Thank you for the comments so far. @Azzellover: You're quite right; definitely thought of this a side story to the main story, but at this point I can make it its own story and there can be an antagonist (or protagonist depending how you see it) in it now. Thank you for the idea; it will be included in the story. @Hypnothrill: Again as always thank you for your comments and critiques. This chapter didn't come as smoothly as the Prologue, so that may be where the long sentence came for. Hopefully the next chapters will come with less struggle. As to the obsidian eyes, all of Ari'seth's followers have them. The workman knew he was meeting with Captain Collins so he had his eyes out already to show he wasn't an ordinary deliveryman. It's the same way with the uniforms; Ari'seth's uniform morphs into the regular police uniform (or the attire Roberts was wearing); so when Ari'seth made Collins and the other captains made cum, the uniform appeared as an ordinary police uniform, but was in fact Ari'seth uniform. @MalSkin: You're right; not all the people are under Ari'seth's control. Ari'seth is trying to spread his control to everyone and, according to the original story, Ari'seth has a female counterpart who will control the female population. I won't get into that in my story.

MORE PLEASE!!!

Damn Me exact fantasy!!

you are right New Guy, in pointing out that th mayor is under the control of Ari’seth, (what i should have said he would have gained his permission before hand) but wearing a uniform while on duty has been instilled into the police officers, as you pointed out in a previous chapter. Not all the population of the town will be under his control, eg women and those of a younger age

Very hot story, New Guy, and I can't wait to see what comes next. One little writing suggestion: you don't need to describe every non-sexual action in great detail (e.g. a long sentence just to describe the opening of a cardboard box). Also, I was wondering: if Ari'seth's converts all have obsidian eyes, then how do they keep others from noticing that? It might be a hot detail if they hid their eyes with mirrored sunglasses.

I know, I think that's a really cool narrative technique, M Greene. And I've seen it in plenty of novels written in the 20th and 21st century. I just don't think you see it in very many stories before then, for whatever reason.

now we need one with a holy god to corrupt cause you need a little struggle

Gee, with all this talk, now I'll have to really get moving on my proposed completion. That's all I would consider my or anyone's contribution - a hypothetical completion. In no way would I want to restrict others from proposing their own completions. But I write slowly, and I proofread almost obsessively (which is never enough), so be patient. As I've said previously, **Bargain** is one of my favorite stories on this site (I've read chapter 1 countless times). I know I will never do the author full justice, but I can try. As far as @The Grower: I think and you several others severely misunderstand my comments. I'm neutral when it comes to whether good or bad triumphs in the end. But I'm not neutral when it comes to making a narrative that coheres and is hopefully organic. A story is not simply a series of events strung together, but (when it's really good) functions organically, meaning that elements from the the beginning and throughout the story foreshadow and lead to a convincing (and sometimes) inevitable ending. Maybe one doesn't suspect that the convict in the graveyard at the outset of Dickens's **Great Expectations** is anything more than a convict in a graveyard. Yet the mere fact of that unusual situation alerts the reader that there is great significance to that setting, which of course finds fruition toward the end of the novel. That's why I was slightly annoyed by **Slave Academy**. The overwhelming part of Series 1 was told from Nathan's point of view. Then he gets enslaved and essentially drops out of the story until the very end of Series 2. Similarly, with another story, **The Re-Educator**: The initial sections were overwhelmingly told from Jake's point of view. And as with Nathan in **Slave Academy**, Jake in **The Re-Educator** is not just a character but one that is designed and I feel successfully engages the reader's empathy. So when the author gets bored of the characters and leaves them, it not only destroys the reader's expectations but produces frustration. It's very much like that story that began with the killing of a dog. Of course people are going to object to that: the dog in literature and culture is the symbol of unconditional love and fidelity - whether you want it to be or not. (The animal should have been a cat or a rodent). So when an author leads us to empathize with a character, and then removes him, it's not only manipulative of the reader in a bad way, but also that author is not thinking organically which requires the entire story to be planned out from start to finish before the writing starts (which I call poor planning). And to prove you wrong, The Grower, aside from a proposed completion of **Bargain**, I have been working on a story which I suspect many will object to because of its non-pc content. But you have to wait for that one too. :)

Thankyou for a great ending. Amazing twist and turns and your transformations are so vividly described.

Redcoma, Makskin, thank you for the support. As to the uniforms going leather, remember that the mayor is under Ari'seth's control, so ultimately the choice lies with the demon. Furthermore, clothing doesn't mean much to Ari'seth, it's more the marker of his control.