Speaker 1: You are listening to table story.
Speaker 2: Well, now, I reckon, I ought to tell you a story
at a little office that handles things nobody else. Will
you know? A supernatural super unnatural haunting sexes. The whole
list is rather long, and we don't have near enough
daylight for that. What you need to know is this
ain't no script here. We make it up as we go, music, sounds, etc.
It's all produced for you live like magic and it
being a scary story and all I'm assuming it will
have all the things scary stories do. But I'm just
guessing here because of it being improvised and all all
I know is with this cast, well, it's probably gonna
be brutal, violent and have enough moral decay to make
our therapists quit. You got one of those, right, good,
So use your brain. Okay, it's gonna be scary, strange,
dumb as hell. Oh off you.
Speaker 3: Clas over.
Speaker 4: That was something, wasn't it?
Speaker 3: Yeah? Yeah, I think I think I did the magic.
I think I did magic.
Speaker 5: I think I think so. I think, sir, something well done.
Speaker 4: Oh boy, I gout use a drink after that?
Speaker 6: Yeah, I guess machine still coffee machine right now? She
can probably get something.
Speaker 4: Yeah, I'll take a coffee and uh oh, I guess
Older is out of the office. Yeah, it's a vaguely
smell like coal slaine here. Oh that's right, we have
that jar still. Oh, I don't think, man, you don't think.
What do you think it is?
Speaker 5: Wasn't it a jar of acid or something? Am I crazy?
Speaker 3: There was a there was a jar coastal and there
was also acid.
Speaker 5: There were two separate there were.
Speaker 4: Two separate jars. Yeah, yeah, don't mix those up. I
think it's quite obvious. The acid has this well, it's
bubbling coal slides.
Speaker 5: M and it was going to be acid. Do not
eat unless unless that's what older said. That's what Older said.
Speaker 4: Unless, well you have to as long as we're not
ordered to do something as crazy as eating acid. And
let's just it is not.
Speaker 5: Going to eat the acid, even if I'm ordered to.
Speaker 3: Just to clarify, hey, did are you walking with us?
Or yeah?
Speaker 5: Buddy system he's ready. Oh okay, the buddy system has
immediately failed.
Speaker 6: I I didn't realize it was a buddy system.
Speaker 3: It was.
Speaker 5: Oh well it worked for you too, at least, so
that's something.
Speaker 4: Well that's not good, or maybe it is I don't
know how this place works. Apparently everything happens for reasons,
so maybe there was something he had to at tend
too on his side.
Speaker 5: It's fine, it's brother, it's going to take him. I'm
just gonna like, I'm just gonna jiggle the handle a
little bit, see you for No, I don't think that's it.
Speaker 2: The door will open, like if you want to leave,
you can leave, but you need to roll D one hundred.
Speaker 5: No, I'm just kind of just kind of like any
second now he's gonna.
Speaker 6: I mean when I stepped out, time was apparently weird, right,
I think a couple of days passed for me and
it was only a couple of minutes full of yew.
Speaker 4: Yeah, the time paradox. Oh, speaking of which, we still
have that experiment. You had a chance to go back
to well, actually, no, we haven't go back to your
apartment to see if the ice cream melted. Yeah, to
see if your ice cream melted, if the light bulb's gone.
Speaker 5: No, I haven't done that yet.
Speaker 4: It doesn't have to be immediate.
Speaker 3: Do you want to go home?
Speaker 5: Do I want to go home?
Speaker 3: Yeah? I mean I have you? Do you want to.
Speaker 5: Have?
Speaker 3: You just been staying kid the entire time.
Speaker 5: Personal question, super personal question. Oh sorry, I should probably
collect some things from there, To be honest, I left
a few personal possessions, so who maybe maybe I will
do that today once we figure out where Harry is
and where Older is.
Speaker 4: Well, I think we need to worry about Older. I
think Older is fine. And she's been at this far
longer than we have, and you know, like she says,
I mean, everything kind of happens for a reason here,
So yeah, we've been at this.
Speaker 5: For a for far longer than we have. I agree
with that sentiment. Yeah, I can I onl with.
Speaker 4: That, and I think Harry should be fine. But then,
of course, if Older we're here and we asked, hey,
is Harry fine, then she would say, well, it depends.
Speaker 3: Yeah, is this the trend you?
Speaker 6: I haven't. I haven't noticed this with Older, which is
it does always? Maybe I'm not observant. Is this always depend.
Speaker 5: I feel like you haven't been conscious for any of
the conversations we've had with Older.
Speaker 4: It's always security.
Speaker 6: I'm I'm want to be so honest to you. When
I walked in, I was holding a bear. I'm still
a little bit buzzed.
Speaker 5: Fair enough, Okay, yeah, older Older kind of speaks like
a like a lawyer, you know what I mean, Like
it's always the mm hmm, well if when and then
you know potentially and by the bye, and you know,
it's never it's never. It's never a clear answer. It's
it's always some kind of loophole or clarification or.
Speaker 4: Yeah, to be fair in her defense, I don't think
there are any definites in this world just so far
as we've seen. Or maybe there is, but we haven't
found out yet, so it's all up for discovery.
Speaker 6: Yeah, yeah, I mean I won't say, and I could
probably be should be wary a little bit. But earlier,
before I walked in on the whole outrageist thing you
were all doing, I did speak to older and apparently
the sensing something weird about the office, something was off,
something was wrong.
Speaker 3: With Josephine as well. I didn't really clarify that, but either.
Speaker 4: Oh the doll was it?
Speaker 6: Yeah? Yeah, I think the doll just wasn't around, which
is apparently odd.
Speaker 3: Really told me to.
Speaker 5: Keep an eye out and try and like I can't
remember it, don't say the name of the doll. Was
that a thing?
Speaker 3: It was don't look at the doll directly.
Speaker 4: You don't look at the doll that dolly?
Speaker 3: Why I didn't ask? I was scared, I'll be the
aunts would bory me.
Speaker 4: Well, that's always wonderful. We have something in here that's
also possessed. Well, I won't be having any interactions with
that door, won't be touching it or looking at it.
After what I saw back there, I ain't taken any chances.
We don't need what happened back there to happen in here.
Speaker 3: Yeah, are you sure you don't want to go home? Gus?
Speaker 6: I know an other personal I want to be honest
with you with the way I don't phrased it.
Speaker 3: I'm a little bit scared about being in the office
as well.
Speaker 5: You want to come to my place?
Speaker 3: Is that what this is? Not in that way?
Speaker 5: I'm I didn't say that way.
Speaker 3: Okay, I know.
Speaker 5: I remember you've been very clear about your successful life
outside of the office.
Speaker 6: I'm I'm actively the definition of not successful.
Speaker 4: You grab some coffee.
Speaker 5: Yeah, okay, the curse by have reacted slightly. I'd like
to apologize.
Speaker 3: Didn't mean it. It's it's fine. I didn't realize I
was touching enough.
Speaker 5: Oh, it's fine. You can come to my serial killer's
kitchen if you want to, if you really want to that.
Speaker 6: I said that before I knew it was your kitchen.
Speaker 3: M hmm.
Speaker 5: You said that like it was gonna completely justify ye.
Speaker 3: I realized it wasn't going to help I. It was
just a unique kitchen.
Speaker 6: And before I knew you, I it might just be
like a time period thing. You know, in twenty twenty
five are very very different decoration styles.
Speaker 3: Intercore m hm.
Speaker 6: We don't have to go to we can go to mine.
Speaker 3: I have several things that need to take care of.
Speaker 6: Anyways, say if you want to be a buddy when
I do some choes, we could do that as well.
Speaker 5: I do need to visit mine regardless, So you know
it's a I guess I don't know buddy system. Buddy
system is really tricky when it's only three people, they
have three buddies.
Speaker 4: Do you want me to tag along? This seems like
you two have something going on here and I don't
want to be a fly on the wall.
Speaker 3: You can know, you should, you should? You can come,
you should come.
Speaker 5: It's fine.
Speaker 4: Did help you run area?
Speaker 5: We also got to do the paperwork on the I mean,
I don't really have any errands. Yeah, and I just
have mail to collect and I need to collect my
personal effects and bring them to the office because as
a m hmm, that's important.
Speaker 4: A goldfish to feed, cat, maybe a dog.
Speaker 5: I had a goldfish, the goldfish would be dead by now,
because it's been a while since.
Speaker 4: I've going back.
Speaker 3: No, I don't know.
Speaker 5: I don't have any pets, so.
Speaker 4: Okay, I thing neither do I besides a stray cat
that keeps stopping by my house and dropping off various
objects like once it was a shoe and one time
it was a I think it was a gardening shovel.
And I don't know where these cats yet. I think
it's uh, I think I think it's I think it's
pelfering from somebody and dropping it off in my planting
evidence trying to get me in trouble.
Speaker 5: Sorry, when when did a cat?
Speaker 4: Are cats doing this?
Speaker 3: When did the cat start?
Speaker 6: I guess this is a really time doesn't really matter
because we're all from literal decades apart.
Speaker 3: I recently came across the straight cat as well, uh
kind of more less adopted her.
Speaker 6: We call it baby, but she was a straight aside
following medicine and a shirt up on up front doorstep.
Speaker 4: Hm, that's normal for the cats.
Speaker 3: Then't drop stuff off like yours is doing.
Speaker 4: Though, Well, those cats like planting evidence at my house.
I already had one neighbor knock on my door and
ask why I believe it was one of her Oh yeah,
it was her father's handkerchief was out to dry. The
cat somehow nabbed it and dropped it off in my yard. Now,
she assumed that it had blown off into the yard,
but then we saw the We saw that there were
puncture marks like teeth that had you know, bitten into it.
And she was like, what's this all about. It's that
cat keeps putting stuff in my yard.
Speaker 5: You've seen the cat, right, like you've visually identified the cat.
Speaker 4: Oh yeah, I've seen the cat all right. No, no,
because I've seen it drop stuff off at my house.
One time it dropped off a whole fish, like a
live fish that got it from the river.
Speaker 5: You're describing you're describing a cartoon cat.
Speaker 4: No, I'm being serious. This cat has done that. I've
seen it with my own eyes, and it happened. Ever
since I got back. The cat wasn't there before I
come back home. Just suddenly this cat's gout and all
sorts of mischief for me.
Speaker 3: She'd maybe maybe he wants to get your attention.
Speaker 4: I think it's driving plant evidence.
Speaker 5: I've described it intense to the cat, which in my
experience most cats, I mean, they are malicious by nature,
but you know, not normally in like an informed like yeah, fashion.
Speaker 4: Yeah, I'm waiting for it to drop off like a
ski mask that was used in a robbery.
Speaker 3: You convink trying to frame you.
Speaker 4: It's doing something, because it just keeps dropping stuff up,
stealing from other people and dropping it off in my yard.
Cat burglar, that's a good one. I should write that
in my Actually, that's that's a good story headline. I
think I might.
Speaker 5: Think that your own week for however long this week lasts,
which might be forever.
Speaker 4: I do wonder how that time thing works. You said
that it had been days for you, Akachi, but it
only been really minutes for us. So I guess if
I were to step back through that door, the wind
up in my house only minutes, Well, I mean, how
does that work?
Speaker 3: Who knows?
Speaker 6: Because I don't think it's a strict rule. I'm guessing
because I'm from twenty twenty five. Still sounds weird, apparently not. Yeah,
that seems to work, fines. I don't know there's a
strict rule in it when it comes to time. I
think it's whatever the office feels.
Speaker 3: Like in the moment.
Speaker 4: Yeah, it's strange, kind of has a mind of its own.
I can't really decipher it, but it seems to have
some sort of narrative i'd like to say, almost in
a way.
Speaker 6: Which is why I am a little bit nervous at
Harry didn't walk in with us because Oulda said that
the office was acting weird, feeling weird, like there was
a presence.
Speaker 3: I don't know. Horing different to Josephine at the brain
lest he.
Speaker 5: Seems pretty lucky, so he's probably safer than we are
right now. That wasn't comforting at all. Wow, that's not different.
Speaker 4: In my head, we're the ones in danger. Yeah, knowing
him his luck has saved him from whatever impending doom
is in here, whether it be that jar of acid,
the jar of Koleslaw Josephine, speaking of which, if you
ever see Josephine next to that jar of acid, move
the jar of acid away from her.
Speaker 3: Just precautional, do you have the incautionary?
Speaker 4: I'd rather not a possessed doll be in the vicinity
of something that could potentially, you know, burn a hole
through the floor. And God knows what will happen if
we burn a hole through the floor of a whatever
this is, might spring a lake.
Speaker 3: Yeah, I'll keep I keep an eye up for Josephine.
Speaker 4: Yeah, I speaking of which, seen her?
Speaker 5: Have you?
Speaker 6: I want to act. I want to act to me
to look for Josephine. I want to such the office
for Josepine.
Speaker 2: Boy, let's go. Uh would you roll for me? Day
that special bullshit? To help you with this bid?
Speaker 3: I don't believe I did not.
Speaker 2: Is anybody helping her.
Speaker 4: I could lend a hand. I have some searchability, I believe.
Speaker 2: Yeah, you have some ego eye kind of stuff. So yeah, Gus,
would you like to help as well?
Speaker 5: Yeah, yeah, buddy, system.
Speaker 4: I have devil in the details, right, small small things.
It's a level two. So I'll sist with that.
Speaker 2: Yeah, okay, So here's what we can do, and I
think that we should just because normally, when you assist,
you're adding five from each person that's assisting you. Akachi,
So you'll have a ten shift, but then Jim will
still get to use his freebie. So we'll roll for
what you say, and then Jim might still see something
extra that everybody else missed.
Speaker 3: Okay, go ahead. I'm remembering that even though previously they'd
warned us not to look just feel in the eye.
When I'd walked in earlier, I was just like you
looked for just from the corner of the eye, but
just look for yeah, your key. Somehow there's a mind. Believe.
Speaker 2: I'm going to give you a choice. You can choose
between mind or soul. It's up to you. The result
will be different in that how I give you the information,
so to give you an idea of mind, you're using
your eyeballs, so you're just looking for things that are visual,
so you're using maybe something else, some intuition. So it's
up to you.
Speaker 6: I think I'm going to go soln okay because of
what just happened the previous mission, I've encountered more literally
more uh, and we'll tact our way my spirit and
I think I'm sensitive in some regard to that.
Speaker 3: At least currently I'm still writing that way someone to
go on to go, so.
Speaker 2: That sounds goods.
Speaker 3: Oh bye?
Speaker 2: What oh by? What would you Ooh? Okay, Now, normally
taking a burn lets you reroll, but if you won't,
I'll just let you take a burn to knock that
to a success since it's only one off.
Speaker 3: But that's that's gonna take me to four burn.
Speaker 2: Huh, which means you have to roll for a minor condition,
which can be cleared. You know is not so bad.
Speaker 6: You know, you know, we haven't seen where it's we
haven't really seen too much of it yet.
Speaker 2: I'll take a burn, perfect, Okay, you go ahead and
roll on that minor table.
Speaker 3: Then all right, what you got uncunny? Aftermath?
Speaker 6: You suffer hex roots in folklore, the kind of thing
people with sweat happens, but you can never quite prove.
Have you seen shadows in the dark in the corner
of your eye, hear a name whispered?
Speaker 3: Honestly, Ford be looking for dressing?
Speaker 6: He then whispered when no one is there, or constantly
feels someone tapping on your shoulder. If nothing comes to mind,
consulted the unconny table, Yeah, okay, candy table.
Speaker 2: Yeah, the uncanny table. So this is stuff like the
hat man stuff you might find on you know what
you would recognize today has read it things like that,
you know stories where people say, oh I've seen Bigfoot.
All of that can be rooted here. So whatever, whatever
you'd like, you don't have to tell us right now.
You can just slice it into the role play when appropriate. However,
as you're looking around the office, is this your first
time really looking deeply looking around the office?
Speaker 7: Actually?
Speaker 2: I think this is It might be.
Speaker 3: Yeah. I think the first time I was here I
was freshly grieving.
Speaker 2: Yeah, And I think everybody kind of has taken a
look around the office, but I don't know if you
all have had time to really dig around and open
drawers and things like that. So as you're looking around
on the office, I think, oh, boy, so this is
a success and you paid for it. You gave me
a burn for it, so I'm gonna give you a
little bit extra than a normal success. So the first
thing that you'll notice is you do feel something because
you're not just using your eyes. You're deciding to kind
of lean into that feeling in that encounter that you
previously had. So you're in a feel a draw towards
a couple of things in here. There is a low
bookshelf on the far right hand side, kind of by
an Alder's door. There's a pull there for you. There's
also a pull immediate to the lead. To the left,
you'll notice what Alder refers to as miss Moore's desk.
You've not seen anybody there, but there does appear to
be like a desk. There are some pots and flowers
and things, a couple of candles that are lit, and
then there's a draw kind of to that area and
then to inside the chief's office, my office, and that's it.
Those are the things that call to you immediately. And
I will continue this whenever you go to set locations,
should you choose to do that, And then Jim, I'll
give you your freebie after we figure out what Akachi sees.
Where are you looking though you are you kind of
looking with Akachi or are you moving somewhere else in
the office? Actually I should ask you that.
Speaker 4: Yeah, I mean I would be looking at, you know,
anywhere that Nakachi isn't kind of trying to, you know,
spread out the search.
Speaker 2: Okay, So Akachi, where do you go first?
Speaker 6: I think on combination of instinct and logic, I move
over towards Altar's office storm.
Speaker 2: Yeah, okay, it is cracked a little bit. It's not closed,
so you can go in if you'd like. There's a
lot on in there. But the bookshelf there is does
seem to be like an empty spot on that low
bookshelf that your eye draws to. But you don't see
any sign of Josephine. Now, if you'd like to go
into the office, you may, yeah, okay, the door, so
you hear a little as you open the door. There's
like a weird round lantern or light that's on her
desk that's glowing. There does appear to be things on
the desk other than that, there's no sign of Josephine,
and there's no sign of Missolder.
Speaker 3: No one here. She doesn't mind. I'm gonna walk over
to you, yeah, desk.
Speaker 2: Okay, Now, let's see if I can do this in
a sneaky way. I'm gonna see if I can show
this just to you. Do you see that or does
everyone see that?
Speaker 3: I see it?
Speaker 2: Okay, does anybody else see it? I don't think so. Okay, perfect,
I did it right, Okay. So then you see these
two things next to each other. They seem to have
marks all over them. You will see like a black
pen in a red pin on her desk. It seems
like she's made most of these notations here and you
see them side by side on her desk. Meanwhile, Jim,
outside the office here, you're drawn to the opposite of
where a Kochi's going, so you're going to miss Moore's desk.
And I think I think there's a scent that you
get from these flowers when you're over here. They smell fresh,
even though you've definitely seen them previously when you've been
in here. They don't seem to be wilting. They don't
look like they've been, you know, freshly watered in that
they don't have any like spray or anything on them,
no dampness, but you can kind of still smell that.
They smell like they've been freshly cut. Today. However, your
eyes are drawn to this painting on the wall behind
what looks to be a tea station or coffee station.
And I'm gonna say you are a very observant individual.
And the last time you got coffee here, which may
have been a couple of seconds ago, you did not
This was not the way that you're about to witness
it now. But you see this on the painting, and
let's see if I can do that. I'm gonna show
everybody this one. So on the left hand side for
those listening, there is a painting above this cute little
wooden coffee tea station where you can get biscuits and
the kettle and things like that. And above that painting
it seems to be like a woodland forest area. Maybe
there's like a moon in the background. And previously the
painting really didn't have too much on it. But Jim
is looking at what appears to be four shadowy figures
in the middle of the clearing of the woodlands here
and I'll just leave you all take over.
Speaker 3: So let's wanted to check for the things I found
at two papers.
Speaker 2: That's right, you'll have to. You'll have to. I think
you can zoom in on them, right or no?
Speaker 3: Yes?
Speaker 7: Okay, yep, okay.
Speaker 3: No sign of Josephine here, But found some papers.
Speaker 6: I think it's from your time, Jim nineteen forty six, right.
Speaker 4: Yeah, well it was forty seven when I came here. Well, yeah,
around my time. What sort of papers are they?
Speaker 6: I love these like habits crossed out or highlighted the
something advocate.
Speaker 5: Sounds like a newspaper.
Speaker 3: Yeah.
Speaker 6: The headline on it is that veteran returns home to
missing wife.
Speaker 3: No foul play, says police. Husband won't concede.
Speaker 4: Where'd you find that?
Speaker 3: It's on Older's desk. There's two of them.
Speaker 6: I don't I'm trying to figure what the difference is
or if they're just two Are the same things?
Speaker 4: She had that on her desk?
Speaker 3: Yeah?
Speaker 4: Interesting, moon morning?
Speaker 3: What's there about? Why would you want to again?
Speaker 4: Yeah?
Speaker 3: But no Jake spine here and no Older And the
looks of it. Mmmm.
Speaker 5: Should we ransack Older's office to look for clues?
Speaker 3: I feel guilty taking this off the top of her desk.
Speaker 6: If you want to go any further and I'll walk,
I'll walk back out of the office of the papers
in hand.
Speaker 3: If you want to go through jaws, I'll leave out
to you.
Speaker 4: I've already seen this paper.
Speaker 3: Oh so it's from your your time?
Speaker 4: Yeah? Yeah, kay, nothing, it's nothing. There's painting. This is new.
It's noticed something. The last time I want to go
get coffee here, this this painting wasn't here, suddenly appeared?
You see that?
Speaker 2: But the paper sorry, typical clear the painting was there,
but the little figures in the clearing were not.
Speaker 4: Mama, Well, I guess it was always a painted there,
but the it's different. There's four looks like people than
this painting.
Speaker 5: All four is a pretty auspicious number, considering how many.
Speaker 4: Of us there are. Yeah, I think it might be
some sort of painting of us.
Speaker 3: Oh that's yeah, I know that definitely wasn't there.
Speaker 4: Yeah, I know.
Speaker 5: So.
Speaker 4: I guess this room does have some weird qualities about it.
I don't know what that's supposed to mean.
Speaker 5: Yeah, I mean, I don't know how noteworthy this actually is.
You know what I mean? Because, like you know, the adull,
it appears as adult, it disappears. There's a painting that
has X y Z number of shadowy figures in it.
Speaker 6: It might just be a witness of the office localized
weird noticing. Put no sign of Josephine.
Speaker 5: Yeah, why are we looking for Josephine again?
Speaker 4: Sorry?
Speaker 5: Maybe I missed the mark on that one.
Speaker 3: I I will be honest you. I don't know.
Speaker 6: Alder asking me to look for Josephine before I had
left out with you guys, and I failed. I couldn't
find her and apparently that's odd according to older and
the office is acting odd according to oldness. I've just
I'm just working on everything i've heard secondhand, because to me,
the existence of the office is odd. So it's kind
of hard to me to free out what's odd to
an odd thing.
Speaker 5: I get you, I get you.
Speaker 4: Not mind, I'm going to take those papers. I don't
think all degle mind.
Speaker 3: Yeah, sure, go ahead.
Speaker 2: I now I am going to do a fancy thing
where I add your ability to see it. In fact,
what I'll do is I'll just now, I'll open it
to everybody if they want to peek at it. So
that should have happened just now to the first one,
and there's the second one. And for those watching right now,
don't worry. I'm about to show you as well. But
for those listening, you're just gonna have to wait until
they talk about it.
Speaker 3: It seemed like the same to you, pay the same paper.
Speaker 6: But I think the only think I noticed so far
anyway is that h the pretty lady on the front.
We're in two different things, Which is I think is wed?
Speaker 3: I would have to I don't know.
Speaker 4: I think Jim, as Jim is pouring over this, he
would know this paper because he read it himself, but
he would know what dress she was wearing, and or
either of these dresses what she was wearing in the
photo that was taken in his timeline.
Speaker 2: Ooh, that is a really good question. Roll me a
one D two if you can, or just choose pick one,
because yes, one of them is, but the other one
is not. Oh I think sorry, I do have an
answer to that. Okay, polka dot is yours.
Speaker 4: I think Jim is paying close attention to the non
polka dotted dress paper and scouring over it to see
if there's any differences, because he would have read this
first one, the real one or in his reality his
reality's paper many times, so now he's looking for any inconsistencies.
Speaker 2: I think you have this paper memorized. I don't think
you need to roll for this to see the date
is different on her disappearance.
Speaker 5: I'm kind of awkwardly peering over Jim's shoulder at the newspaper.
I say, holy shit, five cents.
Speaker 4: Jim's gonna look at just what this huh?
Speaker 5: I don't know, it's just crazy to think about. Man,
it probably costs like one hundred bucks in a Cogie's time.
Speaker 6: No one really never in paper newspapers us right, the
scouring the paper.
Speaker 3: I'll just go to Gus. We don't really no one
really reads newspapers anymore.
Speaker 5: What what happens?
Speaker 3: Everything's online?
Speaker 5: What happens to the medium of photography?
Speaker 6: It's so a s a thing like okay, like it's
basically have newspapers but online. So like photographers will take
photos and just put them online. We have online newspapers.
I guess it's the best way to put it.
Speaker 5: I guess that sounds fine.
Speaker 4: After a while of scaring the papers, Jim's just gonna
fold them up and tuck them away. He can't gleam
anything else besides the differences and date.
Speaker 2: Oh, there are no differences in the date. But you
can't see what older has highlighted. Here now highlighted some
text which I think might stand out to you. The
only thing that does appear to be different is the
photograph of the lady, and then the date that she
went missing. But everything else seems to be Everything else
seems to be the same. Although you will notice it
looks like she has redacted names and some other identifying information,
but she has highlighted wrote her husband weekly and roses
by the fence.
Speaker 4: Hmm, what does that mean?
Speaker 3: What does what?
Speaker 5: Man?
Speaker 4: Just find it very odd that older has this paper
and she's been doing her own research into this can tell,
but it doesn't make any sense. How is it that
she disappeared on a different date? The last one doesn't
make any sense because I'd been right when I was deployed.
The other one is I don't get it. Do you
know this late April nineteen nineteen five? Where was I?
Speaker 3: April nineteenth, nineteen fortive?
Speaker 4: Where was I? Louisiana, non Wales? We had just gotten ready,
we'd asked, we're in Wales. It's the last time center
a letter. It's the last time before operation. I wasn't
there yet, couldn't have been then. That doesn't make any sense.
It doesn't make any sense. This is when I left
basic training. This is when I was a meant to
leave before we touched down in Normandy. I don't get it.
It isn't anything. It's making sense.
Speaker 3: Here, Jim, it's everything. Okay, Yeah, it's fine. Sorry, Do
you want to drink of something?
Speaker 5: Jim? Can? I?
Speaker 3: Yeah?
Speaker 4: I think I have to. I think I have to
go home. There's something I need to confirm.
Speaker 5: Okay, you want to come as into nineteen forty six.
Speaker 4: Forty seven, nineteen forty seven home. Before all of this,
I've been working on a k and it's the most
important one I've ever worked on. You see, my wife disappeared,
and the mystery that surrounds it is baffling to me.
Is it doesn't make any sense, and I haven't been
able to make any sense of it. And truth be told,
Before I came here, I was at the house of
her parents and I met them. I knew who they were.
I shared dinner with them. I asked her father permission
for hand in marriage, and they didn't recognize me. But
when I showed a picture of her, I didn't make
any sense. I feel like I feel like a pair
of dice know before it hits the felt stuck with
no clear understanding of what the results are going to be.
I don't know what's going on. But it's no coincidence
that Alder haves these papers on her desk. I just
want to confirm something, confirm with my notes that I have.
Speaker 3: He want us to come with you wait too, It's
up to you.
Speaker 4: But one mind is probably not going to be enough
to unravel this. If you want certainly can join me.
Speaker 6: I think I don't know. You said in nineteen forty six.
Speaker 4: Forty seven is the time.
Speaker 6: That's before pretty much any law would have protected me.
Speaker 3: I think I might stay here.
Speaker 4: Again, it's your decision if you'd like to join me
or not. I won't judge you. This is.
Speaker 3: Again something that.
Speaker 4: All of this is. It's only confirming. Maybe one thing
in my mind is that I don't know what's going on,
and I've just been accepting being swept up into the
turbulence and just waiting for an outcome. But I haven't
yet got it. So I understand if this is a
little too much for you, and I understand the dangers obviously.
I you know, I don't need to tell me, so
I understand. Gus, you don't have to go if you
don't want, if you wanted to keep a Kacchi company,
I won't judge either of you.
Speaker 5: I know how you feel. So if this buddy system
is going to mean anything, you know some of us
have to stick together.
Speaker 3: At least.
Speaker 5: I mean, I'll watch your back if you'll let me.
Speaker 4: I won't stop you if you want to come. At
this point, here's a reason why we're all here together.
And I'm not quite sure, but maybe we're all supposed
to help each other out in some way, and I'm
willing to take that chance.
Speaker 5: Yeah, let me get my things. We can set up
whenever you want, all right, if it works like that,
I mean, I haven't really tried.
Speaker 4: I don't know. Every time I open that door, it
seems to take us where we need to be, so
I don't even know if we open that door it
will bring me back home, but maybe it'll bring me
somewhere closer to an answer to solve this problem. It's
a mystery.
Speaker 5: Okay, you reckon those radios will work from here, all catching, I.
Speaker 3: Hope, So I'll figure it out, all right.
Speaker 5: I guess one of us should stay here in case
Harry shows up anyway, if that works for.
Speaker 3: You, Yeah, okay, all right.
Speaker 4: Well, I don't know if this is going to help,
but I'll keep these papers with me, and maybe you'd
be get conduit to help give us a greater chance
of going where we need to be. I guess with that,
I'll don my Fedora and I'll reach into my pocket
and I still have that note, and it's the last
one that I haven't opened from her, well, haven't opened
since the day I read it. May kind of clutch
it as I opened the door.
Speaker 2: Okay, the door works, and I'm telling the players this
because then they get the fun roleplay part of decide,
making a decision, and going with it. The way the
door works is it's going to take you to where
you need to be, not necessarily where you want to be.
So in this moment, we need to figure out what
Jim needs. You as a player can decide where this
door goes. If you want to leave it up for chance,
we can roll for it. But I will say there
is some magic involved. You do happen to have some
artifacts on you that might sway the door one way
or the so that is up to you.
Speaker 4: I feel like in this case it's kind of a
leap of faith. Yeah, you know, Destiny's you know lad
Jim here, so he's gonna kind of have that same mind,
you know, and not try to not necessarily cheat or persuade,
I guess, but like now, if it's meant to be,
it's meant to be.
Speaker 2: Yeah, okay, So the way the office door will take suggestions,
how about that is sometimes if you're carrying an item
from a specific time. As you walk out the door,
it'll try to put you in that spot. So for
your characters don't know this, they might be able to
figure it out after you do this a couple of times,
but just so us players know that that can sometimes
affect what you're doing. So you happen to have three
items on you. You have two different papers from two different
windslines essentially, and then you've got this letter. So as
you grab and clutch the letter, I'm going to say,
the door is more willing to take you there. But
again it's up to you.
Speaker 4: I think Jim would be and you know, doing this
kind of not he doesn't like as a way of
comforting himself. You know. Yeah, now that's the one thing
that he has still left, the most recent thing. So
be doing this unconsciously, not even thinking about it, you know,
helping although he did say, you know, what would help
is a conduit maybe taking the papers, so he feels
like there is some persuasion, so he does take those papers,
but like he's unconsciously clutching the letter, not you know,
thinking too much about it other than just you know,
it's instinctual.
Speaker 2: Then I'm gonna say, the door opens to a world
you're very familiar with, in a town you.
Speaker 4: Recognize beautiful Stamford. H oh, gotten a little less used
to its stink my time away from it. I think
this is it. Well, I'm stepping through, Gus coming with.
Speaker 5: Yeah, that's the plan. All right, Well, stay to Chakchi.
Speaker 3: I've got a radio.
Speaker 2: Let you know how it goes, Kaucha, you do stay behind?
Did you want to leave? Okay? The door shuts, the
office is quiet. You don't even hear the ticking of
the clock. And we're going to follow Jim. I guess
which street are you on? Jim, where do you think
this dropped you?
Speaker 4: I think it'd be on Main Street. So I was
thinking right in the heart, right in the heart of Stanford.
Oh boy, it feels so weird being it almost feels
like I'm a stranger in my own city. I've not
been here for so long. Can't remember the last well,
maybe the first time I felt like a stranger in
my own city.
Speaker 5: It's like that when you've been away from home for
so long.
Speaker 4: I guess, yeah, sometimes you just forget. Well, here's my wins.
I suppose this might be a bit of a shock
to you. Everything's a bit old fashioned here, but it's simple,
but it's got its charm. Stanford isn't exactly known to
be a hotspot, but uh well, I grew up here
my whole life. I know. If you look down there,
that's the diner, it's a library, and that's the bank
where I owe quite a substantial bit of money. We
will not be going there or anywhere near.
Speaker 5: Oh am, I going to stick out like a sore
thumb here.
Speaker 4: I feel like, yeah, the gene ja, Well, you should
be fine. You'll be fine. Just stay close to me,
and if anybody bothers you tell them to mind their
own business.
Speaker 5: Cool cool, I mean swell.
Speaker 4: So. I don't know why I put us in the
middle of Stanford. Usually the only reason why I come
down here is to get to my office. And it's
not on main Street. You think I can afford an
office on main Street. No, it's all the way back
near the all what far far off in the less
uh well, as you believe it. The city can get
a lot uglier looking than this. Moreover, in the industrial part.
Speaker 5: What's uh what's the main export from here?
Speaker 4: I couldn't tell you. I've lived here in my whole life.
I don't know how this place sustains itself. If I'll
be honest with you all and bad feelings maybe, yeah,
mostly mostly, I'll tell you that much. And uh, it's
also good to keep your wits about you. There are
some shady characters here, and some of them might specifically
be looking for me.
Speaker 5: Am, I gonna get ruffed up by a dead collector?
Speaker 4: Well I will.
Speaker 3: Uh.
Speaker 4: If you decide to help stick up for me, you
will too. But they're mostly uh not active around this time. Oh,
what is it? Uh, I'm gonna look at the clock?
What time is it?
Speaker 2: Oh? Okay? Have you looked at your watch inside the
office before you did, right to see if it was moving?
Mm hmm okay, what whatever time that it was when
you left, when you were looking in the office and
it was stuck. And the moment you pull up your
watch and begin to look at that, let's say it
was four thirty, because all the watches were at four thirty.
It starts to spin slowly and then quickly until it
goes to about two ten in the afternoon, and then
slows down and stops.
Speaker 4: Was that one or two full rotation? So was it
like a day that had gone by.
Speaker 2: Yeah, let's say it's two full rotations. That's right, okay, liver.
Speaker 4: Wow wow, So there is some sort of disconnecting time,
but it seems only a day has passed and huh.
We'll have to experiment with that more. Anyways, we need
to get down to my office. There's something I need
to need to check out, and that's not here. It's
all the way down on the eastern side, over near
the industrial park. And that's where you'll get to see
all the fun stuff like the uh, steel drums that
people use to keep warm with big old fires, and
the rats, and the discarded rubber tires that haven't been
burned that have been set to be burned and yeah,
oh yeah, all the Stamford charms.
Speaker 5: That's actually a timeless classic, believe it or not.
Speaker 4: Oh, they still do them in the future.
Speaker 3: Yeah.
Speaker 4: Well, it's good to see that. You know, we keep
some traditions alive, like dumpster fire.
Speaker 5: Yeah, well.
Speaker 4: Went in rum Win in Stanford. Oh and if you
see any shady looking characters, big nice fancy trench coats,
big fedora hats, usually smoking a cigar or cigarettes and
looking real you know, shifty, that's the Spamoni gang, and
they have been looking for me because I have incurred
a small amount of gambling debts in my time. Let's
say I'm not as lucky as Harry unfortunately.
Speaker 5: Are you indebted to the mom?
Speaker 4: Let's go to my office and not talk about this
Spamoni family. Just pretend like I didn't mention that. Sorry,
I shouldn't be making you so nervous.
Speaker 5: No, it's it's fine, it's fine, it's fine. It would
have been good to know all this before I came
through the door. But it's totally fine. And I yeah,
I should have your wingman. Yeah, I should have mentioned
that before. As they are, you know, you live and
you learn, You live and you learn.
Speaker 4: Yeah, well in my case, you know the one thing
that you know, I never had a gambling addiction before
it really manifested after, you know, it came back home.
I don't know why. It's strange, it's just can't help myself.
I always was a cautious man, never really gambled on anything. Hell,
I won't even gamble on a fart. But now I'd
gamble about on just about anything, I think, And well
that's what landed me in the poorhouse.
Speaker 5: I'm not much of a gambler, but I do seem
to be a compulsive risk taker. I think that's how
old this have to scrapped me in the past.
Speaker 4: That's a friendlier way of saying degenerate gambler.
Speaker 5: Just a different breed, I guess, such as I don't
know jumping through a time portal into nineteen forty seven
with my popular for all the wrong reasons.
Speaker 4: Friends, yep, but is keep your head on a slight swivel.
Don't be looking too frantic because they pick up on that.
That's how they usually collect their debts. And people you
know who owe money, you know, they know photography or yeah,
probably it would be best if you don't use that.
Somebody might steal by or something.
Speaker 3: What wrong decade?
Speaker 5: It's not important. Your office where where is it?
Speaker 4: Well? Yeah, no, Eastern side. But you are a Soviet spy,
are you? I don't know how things win in the future.
Speaker 5: Do I sound like I'm from the USSR block?
Speaker 4: Do you want me to answer that? Honestly? Yeah, I
would have no idea. They apparently have infiltrated all the works,
you know, sending spies over well, you know the espionage
game is pretty strong around these parts. You never know
who could be a spy, or at least that's what
they keep telling us. That's why they got all of Hollywood. Oh,
let me tell you some crazy stuff going on over
in Hollywood. Well, the accusations of spies there.
Speaker 5: Some things never changed.
Speaker 4: Uh yeah, yeah, we just continue down this way.
Speaker 5: Yeah, I'm not Russian, for what it's worth.
Speaker 4: Okay, well I'm not Russian either. I told you we
got to stay calm, so don't be frantic. Oh oh
you're not a Soviet spy, gotcha? All right? Yeah that too. No,
I believe you. I trust you.
Speaker 5: Yeah yeah, yea, yeah yeah, good, good, good one.
Speaker 3: It's nice.
Speaker 5: I liked it.
Speaker 4: Yeah. Sorry, I don't have a car. I think I
could afford one with my salary. One hundred and fifty
bucks they want for these cars. Used like, try to
talk to a dealer. Well, I was kicking tires and
a lot. They had a couple of Ford Models and
I said, listen here, buster, I am not going to
pay one hundred and fifty dollars. It's got over five
thousand miles on there. You think I want a car
with five thousand miles? I could get one new for
two hundred's what's wrong?
Speaker 5: I'm just it's a little newspapers.
Speaker 4: Oh so I was okay, right, gotcha.
Speaker 3: One hundred and fifty bucks. Yeah yeah, well.
Speaker 4: I should be too much further now. If you look
over the right, that's my favorite diner. Uh yeah, they
still hand out free chili to the vets, which is
why I go there.
Speaker 5: Yeah, you landed in Normandy.
Speaker 4: Yeah, well D Day had already happened. They cleared out
the beaches and by the time my battalion had landed,
everything was already well established. But then we had mobilized
over to the French countryside and you should have seen it.
We walked through the arc to Triumph. That was a
very quickly, mind you. It all went to a little
south forgot the hurtkin. But we won't get into that.
We won't get into that.
Speaker 5: Yeah yeah, I mean sorry, just no, it's really interesting.
Speaker 4: Oh yeah, well we knew how much of a big
thing it was. But tell you what, when well I
was drafted, it was hard to say goodbye. But I
can't believe it how many were excited. They were getting
fully cooked meals. I mean myself included eggs, flapjacks with
maple syrup. I tell you we were eating good. Never
eaten like that before ever in my life. Before that,
I was eating well, usually corn or what was left
of it at the bottom of tin cans I fished
out of a dumpster. Sounds tough, Well, yeah it used
to it. Put tear on.
Speaker 5: Your chest, but take your word for it.
Speaker 4: Yeah, it looks like it's yep, coming a bright there,
and so far nobody's tailing us, or at least now
I can't see. Jim's going to do a quick look
to see if anybody's tailing.
Speaker 2: Oh, that's very good. Okay, go ahead, enroll your mind, please.
Speaker 4: To use all my brain power to make sure we're
not being followed.
Speaker 2: Yeah, you can have a ten shift on this, So
when that pops up, you just put the ten in
there and then hit roll. I'm familiar with this area.
You know exactly who to be on the lookout for.
Ooh fifty six. So again, in this system, it doesn't
necessarily mean that you fail, but it might mean that
you succeed at a cost, as in they might also
notice you. And I think that's exactly what happens here.
I think you lock eyes with someone that's been watching
you across the street, maybe one of the Spamoni brothers,
you know, just like, or somebody that you know of them,
maybe not them exactly, but you notice them, and then
they notice you noticing them, and then it's up to
you whether you go in the office or not.
Speaker 4: Then to quickly shift my eyes away, like, oh, I
didn't realize they're going to stake my office out.
Speaker 3: How did they find it?
Speaker 4: This place? I just got it a week ago. Okay,
change of plans.
Speaker 5: You didn't like put like a listing in like the
paper or something good year.
Speaker 4: No, no, no, no, no. This office really isn't in office.
It's kind of like the decrepit attic of like an
old flour mill. But apparently they found out that I'm here,
because that is certainly an associate. I don't think it's
a good idea that we stick around these parts. We're
going to have to find somewhere a little safer.
Speaker 5: Okay, all right, going lately the way, Jim's.
Speaker 4: Going to rack his brain here real quick, and the
first thing that comes to mind is somewhere public where
they wouldn't cause a stir, where there'd be some sort
of authority. So he's going to start heading back to
the main street to go inside the library. And yeah,
he knows that across the streets, since it's all kind
of the main street, that there's also the police department nearby,
so they usually aren't as active over there, yep, and
he might still be able to find what he's looking
for as well.
Speaker 2: Okay, so they cross over, Gus, can you do me
a favor, enroll me just a flat D one hundred.
Speaker 5: Place a flat D one hundred.
Speaker 2: Yep. I didn't even interrupt nine, perfect, all right, please
continue on your way. What's this library like, Jim, I'm
act old. Yeah, it's old, but it's a bit of
a bigger library for Stanford. Right. Oh yeah, I'm probably.
Speaker 4: Wrong, it would be it would be a time when
it was like probably a little better off. It was
built out of you know, brick stone, so it's not
like some small rinky dink like wooden shack, but an
actually well established public library. And the main street does
look put together, so it's certainly not a not a
small library.
Speaker 2: And this is back when they still allowed smoking in
the buildings, right.
Speaker 4: Oh yeah, yep. Okay, immediately when we open up that door.
It's just a plume of smoke. Cigarette smoke just pours out.
Speaker 2: That's pretty busy as well. So as you open the
door and you come in, you got that smoke. This
is a two story library, and I think you see
a very somewhat young I think woman with reddish hair,
strawberry red, kind of behind the front counter. Her eyes
are down. She doesn't acknowledge you. She's looking at something.
She's got a little frown on her face, and her
glasses kind of down on her nose. They are connected
via chain. She looks about maybe twenty five, which I
think back back then is old to be working and
not married and at home. I'm just saying what I
think that times were, and they're unfortunate, but I think
that's what it was. So I do think you see her,
and I think you hear sounds of people, you know,
looking at things. But it's very quiet here because it's
a library. But I mean it's not like it's empty empty.
Speaker 4: M Hello, ma'am, oh hi, I was looking at you.
Probably Jim Jim's Pimoni. Nice to meet you, miss Jim.
Speaker 2: Not nice to meet you again, maybe.
Speaker 4: Well sorry, uh we have met before you you just
recently started working here. Sorry, I I okay, yeah, I
remember we did meet. That was about too. I've been
a little mixed up. I did tell you about the
trip and uh going down to New York. Now I remember.
Speaker 2: Oh yeah, that's right.
Speaker 4: Oh thank god.
Speaker 2: Wait you were going with your brother Ricky.
Speaker 4: Rut No, no, no.
Speaker 2: I wasn't.
Speaker 4: Oh sorry, no, I'm so mixed up on my brain. Okay, no,
it's Jim Ritchie. Sorry, but the Pimoni's aren't here right, No,
but how.
Speaker 2: Did you know they were going on a trip to
New York?
Speaker 5: What?
Speaker 4: I'm confused here. Sorry, it's been a very very rough
couple of days for me. I'm trying to get my
brain in order. But no, Jim Ricchie, nice to meet you.
Speaker 2: Nice to meet you.
Speaker 4: And we have met before. I don't know why I've
introduced myself again. Look, I'm a little time pressed here
and a lot's been going on. Yeah, I'm glad we're
in the same boat. I was looking for old newspapers.
Do have the uh do you know where I can
find the archive for Oh?
Speaker 2: Yeah, that's on the second floor, all the way in
the in the back past the stacks.
Speaker 4: Thank you. I appreciate that and sorry once again, I'm
so scatterbrained.
Speaker 2: Oh that's that's all right.
Speaker 4: I don't know if you could, but you do know
the Pomone's right. Yes, Now I didn't tell you this part,
but well I'm trying to keep a low profile. So
if you do, it's not working.
Speaker 2: Is it your first day on the job. What you're
like a new police officer? Right? Are you trying to
get information on the pamonis because I ain't gonna talk.
Speaker 4: No, not no, no, no no. Well I do run
my own detective private detective agency.
Speaker 1: But that's where I know you from.
Speaker 2: I saw you in the paper.
Speaker 4: Oh yeah, your picture was.
Speaker 2: In the paper next to the not so flattering article
about your agency written by Yeah, what's his name? Over
at the paper there it's him.
Speaker 4: Yep, that's Greg. You can't trust a single word, he says.
He's nothing but an alley cat.
Speaker 2: I mean he works for the paper.
Speaker 4: The paper do not Oh, the paper doesn't lie. Yeah.
Oh that last article that he wrote about me, the
one before saying that uh I had gone off the
deep end. That crazy Jim added again making up stories
so people feel bad for him. Probably once free Chili
that he frequents the diner at I you know, I
have a deal with the diner. I have a tab
and the chili. They said it wasn't a problem. So
he's making stuff up, Jim, low profile. That's right.
Speaker 3: Library.
Speaker 2: The archives are up the stairs to the right, beyond
the stacks.
Speaker 4: Sorry, just get a little heated. Craig has always been
on my case ever since, but we'll talk about that later.
Thank you, miss I appreciate it. And yeah, oh boy, you.
Speaker 2: Are never gonna believe what just happened.
Speaker 4: I am so okay, Jim, this is not helping my case.
I think I not.
Speaker 3: Have a limited window to operate here.
Speaker 4: I know they're gonna come up for me hunting.
Speaker 5: You in New York, so I yep.
Speaker 4: I let's say I owe a considerable amount of one
thousand dollars.
Speaker 5: Okay, I'm gonna add some zeros in my head and go,
holy shit, Jim, that's a lot of money. You carry
a gun, right.
Speaker 4: I'm not going to shoot them.
Speaker 3: Why do you want a gun, Jim?
Speaker 4: For self defense? That sounds gym.
Speaker 5: That sounds like textbook self defense.
Speaker 4: There's okay, do the math. If there's five of them
and one of me. They have five guns and I
have one gun. Do you think they come alone? Look,
let's just try to find this paper. I want to
see if these papers match, because if they do, then
well I confirm something that maybe there's a different timeline
going on here, because you see this paper, my wife
is in a Polkadont dress and in this one she's
not well. One of these is the one that I
know to be true, at least in this timeline. It's
my theory. And if I can find the archives, find
the same paper, put the two together, and if if
it's a match and something's going on here, it might
be able to piece together a theory.
Speaker 5: Okay, all right, just tell me what I'm looking for
and I'll help you look.
Speaker 4: All right, well, just send The archives are up this way.
So we're looking for the paper was published nineteen forty six,
and one was in October or no, no, no, no, no,
that it was. Take a look here, you see, yeah,
pulling nineteen forty six, May May fifteenth, nineteen forty six.
So let's look for papers that date. It's a Stamford
Advocate and I'm going to take a look through the archive.
Speaker 6: Yeah.
Speaker 2: Absolutely, you don't even need to roll for this. This library,
they definitely did this very frequently. You're going to find this.
What I would like you to roll for is something
else related to this, so and I'd like you to
roll your mind.
Speaker 3: Please, Okay, no shift, no shifting.
Speaker 2: Okay, that's the sixty four. So as you are kind
of like clicking through or moving through the papers on
this machine, right, because that's what they used to use
in the library. I think they still do that in
the libraries right now for these really old papers. A
lot of things are yeah, a lot of things are
digitized nowadays for those young ns listening, but back in
this time specifically, it's like a little machine that you
would kind of pull out and you'd kind of look
through a viewfinder and it would be I think negative,
and then when you found the one that you wanted,
you would have to do some things to then turn
it so that you could actually see it. It's wild stuff.
You should look it up. It's very fun. So anyway,
Jim's using one of these machines as he's scrolling through
looking for this date and he is able to find
the pay It isn't what essentially a negative version of
the paper, but you can tell right away she's wearing
the same dress. You don't need to turn it into
what you can see. It does appear to line up
with the version that you know to be yours, but
not the other one.
Speaker 4: Call hey, all right, well and I'm going to actually
take this paper stuff it away so I can. But
immediately I noticed that it's a match. All right, Well
I got what I was looking for. I needed to know. Well,
we should probably get out of here. They those mymonies
are probably looking for me.
Speaker 5: Yeah, yeah, I think that's very high likelihood.
Speaker 3: Yeah, it's a waking Hello.
Speaker 4: Was the.
Speaker 3: Mention of a go it's the library, just kind of.
Speaker 4: Akachi. We're in a library right now, trying to keep
a low profile, but to keep you in, you know,
to catch you up on things. I found what I
was looking for, But I might have a problem with
some bad folks looking for me at the moment.
Speaker 3: Oh, I didn't. You didn't mention that just went not
with you?
Speaker 4: Yeah, I should have. I wasn't thinking we're bonding.
Speaker 5: We're bonding.
Speaker 4: Yeah, I'm so sorry again, Gus, I completely forgot. I
just had my mindset on one thing. Look, Akachi, we
should be fine. We're going to try to make our
way back. I guess I'm not sure how, but I'm
sure it'll we'll figure it out.
Speaker 6: Okay, I was just picking because I've found a missing
persons poster here? Is there any mention of like a
missing little girl?
Speaker 4: Yeah? Wait, what does it say? What's the name?
Speaker 6: I can't see any everything's been crushed out, redacted in
some way. I just see a photo of a little
girl on a on a poster, on a missing person's poster,
and ed this someone behind them.
Speaker 3: I don't know, this might be somebody behind yeah, I'm
just it might not be related.
Speaker 4: Or where did you find this again? Did you find
this in Alders office? Yes?
Speaker 3: Yeah, it was on order stairs.
Speaker 4: Okay, huh just like the picture. Huh, same poster. Something
is going on here. I've got a theory. But thank
you for mentioning that. I guess that's the next I
need to look for. Thank you for letting me know.
Speaker 3: Yeah, no, no worries about that. Let me know if
you need anything. I keep looking around.
Speaker 4: All right, And immediately Jim's going to remember the same
wanted poster. They're not missing child poster that he showed
earlier too.
Speaker 2: You know the mother yeah, do you still have that
as life?
Speaker 4: By the way, I think you would still have that, Okay.
Speaker 2: I can't imagine he's just set it down or put
it in the office, you know. I don't think you
guys have really sunk into your desk space yet or
anything that you'd be leaving stuff behind, So okay, but.
Speaker 4: He would just open it up to make sure, like,
has it changed. It's because it's so bizarre, you know,
it's all going on. He wants to inspect it.
Speaker 2: Then let me out. I'm just going to give you
in a special little private direct message, yours looks black.
Yours doesn't have the marks.
Speaker 4: On it, right, mm hmm, yeah, it would just be there.
Anything immediately? Is there any the mediate difference between the
two that Jim could immediately tell like from what it
was the last time? As something changed?
Speaker 2: Nothing has changed for you. It looks the same as
when you had it in your pocket or when you
showed her before.
Speaker 3: All right, so that's remained the same.
Speaker 4: So we should probably get out of here now that
we've blown our cover. Yeah, let's say my reputation around
here is gone pretty south, you know, with the disappearance
of my wife. Nobody believing me, And now that's why
I had to start my own private investigation. And you
know what the papers have been saying about me, my
arch rival Greg, which we'll get into that later. That
certainly hasn't helped. He's been making oodles of cash, oodles
of dough, but smirching my name in the papers. People
think it's a laugh.
Speaker 7: Right, it's a library library.
Speaker 4: Sorry, sorry, hey, hey, he's going through some stuff. Okay,
give them a break that man, just really believe really,
that's where we're.
Speaker 5: Going, and you interrupted us leaving it, So how do
you feel right actually knowing that you're leaving?
Speaker 4: Sorry, ma'am, we're about to leave, all right. I just
don't bear her any mind, and we're going to try
to well at this point, everybody's probably looking at us
because how loud Jim was, so probably leaving and everybody's
just looking at us.
Speaker 2: If you're a video game and achievement, noticed that the
library would pop up right now, I definitely feel like
a low profile achieved. Okay. So yeah, you head out
a library. You do not see Mary down at the
desk when you head down, So it's probably a good
thing that you're heading out. Now, you also don't notice
that same gentleman on the other side of the street
by your office. As you walk by, you don't see
anybody there. Now, where do you go from here? Do
you head straight to where you left the office?
Speaker 4: I think at that point, would Jim would still be
a little wary. Yeah, you know that probably would be
scouting out the office now that they've seen him there.
So he'd probably be trying to head back home.
Speaker 2: Okay. Now, how far away from Main Street did you
and your wife live?
Speaker 4: It would have been probably a good fifteen minute walk,
okay from the city.
Speaker 2: Yeah, so you guys are for a bit. Jim, you
can go ahead and roll mined for me any of
your plus ten again, Okay, as you are kind of
like walking down the street to the house, I think,
and I don't think you have to roll for this.
I think you'd be like not going directly home. You'd
be trying to go a weird roundabout way right, just
in case you were being tailed. Or do you think
you just head straight there?
Speaker 4: No, it'd definitely be Jim's done this many times. You know,
He's remained elusive in this city, and he has his
own way of like you know, navigating. Yeah, so he'd
be taking the old beaten path.
Speaker 2: Yeah, so Gus, you noticed, Like I mean, I think
maybe at first it might feel like he's lost, because
he'll go down one way, then back and then back
around and then come back, you know, And it takes
you quite a little while to get there. I'd say
about twenty minutes because he's still walking fast. But you
don't notice anybody tabling you or nothing, Jim, and then
you arrive to your house. Now what does it look like? Now?
Speaker 4: You know, it's definitely gone under. It's in a little
bit of disrepair. You can tell that Jim hasn't been
taking care of it. The yard's a mess, you know,
some of the shingles have fallen off, some of the
uh you know, the window, there's a broken window, the
paints faded. It's just in a state of disrepair. But
nothing that like, you know, a thorough bit of elbow
grease could like get to sort of presentable. And it's
a two story house, nothing, nothing to write home about,
in a quietish neighborhood. And he's got a fenced in backyard,
a wooden fence, so he's got at least that going
for him.
Speaker 2: Yeah, I will also say there is a very beautiful
rose bush, a couple of rose bushes by the fence
that look lively and beautiful.
Speaker 4: Yeah, that's the only thing that's been meticulously maintained in
the house. Everything else is just kind of falling apart. Well, home,
sweet home. Oh, by the way, step on this side
of the stairs. That side is about the rod all
the way through.
Speaker 5: Cool cool, cool struggles real, Yeah, I get it.
Speaker 4: Yeah, I haven't really had the time nor money to really,
you know, spruce the house up. So yeah, welcome in, landlord.
I own it.
Speaker 5: I thought you and I'm are. Really it's not important.
So where's where are we going?
Speaker 4: Well, I do have a little bit of notes inside
the house, and well we've got to figure out a
way to get back as well. I'm not sure how
that happens, but there might still be something left that
I haven't thought of. But in the meantime, this is
just a nice place to get away from, you know,
the bustle of the city and you know, being hounded.
We should be safe here. They don't usually tend to
come out this way, so at least we have the
peace of mind that we won't be accosted by the pemonis.
Speaker 5: Do you want me to take any photos while we're here, or.
Speaker 4: Well, if you want, I don't think there's anything in
particular that's photo worthy, certainly not me.
Speaker 3: I think you're.
Speaker 5: Selling yourself short.
Speaker 4: There's like some coffee, Yeah, sure, I can go ahead
and get that started for you. And Jim has got
this old fashioned percolator and it'll start rustling up a
bit of coffee. And you can tell, like in his
kitchen that this is a bachelor's lifestyle. There's just empty
beer bottles, discarded cigarette cartons. The place is a mess.
You know. The only things in his fridge are bottles
of like condiments and that's about it. Oh, go ahead,
take a seat. That's the chair that's still I think
that's the chair that still has enough support. I had
to replace some of the legs that one seems to
be holding up.
Speaker 3: Cool. Cool.
Speaker 4: You don't smoke? Do you?
Speaker 3: I quit?
Speaker 4: Oh? Why four?
Speaker 3: Oh?
Speaker 4: Not a health conscious person?
Speaker 3: Eh?
Speaker 5: You know what, considering the circumstances, Yeah, I'll obvious cigarette,
that's fine. This seems like the right the right situation.
Speaker 4: Ah sure, have you ever had a Stamford smoker? Let
me tell you these are the real deal. I wasn't
much of a fan of cigarettes and their medicinal purposes,
but when I got them in my rations, I couldn't
put them down. This is a real asbestos filter that
is supposed to provide the smoothest draw This stuff, I
tell you, is a miracle product. They're going to have
it in every house.
Speaker 5: Jim mm hmmm.
Speaker 4: Because he lights up a smoke. Oh hm, I.
Speaker 5: Ma'am one one kill me.
Speaker 4: Sure, here you go, friend, that's the spirit and he
pats them on the back.
Speaker 2: These are the your Stanford smokers, right bully?
Speaker 3: From my.
Speaker 2: Can we roll? Can we do some rolls? Plaze?
Speaker 4: Certainly?
Speaker 2: Mind rolls for both of you?
Speaker 5: Mind rolls?
Speaker 4: Are we about to have an experience?
Speaker 2: Flat? You might be about to have an experience?
Speaker 3: WHOA?
Speaker 4: What sort of cigarette it is?
Speaker 5: This is gonna feel I think like inhaling a campfire.
It's gonna be like the most like the opposite of
a smooth experience. As far as.
Speaker 4: Oh god, I remember, I remember my first cigarette.
Speaker 3: It's not my first cigarette, just my.
Speaker 4: Really taste the quality there. They also add a little
bit of lead to the lining.
Speaker 2: That's that's fantastic. Is that a ninety four from gym
and a three from Gus. Is that right?
Speaker 4: That's right?
Speaker 2: Okay, Gus, You're going to have a plus ten shift
to any cognitive, detective, mental kind of Charlie Wall things
that you try to do for the next hour. This
is essentially a buff cigarette, a magical cigarette. Gim you
have it too, But you just don't fucking notice anything
when you have. You know you've rolled in ninety four,
so it's not like you feel anything the magic of asbestos.
Speaker 5: I'm staring into space with like smoke. It horrified. Look, yeah,
the most horrified. Look at my face staring ato space
to take a second drag and go, this is the
best cigarette I've ever had.
Speaker 4: That's fucked up, man, right language please.
Speaker 5: Sorry, that's hecking screwed up man.
Speaker 4: Anyways, let's go ahead and uh settle down here. Let
me think. So these two posters are different. The only
thing that I can think of is these these have
to be two separate timelines of some sort, because unless
she has a twin, but then what are the odds
of you know this this I don't know what to
make of it.
Speaker 5: Well, are different, Wentz or maybe it's I don't know
it could be something supernatural, riot, something that is created,
I don't know, all through memory or perception somehow.
Speaker 4: Well, three brains are better than one. Let's phone into
a kachi see if they have any perspective on this,
and we'll set the radio up kind of like it
has its own chair, you know, it's own side of
the table, and we'll turn the turn the radio on
and patch through to a kachi kachi. Can you hear me, Oliver? Hello,
exception on this thing? There we go? Sorry, Cochi?
Speaker 3: You know that library? Anyone?
Speaker 4: No, No, I'm in my I'm in my house. Welcome
to my kitchen.
Speaker 6: Oh h, lovely, I can't see your kitchen.
Speaker 3: Can you anything, Kchi?
Speaker 5: It's exactly how you'd picture it would be.
Speaker 4: Yeah, well, lovely to the standards and maybe the rats
that feast on the leftovers. But the dilapidated state of
my kitchen is not the conversation that we pulled you
in here for trying to make sense of the evidence
that we have so far. So to give you an update,
I just got a chance to look at the newspaper
from well my current wins and it matches the one
newspaper that we found on Alder's desk. However, the newspaper
the other one it doesn't match. And so far there's
two things that are different, and the one where it
doesn't match the we'll call this the separate timeline. Newspaper.
My wife is wearing a different dress in the date
of the disappearance is different, actually very very different. The
one that is in my timeline, the polka dotta dress.
That one says October nineteen forty three is when she
was last seen. But the one where she's not wearing
the polka dotta dress, this is the one outside of
my timeline. Well, the running theory April nineteenth, nineteen forty five.
Speaker 2: It's in this moment that I think we see Jim
Paul's for a second looks like he's buffering, and then
he reaches inside his coat pocket for the missing child poster.
The date that she went missing is April nineteenth, nineteen
twenty six.
Speaker 3: On that flyer that you have there, hold the fort.
Speaker 4: This missing person's reporting this poster is how is it
like we might have three timelines here?
Speaker 3: You have an.
Speaker 4: This is a missing child poster and this is when
my wife was a child, and I confirmed, well I
was trying to confirm if family recognized me, but they didn't,
but they did recognize this missing child's poster. And I'm
beginning to think that the third timeline is when she
went missing as a child. But it would be such
a pout off.
Speaker 3: Whence there is a missing child push here as well?
Speaker 6: Everything's protected my cut.
Speaker 3: Dockhead, No dot cat dot eyes too much as black
and white.
Speaker 4: Yeah, it should be Beatrice Fiori birthdate for nineteen.
Speaker 2: I'm sorry, that's the missing date, not the birth date
of birth, the date of birth below that.
Speaker 4: Sorry, gotcha. The yeah looks like missing date April nineteenth,
nineteen twenty six. Date of birth May fifteenth, nineteen twenty
from Staten Island. Yeah, that's around.
Speaker 3: This is so, I don't think mind, but I keep
looking around. Maybe odd has more.
Speaker 4: Stuff on this, Yeah, just figured it, would You know,
three minds are better than two to try to figure
this out, or at least have some hunch to work
off of. Because none of this makes any sense. I'm
left even more confused than I was before. What can
you make of this? Guys? Do you have any theories?
Speaker 3: Well?
Speaker 5: Different whns different? Once is?
Speaker 3: How are these.
Speaker 5: Are they crossing? Over into each other, like which one
would be jumped to? Which one are we in? Is
this definitely the one that you came from? Or and again,
because this is your I can't seem to find the words,
this is your curse, person your we're trying to figure out.
Speaker 4: My wife went missing. Let me give you the full story,
or at least some context to what's going on. When
I went off to war, I had a correspondence with
my wife. We wrote letters to each other, and when
I returned, she wasn't home. And the story that I
got was that she had left shortly after I left,
and that's when she went missing. But when I tried
to figure it out for myself, nothing added up. If
she left and went missing just weeks after I left,
then who was sending me letters? And they were her letters?
I knew that for a fact. There's no doubt about it.
And so oh I have been searching trying to find
the answer to this mystery. I went in so far
as to visit her parents. We had met before, but
you know, before we got married, I got to meet
her parents and ask her father's permission to marry her.
They didn't recognize me. When I went to go visit,
but they did recognize the poster. Now I didn't confirm
whether or not. They didn't give me an answer, but
by the way that they were acting, they seemed to
know that missing child. And my theory is that that
was their missing child. But if the timeline is that
in my time, she went missing as a child before
I ever met her. But I did meet her, and
then she went missing when I went off to war.
And now there's two different times when she disappeared, once
just weeks after I was sent off to training, and
then another when I was weeks away from landing in Normandy.
It doesn't make any sense.
Speaker 5: Well, you and I, in Akachie and Harry, we've all
experienced that you know time and place.
Speaker 4: And.
Speaker 5: A combination of those two things is not a given.
But I guess the question, you know who wrote those letters?
Like you recognize that you know the writing, you know
who it's from.
Speaker 4: Presumably I know for a fact it's her writing, and
there's no doubt about that. And the last letter that
she gave me, the one that I received just before
I well thrown into the thick of it, that's what
really kept, you know, hope in my heart. I have
it with me still. But there was one letter that
didn't make it, one letter that I know didn't make it.
And I don't know what was in that letter, but yeah,
it was her writing to me while I was away.
It was It couldn't have been anyone else.
Speaker 5: Okay, see, there's a missing letter. How do you know
about the missing letter?
Speaker 4: Well, let's just say I know, We'll leave it at that.
I know there's a missing letter, one that I didn't receive.
Speaker 5: And you're the kind of guy that would chase up
you know, if if it had been lost in the post.
Speaker 4: Or if you know, if I had the power to
get it, I would have, but I didn't. Yeah. Now
I feel like I'll never have a chance to get
that letter. But maybe I do about that, Jim. Yeah,
just about to say, with the power of Wentz, I
might have a chance to get that letter.
Speaker 5: I've already seen a letter magically appear in a mailbag.
So I don't know, Jim. Maybe there's a ritual or
a spell or someone we can talk to to configure
out how to I don't know. Maybe there's a supernatural
dead letters society that we can go through in order
to track it down.
Speaker 4: Possibly and if not the conjured. You know, when we
step through that door, it seems that we are. I mean,
as you can see, this is my timeline. Everyone knows me.
Here we can step into what it seems to be
any wins and maybe we can step into a wentz
where I have a chance to get that letter.
Speaker 5: Okay, well we just have to figure out how to
get to that wentz.
Speaker 4: But the dangers that are going to be associated with
getting that letter are far greater than I could ask
anyone to shoulder. It's going to evolve. Well, I just
wouldn't feel comfortable asking you to jump in to get it.
It might have to be a solo mission, so it's
not going to be safe.
Speaker 5: Well, the thing about that is I have a classic,
you know, risk taking psychological profile. It's the whole thing.
I mean, it's not it's not supremely important that the
thing is. Jim, do you believe in kids? Met Do
you believe in faith? Do you believe in those things?
Speaker 4: Well, there's a difference between belief and faith. And do
I believe it exists? Certainly? But do I put my
faith in it?
Speaker 5: No? Well, I'm also looking for someone, traces of someone,
and my last contact with them is also a letter.
So that tells me that there's a reason that you
and I have met. And maybe I didn't get it before,
but I think I get it now, m.
Speaker 4: IF. And I don't know, I'm speculating here. If that
lost letter is the key, because I don't see any
other leads here, then well that would explain why I
am here to begin with. Now. The power of WNCE
is a powerful thing. And maybe i'm just, you know,
getting ahead of myself here, but maybe that that's the
reason why I'm here, because I needed access to this
in order to get that letter, and then, you know,
not being my own only purpose here but to help
you as well. And I'm not sure really your story, Acaci,
but maybe I have a part to play in here
as well.
Speaker 3: I found a note I don't know if.
Speaker 6: Resurrection Cemetery three sixty one, chart Avenue one, what's number.
Speaker 4: Seventeen, plant seventeen.
Speaker 6: I don't know if that's in your town or anything,
But that's why I found some of the DAWs, one
of the DAWs of oldest Death. I'm guessing all connected,
but I don't know for not for sure.
Speaker 4: What are you reading off a bit obituary.
Speaker 3: No, it's just this literally handwritten. Look, I think it's
old defense.
Speaker 4: I think older.
Speaker 3: How did she?
Speaker 4: Why is she so invested in my case? All right,
I know where that is.
Speaker 3: Do you think that's where order went? Well?
Speaker 4: No, I have no idea, and I don't know why
olders involved with my case. I don't know why those
papers were on her desk. I don't understand.
Speaker 6: Well, I mean from the signs of it, it sounds
like most pootences were involved with That feels like of
this jurisdiction.
Speaker 5: I guess is there anything else on any of the
rest of us there? Akachi?
Speaker 3: Let me look? Uh, I keep looking, but soap on nothing.
It's all just a parent he been on here.
Speaker 4: Well, I know where that cemetery is. We can go
and see what we find. At least that's a lead.
Speaker 6: I'll keep looking here. I might try to at the
door and see if that needs anything useful.
Speaker 4: All right, thank you, Okachi. Well, no time like the present.
It's going to be a little ways away. But if
we hoof it now, we'll still have daylight. But I'll
grab a flashlight just in case. Yeah, they're from there,
let's do it. I guess from there, we're heading to
the graveyard.
Speaker 2: Uh where does Jim actually know where this is? Does
he have a gut feeling? Has he been here before?
Is what I mean? I assume he does know if
you said, but I just mean how.
Speaker 4: Well, he certainly lived here his whole life and you
know his family grew up here, so he's definitely attended
funerals where they were buried in a cemetery and it
would be the cemetery okay, you know listed, so he
would know where it is.
Speaker 2: This is actually a cemetery in Staten Island. Oh so
it's going to be a bit of a trick for
you to get there, but you can do if you
want to try. There are a couple of ways you could
do that. You could go traditionally or you could try door.
But it's it's up to you. I know you don't
have a car, but it's quite a trick if I'm
not mistaken.
Speaker 4: We Staten Island is going to be a long ways away.
That's not something we're going to be able to walk
unless we to take a rail. But I don't think
hoping trains is it'll be the safest option here.
Speaker 5: Yeah, And I do want to point something out to you, Jim,
which is that that lady did say something about the
pemonious going to New York, and I really feel like
that means they were looking for you there, so i'd
you know.
Speaker 4: Yeah, they probably I don't know how they found out,
but they were late if anything. So if we do this,
we'll probably end up bumping into them. So you okay
with that? Rest, Gus?
Speaker 5: Yeah, yeah, all right, listen, I can take care of myself.
Speaker 4: Okay, but just in case. If you ever shot a
gun before.
Speaker 5: I've shot plenty of things, but never a gun.
Speaker 3: You feel comfortable with a firearm?
Speaker 5: I guess it's the same principle. Point and click.
Speaker 4: Right, Jim's gonna pull out his service pistol and hand
it to guts. Look, if anybody's going to get hurt here,
it should be me. You know you're not. I don't
want you getting hurt, so I want you to take
this just in case, only if it's necessary. Okay, Here,
here's the holster as well. You can hide that and
you're yeah, should fit right under there. Yep, looks like
a good fit.
Speaker 3: Yeah, But in the.
Speaker 4: Matter of trying to get there in the first place. Look, Hey,
this whole magic stuff. I don't really know how it
works or how to start it, but I think we're
going to need it if we want to get to
where we need to go.
Speaker 5: Doorhopping.
Speaker 4: Sure, let's call up that. I don't know how to
initiate something like that.
Speaker 5: Oh, let's think about it practically speaking. You've been there before,
right I have.
Speaker 4: That's where her parents live.
Speaker 5: Yeah, so you have a strong connection to some places
in Staten Island.
Speaker 4: Not particularly other than just your parents' house that I've
been to.
Speaker 5: Well, their parents' house is closer than.
Speaker 4: Closer, right, Yeah, I says it a couple of times.
So I guess that's the closest we're going to get.
Speaker 5: So that sounds like the place that you have the
strongest connection to. So we try and align ourselves in
that direction. Hopefully, you know, we put the clockwise you know,
handle turns and a little bit of you know, prayer
and positive thinking towards the towards that, and hopefully worst
case scenario is we end up back in the office
because that's where we're supposed to be.
Speaker 4: All right, Well, I'll give it a shot, see what happens,
And Jim's gonna try to open his door. But he's
going to think really hard about, you know, the memories
Staten Island that he has had, and I think what
flashes before him is just he's thinking about the first
time he met Beatrice's parents and how nervous he was
because he was about to ask her hand in marriage
but wanted to get permission first, so he was He's
probably reliving those memories in his head of how it
all started, you.
Speaker 2: Know, okay, and just to refresh those listening or watching.
The first episode of Our Adventure showed Jim at this
saddress talking to people who didn't recognize him. But as
he stands here in the doorway of his own home,
he's imagining the first time he met her her parents,
asking for her hand. Go ahead and make a role
for me, Jim, and you guys are trying this at
your house. To be clear, you're not walking to the
office first, Okay, yep.
Speaker 4: I'm going to do mind yep.
Speaker 2: Oh my god. Okay. Well you rolled to thirteen. So
the way this is gonna work is you're gonna open
the door and you're going to be in the office
all of a sudden. You're not going to suddenly tail
a port to where you need to be, but you'll
be at the office.
Speaker 4: Oh well, isn't that convenient?
Speaker 5: Worst case scenario?
Speaker 4: Who oh hey.
Speaker 3: Kotcha oh yep, beck.
Speaker 4: What well? Well, I was trying to think of, you know,
Staten Island. Then let's say, said, that's some people looking
for me there, and I felt like it would be
best if gus had something to protect themselves instead of
you know, me having it. But I guess there's a
reason why I'm here or we're here?
Speaker 6: Yeah, and that I you just are using the office
like a.
Speaker 3: Like a taxi, yeah, but a hopscotch.
Speaker 5: I guess.
Speaker 4: I guess this is where we have to It's like
a trans Yeah, I guess we have to stop here first. Okay, yeah,
I haven't.
Speaker 3: Really found anything else useful or related so far.
Speaker 6: About keep looking. I literally just go off the radio
with you. So this is very old like just.
Speaker 3: Now yeah, yeah, what did you call it? The radio?
Speaker 4: Oh?
Speaker 3: Yeah?
Speaker 5: Okay, all right, right five?
Speaker 3: So confused?
Speaker 4: What do you call what do you call the raatee?
What what do you call it?
Speaker 5: I just start something different, it's not important.
Speaker 4: Oh okay, never mind, Okay, Well, I mean I guess
like the same way I tried before when I arrived
at my winds it well in my city. Should try
that again, but this time thinking about Staten Island and
see if I end up there. You got to try
to see what's in that gate. Well then that grave plot,
we got to find out what's there.
Speaker 3: Yeah.
Speaker 5: So I guess you said it was a handwritten note.
Write a catchy.
Speaker 6: Yeah, yeah, and I'll pick up I'll bring over the note. Yeah,
it looks like I seem old, just handwriting.
Speaker 4: Two guys. Yeah, but where did she find this information?
How does she unless she was she has different leads
of her own and she's writing separate notes.
Speaker 5: I I sort of, you know, passed the parcel past
the note onto Jim and say we don't have much
of like a focus. I mean I would say like
a photograph or something like that. You know, let's you
picture the place really clearly that you want to go.
But I don't know this. This is the closest thing
we have to like intent, so that might help you
open the right door.
Speaker 4: H Yeah. I think Jim's gonna take the note and
try to like he well, he didn't know what he
had done before to like make the door work to
get to his wins. But he did have an instinct
with the newspapers. So I feel like the same kind
of idea that he had with the newspapers he's going
to use with you know, this note, just kind of
think really hard about it, and once he has that
kind of visualization in his mind, he's going to turn
to Gus and be like, all right, I think, oh,
we'll give it a shot and see what happens.
Speaker 5: All right, I'm going to lead my super time inaccurate
jacket behind and just look a little more neutral just
time around, because yeah, I hadn't thought about that. Now
it is yeahing me. It's clearly a good idea.
Speaker 4: I mean it's low profile, Yeah.
Speaker 2: Low profile activated to chill unlocked.
Speaker 5: A low profile.
Speaker 3: Here we go.
Speaker 4: I have a fake mustache as well. There we go.
Not nobody.
Speaker 2: Now, nobody will knows who I am. As Jim reaches
for the door, they won't notice this, but those listening
and watching would maybe see Jim's pocket like a little
area of like pink, like a light pink kind of
light up there. The note that he has, from what
we think he's assumes older in his hand also glows
a little pink and in the breast pocket something lights
up a little pink as well, and he turns the
door handle clockwise three times, opens the door, and the
smell of flowers and as you see the cemetery outstretches
in front of you, you seem to be exiting out
of a mausoleum.
Speaker 4: Smells like roses. I think immediately it sends a chill
up Jim's spine as soon as the scent hits his nose,
and is he at the correct like is when the
door swings open, is he looking directly at the plot?
Speaker 5: Like?
Speaker 4: Is that no Plot seventeen?
Speaker 2: No, it is not. I think it's probably the closest
you could get to it with a door present, So
you're gonna have to walk a little bit.
Speaker 4: I think as uh we walk, the rose scent of
roses just can't leave Jim's note, Like it's such a
familiar sentence in bringing back memories. It just kind of
like flashbacks, and he's just kind of like spacing out
a little bit.
Speaker 2: Yeah, And as it gets stronger, the closer you get
to this plumped seventeen.
Speaker 4: I think that's unds like that's what's guiding him, is
kind of like that's his compass.
Speaker 2: Thus, will you roll for me?
Speaker 5: Just a flat D one hundred, none of it?
Speaker 2: Okay. As you step out the doorway, you do feel
your stomach do a little bit of a flip and
the hair on the back of your neck stands up
just a little bit as you walk out the door,
but you don't notice anything right away. However, as you
are approaching what we assume to be plot seventeen. Now,
this is just my own inability to understand how these work.
How do we know that it's plot seventeen? They're not labeled,
are they? You'd have to know based on a map, right, Yeah?
Speaker 4: Yeah, and again Jim is only just like this scent
of roses is so overpowering that you know he is
using it as kind of a guide. He's kind of
like memories are flat. He's kind of daydreaming. His memories
flash back to him just from that scent that triggers
all of these memories. Yeah, of her.
Speaker 2: Then, I don't think you need a map. I think
you're going to follow that scent. And Jim is following instinct,
kiss men fate as he follows his nose and smells
the scent of these roses. Getting stronger and stronger, until
eventually he stops before a plot that lists Beatrice Fiori
born May fifteenth, nineteen twenty death April nineteenth, nineteen twenty six.
The inscription says, suffer little children to come unto May
called home. Died of consumption, age six.
Speaker 4: At that point, Jim just falls to his knees, just
a distant look on his face. I don't understand why
she wasn't missing, she was stand I don't understand, doesn't
make any sense. What is this even mean? She never
exists to begin with?
Speaker 5: No, No, she's real.
Speaker 4: How do you know? Nothing makes any sense?
Speaker 7: Says?
Speaker 4: Right here? She's dead? Maybe I am just crazy and
all of this is just nothing. It's something crazy.
Speaker 5: Jim, I've seen crazy.
Speaker 3: Crazy Jim means crazy.
Speaker 5: You're not crazy, Okay.
Speaker 4: Not a single person who said that ever in my life.
To me, my whole life has been nothing but ridicule.
How could you say that? I feel like I'm going
it's sane. I'm here at the grave my deceased wife,
who I would have never had a chance to meet.
She died at six, married this woman, and in mind
time she's dead. First she was missing, and now she's dead.
She was missing at a different time. What's real?
Speaker 5: Is Jim wearing a wedding ring?
Speaker 4: Yeah, he'd be wearing a gold band wedding ring.
Speaker 5: I think there's a moment that Jim probably doesn't see
it because Gus is standing to the side where my
hand is like hovering over your shoulder like I'm about
to make physical contact, like a company gesture, and then
I kind of shrink my hand away, but I kneel
down beside you, and I very awkwardly, like you get
the feeling like I'm not used to touching other people
as I lift your left hand up and I tap
the ring and go, this looks pretty real to me.
Speaker 4: And who's to say I just bought it for myself,
some mad delusion, I don't know.
Speaker 5: Everyone wants to convince you that you're crazy because that's
what makes their worldview easier. That's what smooths it over. Okay,
it's the cracks in the wallpaper they want to cover up.
You care about the truth, Jim. I care about the
truth too. I don't think you're here because you're crazy.
I think that's the easy way out. And considering that
we just you know, hop skip jumped across what two states?
If you're crazy, so am I. So is a catchie,
so is Harry, and so he's definitely older. There's something
else going on here.
Speaker 3: Now.
Speaker 4: If there is, I don't know what it is. I
I don't know what it is. But if there is
a truth out there, it looks like there's more than
one of them. And now I'm more afraid that maybe
I am right and wrong at the same time. It's
like that paradox that die never hitting the ground stuck.
I'd be fine if I knew, but I don't, and
the dice never hits the table. Might feel like I'm
not at ease and I never will. I could accept anything,
but I don't have anything to accept. I have nothing
to ground me. There's too many truths. Which one is real,
which one is mine? That's all I want.
Speaker 5: Truth and reality is just a matter of perspective. So
as long as you hold onto yours, I believe she's
still real, still alive, a life you had still out
there somewhere. You're just separated from it for a while.
Speaker 4: And if my truth is that I did and that
she was real, it's different than what I'm going through
right now. It's different than what this grave plot says.
I'm willing to accept that there might be a reality
in which that did happen, But I'm afraid is it mine?
Maybe I'm just living out the life of a gym
who never met her. But I had, for a brief moment,
the chance to meet her, one of the possibilities that
I did have her in my life. But then I
got sucked back to where I belonged. And it's not
a matter if she existed. It's a matter that I
never got her. But I had an experience that I
shouldn't had. Maybe that's what happened. Regardless, I still want
to find the truth. Jim's gonna get up, brush himself off.
It's kind of solemnly walked back to the mausoleum. And
as he clutches the note in his pocket, does he
notice anything different about it? It's about the mausoleum or
about the note that he has, yeah, that had previously glowed?
Speaker 2: Is there any Yeah, which one is he reaching for?
Is he reaching for the I'm assuming the note that
was given to him by Mom in this timeline, just
to clarify which one it is, because she slipped you
something but then you also had a different note in
your pocket as well, right.
Speaker 4: I think he's shuffling to try to find the note
Beatrice last wrote him, but he then pulls out the
mother's note instead, thinking that it's Beatrice's, then opens it up.
Speaker 2: Yeah, and it's a date in a time, in a location.
And if you recall, she very aggressively told you that
you needed to leave before her husband came down. And
I think in this moment you realize she might be
trying to tell you something else. I don't think you
recognize the location that the date would be two days
from now.
Speaker 4: This is in the future. What I think he's going
to turn to Gussin. I think we have a new lead.
Speaker 5: All right, then.
Speaker 4: In this location, since it is here, I'd probably just
warrant them staying.
Speaker 2: Oh wait, because we said a full day had passed, right,
hold on, let me do my own math. Your watch
when around twice? Right, Yeah, so it would be one day,
it would be for tomorrow. Yeah, it be for tomorrow. Okay,
my mistake. And it's gonna be for a diner, two
two stone diner. I don't know how you're gonna find
this though it is here local Staten Island. I don't
know if Jim would recognize that. Maybe he stopped in
at this diner before going to tell them that he
wanted to marry their daughter, or how might he recognize
this if he were to recognize it at all, Otherwise
you're gonna have to go the old fashioned license. Neither
of you have, you know, Google maps at this time.
Speaker 4: I think it would have been a diner that they
stopped that Beatrice, And but it wouldn't It wouldn't be
like a like, oh, this is the place. It's like
it's just like a rest stop before they got to
her parents.
Speaker 2: So could we say that she is like, oh, let's
stop here. They have really good pancakes. I haven't been
here since I was little, And so you don't notice
it right away, but then you go, wait a second,
this is where we stopped that one time, you know,
when she said she lacked the pancakes.
Speaker 4: Okay, So then it would definitely ring a bell, But
it would take a little bit of brain racking to
kind of make that connection. Yeah, but I think he
does come to that conclusion. He wouldn't really know where
it is, but he like he would know it's in Stanton,
but not exactly where, because you know, it's such a
big city. But he thinks he might have an idea
of where he could find it if he asked the
right people. Yeah, and looks, So go ahead to a diner.
I recognize this place. When Beatrice and I first made
it to the city. I had a quick pet stop.
She wanted pancakes, and I obliged. I didn't have a
lot of money, so well, I didn't have anything to eat,
but she did. Well, it's a lie, she shared. But anyways,
somewhere in the city, but I don't know exactly where,
So we're gonna have to do some masking around.
Speaker 5: Yeah, we can do that.
Speaker 4: Look, I I appreciate you trying to, you know, help
with this, and I appreciate your comforting words. I'm sorry,
don't just start a lot.
Speaker 5: Everyone likes to throw that one around a lot, you know, crazy.
Speaker 4: I don't think you're crazy, and I don't think Akachi's
crazy or hairy or older. I don't think any of
you are crazy, and I didn't mean it that way.
I just think we're all a little broken in some way.
Speaker 5: Yeah, I just know what it's like to be in
the position you were just a few minutes ago.
Speaker 3: That's all.
Speaker 4: Well, sure that it'll all make sense soon, but till then,
let's follow up on this lead and see where this
takes us.
Speaker 2: And we're actually gonna switch scenes here back in the office,
got you, what are.
Speaker 7: You up to?
Speaker 3: I just watched Bus and Jim walk back out of
the office, hopefully to the destination they we're aiming upon.
But they haven't rolled in, so I'm assuming it.
Speaker 6: No news is good news. But I think I'm looking
back towards Older's open office, the door wide open.
Speaker 4: Now.
Speaker 3: I'm a little bit disappointed or upset.
Speaker 6: When Gus had asked if there was anything on the
rest of us, I I think, for lack of better time,
I got a little bit excited that maybe maybe there's
something more. I get the very least if if you ken,
if he had died and it had been I don't know,
supernatural in some way I don't it might have given
it I don't know meaning, But it wasn't anything that
was relevant or interesting enough or older to look at too.
I think right now, I'm just thinking a lot about
my brother the last time I saw him dying, and
I think, and then I think about the mask at
my side, hanging off about me.
Speaker 3: Halloween mask h wearing. We went with.
Speaker 6: Very there's a point where with Halloween you get.
Speaker 3: Creative birth of the costunity.
Speaker 4: Make, and.
Speaker 3: He made.
Speaker 6: He'd bought a Venetian mask, nothing fancy. It was probably
five dollars. It's something you can findly like this spirit
Halloween like, nothing fancy. But when I'd got here, the
doors were acting weird. Picking up the musk somehow made it.
Speaker 3: Possible for me to meet up with the rest of
the group. Picking it up, I felt.
Speaker 6: Something coming off of it, radiating off of it, like
it didn't want to be left behind. And now I
cast my first spell with an remote for an ac unit.
At this point, I'm thinking anything and everything could be
magical in some way.
Speaker 3: I think.
Speaker 6: I'm sat at my desk, turned around to face Older's
office with a mask in hand.
Speaker 3: Are you there? How can you? And I make you
be here?
Speaker 5: No?
Speaker 3: What I'm doing? I miss you. I've been thrown into
it was fucking crazeous.
Speaker 6: Things in my life, and I have no one to
talk to about it because of one person I could
have as good.
Speaker 3: Hm hm, And I feel like this should have been
all you this is everything you could be doing should
be doing.
Speaker 4: I just.
Speaker 3: It should be you, not me. Be come so stupid.
Mm hmm. I should.
Speaker 6: Deeper confront anything else with Joe. I leap the mask back,
my belt leapened. I walk over to the door beside
Older's office, and I would just open it. Old I
had mentioned that it would take you to where it
would open to a door to either the.
Speaker 3: Storage or.
Speaker 6: A place you need in that moment, he as the
example of the toilet. But I assume it could you
more than that. So I's going to hope for the
best and open it. Are wrong, I'd an omen fifty five.
Speaker 2: Sorry, I'm quite because I'm thinking, I'm so sorry. I
think it's going to be a dark room that you open.
Uh at first, there's no light on or anything like that.
I'm gonna need some help here. Gus, would you describe
the creature that came out of that photograph?
Speaker 3: My God.
Speaker 5: The thing about it, by nature, is that it's a
thing that is it's really hard to focus on. It
feels like a blurring of light, you know, kind of
like a light flare, like a lens flare happening in
the you know, in the physical space. It's something that
you understand the boundaries of it, of where it occupies,
and you understand sinew, and you understand bone, and you
understand the structures and components that would make up a
creature of flesh. But it's distorted like a cracked lens spindly.
Speaker 2: Do its eyes glow in the dark or is there
no sign that creature is in the room with you?
When it's in the room with.
Speaker 5: You, its eyes don't glow in the dark. Its eyes
eat light as if they are two perfect pin pricks
of perfect black, somehow darker than a dark room.
Speaker 2: Then it catch you before you see it, just a
dark room.
Speaker 3: Oda and I will walk into the.
Speaker 2: Room, and then we're gonna switch scenes back with Jim
and Guts.
Speaker 4: If I had a little money, we could take a taxi.
But at least we're getting our exercise.
Speaker 3: Yeah.
Speaker 5: Well, I mean, I'm not sure what hitchhiking is like
in this timeframe.
Speaker 4: So now people are amenable, but well, when you get
to the city, people are kind of a bit selfish ever,
man for themselves, so don't expect too much charity.
Speaker 5: Well, yeah, I've got nothing unless you want to. I
don't know, Halo cab and then you know, dine and dash,
so to speak. But I don't know if that's a
good idea.
Speaker 4: We're not going to dine and dash.
Speaker 6: I have.
Speaker 4: I think I have something five cents maybe that wouldn't
even buy you a cup of coffee. Coffee's ten cents.
You have a nickel or a dime.
Speaker 5: I'm gonna fish into my pocket and probably have probably
like a like a mixed bag of change of some kind,
like maybe like three or four coins. But I imagine
that they are from I imagine they've been minted more recently.
Now I've gotten a I've got an Australian five dollar
bill somewhere in here as well.
Speaker 2: Yeah, but I also think you the time that you're from,
like they still had the piny and things, right, So
I think I think you might still have some change
that at first glance they would still accept.
Speaker 5: Yeah, yeah, should we say half and half? Like some
of them are good and some of them are yeah, look,
some of them are quiet.
Speaker 2: Yeah, you're you're just fishing out the ones that look
dirty and old.
Speaker 4: Yeah, yeah, grimy.
Speaker 5: I've got twelve cents that's good, and I've got ten
cents that isn't but we could like maybe get some
grime on it and like cover up the year.
Speaker 4: That might How much money do you have on you?
Speaker 5: What is that like?
Speaker 4: Uh?
Speaker 5: Jim watches Gus struggle with math for like a little
too long. Twenty two cents.
Speaker 4: Oh, that's not too bad. That could actually get us
a cab and coffee and lunch and maybe a little dessert.
Speaker 2: At that moment when Jim says dessert that Gus will
get an involuntary shiver down his spine. But because of
that ninety eight that he rolled for insight on this
creature that's been following him, he thinks nothing of it.
Speaker 3: Awesome.
Speaker 5: Every time I think that you and I have had
a very similar experience, Jim, you throw a thing at
me that kind of puts that on its head a
little bit.
Speaker 4: Everything, all right, it seemed to you called get a
little shiver, just.
Speaker 5: I don't know, feeling like cobwebs in the back of
my neck. I'm gonna pour the coins in a Jim's hand.
Speaker 4: All right, Well, now we're talking. In fact, we could
probably catch a cab on over. They would know where
this diner is. I just can't remember the name of it.
It's not really one that would spring to mind. There
are a lot of diners around here, but if I
ask which diner has the best flapjacks, that's about the
only lead that I have. But then again, there's probably
ten diners that have the world's best flapjacks.
Speaker 5: But at least it's a start, all right, Well, why
don't we I mean, a cab driver must know their
way around, right, so you know we could lost them.
Speaker 4: All right, Then Jim's going to try to flag down
a taxi.
Speaker 2: Let's see, you're by the cemetery. I don't imagine that
that is too difficult at all. Might take a couple,
and then you'll get a cab driver that maybe he's
been parked outside. Actually imagine it's common enough people want
to his cemetery and don't want to drive home. You
get a gentleman that pulls up. He's got a nice thick,
bushy mustache, white gray hair, spectacles, and he just looks
at you and whites rolls down the window. I guess
that's a crank window, so maybe not. Maybe his windows
already down. But he doesn't say anything when he looks
at you, Gym, but he waits.
Speaker 4: Hey, pal uh, looking to get a ride on over
to a diner, specifically one with some good pancakes. But
happened to know any in town, would you?
Speaker 2: It makes like a huffing sound, disgruntled.
Speaker 4: It in all right, she was going to open the door,
all right, Gus going first and hill strepp and you
know they don't have seatbelts, so there's nothing.
Speaker 5: Yeah, I reach for the one that isn't there and
kind of clow out the air for a second and
then go Staten Island.
Speaker 3: Are you looking for loose change?
Speaker 8: No, it's it's all good. Smoke of mice best a
cigarette with a noisy belt car in Staten Island.
Speaker 2: This guy is looking at you in the rear view
mirror a bit kind of.
Speaker 5: A I'm from round here, I'm out of town.
Speaker 4: He's from Yeah, he's from. Where are you from again? Guys?
Speaker 5: Melbourne? What what Australia?
Speaker 2: Oh?
Speaker 4: Oh, oh, I didn't even know that. Did you tell
me that?
Speaker 5: No?
Speaker 4: Maybe I forgot I might have come out maybe hmmm.
Speaker 2: We have a couple of options for place with pancakes.
Mm hm, what exactly are you looking for?
Speaker 3: Oh?
Speaker 4: Just you know you run in the mill diner that
serves some good flapjacks, and any recommendations.
Speaker 2: Yeah, I can think of a few, but they're pretty well.
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