of Helya's (lack of) preparation for Theon's visit: Where Grisel has a fire going even though she didn't know Petyr was coming, and where she proactively apologizes for not changing the rushes, telling him "we would have laid down fresh rushes… if we knew you were coming", Helya neither lit a fire nor changed the heavily foregrounded "old and brittle" rushes in the rooms Theon is given—

"I'll have a basin of hot water and a fire in this hearth," he told the crone. "See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."

—despite having ample forewarning of his coming:

It was not as though they had no word of his arrival. Robb had sent ravens from Riverrun, and… Jason Mallister had sent his own birds to Pyke….

The joke is underlined by the introduction of "Gretchel" — Gretel with a borrowed H from Helya/Hansel — who fetches washbasins of water (which, see below), "la[ys] a fire in the hearth" and "tend[s] to the fire", brings food and discusses food storage in Petyr's Eyrie in AFFC Sansa I & Alayne I. (In other words, she 'keeps his castle.')

'Rhyming' Interiors

That's just the beginning of the reversals in the many recursions between Theon's lodgings at Pyke and Sansa's in the Drearfort.
Where Helya leads Theon to his rooms on his orders—

"Show me to my chambers, woman," he commanded. Bowing stiffly, [Helya] led him across the headland to the bridge. …
Whenever he'd imagined his homecoming, he had always pictured himself returning to the snug bedchamber in the Sea Tower, where he'd slept as a child. Instead the old woman led him to the Bloody Keep.

—it's Petyr who leads the way into his tower, casually inviting Grisel (and everyone else) to follow him:

"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face. "Come, let's see if my hall is as dreary as I recall." He led them up the strand…

Petyr jokes about his hall being "dreary", and perhaps it is, but while it's "small" and "even smaller" within, his tower is also home to his servants, and hence very well lived-in.

Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs. Above that was a modest hall, and higher still the bedchamber.

(Note that the "mastiff", which we see as Petyr leads Grisel in, recalls Helya bowing "stiffly" before leading Theon to his rooms.)
This sharply reverses the situation Theon finds at Pyke, when he's deposited not in a single room shared by a bunch of people who've lived in it forever and warmed by a hearth with a burning fire, a la Sansa, nor in the "snug bedchamber" in the Sea Tower he'd anticipated (which sounds like Littlefinger's little "tower" by the sea), but in the Bloody Keep, in a whole-ass "suite" of large but "chilly", even "cold" rooms with incredibly high ceilings — rooms which haven't even been opened, much less lived-in, for "years", and which are the very definition of "dreary":

The halls here were larger and better furnished, if no less cold nor damp. Theon was given a suite of chilly rooms with ceilings so high that they were lost in gloom. [Omitted but see below.]
[Omitted but see below.] It was not fear of ghosts that made him glance about with distaste. The wall hangings were green with mildew, the mattress musty-smelling and sagging, the rushes old and brittle. Years had come and gone since these chambers had last been opened. The damp went bone deep. "I'll have a basin of hot water and a fire in this hearth," he told the crone. See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."

A ton of the motifs here (including the omitted stuff, which I'll return to) get recycled and reworked in Petyr's tower.
Most obviously, Theon's request for hot water prefigures Sansa's request for a hot bath:

"Might I have a hot bath as well?" asked Sansa.
"I'll have Kella draw some water, m'lady."

Note that Kella fulfills the request, not Grisel. This 'fits', as it's not Helya who brings Theon's water, but "two thralls".
Note also that Sansa requests her bath after thinking…

She desperately needed a bath and a change of clothes.

…whereas Theon changes his clothes immediately after the quoted passages.
Slightly less obviously, the "wall hangings [that] were green with mildew" are reworked by Petyr's own green 'wall hanging': his grandfather's shield, which is painted with a "light green field" and which "hung… above the hearth". The "mildew" is reworked by the fact that the paint is "cracked and flaking" i.e. flawed. And maybe also by the "light green field", since a field grows crops which get milled and which get dewy.

Brittle Bryen's Brigantine, Brindled Mastiff, & Old Blind Dog

As mentioned, the motif of unchanged rushes from Theon's homecoming recurs when Petyr comes home. But Petyr's homecoming also lexically riffs on Theon's rushes being quote-unquote "old and brittle" by giving us Bryen in "brigantine" who is very "old" but not, seemingly, brittle, as he still walks watches, not with his "old blind dog", but with a "brindled mastiff":

"It is good to have you home, my lord," said one old man. He looked to be at least eighty, but he wore a studded brigantine and a longsword at his side. …
"Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord. You said you'd be getting some more men too, but you never did. Me and the dogs stand all the watches."
Sansa found Bryen's old blind dog in her little alcove beneath the steps…
The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.

Is the brindled dog a "mastiff" 'only' a wink at Theon going mast-stiff for Asha? (See Part 4.) Maybe. But it's worth mentioning that when Theon is first being stirred by Pyke's banner and it's being battered about like the shield we see in the Drearfort three sentences after the mastiff, it's also (a) flying from a very stiff "mast" and (b) juxtaposed with a very large 'dog' of sorts:

The banner streamed from an iron mast, shivering and twisting as the wind gusted like a bird struggling to take flight. And here at least the direwolf of Stark did not fly above, casting its shadow down upon the Greyjoy kraken.

Musty Old Mattresses

The old, "musty-smelling and sagging" mattress (in the chamber that has just been re-opened after long periods of being closed and uninhabited) from Theon's homecoming is answered in Petyr's homecomiong by Lysa, who arrives a few pages later in the chapter, eager to finally have sex again with Petyr. "Mattress" is slang for a sexually available woman (https://www.urbandictionary.com/define.php?term=mattress) and Lysa sags—

Lady Lysa was two years younger than Mother, but this woman looked ten years older. Thick auburn tresses fell down past her waist, but beneath the costly velvet gown and jeweled bodice her body sagged and bulged.

—and smells stale. (Note that Lysa is on a mattress here.)

Her aunt was drenched in sweet scent, though under that was a sour milky smell. Her cheek tasted of paint and powder.

Lysa's "cheek tast[ing] of paint and powder" riffs on the line about Theon's "distaste" and "fear of ghosts":

It was not fear of ghosts that made him glance about with distaste.

The distaste wordplay is obvious: Lysa tastes bad. As for the "fear of ghosts", Lysa (whom Sansa fears) being covered in "powder" reminds us of Sansa being afraid of a "spirit" covered in powdery flour:

When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs…. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. (AGOT Arya IV)

This line—

The halls here were larger and better furnished, if no less cold nor damp.

—is reworked by Lysa as well, who is big and well-dressed ("better furnished", so to speak)—

[B]eneath the costly velvet gown and jeweled bodice her body sagged and bulged. Her face was pink and painted, her breasts heavy, her limbs thick. She was taller than Littlefinger, and heavier; nor did she show any grace in the clumsy way she climbed down off her horse.

—but cold to Sansa and horny/wet/"damp" for Petyr.
Given that Theon's rooms are in several ways like Lysa (newly 'open for business' after a long period of being closed and untouched by men, etc.), and pronouncing aunt like antler, we also might say that where the Lysa-like rooms are "cold" and "damp", Lysa herself is Sansa's "cold" aunt. Rhyming 'rhyming'.
That "years had come and gone since" the room with the Lysa-like mattress "had last been opened" is reworked not just by Lysa getting laid, but textually when Sansa is told Lysa is coming to the Drearfort (where she is 're-opened', so to speak):

It had been years since Sansa last saw her mother's sister…"

I wonder whether Lysa crying and speaking to Sansa of being "bound by blood" to her—

Tears welled suddenly in Lady Lysa's eyes. "We are women alone now, you and I. Are you afraid, child? Be brave. I would never turn away Cat's daughter. We are bound by blood."

—might not be in part a play on the fact that "the damp went bone deep" in the Bloody Keep. By saying that, Sansa's damp (i.e. crying) aunt "went bone deep", so to speak. (If you're "bound by blood" to someone, you have a "bone deep" bond with them. Also, bone → bound wordplay?)

Braziers → Bracing?

Did Theon's attempt to drive away "the chill" and damp of the salty sea air of Pyke using "braziers"—

See that they light braziers in the other rooms to drive out some of the chill.

—inform (via wordplay: braziers → bracing) Petyr's line when the Merling King pulls up to the Drearfort?

Lord Petyr came up beside her, cheerful as ever. "Good morrow. The salt air is bracing, don't you think? It always sharpens my appetite."

And/or is that "sharpening" motif a recursion of Theon sharpening his dirk immediately after said braziers are lit?

After some time, they brought the hot water he had asked for. … While two thralls lit his braziers, Theon stripped off his travel-stained clothing and dressed to meet his father. … He hung a dirk at one hip and a longsword at the other…. Drawing the dirk, he … pulled a whetstone from his belt pouch, and gave it a few licks. He prided himself on keeping his weapons sharp.

Gods Be Good!

The motifs of Theon yelling "gods be good" at his servant and of "ceilings so high that they were lost in gloom" are recursively reworked when Lysa summons Sansa (like a servant) to speak with her the morning after she weds Petyr. Sansa responds to the summons by thinking, verbatim, "gods be good", and is then told they'll be heading to the Eyrie, which we know is "so high you can stand on the parapets and look down on the clouds", i.e. it has parapets 'so high that they were lost in the clouds':

Lady Lysa was still abed [like a good mattress!], but Lord Petyr was up and dressed. "Your aunt wishes to speak with you," he told Sansa, as he pulled on a boot. "I've told her who you are."
Gods be good. "I . . . I thank you, my lord."
Petyr yanked on the other boot. "I've had about as much home as I can stomach. We'll leave for the Eyrie this afternoon."
Seven towers, Ned had told her, like white daggers thrust into the belly of the sky, so high you can stand on the parapets and look down on the clouds. (AGOT Catelyn VI)

The notion of a "ceiling" so high it is lost in gloom is perhaps also reworked by the story Lysa tells Sansa about Petyr's "rise" to power: She says she "always knew how high [Petyr would] rise", and it's my belief that said rise has likely seen him 'lost', spiritually, in 'darkness'. (Note that ceilings are a frequently invoked metaphor when talking about climbing the corporate ladder.)

"Half his teeth were gone, and his breath smelled like bad cheese. I cannot abide a man with foul breath. Petyr's breath is always fresh . . . he was the first man I ever kissed, you know. My father said he was too lowborn, but I knew how high he'd rise. Jon gave him the customs for Gulltown to please me, but when he increased the incomes tenfold my lord husband saw how clever he was and gave him other appointments, even brought him to King's Landing to be master of coin. That was hard, to see him every day and still be wed to that old cold man.

(Recall that the motif of bad/fresh breath there reworks the "winey stench of the old man's [Sylas Sourmouth's] breath", which Theon thinks about roughly ¼ page prior to being shown his suite in the Bloody Keep.)

Butchered Sons & Brothers

Lysa continues to rant:

"Jon did his duty in the bedchamber, but he could no more give me pleasure than he could give me children. His seed was old and weak. All my babies died but Robert, three girls and two boys. All my sweet little babies dead, and that old man just went on and on with his stinking breath. So you see, I have suffered too." Lady Lysa sniffed. "You do know that your poor mother is dead?"
"Tyrion told me," said Sansa. "He said the Freys murdered her at The Twins, with Robb."

Those references to (a) a bunch of dead "babies", including two brothers, one of which was "murdered" when Lysa's father, Hoster Tully, who ruled the Riverlands, betrayed Lysa's trust; and to (b) foul smelling breath, a la Sylas, and finally to (c) the Red Wedding — a bloody betrayal of Sansa's brother, who was King of the Riverlands — particularly (per Sansa saying "Tyrion told me") as it's described by Tyrion—

Sansa did not need to hear how her brother's body had been hacked and mutilated, he decided; nor how her mother's corpse had been dumped naked into the Green Fork in a savage mockery of House Tully's funeral customs. (ASOS Tyrion VII)

—are one of the ways ASOS Sansa VI rejiggers the part of Theon's description of his Bloody Keep suite I "[omitted]" earlier, which entails betrayals, murdered brothers, a River King, slaughter, and bodies "hacked to bits".

[Theon] might have been more impressed if he had not known that these were the very chambers that had given the Bloody Keep its name. A thousand years before, the sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
But Greyjoys were not murdered in Pyke except once in a great while by their brothers, and his brothers were both dead.

Lysa's speech with its reference to her abortion and to the Red Wedding (and to stink-breath like Sylas's) isn't the only (or even the main) way Petyr's homecoming chapter refracts those images from Theon's homecoming, though.
Littlefinger is himself a kind of River King (as Lord Paramount of the Trident), right? And note that we read all about his "slaughtered" "sons" just before he enters the tower, wherein we then see the foul betrayers who murdered their 'brothers'. I'm talking, of course, about his sheep and his sheepdogs:

"How many sheep do I have at present, Kella?"
… "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
"Ah, cold salt mutton. I must be home.…" … "Come, let's see if my hall is as dreary as I recall." … A handful of sheep were wandering about the base of the flint tower…. …
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.

Note the kitchen, recalling that the Bloody Keep is paired with the Kitchen Keep as Theon first gazes on Pyke:

Farther out were the Kitchen Keep and the Bloody Keep, each on its own island.

Note, too, that the sheep are coded as Petyr's "sons", in a way (a la the "slaughtered… sons of the River King" Theon remembers in his Bloody Tower rooms), and not just because he owns them. He says that Kella has lots of bastards and that she minds his sheep, right? And what else does he say of Kella, in jest? That she 'is' the "mother" of his "daughter," "Alayne Stone":

"Alayne . . . Stone, would it be?" When he nodded, she said, "But who is my mother?"
"Kella?"
"Please no," she said, mortified.
"I was teasing.

The joke foregrounds the notion of Petyr as the father of Kella's children. And while she supposedly has a bunch of bastards, we don't see them. We just see the one girl with the livestock-evoking eye with a sty. It's almost like the sheep she looks after are her children. And thus like Petyr is their father.
(Note the word "mortified". This points straight back to Theon in his Bloody Tower for two reasons: First, greyscale, which mortifies the flesh, killed Balon's brother Harlon, who died "in a windowless tower room" at Pyke. Second: Theon will, in his next chapter, be truly mortified by the realization that "Esgred" is his sister Asha, where that masquerade in turn prefigures Sansa masquerading as Alayne.)
So the "cold" Bloody Keep with its partner the Kitchen Keep and its story of a "slaughter", betrayal, brother killing brother, a River King's sons' bodies "hacked to bits in their beds" — all these motifs are reworked by Kella's account of one of Lord Paramount Petyr's sheep-'sons' being killed by its lexicial 'brothers', the very "sheep-dogs" who were supposed to guard it, and of other sheep-'sons' being verbatim "butchered", i.e. slaughtered on a killing bed and in the process surely hacked into pieces that were then preserved against spoilage for future consumption, such that the resulting "cold salt mutton" could be used as travel rations. Which jibes with Theon's language, creatively interpreted:

[T]he sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.

(They were slaughtered and hacked to bits only so as to properly preserve them against spoilage during their upcoming journey "back to their father on the mainland", you see!)

Theon's Honor Guard

The conditions in Theon's rooms are consistent with the cold welcome he receives, both from Aeron—

The priest's manner was chilly, most unlike the man Theon remembered.

—and Balon—

Theon pulled off his gloves. "… Why is my father not here to greet me?"
"He awaits you in the Sea Tower, m'lord. When you are rested from your trip."
And I thought Ned Stark cold.

—and they're thus part of a broad yin/yang 'rhyme' with Petyr's initial homecoming, which is warm and welcoming and full of familiar faces, whereas Theon knows no one, such that he thinks:

It is as if I were a stranger here….

The reversal is wryly underlined when Petyr is greeted at the shore by his "captain of the guards", Bryen:

"It is good to have you home, my lord," said one old man.

Thus Petyr ironically gets the "honor guard" welcome Theon hoped he'd get on his arrival 'home':

[Theon] saw… no honor guard waiting to escort him from Lordsport to Pyke, only smallfolk going about their small business.

Notice that where no one stops what they're doing for Theon, everyone stops when Petyr arrives. And of course, everyone in his household recognizes him, whereas no one recognizes Theon. Which is telling, because in a deep sense, that's all Theon really wants, deep down: a little recognition.
Littlefinger has it… but it's not enough.

(SUB)SERIES CONCLUDES IN PART 10: Oswell & Aeron; Lothar & Dagmer; The Closing Twist

This post is part of a series looking at the massive amount of 'rhyming' (and occasionally rhyming) recursivity I believe exists between (a) the homecoming of Petyr Baelish to the Fingers and (b) the homecoming of Theon Greyjoy to Pyke.
While this series/post can be read simply as a study 'for its own sake' of the curious recursion between these storylines, it is my belief that the 'rhyming' explored here between the stories of Petyr and Theon exists (at least in part) to foreshadow that, like Theon, Petyr Littlefinger, is (among other things) a scion of ironborn kings, because Petyr is Hoare-ish: I.e. because Petyr's blood is (in some part) the blood of the ironborn kings of House Hoare of Orkmont and, later, Harrenhal.
You can find an index of every post I've made on the topic of a Hoare-ish Littlefinger (including every post in this sub-series) [HERE].
Even if I'm wrong about Littlefinger's lineage, the 'rhyming' recursivity between the homecomings of Theon and Petyr detailed in this series remains, and certainly merits attention.
NOTE: In what follows, all uncited quotes are from ASOS Sansa VI, which describes Petyr's homecoming to his "Drearfort" tower of the 'Smallest Finger', or ACOK Theon I, which describes Theon's homecoming to "drear" Pyke.
As in past posts, I sometimes use "→" as shorthand for "'prefigures' and/or 'informs' and/or 'is reworked by' and/or 'finds a recursive rhyme in'.
As in: ACOK Theon I → ASOS Sansa VI.
This post picks up straight-away from where Part 8 left off. You can read Part 8 [HERE].
If you want to begin at the beginning, Part 1 is [HERE].

The Myraham's Prophetic Cargo

After Theon makes port, the captain of the Myraham announces his cargo to the people on the docks of Lordport and we read about the offloading of the Myraham:

"We're out of Oldtown," the captain called down, "bearing apples and oranges, wines from the Arbor, feathers from the Summer Isles. I have pepper, woven leathers, a bolt of Myrish lace, mirrors for milady, a pair of Oldtown woodharps sweet as any you ever heard." The gangplank descended with a creak and a thud. "And I've brought your heir back to you."

Most of what we read there seems to be reworked in and around Littlefinger's homecoming in ASOS Sansa VI, when the Merling King brings the Dreadfort its heir, Littlefinger, as well as the seeming heir to Winterfell, Sansa. This begins with the Arbor wine and fruit we see off-loaded from the Merling King:

Oswell made two more trips out to the Merling King to offload provisions. Among the loads he brought ashore were several casks of wine. Petyr poured Sansa a cup, as promised. …
… The wine was very fine; an Arbor vintage, she thought. It tasted of oak and fruit and hot summer nights, the flavors blossoming in her mouth like flowers opening to the sun. She only prayed that she could keep it down. Lord Petyr was being so kind, she did not want to spoil it all by retching on him.
… "Grisel," he called to the old woman, "bring some food up. … Oswell's brought some oranges and pomegranates from the King." …
Grisel reappeared…, balancing a large platter. … There were apples and pears and pomegranates, some sad-looking grapes, a huge blood orange.

Besides the straight repetition of Arbor wine, oranges, apples, and heirs, the repeated Oldtown motif is baldly reworked by Sansa's description of the wine, which is patently Oldtown-summer-esque, per the only substantive pre-AFFC description of Oldtown, which associates it with hot, fruity summer nights:

"King Maekar's summer was hotter than this one, and near as long. … [T]he heat was fierce while it lasted. Oldtown… came alive only by night. … I remember the smells of those nights, my lord—perfume and sweat, melons ripe to bursting, peaches and pomegranates, nightshade and moonbloom." (AGOT Eddard V)

The Myraham's "mirrors for milady" prefigure Sansa being figuratively groomed by Petyr and literally grooming herself in Petyr's Eyrie after he takes over:

When Gretchel fetched her Lysa's silvered looking glass, the color seemed just perfect with Alayne's mass of dark brown hair. (AFFC Alayne I)

The Myraham's "woodharps sweet as any you ever heard" presage Sansa being attacked by Marillion, whose "voice was strong and sweet", (AFFC Sansa I) after he sings a song (about blowjobs?) called "Milady's Supper" (supper a la the Myraham-ish fruit Sansa eats for supper when she lands) during Petyr's wedding bedding:

Lady Lysa's singer launched into a bawdy version of "Milady's Supper"….

The Myraham's "woven leathers" and "Myrish lace" are reworked into the "laces unlaced" i.e. unwoven during said wedding:

By the time they had gotten him into the tower and out of his clothes, the other women were flushed, with laces unlaced, kirtles crooked, and skirts in disarray.

That it's a "bolt of Myrish lace" is interesting: After Sansa boards the Merling King, she sees a singular "bolt" from a crossbow strike Dontos, and then two more:

Lothor Brune dipped his torch. Three men stepped to the gunwale, raised crossbows, fired. One bolt took Dontos in the chest as he looked up…. The others ripped into throat and belly. (ASOS Sansa V)

Three crossbow bolts? What does that remind us if not… a Myrish crossbow:

"The king is playing with his new crossbow," Tyrion said. Ridding himself of Joffrey had required only an ungainly Myrish crossbow that threw three quarrels at a time…. (ACOK Tyrion VI)

What about the Myraham's "pepper"? I suspect this gets box-checked first by Sansa trying not to "retch" as she is off-loaded along with the wine with which Littlefinger tries to settle her tummy, as just two chapters later peppers are tightly linked to "retching" of the sort Sansa feels like doing:

[Tyrion] found himself on his knees retching… that double helping of fried eggs cooked up with onions and fiery Dornish peppers. (ASOS Tyrion X)

GRRM seems to play off the "pepper" motif in other ways, as well. Consider that the gathering to meet the Myraham and the shouted questions that prompt her captain to announce her cargo—

A handful of Lordsport merchants had gathered to meet the ship. They shouted questions as the Myraham was tying up.

—get reworked by Petyr's household all gathering "to meet" the Merling King and by their peppering one another with questions:

Servants emerged from the tower to meet them; a thin old woman and a fat middle-aged one, two ancient white-haired men, and a girl of two or three with a sty on one eye. When they recognized Lord Petyr they knelt on the rocks. "My household," he said. "I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."

She's a "popper", then, in case we didn't catch that retching → peppers. (This also reworks Theon "popping one off" with the captain's daughter, who is in many ways reworked by Kella, as will be discussed below.)

… [Petyr]… gave the old woman a kiss on the cheek and grinned at the younger one. "Who fathered this one, Kella?"
The fat woman laughed. "I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
"It is good to have you home, my lord," said one old man. … "How long will you be in residence?"
"As short a time as possible, Bryen, have no fear. Is the place habitable just now, would you say?"
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung." Petyr turned to Sansa. "Grisel was my wet nurse, but she keeps my castle now. Umfred's my steward, and Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord.…"
… Petyr gestured toward the fat woman. "Kella minds my vast herds. How many sheep do I have at present, Kella?"

A gathering, and questions, questions, questions, as when Theon docks.
Recall that Bryen and Umfred come from shore to offload Sansa (who's just been promised a cup of wine to help with her upset "tummy") from the Merling King's rowboat:

The two old men waded out up to their thighs to lift Sansa from the boat so she would not get her skirts wet.

This reworks the "shorehands… off-loading… casks of wine" from a Tyroshi trader docked with the Myraham—

[Theon] spied a Tyroshi trading galley off-loading…
Shorehands rolled casks of wine off the Tyroshi trader, fisherfolk cried the day's catch, children ran and played. A priest in the seawater robes of the Drowned God was leading a pair of horses along the pebbled shore, while above him a slattern leaned out a window in the inn, calling out to some passing Ibbenese sailors.

—which itself prefigures the above-quoted off-loading of the Merling King (when "Oswell made two more trips out to the Merling King to offload provisions" including "several casks of wine", from which Petyr immediately "poured Sansa a cup, as promised").

Kella & The Slattern

What about that "slattern lean[ing] out a window" to greet "some passing… sailors" while "children ran and played"? I submit that she is one of several motifs from Theon's homecoming prefiguring Petyr's servant Kella. I'll explain.
Consider that Petyr's servant Kella has many bastards i.e. children, popping one out every few years:

"I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."

We only see one; presumably the others are off somewhere, running and playing, perhaps.
Kella happily greets Petyr as he comes ashore, much as Lordsport's slattern "call[s] out to some passing Ibbenese sailors". Note that the sailors on the Merling King are likewise 'passing' — passing through:

"From here the King turns east for Braavos. Without us."

Consider most of all that Kella's something of a slattern herself: She's "not one for telling them no".

"I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."

Indeed, something Lysa says pretty clearly codes Kella as a verbatim "slattern", underlining the recursion:

"How would you like to spend your life on that bleak shore, surrounded by slatterns and sheep pellets?" (ASOS Sansa VII)

So I think the vignette with the slattern and the children in Lordsport pretty plainly prefigures Kella. But I think she's prefigured by two more pieces of Theon's homecoming.

Kella & The Captain's Daughter

Keeping in mind that Kella has a bunch of bastards ("she pops one out every few years) and that she's "not one for telling them no", consider also that she is (a) literally 'with child' — or rather, with a child—

a girl of two or three with a sty on one eye

—that she's (b) "fat"—

"Who fathered this one, Kella?"
The fat woman laughed.

—and that she's (c) coded as a bit stupid:

"Kella minds my vast herds. How many sheep do I have at present, Kella?"
She had to think a moment. "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."

All like Theon's "captain's daughter".
The captain's daughter is "plump", as Kella is "fat":

The girl was a shade plump for his taste…

She is likely pregnant with Theon's bastard, a la Kella the bastard-popper.
She tells Theon…

"You can put it in me again, if it please you…"

…and accedes to his request for a blowjob, so she's "not one for telling them no."
She thereby helps Theon 'pop one off', a la Kella "pop[ping] one out".
Like Kella, she seems a bit stupid:

She looked rather stupid when she smiled, but he had never required a woman to be clever.
The stupid girl did not seem to be listening.
She… learned quickly for such a stupid girl….
She looked at him stupidly, so he left her there.

And finally, she offers to work in Theon's castle—

I'd work in your castle, milord.

—just as Kella works for Petyr.

Kella: The Spreading Patch of the Smallest Finger?

Besides the "slattern" and the captain's daughter, I suspect Kella may also riff on — of all things — the "spreading patches" of "lichen" on "wet" Pyke as Theon sails by:

[Pyke was] wet by the same salt waves, festooned with the same spreading patches of dark green lichen, speckled by the droppings of the same seabirds.

Get it? A spreading 'patch'? In combination with "lichen" a la "licking" and Pyke being "wet"? And not just wet, but "wet by… salt waves", when as we know from the captain's daughter, semen tastes "salty", "like the sea". It's like Pyke is being described as a turned-on "slattern" with her legs spread.
A Hoare, we might say.
This connects to Kella, specifically because of her name: Kella is a near anagram for "kale", a dark green plant, like the "dark green lichen".
Actually, the name Kella may have anothere precursor in Theon's story: "Qalen", the maester Theon asks Helya about upon his arrival at Pyke:

"And what of Maester Qalen, where is he?"

Qalen would be pronounced Kalen. Qalen → Kalen → Kale → Kela → Kella. Anyway…

Grisel & The Captain's Daughter

Something similar is going on with Petyr's servant Grisel, the "thin old woman" who was his wet nurse but who "keeps [his] castle now":

"Grisel was my wet nurse, but she keeps my castle now.

Grisel is similarly prefigured by two people from Theon's homecoming, including first the captain's daughter who wants to work in Theon's castle as Grisel works in Petyr's "castle".
Consider first that Grisel, like the captain's daughter, seems slightly stupid (but eager to please), as she fails to grasp Petyr's sarcasm and takes his derisive joke about gulls' eggs and seaweed soup as an order:

"Ah, cold salt mutton. I must be home. When I break my fast on gulls' eggs and seaweed soup, I'll be certain of it."
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face.

Then there is the captain daughter's resume:

"I'd work in your castle, milord. I can clean fish and bake bread and churn butter. Father says my peppercrab stew is the best he's ever tasted. You could find me a place in your kitchens and I could make you peppercrab stew."

This surely prefigures what we're told about Grisel making a sea-based soup of her own (i.e. the just mentioned "seaweed soup"), baking bread, and churning butter for Petyr:

Grisel reappeared before he could say more, balancing a large platter. She set it down between them. … The old woman had brought a round of bread as well, and a crock of butter.
Grisel climbed up to the bedchamber to serve the lord and lady a tray of morning bread, with butter, honey, fruit, and cream.

Where Grisel used to be Petyr's wet nurse, Theon suckles the captain daughter's nipple as if she's a wet nurse:

Theon's finger circled one heavy teat, spiraling in toward the fat brown nipple. … He took her nipple in his mouth….
"You can put it in me again, if it please you," she whispered in his ear as he sucked.

And finally, where Theon kisses the captain's daughter on the ear—

[Theon] drew the captain's daughter close and kissed her on her ear.

—Littlefinger kisses Grisel on the cheek:

Oswell and Lothor splashed their way ashore, as did Littlefinger himself. He gave the old woman a kiss on the cheek and grinned at the younger one.

Helya & Grisel (& Gretchel)

Grisel also rhymes with and reworks Helya, who keeps Balon's castle:

A bentback old crone in a shapeless grey dress approached him warily. "M'lord, I am sent to show you to chambers."
"And who are you?"
"Helya, who keeps this castle for your lord father."

Get it? "Helya and Grisel", a la "Hansel and Gretel".
(Gretel is a variant of "Greta". "Grisel" sounds like gristle, whereas in Hansel and Gretel the witch is trying to fatten Hansel up — she don't want no stringy meat! Note the thematic symmetry as well: By treating Hansel kindly and feeding him delicious treats, the witch is essentially "grooming" him for her own benefit/consumption, as Theon and Petyr groom the captain's daughter and Sansa, respectively, for their own benefit. Finally, note that "pebbles" are a key motif in Hansel and Gretel, prefiguring the proliferation of "pebbles" on Pyke, the 'rhyming' "pellets" on Petyr's Finger, and the isle of "Pebble" that leads to Petyr's Finger.)
The two "old" castle keepers neatly invert one another. Consider Grisel's comments about the old rushes and fire in Petyr's tower:

"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung."

That's a recursive reversal of Helya's (lack of) preparation for Theon's visit: Where Grisel has a fire going even though she didn't know Petyr was coming, and where she proactively apologizes for not changing the rushes, telling him "we would have laid down fresh rushes… if we knew you were coming", Helya neither lit a fire nor changed the heavily foregrounded "old and brittle" rushes in the rooms Theon is given—

"I'll have a basin of hot water and a fire in this hearth," he told the crone. "See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."

—despite having ample forewarning of his coming:

It was not as though they had no word of his arrival. Robb had sent ravens from Riverrun, and… Jason Mallister had sent his own birds to Pyke….

The joke is underlined by the introduction of "Gretchel" — Gretel with a borrowed H from Helya/Hansel — who fetches washbasins of water (which, see below), "la[ys] a fire in the hearth" and "tend[s] to the fire", brings food and discusses food storage in Petyr's Eyrie in AFFC Sansa I & Alayne I. (In other words, she 'keeps his castle.')

'Rhyming' Interiors

That's just the beginning of the reversals in the many recursions between Theon's lodgings at Pyke and Sansa's in the Drearfort.
Where Helya leads Theon to his rooms on his orders—

"Show me to my chambers, woman," he commanded. Bowing stiffly, [Helya] led him across the headland to the bridge. …
Whenever he'd imagined his homecoming, he had always pictured himself returning to the snug bedchamber in the Sea Tower, where he'd slept as a child. Instead the old woman led him to the Bloody Keep.

—it's Petyr who leads the way into his tower, casually inviting Grisel (and everyone else) to follow him:

"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face. "Come, let's see if my hall is as dreary as I recall." He led them up the strand…

Petyr jokes about his hall being "dreary", and perhaps it is, but while it's "small" and "even smaller" within, his tower is also home to his servants, and hence very well lived-in.

Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs. Above that was a modest hall, and higher still the bedchamber.

(Note that the "mastiff", which we see as Petyr leads Grisel in, recalls Helya bowing "stiffly" before leading Theon to his rooms.)
This sharply reverses the situation Theon finds at Pyke, when he's deposited not in a single room shared by a bunch of people who've lived in it forever and warmed by a hearth with a burning fire, a la Sansa, nor in the "snug bedchamber" in the Sea Tower he'd anticipated (which sounds like Littlefinger's little "tower" by the sea), but in the Bloody Keep, in a whole-ass "suite" of large but "chilly", even "cold" rooms with incredibly high ceilings — rooms which haven't even been opened, much less lived-in, for "years", and which are the very definition of "dreary":

The halls here were larger and better furnished, if no less cold nor damp. Theon was given a suite of chilly rooms with ceilings so high that they were lost in gloom. [Omitted but see below.]
[Omitted but see below.] It was not fear of ghosts that made him glance about with distaste. The wall hangings were green with mildew, the mattress musty-smelling and sagging, the rushes old and brittle. Years had come and gone since these chambers had last been opened. The damp went bone deep. "I'll have a basin of hot water and a fire in this hearth," he told the crone. See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."

A ton of the motifs here (including the omitted stuff, which I'll return to) get recycled and reworked in Petyr's tower.
Most obviously, Theon's request for hot water prefigures Sansa's request for a hot bath:

"Might I have a hot bath as well?" asked Sansa.
"I'll have Kella draw some water, m'lady."

Note that Kella fulfills the request, not Grisel. This 'fits', as it's not Helya who brings Theon's water, but "two thralls".
Note also that Sansa requests her bath after thinking…

She desperately needed a bath and a change of clothes.

…whereas Theon changes his clothes immediately after the quoted passages.
Slightly less obviously, the "wall hangings [that] were green with mildew" are reworked by Petyr's own green 'wall hanging': his grandfather's shield, which is painted with a "light green field" and which "hung… above the hearth". The "mildew" is reworked by the fact that the paint is "cracked and flaking" i.e. flawed. And maybe also by the "light green field", since a field grows crops which get milled and which get dewy.

Brittle Bryen's Brigantine, Brindled Mastiff, & Old Blind Dog

As mentioned, the motif of unchanged rushes from Theon's homecoming recurs when Petyr comes home. But Petyr's homecoming also lexically riffs on Theon's rushes being quote-unquote "old and brittle" by giving us Bryen in "brigantine" who is very "old" but not, seemingly, brittle, as he still walks watches, not with his "old blind dog", but with a "brindled mastiff":

"It is good to have you home, my lord," said one old man. He looked to be at least eighty, but he wore a studded brigantine and a longsword at his side. …
"Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord. You said you'd be getting some more men too, but you never did. Me and the dogs stand all the watches."
Sansa found Bryen's old blind dog in her little alcove beneath the steps…
The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.

Is the brindled dog a "mastiff" 'only' a wink at Theon going mast-stiff for Asha? (See Part 4.) Maybe. But it's worth mentioning that when Theon is first being stirred by Pyke's banner and it's being battered about like the shield we see in the Drearfort three sentences after the mastiff, it's also (a) flying from a very stiff "mast" and (b) juxtaposed with a very large 'dog' of sorts:

The banner streamed from an iron mast, shivering and twisting as the wind gusted like a bird struggling to take flight. And here at least the direwolf of Stark did not fly above, casting its shadow down upon the Greyjoy kraken.

Musty Old Mattresses

The old, "musty-smelling and sagging" mattress (in the chamber that has just been re-opened after long periods of being closed and uninhabited) from Theon's homecoming is answered in Petyr's homecomiong by Lysa, who arrives a few pages later in the chapter, eager to finally have sex again with Petyr. "Mattress" is slang for a sexually available woman (https://www.urbandictionary.com/define.php?term=mattress) and Lysa sags—

Lady Lysa was two years younger than Mother, but this woman looked ten years older. Thick auburn tresses fell down past her waist, but beneath the costly velvet gown and jeweled bodice her body sagged and bulged.

—and smells stale. (Note that Lysa is on a mattress here.)

Her aunt was drenched in sweet scent, though under that was a sour milky smell. Her cheek tasted of paint and powder.

Lysa's "cheek tast[ing] of paint and powder" riffs on the line about Theon's "distaste" and "fear of ghosts":

It was not fear of ghosts that made him glance about with distaste.

The distaste wordplay is obvious: Lysa tastes bad. As for the "fear of ghosts", Lysa (whom Sansa fears) being covered in "powder" reminds us of Sansa being afraid of a "spirit" covered in powdery flour:

When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs…. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. (AGOT Arya IV)

This line—

The halls here were larger and better furnished, if no less cold nor damp.

—is reworked by Lysa as well, who is big and well-dressed ("better furnished", so to speak)—

[B]eneath the costly velvet gown and jeweled bodice her body sagged and bulged. Her face was pink and painted, her breasts heavy, her limbs thick. She was taller than Littlefinger, and heavier; nor did she show any grace in the clumsy way she climbed down off her horse.

—but cold to Sansa and horny/wet/"damp" for Petyr.
Given that Theon's rooms are in several ways like Lysa (newly 'open for business' after a long period of being closed and untouched by men, etc.), and pronouncing aunt like antler, we also might say that where the Lysa-like rooms are "cold" and "damp", Lysa herself is Sansa's "cold" aunt. Rhyming 'rhyming'.
That "years had come and gone since" the room with the Lysa-like mattress "had last been opened" is reworked not just by Lysa getting laid, but textually when Sansa is told Lysa is coming to the Drearfort (where she is 're-opened', so to speak):

It had been years since Sansa last saw her mother's sister…"

I wonder whether Lysa crying and speaking to Sansa of being "bound by blood" to her—

Tears welled suddenly in Lady Lysa's eyes. "We are women alone now, you and I. Are you afraid, child? Be brave. I would never turn away Cat's daughter. We are bound by blood."

—might not be in part a play on the fact that "the damp went bone deep" in the Bloody Keep. By saying that, Sansa's damp (i.e. crying) aunt "went bone deep", so to speak. (If you're "bound by blood" to someone, you have a "bone deep" bond with them. Also, bone → bound wordplay?)

Braziers → Bracing?

Did Theon's attempt to drive away "the chill" and damp of the salty sea air of Pyke using "braziers"—

See that they light braziers in the other rooms to drive out some of the chill.

—inform (via wordplay: braziers → bracing) Petyr's line when the Merling King pulls up to the Drearfort?

Lord Petyr came up beside her, cheerful as ever. "Good morrow. The salt air is bracing, don't you think? It always sharpens my appetite."

And/or is that "sharpening" motif a recursion of Theon sharpening his dirk immediately after said braziers are lit?

After some time, they brought the hot water he had asked for. … While two thralls lit his braziers, Theon stripped off his travel-stained clothing and dressed to meet his father. … He hung a dirk at one hip and a longsword at the other…. Drawing the dirk, he … pulled a whetstone from his belt pouch, and gave it a few licks. He prided himself on keeping his weapons sharp.

Gods Be Good!

The motifs of Theon yelling "gods be good" at his servant and of "ceilings so high that they were lost in gloom" are recursively reworked when Lysa summons Sansa (like a servant) to speak with her the morning after she weds Petyr. Sansa responds to the summons by thinking, verbatim, "gods be good", and is then told they'll be heading to the Eyrie, which we know is "so high you can stand on the parapets and look down on the clouds", i.e. it has parapets 'so high that they were lost in the clouds':

Lady Lysa was still abed [like a good mattress!], but Lord Petyr was up and dressed. "Your aunt wishes to speak with you," he told Sansa, as he pulled on a boot. "I've told her who you are."
Gods be good. "I . . . I thank you, my lord."
Petyr yanked on the other boot. "I've had about as much home as I can stomach. We'll leave for the Eyrie this afternoon."
Seven towers, Ned had told her, like white daggers thrust into the belly of the sky, so high you can stand on the parapets and look down on the clouds. (AGOT Catelyn VI)

The notion of a "ceiling" so high it is lost in gloom is perhaps also reworked by the story Lysa tells Sansa about Petyr's "rise" to power: She says she "always knew how high [Petyr would] rise", and it's my belief that said rise has likely seen him 'lost', spiritually, in 'darkness'. (Note that ceilings are a frequently invoked metaphor when talking about climbing the corporate ladder.)

"Half his teeth were gone, and his breath smelled like bad cheese. I cannot abide a man with foul breath. Petyr's breath is always fresh . . . he was the first man I ever kissed, you know. My father said he was too lowborn, but I knew how high he'd rise. Jon gave him the customs for Gulltown to please me, but when he increased the incomes tenfold my lord husband saw how clever he was and gave him other appointments, even brought him to King's Landing to be master of coin. That was hard, to see him every day and still be wed to that old cold man.

(Recall that the motif of bad/fresh breath there reworks the "winey stench of the old man's [Sylas Sourmouth's] breath", which Theon thinks about roughly ¼ page prior to being shown his suite in the Bloody Keep.)

Butchered Sons & Brothers

Lysa continues to rant:

"Jon did his duty in the bedchamber, but he could no more give me pleasure than he could give me children. His seed was old and weak. All my babies died but Robert, three girls and two boys. All my sweet little babies dead, and that old man just went on and on with his stinking breath. So you see, I have suffered too." Lady Lysa sniffed. "You do know that your poor mother is dead?"
"Tyrion told me," said Sansa. "He said the Freys murdered her at The Twins, with Robb."

Those references to (a) a bunch of dead "babies", including two brothers, one of which was "murdered" when Lysa's father, Hoster Tully, who ruled the Riverlands, betrayed Lysa's trust; and to (b) foul smelling breath, a la Sylas, and finally to (c) the Red Wedding — a bloody betrayal of Sansa's brother, who was King of the Riverlands — particularly (per Sansa saying "Tyrion told me") as it's described by Tyrion—

Sansa did not need to hear how her brother's body had been hacked and mutilated, he decided; nor how her mother's corpse had been dumped naked into the Green Fork in a savage mockery of House Tully's funeral customs. (ASOS Tyrion VII)

—are one of the ways ASOS Sansa VI rejiggers the part of Theon's description of his Bloody Keep suite I "[omitted]" earlier, which entails betrayals, murdered brothers, a River King, slaughter, and bodies "hacked to bits".

[Theon] might have been more impressed if he had not known that these were the very chambers that had given the Bloody Keep its name. A thousand years before, the sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
But Greyjoys were not murdered in Pyke except once in a great while by their brothers, and his brothers were both dead.

Lysa's speech with its reference to her abortion and to the Red Wedding (and to stink-breath like Sylas's) isn't the only (or even the main) way Petyr's homecoming chapter refracts those images from Theon's homecoming, though.
Littlefinger is himself a kind of River King (as Lord Paramount of the Trident), right? And note that we read all about his "slaughtered" "sons" just before he enters the tower, wherein we then see the foul betrayers who murdered their 'brothers'. I'm talking, of course, about his sheep and his sheepdogs:

"How many sheep do I have at present, Kella?"
… "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
"Ah, cold salt mutton. I must be home.…" … "Come, let's see if my hall is as dreary as I recall." … A handful of sheep were wandering about the base of the flint tower…. …
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.

Note the kitchen, recalling that the Bloody Keep is paired with the Kitchen Keep as Theon first gazes on Pyke:

Farther out were the Kitchen Keep and the Bloody Keep, each on its own island.

Note, too, that the sheep are coded as Petyr's "sons", in a way (a la the "slaughtered… sons of the River King" Theon remembers in his Bloody Tower rooms), and not just because he owns them. He says that Kella has lots of bastards and that she minds his sheep, right? And what else does he say of Kella, in jest? That she 'is' the "mother" of his "daughter," "Alayne Stone":

"Alayne . . . Stone, would it be?" When he nodded, she said, "But who is my mother?"
"Kella?"
"Please no," she said, mortified.
"I was teasing.

The joke foregrounds the notion of Petyr as the father of Kella's children. And while she supposedly has a bunch of bastards, we don't see them. We just see the one girl with the livestock-evoking eye with a sty. It's almost like the sheep she looks after are her children. And thus like Petyr is their father.
(Note the word "mortified". This points straight back to Theon in his Bloody Tower for two reasons: First, greyscale, which mortifies the flesh, killed Balon's brother Harlon, who died "in a windowless tower room" at Pyke. Second: Theon will, in his next chapter, be truly mortified by the realization that "Esgred" is his sister Asha, where that masquerade in turn prefigures Sansa masquerading as Alayne.)
So the "cold" Bloody Keep with its partner the Kitchen Keep and its story of a "slaughter", betrayal, brother killing brother, a River King's sons' bodies "hacked to bits in their beds" — all these motifs are reworked by Kella's account of one of Lord Paramount Petyr's sheep-'sons' being killed by its lexicial 'brothers', the very "sheep-dogs" who were supposed to guard it, and of other sheep-'sons' being verbatim "butchered", i.e. slaughtered on a killing bed and in the process surely hacked into pieces that were then preserved against spoilage for future consumption, such that the resulting "cold salt mutton" could be used as travel rations. Which jibes with Theon's language, creatively interpreted:

[T]he sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.

(They were slaughtered and hacked to bits only so as to properly preserve them against spoilage during their upcoming journey "back to their father on the mainland", you see!)

Theon's Honor Guard

The conditions in Theon's rooms are consistent with the cold welcome he receives, both from Aeron—

The priest's manner was chilly, most unlike the man Theon remembered.

—and Balon—

Theon pulled off his gloves. "… Why is my father not here to greet me?"
"He awaits you in the Sea Tower, m'lord. When you are rested from your trip."
And I thought Ned Stark cold.

—and they're thus part of a broad yin/yang 'rhyme' with Petyr's initial homecoming, which is warm and welcoming and full of familiar faces, whereas Theon knows no one, such that he thinks:

It is as if I were a stranger here….

The reversal is wryly underlined when Petyr is greeted at the shore by his "captain of the guards", Bryen:

"It is good to have you home, my lord," said one old man.

Thus Petyr ironically gets the "honor guard" welcome Theon hoped he'd get on his arrival 'home':

[Theon] saw… no honor guard waiting to escort him from Lordsport to Pyke, only smallfolk going about their small business.

Notice that where no one stops what they're doing for Theon, everyone stops when Petyr arrives. And of course, everyone in his household recognizes him, whereas no one recognizes Theon. Which is telling, because in a deep sense, that's all Theon really wants, deep down: a little recognition.
Littlefinger has it… but it's not enough.

(SUB)SERIES CONCLUDES IN PART 10: Oswell & Aeron; Lothar & Dagmer; The Closing Twist

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Hey fellow foster parents! I’ve posted on here for a while and I need an opinion. My SO (36 M) and I (36 F) are kinship guardians of his younger brother, “Sam” (6M). “Sam” has two other half brothers that live in a kinship foster situation with their paternal grandma. For the first few years of Sam’s life grandma “watched” him as well, but when the kids were being removed from biomoms care officially, she refused to keep Sam as he was not her biological grandson - which is when we got the call.
Due to COVID, grandma not driving and not being great with technology- the youngest three boys didn’t see each other for almost a year and half. We’ve regularly had sibling visits every other weekend for a few months. In that time, we have noticed grandma having “slip ups” that lead me to think she is having issues with dementia/Alzheimer’s or maybe had a mild stroke. She has also made comments like “well you clearly have room for Sam’s brothers!” Hinting that maybe she wants us to take the older two as well. She also said things like “she deserves to travel (like my parents) while she still can!” Her overall memory seems to be slipping. She will ask three or more times where the bathroom is, and often talk herself in circles. It was very pronounced recently when we were at group BBQ for foster families, to the point where another mom I am friends with reminded me “we are mandatory reporters.”
I don’t know what to do. Reporting her might result in the older boys being removed. While we do have the physical space to house the older two boys, I don’t think my SO and I could mentally do it. You can call us names and selfish, but that is the reality. If I don’t report, and someone else finds out, it might risk Sam being removed from us. Realistically, the other mom pointed out it wasn’t a matter of if but when. I could also see this being an “act” by grandma to relieve her of the boys care because se is getting tired of the situation. The two boys have some serious issues that seem to be getting worse as they get older.
I can go into more detail, I just need to get some input. My SO can’t seem to come to a consensus on what to do.
Edit: Sam and my SO share a late father (deceased), Sam actually has three other brothers from his biomom, (16M who is raised by fathefathers family and we have a great relationship with), 12M & 9M live with paternal grandma.

My father is in his mid-80's with Alzheimer's & White Matter Dementia. After an episode of encephalopathy earlier this year, he has had a vast decline in cognitive thinking. Every other day there is a problem with tech or ordering online or other issues which I have to try to manage from 5 states away. He and my mom are barely clinging on to living in their rented apartment, with several hours of help from home health aides.
Dad was always very intelligent and able to hide his slipping mental issues. He now can't see how bad things are and refuses much of the help he needs.
Years ago when they moved out of their house, a friend offered to store some of Dad's tools and supplies for a hobby/business that Dad had done for decades. The dream was that Dad and the friend would have a working workshop. 5 years later, nothing has been touched, and the friend's tolerance is gone. They need their barn back. Dad knows this but doesn't truly accept it.
Everyone but Dad knows that he will never be able to do this hobby again. I have some friends who do related hobbies, and tried to present giving items to them as a good way to continue his legacy. He decided that I could take everything down to my house, store it there, my friends could copy patterns and use tools, and when he is able to do the hobby again, I can bring everything back up to him.
Needless to say, that isn't workable for many many reasons.
But my brother and I decided to go along with it on the surface. I brought everything home with me. Let friends take what they were interested in. Kept a few things myself. Tried to find other places stuff could be given. Saturday night, we burned what wasn't worth keeping.
Logically, I know that we had no good solution to this problem. Logically, I know Dad isn't going to use this stuff ever again, that no one wanted it, that I am not obligated to store a large amount of stuff I will never touch. That Dad will never be at my house again and know what we did.
But I am a wreck. I feel like shit. Like the worst betrayer of his legacy. He did so much for me (his hobby was integrally involved in my own hobby) and I got rid of his things without his agreement. The fact that he would never agree and that we are in an impossible situation still doesn't change how I feel.

Prices are firm, but I take off $.75 for every $10 spent (multiple items)
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New additions
14 Blades HD/VU $4.5
22 Jump Street HD/MA $3.5
3 Extremes HD/VU $4.5
355 HD/MA $4.5
48 Hrs 4K/VU $6
50/50 HD/VU $4
600 Miles HD/VU $4
80 for Brady HD/VU $7
A Dog's Purpose HD/IT $3
A Good Day to Die Hard (Ext) HD/VU $2.5
A Journal for Jordan HD/MA $5
A Man Called Otto HD/MA $6.5 or SD/MA $3.5
A24 5-Film Set (X, Green Room, It Comes at Night, Hereditary, Witch) HD/VU $15
Addams Family (2019) 4K/IT $4.5
Addams Family 2 4K/IT $5
Addams Family w/ More Mamushka! 4K/VU $5.5
After Yang HD/VU $4.5
Age of Adeline HD/VU or IT $3
Agent Game 4K/VU $5
Air Force One 4K/MA $6
Alien 6-Film Collection HD/MA $18
Alien Resurrection HD/MA $4
Allied HD/VU $3.5
American Carnage 4K/VU $5
American Gangster (Ext) HD/MA $4
American History X HD/MA $4.5
American Underdog HD/VU $4.5
Amores Perros 4K/VU $5.5
Amsterdam HD/GP $3.5
Anatomy of a Murder 4K/MA $5
Annie (1982) 4K/MA $5.5
Another Cinderella Story HD/MA $3.5
Ant-Man & Wasp Quantumania 4K/MA $10.50 or HD/MA $9
Apocalypse Now (Final Cut) 4K/VU $5
Apocalypse Now 3-Cut Set (Thea, Redux, Final) 4K/VU $8.5
Aqua Teen Forever Plantasm HD/MA $5
Armageddon Time HD/MA $6.5
Army of One HD/VU $3
Art of Self-Defense HD/MA $4
Ash vs Evil Dead Complete Series HD/VU $15
Assignment HD/VU $4
Baby Driver HD/MA $4
Babylon 4K/VU $7 or HD/VU $5.5
Back to Future 3 HD/MA $3.5
Bambi 2 HD/MA $4 or HD/GP $3.5
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Battle Royale HD/VU $4.5
Beast HD/MA $5.5
Bedknobs & Broomsticks HD/GP $3.5
Before I Go to Sleep HD/MA $3.5
Beirut HD/MA $3.5
Belly 4K/VU $5.5
Ben is Back 4K/VU $5.5
Best F(r)iends Vol 1 HD/VU $4.5
Best F(r)iends Vol 2 HD/VU $4.5
Best of Enemies HD/IT $3.5
Billy Lynn's Long Halftime Walk HD/MA $4
Birdman HD/MA $4
Black Adam HD/MA $5
Black Panther Wakanda Forever HD/GP $3.5
Black Swan SD/IT $1.5
Blacklight HD/MA $4
Blair Witch (2016) HD/IT $2.5
Blazing Saddles HD/MA $4.5
Blindspotting 4K/VU $5.5
Blood Money (2017) HD/VU $3.5
Bloodshot HD/MA $4
Bloodwork HD/MA $4
Blues Brothers HD/MA $4
Bodyguard (1992) HD/MA $4.5
Boogie 4K/MA $6.5
Boss Baby 2-Film Set HD/MA $6
Braveheart HD/VU $3.5
Breakfast Club HD/IT $4
Breakthrough HD/MA $3
Brian Banks HD/MA $3
Bride of Frankenstein (1935) HD/MA $3.5
Bridesmaids SD/IT $1.5
Bridget Jones's Diary HD/VU $4.5
Bullet Train HD/MA $5
Burnt HD/VU $3.5
Campaign HD/MA $2.5
Captive State HD/MA $4.5
Casablanca 4K/MA $6
Casino HD/MA $4
Catch Me If You Can HD/VU $4.5
Cats HD/MA $4
Cecil B. Demented HD/VU $4.5
Champions HD/MA $6.5
Charlie Brown 4-Film Set HD/VU $15
Christmas Classics Set (Home Alone, Jingle All Way, Miracle on 34th Street '94, A Christmas Carol '84) HD/MA $18
Cinderella (2021) HD/MA $5
Clerks 3 4K/VU $5
Clifford Big Red Dog HD/VU $4
Clint Eastwood A Cinematic Legacy HD/MA $3.5
Colony 4K/VU $5
Coming to America 4K/VU $5
Cotton Club Encore 4K/VU $5.5
Crawl HD/VU $3
Creed 3 HD/VU $10
Criminal HD/VU $3.5
Cube HD/VU $5
Damsel HD/VU $4.5
Dangerous 4K/VU $4.5
Dark Crystal 4K/MA $6
Darkest Minds HD/MA $4
DC League of Super-Pets HD/MA $5
Death of Me HD/VU $4
Death on Nile HD/MA $4 or HD/GP $3.5
Deepwater Horizon 4K/IT $3
Defiance HD/VU $4
Despicable Me 3 4K/MA or IT $5
Devil's Due HD/MA $3.5
Devotion HD/VU $6.5
Die in a Gunfight 4K/VU $5
Dig 4K/VU $6
Doctor Strange Multiverse of Madness HD/GP $3.5
Dolittle 4K/MA $5
Don Verdean HD/VU $4.5
Downton Abbey A New Era HD/MA $4.5
Dracula (1931) HD/MA $3.5
Dream a Little Dream HD/VU $4
Duck Dynasty Wedding Special HD/VU $4
Duel (2016) HD/VU $3.5
Earth Girls are Easy HD/VU $4
Elvis HD/MA $4.5
Emoji Movie HD/MA $3
Empire of Light HD/MA $4.5 or HD/GP $4
Ender's Game HD/VU $2.5
Equalizer HD/MA $3
Escape Field 4K/VU $5.5
Escape from LA 4K/VU $5.5
Event Horizon 4K/VU $5.5
Everything Must Go HD/VU $4
Evil Dead 1 & 2 Bundle 4K/VU $8
Expired 4K/VU $5
F9 Fast Saga (Thea & Ext) 4K/MA $5.5
Fabelmans HD/MA $6.5
Face/Off HD/VU $4.5
Fair Game (Director's Cut) HD/VU $4
Fantastic Beasts Secrets of Dumbledore HD/MA $4.5
Farewell HD/VU $4
Fatherhood HD/MA $4
Favourite HD/MA $4.5
Fear of Rain 4K/VU $5.5
Field of Dreams HD/MA $4
Fifty Shades Freed HD/MA $4
Fighting w/ my Family HD/IT $4
Finding You 4K/VU $5
Flashback HD/VU $4
Forbidden Kingdom HD/VU $4.5
Ford v Ferrari HD/MA $4
Forrest Gump HD/VU $3.5
Fortress Sniper's Eye HD/VU $4
Friends w/ Kids HD/VU $4
From Here to Eternity 4K/MA $5.5
Gentlemen 4K/IT $4.5
Ghost in Shell (1995) 4K/VU $5
Ghost in Shell (2017) 4K/VU or IT $4.5 or HD/VU $3
Ghost In Shell 2.0 HD/VU $4.5
Ghost Team One HD/VU or IT $3.5
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Glass HD/MA $4
God's Not Dead A Light in Darkness HD/MA $3
Gone Girl HD/MA $4
Good House 4K/VU $6
Grease 4K/IT $5.5
Great Wall HD/MA $3 or 4K/IT $3.5
Green Inferno HD/IT $3.5
Green Knight 4K/VU $4.5
Green Lantern Beware My Power HD/MA $4
Greenland 4K/IT $5
Groundhog Day 4K/MA $6
Grumpy Old Men HD/MA $4
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Habit 4K/VU $5.5
Halloween (2018) HD/MA $3
Halloween Curse of Michael Myers HD/VU $4
Halloween Ends HD/MA $5.5
Halloween Kills (Ext) 4K/MA $5.5
Happy Death Day HD/MA $4.5
Hard Luck Love Song 4K/VU $5.5
Hate U Give HD/MA $4
Hellbenders HD/VU $4.5
Hellboy Animated Double Feature (Sword of Storms, Blood & Iron) 4K/VU $7.5
Hellraiser Judgment HD/VU $4
Hereditary HD/VU $3.5
Highlander 4K/VU $5.5
Hitman (Uncut) & Hitman 47 Bundle HD/MA $7
Holmes & Watson HD/MA $3.5
Home Again HD/MA $3
Home Alone 2 HD/MA $3.5
Honk for Jesus. Save Your Soul. HD/MA $5
Hotel Transylvania HD/MA $3.5
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House of 1000 Corpses HD/VU $4
House w/ a Clock in Its Walls HD/MA $4
Hulk (2003) HD/MA $4
Humans HD/VU $4.5
Hunt for Red October 4K/VU $5.5
Hurt Locker 4K/VU $5
Hustle & Flow HD/VU $4
I Frankenstein HD/VU or IT $2.5
I Love You Phillip Morris HD/VU $4.5
Ice Age Collision Course HD/MA $3
In Blood HD/MA $4
In Secret (2014) HD/VU $4.5
Incredible Hulk HD/MA $4
Independence Day (1996) 4K/MA $5.5
Indiana Jones & Raiders of Lost Ark HD/VU $4
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Interview w/ Vampire HD/MA $4
Iron Man & Hulk Heroes United HD/GP $3.5
Iron Mask (2019) HD/VU $4.5
Isle of Dogs HD/MA $4
It Happened One Night 4K/MA $5.5
Italian Job 4K/VU $6.5
Jack Reacher Never Go Back HD/VU $3 or 4K/IT $3.5
Jeff Who Lives at Home HD/VU $4
Jobs HD/MA or IT $3.5
Joe Kidd HD/MA or IT $4
Jordan Peele 3-Film Collection (Nope, Us, Get Out) HD/MA $11
Journey to West Conquering Demons HD/VU $3.5
Joy HD/MA $3
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Jungle Book (2016) 4K/MA $4.5 or HD/GP $2.5
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Jurassic Park 3 HD/VU $3.5
Jurassic World 6-Film Collection (Dominion Thea & Ext) HD/MA $18
Jurassic World Dominion (Thea & Ext) HD/MA $5
Kama Sutra HD/VU $4.5
Kid Who Would Be King 4K/MA $5.5 or HD/MA $4
Kill Zone (2005) HD/VU $4.5
King Richard 4K/MA $5.5
King's Man 4K/MA $5.5 or HD/GP $3.5
Knives Out 4K/VU $5.5
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Labyrinth HD/MA $4.5
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Mad Men Complete Series HD/VU $35
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Man of Tai Chi HD/VU $4
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She Said HD/MA $6.5
Shooter 4K/VU $5
Show Dogs HD/MA $3.5
Siberia (2018) HD/VU $3
Silent Night, Deadly Night 3-Film Set (3-5) HD/VU $8
Silent Twins 4K/MA $6
Silk Road 4K/VU $5
Sing 2 HD/MA $4
Sing Street HD/VU $4
Sixteen Candles HD/MA $4
Skeleton Twins HD/VU $4.5
Smile HD/VU $5.5
Smokey & Bandit HD/MA $3.5
Smokin' Aces 4K/MA $5.5
Smurfs Lost Village HD/MA $3.5
Snake Eyes G.I. Joe Origins 4K/VU $5.5 or HD/VU $4
Snatch 4K/MA $5.5
Social Network 4K/MA $5.5
Son of God HD/MA $3
Source Code 4K/VU $5.5
Spartacus HD/MA $3.5
Spider-Man Into Spider-Verse 4K/MA $5.5
Spider-Man No Way Home HD/MA $4
Spinning Man HD/VU $4
Spirit HD/VU $4
Spontaneous HD/VU $4.5
Starship Troopers 4K/MA $6
Sting 4K/MA $5 or HD/MA $3.5
Strange World HD/GP $4
Strangers Prey at Night HD/MA $3
Stripes 4K/MA $5
Sudden Death HD/IT $4
Taken 2 HD/MA $3.5
Tangled HD/MA $4
Tar HD/MA $6
Taxi Driver HD/MA $4
Teen Spirit (2019) HD/MA $4
Teen Titans Go! & DC Super Hero Girls Mayhem Multiverse HD/MA $6
Teeth HD/VU $4.5
Ten Commandments (1923) HD/VU $4
Ten Commandments (1956) HD/VU $4
Tetro HD/VU $4
Thanks for Sharing HD/VU $4
The Batman HD/MA $4
This is End HD/MA $3.5
This Means War SD/IT $1.5
Thor Love & Thunder 4K/MA $5.5 or HD/GP $3.5
Till 4K/IT $7
Time Freak HD/VU $4
To Kill a Mockingbird 4K/IT $4
To Sir w/ Love 4K/MA $5.5
Tomb Raider Cradle of Life 4K/VU or IT $5.5
Top Gun Maverick 4K/VU $6 or HD/VU $4.5
Touched w/ Fire HD/VU $4.5
Town SD/IT $1.5
Trading Places HD/VU $4
Transformers 4K/VU $5
Transformers Age of Extinction HD/VU $2.5 or 4K/IT $3
Transformers Dark of Moon 4K/VU $4.5
Transformers Revenge of Fallen 4K/VU $5
Triple 9 HD/IT $3.5
Troy (Director's Cut) HD/MA $4.5
True Grit SD/IT $1.5
Tucker Man & His Dream 4K/VU $5
Turning Red HD/GP $3
Twilight 1-3 (Ext) HD/VU $10
Twilight Breaking Dawn Pt 1 HD/VU $3.5 or 4K/IT $4
Twilight HD/VU $4
Umma HD/MA $4.5
Uncharted HD/MA $4
Uncut Gems HD/VU $4
Under Skin HD/VU $3.5
Underwater HD/MA $4.5
Underworld 5-Film Set HD/MA $17
Venom Let There Be Carnage HD/MA $4
Virtuoso 4K/VU $5
Vivo HD/MA $5
Voyagars 4K/VU $5
W. HD/VU $4
Wall Street Money Never Sleeps SD/IT $1.5
War of Worlds 4K/VU $5.5
War on Everyone HD/VU $4
Warhunt 4K/VU $4.5
Waterworld HD/MA $4
Wayne's World 4K/VU $5.5
Weekend HD/VU $4
What We Did on our Holiday HD/VU $4
Where Crawdads Sing HD/MA $4.5
Whitney Houston I Wanna Dance w/ Sombody HD/MA $5.5 or SD/MA $3
Wicker Man (1973) HD/VU $4.5
Winnie Pooh Springtime w/ Roo HD/MA $4.5 or HD/GP $4
Wolf Man (1941) HD/MA $3.5
Woman King HD/MA $5.5
Women Talking 4K/IT $7
X-Men Days of Future Past Rogue Cut 4K/IT $5.5
X-Men First Class & Days of Future Past HD/MA $6.5
X-Men Trilogy (X-Men, X2, Last Stand) HD/MA $12
Zero Dark Thirty HD/MA $3.5
All other movies (A-Z)
101 Dalmatians HD/MA $3.5 or HD/GP $3
12 Years a Slave HD/MA $3.5
13 Hours Soldiers of Benghazi HD/VU $2.5
1917 HD/MA $3.5
2 Fast 2 Furious 4K/IT $3.5
2 Guns HD/VU or IT $2.5
21 Jump Street HD/MA $3
3 From Hell (Unrated) 4K/VU $4 or HD/VU $2.5
31 HD/VU $2.5
310 to Yuma 4K/VU $5
47 Meters Down HD/IT $3.5
47 Meters Down Uncaged HD/VU $3.5
47 Ronin HD/VU $3 or 4K/IT $3.5
71 HD/VU $4
A Clockwork Orange 4K/MA $5
A Most Wanted Man HD/VU $3.5
A Quiet Place HD/VU $2.5 or 4K/IT $3
A Quiet Place Part 2 4K/VU $5.5 or HD/VU $4
A Wrinkle in Time HD/MA $3 or HD/GP $2.5
About Time HD/VU or IT $3.5
Action Point HD/IT $2
Adore HD/IT $3.5
Adventures Of TinTin HD/VU or IT $2.5
After Earth HD/MA $3
Aladdin (2019) 4K/MA $4.5 or HD/MA $3 or HD/GP $2.5
Alex Cross HD/VU or IT $2
Alfred Hitchcock 5-Film Set Vol 2 4K/MA $24
Alice Through Looking Glass HD/MA $3.5 or HD/GP $3
Alita Battle Angel 4K/MA $5 or HD/MA $3.5
All Eyez on Me HD/IT $3
All Money in World HD/MA $3.5
Aloha HD/MA $3.5 or SD/MA $1
Alvin & Chipmunks Road Chip HD/MA $2.5
Amazing Spider-Man 2 HD/MA $4
Amazing Spider-Man HD/MA $3.5 or SD/MA $1.5
America Imagine World w/out Her HD/VU $1.5
American Assassin 4K/VU $4.5 or HD/VU $3
American Frontier Trilogy (Sicario, Wind River, Hell or High Water) HD/VU $7.5
American Hustle SD/MA $1.5
American Made 4K/MA $5 or HD/MA $3.5
American Night HD/VU $4
American Reunion HD/VU or IT $3
American Ultra HD/IT $4
Anchorman 2 Legend Continues HD/VU or IT $2.5
Angel Heart 4K/VU $5.5
Angel of Mine 4K/VU $5.5
Anna 4K/VU $5 HD/VU $3.5
Anna Karenina HD/IT $3.5
Annie (2014) HD/MA $3.5 or SD/MA $1.5
Annihilation HD/VU $3
Antebellum 4K/VU $5
Ant-Man & Wasp HD/MA $3.5 or HD/GP $3
Ant-Man HD/MA $4 or HD/GP $3.5
Apollo 13 4K/MA or IT $5 or HD/MA $3.5
Arctic HD/MA $4
Arnold Schwarzenegger 6-Film Collection (Last Stand, Total Recall, T-2, Red Heat, Maggie, Hercules in NY) HD/VU $14
Arrival HD/VU $2.5 or 4K/IT $3
Ash vs Evil Dead Season 3 HD/VU $5
Assassination Nation HD/MA $3.5
Assassin's Creed HD/MA $3
Atomic Blonde 4K/MA $4.5 or HD/MA$3
August Osage County HD/VU $3
Avengers Age of Ultron HD/MA $3.5 pr HD/GP $3
Avengers Endgame HD/MA $2.5 or HD/GP $2
Avengers HD/GP $3
Avengers Infinity War HD/MA $2.5 or HD/GP $2
Back to Future Trilogy 4K/MA $14 or HD/MA $9.5
Bad Boys for Life HD/MA $4
Bad Grandpa HD/IT $2.5
Bad Words HD/IT $3
Bambi HD/MA $4 or HD/GP $3.5
Bangkok Dangerous HD/VU $4
Bank Job HD/VU $3.5
Barbie & Her Sisters in Great Puppy Adventure HD/VU or IT $3.5
Barbie in Princess Power HD/IT $3.5
Barbie Star Light Adventure HD/IT $3.5
Battle of Year HD/MA $3.5
Battleship HD/VU $3 or 4K/IT $3.5
Baywatch HD/VU $2.5 or 4K/IT $3
Beatriz at Dinner HD/VU $4.5
Beauty & Beast (1991) HD/MA $3.5 or HD/GP $3
Beauty & Beast (2017) HD/MA $2.5 or HD/GP $2
Before I Fall HD/VU or IT $3.5
Begin Again HD/VU $3.5
Ben-Hur (2016) HD/VU or IT $3.5
BFG HD/MA $3.5
Big Eyes HD/VU $3.5
Big Hero 6 4K/MA $5 or HD/MA $3.5 or HD/GP $3
Big Lebowski 4K/MA $5.5 or HD/MA $4
Big Little Lies Season 1 HD/GP $2.5
Big Short HD/VU or IT $3.5
Big Wedding SD/IT $1
Birth of a Nation HD/MA $3.5
Black Panther 4K/MA $4.5 or HD/GP $2.5
Black Widow HD/MA $3.5 or HD/GP $3
Blackhat HD/IT $3.5
Blair Witch Project (1999) HD/VU $4
Blockers HD/MA $3.5
Boardwalk Empire Season 1 HD/VU or IT $4
Bombshell 4K/VU $5
Book Club HD/VU $2.5 or 4K/IT $3
Book of Life HD/MA $3.5
Born a Champion 4K/VU $5
Boss Baby HD/MA $2.5
Bourne Identity HD/VU $3.5 or 4K/IT $4
Bourne Legacy HD/VU $2
Bourne Supremacy HD/VU $3.5
Bourne Ultimatum 4K/MA $5 or HD/MA $3.5 or 4K/IT $4
Boy 2 HD/IT $3.5
Boy Erased HD/MA $4
Boy HD/IT $3.5
Boyhood HD/VU or IT $2.5
Braven HD/VU $4
Butler HD/VU $3
Butterfly Effect HD/MA $4
Bye Bye Man (Unrated) HD/IT $2.5
Cabin in Woods 4K/VU or IT $4.5 or HD/VU $2.5
Call of Wild 4K/MA $4.5 or HD/GP $2.5
Captain America Civil War HD/GP $2.5
Captain America First Avenger HD/MA $4 or HD/GP $3.5 or SD/IT $1.5
Captain America Winter Soldier HD/GP $3.5
Captain Marvel HD/GP $2
Captain Phillips HD/MA $3.5 or SD/MA $1.5
Carol HD/VU $4
Cars 3 HD/GP $2.5
Case for Christ HD/IT $2.5
Chaos Walking 4K/VU $5
Chicago HD/VU $4
Children (2008) HD/VU $4
Christopher Robin HD/MA $4 or HD/GP $3.5
Cloverfield 4K/VU $5.5 or HD/VU $4
Coco HD/GP $2.5
Cold Pursuit 4K/VU $5 or HD/VU $3.5
Collection HD/VU $3.5
Columbiana (Unrated) HD/MA $4
Come & Find Me HD/VU $4
Commuter 4K/VU $5 or HD/VU $3.5
Company of Heroes HD/MA $4
Contraband HD/IT $3
Cooties HD/VU $4
Cornetto Trilogy (Shaun of Dead, Hot Fuzz, World's End) 4K/MA $15
Counselor HD/MA $4
Courier 4K/VU $5.5 or HD/VU $4
Crank 4K/VU $5.5
Crimson Peak HD/IT $3.5
Croods HD/VU $3.5
Cruella HD/MA $3.5 or HD/GP $3
D Train 4K/IT $4
Daddy's Home 2 HD/IT $3
Daddy's Home HD/VU $3
Dark Tower HD/MA $3.5
Darkest Hour (2017) 4K/MA $5.5
Darkness HD/IT $3
Dawn of Planet of Apes HD/MA $3.5
Daybreakers 4K/VU $5.5
Deadpool 2 (w/Super Duper Cut) HD/MA $4
Deadpool HD/MA $2.5
Dear White People HD/VU $3.5
Dementia 13 (Director's Cut) HD/VU $4
Descendants SD/IT $1.5
Despicable Me 2 HD/VU $3.5 or 4K/IT $4
Despicable Me 4K/IT $5 or SD/IT $1.5
Detroit HD/MA $3.5
Dilemma HD/VU $3.5 or SD/IT $1.5
Dirty Dancing 4K/VU $5 or HD/VU $3.5
Disney Animated Short Films Collection HD/MA $3.5 or HD/GP $3
Divergent Allegiant HD/VU $3.5 or 4K/IT $4
Divergent HD/VU $1.5 or 4K/IT $2 or SD/VU $0.5
Divergent Insurgent HD/VU $2.5 or 4K/IT $3
Django Unchained HD/VU $3 or SD/IT $1.5
Do Right Thing 4K/MA $5.5 or HD/MA $4
Doctor Strange HD/GP $2.5
Dom Hemingway HD/MA $3.5
Don't Worry, He Won't Get Far on Foot HD/VU $4
Doom (Unrated) 4K/MA $5.5
Doorman HD/VU $3.5
Doors 4K/VU $5.5 or HD/VU $4
Dora & Lost City of Gold HD/VU $3.5 or 4K/IT $4
Downton Abbey Movie HD/MA $4
Dracula Untold HD/VU $3 or 4K/IT $3.5
Draft Day HD/VU $3.5
Dragged Across Concrete HD/VU $3.5
Dreamkatcher HD/VU $4
Dredd HD/VU $2.5
Duff SD/VU $1.5
Dumbo (2019) HD/GP $3
Dune 4K/MA $5.5
Dying of Light HD/VU $2.5
E.T. Extra Terrestrial 4K/VU or IT $5 or HD/MA $3.5
Edge of Seventeen HD/VU or IT $3
Edge of Tomorrow 4K/MA $5
Edward Scissorhands HD/MA $3.5
El Chicano HD/MA $4
Encanto 4K/MA $4 or 4K/GP $3.5
Enemy at Gates HD/VU $4
Enough Said HD/MA $3.5
Epic HD/MA $3
Escape Plan HD/VU $2
Eternals HD/MA $3.5 or HD/GP $3
Everest 4K/MA or IT $4.5
Ex Machina HD/VU $3
Exodus Gods & Kings HD/MA $3.5
Expendables 2 HD/VU or IT $1
Expendables 3 (Thea) HD/VU $2 or 4K/IT $2.5
Extreme Prejudice (1987) HD/VU $4
Fast & Furious (2009) HD/VU $3.5 or 4K/IT $4
Fast & Furious 6 (Ext) HD/VU $2 or 4K/IT $2.5
Fast & Furious 6-film Collection HD/VU $12.5
Fast & Furious 7-film Collection HD/VU $14
Fast & Furious 8-film Collection (9 Films) HD/MA $17.5
Fast & Furious 9-film Collection (11 Films) HD/MA $20
Fast & Furious HD/VU $3.5
Fast Color 4K/VU $5.5
Fast Five (Ext) HD/IT $2.5 or SD/IT $1
Fatale 4K/VU $5 or HD/VU $3.5
Fate of Furious (Ext) HD/VU $2
Fate of Furious (Thea) HD/VU or IT $1.5
Fault in Our Stars HD/MA $3.5
Fences HD/VU $2.5 or 4K/IT $3
Ferdinand HD/MA $3.5
Fifty Shades Darker (Unrated) HD/VU $2.5 or 4K/IT $3
Fifty Shades of Grey (Unrated) HD/VU $2.5 or 4K/IT $3
Finding Dory HD/MA $2.5 or HD/GP $2
Finding Nemo HD/GP $3.5
Finest Hours HD/GP $3
First Blood 4K/VU $5
First Man HD/MA $4
Flight HD/VU or IT $3
Florence Foster Jenkins HD/VU or IT $3
Footloose (2011) HD/IT $3
Forever My Girl HD/IT $3
Fortress HD/VU $4
Four Kids & It HD/VU $3.5
Fox & Hound 2 HD/MA $4
Frank & Lola HD/VU or IT $3
Frankenstein (1931) HD/VU $3.5
Free Guy HD/MA $3.5 or HD/GP $3
French Dispatch HD/MA $4 or HD/GP $3.5
Friday 13th Pt 3 HD/VU $3.5
Frozen (Sing-Along Edition) HD/MA $2 or HD/GP $1.5
Frozen 2 4K/MA $4 or HD/MA $2.5 or HD/GP $2
Frozen Ground HD/VU $3.5
Frozen HD/GP $2
Furious 7 (Ext) HD/VU $2 or 4K/IT $2.5
Fury HD/MA $3.5
G.I. Joe Retaliation HD/VU $3 or 4K/IT $3.5
Gambit (2012) HD/MA $4
Gambler HD/IT $3
Gambler HD/VU $3
Gemini Man 4K/VU or IT $4.5 or HD/VU $3
Get Out HD/MA $3.5 or 4K/IT $4
Ghostbusters (1984) HD/MA $3.5
Ghostbusters 2 HD/MA $3.5
Ghostbusters Afterlife HD/MA $4
Girl on Train HD/VU $3 or 4K/IT $3.5
Girl w/ All Gifts HD/VU $4
Girls Trip HD/VU or IT $2
Glass Castle 4K/VU $5.5
God's Not Dead 2 HD/MA or IT $2.5
Gods of Egypt HD/VU $2.5 or 4K/IT $3
Gold (2016) HD/VU or IT $2.5
Good Dinosaur HD/MA $3 or HD/GP $2.5
Good Kill HD/VU or IT $3.5
Grace Unplugged HD/VU $2
Greatest Showman HD/MA $3.5
Green Mile 4K/MA $5.5
Grey HD/VU or IT $3
Guardians of Galaxy Vol 1 HD/MA $3.5 or HD/GP $3
Guardians of Galaxy Vol 2 HD/MA $2.5 or HD/GP $2
Guest House 4K/VU $5
Guilt Trip HD/IT $3
Gunman HD/MA $3
Hacksaw Ridge HD/VU $3.5 or 4K/IT $4
Hail, Caesar! HD/IT $3
Hammer of Gods HD/VU $2
Hands of Stone HD/VU $3.5
Hannibal Season 1 HD/VU $5
Hansel & Gretel Witch Hunters (Unrated) 4K/IT $4
Hard Target 2 HD/IT $1.5
Hardcore Henry HD/VU or IT $3.5
Hateful Eight HD/VU $3.5
Heat HD/MA $3
Heaven is for Real SD/MA $1.5
Hell Fest 4K/VU $5
Hell or High Water HD/VU $2.5
Hellboy (2019) HD/VU $3 or 4K/VU $4.5
Hercules (1997) HD/MA $4.5 or HD/GP $4
Hercules (2014) HD/VU $2.5 or 4K/IT $3
Here Comes Boom HD/MA $3.5
Hidden Figures HD/MA $3
Hillsong Let Hope Rise HD/IT $2
Hitman's Bodyguard HD/VU $3.5
Hitman's Wife's Bodyguard 4K/VU $5.5 or HD/VU $4
Hocus Pocus HD/MA $3.5 or HD/GP $3
Home Alone HD/MA $3.5
Homesman HD/VU $3
Honey 2 HD/VU $3
Hop HD/MA or IT $3
Hope Springs HD/MA $2.5 or SD/MA $1
Hostiles HD/VU $3
Hot Fuzz HD/VU $4
Hotel Mumbai HD/MA $4
Hours (2013) HD/VU $4
How Grinch Stole Christmas (2000) 4K/IT $4
How to Train Your Dragon 2 HD/MA $2.5
How to Train Your Dragon HD/VU $3.5
How to Train Your Dragon Trilogy HD/MA $9
Hugo HD/VU or IT $3
Hunger Games 4-Film Collection HD/VU $8
Hunger Games Catching Fire HD/VU $1.5 or 4K/IT $2 or SD/VU $.5
Hunger Games HD/VU $1.5 or 4K/IT $2 or SD/VU $.0.5
Hunger Games Mockingjay Part 1 HD/VU $2.5 or SD/VU $1
Hunter Killer 4K/VU $4.5 or HD/VU $3
Huntsman Winter's War (Ext) HD/VU $3 or 4K/IT $3.5
I Can Only Imagine HD/VU $4
I Feel Pretty HD/IT $2
Incredibles 2 4K/MA $5 or HD/MA $3.5 or HD/GP $3
Incredibles HD/GP $3.5
Independence Day Resurgence HD/MA $2.5
Indiana Jones & Temple of Doom 4K/VU $5.5
Indignation HD/VU $4
Initiation 4K/VU $5 or HD/VU $3.5
Inside Out HD/GP $2
Instant Family 4K/IT $3.5
Internship SD/IT $1.5
Interstellar HD/VU $3.5 or 4K/IT $4
Into Woods HD/MA $3 or HD/GP $2.5
Invisible Man (1933) HD/MA $3.5
Invisible Man (2020) 4K/MA $5.5 or HD/MA $4
Iron Man 3 HD/GP $2
Iron Man HD/MA $4 or HD/GP $3.5
It Follows HD/VU $3.5
It's a Wonderful Life 4K/VU or IT $4.5 or HD/VU $3
Jack & Jill HD/MA $3.5
Jack Reacher HD/VU $3 or 4K/IT $4.5
Jack Ryan Shadow Recruit HD/VU $2.5 or 4K/IT $3
Jacob's Ladder HD/VU $4
Jarhead 3 Siege (Unrated) HD/IT $2.5
Jason Bourne HD/VU $2.5
Jason Statham 4-Film HD/VU $10
Jason Statham 6-Film HD/VU $14
Jaws 4K/MA $5 or HD/MA $3.5
Jersey Boys HD/MA $2.5
Jesus Music HD/VU $3.5
Jigsaw 4K/VU $4.5
Joe HD/VU $3.5
John Wick 1 & 2 Bundle HD/VU $4
John Wick 3 Parabellum 4K/VU $4.5
John Wick Chapter 2 HD/VU $3.5 or 4K/IT $4
John Wick HD/VU $2 or 4K/IT $2.5
John Wick Trilogy (Parabellum 4K) HD/VU $9
Jonah Hex HD/MA $4.5
Judy 4K/VU $5
Jungle Cruise HD/MA $4 or HD/GP $3.5
Jurassic Park 4K/MA $5 or HD/MA $3.5
Jurassic World 5-Film Collection HD/MA $14
Jurassic World Fallen Kingdom 4K/MA $4.5 or HD/MA $3
Jurassic World HD/VU $2.5
Justice (2017) HD/VU or IT $3
Justin Bieber Never Say Never SD/IT $1.5
Kevin Hart Let Me Explain HD/VU or IT $3
Kick-Ass 4K/VU $5.5 or HD/VU $4 or SD/IT $1.5
Kidnap HD/VU or IT $2.5
Killer Elite HD/IT $3
Killerman HD/VU $4
Kin 4K/VU $4.5 or HD/VU $3
King Kong (2005) 4K/MA or IT $5 or HD/MA $3.5
Kingsman Golden Circle 4K/MA $4.5 or HD/MA $3
Kingsman Secret Service 4K/MA $5 or HD/MA $3.5
Kiss Kiss Bang Bang HD/MA $4.5
Knick Season 1 HD/IT $3.5
Knick Season 2 HD/IT or GP $3.5
Kung Fu Panda 3 HD/MA $3
La La Land 4K/IT $3.5
Labor Day HD/VU or IT $3
Lady Macbeth HD/VU $4.5
Last Airbender HD/VU $4.5
Last Exorcism HD/VU $4
Last Knights HD/VU $3.5 or SD/VU $1.5
Last Man (2019) HD/VU $4
Last Stand HD/IT $2
Last Vegas HD/MA $3.5
Last Witch Hunter HD/VU $3 or 4K/IT $3.5
Leatherface HD/VU $4
Leprechaun 7-Film Collection HD/VU $12
Les Miserables (2012) HD/VU or IT $2
Let Me Explain HD/IT $2.5
Let's be Cops HD/MA $3.5
Life (2017) HD/MA $3.5
Life of Crime HD/VU $3.5
Life of Pi 4K/MA $5 or HD/MA or IT $3.5
Light of My Life HD/IT $3.5
Like a Boss HD/VU $3.5
Lilo & Stitch 2 Stitch Has a Glitch HD/MA $4 or HD/GP $3.5
Lincoln Lawyer 4K/VU $6.5 or HD/VU $4
Lion King (2019) 4K/MA $4 or HD/GP $2
Live by Night HD/MA $3
Logan HD/MA $3
Logan Lucky 4K/MA or IT $4.5
Lone Ranger HD/MA $3.5 or HD/GP $3
Lone Survivor HD/VU $2.5 or 4K/IT $3
Long Shot HD/VU $3.5
Longest Ride HD/MA $3
Longest Week HD/VU $3.5
Looper HD/MA $3.5
Lorax (1972) HD/MA $5
Lorax HD/VU $3
Lords of Salem HD/VU $4
Lost World Jurassic Park HD/MA $3
Love & Monsters HD/VU $4
Love Coopers HD/VU or IT $4
Love, Simon HD/MA $3.5
Loving HD/VU or IT $3.5
Luca HD/MA $3.5 or HD/GP $3
Lucy HD/VU $3 or 4K/IT $3.5
Madagascar 3 HD/VU or IT $3
Madea's Witness Protection SD/IT $1.5
Magnificent Seven (2016) HD/VU $3
Maleficent 4K/MA $4 or HD/MA $2.5 or HD/GP $2
Maleficent Mistress of Evil HD/MA $3 or HD/GP $2.5
Mama HD/IT $3
Mamma Mia Here We Go Again HD/MA $2.5
Man Who Shot Liberty Vance 4K/VU $5.5
Mandela Long Walk to Freedom HD/VU $4
Martian HD/MA $3.5
Mary Poppins (1964) HD/MA $3.5 or HD/GP $3
Mary Poppins Returns HD/MA $3 or HD/GP $2.5
Matrix Resurrections 4K/MA $5.5
Max Steel HD/IT $3
McKenna Shoots for Stars HD/IT $2
Mechanic Resurrection HD/VU $2.5
Megan Leavey HD/IT $3
Midnight Sun HD/MA $3.5
Midway 4K/VU $4.5 or HD/VU $3
Mile 22 HD/IT $3
Million Dollar Arm HD/GP $2.5
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I have ran this wild magic zone twice now, once for a 5-people level 7 party, and once for a two-member level 5 party. It worked great both times.
This wild magic zone requires a fair bit of improv on the DM side, but it has also resulted in some of the best roleplay I have seen from the players.
The general structure is as such: there are 4 decks of 12 cards. The first deck contains 'Area' cards, which describe the physical environment; the second deck contains 'People' cards, which describe the inhabitants of an environment; the third deck contains 'Goal' cards, which give the player a goal they must achieve in this section to move onto the next one; and the fourth deck contains 'Wild magic' cards, which mess up everything with a (occasionally undeclared) rule. (Ive posted the current 48 cards below)
The rules of the wild magic zone: 1. When the players first enter the Wild Magic Zone, draw 1 card from each deck, this is their current situation. 2. To exit the Wild Magic Zone, they must succeed in 4-6 zones (succeeding a 'goal' card counts as succeeding in a zone) - perhaps to reach a McGuffin at the centre of the Wild Magic Zone ? (this is what Ive done before) 3. As an action, a player may 'discard' one card from any one deck and draw the next one. It immediately goes into effect. Discarded cards do NOT return to the deck but remain discarded forever 4. Upon achieving a Goal, all four cards from all four decks are replaced immediately with new cards. 5. If a deck runs out of cards before the players succeed in their assigned Goal number, the players los (ejected from the Wild Magic Zone ? This never happened during my plays - this is not the purpose of the Wild Magic Zone, it is merely a theoretical warning against changing the cards too much)
To give an example, here is a random 4 card setup I just drew up randomly (12, 12, 3, 4)
Area: Statues of Gods long since forgotten surround you and coloured light passes through coloured glass. You find yourself in a temple to a religion you do not recognize
People: A panopticon-style prison
Goal: Capture a flaming bird
Wild Magic: All objects the players touch become animals
I would play this as: the players find themselves at the bottom of alarge panopticon-style prison complex ( https://en.wikipedia.org/wiki/Panopticon ), where there are no guards but instead many statues who look at you with great intensity. Somewhere, near the middle-to-top floor they see a glow of bright flames, this, they instinctively know, is where the flaming bird resides
The statues are found at all pathway junctions and in front of all prison doors. The statues are (weakened, depending on player level) effectively beholders, but who shoot only 1 eye beam at offending payers they can sense someway
The challenge for the payers becomes to pass 3-4 sets of statues unseen, and open the prison door (maybe there's a key in a guard room ? or maybe the can lockpick or force their way in )
Both my groups have had alot of fun running this gauntlet, and maybe your group can have this fun as well :)
Cards:
AREA:

1. Beach
   
   1. a lush beach area, with a white forest on the east side and a quiet sunset over a friendly, warm ocean on the west
2. Forest
   
   1. a rich temperate forest littered everywhere with old trees, little groves, and meandering, lightly-trodden paths seeming leading to nowhere
3. Desert
   
   1. Endless sand, canyons, and wadis, like a semi-arid desert that has not yet had rain this season
4. Mountains
   
   1. ever-expanding mountains with permafrost at the top and pine forest at the bottom. There are many caves and hidden pathways to those who look
5. Space
   
   1. Far below there is a great plane of many colours, above there are infinite stars. Around you there are many asteroids of various sizes gently floating. Some of these could only hold a few houses, others which could house an entire city. (you can breathe just fine).
6. Underwater
   
   1. You are deep below the surface, swimming over corals are many-coloured fish. To your right there is a great sloping wall leading to a surface you cannot sea, to your left there is an eternity of deep, blue ocean. (you can breathe just fine)
7. Pure light
   
   1. You are standing on land you cannot see, as both the ground and the sky are made of pure light. The brightness blinds you for a second, but once you're used to it, you can see as you could normally
8. Pure darkness
   
   1. You are standing on land you cannot see, as both the ground and the sky are made of pure darkness. After a few seconds your eyes adapt, and you can see, but only half as far as normally
9. Yggdrassil
   
   1. An enormous tree stands before you, the roots of which extend in every direction further than you can see. The trunk is almost 100 meters across, and extends well beyond the clouds above. There are many branches of every width and colour at all levels.
10. Endlessly tall treetops
    
    1. You find yourself atop a tree, and as far as the eye can see there are more trees in every direction. You cannot see the ground below, but find easy methods of moving from tree to tree
11. Caves
    
    1. Damp and rot assault your senses as you find yourself underground in a large hall with cave tunnels leading out in 8 directions
12. Statues of Gods long since forgotten surround you and coloured light passes through coloured glass. You find yourself in a temple to a religion you do not recognize
    

PEOPLE:

1. An ancient red dragon and a dracolich are battling, whilst many people huddle away in various corners far away, watching the fight
2. A mystical castle shrouded in purple mist, with strange creatures of all shapes and oddities move in and out DM note: this is a fairy castle :)
   
3. A small, little village of no more than 50 people, most of whom seem occupied in preparing for a festival
   
4. Endless rows of monoliths in every direction with text written on them in every conceivable (and inconceivable) language. There is a short, elderly woman walking between them
   
5. a large colloseum, with people streaming in and out. Inside the loud cheers of audiences and the grunts of battle can be heard DM note: to reach the Lord, the players must roll 1d6, and are accepted on a 6+. If they enter the arena, they can fight a number of monsters, each of whcih will add +1 to their eventual roll (adjust to suit level of party, this was for 2 level 6 chars):
   

   1. [Giant Boar](https://5thsrd.org/gamemaster_rules/monsters/giant_boa) 2. [Centaur](https://5thsrd.org/gamemaster_rules/monsters/centau) 3. [Berserker](https://5thsrd.org/gamemaster_rules/monsters/berserke) 4. [Bandit Captain](https://5thsrd.org/gamemaster_rules/monsters/bandit_captain/) 5. [Hyppogriph](https://5thsrd.org/gamemaster_rules/monsters/hippogriff/) 6. [Dire wolf](https://5thsrd.org/gamemaster_rules/monsters/dire_wolf/) 

6. Faceless voids are wandering about, with scared people and animals hiding wherever they may
   
7. 2 magic circles, each surrounded by either blue or red mages, each summoning monsters to attack the other DM note: each circle is headed by 1 Mage ( https://www.dndbeyond.com/monsters/16947-mage) (adjust to suit level of party, this was for 2 level 6 players (mages would lose spellslots 4 & 5))
   
8. A lost caravan, but the carts and the clothes all seem odd DM NOTE: they're from the future :)
   
9. an eternal armies of zombies, marching in from the north and exiting from the south
   
10. A large city of steam and steal, occupied only by robots DM note:they're scared of fleshy things - the concept of rot and decay is lovecraftian to them
    
11. A grand palace, but everyone inside and out is frozen in place, not moving or responding to any prompt
    
12. A panopticon-style prison
    

GOAL:

1. Find a blue goat and feed him
   
2. there is a bomb somwhere, dismantle it DM note: the players have 1h real-time to accomplish this
   
3. Capture a flaming bird
   
4. Kill the Lord of the system
   
5. Attend a wedding (between sentient creatures)
   
6. Win a competition
   
7. Make the world go dark
   
8. Create a fire 80 meters tall
   
9. Introduce a new festival to the denizens of the region
   
10. Swim in a pool of blood
    
11. Survive DM note: this one's fun, but bery DM dependent
    
12. learn 10 new recipes
    

WILD MAGIC:

1. The players become the size of mice
   
2. The players can speak only lies
   
3. NPC's recognize the players (1d6 on attitude):
   
   1. happy
   2. angry
   3. sad
   4. neutral
   5. seeking revenge
   6. afraid
4. All objects the players touch become animals
   
5. 2 previously used wild magics are activated simultaneously (if fewer than 2 have been used so far, instead reveal 1 or 2 wild magics as needed plus any previously used ones)
   
6. The edge of the region is on fire. The fire is slowly closing in
   
7. The players keep changing places with each other DM note: whenever they roll a die, on below a 5 they change places with the player the number rolled
   
8. Players are 6 years old again
   
9. Whenever a player rolls a 1-5 on a d20, a random spell of that level / 2 (1-2: 1; 3-4: 2; 5: 3) is cast centered on the player
   
10. the stars are falling
    
11. There is an assassin in the world, whose sole purpose is to kill the players
    
12. every player rolls a 1d6, they feel super:
    
    1. happy
    2. angry
    3. sad
    4. depressed / hopeless
    5. jealous
    6. overconfident

We open with Joe Kagen tending to his farm. The credits say “Leon Charles” as Mr. Standish. Oh my God, I thought we were done with this fool. Charles and Jonathan arrive and inform Joe that the Elders of the Church will be voting again on his application. The previous voting has been deadlocked at 3-3, with Charles, Jonathan and Doc Baker voting to approve, and Nels, Harriet & Judd Larabee voting against. I don’t know much about religion, but how the heck did Judd Larabee become a church elder? Charles and Jonathan take off. At the Ingalls homestead, Caroline announces that if Lars were still around, the whole matter would have been settled by now. I’m guessing Judd took Lars place after he passed away. At church, Harriet has one of her lesser moments by going on a racist tirade complete with scare tactics, which is backed up by Judd. Rev. Alden doesn’t get a vote, which is just weird. It’s his church. And isn’t everyone welcome at church? I’ve stopped trying to understand these things. Nels has had ENOUGH of this garbage and the ayes have it at 4-2. Harriet and Judd storm off while everyone remaining celebrates. Over at the Winoka School For The Blind, Mr. Ames informs everyone that Mr. Standish (Boo!) has bought the place out and will be converting it to another hotel. Mary and Adam send word back to the Grove about the school closing. Charles, Caroline, Alice, Jonathan and Reverend Alden are gathered at I believe the porch of the Garvey residence to discuss the latest events. Alden suggests that Lars’ old house be converted to accommodate the blind school. I don’t have a problem with this, but how did Lars end up with such a huge house? He never married or had children.
Alden decides to ask for a vote of confidence on the matter at church, stating he was unable to sell the house. The matter is approved unanimously. Joe Kagen donates a sow, Judd Larabee donates a cow (didn’t mean to channel Dr. Seuss there). Harriet donates all of the supplies needed to restore the house, including shingles, paint, lumber and nails. Nels smiles approvingly as he seems to have had his faith in his wife restored after her earlier outburst. Oh, and Harriet is also donating the plaque. Thankfully, this doesn’t end up a rerun of the bell episode which left the town divided. Mr. Ames informs Mary and Adam that a telegram from Walnut Grove has arrived and asks them if they want him to read it (Ya think? THEY’RE BLIND!) – Mr. Ames reads the note and informs everyone that Walnut Grove has adopted their school and will be coming to transport them back to their new home. Everyone is relieved, but the celebratory mode is short-lived as Mr. Ames informs Adam that he will be retiring due to health reasons instead of making the move. This might have more of an impact had we known Mr. Ames better. Back in WG, everyone gets to work cleaning up the house in preparation for the arrival of the blind school. Do they need to get that detailed, I mean, it’s not like anyone that’s living there is going to be able to see if there’s a smudge on the window or anything. Oh, it’s announced the Winoka Blind School will be merging with another blind school – run by Hester Sue Terhune of St. Louis. Harriet is ecstatic at the thought of meeting a St. Louis Terhune, believing she is incredibly wealthy. This requires another wagon, so Charles ropes Joe into coming along.
Charles and Joe arrive in Winoka to begin the move, but there’s a problem. Adam’s team of horses that he bought from Mr. Standish have ribs showing. Adam announces that he traded all of the blind school’s furnishings and food for the horses. Adam also sold the family cow for these magic beans. Adam tries to deflect blame for that by arguing that he got Mr. Standish’s word IN WRITING! I don’t think the writers have fully latched onto the subject that THE BLIND CANNOT SEE! Joe and Charles walk the horses over to the saloon. Standish is unamused by this, but starts to backpedal when Charles and Joe explain to his customers how he cheated the blind school. Standish agrees to let them trade for any team in the livery and a wagon.
Everyone gets ready to make the move as Harriet yoohoo’s and waltzes over, having taken the stage from Brookings to meet Mrs. Terhune in person. Mr. Ames says his goodbye to the children, who show no emotion at all. The blind children are tethered to the wagon and will have to walk the entire time. Haven’t they been through enough? The journey begins and Harriet loses a heel. Joe’s taunting laugh is pretty funny. The group encounters a river and Adam has considerable trouble getting across. Adam asks Charles if there any more rivers ahead. Charles replies that there’s only one more and Adam says it will be better for the children. Putz.
PART TWO! – Everyone meets up with the other blind school, which is just getting off the train. Harriet wasn’t expecting that Hester Sue was actually from Pascagoula, Mississippi as opposed to St. Louis, Missouri (nor that everyone at this school is black). Also of importance is that Hester Sue is sighted and I guess she is effectively taking Mr. Ames place, albeit in a more hands-on role. Joe tries to get on Hester Sue’s good side right off the bat, but she doesn’t sound like she’s in the market for a man. Joe tries his luck again that night as everyone is camped out and trying to shelter from the rain, but Hester Sue greets him with a rifle in the face. That’s a little over dramatic. Joe talks to Sampson, a young black boy who was treated rudely by Harriet earlier. Joe tries to explain racism to Sampson, but he doesn’t fully understand since he only sees darkness and not different colors. Harriet overhears and it looks like the message is starting to sink in. Back at the Ingalls homestead, Albert tries smoking Pa’s pipe. Laura chastises him for trying to act older than he is – which is pretty remarkable since Laura did that constantly in her youth, then when she finally became an adult she started acting like a child. Albert turns green and runs off to vomit. If he would have remembered how awful smoking is, it would have prevented a lot of misery in the future.
The next day, the journey resumes as Harriet’s opinions on racial relations have evolved and she now says that there is no such thing as a right color or a wrong color. Atta girl. Back in WG, the plaque is delivered – it’s huge, heavy and bronze. The journey continues as everyone reaches that other river. The rainstorm from last night has made the water too high to cross the same way as before, so Charles and Joe use ropes and a rig and a makeshift chair to get everyone across. As Harriet is going across, Charles lets go of the rope and Harriet is dunked in the water and of course, Charles laughs at her misfortunes. Adam is next, but he won’t budge and just holds onto the rope with all of his might. Joe and Hester Sue try to get Adam to let go of the rope, but he yells and pushes Hester Sue (a woman) to the ground. In return, Joe punches Adam and knocks him out. Joe punches Adam and knocks him out. Oh sorry, that was me hitting the rewind button because I loved that part so much. Joe explains to Hester Sue that he had no choice but to do that (no explanation necessary Joe). That night, Joe and Hester Sue talk once more and Hester Sue tells Joe that he conducted himself nicely that day, but that she has been married before and has no intentions of being married again. Joe explains to her that Walnut Grove is different from St. Louis in that St. Louis has a lot of black folks, but Walnut Grove does not. Elsewhere in camp, Adam wakes up from whatever sleep he was in and tells Mary that the reason he was so afraid of water was because he lost his sight as a child after slipping on a rock in the river and knocking himself out. Okay, I could understand how he wouldn’t like rivers after that, but what is he afraid of? It’s not like he can go blind again.
Everyone closes in on Walnut Grove. Apparently, kids doing “Are we there yet?” dates back to at least the 1800’s. Everyone reaches their destination. Sadly, amidst the chaos and confusion, we get cheated out of Caroline’s ZOMBIE RUN! Another time, for sure. Judd Larabee comes out of the school and confronts Harriet, stating that maybe he could accept one black person in town, but a wagon full of black people is unacceptable to him (as most people of his kind, he’s a liar since he makes it clear he can’t tolerate Joe Kagen in “Barn Burner”). Harriet publicly lectures him on racism as Nels looks on approvingly. Alden gives us an inspirational message as everyone embraces. The blind children still don’t seem all that enthused about anything, but maybe they can predict the future and know that this blind school is going to be short lived? Who knows?
EPISODE WINNER – Joe Kagen – not only was he hilarious throughout, but he got to punch Adam which is something most everyone wanted.
EPISODE LOSER – Adam, for being a coward and a liar and physically assaulting a woman and foolishly allowing the blind school to be cheated by someone he knows is unethical. Also Larrabee, a pathetic presence whenever he surfaces.

Watch ultimate on ESPN channels: A guide

A few times a year ultimate will find its way to an ESPN-channel such as ESPN3, ESPN+, ESPNU, etc. There are usually a number of questions about how to watch ultimate on this platform, so I've compiled a few of the most common and put them below for easy reference.
Definitions

• ESPN3 is an online-only platform where games are streamed via internet or internet devices such as Roku, Fire TV, Apple TV, etc.
• ESPNU and ESPN2 are traditional television channels which can be watched on both TV and online. These channels are often, but not always, included in cable packages.
• ESPN+ is a monthly subscription service that does not require a cable package.

When can ultimate be found on ESPN channels?
The following tournaments sometimes broadcast games on an ESPN channel:

• D-I College Nationals
• Club US Open
• Club Pro Champs
• Club Nationals

Typically, pool play games and early bracket play will be broadcasted by USA Ultimate or a third party such as Ultiworld, while ESPN will cover semifinals and finals.
For the 2023 D-I College Nationals, semifinals will be on ESPN+ and finals on ESPNU.
What's the deal with ESPN+?
Beginning in 2023, some ultimate games will be broadcasted on ESPN+, not ESPN3. This is a substantial change for two reasons: (1) It almost certainly requires users to pay to watch, as there are few, if any, free workarounds like with ESPN3. But (2) it is considerably simpler to set up and watch, which some technology-adverse folks may appreciate.

1. Go to Plus.ESPN.com and follow the steps. The cost is $10/month for the standard bundle or $13/month for a bundle including Disney+ and Hulu. There are no free trials for ESPN+.
2. Once logged in and subscribed, simply visit the Schedule page and click on the USA Ultimate stream you'd like to watch.
3. You can watch ESPN+ on a wide variety of devices and apps.

NOTE: ESPN+ does not include access to ESPNU.
Cost-Saving Methods

• You can save $1 for the month plan through Rakuten, or $12.50 for the annual plan. The annual plan also provides two months for free.
• Verizon customers with a 5G Get More or 5G Play More plan may qualify for free access.

How can I watch games on ESPNU or ESPN2?
ESPNU and ESPN2 games are vastly easier (and free) to watch as they are dedicated TV channels. In addition to the methods below for watching ESPN3 games, also try:

• Just turn on your TV and cycle through. You may have access even if you didn't realize.
• Go to a bar or restaurant and ask a bartendeserver to change the channel. Be patient, and tip well.
• Google "free ESPNU" or "free ESPN2 stream" or something similar. Look for sketchy-looking URLs and domain names. I'm serious - there are many sites streaming these channels for free, and they ALL have dodgy URL names. Just close any pop-ups that appear. A couple I recommend are tv247us[dot]com/watch/espn-u/ and bigbro8fan[dot]weebly[dot]com.

I'm an international viewer. How can I watch?
For years watching ultimate from outside the US has ranged from difficult to downright impossible. It's often required a combination of VPNs and free trials, or the service of a user to provide a bootleg stream link. At D-I College Nationals in 2023, USAU has developed a solution, offering a paid package that covers all semifinals, as well as the finals.

• The package is $12. Click here to buy it.
• USAU says there is a geo-fence that prevents users in the US from watching. I'd be curious how rigid it is - perhaps it could be watched in the US using a VPN like Hola? That's speculation though... if anyone tries it, let me know if it works.

How can I watch ultimate games online, such as on ESPN3 (or ESPNU but online?)
If you have a cable package with ESPN3 access, it's super easy:

1. Go to WatchESPN.com or the ESPN section of your app and look under the 'Also Live' section. You may need to click See All and scroll down.
2. You can also try searching directly for 'ultimate' or 'USA' or 'disc'.
3. There are also usually direct links to these games. Check the sidebar of this subreddit (you may need to be on old.reddit.com), or look on the USAU Broadcast Schedule page.

If you don't have a cable package with ESPN3 access, there are several workarounds with varying rates of success.
US Residents:

1. First, if you have any cable package, visit WatchESPN.com and log in with your cable provider, just in case. Sometimes ESPN3 is complimentary, or you have an ESPN package that you don't know about.
2. If you have access to a college campus or military base, simply connect to its wifi and visit the site above. ESPN3 is free and included for most colleges and military bases in the US.
   Note: You can often access college campus wifi even if you're not a student. Connect to the Guest wifi or ask at the local visitor center. For military base wifi, a simple workaround is to hop the fence or charge the gate. Free access for a year or more.
   
3. Try a free trial of a service that includes ESPN3 access, such as Fubo, Hulu TV, or Youtube TV. Some of these services may let you register for a new free trial on the same account/card if enough time has passed.
   Once you have a trial, use the service platform to browse to the game or website, or visit WatchESPN.com directly and login with your service credentials there.
   
4. If nothing else, try a pirated stream link (see below). Be sure to close any pop-ups.
   

International Residents:

1. Follow Step #3 above but with a couple of extra steps.
   First, you'll likely need a VPN to spoof your location. Hola is free and easy, but Nord, Express, etc are also options. You can also try this non-VPN method.
   Second, you may need a US credit card for the trial. If you don't have one, try Paypal or buy a Google Play gift card and use that.
   
2. Another option is a free trial of ESPN Player. This is an official service provided by ESPN to viewers in Europe, Africa, and the Middle East. See this post for more details. Note that ultimate is not always offered on ESPN Player.
   
3. If all else fails, you may be able to find a pirated stream link. TV247US[dot]com/espn-3 (or tv247[dot]us/espn-3/) and MyGoodStream[dot]pw/espn are good places to start. RareTode (saswink), EatPrayFartSomeMore (EatPrayFart), and Sascha Vogel (ultimatesascha) have streamed on Twitch or Youtube in the past. Or try this suggestion.
   

The event is over. Can I still watch the ESPN games?
ESPN tends to archive games on WatchESPN.com for a few weeks. Just login with whatever login method you have, go to Schedule & Replays, click Replay, then use the filters to find the games. For ESPN+ games, you might need to login to ESPN+ first.
However, some games may simply not be viewable, even if they have direct links that still work. See this thread for details.
USAU will upload the games to Youtube at some point, but it may take X months to get there. They may also quietly upload the games to their Watch page and just not tell anyone. ಠ_ಠ

Area residents are being asked for their help in locating Kevin David Eby.
Eby, who grew up in Toccoa and was a graduating member of the class of 1990, Eby was last seen on Sunday, May 14, at 10:30 p.m. at his home in South Carolina.
Eby, according to his wife, has Huntington’s Disease, which is known to cause memory lapses, inability to concentrate, and depression, among other disorienting symptoms. According to family members, Eby has been off of his medication for the disease for several days.
Eby was last known to be driving a blue 2011 Nissan Versa with South Carolina tag 1123JS.
Eby, 50, is 6’1”, weighs approximately 185 pounds, and has brown hair and hazel eyes.
If anyone has any information on Eby’s whereabouts, please call the Stephens County Sheriff’s Office at 706-886-2525. If you have seen Eby’s vehicle, please do not disturb the vehicle before calling the Sheriff’s office.
Huntington’s diseaseis a progressive brain disorder that impairs functional and cognitive abilities, according to the National Library of Medicine. According to The Alzheimer’s Association, “the hallmark symptom of Huntington’s disease is uncontrolled movement of the arms, legs, head, face and upper body. Huntington’s disease also causes a decline in thinking and reasoning skills, including memory, concentration, judgment, and ability to plan and organize.”
Click here for more information on Huntington’s Disease. Kevin David Eby Missing – Toccoa

Kevin David Eby Missing – Toccoa
The post Citizens being asked for help locating former SCHS graduate appeared first on WNEG.
from News Archives - WNEG https://ift.tt/eaO2E7X

So here is the deal, my grandmother is 100 years old as of April 20203, she suffers from full blown dementia and stage four Alzheimer's, it has broken my heart as she was a mother to me and my best friend my whole life. She was diagnosed over ten-years ago, and at the time BEN, was the only one in the family that had gone to school to get his PHD. Because of this he decided he would be the best person to be her conservator.
Even with his status and accomplishments, the thing about BEN is, he is and was just a disgraceful guy. Wasn't liked by any of his colleagues, had no friends, had a terrible bedside manner, was rude and arrogant, and basically was hated by most of the people who he worked with. It ended up leaving him a one star review on yelp by real patients and so on.. I then looked him up and started reading about how he was being investigated by the FBI because he and his co workers had partaken in some sort of embezzlement and insurance fraud and had several patient complaints.
He got conservatorship over my grandmother when she was diagnosed because he said he could help her because he was a doctor, mind you, he is a urologist, and my grandmother t the time was extremely wealthy and he had made comments my whole life about getting her money. Fast forward to, I just got served with a restraining order which he filed FOR MY GRANDMOTHER, in her place, saying nothing but lies and saying he thinks I am going to go where she resides to ( and he literally used the word homicide in the papers....) and kill her or hurt her so I can get a life insurance policy.
That being said I missed my hearing the day of because I was very ill and bed ridden, I called the clerk to let her know that not only did I live 6 plus hours away but i was severely ill and asked if there could be a continuance...etc..she said everything would be fine- Cut to now. I missed the hearing and the restraining order was granted to be in effect until 2026 meaning at the time my grandmother would be about 103 or more years old, which is obviously not going to happen due to her current condition and health.
My question is this, based on principle and the fact that i work with children and older people in my job, do I get a lawyer and try to terminate this? everything in this order is a lie and I dont know if its even worth it to try and fight it. I saw my grandmother one last time in January on new years, from another state BEN called the police to tell them I wasn't allowed to be there without him present. She has the state of mind of basically a one year old who cannot speak. It was so sad that thats when I decided that wold probably be the last time I would see her and I needed to say my I love you's and goodbyes then.
It honestly broke my heart and now I am left trying to figure out how to deal with BEN, he's already managed to steal hundreds of thousands of dollars from her, and continues to keep her alive- Basically as a vegetable ( not to be mean but its the honest truth) she would be beside herself if she knew how she has been mistreated and abused these last 7 plus years. Even My grandfather before he passed said BEN was awful and terrible to them and he hated him but he just wanted his wife alive. It was the saddest thing.
SO here we are at the crossroads, he has smeared my name with lies and deceit, and has taken advantage of a poor woman who is not of sound mind. I want desperately to be able to help her and solve all the issues but now that cant even call or go near her, and I really don't know what to do. Also its weird because she cant receive any type of mail, it just gets returned, and she cant receive phone calls from me etc.
When you type her name int google it pops up that she is deceased, which is also very strange seeing as how she is alive. please if anyone cares to read this whole thing and give me some sort of advice i would really appreciate it.All I want is for my name to be cleared and for my grandmother to have some JUSTICE. Is it worth it to get an attorney based on principle? IS there any way to do ANYTHING??
​
​
Please please, let me know. Any advice is appreciated.

[SOLVED] It was a mod called "Psyker Powers 2.0". I don't know if this was due to some sort of interaction/conflict with another, all I know is that after hours of trial and error - disabling this fixed this issue immediately.
I've posted on the fo4 mods sub but no luck so far, hoping maybe one of you might be able to help.
I've spent last hour disabling loads of sets of mods (I can't disable all of them, instant CTD when opening F4) and loading and still the same bug. Dropping a gun, drops it, and then instantly readds another copy of it (sometimes a variation of the gun). Even removing the items via console commands doesn't remove them. It's ONLY weapons/throwables in the weapons tab that do this, every other tab works as normal.
I'm hoping someone recognizes the bug and saves me so much more troubleshooting... (THANK YOU)
Here's my mods (there's a lot..):
Automatically generated by Vortex
*StartMeUp.esp
*StartMeUpNukaWorldPatch.esp
*StartMeUpShaunDefaultAppearance.esp
*Unofficial Fallout 4 Patch.esp
*ArmorKeywords.esm
*HUDFramework.esm
*WorkshopFramework.esm
*MutantMenagerie.esm
*MutantMenagerie_FarHarbor.esm
*SouthOfTheSea.esm
*JonsMod.esm
*DCGuard_Overhaul.esp
*SS2.esm
*SS2_XPAC_Chapter2.esm
*BetterCoastalWaves.esl
*Munitions - An Ammo Expansion.esl
ResourcesExpanded.esm.ghost
BasicMining.esl.ghost
*TheFarmlands.esm
*InstituteTechnologyOverhaul.esm
*TheMarshland.esm
*TheMarshland-MutantMenageriePatch.esl
*FrozenValley.esm
CWPointLookoutFO4.esm.ghost
*TheWilderness.esm
*SomberMountain.esm
*TheForest.esm
*TheCemetery.esm
*ProjectZeta.esm
*Darlene.esm
*TheSewers.esm
*TheMoleratTunnels.esm
*ProjectMojave.esm
*BlairResidence.esl
*Geckos.esl
*TheHouseOnTheLake.esl
*Bighorner.esl
*Centaur.esl
*TacticalReload.esm
*ConcealedArmor.esm
*AutoAxe.esl
*M84FlashBang.esl
*ShieldFramework.esm
*Overlays.esm
*Homemaker.esm
*Munitions - Vanilla Ammo Addon.esl
*Gunners Overhaul 1.1.esm
*CUPAPP.esm
*EthreonMasterPlan.esm
*SettlementKeywords.esm
*GTFOB.esl
*ExtendedWeaponSystem.esm
*MutantMenagerie_NukaWorld.esm
*ShipmentsExpanded.esl
*TrueStormsFO4.esm
*Robot Home Defence.esm
*IllumBillboardsAIO.esl
*Gritty Subway Stations.esl
*SwimmingAnims.esl
*RunningWithHandsAnim.esl
CWPointLookoutFO4Patch.esl.ghost
Resources Expanded - Recipes.esl.ghost
*SavrenXPropsAndJunk.esp
*VIS-G Item Sorting.esp
*LOST - AWKCR VIS-G Items and Weight.esp
*A Forest.esp
*Another Pine Forest Mod.esp
*UltraInteriorLighting.esp
*Unique NPCs.esp
*Unique NPCs - Creatures and Monsters.esp
*BTB- Beyond the Borders FO4.esp
*Phase4DLC.esp
*Enclave Resurgent.esp
*AWHD4KFull.esp
*NorthlandDiggers-Greygarden1.1a.esp
*BTInteriors_Project.esp
*VanillaExtensions.esp
*A Sensible Prydwen Overhaul.esp
*GunnersOverhaul.esp
*SouthOfTheSea[Previs].esp
*subwayrunnnernodynamic.esp
*Ketaros_Treasures.esp
*Remove Interior Fog - All Dlc.esp
*MODaquatic.esp
BTInteriors_Project[Previs_AIO].esp.ghost
*F4CR.esp
*3dscopes.esp
*MoreUniques.esp
*Creative Perks (everything).esp
*More Power Armour Mods.esp
*Better Locational Damage.esp
*Better Locational Damage - DLC_Far_Harbor.esp
*BLD - Leveled Lists - DLC.esp
*LOST Bleachers 2 Patch.esp
*LOST Sim Settlements 2 Patch.esp
*UnlockedTrailersProject[UTP]v2.0.esp
*OutcastsAndRemnants.esp
*NEST_BUNKER_PROJECT.esp
*SS2Extended.esp
*FunctionalDisplays-Collectibles.esp
*FunctionalDisplays.esp
*FunctionalDisplays-MISC-VIS.esp
*MojaveImports.esp
*CombatZoneRestored.esp
ConcordEXPANDED.esp.ghost
BeantownConcordExpandedPatch.esp.ghost
*Depravity.esp
*Vault4.esp
*Stm_DiamondCityExpansion.esp
*The Train.esp
*sectorv.esp
*AGNISNikaCola01.esp
*PAC.esp
*LOST - AWKCR VIS-G Apparel Bipods.esp
*Unique NPCs - BLD.esp
*PsykerPowers.esp
*MsAbominations.esp
*BTBfixA.esp
*America Rising - A Tale of the Enclave.esp
*InstituteTechnologyOverhaul - FULL.esp
*Eli_Armour_Compendium.esp
*Armor_Mods_Expanded_More_Slots_v1b2.esp
*BTBfixB.esp
*FAR.esp
*FarHarborStory.esp
*AA FusionCityRising.esp
*AnyModAnyWeapon2.esp
RaiderOverhaul.esp.ghost
*Relic Space Marine.esp
*Crossbow.esp
*CF_AtomicWarlord.esp
*AnS Wearable Backpacks and Pouches.esp
*WIPAG_Power Armor Overhaul.esp
*WIPAG_Vanilla_AWKCR_PA_Addon.esp
*AnS Wearable Backpacks and Pouches - Power Armor Carry Capacity.esp
*AzarPonytailHairstyles.esp
*BetterSettlers.esp
*Consistent Power Armor Overhaul.esp
Fallout 4 Plus 1.1.esp.ghost
*SpringCleaningCompatibilityPatch.esp
*RRTV_HomesAndBunkers_Coastal.esp
*F4llout76 - Mutations.esp
*ProjectDementia.esp
*FlaconOil_BA2_Upto4K_Part1.esp
*CCOFO4 - Traits and More Perks.esp
*VIS UFO4P Patch Vanilla Weight.esp
*ValdacilsItemSorting - WastelandImports TAGS.esp
*autoweapons.esp
*Better Locational Damage - DLC_Automatron.esp
*W.A.T.Minutemen.esp
*SailboatAbode.esp
*CombinedArmsNV.esp
*CombinedArmsEXPack.esp
*CAPP.esp
*DrunkenGnomes_Gnomepocolypse.esp
*Wastelander's Cookbook.esp
*WastelandEnergyShields.esp
*Pip-Boy Flashlight.esp
*RaceCustomizer.esp
*PIP-Pad.esp
*LooksMenu Customization Compendium.esp
*SancBridgeRestore1.esp
*CarAddon4.esp
Leaders Of The Commonwealth.esp.ghost
*WorldCars4.esp
*APC_Mobile_Base_v1.3.esp
*Better Locational Damage - DLC_Nuka_World.esp
*LOST WATM Patch.esp
LOST Raider Overhaul Patch.esp.ghost
*Better Locational Damage - Valdacil's Item Sorting - Patch.esp
*Children of Ug Qualtoth.esp
*KellyManor.esp
MilitarizedMinutemen.esp.ghost
*UniqueUniques.esp
*dD-Enhanced Blood Basic.esp
*EnclaveFactionItems.esp
*SKS.esp
*NorthernSpringsLODPatch.esp
*HalfwayRockLighthouse.esp
*TheBackrooms-ThePoolrooms.esp
CSEPLoadedBases.esp.ghost
*GrognakQuest.esp
*LOST - AWKCR VIS-G Lite Tweaks.esp
*RansackedRelay.esp
*Rsiyo'sLocationPack.esp
*Dank_ECO.esp
*Brotherhood Power Armor Overhaul.esp
*Dank_ECO-INNR.esp
*PAMAP.esp
*More Power Armour Mods - Automatron.esp
*BeastWhisperer.esp
*ExoticWorkshopCreatures.esp
*BeastMaster_ExoticCreaturesPatch.esp
*ProjectValkyrie.esp
*MjolnirMKVB.esp
*FarHarborCars.esp
*InsideJobs.esp
*DeathclawVariety.esp
*MODGirlyAnimation.esp
*Liberator.esp
*bbprepatch.esp
*nvvault1080.esp
*MoreBobbleheads.esp
*BioshockInspiredPowerArmor.esp
*LoadedBasesFSDPatch.esp
*LimaOutpost.esp
*stumbleuponinteriors.esp
*Noble Team Companions.esp
*NoVanillaRadiantDLCLocations.esp
*FPVertibird.esp
*standaloneconstruct.esp
*T47R_PA.esp
*FO4TribalPowerArmor.esp
cambridgefacility.esp.ghost
*ellen.esp
*DWUK_LexingtonInteriors.esp
*FainthearthManor.esp
*FOLON-StandaloneReleaser.esp
Dreamspace - Old House.esp.ghost
*SS2WastelandVenturers.esp
*Miami Misadventures EP1.esp
*llamaCompanionHeatherv2.esp
*0_Vault120.esp
*ECV_Remnants.esp
*RU556.esp
*LOST RU556 Patch.esp
*RU556Armouryprojectv3.esp
*Galac-TactREDUX.esp
*BH_MCX_Spear.esp
*PKMnv.esp
*MWIIChimera.esp
*QBZ191.esp
*MWIIstango25.esp
*Escape from Boston - MSBS Grot B.esp
*SPR300.esp
*Winters_FJX-Imperium.esp
*Groza.esp
*MWIIGolf17.esp
*GalactSpas-12.esp
*MercsAndMusic.esp
*NukaWorldCars.esp
*FO4 NPCs Travel.esp
*CHAOTIC SUN.esp
*Moon Exploration.esp
*DeathRift.esp
*[SS2 Addon] SimSettlements SuperStructures.esp
*Driveable Motorcycle Mod.esp
*BTB - Worldspace Data Override.esp
*FCOM.esp
*InsideJobs_UFO4P.esp
*ECV_Remnants1.1.esp
*M9A3.esp
*M870.esp
*RemoteExplosives.esp
*ConceptCentaur.esp
*TacticalReloadDLC.esp
*LeverActionBCR.esp
*Binary Speech Checks V.4.esp
*SlowTime.esp
*Faster Terminal Displays (20x).esp
*Multiple Floors Sandboxing.esp
*EnclaveX02.esp
*LOST Enclave X02 Patch.esp
*More Power Armour Mods - X-02.esp
*Realistic Death Physics - ALL DLC.esp
EveryonesBestFriend.esp.ghost
*SurvivalOptions.esp
*DX_Rogue_Prototype.esp
*BoS Medic Battle Suit.esp
*ConcealedArmor.esp
*Ev_CPA10.esp
*EV_CPA10_LL.esp
*LegendaryModification.esp
*LegendaryModification2LM.esp
*HAAS Automatron AE 2LM Edition.esp
*HAAS Core AE 2LM Edition.esp
*HAAS Nuka World AE 2LM Edition.esp
*Mark V[B] Armory.esp
*Rakshasa Armory.esp
*Rakshasa Armory Camo.esp
*WES-VIS.esp
*QBZ191_TR_patch.esp
*BH_MCX_Spear_STS_Patch.esp
*[BFV]Kar98k.esp
*BH_MCX_Spear_LvlListPatch.esp
*FISTICHUCKS!.esp
*SPR300_TacticalReload.esp
*SPR300_LvlList.esp
*Better Locational Damage - DLC_WWorkshop.esp
*M9A3_LvlLists.esp
*M9A3_MunitionsPatchTR.esp
*rings1.02.esp
*BossChestsHaveLegendaries.esp
*CROSS_Blades.esp
*Explosives Expanded.esp
*Extended weapon mods.esp
*P90.esp
*P90NPC.esp
*FTS.esp
*CraftingLegendaryFix.esp
*Winters_FJX-Imperium_LL.esp
*Chainsaw.esp
*Chainsaw_LL.esp
*Pig1887Munitions.esp
*RealThrowingWeapons.esp
*Armament.esp
*SkibsWeapons-REDUX.esp
*EFB - MSBS Grot-B TR Patch.esp
*Vertidrones.esp
*LOST Church of Atom Patch.esp
*CF_AtomicWarlord_VIS.esp
*BLD_CoA_Patch.esp
*Better Chems - Valdacils Item Sorting.esp
*VIS - Skibs Weapons REDUX.esp
*Better Perks.esp
*NoCombatMusic.esp
*RaceCustomizer - LMCC Compatibility Patch.esp
*PIP-Pad_LMCC.esp
*PIP-Pad_Pip-BoyFlashlight.esp
*PIP-Pad_RaceCustomizer.esp
*AlexSleevePatcher.esp
*Scopes.esp
*LooksMenu.esp
LOST Beantown Interiors Patch.esp.ghost
*VIS - Beantown Interiors.esp
*VIS - Brotherhood Power Armor Overhaul V2.esp
*VIS - Brotherhood Power Armor Overhaul.esp
*VIS - CAPP Collectible.esp
*BobbleGirl.esp
*VaultGirl.esp
*Bauble_Bobble_1.02.esp
*ComicCollector.esp
*VIS - Comic Collector.esp
*VIS - DrunkenGnome.esp
Eli Armor Compendium AE VIS Patch.esp.ghost
*VIS - Eli's Armour Compendium.esp
*VIS - FN P90.esp
*VIS - Fusion City Rising.esp
*InsideJobs_VIS.esp
*VIS - Inside Job.esp
*LOST Unique NPCs Patch.esp
*Unique NPCs Essential Pack.esp
*ModdableRobotSettlers.esp
*VIS - Moddable Robot Settlers.esp
*LOST Outcasts and Remnants Patch.esp
*VIS - Outcasts and Remnants.esp
*RealComics.esp
*VIS - Real Comics.esp
*LOST Stumble Upon interiors Patch.esp
*VIS - Stumble Upon.esp
*LOST Backpacks and Pouches Patch.esp
*ValdacilsItemSorting - Wearable Backpacks and Pouches TAGS.esp
*VIS - Wearable Backpack Weave.esp
*VIS - Wearable Backpack and Pouches Power Armor.esp
*CL Patch - Depravity VIS-G.esp
*LOST America Rising Patch.esp
*ClassicBehemoth.esp
*LOST Behemoth Patch.esp
*LOST Blades Patch.esp
*LOST Centaur Patch.esp
*LOST Chainsaw Patch.esp
*LOST Unique Creatures Patch.esp
*D.E.C.A.Y.esp
*MK_ComponentsRedone.esp
*LOST Components Redone Patch.esp
*LOST Construction PA Patch.esp
*Creative Perks (Companion Perks).esp
*LOST Creative Companions Patch.esp
*LOST Creative Perks Patch.esp
*LOST Crossbow Patch.esp
*LOST DECAY Patch.esp
*LOST Darlene Patch.esp
*LOST Depravity Patch.esp
*LOST Diamond City Expansion Patch.esp
*LOST Eli Compendium Patch.esp
*LOST Ellen Patch.esp
*LOST Remote - Expanded Explosives Patch.esp
*LOST Explosives Expanded Patch.esp
*[ARRETH] FGEP.esp
*LOST FGEP Patch.esp
*[ARR] FallEvil - Palehead.esp
*LOST FallEvil Patch.esp
*LOST Fourville Patch.esp
*LOST Fusion City Rising Patch.esp
*LOST Galac-Tac Redux Patch.esp
*LOST Heather Patch.esp
*LOST Homemaker Patch.esp
*LOST Huntress Manor Patch.esp
*ImmersiveAnimationFramework.esp
*LOST IAF Patch.esp
*InstitutePowerArmor.esp
*LOST Institute PA Patch.esp
*LOST Kelly Manor Patch.esp
*LOST Lima Detachment Patch.esp
*LOST Machine and Her Patch.esp
*LOST Mjolnir Patch.esp
*LOST NPC Travel Patch.esp
*OWR.esp
*OWR2.esp
*LOST Old World Radio 2 Patch.esp
*LOST Old World Radio Patch.esp
*LOST Phase4 Patch.esp
*LOST Project Valkyrie Patch.esp
*LOST Quad-Barrel Patch.esp
*LOST Ransacked Relays Patch.esp
*LOST Real Throwing Weapons Patch.esp
*LOST Remote Explosives Patch.esp
*LOST SS2 Chapter 2 Patch.esp
*LOST SS2 Extended Patch.esp
*LOST SS2 Wasteland Venturers Patch.esp
*SalvageBeacons.esp
*LOST Salvage Becons Patch.esp
*LOST Sector Five Patch.esp
*LOST See Through Scopes Patch.esp
*LOST Tribal PA Patch.esp
*LOST True Storms Patch.esp
*LOST Ug Qualtoth Patch.esp
*LOST Vault 1080 Patch.esp
*SS2AOP_VaultTecTools.esp
*LOST Vault-Tec Tools SS2 Patch.esp
*LOST Workshop Framework Patch.esp
*Reverb and Ambiance Overhaul.esp
*AWCKR-P90.esp
*PowerLinePhysics.esp
*ImprovedNuke.esp
*AnS Wearable Backpacks and Pouches - Ballistic Weave.esp
*AnS Wearable Backpacks and Pouches - AWKCR.esp
*FPV_Armored.esp
*OWR2_CraftableDecor.esp
*OWR2_CraftableDecor_CW.esp
*OWR2_CraftableDecor_CW_SKPatch.esp
*OWR2_CraftableDecor_SKPatch.esp
*OWR2_SKEPatch.esp
*SS2_CityPlanPack_RiseOfTheCommonwealth.esp
*SS2WastelandReconstructionKit.esp
*VividFallout - AiO - 4k.esp
*FlaconOil_BA2_Upto4K_Part3.esp
*FlaconOil_BA2_Upto4K_Part2.esp
*dD - Small Splatter Size.esp
*Power Armor HUD Switcher.esp
*Crows&Creatures_V1.esp
*SlowerGhouls_50_percent.esp
*SlowerGhouls_NoLungeAttacks_Both.esp
*Homemaker - Greenhouse and Bunker Disabler.esp
*BetterJunkFences.esp
*LegendaryModification Enhanced.esp
*HAAS.esp
*HAAS - Automatron.esp
*LegendaryModification - DLC Far Harbor.esp
*LegendaryModification - DLC Far Harbor (2LM).esp
*LegendaryModificationGroknak.esp
*LegendaryModificationMisc.esp
*AWKCR - Mod Power Armor Engine Glitch Fix.esp
*AIO SS.esp
*DN Music.esp
*Faded Glory - Soundtrack Expansion.esp
*DNMega.esp
*Dynamic Music Overhaul.esp
*BPAO - PAMAP 2.0 Patch.esp
*BPAO - ValdacilsItemSorting.esp
*Northland Diggers New.esp
*Northland Diggers - Fixes (Tweaked).esp
*X01Light.esp
*DCGuard_Overhaul-DCEPatch.esp
*Noble Team companions - Mark V[B] Armory Patch.esp
*tumbajamba Advanced Engineering.esp
*B35_PowerArmor.esp
*WIPAG_B35_Addon.esp
*combat_PA.esp
*WIPAG_Combat_Addon.esp
*WIPAG_Construction_Addon.esp
*WIPAG_Contraptions_DLC_Addon.esp
*WIPAG_FarHarbor_DLC_Addon.esp
*WIPAG_Institute_Addon.esp
*WIPAG_NukaWorld_DLC_Addon.esp
*WIPAG_Relic_Addon.esp
*tank_PA.esp
*WIPAG_Spartan_Addon.esp
*WIPAG_Submersible_Addon.esp
*WIPAG_Tribal_Addon.esp
*WIPAG_VIS-G_Addon.esp
*WIPAG_X02_Enclave_Addon.esp
*RedRocketReborn.esp
*CAMP.esp
*AtomGreatness.esp
*Better Vendor Stalls.esp
*SS2_ruined_simsettlement_addonpack.esp
*BuildTreehouse.esp
*JunkTownTwo.esp
*CabinInTheWoods.esp
*BoxHouses.esp
*BPAO - Automatron Patch.esp
*BPAO - PAMAP 2.0 Automatron Patch.esp
*BPAO - ValdacilsItemSorting - DLCAutomatron.esp
*Northland Diggers.esp
*OWR_AOC.esp
*GT_pipboy.esp
*WCB - ViS Sorting Patch.esp
*FunctionalDisplays-AID-VIS-WI.esp
*FunctionalDisplays-Patch-DLC-ALL-VIS.esp
*IcebreakerCDO-Settlements.esp
*OWR_CraftableDecor.esp
*OWR_CraftableDecor_CW.esp
*OWR_CraftableDecor_CW_SKEPatch.esp
*OWR_CraftableDecor_SKEPatch.esp
*OWR_SKEPatch.esp
*RAO - OWR patch.esp
*SS2_DLCSettlerPatch.esp
*PlayerH2HAnim.esp
*VtawWardrobe8.esp
*BetterSettlersCCAPack2.0.esp
*GunnerOverhaul_UniqueNPCs.esp
*Unique NPCs FarHarbor.esp
*Unique NPCs_SpecialSettlers_All.esp
*Vivid Fallout - Complex Parallax Rocks.esp
*CBBE.esp
*OWR_ChristmasDecor.esp
*OWR_ChristmasDecor_CW.esp
*OWR_ChristmasDecor_SKPatch.esp
*CPAO - PAMAP 2.0 Patch.esp
*BobIguanaDiner.esp
*WastelandBillboards.esp
*PipeGalore.esp
*Boats.esp
*SLR.esp
*RaceCustomizer - Fusion City Rising Compatibility Patch.esp
*RaceCustomizer - Far Harbor Compatibility Patch.esp
*combat_PA - tAE - AWKCR.esp
*tank_PA - tAE - AWKCR.esp
*GalactSpas-12_TR_Patch 1.1.esp
*FCOM-AR.esp
*DN Far Harbor.esp
*STALKER Music_Complete.esp
*Elzee_idroid.esp
*MoreRobotVoices.esp
*dbwConcreteWallPower.esp
*StoneShit.esp
*AA Better Companions - No Conflicts.esp
*Dogmeat A True Companion Normal.esp
*DarleneDLC.esp
*MAID_by_Justice.esp
*free_downgrades.esp
*free_downgrades_DLCCoast.esp
*free_downgrades_DLCNuka.esp
*MoBettaScrap.esp
*Nuka World Bot Fixes.esp
*ScrapDeadThings.esp
*DCWestSuperMutants.esp
*DD_All_the_COncrete.esp
*GojiraStandard.esp
*MutantMenagerie_Scripts.esp
*PlutoniumCreatures.esp
*[PPE] Wastelander's Cookbook + Mojave Imports [Patch].esp
*llamaCompanionHeatherV2-VIS Patch.esp
*Passthrough.esp
*TrueStormsFO4-FarHarbor.esp
*TrueStormsFO4-NukaWorld-FH-Compat.esp
*OWR_SFM.esp
*SS2_XDI Patch.esp
*SS2_SIMPDDDD.esp
*SimSettlements2_AddOnPack_ApocalypticAdditions_SirLach.esp
*SSEX.esp
*RadioEnhanced_1.1.esp
*More Where That Came From Diamond City.esp
*FPVBoSPilot.esp
*PAVertibirdDockFix.esp
*PAVertibirdNoFSTFix.esp
*Elvani's Track Pack - FIX.esp
*DV-Very Durable Vertibirds.esp
*FHSBonus.esp
*Gritty Subway Stations.esp
*Remote Explosives AWKCR Patch.esp
*Reload Sounds.esp
*Vioxsis_Strap-Ons.esp
*MojaveImports - Combat Addon.esp
*FOLON Standalone Releaser - Munitions Patch.esp
*Project Mojave - Munitions Patch.esp
*X-02 PipboyLight Patch.esp
*CF_AtomicWarlord_CBBE.esp
*IAF - Far Harbor & Nuka World.esp
*LegendaryModification - DLC Far Harbor (2LM Concealed).esp
*LegendaryModification2LMConcealed.esp
*Dank_ECO_DLCCoast.esp
*Dank_ECO_DLCNukaWorld.esp
*Dank_ECO_DLCRobot.esp
*Tifa_Lockhart_Race.esp
*3dscopes-ru556.esp
AWCKR-870PumpShotgun.esp.ghost
Better Locational Damage_ Raider Overhaul_Valdacil_Patch.esp.ghost
FCOM-C1PH3RX02.esp.ghost
HAAS Far Harbor AE 2LM Edition.esp.ghost L egendaryMod2LMAnyModAnyWeap.esp.ghost L OST BR77 Patch.esp.ghost L OST Militarized BLUE Patch.esp.ghost
VIS - Elpha's Unique Chems VW.esp.ghost
WastelandWorkshopPatch.esp.ghost
*PlayerComments.esp
*AmazingFollowerTweaks.esp
*LOST Amazing Follower Patch.esp
*LOST StartMeUp Patch.esp
*PlayerComments_BeastMaster_Patch.esp
*Scrap Everything - Ultimate Edition.esp
*WorkshopFramework_ScriptOverride.esp

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