Speaker 1: The show you were about to listen to was originally
a live stream actual play on twitch dot tv slash
onmade gaming horiz Minions and welcome to this unmade gaming production.
Join us on our adventures as we take a jump
to the left, a step to the right, and time
warp beyond the veil to find out exactly what happens
when you take the path less traveled in this original
Tails and the Loop actual play Atari Twilight Age.
Speaker 2: Of Always, fantastic, my friends, it's been a bit and
coming back to Tory Twilight Age of Always is always
a fun, fun homecoming, my friends. And so with all
of these wonderful players surrounding me, I would ask a
question before I do my intro, so you have time
to think about it. No one's put on the spot
right after I ask it. But my question is this,
you are all going to be starting high in the
best place in the world, in prison, and so with
the ability to see everyone else or the characters of
everyone else that you see on screen right now, my
question to each of you, when your characters are able
and their first moments inside these cells that they're in,
of the faces that you see, whose face does your
character turn towards first, who do you look? Who does
Heather look towards? Who does Ricky look towards? I just
want to know who is the first person that you
try to engage with, commiserate with, whatever it happens to be,
My friends, think upon that as we begin our story
here back once again in the Age of Always, my friends,
the Age of Always is growing. It lives, It breathes,
and it hungers. War has come and gone. In the
Age of Always, It's beauty turn to violence, returns to
the stillness of perfection. A blizzard rages through the realm,
seeking to cover and cleanse the battlefield's now spent. But
though peace is the now, this is a conflict with
no beginning and no ending, never ending. In point of fact,
in cages you wait, prisoners of the Wizard of Oz.
The most powerful player in the Age of Always Gone
are the allies that gave their love and support, Mister Lewis, Wendy,
Alice and Dorothy Schmendrick, Amalthea and Molly Lion, and of
course van Halen the Sword. Princess Valeria, daughter of the
Lilac Prince, and she who sits the Mobia's throne, Randall
Flagg before the Walking Dude, the Man in Black now
just a man and Maggie, which to she who sits
the Mobia's throne and mother of the last Prime At
long last, all four leaves are together and that could
spell doom for their enemies or doom for themselves? And
can a single autobot stand without his family? Found? Welcome
one and all to Atari Twilight Age of Always, Episode eleven,
Spell Block six. Friends, we have a playlist that we
like to listen to music every time that we have
an interesting moment and some time in the Age of Always,
So if you wouldn't mind, just as we listen to,
our characters explain who they are, what character they'll be
playing inside the tales from the Loop system, as far
as their playbook or their character class, and the answer
to the question that character your character? Who does it?
Look towards first? But the song I would like you
to play in the background, just for a little ambiance.
How about a little over the hills and far away
if you could. That is track number twelve on our playlist. Friends,
I will randomize this and I will simply ask Bacon,
who are you? Who will you be playing? And who
does JD look toward.
Speaker 3: I am playing Jesse JD. Davis good to be back
by the way. He is a bookworm. He's like one
hundred years old or something I don't know, somewhere around there.
And I think the first person he would turn towards
is Heather.
Speaker 2: Well fantastic. In that case, Melissa, same questions were you?
Speaker 4: This one was a pretty easy one. Oh, let me
introduce myself first. I'm Melissa Meyer. I'm playing Heather Jones.
She is a weirdo, and I think it's an easy
question because I've been thinking about it now for a
number of months. She would first turn to Scarlet.
Speaker 2: Well, fantastic. This is making it easy for me as
we jump over to G same questions.
Speaker 5: Hi, I am g your friendly neighborhood lightning invoker today.
Speaker 6: I am playing Scarlet Blake the group. One of the
group jocks the athlete, and when she gains consciousness and
she wakes up, uh, probably the first person in her
line of vision and and who she focuses on.
Speaker 5: Would be Heather.
Speaker 2: Okay, so in mind that the two of you look
at one another first, will jump over to Fregs. FREGS
questions for you my friend, who are you playing the playbook?
And who do you look towards?
Speaker 7: I am playing Rob rob Ott.
Speaker 8: He is also weirdo, but being the oldest member of
the group, now you could just call him an adult.
Speaker 5: Uh.
Speaker 7: Rob's just gonna stare straight ahead at ours, I believe
specifically because he's just he doesn't have that kind of
connection with the group quite yet, so in his mind
he's thinking and again.
Speaker 9: So.
Speaker 2: Fantastic and completely understandable giving your recent inclusion in the group.
So Rob, the seemingly oldest of the group, stares straight
ahead through the bars of his cell, which leads us
last but certainly not least, to Chris.
Speaker 10: I am Chris at I am playing Ricky Lewis, who
is last jock but formerly classic. Ricky would look to
the person who's in the cell next one, which is Rob.
Speaker 2: Very good, very good. So just to recap too, and
that's an excellent way to set this up, my friend
is so we know exactly where everyone is positioned. I
have it written down here. Let me see if I
can find it. Okay, So the cells go as follows.
It is Rob next to Rob, is Ricky. Next to
Ricky is Hea, and next to Heather is scarlet across
the cell block. In one cell straight ahead, the one
directly in front of Heather is JD. And on JD's right,
your left is Wendy. Now, to give you a little
bit more here, there's nobody else that you can see.
The cell block in and of itself, if you can imagine,
each of your cells are three walls of bars. The
front has a door on it, but it is barred,
and you can see through it. Both walls that are
adjoining are bars, and you can see each other. You
could touch whoever is in the bars or cells next
to you, and the rear is a solid stone wall.
There are no windows in any of the cells. If
you were to look left and right, depending upon which
direction or which side, the JD's on the opposite side.
But at the end of each of the hallways there
is a window barred but not glassed. So there is
cold air blowing absolutely making this place frigid. You can
see your breath and for the first time you all
feel cold here in the age of Always, and snow
is coming in with each of the gusts of wind
to kind of enter into this cell block. In addition
to that, and because Rob is the closest Rob the
cell to your right, Ricky's to your left, but the
cell to your right is another cell. You can see
the bars, at least you can see the bars that
touch your cell, but the front you can see a
little bit, but it seems like almost an inch to
three inches into the cell is a cube of inky blackness.
It is solid, but it seems to ripple a bit,
as if it was some type of like gelatine or
liquid that has assumed cube form, almost as if someone
took a cube of darkness and put that in the cell,
as if it would fit, you know, with only an
inch or two despair around each side. But you have
that void next to you. My friends, that's what you get.
As far as the environment in which you are, I
will allow you all to explain yourselves. But first and foremost,
we go back to our returning member to the Keystones JD.
And when we last left the episode that JD had
as a singular adventure, and upon rewatch again, a huge
round of applause for Bacon for doing a fantastic job
in that one as a returning member of a character
he hadn't played in over a year. Again, a hell
of a job, my friend. And so we return once again.
You returned to the character of JD as we return
to the age of Always. But when last we last
left that episode, JD had willingly walked into this cell block.
He had willingly walked into one of the cells. He
had placed his back against the stone, He had slid down,
closed his eyes, but when he opened them, he was
inside a grand courtroom. And friends are a grand court
and friends. If you could go ahead and switch up
that song to how about every little thing she does
is magic? Which is track number thirteen Lucky thirteen. Everybody, ooh,
Michigan one, you say, good thing, I have some of
those cute already, so bacon. As you slide down the
wall as I mentioned, and you open your eyes and
you see this throne room in front of you, it
is the walls and everything or this polished kind of
light blue stone. The floor in and of itself is
rippled marble of white and that same light blue hue.
It's complimentary somehow, though, because as the light dances off
of it, the shades seem to change and shift, so
it doesn't seem as monotone, it doesn't seem as kind
of expansive or even dull, of having the repetitive color,
but dominating this space is a throne. And this throne
has no lines, it has no edges, it has no endings.
It seems to be one ribbon that is molded and
rippled and twisted into one long line. And upon it
sits she who sits the mobius throne, the queen of
the age of always, an older version of the woman
that you know as Heather. And Heather has told you.
Now you understand, and she stops and looks at you talk.
Speaker 11: What do you mean?
Speaker 2: She stands up off the throne. JD. What were we
just talking about?
Speaker 12: I don't know I I.
Speaker 2: You see her, You see this regal gowned woman sprinting
towards you. There is a light crown on her head
that falls off, and you hear it clatter on the stones,
and she does not turn for it. She is sprinting
towards you.
Speaker 11: What do you do?
Speaker 2: Uh?
Speaker 12: Take a step towards her.
Speaker 2: Then as you meet her, arms fold around you, and
it's a measure of emotion, and it's a measure of urgency.
As she grabs a hold of you. You're there, aren't you?
Right now? You're there, aren't you the cells?
Speaker 1: Yeah?
Speaker 12: Yeah.
Speaker 2: She pulls away from you, and she is taller than you,
and she holds you at arm's length, but not in
a disrespectful way, you know, not in a you know,
keeping you at arm's length type of thing, but just
just so she can engage you as she looks at you.
And when she does, she you can see her focus
for a second, as if she has so much to say.
But she decides, and it's almost as if it's a plan.
She says this. Tell her you aren't going away again.
Do you hear me? JD. You have to tell Heather
you aren't going away again, do you hear me?
Speaker 12: Yeah, that's fine.
Speaker 2: I could say that whatever you do, tell Scarlet that,
and JD, you are standing in your cell. You look
across the cell block. Your door to your cell is
now closed, and you see Ricky. I don't know if
you recognize Rob or not, but you see Rob as well.
You see Heather, and you see Scarlet, and the queen
is gone. My friends, welcome once again to the age
of always What do you do?
Speaker 4: I think that when they come through the portal, I
imagine it's very jarring, right because there was a scream.
It was very upsetting, and I don't think that. I
think they land with great force, and Heather has to
kind of catch herself and she grabs at the bar
and she turns and she looks at Scarlet, and I
think Scarlet's looking pretty rough, and she says, uh, Scarlet,
are you okay?
Speaker 6: And I think that's what wakes Scarlet up. I think
when they came through and they arrived in these cells,
I think she lost consciousness and then the Heather's the
sound of Heather's voice like reaches through her mind and
she just like wakes up. And then the chill air
coming through the window. For a moment, she probably thinks
she's still in Garrett in the junkyard, and then she
eyes her eyes come into focus and she sees Heather
staring at her, looking concerned.
Speaker 4: Are you okay?
Speaker 5: What what happened? Where are we?
Speaker 4: I don't know, but I think we were trying to
get we were trying to get back to the age always.
Speaker 5: I think, uh, yeah, she was gonna say. She She
slowly like pushes herself up on her on an elbow
and then to a sitting position, and she shivers and
like holds herself because they were just in their her
regular clothes before. And yeah, she looks worn out, like
she's frayed at the seams. Her skin has like this
chalky pallor to it, and there is very little color
in her lips, and her hair is dirty and caked
with dry blood underneath here, and it's also staining the
top of her shirt and her skin. And she looks
around Ricky Rob, and she will look around to see them,
and I think when as she's looking around, that's when
she spots Jad and her face just goes still and
then kind of falls in shock.
Speaker 4: I think when when she when Heather sees Scarlet, Scarlet's
look over at j D, that's what draws her own
focus to JD and she a look of surprise kind
of crosses her face, and then she glances over to
see if Ricky's okay.
Speaker 10: How's how's Ricky looking. Ricky looks physically fine. He does
look concerned, and he looks down the passageway to left
and right, and after a few seconds he says sorry, sorry,
and he looks towards Rob. I think this is my fault.
I got us onto the road, but I'm sorry, sir,
and That's when he looks back to Heather and says,
I'm fine, I'm fine, but we've you guys shouldn't be in.
Speaker 4: Here, mister Robson, are you okay over there?
Speaker 11: I mean we're in prison? Is this Nordling where you mean?
There's definitely nothing like the boy m hmm.
Speaker 10: I think you're in here because of me.
Speaker 13: I'm sorry, Well, we're here now, we should probably just
they figure out how to.
Speaker 11: Thank you. Nobody followed into the key, and I think
I think he.
Speaker 14: Contact for Yeah, a lot of context from JD. So
he's gonna kind of note you're starting to notice the
black blob next more so, uh, and.
Speaker 11: Move towards the other side of his cell, away from
the blob of blackness.
Speaker 5: Meanwhile, Scarlett hasn't taken her eyes off JD.
Speaker 2: With uh.
Speaker 4: With Ricky's reassurance, Heather turns turns to JD. Are you
Are you okay? You're you're here? Are you okay?
Speaker 11: Yeah?
Speaker 12: I'm okay.
Speaker 4: When he says that, she she coughs. Her cough is very,
very wet, and she coughs into her hand and uh
as she drops her hand and it's it comes away red.
Speaker 12: You don't look great, what's going on? What's happened?
Speaker 5: Well?
Speaker 4: But we uh, I guess we traveled here, I uh
we we we just came back from Garrett Jesse. Scarlett,
she almost died, I guess a couple of times. So so,
but you're you, you look good, you look good, You're okay,
You're you're okay.
Speaker 12: Physically physically. Did you uh confused a bit?
Speaker 4: Did you find what you were looking for out there?
You know, breaking uh, breaking the rules being a god?
Speaker 12: I think so. I think so.
Speaker 4: Heather looks of Scarlet. What's what's Scarlet's expression?
Speaker 5: I want to say she's unreadable, but uh, she's not
like scowling or smiling. She's very stone faced. As you
two were talking, she stands up and she's kind of
got like a ready stance, not like an athletic stands,
by any means, but she's kind of poised and she
doesn't approach the bars. She stays back.
Speaker 4: We just, uh, I uh, we just got back from Garrett,
and I think we just did what what we were
supposed to do here. We figured out who's been manipulating
things the entire time. And I think we really need
you to right now just admit that you are the
most colossal, enormous ass, but ever, because we need you
to get back on this team right now, and we
need to get out of this jail and go and
find flag. We need to go find flag because we
figured it out.
Speaker 3: I think everyone's journey is it's their own, and I
think we all have to do something different in order
to get here. So I think the first thing we
need to do is figure out how to get out,
and then we can do the rest.
Speaker 4: Heather tests the door.
Speaker 2: It seems like a normal jail door. I don't know
how many jails Heather's been in, but it kind of
gives just a little bit before the catch hits against
the you get that kin kin kin kin kin kickink.
The only thing that would be different would be Rob
has said that he's been looking straight ahead and kind
of moved back away from the blob and the cell
beside him, or the cube and the cell beside him Rob.
When you do so, you get a little bit of
a better view. And the only difference between any of
the cells, the cell next to you, the one that
has the cube of blackness in it, has a huge,
almost comically large padlock on it. The rest of the
cell doors do not. They have a key. You can
see where a key would go into them. But this
one's got like a huge golden heart shaped padlock on it.
Not your cell but the one next to you that
has the globe or the cube of darkness. Other than that,
all the doors would give just a little bit, but
they all look the same.
Speaker 5: Do any of the doors look shootable?
Speaker 2: I think that anything is shootable if you shoot at it.
But are you asking me if I think that if
you shot one of the doors it would.
Speaker 5: Yeah, I don't think g doesn't think so. But like
if Scarlett looks at her door, is there like a
hinge or something that she could in theory shoot off?
Speaker 2: And then yeah, these aren't magic doors. I mean they
have hinges, they've got the keyhole. You know, it looks normal.
Everything looks normal. But again, obviously this is the age
of always looks have been deceiving before. I'm not sure
if Scarlett would think of that, But you know, Greg's
just putting that out there, so the ricochet that kills
one of your friends isn't blamed on me.
Speaker 5: Wow when you put it like that, Greg.
Speaker 2: No, I'm joking. I'm joking. You may drive whatever you like.
Speaker 5: I'm okay. When JD says we should first find a
way out of here, Scarlet pulls both guns from their holsters.
She glances towards Heather, Ricky and raw itys cover your ears,
and she will shoot at the hinges or a hinge.
Speaker 2: The guns go off, but no projectiles leave the barrel.
Speaker 5: Son of a bitch wizard. Okay. And the strange thing is,
you know she would know that they shot blanks right.
Speaker 2: Well, yeah, but if you check, it looks as if
your guns are not loaded, but they're loaded with actual rounds.
And you can even see that the ones how many
many shots you take out of each pistol, there is
an expended round. They're an exhausted round in each one.
But of those spent rounds, you don't know where the
actual projectile went, if anywhere.
Speaker 5: Yeah, I think she would just be like and she does.
She'll walk forward towards the hinges and she's gonna shoot
a couple more shots. It sounds awesome, Yeah, very loud,
I assume.
Speaker 2: Oh yeah, there's no there's no muting of the sound.
It's still very loud.
Speaker 5: Yeah, And then when nothing happens, she's just like.
Speaker 11: H.
Speaker 4: Heather notices, Uh, Wendy at this point, is Wendy awake?
What's up with Wendy.
Speaker 2: Now that you look over at Wendy, you see that
she is sitting crisscross apple sauce in the middle of
her cell, and her hands are on her knees and
she is staring directly ahead. At least you think so.
Her eyes are completely white.
Speaker 4: That's strange, Ricky. Think you can, like, I don't know,
find the road or whatever it is that you do.
Speaker 10: I don't think we're going to find it in here, Ricky.
Speaker 2: Well, you are looking at Heather. You see the color
draining out of Heather's eyes.
Speaker 10: Uh, Heaven, Heather, are you okay?
Speaker 11: It's Heather?
Speaker 2: Okay, you feel fine?
Speaker 10: Your eyes well, I.
Speaker 4: Don't feel fine.
Speaker 2: Heather coughs again, relatively problem right.
Speaker 4: Yeah, this smears some blood from her nose that has
started to leak out of her nose. I uh, I
don't feel great, Ricky. Ay, h.
Speaker 10: Should sit down?
Speaker 4: Oh yeah, okay, yeah, and she puts her back up
against the bars and slides down.
Speaker 2: Melissa, whether Heather wants to or not, as she sits down,
I mean everybody does it, but you just sit Chris
Cross Applesauce.
Speaker 6: Scarlett will holds to her guns. She looks at Heather
and like notices how she's she's still feeling the effects
from their battle, she assumes, and she will take she'll
stride to the window that you said was barred, and
she's gonna like pull on it, and she's gonna look
out to see what she can see.
Speaker 2: The windows are not in your cells. They are imagine
as you look out into the hallway to the right
or left, like Ricky and Rob did, when you look
to the right down the hallway, on the wall, that
would be kind of like the exterior wall the cell block.
You see a window, the same one on the left
hand side. You see a window, and that's where the
cold and snow is blowing in from. You don't have
you can look out them, but you can't, you know,
kind of look through them or get close enough to
do that.
Speaker 5: Okay, yeah, okay. So instead of turning into brunch of
the window, she's going to she's gonna kick at the
bars of the door and she's gonna like yell, hey, hey,
let us out.
Speaker 2: There's no answer to that, but as I'm sure that
draws attention and with JD sort of being across the
hall from where you're kind of like screaming out JD.
You would see that the color is draining from Scarlett's eyes.
They are turning white.
Speaker 4: As all this has happened, Like Heather's folks with her
white eyes is going back to JD and uh, she's
she's got a good look of irritation on her face.
Speaker 12: Yeah, go ahead, go ahead.
Speaker 14: Oh no, I was gonna. I was gonna try to
get Freaky's attention and kind of go do a little
head nod.
Speaker 11: Towards the black blow right. Uh, did you see have
you seen this thing?
Speaker 2: He looks postal, It's just darkness.
Speaker 10: Does he see the cube? Was it just a dog?
Does it look like a dog cell?
Speaker 2: It looks as if it looks just like everybody else's cells.
You can see the bars at least in the sides
that you know, kind of join with robs, and you
can see the front bars, and it's almost as if
somebody inserted a cube that was just like an inch
on every side, too small for the cell, like they
just kind of slid, you know, square peg, square, whole
type of thing. And it has a pretty flat surface.
You can see almost like pond ripples of kind of
like you know, pressure moments where something looks like it
hits it and kind of creates a circular ripple effect.
But it doesn't mean it doesn't get any bigger. It
doesn't kind of wave out or anything. It stays the
same cube shape. It just does have some kind of
dark movement along the surface. But you see the same
thing that Rob sees. And when Rob looks at you, Yeah,
when Rob looks at you, I'm sorry to interrupt, when
Rob looks at you, and Ricky, when you look at Rob,
both of you, because you've already noticed it in the others.
Your eyes are the same. They have not grown pale.
They have the color to them as they normally do.
Speaker 10: I wouldn't touch that, but.
Speaker 11: Uhh is there? Yeah, That's how I was gonna ask.
Is there like a like.
Speaker 8: A pebble or maybe like a little chipped off piece
of concrete rust flake from the bar or something with
enough fact that I can kind of, yeh, throw at
it and see what happens.
Speaker 2: Absolutely, what would you like? Would you like to have
something that is like one Rob's person or are you
looking for like just like a.
Speaker 14: No, I'm looking for a kind of just just like
a quarter quarter size.
Speaker 8: Piece of like flaked off concrete from the wall or something,
to just kind of pick up and throw in this
direction to see what happens.
Speaker 11: I mean, I'm not necessarily I'm not trying to you know,
on a hole through the thing.
Speaker 14: I'm just kinda trying to see what happens when something
makes physical contact.
Speaker 2: Gotcha, absolutely, Okay, So you actually you're for whatever reason,
your cell is like completely clean. Uh it doesn't look
like there's anything even remotely like loose or there's no debris,
there's no dust. Some of the other cells seem to
be a little bit dirtier, but your cell, in particular,
rub is like spotless. But because Ricky is right next
to you, between the two of you, you can easily
find a piece of debris and Ricky's cell that he
could hand to you. So yeah, within a few seconds,
you have, you know, like you said, a quarter sized
piece of chipstone. Where do you throw it at the
front of the cube, the middle of the cube, the
briar of the cube.
Speaker 11: The side facing me. So I'm trying to get it
through the bars.
Speaker 8: It's like my rob's mingle is to see what happens
when physical contact is made with the see if it
has a reaction, it does something like just just in.
Speaker 11: General, just let's let's find a baseline for this thing. Absolutely,
I'm to talk to you.
Speaker 2: Also, when you throw it at your side, like you know,
right at the side of the cube, it enters. It
doesn't make any ripple though you don't see like a
corresponding wave in the material that this is made out of.
But it disappears into it and for a second it
almost looks like the slot on an arcade machine, you know,
as it kind of pierces in. You see that kind
of like thin rectangular opening, and then it seals shut again,
and you hear the clatter of the stone. But that's
all you hear.
Speaker 14: So it sounds it sounds like it lands on the
ground kind of bounces.
Speaker 11: Is that that's what you're saying.
Speaker 2: You figure if you did it in your cell, it
would sound the same.
Speaker 15: Way that That was a pretty uneventful I don't know what.
Speaker 10: I expected, at least when it doesn't stuck any maybe
it's suck your hand into itself with something.
Speaker 11: Yeah, or explode.
Speaker 9: This really could have gone back. I don't know why I.
Speaker 10: Didn't think that was gonna happen. I'm glad it did.
Speaker 2: I do have a Michigan.
Speaker 11: Getting suck into the qube.
Speaker 5: Not again.
Speaker 14: Ah yeah, So so shooting the doors didn't work.
Speaker 11: Uh, Agitating the queue did anything? Did nothing?
Speaker 5: And Scarlett is still kicking the bars and yelling.
Speaker 2: Scarlett, you're starting to get tired. You should probably sit down.
Speaker 16: Yeah.
Speaker 6: I think she's kicking and kicking. She's like hey, and
then she like winds up to kick again. I think
she loses her balance and she like kind of spins
and like cartwheels her arm and she like puts her
hand down like and lands on her side.
Speaker 5: And just like breathing heavily.
Speaker 2: Ricky and Rob, you would notice that the color is
almost completely gone from both Heather and Scarlet's eyes. And
if you turn your attention, I know that Ricky has
no idea who's across from them in the cell, but
and Rob has little concept for who JD is. But
should your vision cast towards JD, you would see his
eyes too, are turning white.
Speaker 11: Can you guys still see us? Yeah?
Speaker 2: I can see you.
Speaker 12: Fine. I think we someone we need to try and
pick this lock.
Speaker 3: Do we have anything on us about hairclip, anything that
can go inside the lock.
Speaker 2: Anything that you all had on you before you still
have on you, as evidenced by Scarlet's guns. So a
belt could be easily something that you would have. Yeah,
if you wanted to start using the I don't know
what is that part called on a belt that it
goes through the buckle part something? Yeah, the buckle, the
buckle sticker.
Speaker 10: Right when JD speaks, Ricky looks across and notices his
eyes and goes it's Jesse right. Uh, you should probably
sit down as well. Your eyes are the same as the.
Speaker 12: Well. I would like to avoid sitting down. I don't
know what that's going to do.
Speaker 10: I mean it's better than passing out when you're standing up.
Speaker 17: Maybe you are getting tired, Jadan, I could sit, but
that leaves it to you too.
Speaker 12: You guys will have to try and get us out
of here.
Speaker 11: The two smartest guys in the group. No problem.
Speaker 12: Just throw another rock.
Speaker 11: Yeah, that worked real well the first time.
Speaker 8: Oh oh, he's gonna look at Ricky and just look
at the cube and go, hey Cube.
Speaker 2: There is no answer from the cube. But I will
say this, as these moments are becoming minutes, and these
minutes are becoming longer. Still, Heather, you think you close
your eyes, Scarlet again, you're just so tired, And JD,
you seem to last a little bit longer. Maybe it's
a century's worth of experience, or maybe more of an
immunity build up here in the age of Always. But eventually,
within five minutes, both Ricky and Rob would see all
three of your companions assume the same position as Wendy,
criss cross apple sauce in the middle of their cell,
eyes open and completely white. And for the first role
of the game, we're gonna have Frags do something everybody
frags only an investigate if you will.
Speaker 6: And I think Scarlet would be like, as she's breathing heavily,
trying to catch her breath, and she's like, she just
feels exhausted, Like.
Speaker 5: Heather, I can't, I can't. I'm sorry, I'm just so
so tired.
Speaker 2: Others ardiously, I can't see what your role was.
Speaker 11: For some reason, it says zero successes.
Speaker 2: Okay, so it takes you a second, as everybody kind
of and JD, you have a moment to say something
was you know it's up to you two to get
us out of here. Was that your last statement before you? Yeah? Okay,
so you all with those final words of the three
you hear in your ears as you just you know,
are looking around and then at each other, and Ricky,
you roll me an investigate if you will tell me
what your successes are, because apparently I can't see them.
No successes, No successes. Okay. So a few moments pass
and almost at the same time, Ricky and Rob you
see something slithering out of the black cube beside you.
It takes you a second because it looks like at
first it looks slick, wet, but within a moment you
realize that it's not any type of appendage. You believe
that it's hair.
Speaker 4: Long.
Speaker 2: And as it kind of slithers very serpentine out of
the cube, you see other strands coming out as well.
They creep about a foot two feet into your cell,
your very clean cell, and you see the slowly form
of shape, almost like a line driven etch a sketch,
and you see an eye and it blinks and looks
at you. But we're gonna go away for a second, Heather,
if everybody could maybe play up a little song for me,
and we're gonna go back to every little thing she
does is magic, if you would, my friends, queue that
one up. And Heather, you're on the beach, and you
know which beach that is beneath you. Your hands are your
hands are small, they're playing, and you're in the moment
actively building a castle maybe, And as you turn, you
see another small set of hands aiding in the packing
of the sand of the structure that you are, you know, raising.
And when you look up into the eyes of your sister,
you know that it's van Halen. She's very young, maybe
maybe the same age, or maybe just a little older
than you, and not by much. But she's smiling, a
brilliant smile. And the weather is perfect. The sea is
white capped, and it's rolling, and it's a constant sound
in the background. It's ebbing and it's crashing, it's drawing
and its strength. And as you turn your head away
from your smiling face of your sister, you see a
beautiful woman lying on a blanket. She is propped up
by her arm, and she turns and looks at you
and smiles at both of you, and then she turns
her gaze away and she looks up at a nearby dune,
and this goes on and on. You're playing, and when
you turn back to the woman you know as your mother,
you see her smile at you all, but her gaze
never lingers on the ocean. It always turns back to
the dune. And beyond the dune, but not directly beyond
the dune, is a beautiful blue castle, and somehow you
know it is the Azure Citadel, your home. And as
you see all of these things, you keep seeing your
mother look at you all smile and then turn and
look at the dune, not at the castle, but at
the dune, and there is a swirl. There is no
other way to explain it. And you are no longer
building your sand castle on that beautiful beach. You are
still on the beach, and you can smell the salt,
and you can feel the same wind in the same
sky and the same clouds. But now you are you
your age, and you are standing in front of a
small dune. What could be over it?
Speaker 4: She looks over the dune, Sarah as your citadel.
Speaker 2: Well, you look around and behind you and kind of
and to the left is the Azure Citadel. But when
you look over the dune, you see below a beach,
two little girls playing, and you see a beautiful woman
who is lying on a blanket, and for the first
time something that you didn't see moments ago while you
were building your sand castle. A handsome man sits beside
her on the blanket. Their proximity speaks of friendship, but
the way he holds her hand speaks of something else.
And as soon as you look over the dune, you
see the woman whose eyes are always on the things
that she loves as she watches her daughters. And then
she turns towards your dune, as if she always expected
you to look over it. And as soon as you're
eyes cressed her eyes turned towards yours. You see her
gasp even at this distance, and both she and the
handsome man stand and within a moment you know that
it is Randall flag, and you know that this is
your mother, and she begins to run towards you.
Speaker 4: I think, in opposition to what happened with JD earlier, Heather,
Heather doesn't move forward, She takes an unsteady step back.
Speaker 2: She continues to run, She continues to climb the dune,
and you see she kicks off the shoes and you
also see the two little girls on the beach notice
what their mother is doing. And you see them both
stand and kind of look curiously toward both you and
their mother. And you see flag moved to the base
of the dune, but he does not climb. That is
a that is something reserved for just the two of you.
And when she finally gets in front of you, she slows.
You can see that she is. Her breathing is a
bit labored, but not too terribly so where she couldn't speak.
But she sees your posture and she nods, I understand,
do you have.
Speaker 4: I do?
Speaker 2: This is my third time in this moment.
Speaker 4: Third time? What do you mean?
Speaker 2: She looks, She nods almost as if she knows what
you're going to say, and she looks back on the
beach at the little girl building the castle or watching.
Now she looks to you, and then she touches her
own chest. One two, three, h Heather, I know what
you're going to ask, but I need you to ask it.
Speaker 4: You know what I'm going to ask. I don't know
what I'm going to ask. I I remember this speech,
you know, uh, but I I know I should remember you,
but I don't. I guess I know now, it says
if I've always known, But I I don't have those
those memories to call up. How old are how old
am I? There?
Speaker 9: Am?
Speaker 11: I am?
Speaker 5: I four?
Speaker 2: Almost?
Speaker 4: You know? I for years I wondered what it would
be like if you were here. I I stood always
on the outside looking in at these tiny little moments
that people had with their parents and like the like
there's there's was this one time when Ricky's dad ruffles
his hair, and there was this you know, Scarlett's mom.
She was always so proud at those games. But it
was always I was always in on the outside, and
I always wondered what it would be like to have
someone like that. But I don't have those memories. And
because I think you chose true, you chose to take
all of those memories away from me. And you know,
I'll be honest, I I think I think I made
a choice too. I chose I chose to not remember you.
I chose to forget the face of my mother. Why
would you do that? Is that the question that you
know I would ask, Why would you do that?
Speaker 2: Yours poured down her face? Yeah, it was the only
way I could protect you, the.
Speaker 11: Only way.
Speaker 2: Believe me. I tried.
Speaker 11: People.
Speaker 4: They need more, They need more than a roof.
Speaker 2: I knew that they were coming for us, and I
had to send you away.
Speaker 12: It was here.
Speaker 5: It was you after all I was.
Speaker 4: You know, there was some small little hope that it
was something else, it was someone else, but it was you. Shuah,
Well what now?
Speaker 2: What now?
Speaker 4: Are you going to send me away again? Vh She
says that I need to go back and I won't
do it.
Speaker 1: I won't do it.
Speaker 2: She's just trying to protect you as I was. I
I thought I was doing the right thing.
Speaker 4: No, it's not what I would chosen.
Speaker 2: She looks pained by that statement. I felt that way
once to. There's nothing that I can say, and I
know there is nothing that you will accept. So blame me.
Will for blame yourself? I asked that in the blame
that you give me, please remember that I have never,
not for one moment, let you out of my thoughts.
Speaker 4: It's not fair, you know, it's not fair. None of
this is fair, and it's not fair in this moment
for you to be like that.
Speaker 2: You need to be defending.
Speaker 4: Yourself so that I can hate you.
Speaker 1: Do you get it?
Speaker 2: Feel the way that you need to feel. I wish
I could say that it gets easier, but it does not.
We are she who sits the Mobiu's throne. We are
different and we are the same. We are always the same.
I must tell you what you can expect. That you
can hate me, But I asked that you just remember
my words as if she's in the script.
Speaker 4: Say them, say your words.
Speaker 2: You are to become queen. You and I will we
will meet again. I don't know when things are changing.
Now we'll see one another, and I must prepare you.
Because we are the same, but we are different. We
we can love, but one thing is always the same.
When I die, you will have a child and she
will be you. And when you die, your daughter will
have a child and she will be us.
Speaker 4: That's terrible, that's terrible.
Speaker 9: We got them.
Speaker 4: We need to stop that. We need to stop it.
Speaker 1: We need to stop this.
Speaker 12: WI is terrible.
Speaker 2: What it is our lot?
Speaker 4: And how do we get it right? How do we
do it right?
Speaker 2: That's why I sent you away to break it, to
save you from this, to make it different than it
had been. I wanted to give you a chance not
to be the same, to be yourself.
Speaker 4: To me, different than tell me, tell me stop. I
need to know then how am I different? Because maybe
maybe if I know then what has worked, maybe I
can do the right thing.
Speaker 2: She starts to cry fully. I did everything that I
was told, everything that would change it. The four leaves,
I never had them.
Speaker 4: They're a family. Found it changed because I did not
have you.
Speaker 2: She looks around and for a moment you see her
look down at flag and she puts her hand up
because he's starting to climb the dune. We don't have
much time. I remember this part. Heather, hate me. Focus
on that. It's not written him. The story is not written.
Make it yours. The wind begins to pick up, and
you see your turn. I was never a witch. I
don't have magic. You're different.
Speaker 11: Live that way.
Speaker 2: She runs towards you, and just before she gets there,
you're gone back in the cell block, unbeknownst to anybody else,
as Heather sits criss cross apple sauce with white eyes
rob you and Ricky. At this point, I would assume
are kind of focused on the hair that is coming
out of the cell to your right, with the eye
looking it blinks and then it disappears, and swore girls
and in an almost perfect calligraphy. It writes out as
Greg looks through his tears to get to his notes,
why do you have or magic? And then there's a
question mark that the hair forms after it says that,
mm hmmm.
Speaker 8: Uh yeah, he's gonna look over Rickyan.
Speaker 11: Is he did you talk talking to me? Yeah?
Speaker 10: I mean I don't have magic.
Speaker 11: I mean, well, I guess I guess what I have
is magic? So why do you care?
Speaker 2: It slithers back out and it spells out the Queen's
witch is my friend. My mom was a witch. The
hair retracts into the cube. There's a beat, A full
minute goes by, and then it slithers back out you
are her son, and another question mark, Yeah, he's gonna
say like. It swirls again, and the eye kind of
lifts a bit as it forms the eye again, but
you can almost see the hair of the pupil kind
of focus a little bit as it looks you over,
and then it reforms and begins to spell out again.
Then I am the closest thing you have to an ant?
Where is she.
Speaker 11: Not here?
Speaker 2: There's another beat, another full minute goes by, and the
hair reforms and half of it forms the eye as
if it needs to see you when it asks this question,
and the rest of it spells out, does she biv.
Speaker 9: In me?
Speaker 1: Yes?
Speaker 10: If Rob is close enough to the boss where Ricky
puts his hand through onto his shoulder.
Speaker 2: I could say that you probably would be. Then Rob,
you would feel Ricky's hand on your shoulder, and with
that connection, almost simultaneously, the entire prison shakes and you
see the hair almost form, like static and lightning, and
it retracts into the cube. Everybody. If you go to
your Spotify playlist and oh, I don't know, go all
the way down towards the bottom and queue up number seventeen,
hanging by a moment scarlet. You are in a concert.
You see waves and fields of people as they're jumping.
Some of them are shirtless as just sweat, and the
song is flying from everywhere as you look around. No
need for a investigate role here because it's prominently displayed
at every conceivable flat point. You see Lollapalooza ninety eight.
And as you look around, you look up just as
this song begins to play, and the stage is dark,
but you can see the figures on there as they
come up. You can hear the music begin to play,
and you can hear someone begin to sing, and the
words creep out to you, desperate for changing, starving for truth,
closer to where I started. I'm chasing after you. And
the lights come up and explode as the spotlights and
Pyro begins to move around. In this the main stage
of Lollapalooza ninety eight, you see that everybody in the
crowd is going crazy. The person just to your right
is a wiry teen of maybe sixteen or seventeen. Somehow,
in his mind he has an idea that the guitar
magazine that he has clutched in his hand is somehow
going to get signed by the people on the stage
of which you are at least thirty feet away from,
but on the cover of that guitar magazine. Whether or
not you would know this as Scarlet because this band
was not as popular as it could have been. My
southern California was, but maybe not. In Garrett Maryland, you
see the bassist for the Red Hot Chili Pepper Flee,
and beside him you see an older Jerry Baker. They
are both staring at what looks like the camera, and
they have devil horns like this, and the title of
the article says, all your bass belongs to us. And
as you turn and look up on the stage, you
see Jerry as he moves and kind of enters into
his bassline, and as he begins to slap the bass,
you see sparks fly off of the strings as he
hits his hands slapping as he moves around and as
he spins forward. Everybody no bassis since Flea has been
this popular, especially with a group, but that pyro that
he does with his bass has made him a singular
event in which to any concert goer would tell you
that the sparking guitar is where it's at and so
as he steps forward, is just slapping the shit out
of this and sparks begin to fly out into the crowd.
The crowd goes absolutely ape shit until he moves over
and the spotlight hits as a guitar wielding Bend moves
up to the mic and continues to sing, and for
a moment they are back to back laying as the
crowd goes absolutely nuts for this and the band that
builds out around them. But it's those two, the two
brothers that everybody has come to see, you know, there
are mockups of Ben and Jerry ice cream shirts that
are Ben and Jerry, but it's the Ben and Jerry
band shirt.
Speaker 4: You know.
Speaker 2: It's a parody on the ice cream, you know. But
everybody is a rounbit. This seems to be a crowd
for them, even though it's at the festival known as Lollapalooza.
And you feel a hand on your shoulder.
Speaker 6: I think she as she's like jumping and screaming, and like,
I imagine how Jerry's signature move when he slaps, when he
hits the base and the sparks fly. All the crowd
is mimicking the same motion, and so she's doing the
same hand motion.
Speaker 5: And then when the hand hits her shoulder, she just
freezes and looks back.
Speaker 2: At first, you think it's the gun Slinger. You the
older you, and you know this isn't the gun Slinger.
This is you, maybe twenty four, twenty five, and you're
staring at yourself, and she looks down. I knew you'd
be here. This is Scranton, by the way, So you know,
I need you to stay strong, Scarlet.
Speaker 5: Can I just stay a little longer?
Speaker 2: I think? So I know it's at least for this song.
Speaker 5: Are you gonna stay too?
Speaker 2: I hope?
Speaker 5: Come on, And she takes her hand and pulls her
leg up next to her.
Speaker 2: You feel something in the hand when you grab it.
She looks, there's a ring on the finger.
Speaker 5: What's this? And she, still holding her hand, pulls her
hand up so she could look at it.
Speaker 2: It's a wedding ring. And she smiles when you see it.
And she looks to her right and left, which is
comical because you're in this huge out of people jumping around,
so even as she's looking at you, you see have like
a backdrop of people leaping over her shoulders and whatnot.
That she doesn't really I mean, she gets, you know,
bustled a few times, but she looks as if she's
in a conspiratorial mood with you inside this huge mass
of humanity. And she grabs the ring, and where there
was a diamond, you see her twist the ring and
pull the diamond off and there is a glowing speck,
the very last speck of the ener John from Optimus Prime.
And she holds it up and shows you your wedding.
Speaker 5: Ring is that she looks.
Speaker 2: Ben kept it and I knew about it, and I
had two made mine and his. We asked him to
marry us.
Speaker 5: She I think, she blushes.
Speaker 14: Do you.
Speaker 5: Do you guys ever go for milkshakes?
Speaker 2: Her face falls a little bit. I hate to say this.
It's not fair of me to say this. That's up
to you.
Speaker 5: I think. She looks up at the sky. This isn't
home though. Was everything still shitty?
Speaker 3: Mm hmm.
Speaker 2: It's strange because I.
Speaker 5: Told them, wheneverthing's no longer shitty, we can go for milkshakes.
Speaker 2: You only have yourself to blame. If you break your
word on that, everything's always going to be shitty. It's
your job to fight against that. You have to fight
for your friends. You have to fight for me, You
have to fight for us. I didn't listen. I wish
I would have.
Speaker 5: Why didn't you?
Speaker 2: I was mad? I still am mad. It doesn't make sense.
Not no, I put my guns away too soon. Fight
for us. You hear a guitar solo in the back.
Song's almost over.
Speaker 5: She takes her hand, lifts it back up, and then
puts the ring back on her finger.
Speaker 2: You're stronger than you know, You're stronger than me.
Speaker 5: I think. She let's go of her hand, but then
gives her a big hug.
Speaker 2: She hugs you back, and you feel the strength. You
can tell, even in your advanced age of the mid twenties,
she is still a formidable athlete. And she whispers into
your ear, Look at all these bitches around here, You
know how many of them want to be us.
Speaker 5: Good luck.
Speaker 2: The song ends and the spotlights continue to whirl, and
she looks up. Look and you see. As Ben finishes playing,
he looks over at Jerry and they both are smiling,
and they're just they put their heads together for a
second and start laughing as they spin away, and you
see his eyes go straight to Scarlet in the crowd,
and he sees and he smiles, and his smile falls
as he sees you, and he turns and you see
him yell. You hear it, even over this crowd. You
hear him yell Jerry. And Jerry stops, but he can't,
he can't focus into the crowd. But Ben is looking
right at you now and he mouths the words stay strong,
and you're gone.
Speaker 11: All right.
Speaker 2: Back in the cell blocks, everybody, Ricky Rob. The shaking continues.
It's a dull rumble now, but it's as if there
is a like a one point three earthquake, just kind
of making everything tickle, and it's not stopping, and the
hair has not come back. Ricky, Yes, you hear behind you?
Speaker 10: It's time test test? Do I recognize the voice? Testing one?
Speaker 11: Two?
Speaker 2: It's the road.
Speaker 10: He still has his hand on Rob's shoulder and he
looks back. Does he see anything out of the ordinary
in the cell itself?
Speaker 2: You see Hannah Casper lying in the back of your cell. Rob,
you do not there to your eyes. Ricky is alone
in his cell, but you do hear him talking.
Speaker 10: Do you have a way out of here? As he
looks at her and releases his hand on rob.
Speaker 11: Shoulder, how do we do right? Yeah?
Speaker 2: Yeah, you would hear Rob? You know say what he said.
Hannah kind of smiles as she looks towards Rob. Her
body is almost completely white, her hair is white. Took
you a moment to recognize her as the She still
has her youthful appearance. She is not aged, but her
hair would speak otherwise. But it seems to be a
uniform color. I don't have a way up, but you
do if you want it.
Speaker 10: Does she look like she said she's lying down in
the back of the cell. Does she look like she's
injured in any way, or just that she's lying down relaxing, or.
Speaker 2: She definitely doesn't think she's relaxing. But I will tell
you what, why don't you? I will take two things here.
I will take a empathize or I will take an investigate.
Each will give you a slightly different answer.
Speaker 10: Both are terrible, but investigate is slightly better. Yeah, let's
go investigate. Greg One success.
Speaker 2: Fantastic as you look at her. You know, in your
studies especially, you know, a student of war, student of tactics,
you have come across pictures of casualties, and when you
would see pictures of great battles of you know, World
War two or any of the ones that could actually
you know, even the Civil War that has like the
rudimentary photographs, things that you had studied in, you know,
your time away from Garrett. You know what the look
of a corpse looks like. Unfortunately, and she looks little
more than that. She is fading. Of that, you are certain.
Speaker 10: Ricky will walk to her and he will go down
into one knee and take her hand.
Speaker 11: This is.
Speaker 10: If I'm to get out of here, I need to
take everyone. Is there anything I can do for you.
Speaker 2: She smiles, say yes, and she puts weekly puts a
hand up. Eons ago you were spoken for, as was I.
We are part of a chain. They speak of their
queens and there they're bishops. If you take it, we
are the land, we are the age. Would you like
to see? And not what they are seeing at this,
not what they see. As she points kind of moves
her chin towards heather and scarlet, and JD what I
show you?
Speaker 10: He just nods.
Speaker 2: That same pale, dying hand reaches out for you.
Speaker 10: He will take that hand in his hand.
Speaker 2: The wind is whipping through your hair, your hat, and
I guess just trying to keep it has been kind
of tied off on the saddle of the horse that
you now ride. It is a rudimentary saddle, something that
you would see some of the great planes tribes would
use to make their horses faster, to make them more,
to make them more synergistic, more symbiotic with the rider.
And as you ride, you see Hannah is beside you,
and you are both riding these brilliant steeds of gray,
and the world of the Age of always spreads out
as you ride through the seasons and she looks over
and she yells, but it comes across as conversational. This
is the land, not those that walk on it. It
has been, it will always be, but it needs someone
to protect it. It shows you, Ricky, it was always you.
And as you ride, you see the waterfall where Heather
dove from. You see the bivouac where JD studied. You
see the glade in which Scarlett took her first shots.
Ride through it. There's the cabin, and for a moment
you see somebody open up the cabin and you see
flag look out and he smiles and he waves. As
you thunder past, Ricky tips his hat. You can't hear him,
but you see him laugh. You continue to ride. You
see a sea white capt almost looks like there's horses
riding in on these waves. As they crash. You see
a great red, magical bull stalking the beach, but even
it turns to see you, and it lowers its head
in respect. As you ride by, you see a great
blue castle along the coast, and you ride and you
see the sky. You see the animals and the birds,
every mystical creature, every normal creature that you have ever seen,
the ones that you used to negotiate in the woods
around your farm. All of them seem to be here,
all of them seem to know who you are. And
finally Hannah stops upon the same precipice that Heather would
sit and jump off of the waterfall. And you look
with that eagle eyed vision that the age of always
gives you. Is this something that you would want? You
have a choice. You can say no. You will never
be able to go back.
Speaker 10: I know I've been told to say no to this
and that we should go back, but I can't see
anything better than this.
Speaker 2: I brought your family here so they wouldn't take them
but you. And she seems happy, but she's almost like
defending her own or refuting her own argument. You can go,
you can take them back. You don't have to stay.
I just wanted you to have the option.
Speaker 10: The only reason to go back would be just to
fix what's broken. But the problems started here as far
as I know. I mean, I've got to look to
the others for all figuring out of this sort of stuff.
But as far as I know, the problems, Yeah, that's
what I've been told, and I think to fix it. Yeah,
there's no reason to go back. My family's yeah, my
home's here, and he looks out to the land. Is
there's not much like this at home. If it's open land,
it's farms, and I love the farm. But this is wilderness.
If you ever have to go back, you can't stay.
But you can use the library only you can. But
I can help the others.
Speaker 2: Yes, you can help everyone. Everything that ever is, Yeah,
everything that ever is, everything that ever was comes through
the age of always, and you protect it if you choose.
Speaker 10: There's no way I can say no to that.
Speaker 2: She smiles, and you're back in the cell and you
can see that she is fading much faster. Everything that
I am is yours. Could you do one thing for me?
You can see her shouting because she can't hear herself. Really.
At this point, he nods. Tell the man you know
is mister Darry. Tell him we will be together again,
and when next we meet, it will be the last
hello we ever say, for we shall never leave one
another's side.
Speaker 10: I will.
Speaker 2: Then carry on, champion, you are the land, defend her
well and live even better.
Speaker 10: I will defend her with my life.
Speaker 11: And she is gone.
Speaker 2: Rob For a moment, Ricky looks like a wire frame
of spinning yellow dotted lines, and then it fills in
and you see Ricky again. His hat's a little brighter JD.
You are lying cold on a stone mausoleum bed. You
see many people tending to you. You see would look
like clerics and the medicuses and things of that nature,
military healers that are pouring over your pale form. But
you are removed from the situation. You are one of
these clerics, one of these silent monks. You've seen them before,
only they wore dark robes, but these are robes of light,
of white, and you hear them talking whispers among those
that are allowed to speak. He is not going to live,
the child like emperor. We don't know what to do. Somehow,
you know. These are decades on decades in the middle
of your century of fighting. You remember being wounded in
battle one time and waking in a place like this,
but you have no idea what happened while you are unconscious.
But now you are gifted with this sight. You see
one of the medicus is stand up and they take
away some kind of spectacles, almost like a loop that
a jeweler would use. We need someone from where he
comes from. Someone will know how to do this. We
do not know his name. He must be named. Here's
the only way for him to survive. And you see
another person, the wizard. The wizard comes from where he
comes from, and a message is sent out. Mike. Yes,
the call has gone out for you to aid the
childlike Emperor or this figure that you would know to
be a great military leader, a person that you have
been warned about by who. Well, that's your secret. But
they have come to collect you. And as the medicus
is and clerics say, only you can heal the childlike
Emperor because the childlike Emperor needs a name. And you
see him lying cold on this slab in the mausoleum
and JD. You see these events unfolding as you are there,
humming and chanting the magics of healing that are not
finding purchase in your form. You feel you can't move,
but you can bear witness. The cleric comes up to you, Mike, wizard,
is there anything you can do? A name? But it
must be from someone from his world? Can you do this?
Speaker 1: I think I think I can.
Speaker 2: Yes, fantastic. Now you see them preparing scrolls and they
begin to scribble what looks like you know calligraphy, you know.
But to the wizard, it looks like them writing once
upon a time, over and over again. You know, that's
not what they're writing, but it certainly looks like they're
writing once upon a time dot dot dot, once upon
a time, dot dot dot, as they write it all
over the mausoleum, all over the body of JD. When
you are ready, we will support your magic's wizard.
Speaker 1: He walks over to the stone plimph that this ancient
warrior is laid down upon, and he sort of waves
to the monks to lean in, and he leans down
to the ear of this unknown soldier and whispers just
loud enough for the other monks to hear. I name
you Mitch, he who walks between the roads, and then
stands back.
Speaker 2: You see them scribble in their books in the histories
that will be told that this figure, the childlike emperor,
is Mitch, he who walks between the rows, and all
of the once upon a times disappear in brilliant gouts
of gorn in flame that kind of consume the letters,
And they consume the letters across the throat of JD,
across his chest, across his legs and arms, They don't
leave scorch marks or burns, but for a moment, the
skin itself is a little pinker and you can actually
see the once upon a time, almost like a sunburn,
across the flesh.
Speaker 11: JD.
Speaker 2: You witnessed all of this too, and you recognize the wizard.
You will see him again across the field of battle
many years from this moment. Is there anything that you
want to do? As limited as you are in this
form of observation? You felt this before, JD. This is
like when you used to look through the eyes of
somebody whenever you were staring into the cauldron, and you
were able to experience what they experience but had little control.
You feel, though, that you have a bit in this moment.
Speaker 11: What do you do?
Speaker 3: I think the only thing that that JD wants to
find out is more information. So he notices and recognizes
one person, the wizard. Does he recognize anybody else in
this crowd as somebody he may already know?
Speaker 2: Roll me and investigate? But do so? What's our what's
our equivalent of an advantage on this one? Do we
have that for or?
Speaker 11: Yeah?
Speaker 1: You just make it make it two successes?
Speaker 11: Yeah?
Speaker 2: Okay, so just roll yeah, roll your investigate and then
you just make it easy. Roll twice, and let's see
how many successes you.
Speaker 12: Have cannot fail.
Speaker 11: Two.
Speaker 2: As your eyes look around, you recognize the wizard. You
mark the wizard. You see the wizard. You know that
with those two successes, there isn't any variation of this
wizard that you would not recognize. This one you could
pick out of a lineup of mitches. You've noted him.
But as your eyes scan around, you see one of
the monks, one of the clerics, is a beautiful woman
with blonde hair that you know will become the bishop.
And she is looking directly at you, and she nods.
Speaker 12: Yeah, I'll just give her a side smile.
Speaker 2: Back, does JD. Let's see JD. At this point, JD
would have been through about twenty years worth of conflict.
So let's make a role here, and if you give
me your pride, I will make this automatic. This is
a role to see if you can understand the cavalry
signal that the bishop is going to give you as
a form of sign language to communicate with you in
this silent space.
Speaker 12: Sure you can take my pride. It's cool, check it.
Speaker 2: Off, she says to you. What I will give you
will change the world. She nods again, and when she
sees that you have kind of collected that part, she
signs back fight for it. And JD, you are back
in the cell, Heather Scarlet, you begin to come to
and all of your in and out, but You're eyes
are all JD Scarlet, and Heather's eyes are all still white.
And Wendy across from the cell next to JD is whispering,
It's the prison of dreams, the past, the present, the future,
meant to keep us calm. He killed Peter in front
of me. He killed Peter, showed him to me when
he fell. And you see her slowly exhale, and she
sits her back straight and her eyes are white again
as she falls back into the dream. Rob someone is
coming down the hall, someone you recognize, Mitch.
Speaker 1: Uh And Mitch walks into the prison and looks around
at everybody, looks at the lock, nods his head, and
then stops between Ricky and Rob for a second. He
looks back and forth, and then stops on Rob and
squints and cocks his head to the side and looks
closer at the bars, as if trying to figure out
why you look so familiar.
Speaker 11: Oh are you.
Speaker 1: You weren't here the first time? Why do I recognize you?
Speaker 11: Why do you recognize me? Why do I recognize you?
Speaker 1: Or I'm the Wizard? I'm Casey Mitchell. Everyone recognizes me.
I know them and there's something. Yeah, God, I can't
place it. I'm usually really good with names and places
and people and things. And now it's really.
Speaker 11: When did you start going by Casey?
Speaker 1: I guess when I became the Wizard. I mean, most
people call me the wizard Whiz. Sometimes no one calls
you that Mitch Mitch I once called me that in
a long time.
Speaker 11: No, he's gonna kind of step back, a little half
spin each way. Nothing. My dad's a big robot.
Speaker 1: Rob.
Speaker 11: It's up, bitch.
Speaker 1: How did you get here?
Speaker 11: How are you alive?
Speaker 1: I'm the Wizard? Now, I know that that doesn't actually
explain anything, now that I've said it, No, I promise
you that it should it. It should explain everything. And
if you were from here, it would explain everything. And
you're not from here either, Yeah, but that's not It's
and it's like a this is wind went uh, it's
one of the places.
Speaker 11: I guess did you even try to come back.
Speaker 1: I can't there's no there's there's I can't get through.
Speaker 11: I got here.
Speaker 1: I don't know how I you know, hold on and
he reaches into his jacket and pulls out a device
that looks like you took a game boy and a
mister game and watch and sort of smashed them together,
and it says in tape a michometer on top of it,
and he says, I made this, and the girl a
crying one that one, and he points to Scarlet and
he says, I made this, and she was crying and
I I put her blood in it to find her friends,
like it was. It was consensual. She did the thing
and it was like a and then I found her friends.
But this also can science y words, sciencey words tell
me where you're from, and I know that they're from
Garrett and.
Speaker 11: You.
Speaker 1: I don't know how any of you got here.
Speaker 4: Ye.
Speaker 10: Ricky stands forward, puts his hat back on his head.
He says, you never asked.
Speaker 1: Well, you also just sort of showed up in the
city and then that guy that you said was your
friend attacked my city and then you all disappeared. And
then the war ended, obviously, and you reappeared and that
was suspicious that all of you showed up when the
guy who was running the army that attacked my city
attacked my city, and then you convenely disappear. So I
put you all in prison because I think that makes
the most sense.
Speaker 10: It makes sense that you put me in Yeah, but
they did nothing.
Speaker 1: They they said they knew him, and he led the army,
and then he showed up when you showed up, Rob did,
and so all of you until I figure it out,
we know you too.
Speaker 4: Does that mean anything anyway? Did you notice that when
the antennas on the Loop went down, people started to
remember things. Did you notice that.
Speaker 1: I noticed that the evil army that was attacking the
city was using magic and spellcraft to assail the people
that I was trying to save from the city. Do
you remember the moving streets that I was trying to
get all the citizens out of the city away from
the war. You remember the bad guys catapulting boulders and
magic spells.
Speaker 4: And bad guys, the bad guys that were hitting the loop.
You mean those bad guys.
Speaker 1: Yeah, the invading army that was attacking the city of
peaceful civilians.
Speaker 4: Do you remember Do you remember your own allies. Your
own allies were remembering things all of a sudden. Do
you not remember that, mister wizard.
Speaker 1: You mean they were mind controlled by spells?
Speaker 4: No, they were remembering their actual memories.
Speaker 1: Wendy isn't here because she was so affected by the
army's spells that she has no almost no idea who
she is. She's in't here for her own safety. DoD
and Alice are very concerned.
Speaker 4: Everyone. If everyone could be under the effects of the spells, then.
Speaker 5: You could too.
Speaker 4: I guess in theory, yes, in theory, just like your theory.
Speaker 1: But the the general of the enemy army is here
and the army has been disbanded. So in the theory
of the spell work, how did I get him? Yeah,
we stopped the invasion, and that's kind of what happens
when you take prisoners, and he seemed like the best
one to.
Speaker 2: Take Ricky and rob Rome and investigate.
Speaker 10: No successes for Ricky.
Speaker 11: Oh I think it's not.
Speaker 2: Yeah, it might have a pop up under your character
sheet too, yeah.
Speaker 9: Character it's like oh, yeah, okay, m m hmm.
Speaker 11: Let's see.
Speaker 2: Uh, anybody want to spend luck here? Actually, let me
see who's the next closest. I'll take an investigator Heather.
Speaker 11: Oh, you got it.
Speaker 2: Okay, I'll take an investigation from Heather too. Actually, I
got one success. One success, Heather. You're not sure what
you're looking at. It looks like somebody is writing on
the ground, kind of elevated at an angle, like lifted
up like a billboard in rob cell, coming from the
black square. But Rob, as you kind of look down,
seeing a little bit of movement out of the corner
of your eye in all capital calligraphy letters, it is
saying liar.
Speaker 1: Anyway, let us I need to ask a few questions.
I need some answers here to figure some things out,
and then you guys will be let out of your
cells and you guys can return back to whatever the
hell you were doing before.
Speaker 5: Cool. Okay, what do you want to know, wizard?
Speaker 1: Where did you go? How did you go? And how
did you get back? For starters? Because one minute I
was protecting you on my platform, and then the next
minute you leapt off and then disappeared, and then the
next minute you turned back up with someone else.
Speaker 4: Girl, I don't know why we should tell you anything.
Speaker 1: I knew they were I did just kind of say
that that, because if you don't tell me things, then
I can't really let you out of prison. That's the
why I did I do. I yes, I currently know.
I knew when she was crying. I found out because
of the.
Speaker 11: The magometer, and you didn't try to work with them
to figure out how Well.
Speaker 1: See, what happened was I was living my life and
then the crying girl was crying, and I bumped into her,
brought her back to Oh sorry, you weren't here. I
brought them back to their friends. I settled them in
to have them relax for a minute and then ask
them questions. And then right after that, that guy started
catapulting giant rocks and robots and other crazy things at
my city, and so I started to defend the city
because it's full of regular people living their everyday lives,
doing their jobs. And then they disappeared. This all happened
in the matter of an hour, I think, if Matth
is right.
Speaker 5: No, by the.
Speaker 11: Way, JD.
Speaker 2: Yeah, by the way, JD. This is the person that
you saw name you when you were down, obviously, but
just for clarification, this is the Mitch that did that.
In addition to that Mike, since the wizard knows all.
There is something going on in the side of Rob's cell.
You see, even from this angle, it looks like hair
that is writing to Rob, and you watch as it
writes out as it's spelling across everything he wants. What
JD has.
Speaker 1: I just bang on the door of the golden locked cage.
Speaker 5: I thought you're supposed to be the all knowing, all
powerful Wizard of Oz. No, there was a few days
in between all that. But you're carefully bitch.
Speaker 1: That was seven months ago from me.
Speaker 5: He's conveniently leaving out that he's working. Well. Sorry, his
sheriff of this Emerald city is Reugan and he was
attacking our friends and trying to arrest them.
Speaker 2: It's funny you should mention that because you hear footsteps
and the sheriff up to support the wizard. He doesn't
seem to be the jailer of this place, but he's
acting like it as he bangs some of the empty
cells as he's walking up. You know, not enough to
interrupt the boss, but whenever you all are talking, he
kind of clink clink clink, clink, clink clink. Only JD
would notice this, But what he is using to clank
along the jail. Cells is a horn, a spiralingorn.
Speaker 1: Sorry, the sheriff was the sheriff here when I took over.
I didn't like go out into the woods and find him.
Speaker 6: She points her gun at him, just like she did
that last time when she was when he was on
the ground after Ricky knocked him over.
Speaker 1: I am assure you that will not work here.
Speaker 5: She doesn't lower it.
Speaker 4: Do you ever wonder, if you ever wonder if you're
on the right side. You just need to look around
at the other people who are there. You know, I'm
just saying that if he was already here, you should
have known to turn around.
Speaker 1: Your friend is the leader of the evil army that
attacked the city.
Speaker 3: Why do you keep yes like you don't know who
I am?
Speaker 1: You should I.
Speaker 12: We've met before.
Speaker 1: If your memory's not so great, mister Wisdom, remind everyone
that I am the Wizard of Oz and I meet
so many people on a regular basis. Did you do
anything besides between the time I met you and becoming
the army of the leader of the army that would
be recognizable. Have we interacted before.
Speaker 11: You?
Speaker 1: Why I helped you?
Speaker 12: I helped you at a point you named me.
Speaker 1: The mitch, he who walks between the rose mm hmm,
I recall just now that makes sense?
Speaker 5: And how where's the who van Helen? Where is she
the Lion?
Speaker 4: Of course lion.
Speaker 1: I'm just I'm just messing with you.
Speaker 10: Uh.
Speaker 1: She's fine, he's fine. The old guy you brought in
was also fine. They're in a different part of the
of the prison.
Speaker 4: They're in prison.
Speaker 1: Yeah, you all showed up together. You all claimed to
be friends with the leader of the army. And at
one point you also tried to convince me that the
old guy you brought in was Randall Flag, known terrorist.
Uh and uh, you know figured i'd put him in there. Well,
we brought him in, you sheriff did, and then you
tried to convince me that he was the known terrorist
random Flag noticed the walking dude, which my posters would
clearly prove otherwise. And he pulls up a poster and
I'll be uh and it looks like JD.
Speaker 4: Yeah, because you can trust a poster.
Speaker 5: Who made the poster?
Speaker 1: The Emerald City Police, who's.
Speaker 4: And who's in charge of the Emerald.
Speaker 6: City Police, The Sheriff of Nottingham she pin.
Speaker 5: She points her gun again at him, not like.
Speaker 10: How did you survive? Ricky looks is looking at the sheriff.
Speaker 2: He holds up the unicorn's horn and picks his teeth
with it, but does not answer.
Speaker 10: She shouldn't trust someone who doesn't die when they're dead.
Speaker 1: I I don't want to burst any bubbles here. That's
that's kind of the whole that's like a whole theme.
That's like a whole theme here in the Age of
All ways, people die and come back to life literally
all the time. Frankly, it happens. It happens quite a bit.
Speaker 10: Then he should be removed from the Age of Always?
Speaker 1: What why?
Speaker 10: Because he's not a good person.
Speaker 1: This age of always is full of it's you all
seem very smart so far. You've all read books, right,
have you?
Speaker 11: Yeah?
Speaker 1: All the books? Well, unless they're like children children, All
books have bad guys, and all stories pass through the
age of Always. You can't have light without dark, you
can't have good without bad. There has to be an antithesis.
No one will be a hero if they don't stand
up against anything.
Speaker 12: Where do you think you line up in this story?
Speaker 1: I was just trying to be an okay guy and
run a city and then a bunch of outer towners,
out of towner's come in and start messing things up.
Speaker 2: Rob and your cell, it says, liar, killer, murderer.
Speaker 14: Yeah, Rob's furious. He's he's watching all of this playoffs.
He's letting them dig this hole.
Speaker 1: What I don't understand is how all of you, if
you're the same guy, if you're the Mitch, how do
all of you know Mitch Medam Because I named him
a long time ago.
Speaker 4: I mean, you named him a long time ago, So
why come we know him too? Time's weird here, right,
it is true?
Speaker 1: Times is weird here.
Speaker 4: I think you need to start thinking about whether or
not the opposite of the of the story you think
is true is true. What I'll just put the right
words together correctly. You understand things wrongly.
Speaker 1: You're incorrect.
Speaker 4: Yes, you are the bad guy.
Speaker 18: That doesn't make any sense. How long Matche, How long Mitch?
How long did you look for our way home?
Speaker 1: There is no way home? We knew that.
Speaker 11: How long did you try?
Speaker 1: I didn't. There were too many other things in other
places just like this that needed to be fixed.
Speaker 11: You gonna ask, no, fuck you man?
Speaker 1: I said I would fix it. I said I would
fix everything, and that's what I'm doing.
Speaker 11: Not for us.
Speaker 1: There was never any going back, and we knew.
Speaker 14: That I can keep us from trying to find you
to bring you back years, which we tried. You fucking tried, man. Yeah,
you're playing.
Speaker 11: Wizards and the fucking make believe it is.
Speaker 1: It is very real, first of all. Second of all,
we knew what could have happened. If I came back.
Speaker 11: I could have it could have I didn't have to.
Speaker 1: If I never came back, it never happens.
Speaker 16: That's bullshit. H He didn't even try. You didn't even
look into it. You even try to find other possibilities.
He took one story, one one conversation is gospel and
said fuck it.
Speaker 11: And that's it. Good lifetime. Screwed the other guys, right.
Speaker 1: When have my plans never worked?
Speaker 19: Your plans sucked, bitch, but they always work.
Speaker 11: Well. This is it working for the rest of us?
Speaker 20: Man, the weird hair in yourselves. Glad it's worked out
for you. Glad everything's worked out for you. And it
looks fine. I promise you. Everything was not fine. And Garret,
you lived. What does that mean we lived?
Speaker 9: Is that.
Speaker 1: Better than not let only go?
Speaker 8: What kind of life will we have? And everything fell apart?
Everything Maggie's dead, dude, just me. I followed a bunch
of children that I barely even know because I needed
to get out the last one. All right, leave Garrett alone.
So you left, are defenseless, left to find help. You
want to help Garrett, and that means not bringing you.
Speaker 11: Back, right, that's the key, just to leave you in
this time forgotten fantasy world.
Speaker 1: Now. Unfortunately, mm hmmm, the creepy hair in your corner
is correct. There is a killer.
Speaker 11: One of you to a lot.
Speaker 1: What have you killed the Bishop and stole the powers?
Without them, the age of always will fall. I know
which one of you has them, and the way the
rules work here is that I cannot take them from you.
I can only impress upon you the fact that if
you take them, you keep them, the world here will
fall into darkness. However, if you willingly give them to me,
I can prevent that.
Speaker 5: Isn't that convenient?
Speaker 11: Mitch aimed to stop?
Speaker 1: Mitch, if what you say is true, A long time ago,
I saved you from death. I ask for this one
thing in return. Without it, I cannot stop what is
going to happen.
Speaker 5: No, why you and what's going to happen.
Speaker 1: Darkness will descend upon the Age of Always and all
of the stories that come through here from your garret,
and the uncountable number of others that touch this space.
The darkness will spread to each of them, blinking them
out one by one. I don't have the time to
teach you how to use the power, and I have
even less time to wait for you to figure it out.
Speaker 10: Is there someone better suited than you?
Speaker 1: I don't know. I'll be honest. Once I figured it out,
once I figured out what I needed, once I figured
out how to make it work, finding another person to
teach that to didn't seem like the priority.
Speaker 4: Can't trust so you know we can't trust him. We
already know that he's wrong, and he won't admit he's wrong.
What else is he wrong about?
Speaker 10: You have no desire to go home.
Speaker 1: Nothing good can come from my return.
Speaker 10: Nothing good is there. It's already not good. If you
planned to fix things, I don't know if you did.
Speaker 1: The Age of Always is a nexus. If I can
stop what's happening here, it will spread everywhere else. The
same goes for if I cannot.
Speaker 5: She looks at JD. What is he what power is
he talking about?
Speaker 3: Well, a long time ago, well, pretty much right after
I left. You have to understand, it's been a long
time for me. It hasn't been five hours, five days,
five months. It's been hundreds of years, or at least
one hundred time. Is as mentioned weird. But shortly after
I left, I was on the road and the ferryman
died and we were attacked by people in black cloaks.
The bishop left her station and came to help. I
couldn't save her, but I was gifted her power, or
part of it.
Speaker 12: It's what he wants while it was gone. I don't know.
Speaker 3: I don't know what it can do, to be hones honest,
but I'm not giving it up. I've been told not
to give it up.
Speaker 4: Don't get it up.
Speaker 5: Who told you not to give it up?
Speaker 11: Bishop?
Speaker 10: Did you've had that for a hundred years, give or take.
Speaker 11: Yeah.
Speaker 10: And he's a better fit than you. And he looks
at Mitch.
Speaker 1: He's had that power. Do how do you use it?
Show me the Vicioal's power?
Speaker 12: I don't know.
Speaker 1: Is he the better fit one hundred years? Has it
even cracked it?
Speaker 5: You don't even have the ability to use it, So,
how can you guarantee that you're gonna not just be
like him?
Speaker 1: The moment he gives it to me, I can use it.
Speaker 5: Well, that means it was gifted to him too. He
can use it too, use it.
Speaker 12: I'll try to use it. Greg roll me a D twelve.
What could be good?
Speaker 2: Depending ool nothing happens?
Speaker 1: You've been here for how long? And you can access
the road? You've been here for how long? And you
can use magic?
Speaker 4: Are you talking to me? I don't think you should
use me as an example. Don't use me as an
example in your bullshit story. Sir, you don't even know
what happens when an intenta breaks on the loop. How
long have you been living here? I know why you
don't know, because your mind isn't there. You need to
start paying attention.
Speaker 5: You know, what, what.
Speaker 4: Does your father's face look like? What does it look like?
Mister wizard?
Speaker 1: He wore a blue jumpsuit zip to the crotch. His
name was John Paul or John Patrick, said JP on
the name tag.
Speaker 5: Okay, what is it?
Speaker 1: A beard that was going a little bit white? Listen
to heavy metal music? And he died? What do your
father look like? And he looks to other.
Speaker 11: It's none of your business, That's what I thought.
Speaker 21: Uh yeah, uh, I want to try something, Greg.
Speaker 2: I knew you would, buddy at some point slap him.
Speaker 22: I want to try to use the magic I have,
maybe hopefully to try to get out of this cage
or whatever.
Speaker 11: I kind of want to.
Speaker 14: I mean, I want to try to just pull the
bars open, uh, using my all spark.
Speaker 11: Is that something that I can try out? Sure?
Speaker 2: Roll me to D twelve? All right, you can use
the drop down on the left hand side to just
go down to the dice if you want to make
it easier on yourself.
Speaker 11: Yeah, I'll just kidd me. I got to refresh because
my I think is is mhm six.
Speaker 2: The prison starts to shoot and ride.
Speaker 11: Do you want to on this?
Speaker 9: Is this?
Speaker 11: Yeah? Because my pride is my dad is a job.
Speaker 2: The prison starts to really shake and the hair Ricky,
I'm gonna say this is you because you've been having
a little bit more success seeing this. It spells out
in all capital calligraphy. Yes, as everything starts to shake.
Speaker 11: And that's exactly. Oh I'm sorry, but no.
Speaker 2: No, no, you go ahead, you go ahead, bud h uh.
Speaker 14: And that's exactly what Rob's in the interject with was uh,
I know what my dad looks like he's gonna start
pulling the bars open. He's a giant fucking Roba, and just.
Speaker 11: Pull the fucking bars apart.
Speaker 2: The bars aren't apart yet, but they are. You can
hear the strain of Metal Wizard as whatever Rob is doing,
it is working, even despite the spells that are associated
with the prison. It's seeming to circumvent that, as if
maybe the magic that he possesses helped to make this place.
Speaker 23: Who who who whoa whoa whoa whoa Stop stop you
can just you can just go.
Speaker 1: You don't have to rip the place down.
Speaker 2: Do you stop?
Speaker 11: No, absolutely not. He's not stopping.
Speaker 1: You understand. I'm gonna have to make you stop. You
say that, and he just sort of flicks his hand
towards Reugan.
Speaker 5: And Scarlet shouts out, JD grab him at Rugen, like
grab Reugan.
Speaker 12: Is he close enough to grab?
Speaker 11: He is?
Speaker 2: He is a little too confident as he's picking his
teeth with the horn of a unicorn.
Speaker 3: Yeah, I'll try and grab his arm and pull it
through like the bar and I would like to take
try and get this horn too.
Speaker 2: Roll me a force then yeah, okay, I couldn't see
how many too. As the wizard as you turn to,
you know, indicate the sheriff. You hear a clanging thud
as the arm with the horn is ripped through the
bars and his head smashes against the bars as JD cranks,
you know, puts his feet up on the inside of
his cage and begins to kind of like crank Reugan
against the bars. As he's pounding against the sides, completely dazed. JD,
with a century's worth of warfare, is coming in handy.
Speaker 1: Right now, Bruken, what do you even do here?
Speaker 2: He's he can't even answer you see blood, a tooth
is missing. He is getting his ass handed to him
right now.
Speaker 5: Thirl It is screaming at JD. Get up, Jay, get up,
and she's trying to get out the door. Somehow.
Speaker 2: Everybody's banging. The place is shaking. The sun of optimist
prime Im is starting to bend the fucking bars.
Speaker 4: Uh.
Speaker 2: Ricky, in this moment of mania, as everybody is screaming
and the land is at your back, what do you do?
Speaker 10: Ricky starts to think about the conversation with Hannah Caspar
on the road on the as we're riding through the
Age of Allways, and he starts to concentrate as hot
as he can and what he wants to try and do,
and it's the role for bullshit, Gregg is take everyone
that's in this prison somewhere else.
Speaker 2: Roll me a D twelve wizard. As this is going down,
you are standing alone in the middle of the hallway
and the prison is a rockin.
Speaker 10: We'll give you my pride as well with Creig the three.
Speaker 2: Okay, I'll take into consideration. As you begin to concentrate.
Speaker 1: Uh, the Wizard begins to go through his many pockets
and looking a little exasperated, begins to a couple of
things on the like center if there were a center
line of the padlocked cage, essentially slapping these things on,
and he slaps them on. They like drill themselves in
wherever he slaps them on. And then he fastens something
and undoes the lock on that cage, and he reaches
out with it and hits JD with it.
Speaker 2: You all start to see as this white, glowing kind
of gossamer web right from the spot where it touch
JD begins to drag from JD into this lock. But Rob,
as you are sitting there, the bars are beginning to go,
and you look just something out your periphery inside the
cell that is cloaked in blackness, with just an inch
or two give between it and the bars. You see
a hand reach up from inside and it grips the bar,
and the hand is green, and you hear a voice say,
and nobody in all of us, no wizard that there
is or was, is ever going to bring us down.
And as the darkness disappears inside of the cell, you
see your aunt Alphaba, the wicked Witch of the West,
and my friends. That is where we end. This session
of Atari Twilight.
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you for joining us on this blash from the past,
and we'll see you next time on Atari Twilight.