Inside the Soaring Theater, the performance continues. To the surprise of the audience, the dancers, who were supposed to be performing on stage, have now leaped off the stage and are dancing among the audience, engaging in close interaction with the spectators. The audience, who had grown increasingly bored due to Adèle’s prolonged absence, now finds themselves captivated by this unexpected twist. They had never seen dancers leave the stage and perform among the crowd. Dressed in white gowns, the dancers move gracefully through the aisles, interacting closely with the audience. This unexpected intimacy excites and surprises many. Those seated farther back, unable to see clearly, stand up to catch a glimpse of the dancers now mingling with the crowd. The entire theater buzzes with renewed energy. Clearly, the audience interprets this as a unique, interactive performance. While some seated in the inner rows may not have a clear view, the VIPs in the private boxes, elevated above the crowd, have a perfect vantage point to observe the spectacle below. "Adèle’s dancers are quite impressive. Some of these performances are quite innovative," Byron remarks leisurely from his private box, munching on the assortment of pastries provided as part of the VIP service. “If it weren’t for the potential complications and the need to confirm Adèle’s situation, I would have already found a way to escape through the window... But at least the pastries here are good, and some of the performances are quite creative. Staying here isn’t a total loss…” Byron thinks to himself. His mission was technically complete the moment Maria was "killed" in the restroom. For safety, leaving immediately would have been the best course of action. However, the theater is tightly sealed during performances for soundproofing, with all doors and windows closed. Escaping would require breaking a window or exiting through the guarded main entrance, both of which would leave traces and potentially implicate him as the fleeing murderer. This would not only undermine his plan to frame Adèle but also draw unwanted attention to himself. Thus, Byron decides to stay and watch the performance, observing the immediate aftermath of Maria’s "death" and enjoying the fruits of his labor. After all, he has a solid alibi—he was nowhere near the restroom when Maria was killed. There’s no way the investigation could point to him. So, Byron sits back, enjoying the show and waiting for the performance to end, anticipating the explosion of the public opinion bomb he has set in motion. In the meantime, he’s happy to indulge in the delicious pastries while watching the performance. "The pastries here are quite good..." Byron remarks after finishing another small cake. The pastries are exceptional, even better than those at some high-end restaurants he frequents. He hadn’t expected such exquisite desserts in a theater. “These pastries are delicious, almost as good as the blood feasts at the society gatherings.” As Byron eats, his movements become increasingly rapid. He grabs pastries from the table and shoves them into his mouth, his eating becoming almost ravenous. While devouring the pastries, Byron’s eyes remain fixed on the dancers in the audience. Though there are many dancers, all dressed identically in white gowns and half-masks, Byron’s gaze is drawn to one in particular. This dancer stands out, not in appearance but in her movements. Her dance is more powerful, precise, and fast-paced, with greater difficulty than the others. Her performance naturally draws the attention of the other dancers, who begin to orbit around her, turning what was originally a group dance into a performance with a clear lead. The audience, captivated by her skill, begins to chant her name. "Adèle! Adèle! Adèle!" The chants grow louder, spreading throughout the theater. Amid the cheers, the lead dancer removes her mask and lets down her hair, revealing golden locks that cascade like a waterfall. The face of Adèle is revealed once more. The theater erupts in excitement as Adèle reappears. The audience rises to their feet, their cheers drowning out the music. In his private box, Byron, still ravenously eating, realizes what’s happening. “So that’s Adèle... She’s affecting me, amplifying my appetite, making me lose control…” “Adèle has found me. She knows I’m here. She’s using this dance to manipulate my desires. To avoid detection, she disguised herself as a regular dancer, mingling with the audience. By leaving the stage and getting closer to me, she’s increasing the range of her influence... She’s making me watch her dance, drawing me in, and amplifying her control over me…” At this moment, Byron understands everything. He knows why he’s acting so abnormally. Logically, he should stop and flee immediately, but he can’t. “I should... run... now... but... but I’m so hungry! So hungry! I need to keep eating!!" Byron growls through clenched teeth, his face twisted in agony. His eyes are bloodshot, and saliva drips uncontrollably from his mouth. Byron is now completely dominated by his insatiable appetite. His rational mind screams at him to flee, but it’s no longer in control. Overwhelmed by his primal desires, Byron’s only thought is to eat. Byron transforms into a beast, devouring everything in sight. As he eats, his body begins to change. His form grows larger, his skin darkens, and his mouth elongates into a snout filled with sharp teeth. His hands morph into clawed paws, and his entire body is covered in black fur. In a matter of moments, Byron has fully transformed into a black beast. He quickly devours all the remaining food in the box. But even after consuming everything, his hunger remains unquenched. His gaze shifts to the audience below. To his eyes, they are nothing more than fresh, delicious meat. Just as the beastly Byron is about to pounce on the audience, Adèle, still dancing among the crowd, glances toward Byron’s private box. Her eyes meet his, and she subtly gestures toward the unconscious servant in the box. In an instant, Byron’s hunger shifts focus. Drawn by an inexplicable force, he turns to the servant, a Craver of the Apprentice rank. To Byron’s eyes, the servant radiates an irresistible aroma. Without hesitation, Byron lunges at the servant, biting through his neck before he can even react. The servant collapses, lifeless, as Byron tears into his body, feasting on his flesh and organs. Blood splatters across the luxurious box. Meanwhile, the main theater is alive with music, cheers, and applause. The dancers whirl, the orchestra plays passionately, and the audience chants Adèle’s name. Unnoticed in the corner of the private box, a gruesome feast unfolds. After devouring the servant, Byron’s hunger remains unsatisfied. As he looks around for his next meal, the door to the box suddenly opens. A piece of fresh meat is thrown inside. Without thinking, Byron pounces on the meat and devours it. Another piece is thrown in, and he eats that too. This continues, with meat being tossed into the box one piece at a time. Outside the box, in a corridor of the theater, several theater staff members gather around a cart filled with fresh meat. The meat, usually used to prepare meals for VIP guests, has been brought from the theater’s kitchen. Alongside the meat are numerous glass bottles filled with various colored liquids, many labeled with skulls and crossbones. These loyal staff members, under Adèle’s command, inject the meat with toxins from the bottles before tossing it into the box. The toxins are potent enough to kill even large animals like horses or cattle. Standing by the cart, Ed watches the scene unfold. Through Ed’s eyes, Dorothy observes as well. “So this is how she plans to leave the body intact... I didn’t expect Adèle to use poison.” Dorothy thinks to herself. She had been wondering how Adèle would ensure the body remained intact. In her experience, battles involving Chalice-path Beyonders are usually brutal, often resulting in decapitations, broken bones, or even complete dismemberment. If filmed, such scenes would undoubtedly be rated R. “Desire manipulation... amplifying a person’s desires until they override reason, turning them into a beast driven purely by instinct... She can even control the target of their desires... If preserving the body wasn’t a concern, she probably has more efficient methods than poison…” “Food and lust are fundamental human desires... The Chalice path’s spiritual expression revolves around these primal instincts. Unlike the Beast branch, which focuses on physical enhancement, Adèle’s branch seems to emphasize the spiritual aspects of Chalice. To manipulate a Beast-transformed Beyonder with just her dance... What a terrifying woman. Her abilities must be beyond the Black Earth rank…” Dorothy reflects, gaining a deeper understanding of the Chalice path. Chalice-path Beyonders aren’t just mindless brutes. As she ponders, Dorothy’s attention shifts to the cart and the bottles of toxic chemicals. A question arises in her mind. “It’s normal for a theater to serve food, but why does it have so many toxic chemicals? A theater shouldn’t have these, and in such large quantities. What are they doing with all this?” Dorothy decides to ask Adèle about it later.