Speaker 1: Deathless is an improvised cinematic narrative with live production, including
music and dialogue. There is no script as such. This
story contains violence, disturbing imagery, adult themes, and a darkness
which may leave you doubting who you are. Proceed at
your own risk.
Speaker 2: Logit shadege, you say, stand up for the thing you
can't stand.
Speaker 3: So we're split right down the middle between the two groups. Actually, yeah, wow.
Speaker 4: That's why I was like, Oh, it might be a
little too soon to do this, but I actually quite
like it. So maybe you guys can decide which character
you like better to keep alive.
Speaker 5: Who knows?
Speaker 4: Just kidding. Okay, we're gonna start with Okay, what's the
last thing you remember?
Speaker 1: The last thing I remember is speaking to that woman
and her telling me, her biting me, and then her
telling me that I was sired by the Spider and
finding out that the name she gave me was honest,
and all this time I thought it was a lie.
And that seems to be the thing that I'm thinking
about most. That's it.
Speaker 4: Does it make you feel stronger to know that your
are is somebody by the name of Spider, or does
it make you feel sneaky, treacherous.
Speaker 1: It makes me feel weaker, like I.
Speaker 4: Didn't want to use that word, but that's yeah, to know.
Speaker 1: Who it was. Even even just having the term the
spider brings so much to mind, but none of it
is broad enough the way that it used to be
when I didn't know who it was, and I can
kind of make things up, and so there's like a
narrowing happening of my perception of them, and it makes
me feel weaker.
Speaker 4: You are in your coffin. It smells like your coffin.
It feels like your coffin. You know it's your coffin,
but you don't remember how you got here.
Speaker 1: I touch my neck where I was bitten.
Speaker 6: You will.
Speaker 4: There is a bandage like a cloth wrapped around your
neck to stop it from bleeding.
Speaker 1: I pull it off. Yeah, I pull it off, and
then I'm gonna try and get out of the coffin.
Speaker 4: Yeah, you don't need to try to do that. You
can just get out of the coffin. You're a little
weak feeling, maybe, but you can open your coffin and
crawl out. When you get out, you notice there's nobody
really immediately around. There is a note, a piece of
paper attached to the top of your coffin and scribbled
on it are the words extremely contagious.
Speaker 7: Do not open.
Speaker 1: On my coffin. Yep, that's strange. Do I feel contagious?
Speaker 4: I don't know. Do you feel contagious?
Speaker 1: I don't think so. I think I feel fine. There
you go, then, but it doesn't make any sense.
Speaker 4: Have you feel fine or do you feel better than fine?
Speaker 1: Uh? Yeah, I mean I feel better than fine. I
definitely don't feel like I've been bitten by someone.
Speaker 4: I feel.
Speaker 1: Kind of normal. I suppose, like on any other day,
I wouldn't even be thinking about how I feel. It
would just be, you know, I'd wake up and do
my thing. Okay, but this is bizarre because has there
ever been a time where, yeah, like contagion has ever happened.
Speaker 4: No?
Speaker 1: No, I've never heard of that.
Speaker 4: So if so, it would have been a very long
time ago. Okay, certainly not now. Nothing that affects vampires anyway.
Speaker 1: I look down at the cloth, What does it look
like like? Is there blood on it? I know that
my blood kind of congeals, so it has a hard time.
Speaker 4: Yeah, I think I think you're really Maybe this might
be your first time experiencing your blood in a way
in which you know magic is kind of imbuing it
and making it not so congealed, so you could you
look at it and you can tell, oh, I was
bleeding here, and then you can see maybe the look
of you know, your blood when it's kind of thicker
and staining kind of a darker almost black pitch there.
So it smells like your blood.
Speaker 1: Yeah, it doesn't have any strange Yeah.
Speaker 4: And I don't know if this is a VTM thing,
but in PBu, you guys have like all heightened senses,
so I will give that to you. That's not even
a role as you can smell it. That's absolutely your blood.
Speaker 1: And it doesn't smell different or wrong, or off or sick.
Speaker 4: Okay, those were a lot of questions that I will
need you to roll for. It doesn't smell different, off, wrong,
or sick. Which one of those would you like to
roll for?
Speaker 1: Well, I'm going to lean towards sick considering the word
contagious that was written on my coffin.
Speaker 4: Okay, all right, Uh, we're going to have you rolling insight. Okay,
do you have any special bullshit to help you with this?
Speaker 1: I don't think so no, not that I can see. Okay, yeah,
I think it's just straight.
Speaker 4: Okay, then yeah, we'll do insight and medicine.
Speaker 1: Okay, can I can I do insight in medicine?
Speaker 4: Should be able to so you roll medicine first and
then sorry, so some sort of mental wits or intelligence
either will work. It's backwards in my brain played this
three years and I still do the reverse order and difficulty.
You're trying to determine sick, you said, correct, yes, right,
three is fine.
Speaker 1: Okay, three successes.
Speaker 4: I'm trying to think of how.
Speaker 1: I picked the wrong adjective. Now I can tell.
Speaker 4: Well, I'm just trying to think of how you would
because I want I want to answer you, but I
want to make sure I'm answering you in a way
that makes sense to the context in which you are
providing me. Am I sick? But now I'm trying to
think of what does that mean to you? And what
does that mean?
Speaker 5: Oh?
Speaker 1: Can I tell you?
Speaker 8: Yeah?
Speaker 1: Yeah, yeah, I mean immediately I'm thinking of what I
what I think a normal human would be thinking of
as sick, So like rotting, I'm already kind of you are, yeah, yeah,
but is there any like I'm looking for that smell
of sickness that like you have when you.
Speaker 4: You already have that because you're like dead. Yeah, you're
like walking dead. Tell you what any.
Speaker 1: Difference to the to the bouquet.
Speaker 4: Tell you what though? Yeah, I will answer you with
what you've rolled. You succeeded. But you've rolled a medicine check.
If you want to trade me a rouse check and
risk getting hungry, or I'll throw in some magic for it,
okacause otherwise you're just going to get a standard medicine roll. Yeah,
I'll do that. Okay, Well I failed, you failed the
rouse check, you got a little hungrier. Your blood does
smell different, and you absolutely do have something that is
transferable in your blood right now. I don't know how
you know that. You will have to explain that, but
it is not standard sick smell. It is something else.
And the shit that had to happen for you to
be able to figure that out is kind of blowing
my mind a little bit right now, because the fact
that you have that slap to the top of your
coffin is unrelated to the fact that you actually have something.
So I'm kind of like, wow, Okay, oh my god, yeah, okay.
Speaker 1: Okay, but I don't know that it's unrelated.
Speaker 4: So you don't know that. I'm sorry, that's just me.
Speaker 1: No, no, no, I just mean, like, because I don't
know that, I think they're connected. So I am going
to I'm gonna try and put this bandage back on
my neck and climb back into my coffin.
Speaker 4: Okay, okay, and then I would like to.
Speaker 1: I don't think I have any way to communicate with
people from like like distances or anything before I get
into the coffin, I'm gonna go, hello, what's going on?
Speaker 4: You can roll a onedy too, where you can simply
be there and have heard her. Yeah.
Speaker 9: I think first you would just hear, hey, man, where
the hell is everybody? And then a lot of sump thump,
sump sump, some as I'm running through the halls, Come on, man,
we have a situation. I don't know what the fuck
is going on? And I'm I mean, I'm I run
right by your room. Hello, where hell is everybody? Hello?
Speaker 8: Hello?
Speaker 10: Hello?
Speaker 9: Hello?
Speaker 1: Hello.
Speaker 9: Okay, I just had to check to see where it's
coming from. So I circle back around and oh you're up?
Are you all right?
Speaker 8: Yeah?
Speaker 1: Yeah, but what's what's this, I'd point at this sign.
Speaker 9: Oh, that's just so nobody would bother you.
Speaker 1: I'm I'm there, I'm fucked up.
Speaker 9: What happened. It was a clever ruse, that's all. No,
But I mean there are a lot of a lot
of fucked up stuff happened, that's for sure, and we
got to talk about it. But everybody else plus more
are trapped.
Speaker 1: I'm contagious. It says I'm contagious.
Speaker 9: I can tell them, No, You're not contagious. Just some
some you know, very attractive woman just bit you and
flew off as a bat. But that that sign was
just put there because moved didn't want anybody to bother you.
Speaker 4: It's very clever, Okay.
Speaker 1: I mean it doesn't answer the question that contained you
ain't dying.
Speaker 9: You ain't dying. Nothing's changed as far as i'm know.
Speaker 1: Well, of course not, I can't.
Speaker 9: Everybody else is trapped up in some attic with blood
porn off the walls, and I what I used science
to get out of the room and now they're still
stuck in there.
Speaker 1: Okay, Well, I asked you ever more clarifying questions. It's
not going to explain anything more to me. So what
where do you need me? Where are we going?
Speaker 9: Look, I don't know. Well, here's the thing. We got
to go back through the room where that lady bit you,
all right.
Speaker 1: Because she's still there.
Speaker 9: No, she's gone. She turned to a bat and got away.
But look, we kept going. We wound up in this
weird place I never been before. And Balthazar is in
there with mister Edward as well, because I mean, I
don't know why. Because and I was hearing things, people
and some guys screaming, and that was, honestly pretty screen
of scared. I don't know it was. There was something
something strange in there.
Speaker 4: Man.
Speaker 9: But look, let's just walk this way. We can talk
while we walk.
Speaker 1: Okay, great, cool, you're feeling all right?
Speaker 10: Sure?
Speaker 1: Why not?
Speaker 9: No, come on, listen, I gotta apologize to you because
I seen that lady in your head before.
Speaker 1: I'm sorry.
Speaker 9: What that lady that bit you? I didn't realize it.
I mean I saw her, but I didn't see her.
Remember before when I have my hand on your face
like this, and I put my hand on her face again.
Speaker 1: Oh oh don't before, don't touch me all right, all right?
Speaker 9: All right? When I did that before and you asked
me to see a vision. I saw this vision and
she was in there, but you know, not specifically her face,
but kind of a feeling of her and I and
it was I don't know it was her because I
didn't met her yet, But now that I met her,
I know it was her.
Speaker 6: Okay.
Speaker 9: It's weird, man, It's one of it's I see when
now I got out of the room. It's weird. It's
that you you ever hear of Professor Donald Blow?
Speaker 3: Me?
Speaker 1: Have I ever heard of Professor Donald Blow? Me?
Speaker 9: Probably?
Speaker 1: No.
Speaker 9: I have no idea what you're talking about, because, man,
he wrote this book from a long time ago, like
nineteen seventies or something. Man, and he a, man, it's
nineteen ninety five. The seventies were goddamn eon ago. Anyway,
it's called what the hell is the name it it was?
It was The Future Is Now but also Tomorrow, A
Starter's Guide for Psychics, prognosticators, seers, and the like, by
Professor Donald H. Glomy. Anyway, I'm reading it and he's
telling me about this Ricky Schroeder's cat, right, And that's
how you know. Ricky Schroeder's cat got trapped in a
car and even know where it was, and everybody thought
it might have been dead. I mean I read it.
I read a lot of things now, man, But anyway,
we better get up there.
Speaker 1: Okay, let's go. I guess.
Speaker 9: I got I mean, I love the silver spoons. But anyway,
we got a silver spoon. It's TV ten years ago.
Speaker 4: Man.
Speaker 9: Man, you know that, you know the guy from A
Fresh Prince of bel Air, the Carlton that doesn't dance.
He was on that show and he had a Jerry curl.
It was pretty crazy to see him.
Speaker 5: Now.
Speaker 9: Oh, anyway, I think that's when we arrived at the room.
Speaker 4: You're there, Well, at the hallway right where the room.
Speaker 9: We want to go through the room.
Speaker 4: There's no door there now, yeah, lady, oh yeah, yeah, yeah,
of course absolutely. Yep, you're going to pass through the
main library. I think is where you were when you
saw her.
Speaker 9: And yeah, man, you would never I mean even I
could see the future, but I never would have guessed
that guy could move that way. Now, okay, so we're
about to and this.
Speaker 4: Is a room where the lady was, yes, where the
biting happened. Right, that's where you wanted.
Speaker 9: To be, right okay, just in case, Now, Okay, now
she's gone. See nobody else is in there that we
can see.
Speaker 1: Okay, well you can keep going.
Speaker 9: I guess, well, I mean that's where we mean. We
didn't see bouths are and Sharon. I don't know where
the fun Sharon is as usual, so well, let's just
keep going through. So I supposed to reach the hallway
is the same place where I found myself after leaving
that room?
Speaker 4: Uh yep, okay, let's we need to make some rules
because I assume you guys are like rushing, but you're
also being on the lookout for some stuff.
Speaker 9: So I wanted to get to the room.
Speaker 1: Yeah, okay, Once you know I'm not on the lookout
for anything, all right, then I'm.
Speaker 9: Just moving and moving and moving on getting through the room.
Like once we walk through the room, because that's where
I know everything was okay, where I just came out,
but once we go through, and I don't remember really
how we got there or how I got out of there.
Speaker 4: Okay, okay, So so sorry to ask again to be
clear out of the library where you saw a woman
bite and.
Speaker 9: Two out of the room.
Speaker 4: Yeah, okay, you you are on the lookout from point
A to point.
Speaker 9: B get to the point where I last remember, like
I I, yeah, ran backwards and then all of a sudden,
I see a wall in front of me and turn
around and left.
Speaker 4: Okay, okay, so then go ahead and roll our perception,
which is going to be awareness uh and wits please
you do it in the reversed order. Wits awareness too,
not that hard.
Speaker 1: But not me though, because I'm not looking.
Speaker 4: No, you're not looking, I mean, okay, one out of two. Wow,
holy shit. Okay, so a little bit too cut, I think, Harry. Yeah,
I think you're explaining, you know, distract Ricky's cat, and
there's a lot going on. But I think you're also
just not looking, and you're just not looking in the
spot where you might might see this said thing. But
you navigate to where you left just fine to And this.
Speaker 9: Was the problem, right, there's no door. Wait, there was
a door. We got in and we were talking and
then when when mister Edward went to leave, there was
no door. But I got out somehow.
Speaker 1: Uh do you remember how you got out?
Speaker 9: Yeah, Wicky shoulders can well look because I had moved
distract everybody, so nobody was looking at the wall, and
I didn't look at the wall, so I didn't know
if there was a door. Maybe the door appeared when
I wasn't looking and I ran backwards. Next thing I know,
I'm out.
Speaker 1: Okay, so let's just walk backwards through the wall.
Speaker 9: Then, right, you're gonna be trapped.
Speaker 1: Man, wasn't that where we're going?
Speaker 9: But I don't, I don't know. I was hoping the
door it would be here when we got.
Speaker 4: Bay, I started the wall like, ooh, okay, you knock
on the wall.
Speaker 1: Yeah.
Speaker 4: It's probably at this point that we switch back into
the room and y'all hear a knock on the wall
where the door used to be. But where we left off.
I believe pulls Rate was on the ceiling, losing his
mind a little bit, right, Moog, where were you?
Speaker 7: I was standing directly underneath the clock on the ceiling.
Speaker 4: That's right, Balthazar, you were observing from the side, correct
book from Yes, that is correct. You have the book? Okay?
And Edward, where are you? You were sitting on something?
You were watching? Right?
Speaker 5: Yeah, I'm watching probably close to Moog proudly as a visionary,
was able to mcguiver head.
Speaker 4: Of the room. Ye, perfect, okay, so we will be
with you all then, and we'll let you have a
moment before Mergs knocks on the door again as dead eye.
Speaker 3: So I'm on the ceiling right, and I'm I remember
like leaning down to was I touching the clock?
Speaker 4: Yeah, you touched the hands of the clock, and the
puzzle revealed itself to you, or the inscription revealed itself
to you, and you read it out loud. Right, that's right,
So if you'd like, you can read it again just
to refresh us and listeners.
Speaker 3: Let me just let me just find that.
Speaker 7: And you were singing as well, if you could do
this too, I was.
Speaker 3: That was singing, And I don't think I was singing
when I read the clue, which I think I have
here somewhere.
Speaker 6: It's under spider crew notes too.
Speaker 3: Oh yeah, that's right, okay, mm hmm.
Speaker 11: H.
Speaker 3: In a room where time twists and bends, a clock
ticks without end. Its hands are trapped an endless night,
waiting for the dawn's first light to break the spell
and set time free. Align the hens, and then speak
to me to find the hour that breaks the chain.
Count the time the day brings rain, for every drop
that falls from high add the suns that light the
sky and set the clock to this bright hour, and
time would once again have power.
Speaker 4: I forgot about that. You will not hear the knock
on the door.
Speaker 3: I apologize, okay, and also we.
Speaker 5: Shoot.
Speaker 3: I forgot what I was just thinking. Never mind, it'll
come to me.
Speaker 8: Sorry.
Speaker 3: We had the clue. I had figured out that the
clock was counting down right.
Speaker 4: Well, yeah, I was going backwards yep, from two thirty.
Speaker 3: Backwards okay, from two thirty. And then I had said
to everyone, I think that we're running out of time.
Speaker 6: And it's running counter clock wise.
Speaker 7: That is correct.
Speaker 12: I think I'll I'll look across the where visionary was
and go didn't he just wasn't.
Speaker 6: There's visionary.
Speaker 7: He walked backwards into a wall and was gone. He
explained it to me. But it was all visionary. E
if you know what I mean, we'll.
Speaker 12: Be in a visionary. He certainly seems to have figured
out how to get out of here. Shouldn't we just
do the same thing?
Speaker 7: No, right, walk backwards into a wall and see how
it treats you.
Speaker 12: Okay, I will try walking backwards into the wall. But
they're probably still watching me.
Speaker 4: I was second, I think Muona is watching you while
you doing so, Yeah, you will run into the wall. Unfortunately,
when when that happens, Yeah.
Speaker 12: Like pat my hand along the wall behind me, just
to be sure, like the book tucked in one hand
against my wrist and the other just like feeling around
behind me to see if there's any physical difference that
I feel.
Speaker 4: There is no physical difference in terms of like a
where like a line or maybe something where a door
might be. Maybe there's a moment where you think the
undulating walls with the weird you know, blood and seepingness
is covering where the door would be. But as you feel,
there's nothing, there's nothing underneath except for a wall.
Speaker 11: Okay, see still hair.
Speaker 6: That's unfortunate.
Speaker 12: Yes, well it appears we have to do something with
whatever that is of the ceiling to be able to
find another way.
Speaker 7: It doesn't make any sense the count the times the
day brings the rain depends on the day, doesn't it.
Speaker 6: That is what I've observed, spring, summer, zero.
Speaker 7: And infinite times could be.
Speaker 1: M h.
Speaker 7: What do you think up there? Look up to pulse rate?
Speaker 12: Did you respond with the song and just singing?
Speaker 7: I swear, oh, I'm counting on it.
Speaker 3: Rain drops keep falling.
Speaker 6: I knew it. I knew it.
Speaker 7: Doesn't mean my eyes was still to be turning red
something something words.
Speaker 3: I don't think it's talking about rain at all, do you.
Speaker 8: Well?
Speaker 6: What else could be talking about?
Speaker 7: Not anymore?
Speaker 6: What other drops fall from this guy?
Speaker 4: But rain?
Speaker 7: I'm the sky? Maybe tears they fall?
Speaker 4: How dare you beautiful? Lost the time?
Speaker 3: I don't think I respond to that. I think I'm
humming to myself and I'm looking at the clock, studying it.
Speaker 5: I think you would be able to see Edward kind
of looking more worried as time passes, as he still
kind of staring at the wall where Visionary passed through,
and he'll turn to Moog. Why don't you try the
wall trick?
Speaker 7: I try the wall trick. It doesn't work. About this,
I'll just try the wall trick.
Speaker 5: Well, Visionary could do it.
Speaker 7: Sure he had science or something.
Speaker 12: Also, Edward, did you notice that Mog shouted before Visionary
went through the wall. Maybe that's what we're missing, some
loud exclamation.
Speaker 5: Everyone here needs to try the wall trick.
Speaker 7: Oh that's right, we had to. Now it's all coming
back to me because he was just talking so fast,
and he sounds the way he sounds is it just
slipped my mind? We cannot be observing the subject trying
to go through the wall. So good news, Balthazar did
not fail horribly when trying to go through the wall.
Speaker 12: That seems like a very important detail, you detail.
Speaker 3: Okay, well, what's going on?
Speaker 7: The walls are bleeding. There's a clock taking counterclockwise above us,
and show tunes.
Speaker 2: So what.
Speaker 5: All right?
Speaker 7: You want me to try? I can try it. Nobody
can look. Oh, this is gonna hurt me. Nobody look
at me, please, And then I will walk backwards towards
a wall.
Speaker 4: M a wall, roll me a one day four baby?
Speaker 7: See three?
Speaker 4: Okay, you're walking backwards towards a wall number three. Is
anybody watching him do this?
Speaker 12: Well, now that he's mentioned the trick, then no, I
will turn away.
Speaker 4: Just making sure. Okay, you leave the room. You are
no longer in the room. Oh you are not in
the hallway, however, oh you are somewhere else entirely. And
we'll get to that in a second, all right. Only
because you said a wall, yes, well, yes.
Speaker 9: That one.
Speaker 7: If it was me, I would have chosen that wall.
Speaker 4: But moog, yeah, it was just like, let's just see
what happened.
Speaker 7: I didn't think it was going to work.
Speaker 4: I love you. It's a gift. Okay. So we are
back into the main room. Moog is no longer in
the room. I imagine you guys, wait for a couple
of seconds. You know, you hear the like him shuffling
and walking. Actually, I don't know if you do. Vampires
are very quiet, so I don't know if you hear him.
Speaker 7: I would have been I would have making a spectacle. Yeah,
like look at me and walking back, and then here
I go, and and then you're just nothing nothing.
Speaker 11: Okay.
Speaker 5: So as soon as he started moving, I closed my
eyes and open them to see him gone.
Speaker 12: I'll also slowly turn my head and look over my
shoulder and see he's also gone.
Speaker 6: Well it appears replicable.
Speaker 5: I knew he could do it. Slightly smile.
Speaker 4: Is anyone going to try to walk through a wall?
If nobody does, then something is going to happen, which
is okay. The room is now going to shift counterclockwise
one time.
Speaker 6: Do we feel the movement?
Speaker 4: No, you feel stationary, but the room around you is
moving counterclockwise.
Speaker 3: The ceiling feels stationary too.
Speaker 10: Right, Yes, I had to think about that for a second,
But yes, the ceiling and floor feels stationary and the
walls around you shift.
Speaker 11: Okay, so if.
Speaker 12: We don't notice anything, I'll probably look at Edward and say, uh, well.
Speaker 4: You notice the You notice the walls shifting, like you
hear it. You see it, but you don't like It's
not like you feel like you're moving. It's more the
room around you is moving. But yeah, you absolutely notice
it for sure.
Speaker 13: Okay, we're having gone.
Speaker 5: Which wall was it they left?
Speaker 6: That's a good question.
Speaker 12: I honestly don't remember where Visionary exited. We did just
see move. I wonder if logic dictates that there is
only one entrance into the room and somehow they went
through the same wall together, which if that's the case,
then and I would point to the wall that is
now in the new position or move just went through
that is where our exit would be.
Speaker 4: So for the sake of this puzzle, we're going to
label the walls. I'm going to give you the original
wall order, and then you need to figure out the
rest the original wall order that Moog went through, which
is what your character would know is room number three
or wall number three? And you said you didn't really
remember which one visionary went through, So I'm not going
to give you that answer, but okay, so that would
imply you are pointing to now room number two because
it went counterclockwise, or you're pointing to wall number three
or two rather correct because he originally went through three
and the room shifted once counterclockwise. So now you would
be pointing out wall number two, got it? Okay, Just
so everybody's on the same page, got it.
Speaker 12: Yes, I think I would have seen the walls shifting,
but maybe not realize that that meant to the walls
themselves were shifting. Maybe just the blood was rippling in
a weird way. Yeah, okay, so I would still be
pointing in the direction that he went in even if
it was a different actual.
Speaker 4: Wall, right, Okay, So yeah, so you are now pointing
out wall two, which is where Moog went like he
walked through, but the walls have moved counterclockwise one time.
So yeah, you're now pointing at wall number two. Okay,
that the clock loses ten minutes when that happens, and.
Speaker 3: It's it's too twenty.
Speaker 4: I'd say a little bit. I mean, you guys took
some time to talk about this stuff, so I would
probably say five minutes was to talking, and now you've
lost ten minutes after that. This is gonna be hard
to keep track of multiple things here, so I'm going
to leave you in track of time Morgas weekend. Okay,
that's fine, it's too ten. Fifteen too ten easier? Yep,
Well you might need that, so we'll go with a fifteen.
We'll go with fifteen to fifteen. Everyone, We're going to
go out into the hallway.
Speaker 3: Then how tall are the ceilings? Really quick?
Speaker 4: I don't know how tall our average room? What's the
average American room?
Speaker 10: Hight?
Speaker 3: I think it's like eight feet.
Speaker 4: May I'd say it's about eight or nine feet. Then
it's maybe a little extra tall.
Speaker 3: So if I'm hanging from the ceiling, then my head
wo go to someone's waist or so.
Speaker 4: Oh if you're just standing, you mean, and you're not
like sitting or crouched, then yeah, you're probably meaning it
head or somewhere.
Speaker 3: Around right now.
Speaker 4: But I was curious, Yeah, yeah, somewhere like that, probably
meeting around shoulder area, depending on how tall everyone is,
I would assume. All right, shifting back out into the hallway,
we have visionary and dead eye. You knock on the
wall and you hear no response.
Speaker 1: Okay, yeah, I don't know how.
Speaker 9: It's like the same thing. I don't know where the
door is. There wasn't one. There was there when we arrived,
and now it's gone.
Speaker 1: Okay, tell me again, exactly exactly how you got through
the door or the wall?
Speaker 7: All right?
Speaker 9: I told MoU distract everybody, don't look at me. Make
sure everybody turns and look at you. And as soon
as he did, I just walked backwards, ran backwards, really,
which is a hard thing to do unless you've practiced
like me. But uh, and then next thing, I know
him in the hallway, it felt like I went through
a door, like it felt like something opened and then
here I am. But then when I look at the wall,
there was no door.
Speaker 1: Okay, all right, And I.
Speaker 9: Have no blood on me from the wall, or do I?
Speaker 8: Yeah?
Speaker 9: And there was blood all over the walls, but no
blood on my back. Look the blood on my back.
Speaker 5: I didn't know.
Speaker 1: There's there's no blood on your back. Okay, wait, turning,
let me see hold on all right, No, no, you're good.
Speaker 9: It will be a lot because the wall was covered man.
Speaker 1: Okay, uh, yeah, no blood okay. Uh visual, very visual
descriptions there oozing.
Speaker 9: I would say oozing because it was just kind of
I don't like that.
Speaker 1: Everywhere didn't like that. Okay, I'm going to turn around
and I'm not going to look at you, and you're
gonna walk backwards and you're gonna try it again.
Speaker 8: I do.
Speaker 9: Why don't you go?
Speaker 8: No?
Speaker 1: No, we're both going if I'm going here going, so
you go first?
Speaker 5: No?
Speaker 1: No, no, you go first because you know how to
do it. You know how to do it.
Speaker 4: You didn't last that too.
Speaker 1: I just told you, okay, but would you rather no?
Speaker 9: Man, this blood come in. I don't know what was
going on.
Speaker 1: I thought I was, and then you and then you
just fucking leave.
Speaker 9: Huh why would I leave?
Speaker 1: Well, then why don't you go?
Speaker 9: What if that lady's just waiting for you to be
alone again?
Speaker 1: Well, then I guess you should go first so that
when I get to the other side, I'm not alone there,
all right. I turn around and I face the corner
across my arms, all.
Speaker 9: Right, And then I stand next herb and I start
to walk backwards. And before I hit the wall or
go through, I go, hey, fuck you.
Speaker 4: You go through the wall.
Speaker 9: I've seeing if she turned around just in case.
Speaker 4: Oh yeah, okay, well do you that's actually a good point, Okay, okay.
Speaker 1: I don't shout things at me all the time.
Speaker 4: So you go through the wall, and everyone watching. He
enters through wall four.
Speaker 9: I see, I told her it worked.
Speaker 4: And roll me a one D four please.
Speaker 14: Okay the room The room shifts for times clockwise.
Speaker 11: Okay.
Speaker 12: I'm probably still pointing out wall too, and I'm confused
when he comes through a different wall and I stand
there and think about this for a second.
Speaker 6: And go, wait, did you did you just see moo?
Speaker 3: No?
Speaker 9: Is it any in there that? Where the hell is he?
I was with Dead Eye out in the hallway where
we came in, I.
Speaker 6: Like ever with a worried expression.
Speaker 5: He went to find you.
Speaker 9: I've been out in the hallway. When did he go?
I've been out in the hallway for like the past
five minutes.
Speaker 5: You should have seen him.
Speaker 3: Now.
Speaker 9: It was me and Dead Eye and there's nobody else
in the hallway. And we came all the way from
Dead Eyes room back the way through that room where
the lady was, and uh, yeah, didn't see any buddy.
Probably she's gotten somebody else now, that I think about it.
Speaker 1: That's when I come through the wall. Oh Jesus, M
what she is? What the fuck is happening in here?
Speaker 4: I've told you, dude, I didn't believe you.
Speaker 1: Man, Sometimes you say shit and it doesn't make any sense.
Speaker 4: Wall on the walls. This is the library, library, Library,
this is.
Speaker 15: So.
Speaker 4: This is the last time I'm going to confirm for you.
She has come through all four. We should all be
on the same page. I think.
Speaker 9: Okay, where the hell that you didn't see Moog out there?
Speaker 8: Did you?
Speaker 9: Did? I? No, No, apparently he's my technique and got out,
but he wasn't where we was.
Speaker 4: Uh, perfect time to transition to moog. Okay, moove. Yes,
you are in a hallway, dilapidated attic, lots of broken wood,
the smell of dust and iron in here. And maybe
would you know what embalming fluid smells like? No, okay,
something rancid that you don't enjoy the smell.
Speaker 3: Of sort of question.
Speaker 7: Yeah, once I leave, I'm ing at just a wall,
assuming I have not linked.
Speaker 4: Yes, correct, yep, okay, and if you turn around, then
this is what you see. Yeah, absolutely, But yeah, there
is a wall and there's no door or anything. There's
nothing else. But when you turn around, it's just a
long hallway, a corridor, and it's dark. There's no light.
Speaker 7: Oh, I don't like this. What does that smell? Oh,
it's that eye around here. It must be close hmmm
in their doorways.
Speaker 4: Down the hallway, you have to go down there. This
is pretty dark, so you have to. It's a very
long hallway, creepy, eerily long.
Speaker 7: Do have some special bullshit that allows me to see
in total darkness?
Speaker 4: Okay, you'll have to walk down the hallway, but as
far as you you can see, there's nothing, no doors
on the sides of the wings. But there does seem
to be like an opening, maybe potentially a room, You're
not sure what size. At the long far end of
this there is some sort of light. It's not what
is your special bull hit bullshit for the darkness?
Speaker 7: Eyes of the beast? So I get it's mainly primarily
intimidation against mortals, but it also allows me to see
in total darkness in my eyes.
Speaker 4: Can you pop the thing in there so I can
read it because it might determine allows you to see
in total darkness? Amazing? Okay, then I don't know if
you can tell if the light down is coming from outside,
like it's a natural light source or it's artificial. But
there is some sort of light down at the far
end of this corridor. But I'd say it's like, I'm
not very good at gauging distance here like this, but
I'd say it's about when you're in a hotel. We'll
do this when you're in a hotel and you go
from one end to all the way to the other
end before you switch wings. It's like that, you're at
one end and it's a very long stretch of hallway,
but there are no it seems to be no doors,
so you'll be walking for a couple of minutes to
get to the end. That's probably a better way to
describe it.
Speaker 7: Oh yeah, pretty far, and there is a light source
that I can't tell is it steady or is it flickering?
Speaker 4: It's flickering.
Speaker 7: Good questions going towards that absolutely. Okay, that's fire, baby,
that's where I'm going.
Speaker 4: Okay, so you're heading in that direction.
Speaker 7: Yes, I do have some other special bullshit that I
just remembered to figure which one it is that allows
me to attune to an element. And I'm in tune
to fire.
Speaker 4: Yeah, you are automatically always in tune to fire. What
else does it say for that?
Speaker 3: Umm, it has that.
Speaker 7: So it sends through an element. So if in theory
that is fire, I should be able to sense through it.
Speaker 4: Yes, would you like to try that? Would you like
to do that? Because that sounds super fucking badass? Okay,
so we need to do that. Now. This is technically
a passive ability, so we're going to have to figure
out what we want to do. I think we should
do the rouse check. Those are my favorite things in
this system. So you're basically training hunger that you can
maybe find a way to figure out later. It's like
that's a future me problem. I'll solve that later. To
be able to do this ability where you're kind of
going to get a scent through this fire. So for
those listening, the actual description says a tune with and
sense through an element. So I would like you to
choose a sense one sense that you will gain through
this element. So basically, you're going to in my PBu brain,
you're conjuring yourself over to the flame, and then you're
going to gain whatever scent or sight or whatever you
choose that that flame has access to and then you're
going to bring it back to yourself. Correct, Just so
I'm understanding what you want. Yeah, okay, hell yeah, that's
badass as fuck. Okay, yep.
Speaker 7: I do have a question as well, should I choose sight?
Speaker 3: Yeah?
Speaker 7: Would my darkness vision extend to this through this as well?
Because I assume the flame light would only go so far.
Speaker 4: I think it's going to be the flamelight like as
far as the flame touches is what you could see?
Speaker 7: All right? Interesting?
Speaker 4: That sounds fair to me, Yes, it does.
Speaker 7: Hmm, what would what would moog do?
Speaker 4: And in terms of let's think about this because this
is interesting, Yeah, because if you choose if you choose sight,
it's as far as the flame touches, if you choose sound.
Speaker 7: Between those two is yeah, I'm at right now.
Speaker 4: Okay. Touch is also interesting because it would be what
you feel in the room, like.
Speaker 7: But if it's a candlelight then it wouldn't necessarily would
feel the candle itself and the wick and nothing.
Speaker 4: But do you feel yourself? Are you always aware of
your own body? I mean we do sometimes, but most
of the time we just go around navigating like, oh,
I'm fine, you know like this is how I feel,
and I can ignore it and also gain Oh the
room is hot, so just so you know, it's not
no sense that you choose is useless. So if you
want to do something like touch, I will go with
the idea of like, oh the room is warm, but
it's not you. It's not coming from you. There's another
heat source or whatever you decide.
Speaker 7: I do some bullshittery.
Speaker 4: I love bullshittery. Tell me what you would like to do,
and then I will.
Speaker 7: I would like to This is very vague, but I
know what I'm what I mean. I would like to
get like a if I'm getting like a positive a negative,
or like a chill vibe, like if I am. I
want to know if I keep say.
Speaker 4: The resonance of the room.
Speaker 7: Yes, yes, I'm happy with you saying no.
Speaker 4: That is extra bull it's extra bullshitary, but it allows
me to do some fun shit. I don't think it's broken.
I have to be honest with you. I think sight sound,
all those things. I think doing an emotional take off
the room is fine. So I agree, and that will
be what you do. Okay, So we need to think
about how we do this, in which where what your
fail conditions are, because a rouse check is simply a
rouse check. Do we want to do that? If you
see at the rouse check and you don't get hungrier,
you succeed at the thing. But if you fail the
rouse check and you get hungrier, I might give you
a little bit, but you get hungry and it's not
as strong. So you always be able to use the ability. Yeah, yeah,
it's yeah. I think it would be fun because it's
fucking cool as shit and I want you guys to
be able to do stuff like this. So okay, cool, yeah, yeah, yeah,
right here we are succeeding, succeeded. Okay, So what do
we as an audience maybe see from when you do this?
Because is the first time you've done this.
Speaker 7: Yes, So I'm looking down the whole way and I
see the flickering light source and at PSD fire and
so I say, hello, beautiful, how are you? And then
my eyes go fire red, and I I'm no longer
really in my body so to speak. I can feel
I can move in everything, but the room feels not
like this room, this hallway, the walls, everything, It's just
it just doesn't feel like this hallway any longer. It
was I can I think I can still smell everything
from the hallway, but I just feel like I'm in
a different room, as if someone put a blindfold on
me and moved me to a room, and I can
just feel that it's different. The energy is different, if
that makes any sense on this before this is all
it's putting words to.
Speaker 4: Language that I don't know that's intuitive to you. I
like that. I would like to add some more chaos
to this. Yes, I'd like to roll roll a one
D four and I just you know that the power
works this way because this is how I think of
fire energy in general. Is it's a consumption energy. So
I like the idea that you might not necessarily be
getting the feeling from the fire itself. You might, but
you might also be getting the feeling of something else
in the room. R Is that fair? Okay? Fear, I'm afraid,
oh terrified, Oh oh trembling, and your ears are straining
to hear. You're trying to You're trying to hear something
and it lasts as long as you want to stay
connected to it. So if you want to try something else, yes, I.
Speaker 7: Want to try one more thing, because the alternative there's
two alternatives, and one of them is going back into
the room potentially, and that doesn't look good for me,
and the author is facing whatever the fuck that is.
I want to try to locate. I want to try to.
Speaker 4: What do you want to try to do? Don't worry,
I'm not going to trap you into it.
Speaker 7: No, no, no, no, no. Okay, yes, I trust you, yes,
which is foolish to say to you, right, but I
trust you to do something really cool for the story.
I want to see if I can locate which side
of the room this fear is generating from.
Speaker 4: Okay, I think I can help you do this. Yes,
I think you should move you you should make you
should make a sound and see if the emotional reaction changes.
Speaker 7: Oh okay, is there any debris or anything? Debris?
Speaker 4: Yeah, I wouldn't say it's like heavy debris, but you could.
You could bang on the wood, or you could grab
the creaky wood. It's like falling apart this place.
Speaker 7: Well, I don't want to, you know, I was thinking
of throwing something I didn't want to.
Speaker 4: Oh, okay, sure, yeah, you could do that by accidents. Well,
you're not gonna I don't think you're gonna knock unless
you are actually intending to do it. It's not D
and D where if you fail, the wall is gonna
come down. So you could reasonably, you know your own strength,
you could you know, you could identify it.
Speaker 7: To throw something as well, because talking it through.
Speaker 4: What are you going to throw?
Speaker 8: Then?
Speaker 7: What's on the ground around me?
Speaker 4: I'm gonna say maybe probably like an occasional paper, but
there's no real like it's not like a bomb went
off in here. It's just it's been old and the
upkeep is not great. So there's maybe some wallpaper that's
peeling back to reveal studs and you know would so
you could rip something off and then throw it.
Speaker 7: But no, well, paper's not going to make much of
a sound anything. I don't think I will. I know
exactly what I'm going to do. I Am going to
knock three times on one of the walls on the hallway,
and then I'm going to scurry to the other wall. Okay,
if something tries to like so.
Speaker 4: It's a very narrow wallway, you could probably reach up
and hit both. So hopefully you're not claustrophobic.
Speaker 7: No no, no, okay, fine.
Speaker 4: Well so it's like you not this yeah, you're kind
of stuck in this long, very tight corridor.
Speaker 7: Okay, then, yeah, I will just knock on the wall
to my right through.
Speaker 4: Okay, So to be clear, you are knocking on a
wall in a very tight corridor where it's going to
take you five minutes or potentially you could just walk
backwards into the wall. However, that will not work if
something is looking at you, that is correct at the
other end of this long hallway. Cool, Okay, so you're gonna.
Speaker 9: Knock out the door for the wall.
Speaker 4: You're gonna just pick one wall. Did you say I'm sorry?
That was me worrying for that?
Speaker 9: I did, however.
Speaker 4: Okay, yeah, okay, So you just reach up and you
wrap your knuckles on both sides of the wall here,
and you're still tuned into this fire, getting this feeling
from something within the fire's range. I'll give you that.
So something near that flame is reacting and is terrified
and is straining to listen and absolutely hears that sound
and it is coming from you can sense. I guess
I'm trying to think of like fear there, you know, like,
how do you think about that? When you hear sound
and you're terrified, you absolutely identify where the direction in
which it's coming from. Right. I think we can all
agree that that's exactly how humans work. Yeah. So yeah,
you feel the absolute terror grip you again, and you
can feel the stillness of your body. Uh, and eyes
that immediately locked to the left, which would imply that
if you go down the hallway, it's somewhere in the
right of that room.
Speaker 7: So that is someone frightened in the room. It's not
me being frightened.
Speaker 4: That's correct. You feel it as if it's your feelings.
So yeah, yeah, yeah, yeah, So now you can go, Okay,
there's something in this room that is feeling afraid, and
it's afraid of me.
Speaker 7: Okay, yeah, I'm going to go towards that perfect, Absolutely,
I'm going to very whatever mood perceives as being gentle
and kind. Well, what is it approach most akin to misusdoubtfire,
I would think. I don't think this movie came out then,
but you were just going to be like a hello,
anyone here, hello?
Speaker 4: Perfect to change the Okay, back in the room. Oh no, sorry,
back in the oh yeah, back in the room. You're
all there together, correct.
Speaker 3: Mister Southfire came out two years.
Speaker 4: Before, Yes, I was gonna says self, theaters.
Speaker 7: Never the guy.
Speaker 3: Yes, I am going to stand up so that my
face right in front of dead Eye's face. I'm going
to say, hello, dead Eye. I'm trying to solve a riddle,
but I'm having trouble. Watch this, and I'm going to
tear open my arm and let rivulets of blood search
for information on a secret subject that might be it
might help me get out of this room.
Speaker 4: Wait, what this amazing?
Speaker 16: Okay, looking for a secret clue that might be in
the room. Yeah, okay, put this, solve this puzzle. Put
the shit in the in the thing, or in the
discord or something so I can read it. Yes, the
blood Sorcerer unleashes rivulets of their blood, primed to search
for information on a subject of their choosing. The blood
washes over the object of their search, allowing the blood
Sorcerer to investigate vast amounts of text and volumes.
Speaker 4: In a matter of minutes. The subject investigated bears a
telltale blood stained thereafter. I believe this is implying to okay,
hold on information stored in non written formats, such as painting,
music or an old floppy disk. The difficulty is likely higher.
Speaker 10: So.
Speaker 4: Anything from a two for a single letter in a
regular office for up to five for encrypted information hidden
in a vast library. So I'm a huge fan of
bullshit and being creative with it. So you can either
use this on, say, like the book that Acorn is holding. However,
that might not be related to this room. It may
or may not be right because you got it from
outside the room. You could try using it on the
wall or the floor, or like the room itself. I
will give you that, but it's going to be hard, right.
Speaker 3: Well, I don't really I think I just go sort
of on feel. So I guess i'd like to know
if the book feels like anything, because I know the
walls do.
Speaker 4: I don't think you got any crazy sense from the
book when you first picked it up, and I'm just
going based on that rule, like you.
Speaker 3: Book isn't interesting at all. I'm here, I'm going to
search the room. Okay, okay, anyplace in the room where
there could be a clue hidden.
Speaker 4: Well, we're going to go with You're gonna roll because
you're using your blood on the room itself, right, So
that'll be freewhere. Yeah, that'll be a difficulty before I
think this is usually supposed to be used on like
books and stuff. Yeah it is, but that's okay. We're
going to try it anyway.
Speaker 3: It's written word, and there might be a written clue.
Speaker 4: There might be something yep, other than the ship on
the top of.
Speaker 3: The Z do a rouse check first. I failed. I'm
a little hungrier.
Speaker 4: Okay, Now it should automatically apply that to your sheet also, yeah, okay.
Speaker 3: And I'm automatically applying my eyes to dead eye. I'm
a little hungrier.
Speaker 1: Are you looking at me in a way I've never
seen you look at me before?
Speaker 3: Well, my face is probably few feet in front of yours,
but upside down because I'm standing on the ceiling.
Speaker 1: Oh right, okay, that's cool and that's normal.
Speaker 3: I just ripped open my arm and blood is doing
sorcery blood stuff, and it's sort of little rivulets of
blood are flowing through the room and searching for items
by time.
Speaker 1: Looking at you, have you ever done anything like this
before that I've witnessed. Maybe now you're freaking me out, dude,
I take a couple steps back. I'm freaked out by
you right now. That's the way. It's the vibe you're
giving me.
Speaker 3: I don't like it when you take a couple of
steps back and I know, I'm sorry, I haven't rolled yet,
but I start singing, no man could understand. My power
is in my own hand. And people talk about you,
and people say you've had your day, And I'm singing
that while I roll, which is intelligence and blood sorcery,
that I'm successful or on a form.
Speaker 4: Okay, God damn, that's a crit too.
Speaker 3: I think it's technically only a creative You.
Speaker 4: Get two, yeah, but I mean, like, look at that.
You got three successes and then you got a ten.
That's wild. Okay. So I think this allows you to
scour the information in a in a matter of minutes.
So what I'd like to give you is that this
room has served many purposes over its lifetime, and at
several points in its lifetime it did house information. But
this building is I think this is like a two
hundred year old building. So you're going to go through
a lot of information. You're going to see things like
clerical stuff for the for the chantry from like the twenties.
You're going to see a bunch of information on things
that they were storing here that they weren't supposed to
be storing here either artifacts or you know, maybe you
see in a little memorandum about how we have acquired
something from the Vatican for a time period and we're
holding it here because it may be related to kindred
and not, you know, mortal life or stuff like that.
But you're going to get a ton of information. But
you do happen to find one book that is on
transmutation and entrapment of a will use the term spirit
either for kindred or mortal into a space. And the
reason this stands out to you is because there is
a huge chunk ripped out as if something was maybe
potentially performed and while you were reading this book, it
describes the characteristics of the room or the space or
where you entrap this thing may end up changing it.
And I think for you, you go, that could be
what we're dealing with here, But I'm not entirely sure.
Speaker 3: So I think that I might be dealing with a spirit.
Is that what you're telling me.
Speaker 4: I'm not the book you interpret however you like. I'm
just saying you found this book of information that seems
to imply that when you entrap something that has characteristics
before you entrap it. Sometimes the thing that you entrap
it in will adopt characteristics to match. Okay, yeah, so
that could be a jar, but I mean you could
also apply that to a room.
Speaker 3: My arms are sort of I'm hanging from the ceiling
and my arms are sort of dangling, and my eyes
are closed now and I go ah as I this
information comes to me.
Speaker 1: Okay, I turned to look at visionary. The fuck is
going on with him?
Speaker 7: How to function?
Speaker 9: I know I wasn't in here when he started this.
Speaker 7: I don't know.
Speaker 1: Use your brain? Can you read it? Can you read them?
What's going on? Is he like possessed or something?
Speaker 9: I don't I don't know. I mean, whyle you asked him?
Mister Edward? What is your opinion?
Speaker 5: Whatever he's doing? Put an end to it?
Speaker 1: Okay, uh hey, pauls right, can you stop it?
Speaker 9: Stop that?
Speaker 1: Stop what you're doing.
Speaker 3: I've I'm already finished. This case was used to hold
someone prisoner. Oh maybe we'll be prisoners too.
Speaker 1: I gotta get out of here. I got I gotta
get out of here a prisoner. I gotta get out
of here.
Speaker 3: Solve the riddle yet?
Speaker 1: Okay, everyone away, look away?
Speaker 9: Do you want to hold on before you try the
technique again. Please remember the door can be opened, but
it can also be shut. You just downt Now we've
gotten real lucky so far.
Speaker 12: While all this is happening, Balthasar is taking note of
the walls, yes, with a very puzzled face and expression.
And as they're deliberating and talking, he flips to the
back of the book, finds one of those blank pages
that typically have in the front and the back rips
it out and kneels down on the ground, And after
looking up and down a couple of times, and it
looks like he's recalling things, he takes a fingernail and
opens up the top of the tip of his finger. Yeah,
and starts drawing out a diagram of the room and
makes little symbols for the walls where people entered and
exited entered.
Speaker 4: Okay, this is a perfect opportunity to say, Randy, you
need to roll a one D four. And this is
backtracking a little bit, but this happened right after dead
I entered, So the room shifted four after he entered two.
So the so after deadI enters in through the door,
the room shifts two counter clockwise two times.
Speaker 12: Okay, so you said visionary enter through wall four, and
then the room shifted four times clockwise.
Speaker 4: That's correct.
Speaker 12: Then dead I came through the same right now it
came in which wall, the same wall that visionary.
Speaker 9: Came on, the same wall, and then it shifted right.
Speaker 4: And then it shifted again after again.
Speaker 12: Yep, so deadI comes through wall four as well, and
then it shifts few times counter clockwise counterclockwise. Okay, and
this is what he's puzzling out in diagram form.
Speaker 4: Perfect.
Speaker 9: Okay, Can I assume that upside down upside down pulse right?
I was just singing the riddle to me again, Yes,
because I hadn't heard it before.
Speaker 17: Yeah, huh, so, uh, can we get the fuck out
of here?
Speaker 8: Uh?
Speaker 4: What's that?
Speaker 3: No?
Speaker 1: I have the bandage stuck on my neck.
Speaker 4: Yeah, but she's not actively bleeding anymore. No, No, I've
got for a while.
Speaker 3: But balthusari is.
Speaker 12: From a tiny prick on his finger, yes, which is
probably closing up by the time I'm getting done drawing stuff.
Speaker 1: Balthasar, Uh, what's going on?
Speaker 12: Balthasar will blink and look up at you. That is
what I'm trying to figure out. By the way, it's
good to see that you're well. I was very, very
concerned when I heard that they had put you in
a coffin with a strange note on it.
Speaker 1: Oh thanks, I'm contagious, so you better stay away from me.
Speaker 9: You're not contagious.
Speaker 4: Was just telling you. I am.
Speaker 3: I have a blood hound advantage, and I can smell
resonance in people's plots.
Speaker 4: Pop the description here in the chat for me.
Speaker 3: All it says is smell resonance and blood.
Speaker 4: Look it up because there is a bit more.
Speaker 3: Okay, I can look it up.
Speaker 4: That's okay, I'm on it. I'm assuming no one is
looking at the clock. But I don't want to do
the thing to me. Okay, I was gonna say, I
don't want to do that GM thing of like over
providing you information. But I also don't want to do
the thing of where I just assume if you don't ask,
you wouldn't have seen it. But you did lose ten
minutes every time somebody went through the the door for wah,
so you lost ten more on the clock when they
both went through, so total of twenty minutes.
Speaker 3: So it's one fifty five.
Speaker 4: That's right, man.
Speaker 9: When the hell does it rain? It doesn't rain at
the same time every day.
Speaker 1: I'm so sorry. Why are we not leaving? How did
you even get here? What is he doing? Like what
happened when I was put in the coffin and apparently
became ill?
Speaker 9: And we just brought you from where you got bit
two your coffin, that's it.
Speaker 1: And then you came here.
Speaker 6: We came here because there was an alarm going off.
Speaker 12: There is something still wrong outside of the chantry that
we haven't figured out yet, But while we were here,
something trapped us.
Speaker 6: I see the way I see it.
Speaker 4: There groans when you say that, Like it's an audible, creaking,
deep groan when you say that.
Speaker 1: Uh uh uh uh dead. I I'm like, I'm starting
to like grab at my arms and like pull at
my my shirt, and I'm like, I it's uh, can
we why don't we just go back?
Speaker 9: You know?
Speaker 1: Like why we're not really that trapped?
Speaker 12: Right at this point, I stand with the paper in
my hands, and I look at pulse rate and say,
you seem perfectly happy staying on the ceiling.
Speaker 3: You can.
Speaker 12: Stay there with your clock if you want to, But
I think the rest of us should leave the way
that we have left before, or the way at least
you two have left before Visionary and moo. If I
tracked this correctly, the wall in front of me, which
I've been pointing at or pointed at before, and I'm
still pointing at now, is the wall that Visionary you
and dead I came through.
Speaker 4: Could you tell me what number you are pointing at
all for?
Speaker 3: Yep?
Speaker 4: Okay, okay, okay.
Speaker 12: So now you came from the hallway that led to
the room where the coffin was.
Speaker 4: Correct, that's right, Yeah, they did, yep.
Speaker 12: So it is my suggestion that we just leave this
room the way we know works and leave this blood
business behind us. Does anyone disagree?
Speaker 5: If I may interject, morgu has been gone for quite
some time. They didn't see him in the hallway. Which
way did he go? I wasn't looking.
Speaker 12: Yes, I'm a bit concerned about that, and I point
to the wall to the left of wall four.
Speaker 6: He went through that one. Should we go after him?
Speaker 10: Yeah?
Speaker 1: I didn't think so either. We could just go back and.
Speaker 5: No, I think I would reach out to grab a
Visionary on the shoulder. He went looking for you, Why
don't you go look for him?
Speaker 9: Nor muted muted, Sorry, all right? Can everybody turn around.
I turn around, and if as soon as I think
nobody's looking, I back up into that wall.
Speaker 4: Okay. And to be clear, you are backing up into
what wall number?
Speaker 9: Wall three? Okay, well the one that because I was
gonna say.
Speaker 4: Yeah, okay, well the one but didn't.
Speaker 6: Then he points the wall that move went through.
Speaker 9: Yeah, the one next to whatever one that was whatever.
Speaker 3: Yeah.
Speaker 4: Okay, so so you know you're going through all four.
That is what what Balthazar just identified as the wall
that Moog went through. Okay, so you go through wall four.
I need you to roll me a one D four please, okay.
Speaker 7: Yeah.
Speaker 9: I don't know about the spinning and stuff myself.
Speaker 4: So it is now going to go three counterclockwise because
it just went clockwise last time, and you lose ten
more minutes on that timer. It is now one. You
are through, and mouth Asar was correct. You are in
the same hallway that Moog is in. When you arrive.
It's this. It's again. It's a very tight corridor, a
long stretch of hallway, and when you turn around you
see Moog walking, not running, just walking down this long hallway.
He's about maybe two minutes ahead of you. So it's
going to take you five minutes to get probably from
one end to the other end. It's very long.
Speaker 9: And it's pretty dark.
Speaker 4: Except it's pretty dark. Yeah, I actually don't know what
your vision is like in the dark. I don't have
anything in particular, so I think vampires are like cats,
so you can see pretty well in the dark.
Speaker 9: Anyway, I have something. I have something to hat my
senses as well.
Speaker 4: I don't think you need to use any special bullshit
to be able to determine that you can see. That's
my timer moog going down the hallway so you can
see moves and he's going, hello, anyone there.
Speaker 7: No, don't be frightened.
Speaker 3: It's just a little moog.
Speaker 7: I really should come up with a less threatening sounding
name later.
Speaker 9: It's me Tyler.
Speaker 8: Bog.
Speaker 9: I don't know if because I'm whispery shouted.
Speaker 7: Bug, what do you doing here?
Speaker 9: And I mean, it's gonna take me a minute, but
I'm kind of jogging down the hallway to him.
Speaker 7: Get careful. There's someone terribly frightened in just the other room.
Speaker 9: I think I kicked something over as I'm jogging to quiet.
No sudden, what this place is a mess.
Speaker 7: It's just my friend, sieving, don't worry, We're friend whoever's
in that other room. Just I'm just kidding. I get
this over it.
Speaker 9: I think everybody else is going to be coming through.
Speaker 7: Oh oh please not pulse rate.
Speaker 4: And we cut back to the other room.
Speaker 9: I'm just kidding.
Speaker 4: I'm just kidding. Pulse rate sneezes. Sorry, please continue.
Speaker 9: I don't know what they're gonna get out. I mean,
he seemed to be enjoying himself from there, but I
imagine he has to get out at some point.
Speaker 4: Oh what are you doing?
Speaker 8: Where? Where are we?
Speaker 7: There's a flame in the same room as the terrified
person nice terrified persons in there?
Speaker 4: Well, I'm assuming did you like run up to have
this conversation where you're shouting from okay, okay, yeah, yeah,
it's fine. I don't mind skipping time like that. I
just wanted to make sure.
Speaker 9: What is somebody in there?
Speaker 4: Yes?
Speaker 7: Oh, I don't know, could be anything, anyone.
Speaker 9: But they're scared.
Speaker 7: They're terribly frightened. I'm hoping, all right, I can calm
them down, they can tell us where we are, and
then I could cut the fire off the candle. But
you know, is that why you were talking that way. Yes,
that's very calming. I'll have you know.
Speaker 9: Okay, do it again.
Speaker 7: I help you.
Speaker 9: It's just me a trip.
Speaker 7: It doesn't matter odd names anymore. It's it's me and
my friend here. We're not gonna hurt you. You just
please settle down.
Speaker 9: I am his friend. Don't worry.
Speaker 7: Yes, yes, he's friendly. Listen to his higher registered voice.
Speaker 9: Oh right, amen, relaxed. We ain't gonna hurt you.
Speaker 7: I'm getting a little nervous. Just we're gonna have some discussion.
Don't listen. How hungry are you? Out of curiosity?
Speaker 9: I'm fine, all right? Oh yeah, just a little bit.
Speaker 7: All right.
Speaker 9: I may have been much hungry, and I'm fine. I
was eating before, all before we got to the library.
Speaker 7: Okay, all right, because I don't need you, you know,
watting whatever whoever's in there before we get any answers. Okay,
all right, you can now listen again. It's not polite
to eavesdrop. I will remind you. But now we're talking,
and and as I'm saying this, I'm walking closer and closer.
And I mean, if.
Speaker 9: They're dying or bleeding or something, I'm I just got.
Speaker 7: You don't want to run up there. If you're already
scared some two gentlemen running up in a dark room
lit by a single I'm very empathetic.
Speaker 9: I'm surprised you. You know you're in a lead here.
I will follow your.
Speaker 4: Lead, all right, and we're gonna keep on Yeah, keep
on walking. It is going to take probably, and I'm
assuming you're walking slowly enough that you're trying not to
make too much sound. Yes, okay, So it takes a
couple of minutes for him to even get up and
have that conversation. In a few minutes that he goes
and does not come back, does anybody else go through
the room, because back in the room it's he's gone
for a few minutes at least nothing.
Speaker 12: Ah, I think I Bathazar will look a little frustrated,
but would eventually sigh and suggest, I suppose it would
make sense for us to stay together. Should we all
go through after visionary moog?
Speaker 1: I mean, did anyone say out loud the thing about
the time at any point since I came in here?
Speaker 12: No?
Speaker 4: I don't think so.
Speaker 5: No.
Speaker 4: I mean, it is a big on the ceiling. It's
like a clock made out of a lack of blood.
If that makes sense I don't know if I describe
the room to you, I'm so sorry. Okay, the room
is whatever was in this room is no longer visible
or attainable to you because it is now dripping and
oozing with blood. It's undulating, and it does seem to
be actively bleeding, but the blood just cycles through, almost
like a never ending waterfall. But above you is a
clock in the absence of that blood that is moving around,
So it's not an actual clock, but it is just
the absence of that blood and then it is moving.
So I'm assuming, and it's fine if you want to
do this. It's also fine if you say you didn't
look up, because a lot of people don't. But I mean,
he was the ceiling. You did look up at one point.
It's very obvious because there's nothing else in this room
except for the people and the blood, so that you
would have seen a clock. But it's up to you
whether or not you think you would have noticed the
huge time jump.
Speaker 1: Yeah, I don't think I would have to be honest, Okay,
I think that's fair. Yeah, I think I'm just not
being very observant and everything that's going on is just
like a lot Yeah, okay, I mean yeah, I guess
if we all go, will we be able to get
back to the hallway.
Speaker 12: Well, I don't know if it's a hallway on the
other side. It's wherever Moog went though. A little I
understand about this attic is that if we go through
that wall we could encounter anything.
Speaker 1: Yeah, okay, great, awesome. What do you guys think? I
look at pulse rate, but I don't know what are
you doing currently?
Speaker 3: I crouch down, so I'm looking at the clock again
and ice sing fighting and free got your world in mind,
and then I'm going to try to move one of
the hands.
Speaker 7: Of the clock.
Speaker 4: Okay, follow up question. The ability that you were trying
to use. Was it the Bloodhound ability from Aspects Level two?
Speaker 3: No? You put it as an advantage. I don't. I
don't know what it is.
Speaker 8: Saying.
Speaker 3: All it says is smell, resonance and blood.
Speaker 9: I think I it's one of the merits you can
take in.
Speaker 4: Yeah, okay, I just wanted to make sure it wasn't
an ability, because it's not the same when you have
it as the ability. I'm just looking this up here. Okay,
where are you moving the clock? The hand? And which hand.
Are you moving?
Speaker 3: Hmm? Well, I was just seeing if I could move
it at first?
Speaker 4: How are you going to move it?
Speaker 3: I'll of the minute and clockwise a little bit.
Speaker 4: Are you sticking your hand? And just like, how are you? Yeah? Okay,
take a look, care your merit. A vampire possesses an
uncanny ability to detect emotional resonance and blood with exceptional clarity.
This talent allows them to not only track specific individuals
by scent, but also to discern key details about a
person's emotional state or recent activities by tasting or smelling
their blood. This heightened sensitivity makes the vampire an expert
tracker and provides them with unique insights into those they
feed upon. Hey, you receive a plus two bonuts to
any wits an awareness or resolve an awareness role related
to tracking or the analysis of blood. This includes identifying
the emotional resonance. So you're gonna have to lick the
wall and roll if you want to taste any emotional
resonance in this wall.
Speaker 8: Hmm?
Speaker 3: Interesting? Okay, yes, okay, I don't lick it though, Okay,
I don't know. I've already licked it once.
Speaker 4: Yeah, how do you taste it? I just r ingested rather.
Speaker 3: Run my fingers across it and gather some and lick
it off my fingers.
Speaker 4: Okay, and let's do resolve and awareness please?
Speaker 7: Okay?
Speaker 3: Now do I get a plus two to this?
Speaker 4: You do and difficulty for.
Speaker 3: A messy critical?
Speaker 4: Oh fuck?
Speaker 3: Okay, I got four critical roles on that, and one
of them happens to be well we have three?
Speaker 4: Oh yeah? Oh shit, geez.
Speaker 3: I'm out of four. Okay, very good. I think I'm
losing myself a little bit in this. But so I
think it's like I think maybe I go to move
the clock, and then I'm like, wait, what about this?
And I touch the wall and I take the blood
and lick it off my fingers, and then I as,
this is whatever you're about to describe to me, is
happening to me. I stand up on the wall and
let myself, let gravity take me towards my head towards
the floor, and I'm just swimming whatever feeling this is
that I'm having. I've lost a bit of control here.
Speaker 4: I think you feel a rush of things very quickly
in rapid succession. You're getting excitement, fear, anticipation, power, confidence,
maybe even a little bit of smug, feeling, smug, annoyance, reliance,
confidence again, panic, something's going wrong, fear, and then it
all just fades away into fear. Now, this is a
messy critical So you did succeed. So I'm going to
tell you that you are feeling and you can identify
on a D twelve twelve, up to twelve different individuals
that helped make this room. Oh, so go ahead and
roll because your ability means you can track these people later.
Speaker 3: Seven seven.
Speaker 4: That is a really good number. Now I want you
to roll a one D two. If you roll a one,
one of these seven is going to be the individual
that you made contact with. Yeah, you want this, I
would assume, yeah, if you roll a one, you roll
a two. Okay, So he's not one of these seven,
so that means you cannot track him specifically. So you're
gonna have seven other individuals, and it's clear to you
that more were involved in the making of this, but
you really only can identify seven. I don't want you
to be able to do it immediately. I want you
to kind of role play this kind of sort of
coming to you slowly throughout the next you know, however
many you think it would take for you to go, wait,
that one tastes different, you know of like yeah, yeah,
you we should and I'll give you the names later,
but I will tell you that you can successfully identify
the room the rooms. Yeah, like you're getting all of
these people that came into the to make this room
what it is, but there is one individual that is
trapped here that has made this room and that individual
or that feeling that you're getting is pure anger.
Speaker 3: I'm getting pure anger from the room And who are they?
Will you tell me that as well?
Speaker 4: Yes? I will. How do you think you are?
Speaker 8: Well?
Speaker 4: I want to know how you think you identify this
because like it'd be easy for me to just give
you a name, but I don't think that's how this works.
Speaker 3: So I think the name could be meaningless to me
if I don't know who it is.
Speaker 4: That's that's what I mean. Like, how do you think
this ability works for you to be able to IDENTI?
Because usually it's like I'm drinking like I imagine it
like wine, Like you you're just like, oh, this is
a this is a cabernet, Like I know exactly what
this taste is and it's a year this year, right,
So you're getting an emotional resonance from the room, and
you're able to separate it somehow from the other emotional
feelings you're getting. But how do you do that?
Speaker 3: Because it's stronger, it's how is how I feel who
the room is separated from everyone else? Okay, it's a
much stronger. His emotions are not hidden, they are on
his sleeve or his wall.
Speaker 4: I think, I think too, just to establish how this
will work in the future. I think the emotions can
be stronger, but there is an element to identity here
that needs to be inherent in there, and I don't Honestly,
I don't have an answer for you because you don't
have a name to attach. But you're gonna have to
go based off of this feels different or maybe even
the way this person felt smug doesn't feel the same
way that. That's why I told you to take your
time with it. You're not gonna get it all at once.
It's gonna be after something you lay awake at night
going this one didn't feel quite right, And eventually you
can come to the conclusion that there are seven different
emotions you're feeling here from seven different sources, rather lots
of different emotions, but from seven distinct sources, one of
those sources being the room itself, and I you know, so.
Speaker 3: I don't have that now.
Speaker 4: You can have the room itself if you want now,
but I'd like for you to slowly come to the
conclusion that you've got seven specifically individual sources over the
next like day or two, because I just don't I
just don't think it would happen to you right away.
Speaker 3: Are we trying to collaborate? How I know who the
room is?
Speaker 10: No?
Speaker 4: Okay, you know you're getting the feeling of the fear
from the room. I already know who the room is.
They already easist. So but it's not like you would
get a name an identity from this. You're just going
right like because the way that it would work is like, oh,
I'm feeling anger and it's coming from this source, and
this source is separate from this source. But it's not
like you suddenly get a name.
Speaker 3: But I know some things about their blood or what
do I know about them?
Speaker 4: It makes it easy. This ability, specifically, I think, gives
you the emotional state and allows you to track.
Speaker 3: Right, okay, right, the ability and then I could track it.
But it's a room and I'm in it.
Speaker 4: So I'm yep, no emotional state or even recent activities
by tasting or smelling their blood. I'm going to assume
recent activities applies for like, you know, if you're you've
fed on somebody and then you're able to hunt them
down and find them again. Basically is what this ability
lets you do.
Speaker 3: Right now, I think that all of those emotions are
coming from this room. Yeah, I don't think I know
that they're affering people at all.
Speaker 15: Yeah, Okay, I will try to remember all the emotions
you said.
Speaker 4: Now I have a recorded Yes, Greg, you're removed from
the campaign. You're too smart. No, it's good. I love it.
I love it. I love it. I live for it. Okay,
anybody else walking through the walls.
Speaker 1: I mean, if you guys think that we should go,
I look to Belthazar. I think that we should go.
Speaker 4: I'll go, but.
Speaker 1: Let's just get this over with. I don't want to
be here anymore.
Speaker 4: The room groans again.
Speaker 12: The actions of the blood and the clock.
Speaker 6: On the ceiling makes me uneasy.
Speaker 12: I don't want to be here any longer either, And honestly,
I'm a bit concerned about visionaryan mood now because it
appears that even with them being together, they can't get
back into the room, So.
Speaker 6: I fear that they might need our help.
Speaker 4: Right when Balthazar says that they don't want to be
in the room, the room groans again, but this time
it sounds sad.
Speaker 3: I think, I think the room is feeling a lot
of feelings.
Speaker 6: A room feel feelings.
Speaker 3: I think there's someone trapped in here. I think the
room is a person a kindred, a kindred of immense power.
Speaker 4: I think probably that's actually the room is now going
to openly react more to what you're saying. When you
say that you think that it is a kindred, you
think somebody is trapped. I think the walls begin to
bleed stronger. There is more blood now pouring out. But
it does seem to pulse each time you hit one
of these points, almost as if it's agreeing with you.
Speaker 1: Okay, you said it was a prison though, right, It's like,
what if they it's supposed to be here, like they
did something to be here to deserve it.
Speaker 3: Oh, it deserves something like this. Who could deserve something
like this?
Speaker 4: Everyone? Resolve, please and oh boy, look at your sheet.
Resolve and composure or resolve just folks in this room.
Speaker 1: Difficulties four.
Speaker 4: If anybody has special bullshit, please use it, lawyer, if
you gotta.
Speaker 6: Mm hmmm, it's resolved and composure.
Speaker 8: You said in composure first.
Speaker 4: Yes, you can do composure plus resolve because it'll give
you the option to do like a secondary attribute.
Speaker 2: Yep.
Speaker 11: Uh.
Speaker 4: If you have any bonuses to getting your mind inmated,
now is the time to use those.
Speaker 6: Is that the full as modifier?
Speaker 4: Yes, If you've got those, then you put them in
the pool size modifier and then difficulties for.
Speaker 8: Okay, I'm not sure what to leave pool size.
Speaker 4: I think yours. Please allow me one moment to look
at your sheet, because I actually do think you have
some bullshit hold on. Yours is going to be a
plus two.
Speaker 6: I think I have.
Speaker 4: I think I think I gave everybody something to try
to to help you with this beforehand. The only one
that might ye, the only one that might not would
be potentially dead eye and potentially pulsary to balance out
some of your other abilities.
Speaker 1: Yeah, I don't have anything it seems that allows me
to do that.
Speaker 4: Okay, sorry, I compose your resolves.
Speaker 6: And then difficulty four.
Speaker 4: Oh, still waiting on too oh wait unless you answered.
Speaker 3: Okay, question, I was just asking you something.
Speaker 4: Oh I'm sorry I didn't. Oh I didn't see it
was a d M.
Speaker 1: No, I got a best deal failure?
Speaker 3: Oh boy?
Speaker 4: Okay?
Speaker 3: Oh oh okay, okay, I also failed.
Speaker 4: You also got a best deal failure.
Speaker 3: Well, we decided best Your failures are up to us.
Speaker 4: Yeah, but I mean you still got one. Yes, whether
you did or didn't is not up to you. You
got one. So both of you bear that in mind.
I suppose. Okay, that is all. That is all for now.
That'll come into play later. Okay, Oh please continue. Yeah.
Speaker 1: When he says who would deserve that? I go exactly
think Well, what they'd have to do to do to
deserve this? That had to be really bad?
Speaker 12: Yes, polst rate you. You and we know not all
kindred are like lambs. Some do terrible things, deserve terrible consequences.
Speaker 3: Why not just kill them?
Speaker 1: Well, again, depends on what they did right. Death can
be a mercy.
Speaker 12: And too quick a punishment. How do we know we
should help someone who's trapped here? What if by releasing
them they're causing a bigger problem for ourselves and for
the chantry.
Speaker 6: What if by releasing them.
Speaker 1: We bring about.
Speaker 4: Oh, the room is bleeding pretty heavily. Now the walls
are It almost feels like the walls are closing in
and then out again, like the walls themselves are bending shuddering.
Speaker 1: Maybe, well, okay, well why don't why don't we ask them?
Huh what did you do? You did something? So what
was it?
Speaker 4: There's no response. The walls may be settled down for
a moment.
Speaker 1: I mean, if only I could, you know, touch something
and then be able to read its mind using my
incredible visionary powers. I look at visionary.
Speaker 4: Well, visionary is not here.
Speaker 1: The visionary walked out of.
Speaker 3: Can I try to move the Yeah?
Speaker 4: Absolutely? Where do you move it?
Speaker 3: Uh? Well, ken, does it move?
Speaker 4: It looks like it's moving when you touch it.
Speaker 3: Yeah, okay, I'll set it to six.
Speaker 4: Nothing happens. You said the second hand.
Speaker 3: Correct, But the minute hand, the minute hand, they're also
a second hand.
Speaker 4: No, sorry, I meant the one or the two minute hand? Yeah?
Speaker 8: All?
Speaker 3: Can I move the hour hand as well?
Speaker 7: Or okay, I'll set.
Speaker 3: That to six.
Speaker 4: Which way do you turn it?
Speaker 3: Clockwise? Okay?
Speaker 4: Nothing happens, but you know.
Speaker 3: All, what I'd like to do is move both hands
simultaneously to the seven. And while I'm moving them, I'm
going to start singing to the room.
Speaker 4: So in which way are you moving it? Clockwise or counterclockwise? Okay?
And you're taking them both to seven o'clock or just
to the seven. So it's seven okay.
Speaker 3: Seven thirty five yep, okay, And it's eight forty and
it's nine forty five, then ten fifty okay, and eleven
fifty five, then twelve, and I'm speaking, I'm singing to
the room all time. Does anything happen? Nope? Oh I
let go.
Speaker 4: The hands move, Yeah, they'll go back to the appropriate time.
Speaker 3: That which direction do they go?
Speaker 4: Counterclockwise? Okay? Back to one forty five? I believe if
we were nobody else has gone through a room. Sounds right, Yep.
That's one forty five, and I'm sure some time has
passed actually, so we'll say it's one forty now. I'm
being very generous with this time. Okay. Are you two
going through the wall. Yeah.
Speaker 1: If Balthazar thinks we should go find then I of
course want to find them. And if we have visionary,
perhaps we can get visionary back. If we have to
come back through here to figure out what's going on.
Speaker 5: With this room?
Speaker 4: So yeah, which wall do you go through and how
do you do it?
Speaker 1: Belth is our which uh wall?
Speaker 12: I would still have been keeping track of things and
orienting myself by holding the paper and just rotate it
as the walls rotate.
Speaker 6: So currently.
Speaker 12: The wall I've been focusing on should be wall three,
which is where Mug went through. Okay, and now visionary.
Speaker 4: All right, so hold on, I just need to confirm
you're saying wall three, which is the original room that
Mug went through. But where what is the position right now?
Like I need to know the number that you'd be
pointing at.
Speaker 6: All three?
Speaker 4: Yeah, because is it? Is it in the same position?
You mean it's now in third position?
Speaker 6: Yeah?
Speaker 8: Uh?
Speaker 12: The very first time I pointed at the wall as
orientation I've been keeping with. Okay, so now wall three
is in that position?
Speaker 4: Wall three is in three.
Speaker 12: You're saying, I forget which wall I pointed out originally?
It's uh, the original wall that move went through was three. Yeah,
the original room they went through was one, which you
should have interpreted once they came through the wall. This
explains it.
Speaker 4: I don't think you knew which room they came in
through originally because you're one off. You're one off. But
that's okay. Balthazar is going this room and you're pointing
out room number three.
Speaker 12: Correct, Yes, okay, for the record, for anyone listening, to
have a photoshop document open, Yeah, a diagram.
Speaker 6: I have the names, and I've been rotating the entire
thing as it changes.
Speaker 4: Yeah, do you want to put it? You should put
it in the chat and I'll include it with the
episode when we do that, because that's cute.
Speaker 1: Okay, all right, no one fucking look at me. Turn around.
Speaker 4: Are you going individually or are you going together?
Speaker 12: I think at this point we would just assume you'd
have to go individually, because that's how it's been going
the whole time, So I would let Death Dead I
go first.
Speaker 1: Yeah, I take one last look at the room, and
then when their backs are turned, I.
Speaker 4: Walk backwards through the wall and it is through wall
number three. Okay, everything roll me a one D four.
Speaker 13: Two.
Speaker 4: Room shifts two clockwise.
Speaker 1: I asked a question when I go through the wall
this time, Yeah, I am wondering if I see or
get any sense of anything, because on my way in,
I thought I was just going through a wall. Yeah,
but on my way out, I know that this is
a present for someone and I want to see if.
Speaker 4: I can feel them. How are you? How are you
doing that? Do you think?
Speaker 2: Yeah?
Speaker 1: I don't know, just like nothing magical, so it's probably
not going to lead to anything, but I'm just trying
to feel a sense.
Speaker 4: I guess. Let me look at your sheet and see
if there's anything we can do to do this. In
the meantime, Edward and Balthizar, are you guys going through?
Speaker 12: Balthasar would want to go after dead eye. Okay, before
he does, he would look at Edward and kind of
raise a brow.
Speaker 6: Do you wish to stay here?
Speaker 4: Or come with us?
Speaker 5: I would look at pulse Rate.
Speaker 3: Pulse Rate is crouching on the steeling ceiling, staring right
at Edward, and he says.
Speaker 7: Do you know who the room is?
Speaker 4: Do you.
Speaker 5: Plan to stay here forever?
Speaker 3: A smile breaks out on pulse Rate's face as he
notices the question is not answered. I think you do.
Speaker 4: It's a perfect spot to end the session. Yeah, that's
really good. I waited just in case, just for a second,
but I think we should end it there. That was
fucking grossly cool.
Speaker 9: I have many thoughts.
Speaker 1: Yeah, I love you've been listening to Deathless. If you
like the show, please consider rating and reviewing, and for
more stories in this world or other worlds, visit the
table Story Library at tablestory dot tv. Thanks and see
you next week.