I Am Anne Frank, Part 1

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So I guess this is how the show decided to do the Arden's Backstory episode, huh? By introducing Franka "Run Lola Run" Potente as a new inmate who claims to be the 20-years-dead Anne Frank. Not only that, but at the first sight of Dr. Arden, she begins screaming, recognizing him as a Nazi from Auschwitz named Hans Gruper. She tells Sister Jude her story and even though Jude starts out thinking her crazy, the idea that Arden could truly be a monster intrigues her. And it's exacerbated by two homicide detectives who come by to ask Arden about the accusations of a certain prostitute. They later ask Sister Jude questions about Arden that make it clear they're investigating him as a possible Bloody Face culprit.

As for our currently incarcerated Bloody Face, Kit is having a rough go of it this week. Dr. Thredson is really pressuring him to admit he killed those women and in exchange he'll say he's crazy and spare him the electric chair. Thredson presents a whole scenario wherein the poor guy did kill Alma and those other women, and Kit begins to doubt his own sanity and innocence. He turns to Grace for comfort. She tells him her story -- she was framed for the axe murder of her father and stepmother -- and they get caught having sex in the kitchen. Later, Devil Eunice hands Kit Grace's file and it turns out she DID kill her father and stepmother, but only because he'd been raping her.

Dr. Thredson is also helping ("helping") Lana, as she's determined to get the hell out of Briarcliff any way she can. So she agrees to aversion/conversion therapy, which just looks awful. It involves her staring at sex-charged images of women while an IV drug makes her sick to her stomach; then later Thredson brings in some sad twink of a boy for Lana to put her hands on. It's all so awful and uncomfortable and Thredson feels bad enough about it later that he promises Lana he's taking her with him when he leaves in a week.

All this while, Arden's been experimenting on poor legless Shelley, injecting her with all manner of experimental serums, many of which are causing her skin to bubble and her hair to fall out -- it's harrowing. When Arden corners "Anne Frank" about her accusations, he locks her in his operating room, but she turns the tables when she pulls out a gun she swiped from the cops earlier. She shoots Arden in the leg and demands the key to his locked room. She opens the door to find Shelley, crawling, barely human anymore, begging for Anne to kill her.

Featuring Sophie's Choice, as performed by Anne Frank and Dr. Arden/Hans Gruper, and the Lizzie Borden murders, as performed by Grace.

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We begin our show this week by introducing some fresh meat. Frank is explaining to Sister Jude that the cops dropped off a woman for an "involuntary psychiatric hold." Basically, this woman was disturbing the peace in some way, had no ID on her and wouldn't talk to the cops, so they dropped her at Briarcliff. Frank says when he was on the force they used to do it all the time. He lets Sister Jude in to see the woman and she's being played by Franka Potente, of Run Lola Run and The Bourne Identity fame. Sister Jude exposits the circumstances of Franka's arrest for her/us: she was at a bar and some yahoos made an anti-Semitic remark, so she broke a glass and stabbed one of them with it. "He'll live," Franka says, "but he will never forget." Sister Jude gives some lip service to the atrocities that Franka's "people" endured. She asks if she lost anyone in the war and in response, Franka just starts whistling. Stymied and probably annoyed at her insolence, Sister Jude says they'll start treatment tomorrow morning.

Elsewhere in the hospital, one of the patients isn't having it so good. Poor Shelley, you guys. She's still strapped to the bed in Dr. Arden's secret lab. Her legs are, regrettably, still amputated at the knee. And now, it looks like Arden has been injecting her with all sorts of experimental serums. As a result, she's got blisters and pustules on her face, her vision is cloudy and I think her hair is falling out. He's using her like an animal testing lab at a cosmetics company, and probably far worse than that. "Am I gonna die?" she frantically asks (begs?) him. "Not exactly," Arden says, as he preps her injection. "As a matter of fact, after this, you'll probably live forever." Oh my GOD WHAT DOES THAT MEAN??? Shelley screams us into the credits.

Credits. Commercials. Then we're in the award-winning Briarcliff bakery (today's special: lithium scones), where Kit is stealing some time with Grace. She notices the bloody cut on his upper lip, which he says is nothing, but we have the benefit of flashbacks where we can see that the source of the wound was another trip to Arden's lab. This time, Arden got him naked (aw, yeah), where he seems to be demanding to know where Kit put the spider-chip. He can't see a new incision to mark where it might have been re-implanted. "What'd it do, crawl up inside you? Through which orifice?" That is a grim harbinger of what Arden's going to do with Kit , but all we see is that Arden X-rays the shit out of him. Grace asks him if this is the chip the aliens put in him to track him. He says yes, and knowing how strange that sounds, he asks if she still believes him. She says she does, though it doesn't matter what she believes. He says it does -- your story is all you have in here. He asks once again for Grace's story and this time she finally agrees. So Grace's story goes as such:

Young(er) Grace is in bed in the room that she shares with her stepsister. One night, they're both awakened by noises and Grace gets up to investigate. She creeps down the hall and peers into the room at the end, where she sees her father being axe-murdered by what turns out to be a farmhand. Grace runs away (in her little bunny slippers) and she kind of misdirects her pursuer to make him think she ran out the front door, but really she ducks into a closet. Which is a mixed blessing, because inside the closet are the chopped-up remains of her stepmother. Grace explains to Kit that the day her stepsister Patsy accused her of the crimes, as Patsy and Red -- the axe-murdering farmhand -- were lovers and planned the whole thing so they could have the farm for themselves. Congratulations? Grace says nobody believed her, but Kit's pouty lips say he does and her giant eyeballs look grateful that someone does.

Lana is meeting with Dr. Thredson, who wants to know why she and Kit and Lana returned to the hospital the other night after escaping. Lana stonewalls, but we see a flashback to movie night, where Sister Jude's conviction that "a Mexican, a deviant and a pinhead" were the ones who escaped make them think that Shelley really got out. So, you know, good for her. They also make a pact to never tell anyone about the Creatures they saw out there, lest they be branded even crazier than they already have been. Back in his office, Thredson tells Lana that she doesn't belong at Briarcliff and that she was right to try to escape. Lana scoffs at the hypocrisy of a medical professional to say that when his own establishment -- while not considering her a "danger" worthy of being institutionalized -- nevertheless defines her as "sick" under their "bible," a.k.a. the Diagnostic and Statistical Manual of Mental Disorders. I've probably said this before, but my natural tendency to agree with Ryan Murphy's political and moral stances is almost always hindered by the fact that he writes them as if he's copying the information directly from an informational pamphlet. Or like we should give him an award for being able to cite the DSM. Anyway, Thredson wants to help her -- he sees a lot of himself in her (translation: he thinks she's smarter than all the drooling people-husks she's now surrounded by and he thinks of himself the same way), and he doesn't think she'll survive in here. He says if he can convince Sister Jude that he's cured her, she won't have any choice but to let Lana go. Lana tells him about how there's actually no cure for what she has, but Dr. Thredson tells her she doesn't have much time. He's leaving in a week, so she has to make a decision soon.

Franka Potente is sitting at a card table in the middle of the common room, scribbling down a letter -- a "diary," if you will -- to her friend "Kitty." Among other things, she's fed up with the "relentlessly cheerful tune" that keeps playing all day. Which I guess puts her on Mrs. Flax's team. She writes that it feels like the walls are closing in on her, that it's "Amsterdam all over again." I know that "I Am Anne Frank" is the episode title and that anyone with a DVR saw that before the episode even began, but I think that makes these heavy thuds of foreshadowing even more fun. Lana approaches her and advises her to put the pen away -- if they catch her making notes, they'll put her in solitary. "In spite of the religious icons everywhere, this is a godless place," she says (and a hearty oh brother to that mouthful of a line). "You might want a friend," Lana offers. Franka just stares at her and then back to her writing. "Okay," Lana snaps, "I hope you like pain." I like how Briarcliff is eroding things like Lana's patience and kindness; she's becoming more like one of them every day. thing we see, Dr. Arden is making a rare appearance in the common room. "Hey," he calls out, "did somebody say I had to be in here for storyline purposes?" Franka zeroes in on him immediately and strides up to him. He greets her warmly (relative to his usual disposition, of course), but she just points a finger at him. "You were there. In Auschwitz." She starts screaming at him, "MURDERER! NAZI SWINE!" Arden gets very "What is the meaning of this??" about it and the orderlies grab her and hold her back. "Don't you remember me?!" she shouts at Arden. "I'M ANNE! ANNE FRANK!" Aaaand the show reaches another plateau.

After the break, Anne is in Sister Jude's office and Sister Jude is lightly mocking her, saying how delighted schoolchildren will be to learn she's alive. Anne's story, be it true or not, has the ring of plausibility, not least because it mirrors that of one Rose DeWitt Bukater. She says when the Bergen-Belsen camp was liberated, she was too sick to give them a name and so she never did. After the Brits nursed her back to health, she bounced around Germany as a pickpocket until meeting an American soldier, who took her to America with him, where they got married. He got shipped off to the Korean War though, and died in 1952. That same year, The Diary of a Young Girl was published in America and she found out her dad was still alive. But now, she saw, her life had become more important. "People finally started to pay attention to what they'd done to us. All because of a martyred 15-year-old girl." She says it was more important to stay dead -- to keep that girl 15 forever and a martyr forever. "Yah stahhrry," Sister Jude says, "is indecent." "YOU'RE indecent," Anne snaps. "You've got a Nazi war criminal working here." I have to say, as retorts go, that one's not bad.

We're back in Dr. Thredson's office, where he's now handing out terrible, but well-intentioned psychiatric advice and offering to bend the rules in a really self-serving way for his second patient in 20 minutes. He tells Kit all about the bind he's in -- you guys, it's really hard to be Ollie Thredson right now. I'm sure Kit's totally interested in hearing about his internal anguish. Anyway, Thredson's dilemma is that he can either declare Kit sane -- which he knows he is -- and have him sent to the electric chair or else lie and say Kit's crazy, allowing him to live out his life in the hell of Briarcliff, but at least its living. Thredson's theory about Kit goes that Kit was so fucked up by society's refusal to accept his interracial relationship that he ultimately snapped and performed the killings in a way where he was not responsible for what he was doing and then concocted a delusion about aliens so he wouldn't have to face what he'd done. Thredson doesn't think Kit's execution would serve any "moral purpose," so he's prepared to lie to the courts and say Kit's crazy, on one condition: that for the rest of their time here, Kit will face up to what he's done. "That way, I can leave here feeling as if I've done some good," Thredson says. Because GOD FORBID this story ends without Ollie Thredson feeling super peachy about himself and his savior complex. "I already told you what happened," Kit says meekly. "Yes," says Thredson. "Now let me tell you."

So it's Story Time all over Briarcliff, it seems. Anne Frank is still telling hers to Sister Jude. She says Arden wasn't called Arden back then -- "His name was Gruper. Hans Gruper." Okay, first of all... I can't even begin to deal. LMAO 4 dayz. Second of all, super-excited to find out week that Monsignor Howard's given name is Schmannibal Hector. Anyway. So we get black-and-white footage from Auschwitz, of course, because that's the kind of material that (perfectly wonderful) trash-pop TV should be tackling. The lookalike actor they got to play young James Cromwell is spookily accurate, by the way. Anne says her first impressions of Gruper were that he was kind and gentle -- she saw him "save" twin boys from being herded away by the SS. She thought they were lucky. But the truth was, Gruper never "saved" anyone. He would visit the girls' quarters, handing out sweets, saying he wanted to help. He couldn't treat all the girls, so he'd flip a coin to see who would come with him. But when/if they came back, something had changed; he'd made them sick. We see these girls back in the cells, sobbing.

Oh, good a change of scenes to cheer me up! Oh, no, it's just Thredson walking Kit through his own personal scenario of how the murders went. So according to Thredson's theory, Kit was so effed up by the societal pressures of being married to Alma that his psyche needed a release, so he started killing women, beginning with a librarian who worked a "short drive" from Kit's gas station. He says "short drive" like it's damning, but, like, LOTS of places are a short drive from where you work. Anyway, he shows Kit the photos of the victims, skinned and beheaded. "Why the skin, Kit? Why the head?" Kit's all, "Fuck if I know," but Thredson tries to make him admit that it was because skin and identity were the things that were fucking him up about Alma. Thredson seems like a terrible psychologist, I'm sorry. This feels way more like the tactics of forced confession than actually striving for truth. Anyway. Thredson's theory for Alma's murder is that it was Kit's friends at the door that night and Kit tried to keep Alma quiet so they'd go away, but maybe Alma didn't want to hide anymore, and Kit flew into a rage to make her shut up and he killed her. "You killed the thing you loved the most," Thredson says, underlining the point most unnecessarily. Kit just looks wide-eyed and says, less convinced than ever, "It wasn't me." YOU ARE A TERRIBLE SHRINK, OLLIE THREDSON.

Sister Jude tells Anne that it wasn't Dr. Arden in Auschwitz. She says she knows what she saw. "You didn't see anything," Jude says, "because you weren't there." Rookie mistake, Sister Jude. Now all Anne has to do is show you her arm tattoo and it is checkmate.

Lana's in the common room, just hanging out and having a daytime fantasy about accepting an award for her "searing 6-part exposé" on Briarcliff. She imagines herself at a podium, beautiful and put together, giving a speech wherein she thanks the crazies at Briarcliff for helping her realize her story: Martha, banging her head against the wall all day; Rudy, the chronic masturbator. She talks about how the institution tried to beat her down and take her memories, as she flashes back to her ACT and reciting Robert Frost's "Mending Wall" to herself in her cell. "I did what I had to do to get out," Imaginary Award-Winning Lana says. This is something of an epiphany for Lana. She heads directly to Dr. Thredson's office and says she wants to begin therapy immediately.

In the kitchen, the setting sunlight though the windows is making everything looks soft and dreamy. Even as Kit is beating the shit out of some bread dough, as his session with Thredson has made him quite upset. Grace enters -- they're the only two in the kitchen now -- and he expresses to her his fears that Thredson is right, that he committed the murders and convinced himself he didn't. Grace tells him that this kind of introspection is good -- "self-doubt is a sure sign of sanity." This kind of double-negative reasoning is confusing to Kit; "If I'm crazy then I wouldn't believe Dr. Thredson, but if I'm sane, then my crazy stories would be true?" Grace is like, "I have no idea what you just said." This brings a smile to both their faces, and between those gorgeous mugs and the sunlight and Kit's desperation to feel like a normal, sane person, the room suddenly has a very charged atmosphere. He grabs her by the throat, out of nowhere and asks, "Am I a killer?" Grace just say she doesn't care -- whether he is or isn't, she'll be with him. Well, now it's Go Time, and they both start kissing and since they're all alone in the middle of the worst place on Earth, they decide to get while the getting's good and start doing it right on the counter. That's where the scones are made, you guys! A little courtesy? It's quick, economical sex, but it's pretty passionate given what they're working with. Kit manages to finish before they get busted by the guards, at least.

After the break, it's like the show knew exactly when I'd start wondering where Devil Eunice has been all day. Here she is, gleefully choosing a cane for Sister Jude to use to discipline Kit and Grace for their transgression. "I don't know what's gotten into you lately," Sister Jude says, "but it's a decided improvement." AGREED, LADY. She then turns her attention to Kit and Grace, who she says are "drawn to each other like the serpent and the apple." She then asks them if they're trying to make a murder baby. Just like that. "Are you trying to make a murder baby?" Like maybe a murder baby is a thing that exists? I'm not even sure what would qualify as a murder baby. Genghis Khan's children? The Bush twins? (Kidding!) (But Laura Bush did kill a guy.) Do they have special powers? I'm genuinely curious now. Grace just wants to get to the part where they get caned already, so they can go about their day. But Sister Jude thinks this has gone beyond caning. Instead, she recommends sterilization. Fun! Just then, Frank comes in with word that two detectives are presently questioning Dr. Arden, so obviously Sister Jude hightails it out of there. She tells Eunice to set the two up in solitary until the paperwork for the sterilization procedure goes through. Eunice has Frank take Grace so she can hang back with Kit and cause some trouble. She pulls out Grace's file and sets it down for Kit to peruse, warning him that Grace is not the innocent girl she claims to be.

Meantime, Sister Jude busts into Dr. Arden's office, where indeed he is being questioned by two plainclothes detectives. Delightfully, she plays it as if she had no idea she would be interrupting anything. She introduces herself to Detectives Byers and Conners and wants to know what they're asking "one of my most valued staff members" about. The cops mutter to each other that a nun would make a pretty good character witness for the guy. She assures them that she has "lots to say," which draws another eye-roll from Arden. The cops tell her that he's accused of roughing up a "lady of the evening," which draws the BIGGEST SMILE EVER from Sister Jude. "A prostitute?!?!" she nearly yelps. Arden sneers that she shouldn't go looking for her fainting couch, as these are egregious lies. We see flashbacks to the Night of the Nun-Hooker which obviously give lie to that. The cops say that the woman claims to have seen disturbing photos and -- this is new -- "Nazi memorabilia." You better believe Sister Jude pulls a double take at that. Arden insists he was at Briarcliff that night, before storming out all, "I never! Good day!" Still breathless from the Nazi part, Sister Jude asks if the cops aren't going to arrest him, if only for vice reasons. They're not Vice, though; they're Homicide. See, there were certain similarities to the hooker's story that made them want to dig deeper. No mention is made of Bloody Face, but the cops do follow up by asking Sister Jude about Kit Walker. In her observation, does he have the "surgical skill" to remove a woman's skin or head? We don't see what Sister Jude says to this, but the violin scratch on the soundtrack registers a definite opinion.

Well, this part is uncomfortable. Dr. Thredson's "cutting-edge" "therapy" to "help" "Lana" (wait, sorry, Lana is real) consists of sitting her in his darkened office and showing her slides of women in various stages of undress, all while hooked up to an IV of ipecac or whatever will make her barf. See, so she equates female sexuality with barfy feelings. This is either going to turn her het or else give her a raging puke fetish. He even includes a slide of Wendy -- a photo obtained from her house -- which seems in poor taste AT BEST considering Thredson actually knows that Wendy is missing and possibly dead at the hands of Bloody Face. Lana barfs some more and then says she needs a break before the dose. So Thredson instead suggests they move on to the "conversion" half of aversion/conversion. But before you start to worry things won't be fucked up and gross, Thredson brings in some longhair hippie boy wearing a robe and nothing else. And pretty soon he loses the robe. Wait, sorry, this is "Daniel," a fellow patient. Okay, I've been giving Thredson shit for fun up until now, but I'm starting to think he's as much of a monster as Sister Jude or... well, no, Arden's in a class by himself. But Sister Jude, for sure. Daniel disrobes for that Lana can better "regard his physique." Lana says she doesn't feel anything, and she's so worried he'll make Daniel touch her. But no, Thredson wants her to touch herself, with both of them watching her. She's trembling and crying and it's awful. He has her place her other hand on Daniel's wiener and cheers her on while she performs the most depressing fingerbang since Mulholland Dr. and thank God Lana eventually gets sick again so we don't have to watch this anymore. Infuriatingly even-tempered, Dr. Thredson begins to wonder if aversion/conversion therapy will work with Lana at all.

Monsignor Howard arrives at Briarcliff looking quite put out. He calls Sister Jude up to his office and she tells him all about the police and Dr. Arden and the hooker and the Nazi memorabilia. He just kind of grits his teeth and chalks this up to Sister Jude's manic desire to see Arden removed from Briarcliff, but she stresses that there is "mounting evidence" that he's a war criminal. Howard demands proof, so she tries to tell him that a patient remembers him from Auschwitz without actually mentioning her by name. But he presses, so she reveals the patient is one "Anne Frank." This, of course, makes Howard even angrier and he brings up that he knows she's been drinking again. It seems her little "You'll Never Walk Alone" poetry slam did not go unnoticed. Sister Jude begs him to understand that these are not baseless accusations and that she's only trying to protect him, this institution and their dream. He just thinks the booze has compromised her judgment and he tells her to pray on that for a while.

Cut to Arden's office, where he's "working" on Shelley some more. She's far gone enough that she can't even manage to scream to whoever's on the phone. Not that I suspect it would matter much, since it's Monsignor Howard and his conspiratorial tone suggests he's well aware of Dr. Arden's extracurriculars. "They're on to you," Howard says. He tells Arden to take care of whatever "housekeeping" needs taking care of, and to do it now.

After the break, Sister Jude is out on the grounds, walking with the heretofore unseen Mother Superior, who appears to be one of the few unambiguously good authority figures on this show. Jude is telling her about her failings, about her falling back into the bottle. Mother Superior says all the expected things about how God tests us but he also likes to see us triumph. Jude then moves on to the real issue: her suspicions that one of her co-workers is a sadist and possibly a war criminal. Mother Superior asks if she's gone to her superiors and Jude tells her about Monsignor Howard's inaction. Mother Superior goes on about the patriarchy for a moment, saying men have self-preservation instincts and won't confront the truth or something. She tells Jude that she knows someone who might be of some help, but Jude doesn't want to go behind the back of the man who she says saved her. Mother Superior takes a stern tone with Jude and tells her not to credit Howard with saving her. When she came to the convent, she was at the end of her rope, but she had a moral compass and that's what God gave her. Now God had put obstacles in her path and it's up to her to clear that path of debris. I really liked this scene. It's fun to have Sister Jude be a gargoyle and representative of everything awful about the church and the country's attitude towards the sick, but the show has been careful to also paint her as striving for some kind of good, tunnel-visioned as that striving may be.

Devil Eunice leads Kit into solitary, past Grace's cell. On her way out, she flashes some evil-eye at Grace. I guess even the devil can get territorial about Kit Walker's sweet, sweet ass. Grace calls to Kit through the walls, happy that they haven't begin castration procedures yet. She tells him he's the only person she's ever given a second thought to in here. But he wants to know why she lied to him about how her parents died. There was no man named Red, in fact. Grace killed her stepmother and then her father. Grace says she's not about to say she's sorry either. We delve into the real flashback, where Grace says years of sexual abuse at the hands of her father -- and her stepmother's inaction -- made her snap. Well, that and when he sold her beloved horses. She had to take him down easy, and put an axe blade in his brain. She said, "'Cause nobody believes me. The man was such a sleaze. He ain't never gonna be the same." These flashbacks are actually kind of awesome: grace in her baby-doll nightie and bunny slippers, hauling an ax into Stepmommy's chest. It's all very Lizzie Borden (the stepmother part is a dead giveaway). She's crying by the end of her story and we get a nice shot of the both of them sitting on the floor, their backs to the wall that separates them. She worries he now finds her repulsive, but he just says that he admires her now. Her big cartoon eyes get even bigger knowing she hasn't lost him.

Lana's back in the common room, amongst the head-bangers and the masturbators, looking glum as hell. Dr. Thredson shows up to apologize for that unpleasant business with the aversion therapy. His bad! He offers Lana that photo of Wendy as a peace offering. Lana says they'll never let her keep it. Thredson says she only has to hide it for a week, as he intends to take her with him when he leaves at the end of the week. He doesn't know how yet, of course, so it's really great that he promises her. Nothing like a promise that you have no idea how you're going to keep. But Lana smiles and cries one perfect tear anyway.

Kit is in Sister Jude's office -- she thinks to plead for leniency for him and Grace, but really this is about how Dr. Thredson has him convinced that he really did kill all those women, he just doesn't remember. He starts asking Jude about God and whether he can see all the things they've done, even if we can't remember. Sister Jude flashes again on running that girl down with her car and trembles, "Yes." Kit says that he feels like he must've killed those women and repressed it -- after all, those creatures he saw can't be real. Of course, he's talking to the one person in Briarcliff who's come face-to-face with them, not that Sister Jude is about to mention that. She shows Kit some real compassion as he asks her to help him find God.

Elsewhere, Dr. Arden hauls Anne Frank violently into his examination room. She's defiant, saying she knows who he is, while he yells back that she doesn't even know who SHE is. She asks if he's going to do the same thing to her as he did to those girls in Auschwitz. "I was never in Auschwitz," he says, grabbing her, "I'm from Scottsdale!" He strikes her down to the ground and goes to close the door and show her what really goes on in his lab. When he turns around though, she's pointing a gun at him -- she lifted it from the cops who were there earlier. (And the ... apparently haven't noticed yet or if they did, I guess they assumed they left it on the counter at Dunkin' Donuts rather than got it stolen by one of the many CRIMINALLY INSANE people at Briarcliff or maybe they did realize it but decided not to alert anyone right away because, hey, come 6 o'clock it's not their problem.) She calls him Hans Gruper again (tee hee) and orders him to confess. Instead, he charges at her, so she shoots him in the right thigh and he goes down. Anne Frank is not kidding around. This is some Inglourious Basterds-style avenging, but this is exactly the kind of show that can bear it. She spots the door to Arden's secret lab and demands the key. He spits at her, but she kicks at his wounded leg and threatens to shoot the other one, so he tosses the keys over. She opens the door... and finds Shelley, poor Shelley, crawling towards her. Boils on her skin. Teeth rotting out. Barely alive. "Kill me... " she croaks. Begs. Until week...

Joe R still wishes the Creatures turned out to be mannimals. He can be reached for lavish praise and nothing but at joseph.reid21@gmail.com.

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