Speaker 1: You are listening to Table Story. Draconym is an improvised
cinematic story produced entirely live, including music and dialogue. There
is no script. A huge thank you to Crossed Paths
Press for not only making this series possible, but for
creating the world and rules of play. To bring Draconim
to your table, visit Crosspaths dot co dot uk. To
experience us live, visit us on Twitch at table Story,
or browse our full library at tablestory dot tv. We
begin with grub right, where are you right now in
your cabin?
Speaker 2: Oh?
Speaker 1: Yes, what does your cabin look like right now?
Speaker 3: My cabin is a.
Speaker 4: It's usually a bit run down, but cozy like it
a bit worn, seen bad days, but it's home. You know,
it's a bit different than usual now though.
Speaker 1: Yeah, I think, why why is that?
Speaker 3: You see?
Speaker 4: I had this idea hm hmm, but maybe there was
something that I could do about this whole situation.
Speaker 5: Now.
Speaker 4: I'm not the smartest person. I'm not the sharpest tool
in the picnic box, if you know.
Speaker 5: What I mean.
Speaker 1: But I don't think that's very fair. But go on, Well,
I just.
Speaker 4: I just thought I could maybe put two and two
together and maybe come out with for so it's a
little messier, shall we say, in here than usual, although
maybe actually it's more organized than it's ever been.
Speaker 3: And I think.
Speaker 1: Maybe you know where everything is, because I'm looking at
the wall here and I don't really know exactly what
I'm seeing. Could you explain what I'm looking at?
Speaker 2: Well?
Speaker 3: Listen.
Speaker 4: So it started with this bit of paper over here
because I just thought that it would be really useful
to put like chronology and timing of events gone in
a row, you see. And then I just thought, well,
i'll underline this bit because I think that's important. If
you see that bit that that's a tea And then
and then I thought, well I need a little bit
more room, so I put this one up and then
I ran our paper. So then that's what that bit
of fun is. And you see all that pin in
there and that pin in there, well that just marks
that bit of the map because I thought that that
was probably quite important and I paid attention to that.
And then there's the piece of stone that I pulled
out the bottom of my trousers because I thought that
was probably important. And then I just so then that's
linked to that one with that bit string and then
that is and then saw before you know it, it's
kind of a bit wallpaper if you and I didn't
really realize it had got this good bad.
Speaker 1: Here we are, here, we are what are the colors
of the chark?
Speaker 5: Mean?
Speaker 2: Right? Well?
Speaker 3: This one over here, that's.
Speaker 4: That's like a right yeah.
Speaker 3: So that's about the that's about the locations.
Speaker 4: That's about how we get there, you know, how we
find him.
Speaker 3: That's about that bit.
Speaker 4: And then if you look over there, see this is
the point where I ran out of colours because I
only really had one, so I had to just.
Speaker 3: Figure it out.
Speaker 4: But then this little parcel arrived on my doorstep and
it's just like tied up with the lovely Oh, it's
just special. And I had some colors in it, which
is just you know, interesting from the gods as it were,
and so that's why it's like pink. And but I
can't say that these were colors that I would have picked,
but they're the colors that I had, so I just
went with it, all right. So that's this bit here,
and then that one corresponds to you know, the powers
that be in trying to figure out what that bit
over there is.
Speaker 1: And then if you look at that's okay, I see okay, and.
Speaker 4: Then the pink over there, that's the unknowns, that's the
question marks, that's the what the hell is this?
Speaker 3: Okay, sort it out.
Speaker 1: Grub all right, sort of it makes sense. It makes
sense now that you explain it, perfect.
Speaker 3: Messy.
Speaker 1: Good question, though, has anyone seen this? Have you shown
anyone this?
Speaker 3: I just feel like they might get the wrong idea.
Speaker 1: So it would be really bad if someone showed up on.
Speaker 3: Announce Well, I wouldn't come in, that's for sure.
Speaker 1: I suppose we'll see about that. Because there's someone there
right now. He's kind of waiting to knock on the
door because he's I don't know, nervous. Maybe. How are
you feeling, Oleander?
Speaker 2: As you know, I'm always feeling perfect, always, always confident,
always perfect always. I am not knocking on the door,
not for any particular reason. I have not decided to
knock on the door yet at the moment. I am
just enjoying the nature around this place as opposed to
this is why I'm not knocking. I'm not knocking. I'm
not not knocking. I am just not knocking, you know.
Because I'm not not knocking, I mean I'm not knocking,
but I would knock. There's no reason for me not
to knock. It is not as if this whole thing
is awkward, because I don't believe in awkwardness, because everything
is fine. But and I will be just knock, knock,
knocking on the door any moment. Smellson, yes, just right now,
but before I do. It is very the sun and
also trees. It's beautiful. Ah. Yes, and my dragon is
over there. I think there is a like a small lake.
My dragon is having a little bath in. I noted
that my dragons a little dirty, but not like in
a good fun way.
Speaker 1: They're gesturing at you. What is that? What does that mean?
Speaker 2: They think that I I should not knock on the
door because they think that I don't know. They've been
a little strange recently, my dragon. I don't know why,
a little bit like I've been wanting to come over
here to grubs for some time now, but my dragon
has been, you know, pushing me to do other things.
And well, to be honest, it was not very hard
to get me to not come back here. I mean,
I do need to and I have no problem knocking
on the door, which I.
Speaker 1: Have not yet done, right, But you're not not knocking.
Speaker 2: That's right. It's I'm just distracted and I'm distracting you.
Speaker 1: So really it's my fault.
Speaker 6: Yes, yes, yes, yes, yes, yes, that's right.
Speaker 2: It is not.
Speaker 1: Okay, just a final question, how long has it been
since you've talked to Grub?
Speaker 2: Well, I am not not talking to grub, right, okay, right,
I have been busy.
Speaker 1: And Grubs probably been pretty busy.
Speaker 6: I also, I.
Speaker 2: Don't want to bother grab. I mean it was you know,
I can be a bit.
Speaker 1: I but you parted on the terms, right.
Speaker 2: Yes, yes. You know, sometimes when you have someone who
you really like, who you think is very admirable and
honest and brave and like very good person, and then
for some reason they don't like you very much, and
you think it's because maybe you are a terrible person,
you know, because you did not do the things you
need to do.
Speaker 1: I'm just kidding. That's incredibly relatable. Yeah, I think, oh yeah.
Speaker 2: Oh, that you have disappointed them, you know, and you
don't know why or how, and so then you don't
talk to them, and then maybe they think that you
don't like them, and it becomes all this thing and
it's a couple of years and spirals, it's spirals. And
then you find out that actually, this is not what happened,
and there's a whole other thing and it was all
a misunderstanding, but it was not a misunderstanding. It was
sort of like a deliberate deception from someone else and
h and so everything you thought.
Speaker 1: That, yeah, what it was?
Speaker 2: Okay, okay, so that one is not so relatable to you.
But then how do you come back to this? How
do you say, oh, look, we could have been friends
all along. And then.
Speaker 1: Well, I have a suggestion, yes, knock.
Speaker 2: Ah I oh, my track insists I should not knock.
Speaker 1: And there's a knock on the door.
Speaker 2: Uh.
Speaker 4: You hear a whole lot of shuffling inside.
Speaker 1: It's a lot of shuffling.
Speaker 4: And then you hear the very characteristic stump stump stomp
you recognize, and the door creaks o as Grub's face
fills the crap in the door.
Speaker 2: Hello, I did not see you there. I was just
passing by in the you know, in the forest, in
the middle of nowhere, just passing by, just you know,
how I do I wonder just a bit, and I thought,
here I am, I am not so far from your cabin,
and I had been so long since I have been here,
And actually it has been a very long time since
I've been inside, even longer than here. And I just
thought since.
Speaker 4: I mean, the grub comes out of the cabin and
closes the door really swiftly behind them.
Speaker 3: It's it's good to good to see you. It's good
to see you.
Speaker 2: Noticing that the door has been shut. I probably should
not have come. I'm so sorry. I you know, I
should sorry, I should go. I'm and like you can
tell that the door being shut behind you sort of
reads to Leander as, oh, this is a shut door.
I should not have come. It seems like a rejection
that he's taking it that way as a rejection. I
am imposing, I'm so sorry.
Speaker 4: I'll stop you and put my hand on your shoulder,
and then look at my hand, and then put it
back on your shoulder. Oh, and then take it off
and put it by my side.
Speaker 2: I put my hand on your shoulder, and then I
look at my hand, I look at you. I take
it off, I put it back on, I take it off,
I put it to my side. Then I put my
hand UPO high five. Is this how we're doing it.
Speaker 4: Now, as you put your hand up for high five,
I put my opposite hand on your shoulder, so we're
like forming an archway between our shoulders. And then I
see you immediately put your hand up for high five,
so I put my hand back.
Speaker 7: My hand on your shoulder direction.
Speaker 2: Oh oh oh, okay. Then I put my hand back
up rather for fur high five.
Speaker 3: Okay, I'll put my hand out to shake your hand.
Speaker 2: I take your hand in the sort of four armshake.
Speaker 1: The camera immediately cuts to their dragons, who are just
looking at each other, like what are they doing? And
then back then, Ah, so.
Speaker 4: You weren't actually just passing by, were you?
Speaker 2: No? Yes, no, I mean technically tech one does have
to pass by to get here on the way here,
and I did pass by more than once before I
actually got here. But that's more like pacing than passing.
But pacing and passing are very close in we're just
vowel different in this language.
Speaker 7: So but you're not this time?
Speaker 2: Yes, I did. I mean I got a message from
Cal saying you wanted to talk to me, so I
think that is why you cals.
Speaker 4: No, no, no, no, no, I didn't I didn't say no.
Speaker 3: It's just it's just a bit of a mess.
Speaker 4: And I just feel like maybe I wasn't I wasn't
expecting visitors, you see.
Speaker 3: So uh, but that doesn't mean go I'm not trying.
Speaker 2: I mean, if you know, if it look, I am
not here to impose upon your generosity or your heart
or anything like this. But I you know, I love nature,
you know, and I love all of the creatures in nature,
including bed bugs. But I do not always want the
bed bugs where I'm sleeping. I find the bed bugs
who not live in the nature. They live in the
very cheap inns that one goes to when one is incognito,
for example, and they are something.
Speaker 3: You know about bed bugs that.
Speaker 2: I had to go to an inn in incognito to
stay somewhere, and they have these bed bugs there. And
here's the thing, what is this If you go live
out in the forest, there are no bed bugs if
you live in this what is this tavern, these inns
or whatever?
Speaker 3: Listen?
Speaker 8: Have you.
Speaker 3: Have you got rid of them or are you still?
Speaker 2: Yes? No, no, all of them have gotten doing them?
Speaker 1: Scratches his shoulder for those listings.
Speaker 2: Do you know that if you have a bit of
fur slash bark they like that. I don't like that. Also,
I don't know about the cities.
Speaker 9: I don't like them.
Speaker 4: All right, hold on, Grub's going to go back in
with the round the door, close the door, And I
would like to produce from somewhere. Well I can only
describe as a home remedy.
Speaker 1: Yes, yes, yes, yes? Should we roll for its effectiveness?
Speaker 3: We absolutely should?
Speaker 4: Yeah, because I don't.
Speaker 1: Think first all is effectiveness of this home remedy. Would
you like to argue your skills here?
Speaker 3: I live in the forest, yep, mel fair enough.
Speaker 4: I've seen some pretty terrifying ins in my time, and
I don't want to argue anymore because I'm honestly not
entirely sure if it's going to be effective or not.
Speaker 1: Well, we'll we'll, we'll, we'll find out. And also follow
up questions, is there any magic involved or is it
simply the magic of nature?
Speaker 3: Which is is the magic of nature?
Speaker 1: Yeah, that's okay.
Speaker 2: Then also the magic of friendship obviously exactly and amazing improv.
Speaker 3: Would you like me to roll?
Speaker 1: So if there's no magic in, why don't we go
ahead and do? I'm thinking either now hear me out
the world the world. Yeah, I'm either thinking that or
potentially the mind. I will allow the mind if you
want to do that as well, because you are using
your knowledge to make some folk remedy. Either one of
your choice.
Speaker 4: I feel it's probably more world. I've probably scraped this
from the floor of the forest and thrown and a
jar for the best.
Speaker 1: Yep. All right, right, let's hope for the best.
Speaker 3: This is a basic check. And then that's the other. Yeah, yep,
got it, and the dice po size.
Speaker 2: Well it's your world is the one, yes, and then
the other. You get two skills too, yes? Oh so
the world and whatever is your primary primary attribute?
Speaker 1: Great, which I think for you is actually your body.
Speaker 3: Right it is, yep, which makes sense because.
Speaker 1: You had to forage and collect all of these things.
Speaker 3: What's the difficulty.
Speaker 1: Easy? I just want to see yeah, no, no, no,
I just want to do Yeah. I just want to
see how well it does.
Speaker 5: Look at that to successes too.
Speaker 1: I'm going to take so this is going to be effective.
But can we say maybe like actually, I'll just let you.
I'll let you take it through.
Speaker 2: You decide, please, uh, And you know I have got
fur but also a little the type of person I
am I have a little bit of bark sort of
embedded itself with my little bit of mix of three
person sort of thing, well three stag type person, you know,
a little bit.
Speaker 3: Of I love the idea that you're still talking even
though I'm yeah.
Speaker 2: Yes, yes, yes, this is what is happening, and kind of.
Speaker 1: Just only barely raised his voice, like you can still hear.
Speaker 9: Him, yes, yes.
Speaker 2: And then there's fur.
Speaker 9: You know, they like this.
Speaker 7: I don't know what.
Speaker 3: Hello, squeeze back out the door.
Speaker 4: And I have I have a bottle with me with
a cork stopper in the top, and it looks kind
of like some sort of science experiment. It's got a
funnel at the top, and then it's got that kind
of a triangular base with a cork stopper in the top,
and it looks almost like a terrarium. It's almost like
a close terrarium. There's like moss, there's a little bit
of grit, like this thing does not look pleasant, and
I would like to take the stopper off the top.
Speaker 1: Does it's smell pleasant?
Speaker 2: Oh?
Speaker 1: Hell, okay, all right?
Speaker 2: Its nature. I bet I love it. I bet I
mean people like us love it. I bet that people
in the city.
Speaker 7: They don't love it, and I.
Speaker 3: Will just literally turn it upside down, put it in
my hand.
Speaker 7: Oh, grab my hands.
Speaker 3: Together and just dunking it all over. Elly, I'd like this.
Speaker 10: Oh, and I will avoid the area of the pelvis
and then and oh yeah, the rest of the bottle.
Speaker 3: You can set yourself out.
Speaker 5: That soldiers, I'm going to sneeze.
Speaker 2: No, yes, no, oh okay, be quick about it.
Speaker 3: Doesn't do well with it if you see what I mean.
Speaker 2: Oh yeah, okay, wait, there's like hooves. Okay, No, that's okay. Wait,
am I burning?
Speaker 4: I turned around and face the door to give give
Alianda some privacy.
Speaker 2: My tail have to fix the small it's a very
small tail.
Speaker 6: It's okay tail.
Speaker 3: Okay, I don't need to commentary. Turned around for a reason.
Speaker 2: Oh okay, I thought you wanted no progress. I'm making
more progress. Okay, handlers, fuddy eh. Also, I feel like
there are small creatures jumping off my body. I feel
like I want to also jump off my body because
after all, this smells so fragrant, and now is this
like is there mental in this eucalyptus? Maybe? I feel
like there's definitely eucalyptus in this okay, Well, no one
will want to come close to me for the next
three weeks. Would you like you back?
Speaker 4: I like, hey, I take it from him, but like
I touch the bottom and then hold it with pincers
like it's contaminated. Put it on the floor outside my cabin,
and there's a bucket next to the door, and I
just dunk my hands in it and then don't come
out again. I'm holding my hands up like you might
see a surgeon scrub in.
Speaker 2: You have just washed all that up immediately. Makes me
feel like I should wash it off as well. But
I feel like you're going to tell me that I
should not.
Speaker 4: Need to leave that on met more effective the longer
you keep it on. See, but I was an itchin
so here we are.
Speaker 2: Okay? Well then, ah, so do you want to stand
outside of your place like awkward? Or maybe you can
let me inside? Or I can also not go inside.
But what a nice day? All right?
Speaker 3: Hear me out?
Speaker 2: Okay?
Speaker 3: If I let you in? Yeah, if.
Speaker 4: I'll let you in, okay, do you promise to be
chill about less?
Speaker 2: But I will. Uh. Well, I'm not asking to move in,
so that's first. I am also not very judgy about
organizational structures, like if you have not done the dishes
or something, I don't care. I just like to sleep
in the forest, you know. It's not like I have
a lot of I don't care. The problem with the
inns was not that they were messy.
Speaker 4: They were all right, okay, all right, all right, okay,
come on then.
Speaker 3: And I okay, just open the door.
Speaker 2: Ah, So think you your place is very okay. Oh ah,
there's pink, there's green, there is uh this is an
entire world. This is uh is this? I'm going to
guess this is art.
Speaker 3: It's uh oh of a sort.
Speaker 2: Because it looks like some sort of murder board. You know,
but that would be weird.
Speaker 3: I mean that's where.
Speaker 2: Well, I mean because that would imply you're doing investigations
or something into something. H and who would do that?
Speaker 4: What kind of Well nice to see you, so uh,
I'll go back.
Speaker 3: Right story again.
Speaker 2: Okay, So you did not call me here to maybe
talk about this big.
Speaker 4: And then you showed up with bed bugs, and then
you didn't even say thank you when I used the
last of my remedy on you. And then you came
into my home and talked about me being a murderer,
so nice to see.
Speaker 2: No, no, I didn't say that. I am not that
you were a murderer, but that you were investigating a murder.
I mean, this looks like what you do when you're
searching for a conspiracy, Like there's some kind of large
conspiracy with people going from more than one city and
they're like, perhaps some connections to what So.
Speaker 4: Sorry, uh are you calling me a conspiracist?
Speaker 2: Well, but if there is a conspiracy, there are people
and connections from once it's next for example, this this
one here, yes, this one, that one right there with
that pink one there. I don't know what I think means.
Speaker 5: Uh.
Speaker 2: And you there's this one over here. Clearly you don't
have a line between them. But I have to tell
you that there has been uh couriers going from this
place here.
Speaker 7: Uh this what this is?
Speaker 2: I'm thinking from the ones connected to this this line,
this line, this line, this line that is most likely
uh rel on dusk. Yes, and this Reland dusk. He
has sent couriers over to what I think you must
this one here must be the what is this the
the New Bright Horizon Loging Corporation. Yes, there have You
don't have a line between those two. But I'm telling
you there has been couriers going between Reil and Dusk
and the New Bright Horizons Loging Corporation with out even
though they are quite quite far apart in terms of cities.
But I have tracked their couriers from this one to
this one. So there is definitely a line between these two.
That is, without a doubt, at least money but also information.
Those two definitely are connected, and you do not have
a line between them. So I don't know what that
is about, because there is definitely a line. And also
I don't know what this line is. I don't know
this one. What is what is this one? Here? This one?
This one that goes from Reland ausk to what is
this other one? What is this place? I don't know
this one?
Speaker 4: All right, you can stay, I kick the door closed.
Oh yeah, catch an earth rower, bowl a strong.
Speaker 3: N and linkva.
Speaker 2: Well, okay, school across there. That one's linked. I have
a question for you.
Speaker 3: I've got several for you.
Speaker 7: Oh you first, how do you know that?
Speaker 2: Know what?
Speaker 3: Just you're at the string that you've just put.
Speaker 2: Oh, because I mean I'm fast. If you're going to
be a courier, from point to to point B. I'm
going to follow you, and then I'm going to know
where you're going, and then I'm going to be traveling
against all those places and there sometimes.
Speaker 4: So bhypothetically, if you if you if you knew that,
if you knew that somebody was.
Speaker 3: Stuck, and you thought.
Speaker 4: That there was a lot of things that might be
linked to that person getting stuck, you see what I'm saying.
Speaker 2: Yes, that's not a question though. That is the first
half of the question, but not the s all right,
all right.
Speaker 3: All right, all right, all right, So listen right here's
where it starts.
Speaker 9: And I.
Speaker 3: Point to a piece of paper that describes a kind
of holding cell.
Speaker 1: Okay, I also imagine that in your scramble at the door,
and because he and I took so long to actually
convince him to knock that, maybe you've put like a
sheet or something over the more sensitive parts of this investigation.
Maybe you've pulled up the court. Did you reveal this
one part or I think.
Speaker 2: That's heavy question?
Speaker 1: Sure for me?
Speaker 2: No? Okay, ah, I sell, yes, But I did have
a question for you, and that is where is my
family on this board? Because I am seeing personally a
lot of links in my from my family to rel
On Dusk, to the New Bright Horizon's Logging Corporation, also
to the Deep Mining Guild, and also a lot of
connections between my family and all of those places. So
I'm wondering where they are on this board.
Speaker 4: Well, oh, that's a good question. And I turn around
to the perpendicular wall and there's a window there that's
covered by this massive set of curtains. And I go
out as if somebody is doing that thing with a
double set of doors where they push both doors open
and enter similar gesture. And as I open the as
I yank the curtains open, it becomes very evident that
there is no window behind these curtains.
Speaker 1: It's just more papers, more blackout straight covered it. Yeah,
with like cardboard or something. Okay, so this is some
of what I know.
Speaker 4: And if you trace the line and I pick up
a piece of string that's trailing on the floor but
connected to some of the stuff that or Leandrew has
been pointing at, and I pick it up, it's already
got a little loop in the end, and I hook
it over a pin honest spot that was behind the curtain.
If you see what I'm saying, right in, well, baby.
Speaker 2: Right, well, so Jerrick's in the prison with no name
and it's somehow m hmm, my fault or something.
Speaker 3: I well, and wait, like no one's saying that.
Speaker 2: No, I'm saying it. Well, I so.
Speaker 3: Listen. I go to put my hand on his shoulder.
Speaker 2: I just put my hand on top of yours so
you can't take it off.
Speaker 3: There's this moment where I look you in the eye.
Speaker 4: Unlike my eye twitches a little better, and then I'll
look at your hand again.
Speaker 3: You are not your family, all right?
Speaker 2: But I think are not my family. I mean they
raised me and taught me, and it is I have
the name. It's how everyone identifies me and sees me.
Speaker 9: It is what.
Speaker 2: Has me moved through the world. The echoes of everything
they do sit in between the crevices of my bark
and fur. Whether I want it to or not, I
can say I am not my family, but no one
will believe me. And if no one believes you, then
it is not true that you are not because who
I am is not only what I think I am,
it is also I have been thinking a lot this
last six months. I tried very hard to investigate what
my family has been doing because I don't understand. And
you know how difficult it was in the beginning to
investigate my family whenever everyone would just give me what
I wanted and tell me what I wanted to hear,
but nothing that I wanted to hear because they knew
who I was. I could not give up. I have
spent my life not thinking about or not realizing, not
realizing or not thinking. I don't know about this concept
privilege that all this time I had this privilege and
I did not realize I had it, And then when
I said I did not want it, it doesn't work
that way. I cannot just not have it because they
just give it to me whether or not I want it.
It's like they let me out of that prison, even
though I told them I did not want to be
let go without my friend. And this privilege that just
sits on me like a stain, stinkier than this bed
bug treatment. I cannot just wash it off. I tried
all six months. I tried. I have to hide everything,
and even then, I don't know if it stays forever.
I don't think I get to control who I am
completely because who I am is always in conversation with
everything about me, So I don't think I get to
wash myself off of this thing that has been so
in some ways it is also my fault I did
not know it, but I don't think that's an excuse
I benefited from. I still do benefit from all of
the power of my family and whatever terrible thing they
are doing, working with people who destroy the Heimstree, that
destroy everything we stand for. Whatever they have done, I
am benefiting from this as well, and so I am
also implicated in this thing. Whatever it is, this thing
that puts Jerik, that keeps Jerik in this prison at
me outside of it. This is every step I take
is partly because I am benefiting from something so tremendously
awful and I don't know what it is, so it
is also my fault. I'm not innocent from these things,
even if I don't know what they are, and I
can't stop it from happening, at least not really now,
and I need help. I need help to get this.
Speaker 6: I need to help get Jaick out.
Speaker 2: Of this prison. I don't know how, and I need
help to find out what my family is doing so
maybe I can stop it. I don't know if I can.
I can't stop what happened in the past. Maybe I
can stop in the future, But how can I do
it if no one will help me, if no one
would give me some kind of I can't find out.
I've tried very hard these last six months to figure
it out, to not bring anyone else into this stink
that is whatever is going on. But I can't do
it by myself, and I need your help, and that
is why I've come here. Yeah, if you can stand
to smell me, you.
Speaker 4: Know, there's something I've learned recently, and that's that no
one can.
Speaker 9: Do it.
Speaker 2: But I mean, I thought you were saying no one
can stand the smell of me because it's so full of.
Speaker 3: Rich I mean that too.
Speaker 2: Huh h h.
Speaker 3: And for the record, I believe it.
Speaker 4: He said you said if you weren't your family doesn't Marcus.
Speaker 3: People. Uh, I don't believe it, you know, I like
slap him on the back of his shoulder.
Speaker 2: It's this appointment is so very pangent. It's making me
gear up.
Speaker 7: It's just the the lecally, it's one more thing.
Speaker 4: Go shay, what from where these curtains were revealed? I
peel back one of the pieces of paper that's covered
in everything, and behind it is a picture of a tree,
and I just lead early under to the tree so
they're able to read what's on there.
Speaker 2: What's the Heims tree? This is the tree that feeds
the world. We believe it is the heart of the world.
Why is it on your board that's a symbol of
my family?
Speaker 3: Yes, yeah, that's it.
Speaker 2: That makes sense. It is, after all why we exist.
We are the protectors of the stream. This is what
our entire life is dedicated to. This is why we
are so important in our community in the Golden Grove.
We are the people out here would say nobles. Ah,
this is a concept that is more with humans. I
think we are what you would call nobles because we
are the fiercest defenders of the tree, that is the
one that gives life to everything. And we have done
such a thing for so long that we have this status.
I think, what were well, what.
Speaker 3: De vendors of the tree?
Speaker 10: No?
Speaker 2: We we we are defenders of the tree. No, we are,
I am you are?
Speaker 3: They were?
Speaker 2: They still are? They are there at the tree, They
stay there. Buy the tree. Crap. They're not dead, my family,
They're still alive and they may be doing something corrupt
with these new industrialists, but they would never abandon their
mission to protect the very hard and life of this world.
That they would never do.
Speaker 4: As early Ander is talking, I pick up that all
of string again, and I make another connection between what
we're looking at, where this tree is, and the couriers
the early under it has pointed out earlier. And I'd
like to take your and lowers it round the string
and get you to follow it.
Speaker 2: Grub, Are you implying that my family would do something
to harm the world tree, the Heimstree.
Speaker 9: They could not do that.
Speaker 2: And he reaches back in and he pulls out the
amulet that he wears. It is his family heirloom, and
it is a piece of the Heimstree. But of course
you can tell that it was something that had fallen
from the tree, had never been cut, because you would
never cut a piece of the heims Tree. You would
never harm it. But it is the symbol of his
oath of protection of the thing that gives life to
all of the planet. We would never harm this tree.
And my family may be working with people who harm
the lakes and the rivers and forests, and I don't
know why but they would never, they would never harm the.
Speaker 9: Life.
Speaker 3: I reach into my pocket.
Speaker 4: And pull out a stamp, a seal, and this is
also made the handle of this is made from the
same material. It looks like the same material. And it's
the kind of stamp that you would put on the
back of an envelope or a piece of communication that
stamps into a wax seal. No, And I turn it
over so you can see what the seal is on
the bottom.
Speaker 3: And I.
Speaker 4: Put it in your hand, right next to the the
same symbol that you wear around your neck.
Speaker 2: Yeh, I drop it.
Speaker 9: This is I've seen. This is.
Speaker 2: Like bleeding pleasure.
Speaker 1: This is.
Speaker 6: Mm hmm.
Speaker 2: He steps outside because he has to heave h h.
Speaker 4: I follow him, and I collect on my way over
three or four really filthy looking scraps of material.
Speaker 5: H m hmm.
Speaker 4: And as he heaves outside, I put my arm around
him and hand him a scrap of fabric. And then
I hand him another scrap of fabric. H use, use
a different one for your eyes, mate, all right, another one?
Speaker 9: Sorry, mhmka.
Speaker 4: This right here, this is why you are not your family.
I believe it, crab.
Speaker 2: I thought they were doing bad things, but this is
This is catastrophic. This could destroy the world, our environment,
the ecosystem, the air that we breathe, the food that
we eat, the trees, the water, everything about our life.
It can be corrupted by this, by this, this is not.
Speaker 6: Okay, you're right?
Speaker 2: Why why that part haven't worked out?
Speaker 3: We've got a lot of work to do.
Speaker 2: I think I wanted to rescue Jerik for redemption, but
and I do still, But now I think Jerrek being
placed in that place is probably something. Maybe Jerik knows something,
something they don't want us to know. Maybe it has
to do with the rose of the weave. I don't know,
but we might have to get him out for the
safety the goodness of the whole world, not just for himself.
I don't know how that is. A place people don't
even remember exists. It has no name. And Zell said,
it's impossible that Tea has been studying this for years.
This place.
Speaker 1: Yeah, so about that? And I think the camera now
pans back to the hard wall or the conspiracy theory,
and we see kind of the expanse that this family,
their reach connections that maybe we wouldn't even have considered
or realized. Over a significant amount of time. But buried
in there is a thread that has no color like
any other. What color orange? Would you say? Maybe?
Speaker 11: Yeah?
Speaker 3: Orange?
Speaker 1: And this orange thread is plotting all of the jobs
that Zell used to do. And then we're going to
switch over to Zell. And where are you Zee?
Speaker 9: I'm where I've been from nine to five every day
for the past six months, in the back room of
my smithy. The candles are dark, haven't been used for
a long time. I'm just sat in the dark. Here's
the writing, sketching during something else on some blue paper
setting aside, pulling out another roll of paper, starting over,
grumbling and complaining of that my breath. I tear that
piece of paper up and throw it a sad and
pull out to another and start over.
Speaker 12: Yeah, I look tired, despite the very minimal work I'm
doing in the smith y in ordnesty, despite being the owner.
Speaker 9: Merrick has taken the role of that these past six months.
Speaker 1: I'm do they know what has happened? Do you have
you talked to anyone about anything?
Speaker 9: No?
Speaker 1: Did they ask any questions? I mean, we can all
tell the difference in you, anyone can You're not eating,
you're not sleeping, you're not working.
Speaker 9: Rowan. I could tell Rowan wanted to talk. I've heard
him walk past the door a few times, but I
also heard Marreck tell him to give me space. America
is a She's been working me the longest, so out
of the two of them, definitely knows me best. No
one would rather leave the.
Speaker 2: Shop to.
Speaker 1: Do you think this is a tricky question for you,
considering the state that you're in, But do you think
that they are concerned for your well being?
Speaker 9: I occasionally eat to don't have to be. When I
can tell that it's becoming a bit too much, wen't
to ignore, I'll come out have lunch with them. So, yes,
they are concerned, But I try to do my best
to you a help that subside whenever I can.
Speaker 1: Do you think you've overheard them whispering about it, like
oh he hasn't eaten, or what happened?
Speaker 9: I overhear Roan, yeah, Roan is yeah, Eric. I think
not that Marek doesn't whisper. I think Marek just knows
how good my hearing is, so it probably picks best spots.
Speaker 1: Do you think it's fair to say they think maybe
Calbassa died because they haven't been back. I think it's
the only assumption. Maybe they could make that you would
act this way.
Speaker 9: Maybe I don't know.
Speaker 1: You haven't overheard them saying anything specific, just concerns.
Speaker 9: Yeah.
Speaker 1: Do you think the shop is suffering at all financially?
Speaker 9: Mm hmm. We're getting less customers, commissions are taken longer.
I I I'm struggling to work on anything other than
my current project. So it's mostly unwelln and Marrick's hands
right now. And two people can do.
Speaker 2: So much.
Speaker 1: Interesting that you say that, what are you working on?
Speaker 9: That's the thing I I need to I know I
need to do to create something, but I don't know
what it is. I I thought maybe it could be
some armor that would be useful, that could be helpful,
helpful too, but that doesn't make sense to me. So
I tried maybe a war hammer, but that didn't feel right.
So I've started over and I'm trying. I've been reading
into this new artificial ray, seeing if I can work
on something more intricate, but I'm running into a wall.
I don't understand the final mechanics of all of this.
This is more than just magic and smithing. I do
not need to do something, but I don't I don't
know what it is.
Speaker 1: You don't know.
Speaker 9: I don't know what I could do on my own.
Speaker 1: Have you thought about asking for help? No, that's a lie.
You've thought about it, but it doesn't end well in
your imagining.
Speaker 9: I end up alone. So why go through their extra
work if the results.
Speaker 1: Are the same, But you don't know the results are
going to be the same this time. That's not empirical evidence,
that's not fact. They are angry with you, but do
you not agree with them?
Speaker 9: That's why I haven't. I can't show my face to
them until I've fixed everything.
Speaker 1: But you can't do it alone.
Speaker 9: I think it may have started working on a great sort.
I've been reading into new spells and magic types that
maybe I could use to infuse into it and maybe
jeal some damage to the walls of the prison. I
don't know, how do you when I get beyond that,
the security, the gargoyles that like that, Maybe that could
be where the armor come to the place. Maybe this
is more than just one project, Maybe it's two. So
pull out more blueprint, prey pants, start sketching again.
Speaker 1: I think I think there's not much more we can
say right now with you. I think we understand exactly
where you are, and I think the camera would show
you at your desk, working in the dark. Kind of
a plate, probably with some half eaten food on it,
maybe a nibble or two. I think you think you've
been eating more than you have. A one last question,
though you're dragon. Where is she? What's the relationship been
like the last six months?
Speaker 9: H strained. Yeah, there are times I go a few
days without seeing her. Ah, but with that fail, whenever
I leave the smithy, she sat by the door waiting
for me.
Speaker 1: Thank you. We switched scene again back at Grub's cabin,
You too are looking at a conspiracy wall, which isn't
really a conspiracy wall so much as it is evidence.
Speaker 2: M hm, Grub, how do we get Cherick out? Zelle
was always the one who was so good with blueprints
and that sort of thing.
Speaker 3: Yeah, yeah, it's all right. I wouldn't.
Speaker 4: I wouldn't suggest this. That's CRUs really sure that there
was no one else who.
Speaker 7: Could do it.
Speaker 2: I think we should talk to Cal.
Speaker 3: Have you seen have you seen them? You said they
told you I wanted to speak to you, but.
Speaker 2: I just did not actually seek ow. But I found
a little note in my pocket. When I woke up
from that terrible in it was like the day old
milk in. I think, at least that's what I think
the sign meant. It was like a wooden sign with
like milk that was tipped over and had strange like
dead flies. So I think maybe it was this sour
milk in. I don't always know what they mean by
this with their signs, but I woke up and there
was and Orlander pulls out the small note and hands
it to you, and it's a little note that says,
ah Leander Grub wants to speak with you. See, so
I thought maybe this so clearly, you know how cal
is a sneak places, there was just this in my pocket.
I thought.
Speaker 5: I don't know how.
Speaker 2: Col knew I was at this day old sour milk,
spoiled milk something milk, don't cry with spilled milk in milk, Oh,
spill me, thank you the spill milk in. You know
the name of these places. They don't have waters. It
was just the sign, you know, picture the spilt milk in.
I don't know how they knew I was there. I'm incognito,
but they knew, so yeah, you haven't I mean no one.
Speaker 3: You haven't seen Cal.
Speaker 2: No, no, not seen. But you know it's always hard
to see Cal. For all I know. Cal could be
sneaking here right now. That's how they sometimes were. You know,
you're having a conversation and boom they're there actually already
and have always been there. So I never know Cal's around.
Speaker 4: No, not.
Speaker 2: Sometimes I just say some words out loud in kiss
Cal is nearby after you do like that? Not the
only one? Yes, I mean you also maybe.
Speaker 9: Oh.
Speaker 2: Listen, Ze, I have not seen ze. Zell has not
reached out, and I don't think Zell I don't know.
By the way, and thank you for the very smelly ointment.
It smells like home, Just very nice. Thank you.
Speaker 4: You don't need to thank somebody who's got a lot
of apologies to.
Speaker 3: Make to you.
Speaker 2: You have no apologies to make to me.
Speaker 3: I was wrong, sorry, that's okay.
Speaker 2: By If only we had communicated more between us than it,
maybe it would not have been so like it was. Yeah,
well I think.
Speaker 3: Don't you ever think that one of us doesn't have communication.
For the two.
Speaker 2: You are very communicative. This is true.
Speaker 3: Slap him on the back, out.
Speaker 2: The hand on shoulder, take off, put on take off
side high clip.
Speaker 1: Yeah, hesitantly they are high five. It's out of time
and doesn't sound satisfying at all.
Speaker 2: Do you think Zelle has been thinking about us? Or
will they? Sorry?
Speaker 4: Quite frankly, I don't care if Sale has been thinking
about us? Oh well, I do care?
Speaker 3: Is about that?
Speaker 4: I gesture your hand that's holding sichel and the and
the seal. There's only one way that we're gonna get
in there, the cell.
Speaker 9: I mean.
Speaker 2: You think it's as early, yes.
Speaker 3: Sort of right, hold on, I've got it here somewhere.
Speaker 4: And I go around the room, patting my hands on
the wall, looking for the right color, looking for the
right thing, and I follow one of those pink ones,
one of those ones I don't really know what it means.
Speaker 3: And I take a scrap of paper off the wall.
Speaker 4: And I thrust it intoly onto his hands. It's got
a very grab there's a very crudely drawn picture of
this stamp, probably just about make it out, And underneath it,
it's got a picture of a piece of folded paper
with a seal on it. And then it's got your name,
and then it's got an image that you probably recognize
as somewhere that probably only you would recognize. I guess
that's that's that's the place that.
Speaker 3: You grew up in.
Speaker 2: Kay, I don't, no, do you want do you think
this isn't I can't go back to the grove without evidence.
No one will believe me.
Speaker 3: M it's it's not that you need to go back,
say hear me out. The only way we're getting in there.
Speaker 4: Is if there were to hypopathetically be a person who
was able to give us official authority, permit of course
to maybe yes, and you see, if I knew someone
who was maybe of the right family who might be
able to maybe of course give us a permit. I
know I'm asking of you.
Speaker 2: I know, mhm, Okay, that sounds so great to use
this seal. It is like the equivalent of something made
of human flesh, like some terrible percent in something like this.
Speaker 3: Well, here's the thing. They can't actually use it because
it's it's not enchanted.
Speaker 4: So I mean, I mean on disrespect. I know what
it's made out of. I'm not trying to hay.
Speaker 2: No, no, no, not trying yes, yes, no, I understand.
Speaker 3: And I don't know about you, but I only know
one person you can.
Speaker 4: Do that.
Speaker 2: Yes, but there is another hitch. It is I think
this string right here, Yes, this is that orange one.
This is orange burnt orange burnt sea.
Speaker 3: And maybe orange may.
Speaker 2: Okay, I like it a little bit fancier, but makes it.
This one is also a courier, this one with a
pass with a c that has been enchanted. You still
need a courier that would be accepted. And I don't
know how to say this, but it looks like following
that orange tread, the person who is most likely to
have been in connection, to have been seen in confidence,
would not be me, but would be there in confidence
with them. I mean, I mean it seems he has
been working with them and I have not. So if
I show up to say, hey, I would like to
get back into this prison, I don't know if they
would accept it from me, but I bet they would
accept it from the person who has been working with
them all this time in some way. But if we
can trust.
Speaker 4: Him, well, it sounds like we need him either way.
I just I thought, with the tree being what it
is and your family being what they are, I mean,
no disrespect, mate, I thought it was only.
Speaker 3: How can I say this? You lot that could use
one of them.
Speaker 2: Well, yes, to make this stamp. But when it comes
to when I was arrested and they were going to
let me go, I made this sort of a big
stink about everything. I was being quite loud and very
vocal about not wanting to leave, and I made many
I was a little insulting to the warden, and also
said many things about their heritage. I was somewhat memorable,
shall we say, and I was not very kind to them.
My customer service voice was not happening. I was bad customer,
and I do not think they would believe that now
I'm like, okay, now I'm here with you. I did
not understand when they said just do what you're supposed
to do that I did not get what they meant.
I think they got it, did not. Anyway. The point
is that I can make this stamp, I can make
the seal. I can seal it with my blood. It
is enchanted. But I think the guards will not believe
that I am so ready to come back. I think
I make this seal, I make the papers. But I
think that Zell may need to be the one to
speak with the warden. After the ward then's father, I
said some things about the Warden's father, and also his pants,
not his father's pants, the wardens pants. And also the
terrible nature of his faith sual hair. And also I
said many things, I.
Speaker 4: As Aleandre is describing this, I look at his pants,
and he's very sure.
Speaker 2: He was messy. He smed like city. I've said many things.
I was trying to get him.
Speaker 7: I'm joking.
Speaker 3: I'm joking.
Speaker 2: Oh oh, I mean, oh, it's funny. I thought I
was considered.
Speaker 9: Hm h m hm.
Speaker 3: Well, I guess we know where this journey starts.
Speaker 2: Ay, they have to find Zell.
Speaker 3: Pretty sure.
Speaker 1: I know we'll ob meanwise back with zel still working.
Speaker 9: I see, yes, I took some time to read through
the books, and artificially, I'm only in the beginning steps
making it really simple things like like small catapults and
see if they can scud that up. Maybe the thing
I'm begin to is that I don't know how I
can actually build that close enough to the prison we
like getting caught beforehand, just to wind alone would take
weeks and months to get them sent over, and then
more than that to actually have them cut down and
carved into the right shapes and pieces we need for that,
and then transport is going to cost so much even
if I do call for favors, And then if I
call for favors, that's going to make it very clear
what I'm attempting to do, and I can't do that.
I'm trying to keep as much in my tracks hidden
as possible. Nothing I want to do is attract attention
to the Smithy run America, good people. I don't want
them to get poured into this mess. So am a
war again.
Speaker 1: I could think of some who might you know, I
help you, or at least keep it quiet. You're not
going to like the answer.
Speaker 9: That They're not going to say.
Speaker 1: Yes, they might. Don't you think they want him free
just as much as you do? I mean arguably, if
not more. I mean, you have this whole redemption thing
going on. So one could argue that there's a little
bit of selfishness involved, Not that I'm saying that you're selfish,
saying you think that.
Speaker 9: I've I've laid out the plans of that prison, what
I could get my hands on for years. There is
no there's no way we can get in there and
come out of life. And if anyone's I don't want
to put them in danger. I think I'm less scared
they'll say no. I'm more scared that they'll say yes.
Speaker 1: So you need a plan before you ask them?
Speaker 9: Yeah?
Speaker 1: Yes, But what if they have thoughts or ideas that
you don't have. What if the plan would be better
done with them than without them? You said it yourself,
it's too much for two people alone.
Speaker 9: Oh you're just one, don't I don't even I wouldn't
know where to start, how to reach you know. I
I look down at the piece of paper on my desk,
the half finished blue rent a look around at the
torn pieces of paper and screwed up ones around me,
of plans that justin't work or makes sense, or I'm
just not scared enough to accomplish. I look down at
the plate or the heart eating food, and take the
plate and I'll walk out.
Speaker 5: Do you think.
Speaker 1: Merranda would Do you think she would let you know
that there were guests coming, or that you had unexpected visitors,
or do you think she would know you would turn
them away or try to hide?
Speaker 9: Or I think I don't. I don't deserve me, Aranda.
Whenever people have come to ask of me or check
on me, she's always tried to get my attention. I've
always ignored it, and it doesn't seem to stop her
from doing it again. I think he's always checking, just
in case. So I think as I'm walking towards the
door of the back room, I think I hear me
around the kind of butting her head against the door,
as she's done whenever people have come to answer me
in particular. And this time I do open the door.
Oh I am hello.
Speaker 4: I just stand to look at you. I thought I
could do this, and oh I'm sorry. I turn around
and force.
Speaker 1: I think you would see your dragon never interfering with
you or your decisions ever. But I think in this moment,
your dragon knows you need support and is perched on
somewhere exactly where you could see them when you turned
around to leaf. Perhaps they even give you a slight
nod and a gruff huff sound that you can't hear,
but you know exactly what it sounds like, so you
can hear it.
Speaker 3: I'm just not.
Speaker 4: Okay, And I turned back around again, and I'll put
my my finger out as if I'm about to wag
my finger. Listen, none of this means I've forgiven you
all right. None of this means mm hmmm. None of
this means that what you did was all right.
Speaker 3: We're just we're just here because well right quite frankly, sir,
no one else you can do it. Don't let it
get to your head, all right?
Speaker 2: Could we do this inside?
Speaker 9: Yeah, don't mind the mess and I'll push the door open.
Speaker 2: I mean, I have seen worse bed.
Speaker 7: Bargs tardy than mine.
Speaker 3: I'm so sure. Don't let it get to your head.
Are we are? We alone in err Or?
Speaker 9: Yeah? This is my work personal workspace American roh, and
I'm busy with the.
Speaker 2: Shop, sir, is col here? H?
Speaker 4: I look at Aleander. We should try it just in case, like.
Speaker 2: You said, yeah, I do have pulled out this little
little bag. I do have the roasted chestnuts placed them
on the little table like near a cabinet, just in case.
That's cal sized, in case you are here.
Speaker 4: And I take out out of an inside pocket in
my shirt take out this tiny little.
Speaker 3: Bunched up and it looks like the back.
Speaker 4: Of a knapsack, the kind that you'd have on the
end of a stick over your shoulders. What it looks like,
but without the stick, and it's wrapped up in what
is clearly one of grabs old shirts. It's a bit
like worn threadbare, and it's tied up with one of
the same pieces of string that's all over grabs grabs
cabin and I just put that right next to what
Oleander has dropped.
Speaker 9: I watched them as they do this, and I think
I turn away because I was seated them. These are
kind of gestures. But to me this is I think,
evidence that calls been visiting them but not me.
Speaker 3: Don't look in them.
Speaker 13: They're not for you, So they haven't been here for
for a while now, So.
Speaker 9: How can I help you.
Speaker 3: Let's get to it.
Speaker 4: I'd like to pull out imagine the size of like
a blueprint, a roll of blueprint, and I clear a
clear cell's table with one sweep and dump my blueprints down.
I pick something up on the floor, some kind of
piece of metal to weigh down one side, and then
something else I pick up on the other side to
weigh down the other side, and I smooth out the corner.
Speaker 2: So there are connections to be made. A lot of
this seems to be centered in Cake of the forge Lands,
this realm of stone and steel, that, of course, is
where Rayland Dusk makes his empire.
Speaker 9: Wait, what what is this? What are you.
Speaker 3: Working on getting Jerich out.
Speaker 2: Stopping the destruction of the world. Also, and.
Speaker 1: To me very clear, you unroll a map of the
world for the prison or I'm assuming you've brought a
bunch of things with you, but I'm wondering what you're
showing him first.
Speaker 4: So it's a bunch of things, like a whole load
of papers that are all rolled into one so that they're.
Speaker 3: On top of each other at the minute. And the
top part.
Speaker 4: Is the image that early under first saw on my
wall that is of some kind of cell, some kind
of there's also a partial floor plan, but it's incomplete.
There is a like ninety ninety degree corner, and there
is what appears to be some kind of door or
some kind of window on the opposite side to this
right angle.
Speaker 3: And then there's a square on what I assume is
the floor.
Speaker 4: Maybe it's sort of not really decipher what makes sense
to grub probably doesn't, probably isn't entirely clear. And there's
something on the square that's on the floor that could
be a coin, It could maybe be a handle, it
could be a bag, it could be a plate, could
be a whole bunch of things, but it's kind of
a circular something, and then the walls just disappear. There's
no other side of it. It's the kind of thing
that you might see if you were looking at a
movie set from a bird's eye view, where you can
only see part of the room.
Speaker 1: Now feel free to step in. But I'm very curious
as to how you have this partial blueprint, because my
instinct is that it's from stories people have told about
supposedly being there, even though most of the rumors are
that anyone who goes in there never comes out. The
place is not necessarily unnamed, but people are afraid to
name it. I'm sure it has a name. If anyone
knows it, it's probably the warden the people who are
sentenced there. But in terms of how you would actually
manage to get a blueprint, I'm assuming this is based
off of that or potentially do you think you would
have reached out to Ash at all?
Speaker 3: So it's based on a story I heard down the pub.
Speaker 1: Yep, I figured that's what I felt that in the
way that just your character is so.
Speaker 3: Okay, it's not.
Speaker 4: It's not common for me to go and meet people
be social, but sometimes needs must and there's a rumor
going around that there's a certain group of people at
work in a specific place they don't really talk about,
and every now and then they have a little bit
of time off and they go and get a little
out of sorts, shall we say, Yeah, and I caught
window this, so I went and got a little assorts
with them, You see what I mean?
Speaker 1: Yeah, of course, I imagine it went something like you were
there or nearby, and maybe somebody mentioned where they worked,
and someone didn't believe them, and perhaps you push them. Now,
that can't be right. Nobody actually is allowed to talk
about it, even if you did work there, I don't
believe and you just let them, You let the ego
dry it out.
Speaker 3: I didn't even have to ask them.
Speaker 4: Actually, really, sometimes the the story is so big people
can't bear to keep the secret if they're involved.
Speaker 1: Kind of like this one.
Speaker 3: I like this one.
Speaker 4: Oh, but I don't know if it's real. Not really,
it's just a rumor of a rumor of a those
guys down the pub could have been anyone.
Speaker 1: And I imagine part of this was said out loud
as you're like, I don't know if this is real,
but this is what we're looking at.
Speaker 4: And I don't want to say it came to me
in a dream, because it didn't come to me in
a dream.
Speaker 2: There.
Speaker 4: Ever, since I got a little out of sorts, I
haven't dreamt about anything else.
Speaker 2: And all Lader picks up a piece of like charcoal
to write and starts adding to the map. These parts
is not exactly right, and I don't know the whole place,
but I was held there briefly, and I can add this.
And he starts giving, like from where he was to
the outtake, right, just that the little bit where he
was held. He was not held in the deepest, darkest
parts because he was still in sort of holding, right,
But he sort of starts sketching in because he'd never
gotten to the deep part, right, But he was at
the interview parts, let's call it the intake and interview
parts of the prison. And he starts sketching the parts
on the upper floor where he was at, and the
way to the front where they kicked him out, and
there are parts. Of course, there's just so much he
doesn't know at all, but he's able to add the
parts that he walked because you remembers, he remembers all
of that, and he sort of sketches and he adds
to your blueprint because and then he adds like a
note where the warden's office was, because he was brought
there once he realized who he was, that warden's office
and out, and he starts making notes about like how
many people he saw, who he saw. But there's this,
it's very clear that because of his privilege, he didn't
get to see the really terrible parts or the worst
parts or any of that, right, just that kind of
more of the He was initially put in a not
great place, the initial part, but then very quickly he
was moved somewhere else and he got to see the
parts that maybe you would see on a tour, you know,
if you were going to take a visiting and a
visiting person on a tour of this place, that upper
floor that looks nicer, that doesn't look so terrible.
Speaker 1: Where there might be something folding area you were in
an interview room, like there's no way.
Speaker 2: Yeah, yeah, very quickly I was just and I don't
under and I never unders stood it. But so I
start sketching up a part of that sort of top floor,
and by top floor, I'm imagining like I'm imagining that
there is a walkway right over a chasm that will
take you to this prison, and the prison is probably
built down below, so the top floor is like the
ground floor, if that makes any sense, you know what
I mean. But you have to cross it's not a
moat because it's just like emptiness.
Speaker 1: You're gonna be able to like skyscraper and reverse.
Speaker 2: Yes, it's a skyscraper and reverse, and like there's a
walkway bridge right that will take you into the top
of the skyscrapering reverse where it's all I imagine like
you basically there's you're to know we're going to sneak
up on this place because right there's one bridge that
will take you there unless you can fly, I guess.
But even then, how do you get down below deep
into this place? And so he sketches the bridge, the bridge, walkway,
the gate, just some of the top parts that he saw,
and he adds that to Grub's map and sort of
like it's a little gesture, but there are these little
moments where he sort of like just reinforces some of
grubs lines to sort of show all the parts that
Grub had gotten correct in in Grubs sort of like
like reinforcing grubs work right, and all those things that
were correct, and just like sort of adds to this
upper part. That is what I remember. And I have
no idea how many people are there, but they were,
oh and sort of notes and then like on the
outside notes these gargoyles and sort of sketches little gargoyles
on that would be on the outside of the wall
by the by the bridge and the gate. There were
these gargoyles up there here on the outside, always watching. Yes,
they look like stone dragons. But and then adds on
to it. That's but what you had was very good.
Speaker 4: Actually, this is good, mate, This is this is really good.
You're doing us proud, all right. It's in the right
color and everything.
Speaker 2: I try to remember.
Speaker 4: I'd like to reach into my pocket to hand sell
a very small, tiny little piece of chalk, and then
I snatch it back before is before before he takes it,
put it back in my pocket, and pull a pink
on out and give it to him your turn.
Speaker 9: That takes the chalk. They've been watching you first, staring
at this incomplete map and watching oleander fill it out,
absolute silence. I think they look so tired it's hard
to see there is any emotion in their eyes, but
I think as they feel a red in the pit
of their stomach as they see what these two are
trying to sketch out, and as grab hands the stick
of chalk, I take it, and I wordlessly look down
at it in my hand, and then I, without a word,
I walk over to my desk behind us and open
one of the jaws and pull out a piece of
rolled up blueprint paper and roll it out as you
the first two floors of this prison sketched out before
the walls fade into an unknown because they couldn't go
past that. They couldn't figure out past that. These gargoyas,
you don't you just need to worry about them seeing you.
They don't do anything to actually attack. They see you.
They alert the others down there, because if you're going
to break in, there's going to make sure you don't
get out. Why stop you second floor? Most of these
are stone or metallic constructs. They don't need sight, so
hiding isn't very useful. If you're touching the ground, you're
more or less seen touching any surface. Really, they feel
the vibrations through it. You might think flight is used
for in that case, but they also have I am
not entirely sure what their corpor they're like, might very
small things, creatures, They could be constructs themselves. I don't no,
not the rest small as a grain of sand.
Speaker 7: I look at Leander, this that you have drawn.
Speaker 2: Olater leans down and sniffs it. This a little sort
of like a.
Speaker 9: You know, a.
Speaker 2: Stagnose. This is not new. This has not been done
within the last six months. This is old. The charcoal
is old.
Speaker 3: How old can you tell?
Speaker 4: Not?
Speaker 2: You just not?
Speaker 4: That's not you? And I wait for Orleander's at.
Speaker 2: Least a year by smell? Have you been working on this?
Could be? It's hard to tell. It is easier to
tell what it is fresh. Once it gets a certain
level of the age, it's hard to tell the difference.
You know, it's either very fresh or very very old.
But I would say at least one year after that,
it's hard to tell how long.
Speaker 3: All right, now you go. My point is hell, how
old is it?
Speaker 9: Started working on this when when Jerry got arrested. I
spent a while on it. And then you could get
down to the second level when it came to you
and laugh at that either kept changing to put on
who I spoke to, or just became impossible to know
anything about. The only consistency was that everyone, no matter
who I was spoken to, about what content or favor
I asks for, I just got the same response that
it's just certain beyond that.
Speaker 2: Look and lander pushes that one aside to get to
the world map. The map of Akathos a keioth mm hmm.
Look here, we're currently here up here in the north east.
This is where we are, and somewhere and here this
is where the prison with no name is. But if
you look all the way to the east, this is
where Kiku is. Whatever this is. The reach of this
conspiracy goes across all of the continents, from as.
Speaker 6: Far west to as far east.
Speaker 2: There our careers happening from as far north as we
are to the grove where I am from Morsau. This
is more than just something small and local.
Speaker 12: This is.
Speaker 2: Very large. And if they are still keeping Jerick, there
is a reason. If they wanted my family to have
the rows of the weave, there is a reason if
my family is getting messages or sending packages all the
way to Cuku from here, the place of Stone and
Steel There is a reason prisons hold people, but they
also hold secrets, and we must learn no secrets. We
have come here because you can help. We have a seal,
and Olander pulls the seal out and he holds it
at the base part, not the part where the wood is,
because he doesn't want to touch that. Miss celi Is
can have power. But the enchantment is broken, and he
places it on the table. And you can probably fix this.
You can probably carry papers that I con seal with
my bloodline. All of these makes sense. You careering back
and forth doing jobs for my family to take things
from the far West to the far East. I don't
even know where you fly. I did not tell Grab this,
But there's another reason why I'm here in this moment.
Prisons hold secrets, but people also hold secrets. And you,
who I thought of as a brother because we grew
up together after you were brought in as a refugee
into the Golden Root Grove for years, you have been
doing something with my family and you have had that
secret from me, And this tells me you know other secrets.
There are so many lines and strings and threads that
we grab and I could only guess at but you
have walked those threads. You have taken those packages for
my family to this Reilan Dusk and to the deep
Mining Guild and to all of these places. So I
would like to ask you, now, this map is good,
but the secrets you hold in your heart I think
might be better for us to know.
Speaker 9: Do you we plan on breaking into this present?
Speaker 2: Yes? I think breaking in is a bit outrageous. I
think more like getting using your job for our advantage.
Get papers, maybe transfer paper, make it. I activate this
yeal after you have enchanted it, and then you do
your career work as you have done so often. Maybe
you can go in with the proper paperwork and it's
not so much break in as in walking with authorization.
Maybe this will work something like this. You do the talking,
we could be secured in some way for your guards
or something deception rather than brute force. Maybe we h
talk our way in. Use your closeness with my family
and that part of whatever this is. Unless there's something
you can tell us about your relationship with my family,
that and what you have been doing that might give
us more information. And it seems you have a lot
more information.
Speaker 4: Than you have shared, as Aleander, as a voice becomes louder.
I just very quietly put my arm in front of him,
give him a look, says it's not worth it me.
Speaker 9: I'll point these the very faint but in the blueprints
of the part of the first floor and the second
there are very faint lines sketched along the floor plan,
and on the outer side of the image there's a
almost like annotation labeling what this is, and and a
point to that you see written just in scrawled chalk
truth or question mark. And I'll point to the sketched
lines around the doorway of the ground floor and along
the floor of the second. A lot of money and
power and magic has been put into building this prison.
If it was just a typical town jail, that could
potentially work. But I can't think. You cannot lie here.
Speaker 3: Then we tell our half truth.
Speaker 9: If it was that easy people to be walking out
of that prison.
Speaker 3: Every day, you say your name and you say it worked.
You haven't done carrying in.
Speaker 9: Grab they don't long time and you're back to ask
you questions like very specific about this depends on why
you're saying you're here.
Speaker 2: You seemed to not know a lot about this exactly.
How do you know so much about this and what
they ask I know because I was in there before
they let me go.
Speaker 6: How do you know so much?
Speaker 9: You can learn a lot when you have the skills
that people want. I gave a favorous for information.
Speaker 1: Say, I think unconsciously we see well, I'm imagining that
you've shifted in your body. Wait just a little bit,
whether you were aware of it or not. And maybe
one the two of you both won your eyes, maybe
dart behind him to potentially a sliding closet door. He
may or may not have a Charlie wall of his
own back there. You can't see it because it's closed
right now.
Speaker 2: Zell, there was a deal made that I would be
caught and captured and then let go. And you knew
of this deal. Have you spoken to the ward and
yourself before this thing went down? How much? And you
can tell Grub also, zelcan because you have known them,
both of you have known Oleanda for a long time.
That his sort of breezy countenance, there is an anger
that he is keeping down as best he can. And
when he sort of hitches to the side, it's because
that direction might get him a little bit too angry.
I do not think all of your information came from
research after the fact, since it is clear that it
was something before the fact that happened. I believe that
you have more knowledge through your work with my family
than you are divulging here, and it is now this
time that you should do so unless you are still
working for them. Are you still working? Are you no?
Do they know this?
Speaker 9: Yes? Half Jerrik got court. Now look over at the door. Miranda.
She gave me an automatum. She hated that, and I
did that that my line of work and vote pins
so many people that were meant to care for in danger.
Either I cut ties or she leaves.
Speaker 2: Well, she welcome to You did not, so you did
not even leave my families. Employ from your own will
because your dragon gave you an ultimatum if Miranda had not,
which you have stayed doing this work for my family
the entire time. Did you have no regrets? Brother?
Speaker 9: I was. I had been certain. I thought if I
just kept working for them, I could I could ask
them to let Jeric go, But they needed one more job,
and then after that job they needed one more, and
then after that they needed one more. And I was
deluded and thought eventually I would have done enough to better
call in a favor of my own.
Speaker 7: Should have left, should have told us.
Speaker 2: You, should have been honest with.
Speaker 4: Us, slowly rolling up the stack of blarance, the stack
of papers, magic.
Speaker 2: Can count in magic.
Speaker 9: I'm Zell.
Speaker 2: We want you to enchant the seal and we want
you to do your career work again.
Speaker 3: Oh, I think we've already said too much, as.
Speaker 9: I look down at this stamp in my hand, So
I'm of wedding. I contact anyway. I can hearing the
ruffling up paper as Grub rolls up the map, and
as Leander says, we need to do courier work again.
You can't get into that prison. But a cart is
much easier to break into in a prison, Oh well,
a car, a wagon, that's easy. There's only so many
chances you can put in a wagon order and more
burden that you're attached to edit that's easy to get
into and get that out of.
Speaker 3: Now, So, oh, exactly does does that help us? He's
not in a wagon?
Speaker 9: M yes, but what if it was.
Speaker 3: Well with them? With all you all due disrespect, he's
not I.
Speaker 9: Some people that only favors I am. I'll yes, and
I'll hold the stamp up. I can. I can enchant this.
But no matter what I do, no matter what you write,
there is no way we're going to get into that prison.
But what if we get Jack out and then we
get we we make so they have to transfer the prisoners.
Speaker 2: Zell, Why do you not giving me a reason to
trust you anymore? Why are you not fighting for this?
Why are not fighting to come back? All this time
we have been here, you have not said you're sorry.
You have not volunteered that you stopped working for my family.
I had to drag it out of you. You have
not told me what they told you, what stories they
told You've not shared anything that would make us believe
that you were sorry or that you regretted it.
Speaker 6: I have a hard.
Speaker 2: Time believing the man I grew up with could not
care like this. You have in your hand a stamp
that is made from the carcass of the hemstree you have.
Why are you not fighting? I don't understand why you
are not trying.
Speaker 9: Because I am going to be honest, being honest with you.
Probably they didn't tell me stories. I didn't ask questions.
They paid me, and I did the job. I didn't
even know about the tree until recently?
Speaker 2: How recent.
Speaker 9: It's about four months?
Speaker 3: But you knew something.
Speaker 9: I knew that what they're asking me to carry to transport.
They told me not to open any packages, so I
did it, looking in it.
Speaker 3: The money.
Speaker 4: I could be the poorest person in this world and
never do something like that, something as common as money.
Speaker 2: What did you need the money for? I'm looking for
a reason to understand what you did. Did someone? Did
you owe someone something? Is there some debt that you
have to repay? Is there something? Do you have someone
someone you love who is prisoner and you must raise
the money to free them? Is there something? Can you
please give me something for some reason for this to
be the case.
Speaker 9: I am a deserter of a war. When it ended,
I had nothing. Your family took me in, but I can't.
I couldn't. I didn't want to just stay that. I
needed a life of my own, and as much as
we hate it, money is necessary for that. I had
no other skills. Parents, maybe an offer, and no one
was meant to get hurt, so I took it.
Speaker 2: This shop. Is this all for money my parents gave you?
Speaker 9: Yes?
Speaker 3: I don't think I want to be here anymore.
Speaker 2: Cela Are you going to help us? Are you going
to help us?
Speaker 9: Yes? But and I mean this with so much respect
and regret, we cannot break in, so we need to
get them transferred out.
Speaker 2: We've always been the brains this operation, but I don't
know if you get that role anymore. We will take
your thoughts into advisement, but I think all of us
need to look at all of the details and decide
which is the way to go in rather than just
trusting your assessment, because it seems as if your judgment
is somewhat vaulty.
Speaker 3: Well was that night?
Speaker 2: Well, when we come back, I want to know every
place you went for my family, everyone you saw. You
may not have looked into the packages, but every connection
you made will tell us something. You know more than
you think you do. You have more information and more
value then you might be even willing to admit to yourself.
Do not let anything go. Think on everything, and then
tell us. You cannot be forgiven if you do not
ask for forgiveness, if you do not apologize, I cannot
forgive you. Craub.
Speaker 4: I don't know if I'm there yet. I don't know
if I ever be there.
Speaker 3: Cal you invite I think we need you. It's just
get your get your wee little ass over to mine,
all right. It can be our can be our coup house, colophouse.
Speaker 2: Cup house, hide out. I would like to see you there.
It's good to have someone you can trust that you're back.
Speaker 3: And we can't very well have you get in bed
box again, can we?
Speaker 8: No?
Speaker 4: So maybe you uh, maybe you just stay with me
for a bit.
Speaker 3: I'll find your place.
Speaker 4: It's not not really ah.
Speaker 3: I can't say I've ever had a visitor, but kah.
Speaker 2: Ah, I'm a good house guest.
Speaker 3: We'll figure it out.
Speaker 2: You will.
Speaker 14: And you so are you ready?
Speaker 3: We'll see you when you're ready. Let's go on.
Speaker 2: Yeah right, I hope when next I see Miranda she
will be the same size as the last time I
saw her, and not smaller. Don't let you try can
become too small. And Oleander puts his hand on Grub's
shoulder and turns to walk out first before Grub does
that little a little extra quickness, right as if you
have to leave before you lose.
Speaker 3: Nerve, I follow close it ale behind me.
Speaker 1: Let me stay with sol and you hear the sound of
them leaving you, maybe even hear the sound of a
whistle from grub for the dragons. As they come in.
You hear them take off, You hear them leave, you,
hear the wings fade into the distance, and you are
left with nothing but the rain and yourself and your thoughts.
Speaker 9: I look over my shoulder at the sliding door of
that closet.
Speaker 1: Shit.
Speaker 9: I'll start writing out on a fresh piece of blueprint
paper the enchantment that I need to do on this step.
Speaker 1: I feel like you, Why didn't you show them?
Speaker 9: Because what goods would that do? It didn't go anywhere.
Speaker 1: I think they just want to see how you feel.
Speaker 9: How I feel won't change what happens. I need to
fix what happened.
Speaker 1: But don't you think it can change what hasn't happened yet.
If you say nothing, if you don't show them what's
behind that sliding door, if you don't show them that
you've already charted every single job you've ever done and
every person you've ever talked to, they won't know that
you cared enough to do that. You hear Oleander when
he said he wants to know that you're sorry. And
I know that that's hard for you to say. I
know you don't think you deserve their forgiveness or anyone's forgiveness.
But if they just saw how much you do care,
you know what. I know that you only took in
the pain of that conversation, but there was something beautiful said.
Speaker 11: I don't know if I'm there yet yet, there's still
a chance.
Speaker 9: Yeah, yeah, I need to give them results first. Eric,
we're going to be closing the shop, Balley, I think
I need to speaking to myself. You'll row and take
the day off.
Speaker 1: I imagine we see that you continue the night through
no lamps, no food, no rest. Do you want to
share exactly what you're working on or do you want
to wait?
Speaker 9: I think I want to wait?
Speaker 2: All right?
Speaker 1: I think maybe and correct me if I'm wrong, but
maybe for just a second. I don't think you actually look,
but I think there is a moment where you either
hesitate and your eyes move to the side. You're not
actually looking behind you, but if you did look, you
would see some gifts are missing.
Speaker 9: May Miranda, I'm I need you.
Speaker 1: Oh small is she now?
Speaker 9: Six months ago? She was large, the size of a horse.
Even larger. I think I described her the side of
a Clydesdale horse. Very large. She's about half that size.
Now she's to struggle to get through the doorway. No,
she walks around the shop fairly easily.
Speaker 1: I imagine a lot of this dialogue you've been having
with me is dialogue you've been having with your dragon.
Speaker 9: He's a good listener, You're a really good listener.
Speaker 1: I think she will sit on your lap where you work,
maybe reach up and nudge the plate closer to you.
And if you don't eat, maybe she even hits your
arm with her forehead until you start messing up enough
to eat something.
Speaker 9: Okay, how in fact, here in a five minute break,
I can, I'll eat. I'm going to need so much
your fire for this. You can't replicate the magic with
the tree exactly, but get close.
Speaker 1: She normally would feel your desire and move over and
light the fire, but today she sits with the plate
and waits until you eat. First.
Speaker 9: I just eat half of it. It is that enough?
Would that be okay? I'll eat the other half after.
Speaker 1: It is enough? Or today you have given more than
enough today?
Speaker 9: I think in the dark now before and it was
just his back room, I think the entiety of the smithy,
just the flames of the forge light it. I sit
quietly and eat.
Speaker 3: I think we.
Speaker 1: Will move and switch scenes again. The ride is quiet.
I imagine emotions are pretty high and tense. I think
that both of you know intrinsically that your dragons met
with Miranda, saw her, and are upset at her decrease
in size. They your bonds with your dragons are so
strong that hiding emotions or feelings is very difficult both ways.
So even though they're not pushing this onto you, you
can feel their concern for this situation. You can feel
their concern for Miranda, and you can feel their Miranda's
concern Purzelle and how he's not taking care of himself.
You probably don't get details through feeling, but just that
that she is worried and concerned for him. And it's raining,
and I don't think either of you shield yourselves from
the rain. I think Onlyander normally would, but this time
he doesn't. So you arrive back at Grubbs place in
the forest completely drenched.
Speaker 2: Shoul jiggle off my fur, the wet from my fur,
slash bark.
Speaker 9: It's appendix.
Speaker 2: Rub Do you mind sitting on this porch before going
inside a bit with me?
Speaker 3: Sure?
Speaker 1: I just.
Speaker 4: Godbever a headache. May si us a song when she's
like this, it's I feel it, you know, mm hmmmm. Anyway,
which you want to what did you want to talk about?
Speaker 2: Zelle is probably right that we cannot break in. He
knows these things, and there are two options. Either we
can and he is telling us we cannot because he
does not want us to for whatever reason, or we
cannot and we must find this other way, maybe forcing
a transfer or something. And I don't know which one
is true because he's not trying to let me know
which one is true. But I think most at this moment,
I want to say something to you. We have spoken
about Zell very much, and this is a a wound
that is very deep for me. But I want to
say that before Jerick was arrested, before we both before
all of that went down, you and I had worked
together for years, and I remember the times when you
said to me, you are too reckless. All you're too reckless,
and they come in combat you you rush about, you're
not staying. You telegraph what you're about to do, and
I remember I was indeed I was telegraphing everything. It
was too too flashy, and you gave me very good
counsel and lessons, and I remember you had me practice
over and over, giving me very few words of courage
or discouragement, actually just telling me to do it more
than once saying ah two obvious to flashy. And I
always appreciated how you taught me to be more grounded
and the times when I would sit before a mission
quiet and you would be preparing your weapon and your armor,
polishing and sharpening, just in the quiet, and there was
always something very comforting knowing you were always there, knowing
you would always do the right thing, that if there
was someone who needed to be rescued, or a mining
concern that needed to have a bit of sabotage, you
would always be there for me. And then I did
not have you for two years, and that made me
very sad, and I missed you very much. So I
guess I just wanted to say how much I missed you.
And I want to say thank you for letting me
come back here again and sitting with me in the rain,
because You're presence has always been a comfort to me
and I have missed having it in my life. Thank
you for believing me.
Speaker 8: H mm hmmm, h m hm, I uh m hm.
Speaker 9: Hm hm.
Speaker 2: Did I offend you? I'm so sorry. If I did, I.
Speaker 9: I didn't mean to.
Speaker 4: If I did, no, I uh no, myn's there's no offense.
Speaker 3: It was a yeah old a couple of years.
Speaker 12: Hm.
Speaker 6: H yeah.
Speaker 3: Your right foot still gives you away, by the way.
Speaker 7: Really, we'll work on it.
Speaker 2: Oh, I thought that was doing better.
Speaker 3: Oh you are?
Speaker 2: Oh oh so he was doing very bad before. It's
what you were saying.
Speaker 3: Cool less. Let's let's set you up a bed.
Speaker 2: Okay, hey, grab yeah, thank you.
Speaker 6: I guess it's all.
Speaker 2: For seeing me. Most people don't. And I have to
tell you something I think I can only tell you
at this moment. It's about Amatista, and you know I
love them very much. But when the Heims tree is injured,
it lets out a song of pain, so loud that
anyone could hear it, especially all of the defenders of
the tree, so they may rally and come back. And
I have not heard my tree being injured. And I
think Amatista must have kept the song from me.
Speaker 3: Yeah, or someone's or someone's kept the tree from i'mon Siesta.
Speaker 2: I do think it has been crying.
Speaker 3: He is all right when it's not right, and that's
all right.
Speaker 2: Yeah, when the time comes, will you help me?
Speaker 3: Of course?
Speaker 2: Okay, I see ya, thank you, okay, please, No, I
do not snore, but I do sometimes make little clicking
noises with me hopes on on ground that like your
your your your house is like wooden, and so there
might be clicking sounds in that. And when I dream,
I sometimes like do little running gestures and then my
hooves if it's if I'm outside, it doesn't make a
big sound. But in a place that like would that
you might hear a little bit of clicking.
Speaker 3: I'm sure I won't hear anything. I'm a very deep sleeper.
Speaker 15: Okay, I I hate well I heard once.
Speaker 9: That might be.
Speaker 3: A bit of a snorer. So maybe cover it, maybe
cover those years up.
Speaker 2: Or you know, I bet it will be a comfort.
Speaker 3: I mean, if you can't stuck in your own house,
where can you?
Speaker 2: And Oleander just comes in and kind of like does
a little like head butt against your shoulder, just a
little head butt in that way that animals do, instead
of like goes to the corner where the bed will
be made.
Speaker 3: I dig out some.
Speaker 4: I dig out some blankets, and I dig out some something.
So there's quite at my house is quite cozy actually,
despite all of the chaos on the waves right now,
And there becomes more chaos on the walls because as
I go to find blankets, I realize there's not really
many around and uh few, too many of them are
on the walls.
Speaker 2: So I have no no, it's okay, I have kay
mm hmm.
Speaker 9: To get themselves killed. I really think this could work.
Which even if it does, I know, I know Crab,
I know Oliander going to need help. It's not for me,
but Ash please help them.
Speaker 1: You've been listening to dragonem Our, Scale and Soul miniseries.
A huge thank you to Crossed Paths Press for not
only making this series possible, but for creating the world
and rules of play to bring direconem to your table.
Visit Crosspaths dot co dot uk for more shows like
this one, or to directly support what we do, see
our expansive multi genre library at Tablestory dot tv, and
as always, thanks for listening.