Latest / Maia’s Game Room / Haunted RPG: The Dead Don’t Testify — Ep. 2: Shadows Over Palermo Block

Transcript

Haunted RPG: The Dead Don’t Testify — Ep. 2: Shadows Over Palermo Block · Maia’s Game Room

0:02
[SPEAKER_01]: Last time on, the dead don't test for you.
0:07
[SPEAKER_03]: The snow doesn't stop in bell weather, and night is the bleeding.
0:12
[SPEAKER_03]: We found a custom BCPD shell casing where, Orion died, and a police lieutenant, eager to sweep the whole murder under the rug.
0:23
[SPEAKER_03]: But it's the watertight tin hidden in the peer pilings, that really kept me up at night.
0:31
[SPEAKER_03]: My own ex-wife, Amelia, tangled up in this whole mess.
0:36
[SPEAKER_03]: And now even the ghosts are starting to point fingers.
0:54
[SPEAKER_01]: As we return to Velweather City, in the biting cold, it is now about 6 p.m., it is sufficiently dark as you both sit in a warm cab.
1:06
[SPEAKER_01]: Now, you know about Palermo Block.
1:09
[SPEAKER_01]: You know about room four, but where is that?
1:12
[SPEAKER_01]: Where is 12 Palermo Block?
1:14
[SPEAKER_01]: It's a question that comes to mind, as you guys sit in the back of this cab.
1:18
[SPEAKER_01]: The cabbie is just sitting in his seat.
1:21
[SPEAKER_01]: He has stubbed out of cigarette and he's like,
1:23
[SPEAKER_01]: OK, well, where to next?
1:26
[SPEAKER_04]: You know, polarimal block, Monty.
1:29
[SPEAKER_01]: Oh, yeah, that's the underway.
1:30
[SPEAKER_01]: You're going there?
1:31
[SPEAKER_01]: Oh, wait, I'm not wanting to judge.
1:34
[SPEAKER_01]: What was the address?
1:35
[SPEAKER_04]: I got a 12-pillarimal block.
1:38
[SPEAKER_01]: You got it.
1:39
[SPEAKER_01]: Buckles in, and then makes his way.
1:42
[SPEAKER_01]: And turns on a little little ditty tune, as you guys hear, Christmas carol begin to play, as a snow begins to fall, as you zip across the town.
1:53
[SPEAKER_04]: Hey, you're a Monty.
1:54
[SPEAKER_04]: You seem a little hesitant about a palermo block, as there are some stuff I don't know that's going on down there.
2:00
[SPEAKER_04]: I know, could sometimes have some riff raf.
2:02
[SPEAKER_02]: Yeah, it's just my little brother got roughed up like a few months ago there, so I don't really, I don't like dropping people off there.
2:11
[SPEAKER_02]: There's lots of shadows, it's real.
2:14
[SPEAKER_02]: Just be careful.
2:15
[SPEAKER_04]: All right, all right, thank you.
2:16
[SPEAKER_04]: I'm sorry that happened to Aki.
2:19
[SPEAKER_02]: Yeah, no, he's a tough kid, but he's hard at it.
2:23
[SPEAKER_02]: He was mixed up and stuff.
2:24
[SPEAKER_02]: He shouldn't have been in.
2:26
[UNKNOWN]: Yep.
2:27
[SPEAKER_04]: We all make mistakes.
2:29
[SPEAKER_02]: Got that right, Bill.
2:31
[SPEAKER_01]: I think guys continue to drive.
2:35
[SPEAKER_01]: Eventually, you guys make your way to the under way, and it smells of coal gas, wet mortar, baking yeast from the bakery above, and peppermint sticks gone still in a shop window.
2:49
[SPEAKER_01]: The Palermo block is a crumbling maze of rusted iron fire scapes, dripping steam pipes, and paper Christmas garland sagging from the damp.
3:00
[SPEAKER_01]: You guys are standing outside of
3:03
[SPEAKER_01]: A... it's a large apartment building.
3:07
[SPEAKER_01]: But as I said, it doesn't look good.
3:11
[SPEAKER_01]: Far from where any bellwether has been seen.
3:15
[SPEAKER_04]: Kind of dingier than I thought it'd be.
3:20
[SPEAKER_04]: I'll... Tomati, I know there's a bunch of guys driving around this area, so you don't got to stick around.
3:26
[SPEAKER_02]: Uh, thank you, thank you.
3:28
[SPEAKER_02]: Okay, I'm headed home.
3:29
[SPEAKER_02]: Uh...
3:33
[SPEAKER_02]: Yeah, you too, and happen to your drives off.
3:37
[SPEAKER_04]: Well, uh, I guess we'll keep our eyes out for any riff riff.
3:41
[SPEAKER_00]: Is this where I am, is?
3:44
[SPEAKER_04]: I, uh, I both hope so and hope not.
3:49
[SPEAKER_04]: Just, uh, definitely wasn't someone I picture her moving.
3:54
[SPEAKER_04]: But, uh,
3:55
[SPEAKER_01]: See, a couple people who are huddled together and they make their way inside.
3:59
[SPEAKER_01]: Rickety door head in and loud cough comes from one of them.
4:06
[SPEAKER_04]: I'll catch the door with my hand book and open the door and be like, ah, let's go find room floor, I guess.
4:13
[SPEAKER_04]: Yeah.
4:14
[SPEAKER_04]: And to that question.
4:15
[SPEAKER_01]: Now, you could see that there are different stairs you have to go up to different floors, but room four is a lower number.
4:24
[SPEAKER_01]: So you can see in the hallway here, you see room one, two on either side of the hallway, and then you see three.
4:32
[SPEAKER_01]: Room four seems to be at the end of a long, and this hallway, soon as you enter it is unlit.
4:38
[SPEAKER_01]: Well, it's lit, but the light is flickering here.
4:41
[SPEAKER_01]: That's not looking good.
4:43
[SPEAKER_01]: You can see the yellowed floral wallpaper, kind of peeling and heavy sheets in different sections, but room four is right at the end.
4:51
[SPEAKER_04]: Is there a like a little like mailbox area at the front?
4:56
[SPEAKER_01]: Like, there is, yes.
4:58
[SPEAKER_04]: I'm going to peer over to room four like to break the mailbox floor and see if there's anything there.
5:03
[SPEAKER_01]: Nothing.
5:04
[SPEAKER_00]: Um, cobblobs, in fact.
5:07
[SPEAKER_00]: Oh, can I open up my senses and see what kinds of ghosts are lurking?
5:14
[SPEAKER_00]: Just see what kinds of ghosts are here.
5:19
[SPEAKER_01]: You see a lot of people who are like people who would work at the docks, so you see there's a man with a heart hat who is just sitting in the hallway.
5:36
[SPEAKER_01]: So it looks like a blue-collar workers.
5:39
[SPEAKER_00]: Not, no, a thug-like characters, just hard-working people.
5:46
[SPEAKER_00]: No.
5:47
[SPEAKER_00]: Yeah.
5:48
[SPEAKER_01]: Well?
5:48
[SPEAKER_04]: Oh, there's nothing in the mailbox, so it's, uh, I guess we'll go knock.
5:55
[SPEAKER_01]: No, there is no need to knock, as you see, there has been something that has happened.
6:02
[SPEAKER_01]: It seems.
6:12
[SPEAKER_01]: And inside, the door will just easily creak open inside.
6:16
[SPEAKER_01]: And the chill is immediate.
6:19
[SPEAKER_01]: And you can see there is a mattress that has been slashed open.
6:23
[SPEAKER_01]: Books are dumped on the floor.
6:25
[SPEAKER_01]: You see it forgotten, teapot sits on the cold stove.
6:28
[SPEAKER_01]: It's covered in mold.
6:30
[SPEAKER_01]: The biggest thing that you notice, the backwall is covered.
6:35
[SPEAKER_01]: It has been left untouched.
6:38
[SPEAKER_01]: Behind the hanging wool coat is a map of Belweather City and it's pinned with black string.
6:44
[SPEAKER_01]: And you see it's connecting the Virtuo So Theatre Fire, the 1919 Phenomenon, and names of Belweather Shell companies.
6:53
[SPEAKER_04]: All connected.
6:54
[SPEAKER_04]: George is gonna like look back at Faye, just put a finger to his mouth.
6:59
[SPEAKER_04]: He's gonna put another his matching glove on his left hand.
7:03
[SPEAKER_04]: He's gonna reach underneath his left arm and have his small firearm ready.
7:10
[SPEAKER_04]: And he's gonna slowly peer in and just sort of make sure that whether or not they're alone in this room.
7:19
[SPEAKER_04]: His immediate thought is of the threat
7:25
[SPEAKER_01]: As you're concentrating, you hear a slight shuffle coming from the bathroom door across the way.
7:34
[SPEAKER_04]: He's going to Georgia's going to, again, keep the sh... ...like gesture to Fay.
7:41
[SPEAKER_04]: We'll slowly shut the door behind us.
7:44
[SPEAKER_04]: And he's going to whisper, I think someone might be in there.
7:49
[SPEAKER_04]: And cover me, all right?
7:51
[SPEAKER_00]: They will not look at him, quizzically, with a cover you with what?
7:58
[SPEAKER_00]: But kind of nod.
8:00
[SPEAKER_04]: Did you?
8:02
[SPEAKER_04]: Just don't let them get out.
8:06
[SPEAKER_04]: George is gonna slowly creep over to the bathroom door.
8:10
[SPEAKER_04]: And...
8:11
[SPEAKER_01]: It's shut.
8:12
[SPEAKER_01]: The door is shut, but it's open slightly.
8:28
[SPEAKER_04]: to it, he's going to very quickly open the door.
8:32
[SPEAKER_01]: And as soon as you open the door, a fist is coming to fly at the side of your face.
8:37
[SPEAKER_01]: And you hear a scream from this man, as he goes, ah, and his going.
8:41
[SPEAKER_04]: And I try to catch it.
8:43
[SPEAKER_04]: I attempt to catch it, because I know, I think he's done this before.
8:48
[SPEAKER_04]: And I would like to pull for Boston head.
8:50
[SPEAKER_01]: Yes.
8:50
[SPEAKER_01]: Let's go.
8:51
[SPEAKER_01]: You can pull a deed sir.
8:53
[SPEAKER_04]: And if I'm not mistaken because I have a check mark in it, is that advantage or is that?
8:58
[SPEAKER_01]: It just means you are skilled in it, and so a costly excess won't become a peer-exuccess.
9:04
[SPEAKER_04]: Yeah, so like it's a tear-up.
9:05
[SPEAKER_01]: Mm-hmm.
9:06
[SPEAKER_04]: Let's do it.
9:08
[SPEAKER_04]: Do I get punched?
9:10
[SPEAKER_04]: I got the nine of Pentacles.
9:11
[SPEAKER_04]: It says a period of success.
9:12
[SPEAKER_04]: Successless, two costs are failure with one.
9:15
[SPEAKER_04]: I think he is, you know, he's moving a, he knows he's about to get hit, but he knows if he allows himself to get hit.
9:22
[SPEAKER_04]: He can tackle this guy and keep him from escaping.
9:25
[SPEAKER_04]: So like, yeah.
9:27
[SPEAKER_01]: So that first, a cost is going to be an injury.
9:31
[SPEAKER_01]: So you're going to mark one injury on your character.
9:33
[SPEAKER_04]: Okay, all right.
9:34
[SPEAKER_04]: So that means one check procession is at disadvantage.
9:38
[SPEAKER_01]: Yes, so that's where you are at now.
9:42
[SPEAKER_01]: And you start to hear heavy metal boots step on metal fire escape outside.
9:53
[SPEAKER_01]: Now it's not outside this room, but it is a couple rooms over, but it sounds like it's getting closer.
10:00
[SPEAKER_01]: And so the man that you could see clearly now who has punched you,
10:07
[SPEAKER_01]: It's disgraced journalist, you know, this is Hugo Brecht.
10:12
[SPEAKER_01]: Hello, Cheekt.
10:13
[SPEAKER_01]: Kind of shivering a bit, he's greased stained trench coats, ties and done.
10:17
[SPEAKER_01]: And he's one hand punched you with the other's clutching a half empty bottle of cheap bootleg gin.
10:24
[SPEAKER_01]: And he's, he's ink stained fingers.
10:27
[SPEAKER_02]: Ugh.
10:28
[SPEAKER_02]: Oh, George, I'm sorry.
10:31
[SPEAKER_02]: Oh, holy hell.
10:34
[SPEAKER_03]: You son of a bitch.
10:36
[SPEAKER_02]: Oh, sorry.
10:37
[SPEAKER_02]: You're late, George.
10:38
[SPEAKER_02]: She's gone, they swept her out of here, like desks, I told her.
10:41
[SPEAKER_02]: Well, let me tell you.
10:43
[SPEAKER_02]: That was a listening, and she won't stop.
10:45
[SPEAKER_02]: Say that again.
10:47
[SPEAKER_02]: You're too late, George.
10:48
[SPEAKER_02]: You too late.
10:49
[SPEAKER_02]: It goes to drink some more.
10:50
[SPEAKER_02]: You see the bottle being too late for what?
10:53
[SPEAKER_02]: Where's him?
10:54
[SPEAKER_04]: Oh.
10:56
[SPEAKER_02]: Oh, she's gone.
10:56
[SPEAKER_02]: She's gone.
10:58
[SPEAKER_02]: Gone where I don't know I I think people took her I don't I don't know What what he was supposed to meet here?
11:07
[SPEAKER_01]: What what did you say?
11:09
[SPEAKER_04]: He's totally he's hammered right now George with like a bruise on his cheek looks at Fay Take what we should take what we can here.
11:18
[SPEAKER_04]: I don't know if he's gonna be of any help until he sobers up I told her to drop the story.
11:22
[SPEAKER_02]: I said Amelia you can't fight the people in the baby
11:27
[SPEAKER_02]: But she just sat here, drinking a tea, hide some type of morning sickness.
11:33
[SPEAKER_02]: It's obvious, it's obvious, it's so obvious, it's so obvious, George.
11:36
[SPEAKER_04]: I am resisting the urge to punch you back right now, you go.
11:39
[SPEAKER_04]: I need you to sober up, right?
11:41
[SPEAKER_04]: Do it, I don't care.
11:42
[SPEAKER_04]: I don't care.
11:42
[SPEAKER_01]: She's gone, cause of me.
11:43
[SPEAKER_01]: Gone cause of you, what did you do?
11:44
[SPEAKER_01]: Well, I didn't try out enough, you know?
11:46
[SPEAKER_04]: Maybe he starts to cry.
11:46
[SPEAKER_01]: Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
11:54
[SPEAKER_04]: Yes, I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I
12:24
[SPEAKER_02]: Uh, the bill weather kid.
12:26
[SPEAKER_02]: I think one of them, they're like, they're like broaches everywhere.
12:31
[SPEAKER_04]: They could you describe Orion to our friend here?
12:34
[SPEAKER_00]: Yeah, that's tall broad shoulders.
12:39
[SPEAKER_00]: 36 years old sharp features.
12:43
[SPEAKER_00]: Green eyes.
12:44
[SPEAKER_02]: Yeah.
12:46
[SPEAKER_02]: They all got great eyes.
12:47
[SPEAKER_00]: Totally hair.
12:49
[SPEAKER_02]: Oh, he had a scar.
12:50
[SPEAKER_02]: Yes.
12:51
[SPEAKER_02]: Near his cheek, small one.
12:52
[SPEAKER_00]: Oh, yeah, I gave him that.
12:54
[SPEAKER_02]: Yeah, that one.
12:55
[SPEAKER_02]: Yes, they were working together.
12:57
[SPEAKER_02]: They said they're on the trail or something.
13:00
[SPEAKER_02]: But the second they put him in the ground, I told her hours were numbered.
13:05
[SPEAKER_02]: Oscar Bellsman's looking for something.
13:09
[SPEAKER_04]: What are they looking for?
13:10
[SPEAKER_04]: Do you know?
13:12
[SPEAKER_04]: And why are you roped into this?
13:15
[SPEAKER_02]: We were working together, you know she was moonlight and as a journalist and she... Nobody would respect her and so... Because of my status, which is no status anymore, I was giving her some tips.
13:28
[SPEAKER_02]: You know, I don't work at the papers anymore, but you know, she's trying to get a foot in the door, so... Just look at the board, just let me go, just, you know, you can punch me if you want George.
13:40
[SPEAKER_04]: Go drink, go put some water on your face for fuck sake.
13:45
[SPEAKER_01]: be stumbles around.
13:47
[SPEAKER_01]: He starts to try to look for the battle.
13:50
[SPEAKER_02]: You were just in the bathroom.
13:51
[SPEAKER_02]: Okay.
13:51
[SPEAKER_02]: Oh, right, right.
13:53
[SPEAKER_02]: Sorry.
13:53
[SPEAKER_04]: George is going to look at Fay and just not know what to say and just start to look around from the uh.
14:02
[SPEAKER_00]: from the board that M had put together.
14:08
[SPEAKER_01]: You can see here there is a stamped St. Jude's parish clinic, Midtown, noting prenatal care for Amelia Valentine.
14:22
[SPEAKER_04]: George double takes at that.
14:24
[SPEAKER_01]: That's one thing you see as you're, as you guys are both searching around inside of this studio apartment.
14:33
[SPEAKER_01]: You find a calendar as well.
14:35
[SPEAKER_01]: Looks like Amelia's calendar.
14:37
[SPEAKER_04]: Is there anything marked on it?
14:39
[SPEAKER_01]: As you're looking, you do see circled and red ink.
14:42
[SPEAKER_01]: So, at 18th December, 18th, 1929, circled, virtual, so-site is written.
14:49
[SPEAKER_01]: It's someone who's down, virtual, so-site.
14:51
[SPEAKER_01]: 3am, bring the S.O.
14:53
[SPEAKER_01]: Dash, 1919 transcript.
14:56
[SPEAKER_04]: George starts, like, tapin' his foot and clenching his right hand.
15:03
[SPEAKER_03]: Ah, what the hell are you doing, him?
15:11
[SPEAKER_01]: as you are looking at the Conspiracy Board, they?
15:15
[SPEAKER_01]: You see a scrap of what looks like BCPD stationary that has been pinned to it.
15:23
[SPEAKER_01]: There's a handwritten note.
15:25
[SPEAKER_01]: You see, Rina has the vault key, Midtown Archive, Florida 11.
15:30
[SPEAKER_00]: Rina.
15:32
[SPEAKER_00]: Rina, who's, who's, George who's Rina, do you know Rina?
15:38
[SPEAKER_00]: I do, and that's, uh, someone who's not a huge fan of me, but you need to cultivate her because she has a key to, I show them the note, the vault, the midtown vault.
15:56
[SPEAKER_04]: I can try to talk to, I can try to talk to her, we can see what it can do, but hold on to this and, uh,
16:04
[SPEAKER_04]: And George is actually going to start taking the thing and like taking it down and like trying to fold it up and put it Into like he looks around.
16:12
[SPEAKER_04]: He's like an old like putting it back like you put it in your bag and like As much as we can so then we can try to like recreate it in the office What's you go doing?
16:23
[SPEAKER_01]: He has slumped against the The wall of the bathroom.
16:27
[SPEAKER_01]: You see his legs kind of sticking out
16:31
[SPEAKER_04]: Is there anything else of note other than like the conspiracy wall as they're like did it well looks like the place was pretty ransacked But knowing Amelia is there places.
16:41
[SPEAKER_04]: I would think she would hide stuff Well, you do know this is not this is not where she usually stays This is a new place Yeah, call it a hunch, but I think they probably met here because neither one of them would be caught dead in a place like this
17:00
[SPEAKER_04]: Yeah, the Mary is definitely a little bit somewhat materialistic and I don't know your brother that well But I imagine he's a little bit the same So the thought of the two of them being in a dingy place like this.
17:11
[SPEAKER_00]: This is definitely to throw people off their tracks Fortunately didn't work Yeah, from the bathroom
17:21
[SPEAKER_02]: Ledger, there, well, well, I don't know, they want Ledger, that's what they're like in four Ledger, body kind of starting to slump slowly, I think I'm up and slap them, I'm sorry you go, what did you say?
17:37
[SPEAKER_02]: Oh, God damn, what's God?
17:39
[SPEAKER_04]: What about a Ledger?
17:40
[SPEAKER_02]: I think, I think they're looking for some type of Ledger, they were mentioning it, I hit here in the bathroom, they didn't come in you.
17:47
[SPEAKER_03]: Oh, how brave of you?
17:50
[SPEAKER_03]: I'm sorry, man.
17:51
[SPEAKER_00]: How long ago did they take am I?
17:54
[SPEAKER_02]: Look, I don't know.
18:00
[SPEAKER_02]: It could have been an hour or two hours a day, 24 hours.
18:07
[SPEAKER_02]: I don't know, I don't know.
18:10
[SPEAKER_02]: I think I'm going to throw up.
18:11
[SPEAKER_00]: Good throw up and silver up.
18:13
[SPEAKER_00]: We need your help.
18:16
[SPEAKER_00]: and I slap him off such the head, right in the bathroom, right in the tub, he looks like he's okay, good little privacy place as he rushes over to the toilet.
18:33
[SPEAKER_03]: He probably knows more than he can remember, so.
18:37
[SPEAKER_04]: But I don't know how long we should stick around.
18:39
[SPEAKER_04]: I heard some activity in it.
18:41
[SPEAKER_04]: I don't sure there's what a nonsense in this building, but based on what happened here, they might come back for him.
18:47
[SPEAKER_01]: And you hear the steps as they get one window closer to you.
18:51
[SPEAKER_01]: We need to get out of here.
18:55
[SPEAKER_04]: Um, this is gonna be grossed and he'll grab the door he'll open the door of the bathroom.
19:00
[SPEAKER_04]: He'll see You go wretched.
19:02
[SPEAKER_04]: He's gonna like take some of the water splash it on his face and take a towel and wrap it around his face like wipe on We got to go now and We're gonna take you go out of the room and shut the door behind us.
19:14
[SPEAKER_01]: Okay, okay
19:16
[SPEAKER_02]: Oh, oh, oh, oh, it's for freezing.
19:18
[SPEAKER_02]: That, that, that, what was so cold?
19:20
[SPEAKER_02]: I'm gonna, I have a thermia, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
19:40
[SPEAKER_04]: Stay close on to me.
19:41
[SPEAKER_04]: Close your eyes because you're your head spinning and I'll need you barfine on me And I'm sure I'm sure faith is not once you're barfine on her ringer Well, where are we going?
19:49
[SPEAKER_02]: Yeah, I'm sure the bell bell way that chick has a lot of money.
19:52
[SPEAKER_02]: We could go to a really swanky hotel Did you really want to be discovered?
19:57
[SPEAKER_02]: I would give anything to be discovered again He's shivers.
20:02
[SPEAKER_04]: Why don't you be quiet and just follow us?
20:04
[SPEAKER_04]: And if you say another word, I am going to punch you.
20:07
[SPEAKER_04]: And it's going to be worse than the slap.
20:09
[SPEAKER_04]: And yeah, we're going to just pull him out of there.
20:11
[SPEAKER_04]: Hey, where are you?
20:12
[SPEAKER_04]: Try to hail a kid.
20:13
[SPEAKER_01]: Hell a cab.
20:14
[SPEAKER_04]: Yeah, I'm going to try to hail a cab.
20:16
[SPEAKER_01]: It takes a second.
20:17
[SPEAKER_01]: I don't want to make you pull like this.
20:19
[SPEAKER_04]: You can make me fall.
20:20
[SPEAKER_01]: It's a little difficult.
20:21
[SPEAKER_01]: The lot of calves don't want to stop here.
20:25
[SPEAKER_01]: I'm just going to say it takes a second.
20:27
[SPEAKER_01]: It'll take like 15 to like a round 15 minutes while you have a shivering Hugo.
20:33
[SPEAKER_01]: But eventually you will get a cabby.
20:35
[SPEAKER_01]: He pulled over and stops in front of you both.
20:38
[SPEAKER_04]: Ah, more of it.
20:39
[SPEAKER_04]: Oh, is that what we doing kid?
20:41
[SPEAKER_01]: My pops that I got to do the night shift.
20:43
[SPEAKER_01]: So here I am.
20:44
[SPEAKER_01]: I got a young kid who's doing the cab cab driving tonight.
20:49
[SPEAKER_04]: Ah, we should probably go back to the office with him so he can sober up and have some where safe.
20:56
[SPEAKER_04]: Yeah.
20:57
[SPEAKER_00]: Well, we can always make some good stiff coffee there.
21:02
[SPEAKER_00]: No alcohol.
21:03
[SPEAKER_04]: Yeah.
21:04
[SPEAKER_04]: Norbert, can you bring the over to my office?
21:06
[SPEAKER_02]: Yeah, you gotta get him.
21:08
[SPEAKER_02]: It's free to out here.
21:09
[SPEAKER_04]: All right.
21:10
[SPEAKER_04]: And we'll throw Hugo up the fun.
21:13
[SPEAKER_01]: He gets in, slumps over, his head hits the glass as soon enough you hear sparring coming.
21:20
[SPEAKER_00]: Ah, he's gonna have one hell of a hangover.
21:23
[SPEAKER_01]: You're the kid, the driver.
21:26
[SPEAKER_01]: He's like, mid down, right?
21:28
[SPEAKER_00]: Yeah.
21:29
[SPEAKER_01]: Okay.
21:29
[SPEAKER_01]: He steps on it, and you guys head to midtown.
21:32
[SPEAKER_01]: That is also where the up archive is at.
21:35
[SPEAKER_01]: it's late though like there's a it's definitely closed it's definitely close i think you'll even drive past it and you'll see like one light on but there's a cleaner inside there is clean and up for the night as they are closing down officially.
21:50
[SPEAKER_00]: When earlier when I was talking, when I was heading to Gideon's, I talked to Sally.
21:58
[SPEAKER_00]: Sorry, the course of a nurse that habitats the grounds, and she indicated that the pregnant woman we're looking for is not in the area we were in, but she was in midtown.
22:15
[SPEAKER_04]: George is just sitting and, like, thinking about everything he just saw, but most of all he's very concerned, like, it doesn't take much for Vaterials, you know, he's definitely concerned about Amelia and this whole thing with her being pregnant is definitely on his mind.
22:33
[SPEAKER_04]: Let's get Hugo inside and put this back together the way it was.
22:40
[SPEAKER_00]: Faith puts her arm on a Georgia shoulder.
22:45
[SPEAKER_00]: Do you honestly think it's ever gonna go back to the way it was?
22:50
[SPEAKER_04]: No.
22:52
[SPEAKER_04]: Let me still gotta try it, right?
22:53
[SPEAKER_00]: I think what we gotta try is put the pieces back together, not put it.
22:59
[SPEAKER_00]: Back the way it was just...
23:02
[SPEAKER_00]: The other day, I was at... some...
23:08
[SPEAKER_00]: friends place and they were showing me something interesting.
23:13
[SPEAKER_00]: It was a broken tea cup, and rather than being thrown out, this was a tradition from one of the orient nations.
23:28
[SPEAKER_00]: Rather than throwing it out, they put it together with gold.
23:32
[SPEAKER_00]: It symbolizes putting the pieces back together.
23:40
[SPEAKER_00]: but making it new from something, making something different from the old.
23:48
[SPEAKER_00]: At the time I thought, I thought it was extravagant at the time.
23:54
[SPEAKER_00]: But now, now I think it might be fitting.
23:59
[SPEAKER_04]: It sounds expensive, but I'll try it.
24:03
[SPEAKER_00]: It doesn't have to be gold, but putting the pieces back together in a different way.
24:10
[SPEAKER_04]: It looked like this incident, the fire and the thing at the docks in 1919 seems to be that she thinks that somehow there's a connection between them and that's a long, burning candle to be something that old and connected.
24:31
[SPEAKER_00]: If there's one thing I've learned about my family and some other players is that they play the
24:40
[SPEAKER_00]: And this might be even longer than just 10 years in the making.
24:45
[SPEAKER_04]: Yeah, and people like me and the sorry folk, which is points, expendable.
24:52
[SPEAKER_00]: Oh, George, you're not the only one.
24:56
[SPEAKER_00]: Orion and I are, are pawns too.
24:59
[SPEAKER_00]: At case case and point Orion, I really really think my family had something to do with his death.
25:08
[SPEAKER_04]: Away assumed that, unfortunately, based on their stamp on the gate where the pier was blocked and the stink of Corrupt Chuck job done by the cops.
25:25
[SPEAKER_04]: I've seen it before, too many times.
25:49
[SPEAKER_01]: Now, as you guys are squarely inside of your office once again, as we know, in haunted.
25:57
[SPEAKER_01]: This game alternates between downtime and investigation type phases, okay?
26:03
[SPEAKER_01]: Because nobody spends 24 hours a day doing their job even the most weary detectives in Belweather City.
26:10
[SPEAKER_01]: A downtime is the space where the investigators' private lives, traumas, secrets are starting to take center stage, and it is one time during the game where you are actively encouraged to, you know, deliver emotional monologues if you would like, you know, if the spirit moves you.
26:31
[SPEAKER_01]: So we are going to head into a downtime phase.
26:34
[SPEAKER_01]: And so every player can choose from their several standard activities, you know, their playbook specific abilities, or, you know, your character has a personal redemption arc.
26:46
[SPEAKER_01]: There are a few things that you can do, you can recover, you can do family time, you can do study session, there's downtime abilities, however, would like to go first, as you're back at the office, what does your downtime look like?
27:08
[SPEAKER_04]: looking at the don't time options as you are the shameless as I am the shameless the one that I think I'm going to do because it also still continues to highlight that not knowing when to stop I could as a like a meta player I could choose recovery to get rid of that injury but that's not fun
27:30
[SPEAKER_01]: I mean, it's fun.
27:32
[SPEAKER_04]: I'm sure it is, but I'm going to go with old cases.
27:36
[SPEAKER_04]: It says you go through old case files and news stories.
27:39
[SPEAKER_04]: You find something from the past that affects the current case.
27:43
[SPEAKER_04]: So I think while George pulls out like the couch sheet, there's like an old dingy couch here that pulls out to be like a fold out bed and there's also like a food taunt, like a little stool that becomes a small cot.
27:56
[SPEAKER_04]: Um, sets up Hugo, he passes out on the cot, or the bed, whichever one P.U.
28:01
[SPEAKER_04]: collapses on, and while making some coffee, George is going to look through the files of both the 1919 case that blew out earlier, being as it was, hey, it was already out of order because it blew out.
28:16
[SPEAKER_04]: And he's going to start looking through that, and he's going to reluctantly go to his personal desk and pull out a black file folder that has notes about the incident at the Virtuoso theater.
28:35
[SPEAKER_04]: that he wasn't allowed to investigate, but because of a favor from Bell, he was able to get the information that he wanted.
28:49
[SPEAKER_04]: And he's trying to see if there's any correlation between these two incidents and what's happening with this case with Orion's murder and Amelia getting roped up and he's trying to basically pick up where his ex-wife like Trilboth.
29:04
[SPEAKER_04]: and despite what it makes him think about when he looks at the virtuoso case.
29:11
[SPEAKER_01]: Now, you're trying to find these connections, these nodes of coincidences and things like that.
29:19
[SPEAKER_01]: There is something that jumps out to you, like a ghost from a page, and these are very old files, especially because during 1919, that was such a big deal.
29:30
[SPEAKER_01]: You know, many people died that year and because of this specific event.
29:36
[SPEAKER_01]: And so, you see it once again,
29:41
[SPEAKER_01]: It fell from your mind.
29:44
[SPEAKER_01]: You see, again, S-O-19-19.
29:49
[SPEAKER_01]: Another person dead.
29:51
[SPEAKER_01]: And you see, transferred to land site B.
29:54
[SPEAKER_01]: During that time, they called, that's what they called the Virtua Societer.
30:00
[SPEAKER_01]: Land site B.
30:02
[SPEAKER_01]: Another person who was murdered, transferred there.
30:05
[SPEAKER_04]: Like, their body transferred there, or...
30:08
[SPEAKER_04]: It just says, transferred.
30:10
[SPEAKER_01]: I think that's one thing that's always kind of been at the back of your mind, never knowing what or who was transferred.
30:16
[SPEAKER_01]: But something was.
30:18
[SPEAKER_01]: Did you ever able to get in?
30:23
[SPEAKER_04]: And there's nothing about land site B in the virtuoso file case.
30:27
[SPEAKER_04]: This is as much as he doesn't want to look at them.
30:29
[SPEAKER_04]: He...
30:32
[SPEAKER_04]: past you and he thinks about grabbing the bottle but he sees what that stunned he'll go and realizes he's got a focus so he takes he sticks with the coffee and he tries to pinpoint it as I think he as I think he and Fay would be like assembling the map against the wall and now he's trying to add his own notes to it yeah and that's what you do for your downtime
30:58
[SPEAKER_04]: Yeah, I want to do that so that we can kind of find that clue correlation.
31:02
[SPEAKER_04]: So land site B is like the big, one of the big clues here.
31:07
[SPEAKER_01]: Okay.
31:08
[SPEAKER_01]: And so let's go to Fay.
31:11
[SPEAKER_01]: Fay, what would you like to do for your downtime?
31:14
[SPEAKER_00]: Well, I think I want to lean into the core wound.
31:21
[SPEAKER_01]: okay and work on the mentorship so okay so every this is this is a playbook specific downtime ability yeah
31:32
[SPEAKER_01]: Right, okay.
31:33
[SPEAKER_00]: Yeah, so phase.
31:37
[SPEAKER_01]: Oh, sorry.
31:37
[SPEAKER_01]: No, it's part of your redemption.
31:38
[SPEAKER_00]: Part of the redemption.
31:40
[SPEAKER_00]: Yes, sorry.
31:41
[SPEAKER_00]: So phase been asked to mentor.
31:47
[SPEAKER_00]: There's this young girl who's a medium or budding medium.
31:53
[SPEAKER_02]: Oh, no, who is?
31:54
[SPEAKER_02]: Oh, my half-sister?
31:58
[SPEAKER_00]: Oh, God.
32:01
[SPEAKER_02]: Oh, no.
32:02
[SPEAKER_00]: This is gonna be fun.
32:04
[SPEAKER_00]: She's a huge brat.
32:06
[SPEAKER_00]: She's a huge brat.
32:07
[SPEAKER_00]: Spoiled.
32:07
[SPEAKER_00]: Yeah, she's a brat.
32:10
[SPEAKER_00]: Okay.
32:11
[SPEAKER_01]: Fine.
32:11
[SPEAKER_01]: Now, and just as a reminder, this is part of your redemption arc.
32:16
[SPEAKER_01]: So every investigator carries a core wound.
32:21
[SPEAKER_01]: You know, and so this redemption arc is a way to kind of recover from that.
32:25
[SPEAKER_01]: And so it is a mechanic.
32:27
[SPEAKER_01]: It is this four step sequence that you can take.
32:30
[SPEAKER_01]: So essentially, you'd have to do this in your downtime four times to overcome it.
32:35
[SPEAKER_01]: And like, so your first step is
32:39
[SPEAKER_00]: to take on a protege that totally fits.
32:43
[SPEAKER_00]: I will get hurt again.
32:45
[SPEAKER_00]: So, yeah.
32:47
[SPEAKER_00]: So, so grandma has has basically ordered me to take oncessantly becausecessantly has all of a sudden shown
33:07
[SPEAKER_00]: or hint of being a medium.
33:11
[SPEAKER_01]: Also, her grandma has caught her a few times doing say-outs parties.
33:16
[SPEAKER_01]: Because she doesn't really take it seriously.
33:18
[SPEAKER_01]: But she is a very, you know, entitled, she calls herself a teenage spiritualist.
33:23
[UNKNOWN]: Oh, God.
33:25
[SPEAKER_01]: That's Leslie.
33:27
[SPEAKER_01]: Oh, God.
33:28
[SPEAKER_01]: And that is your little half-sister.
33:30
[SPEAKER_00]: Yeah.
33:31
[SPEAKER_01]: Why is she house?
33:33
[SPEAKER_01]: Well, that's a lot of, that's a novella right there.
33:35
[SPEAKER_00]: That's a novella right there, that's a novella.
33:37
[SPEAKER_00]: Yeah.
33:38
[SPEAKER_00]: Yeah.
33:39
[SPEAKER_00]: We got some issues there.
33:40
[SPEAKER_00]: Yeah.
33:44
[SPEAKER_01]: Yeah.
33:45
[SPEAKER_01]: But, yes, so Cecilie, so what are you doing with that?
33:48
[SPEAKER_01]: Are you called?
33:49
[SPEAKER_01]: Are you going to get in the party line and call Cecilie?
33:52
[SPEAKER_00]: No, I actually go to the house, and actually go and talk to her.
33:58
[SPEAKER_01]: Okay, so we, that this is not too over.
34:01
[SPEAKER_01]: It can be done on the phone.
34:03
[SPEAKER_01]: Oh, no, absolutely not.
34:04
[SPEAKER_01]: So we will cut to the bell-whether state.
34:07
[SPEAKER_01]: Of course, it's an uptown.
34:10
[SPEAKER_01]: Yeah.
34:11
[SPEAKER_01]: It's extremely expensive.
34:17
[SPEAKER_01]: She's there, it's the evening, and they're actually sitting down to eat, so you will see her brother, as well, Miles, who's 19, equally entitled.
34:30
[SPEAKER_00]: Oh god, more so he thinks he's the air.
34:35
[SPEAKER_00]: Yeah, that's just another Orion's gun.
34:39
[SPEAKER_00]: And is there mother there?
34:40
[SPEAKER_00]: Is Melissa Andra?
34:42
[SPEAKER_01]: I would imagine, so you walk in on your husband's mistress.
34:50
[SPEAKER_00]: My father's mistress.
34:52
[SPEAKER_01]: Not your husband, sorry.
34:53
[SPEAKER_01]: My father's.
34:54
[SPEAKER_01]: Wow, what?
34:57
[SPEAKER_02]: Oh dear.
34:59
[SPEAKER_01]: I am not married.
35:00
[SPEAKER_01]: You guys, this family tree is crazy, okay?
35:03
[SPEAKER_01]: Yeah, I'll flip with the tongue.
35:05
[SPEAKER_01]: Um, so you walk in, it is evening and so they're eating at this large fancy Hickory table.
35:13
[SPEAKER_01]: Okay, and there's candles in the middle.
35:16
[SPEAKER_01]: It's very long, so we see Sessely and miles on one side
35:22
[SPEAKER_01]: your father is at one end.
35:24
[SPEAKER_01]: Melisandras at the other end.
35:27
[SPEAKER_01]: And it's kind of awkward because nobody's really talking.
35:31
[SPEAKER_01]: It's like they're being served right now so you see like they the weight of like the serve servants are coming in and like
35:40
[SPEAKER_01]: Setting the table and setting down the first, like it's the appetizer first before the full meal.
35:46
[SPEAKER_01]: I genuinely, I walk in and, oh, I guess you didn't wait for me.
35:53
[SPEAKER_01]: Oh, Solomon goes, oh, sorry.
35:55
[SPEAKER_01]: Sorry, dare, sorry, have a seat.
35:56
[SPEAKER_02]: Come, come, have a seat.
35:59
[SPEAKER_01]: How are you?
35:59
[SPEAKER_01]: How are you?
36:00
[SPEAKER_01]: His eyes look kind of crazed as your father is an interesting man.
36:05
[SPEAKER_01]: He is, he has his hair is all over the place.
36:08
[SPEAKER_01]: He looks like a mad scientist.
36:10
[SPEAKER_01]: It's always kind of dirty.
36:12
[SPEAKER_01]: There's always dust on him because he spends a lot of time in the underway tunnels.
36:17
[SPEAKER_01]: And he has like folded paper maps on the table next to him.
36:21
[SPEAKER_02]: Eh, come here, come here, come here, come.
36:23
[SPEAKER_01]: Let's see.
36:23
[SPEAKER_01]: Sorry, you do know all Melissa Androgates wants to be on time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time,
36:45
[SPEAKER_01]: or the reading or something, but they're not here.
36:47
[SPEAKER_01]: They're here physically, but they're not here, you know.
36:50
[SPEAKER_02]: How has your day been?
36:51
[SPEAKER_02]: Oh, great, but I would like to have a meeting with you, there are some discoveries I made in the tunnels and you would be perfect.
37:02
[SPEAKER_02]: If you just come down there with me and we'll just do a couple of tests.
37:06
[SPEAKER_02]: Okay, just two, just two, just I just want a little bit of your time.
37:09
[SPEAKER_01]: Just not as long as that we usually go to.
37:14
[SPEAKER_00]: Maybe two or three hours.
37:16
[SPEAKER_00]: On one condition.
37:17
[SPEAKER_00]: I have some information I need from you.
37:23
[SPEAKER_00]: And of course, of course, it looks over you.
37:27
[SPEAKER_00]: Or derives are be getting to get served.
37:31
[SPEAKER_00]: I judge a Melisondra.
37:32
[SPEAKER_00]: How are you doing?
37:34
[SPEAKER_00]: Stepmother, try to be cordial.
37:37
[SPEAKER_01]: And so we see Melisondra champagne, dashbell weather.
37:42
[SPEAKER_01]: She took the last name.
37:43
[SPEAKER_01]: You know she took the last name.
37:44
[SPEAKER_04]: The champagne?
37:45
[SPEAKER_01]: Yeah.
37:46
[SPEAKER_01]: Yes.
37:47
[SPEAKER_01]: Local bell, whether women, Solomon's long time, my fair partner.
37:54
[SPEAKER_01]: Well, you know that they're not really married, there was this ceremony, but paper's have an officially been signed.
38:00
[SPEAKER_01]: She's a little bitter about it.
38:01
[SPEAKER_01]: As she has mentioned, drunkardly to you a few months ago.
38:06
[SPEAKER_01]: So, she looks very elegant, but very, you know, she has like a hotty attitude at the same time.
38:14
[SPEAKER_02]: Just an eternal chip on her shoulder.
38:16
[SPEAKER_01]: Okay.
38:18
[SPEAKER_01]: As you say, hello, and she goes,
38:25
[SPEAKER_00]: Hello.
38:26
[SPEAKER_00]: Have you been?
38:28
[SPEAKER_01]: Better than you.
38:30
[SPEAKER_00]: Yes, thank you for that reminder.
38:33
[SPEAKER_00]: You're late.
38:35
[SPEAKER_01]: You're going to be late to dinner, don't you, but all.
38:37
[SPEAKER_00]: Root.
38:38
[SPEAKER_00]: You know, you can make allowances for people's schedules.
38:42
[SPEAKER_00]: Hmm.
38:43
[SPEAKER_00]: Sess Lee, I hear you are.
38:46
[SPEAKER_00]: Need some tutoring.
38:49
[SPEAKER_00]: She looks at you like, from who?
38:53
[SPEAKER_00]: What?
38:55
[SPEAKER_00]: I don't need to.
38:55
[SPEAKER_00]: I'm like the top of my class.
38:57
[SPEAKER_00]: I don't need tutoring.
38:58
[SPEAKER_00]: What?
38:58
[SPEAKER_00]: Oh, this isn't something that's taught in classes, dear.
39:03
[SPEAKER_00]: What are you talking about?
39:05
[SPEAKER_00]: Oh, use your brain, dear.
39:08
[SPEAKER_00]: You are bright enough to be able to read through the lines.
39:15
[SPEAKER_01]: I can't be seen with you like my kind of like cookie big sister and people talk about you and it's just like, no, I can't really hate it.
39:26
[SPEAKER_00]: You don't have to be seen with me, but if you want to improve your special talents, you need some instruction, dear.
39:37
[SPEAKER_01]: Are you she looks at her mom is she insulting me like I mean, I'm really good.
39:42
[SPEAKER_00]: I'm really Child oh god How long have you been able to do this and how long have I been able to do what?
39:52
[SPEAKER_01]: I've been doing it for like two years now and I'm actually really good.
39:56
[SPEAKER_01]: So
39:57
[SPEAKER_00]: whatever.
39:59
[SPEAKER_00]: And how many, how many of them do you see right here right now?
40:06
[SPEAKER_02]: Snap.
40:07
[SPEAKER_01]: I'm like, I'm like tired.
40:13
[SPEAKER_01]: So it's harder to.
40:15
[SPEAKER_00]: Oh, so you can't see the 17 that are here right now.
40:19
[SPEAKER_00]: I could, whatever.
40:23
[SPEAKER_00]: Hello uncles and aunts.
40:25
[SPEAKER_01]: more of them filing as you see your your grand mother makes her way into as she's holding on to the arm of another bell whether we'll say Elias no no Elias is dead sorry yeah
40:53
[SPEAKER_01]: The ghosts of your life fell within the third, and that's her husband.
40:59
[SPEAKER_01]: Yeah, Lenore, she's late 80s, frail, very cold looking, and looks like there's no way in hell.
41:10
[SPEAKER_02]: You can surprise this woman.
41:13
[SPEAKER_01]: As she goes and walks over to,
41:17
[SPEAKER_01]: so many names you guys um solos you made the family tree he goes over to mella's dandra she goes you know in my seat ah snap now the sondra looks bearish and she blushes you and your brown eyed face can go sit next to your husband
41:46
[SPEAKER_01]: as the room freezes over.
41:49
[SPEAKER_03]: Wow.
41:51
[SPEAKER_01]: Then the temperature is outside.
41:52
[SPEAKER_02]: Oh, my God.
41:53
[SPEAKER_00]: Oh, grandmother.
41:54
[SPEAKER_01]: Hyde Grant by Elias.
41:57
[SPEAKER_01]: And she sits down as the full-course meal is now being served.
42:02
[SPEAKER_01]: You guys are eating duck.
42:04
[SPEAKER_01]: Well, Estandra goes a shade of pink and stands up from the chair at the end of the table.
42:16
[SPEAKER_01]: and Lenore Bellweather, the matriarch of the family, takes her seats.
42:21
[SPEAKER_00]: So, if Lenore doesn't say anything, I'll look at Cecilie and say so, Cecilie, when would you like our first session dear?
42:30
[SPEAKER_02]: Oh, do I have to?
42:34
[SPEAKER_01]: And I look at Lenore.
42:36
[SPEAKER_01]: Lenore just gives a sharp nod.
42:40
[SPEAKER_01]: And Cecilie goes, oh, fine.
42:44
[SPEAKER_01]: Can we do it like after we eat?
42:46
[SPEAKER_01]: Of course.
42:47
[SPEAKER_01]: Okay.
42:50
[SPEAKER_01]: And I only have like 30 minutes because that's fine.
42:55
[SPEAKER_01]: Okay.
42:56
[SPEAKER_01]: And everybody starts to dig in.
42:58
[SPEAKER_01]: There's like small conversation.
43:00
[SPEAKER_01]: It's very formal.
43:03
[SPEAKER_01]: It's very surface level as well.
43:06
[SPEAKER_01]: La Nore does not speak and neither end.
43:10
[SPEAKER_01]: Sessley's mother, Melisandra, has been greatly embarrassed, so she's not speaking, and she's sitting right next to Lenore.
43:20
[SPEAKER_01]: So it's just, she's cold, you know what I mean?
43:23
[SPEAKER_01]: There is a fire, there's a heart at the end of this room, and it's not warming up anybody like it.
43:29
[SPEAKER_04]: This is like eating glass.
43:32
[SPEAKER_01]: It's not fun, but soon enough,
43:37
[SPEAKER_01]: dinner finishes, Sethley gets up as the, you know, the, the butlers, the butlers in the maids, they come and clean up.
43:46
[SPEAKER_01]: Some of the family members are sitting still and drinking wine and champagne, but Sethley will get up and then she likes shuffles her feet over to you.
43:57
[SPEAKER_00]: Let's, let's go to your room where it's your comfort, your environment, and we'll take, you know what, we'll make this short.
44:09
[SPEAKER_02]: Okay.
44:12
[SPEAKER_00]: And I want you to get up there, we'll sit down and I will spend...
44:18
[SPEAKER_00]: It's very large room as well.
44:20
[SPEAKER_01]: It's larger than your room.
44:23
[SPEAKER_01]: And she has one white chair.
44:28
[SPEAKER_00]: Oh, I'm good to be larger than yours.
44:31
[SPEAKER_00]: I mean, when she was born, I was already 20.
44:34
[SPEAKER_00]: Yeah.
44:40
[SPEAKER_00]: Faye was already past that petty teenage rebelliousness or petty pennies or whatever.
44:47
[SPEAKER_00]: So she goes near, there's a fireplace in her room.
44:52
[SPEAKER_01]: A couple chairs if I actually go, okay, we'll just do it here.
44:55
[SPEAKER_01]: I guess.
44:56
[SPEAKER_00]: All right, so close your eyes.
45:00
[SPEAKER_00]: And I walk her through a 10-minute meditation.
45:06
[SPEAKER_00]: Now, I want you to do this 10 minutes twice a day.
45:11
[SPEAKER_00]: Morning and light.
45:12
[SPEAKER_00]: What are you trying to do?
45:15
[SPEAKER_00]: Trust me.
45:17
[SPEAKER_01]: Can I do it like in glass, like?
45:19
[SPEAKER_00]: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha
45:47
[SPEAKER_01]: Oh, okay.
45:49
[SPEAKER_01]: I swear I will not do it in glass.
45:51
[SPEAKER_01]: Okay, on your hide.
45:58
[SPEAKER_01]: And then towards the end of the 30 minutes is short knock and then her brother's head peaks in.
46:05
[SPEAKER_01]: He goes, that's like, come on, come on.
46:08
[SPEAKER_01]: I got to go.
46:10
[SPEAKER_00]: Of course you do.
46:11
[SPEAKER_00]: See a big face.
46:15
[SPEAKER_00]: She skips out of there.
46:17
[SPEAKER_00]: Stan, I trouble you too.
46:31
[SPEAKER_04]: George would have slept at the office to make sure you go didn't disappear, so he could ask him some more questions before you left.
46:38
[SPEAKER_00]: And I think Fay would definitely be meeting them at the office right and early.
46:43
[SPEAKER_00]: Probably bringing in past first pastries from the mansion.
46:50
[SPEAKER_04]: Oh nice.
46:51
[SPEAKER_00]: Okay.
46:52
[SPEAKER_04]: Love that.
46:53
[SPEAKER_00]: Oh, that's all they're good.
46:54
[SPEAKER_00]: Since, I mean, we don't have Starbucks or anything like that, so we'll make fresh coffee when I get there, but my, as we'll bring the pastries.
47:02
[SPEAKER_01]: Honestly, coffee probably tastes better back then.
47:05
[SPEAKER_00]: I don't know.
47:05
[SPEAKER_01]: Honestly, they probably did.
47:10
[SPEAKER_00]: So yeah, I actually, Fay will bring like a bag of coffee to roast.
47:18
[SPEAKER_01]: It is the next day, and what time is it, Fay?
47:21
[SPEAKER_00]: It's probably about seven, 30.
47:24
[SPEAKER_00]: OK.
47:24
[SPEAKER_01]: It's early.
47:28
[SPEAKER_01]: It's early.
47:29
[SPEAKER_01]: And you have a key to the office already.
47:33
[SPEAKER_01]: And you can see a very unnaught out Hugo on the couch.
47:37
[SPEAKER_01]: And little bit, drool, mouth open, completely dead to the world.
47:42
[SPEAKER_04]: George is half asleep like on the cot.
47:45
[SPEAKER_00]: very quietly, very quietly walks in, closes the door just as equally quietly, puts the pastries on a table or a counter, wherever there's free space and gets the coffee pot, go to wash it out and get the coffee going, and then she'll just take a seat while the coffee's
48:12
[SPEAKER_04]: George will smell coffee eventually, and we go.
48:16
[SPEAKER_00]: And while phase waiting, she'll go through the notes and the map and all that information kind of start piecing it all together.
48:25
[SPEAKER_01]: Hey, as you are focusing on this, I would like you to pierce the veil.
48:33
[SPEAKER_00]: Sure.
48:33
[SPEAKER_01]: Now, this is an inherent ability, right?
48:36
[SPEAKER_01]: This is not a role where you can like that.
48:42
[SPEAKER_03]: That's cool.
48:43
[SPEAKER_00]: Okay.
48:44
[SPEAKER_00]: I would be yes, but I would like you to pierce the mail, but if you don't want to, you don't have to.
48:48
[SPEAKER_00]: Oh, no, absolutely.
48:49
[SPEAKER_00]: In fact, this is something that Fay does as a matter of course normally wherever I am, I'm constantly
49:00
[SPEAKER_00]: focusing, looking around.
49:02
[SPEAKER_00]: If it's someplace that I've been before, I'm on the lookout for any familiar ghosts.
49:13
[SPEAKER_00]: If they're ghosts that I'm friendly with, I'll, I'll even just greet them with a good morning, just a.
49:24
[SPEAKER_01]: It's no ghost that you interact with this morning as you pierce the veil as you usually do.
49:30
[SPEAKER_01]: There is a residual psychic impression of Orion screaming and he's telling Amelia to flee.
49:42
[SPEAKER_01]: So you hear Amelia?
49:44
[SPEAKER_01]: Rodden!
49:45
[SPEAKER_01]: and it's like this resounding pressure as it echoes in your head.
49:50
[SPEAKER_01]: And you also get the smell of ozone and you hear heavy-tooling of St. Orison's bell, loud gong.
50:00
[SPEAKER_00]: On that, I, Fay will get up and if George hasn't woken up.
50:09
[SPEAKER_04]: Oh, he's like slowly getting changed
50:15
[SPEAKER_00]: George.
50:16
[SPEAKER_00]: George.
50:17
[SPEAKER_03]: What?
50:17
[SPEAKER_03]: What was wrong?
50:19
[SPEAKER_00]: I just heard Orion screaming to me to run.
50:24
[SPEAKER_00]: And I heard the bells of St. Arisa.
50:27
[SPEAKER_00]: Let's go.
50:29
[SPEAKER_04]: Oh, shit.
50:29
[SPEAKER_04]: All right.
50:30
[SPEAKER_04]: And he leaves like he leaves a note for Hugo.
50:33
[SPEAKER_04]: Call like all we'll call us later.
50:37
[SPEAKER_04]: Lock the door.
50:38
[SPEAKER_04]: Talk soon.
50:39
[SPEAKER_04]: So bar up.
50:40
[SPEAKER_04]: Go out the door with everything.
50:42
[SPEAKER_01]: And the last thing that we hear is the loud gong and claim of the bell of St. Worth.
51:00
[SPEAKER_01]: Thank you for listening to the Dead Don't Testify, an actual play showcase of the haunted RPG.
51:05
[SPEAKER_01]: My name is Maya Wilson and I've been your narrator and game master and also a big thank you to the cast.
51:11
[SPEAKER_01]: Michael Gilbert played detective George Valentine and Anna Glover played our medium, they bell weather.
51:18
[SPEAKER_01]: This season is sponsored by Bezerker Studios.
51:20
[SPEAKER_01]: You can find the haunted RPG live on game found right now.
51:24
[SPEAKER_01]: Also check the link in the episode description to back the project, view full content warnings, and find all of our social links.
51:31
[SPEAKER_01]: See you next time.