0:00

Rusty Quill Presents. Welcome

0:03

to Ain't Slade Nobody. This

0:05

is an actual play podcast

0:07

intended for adults and

0:09

may contain material that

0:11

some people find disturbing.

0:13

Please see the episode notes

0:15

for content warnings and listen

0:18

with care. Hey

0:20

folks, this is Cup, and we've got

0:23

a new deal from our friends

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at Chaosium. It's worth rolling Sanover.

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For the entire month of April,

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use the code Ain't Slade at

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checkout on Chaosium.com and get 10%

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off any product. That includes the

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classics, new releases, if you're feeling

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fancy, a trip through fog-drenched Victorian

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setting drops you straight into 1880s

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London, where secret societies are plotting

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in shadowy alleys, while you try

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to keep civilization from collapsing. All

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you need is the Investigator's Guide

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and the Keeper's Guide to start

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good all through April through April. Tell

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1:14

some horror. You've earned it. Hey

1:16

Wolfpack, this is Cup, and I'm

1:18

excited to share the premiere of

1:20

season two of Sorority. It's a fantastic

1:22

call of Kithulu actual play full

1:24

of Chaos and Sisterhood. We're doing a

1:27

little feed swap. They play The Dare

1:29

over on their feed. And we're sharing

1:31

this premiere as another podcast that we

1:33

love. This season, our good friend Becca

1:36

Scott steps in his keeper of

1:38

arcane lore for Havlock House. It's

1:40

an eerie manner that just landed

1:42

in the hands of three unforgettable

1:44

characters. The inventive violet lark

1:46

played by Serena Marie, the

1:48

fiercely faithful Buella Beatrice Hattie

1:51

Maynard, played by Christina Ariel,

1:53

and the delightfully odd Enid Floris,

1:55

played by Gina DeVivo. It's an amazing

1:57

setting and cast, as you can tell.

2:00

and there's a whole lot of

2:02

weirdness waiting behind every door of

2:04

the manor. Search for sorority RPG

2:06

and catch up on the rest

2:08

of the season, but please enjoy

2:11

episode one, right here, right now,

2:13

on our feed. Welcome to Have

2:15

Lock House. Welcome

2:39

to Sorority. My name

2:41

is Becca Scott and

2:43

I am your keeper

2:46

of arcane lore. For

2:48

today's adventure, I have

2:50

three fabulous guests with

2:52

me. A huge welcome

2:55

to Christina Ariel. Hello.

2:57

Serena Marie. Oh hi.

2:59

And Gina DeVivo. That's

3:02

me. I cannot wait

3:04

to meet your characters.

3:10

Arsen opens looking down on

3:12

three figures huddled beneath three

3:15

umbrellas. Black umbrellas as rain

3:17

soaks their stockings and shoes.

3:19

It completely ignores these insufficient

3:21

shelters and they clutch their

3:24

parcels all of their belongings

3:26

that they've brought with them

3:28

on this journey held close

3:30

to their chest. These three

3:32

very different women stand before

3:35

a house. Before a house.

3:37

We change our point of

3:39

view to theirs and pan

3:41

upward to see a towering

3:44

edifice a Victorian monstrosity in

3:46

the midst of a swampy

3:48

New England forest with wrought

3:50

iron Julia balconies jutting from

3:52

high windows Individual towers top

3:55

each wing it looks like

3:57

It's just wing after wing

3:59

piled and overlapping on top

4:01

of each other in this

4:04

haphazard way. The black paint

4:06

peels from every shingle of

4:08

its clapboard exterior. There's a

4:10

window in the front and

4:12

it looks like a dining

4:15

room through it. And what

4:17

is that? A shank of

4:19

lamb sitting on the dining

4:21

table? Oh, it seems to

4:24

be moving. Oh, wait, no,

4:26

those are perhaps rats. Moving?

4:28

along it. The three of

4:30

you hold in your hand

4:32

letters, a letter belonging to

4:35

each of you. The ink

4:37

runs as rain runs through

4:39

it, but you know that

4:41

this letter is from a

4:44

Mr. Martin Prin, a lawyer

4:46

who requested your immediate arrival

4:48

at this address on today's

4:50

date, April 3rd, 1889. What?

4:52

to our characters look like.

4:55

Let's start with Violet Lark.

4:57

So Violet, the only way

4:59

that I can kind of

5:01

describe her quickly is like

5:04

sort of librarian core. She

5:06

wears a lot of browns

5:08

and tans and is wearing

5:10

sort of like a tweed

5:12

long skirt that goes to

5:15

the ground. She has a

5:17

lot of pockets, like in

5:19

a weight, because you never

5:21

know when you need things.

5:24

Her hair is up in

5:26

a messy low bun, and

5:28

she has, instead of glasses,

5:30

the only thing that's incorrect

5:32

about librarian, of course she

5:35

does not wear glasses, her

5:37

eyes say it is perfect.

5:39

But her eyes are just

5:41

a little larger. than normal.

5:44

Like they're just like Disney,

5:46

like Disney princess eyes. Like

5:48

they're sparkly and bright and

5:50

her hair is... dark raven

5:52

color and her skin is

5:55

a light brown. How does

5:57

she feel about her long

5:59

tweed skirt getting rain soaked

6:01

through it? So Violet has

6:04

a thing with texture. She's

6:06

incredibly uncomfortable and the skirt

6:08

is becoming heavier and heavier

6:10

as it is soaking up

6:12

the water. So she is

6:15

one hand on like the

6:17

letter and the other hand

6:19

on her skirt just Almost

6:21

like mindlessly like ringing it

6:24

out just like squelching the

6:26

the water from her skirt

6:28

squooch and Yeah, we love

6:30

a squelch. We love a

6:32

squelch. Did she tell anyone

6:35

she was coming here? So

6:37

Violet doesn't really have a

6:39

lot of associates. She tends

6:41

to keep to herself so

6:44

she let her her roommate?

6:46

No? Uh, Benjamin? Um, and

6:48

then that was it. Her

6:50

roommate Benjamin. Mm-hmm. Excellent. They

6:52

are not married. And they

6:55

are not together at all.

6:57

Not involved. Not involved. Yeah,

6:59

keep telling Benjamin. No, I...

7:01

Benjamin, no, please. No, yeah,

7:04

but if you need someone

7:06

to come with you, perhaps,

7:08

a carrier bags, shine your

7:10

shoes, squelch your skirts. So,

7:12

so Benjamin, thank you so

7:15

much. That is incredibly kind

7:17

of you. Um, I am

7:19

good. And this is the

7:21

address here, and don't follow

7:24

you there. Please do not.

7:26

Please refrain from following me.

7:28

Here or ever. Understood. Yes,

7:30

no. We're roommates, and I

7:32

respect this boundary. Thank you

7:35

so much, Benjamin. I finished

7:37

packing a bag and a

7:39

lunch. Oh, I got a

7:41

lunch! A thermus of coffee?

7:44

Oh, I love coffee. Thank

7:46

you so much, Benjamin. Well,

7:48

I just want to be

7:50

the best roommate you've ever

7:52

had. You're a great roommate.

7:55

And my best friend, like

7:57

a brother. You're my best

7:59

friend, too. He goes for

8:01

a... and then changes to

8:04

a handshake. And we give

8:06

a hardy handshake. Yeah. Lingers

8:08

in the handshake. We kept

8:10

back to outside the house

8:12

where we see Bula, Biatris,

8:15

Hattie, Maynard. Please tell me

8:17

what I pronounced wrong and

8:19

what she looks like. Well,

8:21

my name is Bula Biatris.

8:24

Hattie. Hattie. Maynard. It's pronounced

8:26

more like a less glaze

8:28

over the nod, like in

8:30

A-R-D, but it's an R.

8:33

You know what I mean?

8:35

Maynard. Maynard. Maynard. Got it.

8:37

Yes, lovely. So, so welcoming

8:39

of all of you to

8:41

be here, greet me. So

8:44

when you see, Hattie, you

8:46

see a nice put together.

8:48

woman of the cloth and

8:50

the Lord. And she is

8:53

a psychologist. She is wearing

8:55

a nice pair of spectacles.

8:57

Her hair is pulled back

8:59

a little bit, very chic

9:01

and nice little shin' on

9:04

in the back. Shin-Yaunt. It's

9:06

a bun, right? Yes, it's

9:08

a nice little up-do, if

9:10

you will, and she's wearing

9:13

a high turtle neck collar

9:15

underneath set of suspenders with

9:17

very high pants and a

9:19

nice coat. She wears pants.

9:21

She does wear pants, yes.

9:24

Does the congregation find this

9:26

a spectacle? You know, I

9:28

understand that most people in

9:30

the church would believe that

9:33

a woman should only wear

9:35

a skirt or a long

9:37

dress. However, I do not

9:39

agree with that. And as

9:41

the most learned person in

9:44

most places that I do

9:46

attend, I'd like to think

9:48

that that would count for

9:50

something. And by something, I

9:53

mean I do what I

9:55

want. Fair enough. When, is

9:57

Hattie what she prefers to

9:59

be? called for short? No.

10:01

Bula? Billa? Yes, Billa

10:03

Beatrice. Billa Biatris. What

10:06

does... Friends do call

10:08

me Bibi, but I do

10:10

not have many friends. What

10:13

does Bibi think as she looks

10:15

up at this edifice? They need

10:17

to get their stuff together.

10:19

I would make my thoughts

10:21

known, but I do like

10:23

to not dwell in the

10:25

judgment or the judgmental or

10:28

the harsh. So I guess

10:30

I'll refrain from saying how

10:32

atrocious these accommodations are, how

10:34

terrible this water is, and

10:36

that you should have planned

10:38

more accordingly to have people

10:40

get out of a carriage

10:42

down into a deep puddle of

10:44

water. Do you say this aloud? I do

10:46

say it loud, but slightly passive

10:48

aggressively. Ah, well, just then.

10:51

A man also very wet

10:53

comes huffing and puffing out

10:56

of his own carriage. He

10:58

is a rotund man with

11:00

a complexion the color of

11:03

oatmeal and a suit that

11:05

is a little threadbare on

11:07

the edges, neatly tucked pocket

11:10

square, and another kerchief that

11:12

he's dabbing on his forehead

11:15

even as he pulls out.

11:17

an umbrella. This man is

11:19

still sweating. And he

11:22

hears your complaints and

11:24

says, yes, yes, I

11:26

understood my apologies.

11:29

I should have sent a

11:31

carriage perhaps, but so much

11:33

to do with the death

11:35

and whatnot. Oh, no, it's

11:38

fine. I don't mind walking

11:40

in the cold and the

11:42

rain muckin' the muckin'

11:45

Right, right. Are you cold?

11:47

I'm always a bit warm.

11:49

And we have one more

11:51

character standing

11:53

with her umbrella. Gina,

11:56

please tell us about

11:58

Enid Flores. She wasn't

12:01

holding an umbrella,

12:03

you might have missed her.

12:06

She's very small in

12:08

frame, almost like she's

12:10

been rung out a

12:12

few times herself in

12:14

this wet, wet place.

12:16

Her clothing is not

12:19

well kept despite

12:21

clearly being of

12:23

high quality material.

12:25

There are some self-soaned

12:28

patches. to mend edges.

12:30

She is wearing an

12:33

apron over her nice

12:35

clothes that also has

12:37

seen better days. Her

12:39

face is young and

12:41

smooth, but the smile

12:44

she has creates vast

12:46

crinkles around her eyes

12:48

as she's giggling to

12:51

herself and staring at

12:53

the hem of Bula's

12:56

pants covered in mud.

13:00

and she's giggling

13:02

and she's very

13:04

anxiously tugging at

13:07

the scarf, the

13:09

very delicate scarf

13:11

around her neck

13:13

that is accompanied

13:15

by the many

13:17

buttons up her coat

13:19

jacket covering her her

13:22

clothes. And she's

13:24

standing very... hunched

13:28

near violet,

13:30

sort of in

13:33

a, go get

13:35

a mom kind

13:38

of pose, like

13:40

a little bit

13:42

behind a little

13:45

bit near and

13:47

is just giggling

13:51

and staring

13:54

at your pants. I

13:56

just thought it was

13:58

very nice. See you

14:00

in such a smart outfit.

14:02

I really like the pants,

14:05

Bula. It's nice to see

14:07

you again. Have these two

14:09

met before? We have quite

14:11

a history. More of a

14:13

ship's passing in the night

14:16

type of a situation for

14:18

the last forever. Yes. Ah,

14:20

you know each other, Mr.

14:22

Pren, joins the conversation, says,

14:24

yes, well, it's best we

14:27

go inside. We wouldn't want

14:29

someone run over by a

14:31

carriage, like the last occupant,

14:33

quickly, inside. As we are

14:35

walking inside, um, of I

14:37

like kind of like shuffles

14:40

her skirt and says, I'm

14:42

sorry, that they were run

14:44

over. They were just run

14:46

over, flat by carriage. Oh

14:48

yes, well, the witnesses said

14:51

he was raving like a

14:53

madman, shoeless and coatless. If

14:55

you can believe that, leaving

14:57

the house with no shoes.

14:59

I was thinking of coat.

15:02

Yeah, yes, well, some of

15:04

us run warm. Sweating profusely,

15:06

even though it's raining. Are

15:08

you ill? Are you... Well,

15:10

your face looks flushes if

15:12

you have a fever. Do

15:15

you have a fever? Sure,

15:17

or I'm a bit under

15:19

the weather, you could say,

15:21

but it is my natural

15:23

state, couch, rheumatoid arthritis. Oh,

15:26

terrible. My, we should go

15:28

get you a cup of

15:30

tea, and she just pushes

15:32

past you. Yes, I, I

15:34

say. Right before you do,

15:37

the door to the house.

15:39

Pops open. The house seems

15:41

to shudder and there's like

15:43

a little verbal of the

15:45

clacking of the shutter board

15:48

on the exterior as it

15:50

pops open as if welcoming

15:52

you in. Enid runs her

15:54

hand along the door frame

15:56

as she crosses the threshold

15:58

and under her breath just

16:01

says, what a nice old

16:03

house. as if it's welcoming

16:05

us in. You feel a

16:07

warmth as soon as you

16:09

step inside that's more than

16:12

just heat. You feel it

16:14

internally, Enid, like that feeling

16:16

when someone hugs you tight.

16:18

You just a little, you

16:20

step inside and, and it

16:23

brings you a little bit

16:25

of happiness. As you all

16:27

quickly come inside and out

16:29

of the rain, does anyone

16:31

else do anything in particular?

16:33

Bubula Beatrice would like to

16:36

stop by the door immediately

16:38

take off her stockings feet

16:40

She likes to take off

16:42

her stockings and remove her

16:44

shoes And she's going to

16:47

roll up that pants leg

16:49

that someone kept looking at

16:51

and laughing as if something

16:53

were quite hysterical But she's

16:55

going to make sure that

16:58

she's not feeling wet actually.

17:00

I'm sorry. Is there a

17:02

place that we could maybe

17:04

get comfortable? I don't know

17:06

what the order of operations

17:08

is here. Right, Roy, step

17:11

inside. I do assume we

17:13

have Mrs. Flores, Mrs. Lark,

17:15

Mrs. Maynard in presence? Yes,

17:17

present. Yes, inside, please. And

17:19

you step into the hall.

17:22

The door closes softly behind

17:24

you. A once grand hallway

17:26

with stately portraits of idyllic

17:28

landscapes on the walls is...

17:30

all covered in dust and

17:33

cobwebs. You hear a grandfather

17:35

clock ticking somewhere down the

17:37

hallway in the shadows at

17:39

intervals along that hallway are

17:41

oil sconces that are lit.

17:44

There is a bit of

17:46

electricity though in the chandelier

17:48

above made of crystals, a

17:50

new technology. Yes, indeed. There

17:52

is a decorative bench upholstered

17:54

with tough did green velvet

17:57

just behind beside the door

17:59

where one might sit to

18:01

roll up their pant legs

18:03

and remove their shoes if

18:05

anyone else would like to

18:08

do so. You may set

18:10

your bags down as you

18:12

all were invited and may

18:14

have traveled some distance. I

18:16

imagine everyone has some amount

18:19

of luggage that Mr. Pren

18:21

instructs you to put down.

18:23

Oh yes, of course. So

18:25

you all received your letters?

18:27

Yes, quite mysterious. Yes, I

18:29

may have forgotten to mention

18:32

something interesting. The three of

18:34

you have inherited the ownership

18:36

of this home. Did I

18:38

remember to put that in

18:40

the letters? Um, oh. Hold

18:43

on. We together on this

18:45

house? Yes, that's right. You

18:47

just hear a kettle drop

18:49

from the kitchen. Because Enid

18:51

has scurried off to make

18:54

a cup of tea for

18:56

this very sweaty man. Enid

18:58

would very much like to

19:00

find the kitchen. Oh, but

19:02

she can't? And feels along

19:04

the wall. And strangely, where

19:07

there should be many doors

19:09

opening to many rooms along

19:11

this hallway, there are none.

19:13

But... that of a coat

19:15

closet beneath the stairs. And

19:18

on that note, the stairs

19:20

don't seem to have a

19:22

second floor above them. The

19:24

stairs end in a plastered

19:26

ceiling. There are rich mahogany

19:29

railings. There are the stairs

19:31

themselves. There's a landing at

19:33

the base of the first

19:35

floor, but no upstairs. If

19:37

you'll excuse me for just

19:40

a moment, um, there's something

19:42

that I've gone outside. Do

19:44

you mind if I go

19:46

back out this door and

19:48

she starts to try to

19:50

make her way towards the

19:53

front door? She reaches for

19:55

the doorknob and as her

19:57

hand touches the brass, it

19:59

melts into a sticky goo

20:01

and just falls away. from

20:04

the door and into her

20:06

hand. Now you wait just

20:08

one dog on moment. Somebody

20:10

tell me right now what

20:12

is happening? Please give me

20:15

a sanity roll. First roll

20:17

of the game. While you

20:19

are about to take charge,

20:21

you just hear that there

20:23

was no kettle you just

20:25

hear shuffling and grumbling and

20:28

just open your bag find

20:30

a kettle in it. I

20:32

start making a mini fire

20:34

in the hallway. I have

20:36

like catister Flint. I'm helping

20:39

you. 56 on your sanity.

20:41

You began 70. So that

20:43

is a success. Oh good.

20:45

You want to roll below

20:47

your scale level? Yes, you,

20:50

your sanity maintains, you can

20:52

explain it away and, and

20:54

with anger as, as you

20:56

did, with, why is this

20:58

happening? I'm very sorry, as

21:00

the homeowner, I think you

21:03

want to get that fixed.

21:05

Mr. Prim, and, um, Violet

21:07

is walking towards him and

21:09

she, you can tell that...

21:11

outside she was very proper

21:14

and that's that's kind of

21:16

cracking a little bit as

21:18

she looks at him and

21:20

says okay mr. prim what's

21:22

happening what what is this

21:25

house who left us this

21:27

house well I suppose that's

21:29

oh Let me check my

21:31

notes." And he pulls out

21:33

a folder and starts rifling

21:36

through it, drops it, and

21:38

picks it back up again,

21:40

apologizing at your feet. Yes,

21:42

it doesn't say here. I

21:44

suppose you were known to

21:46

the family, or they've left

21:49

it to you in some

21:51

way. Your names were on

21:53

the documents sent to me.

21:55

Ah, you have to report

21:57

to someone, don't you? Oh,

22:00

yes, I work for a

22:02

law firm, print and print.

22:04

I'm the only remaining print,

22:06

my late father, with me.

22:08

Enid is suddenly directly behind

22:11

this man. My condolences. Question,

22:13

does this house have a

22:15

name? Why, yes. Wonderful. This

22:17

is the havelock house. Havelock

22:19

house. You've got to have

22:21

a... kitchen havelock and she

22:24

keeps walking around. Banging on

22:26

the walls. Banging on the

22:28

walls and there is a

22:30

pot that she has pulled

22:32

from her giant carpet bag

22:35

that is sitting atop a

22:37

oil lamp already but she

22:39

has no water yet so

22:41

it is just progressively getting

22:43

hotter and hotter with no

22:46

liquid as she scurries around

22:48

and Oh, perhaps I can

22:50

help with that. He takes

22:52

his umbrella and tips it

22:54

into your tea kettle. Genius!

22:56

She quickly undoes the scarf

22:59

around her throat and you

23:01

see just a pink, a

23:03

bit of pink at the

23:05

top of her collar on

23:07

her skin, some discoloration as

23:10

she rings out her scarf

23:12

too above the teac kettle

23:14

to add to the water.

23:16

We don't know how many

23:18

cups we'll need. And she

23:21

continues to ring out parts

23:23

of herself to add water

23:25

to this teapot. Well, that

23:27

was just a southernism. Y'all

23:29

can carry on. Oh, sorry.

23:32

You come in such attention.

23:34

You speak. No. Just an

23:36

aside. You get used to

23:38

it. Give me a roll

23:40

for listen, Enid. Ooh, OK.

23:42

No, I need an excess.

23:45

Oh, this is a fine

23:47

time to remind you all

23:49

of a fun new mechanic

23:51

we'll be playing with. You

23:53

have a pool of points

23:56

that I did not insist

23:58

you distribute before the game

24:00

began. Although you do need

24:02

to spin them before you

24:04

roll. Good point. Being the

24:07

first one, we can take

24:09

that again. Okay, I wouldn't

24:11

mind it because I want

24:13

to be nosy as hell.

24:15

And I feel like I

24:17

would listen. Sure. Please feel

24:20

free to distribute and then

24:22

re-roll. I think I want

24:24

to pop that up to

24:26

60 at least. You do

24:28

have one good listener at

24:31

the table already. Oh, are

24:33

you a good listener too?

24:35

Oh, I'm very nosy. Oh,

24:37

great. No wonder we got

24:39

along for a little while.

24:42

What do you think we

24:44

got through Catilla? I know.

24:46

By making sure that we

24:48

didn't say each other's names

24:50

while we were listening. Of

24:52

course, but you know what

24:55

I did here. Oh, oh,

24:57

I do love gossip. Then

24:59

we'll do 50. I say

25:01

you're better at it than

25:03

I am. Mine's out of

25:06

curiosity and yours is out

25:08

of power. Well listening, at

25:10

least that's my vision of

25:12

you, while filling the kettle

25:14

with various sources of rainwater,

25:17

Enid... listens closely to the

25:19

wall at where it very

25:21

much feels like a kitchen

25:23

door should be, or at

25:25

least to the dining room

25:28

that would lead to the

25:30

scullery kitchen for the servants

25:32

to prepare food in. And

25:34

here's a hollowness behind the

25:36

wall, as if a door

25:38

wants to be there. Here's

25:41

a boiling, a bubbling, a

25:43

popping. But then

25:45

from the opposite direction

25:48

from underneath the stairs

25:50

in that closet door

25:52

Here's a light scratching

25:55

Must be the rats

25:57

from before And she's

26:00

hurriedly tying the scarf

26:02

back around her neck.

26:04

Yeah, scratching. And she

26:07

abandons the kitchen and

26:09

immediately very easily walks

26:11

into the cupboard under

26:14

the stairs as she

26:16

is very short in

26:18

stature and barely has

26:21

to duck and is

26:23

now and closes the

26:26

door behind her. A

26:29

creature flinging itself in your

26:31

face that makes a

26:33

yelping noise. No. Can I

26:36

help you? I mimic the

26:38

sound that it makes it

26:41

me. Do I lock

26:43

myself in with this creature?

26:45

It's a young girl. Perhaps

26:48

six or seven. She's

26:50

a creature! You weren't sure

26:52

at first. She's wearing a

26:55

gingham dress with overalls and

26:57

white puffy sleeves. It

26:59

goes almost to the floor,

27:02

but it's kind of pinned

27:04

up so she can run

27:07

and play. And it seems

27:09

that she does. She runs

27:12

down the hallway to the

27:14

grandfather clock. Opens up.

27:16

the door to the grandfather

27:19

clock says, please come find

27:21

me and closes the

27:23

door. In its face lights

27:26

up and this is the

27:28

youngest she's ever looked despite

27:31

being a looks around

27:33

20 years old. She looks

27:35

12 all of a sudden

27:38

and you see her take

27:40

on an immediate like hunched

27:43

stance Hikes up her skirt

27:45

as well and just yells

27:48

And again yelling for

27:50

Enid is still just above

27:52

a whisper as her voice

27:55

is quite husk and

27:57

raspy for

28:00

her age. Challenge

28:02

accepted, and starts opening random

28:04

drawers and things, because she's

28:07

like, all bets are off,

28:09

this house makes no sense,

28:11

and I'm in, and I

28:13

have been challenged by a

28:15

child, and seems to maybe

28:17

have grown up around several

28:19

siblings, and this is a

28:21

very known game to Enid.

28:23

As you start opening drawers,

28:25

you immediately find a wedding

28:27

veil in the closet under

28:29

the stairs, this small little

28:31

cupboard that you had to

28:34

duck, or you did not

28:36

have to duck, others would

28:38

have to duck to enter,

28:40

and it does have a

28:42

small set of drawers. Do

28:44

you pull out the veil?

28:46

Yes, this gives pause, and

28:50

yeah, pulls it out,

28:52

and almost as if the

28:54

moment her hands touched

28:56

the veil, that 12 -year -old

28:58

sort of essence that

29:00

had taken over her is

29:02

immediately wafted over by

29:04

a much more calm and

29:06

studied energy. Can I

29:08

have a spot -hidden role

29:10

from Violet and Beebe? Feel

29:12

free to distribute, because

29:14

this is a rather useful

29:16

skill. And this is

29:18

the one and only time

29:21

that you can add

29:23

to that particular skill, then

29:25

you're locked in. Okay.

29:27

I'll do this again. Oh,

29:30

and then he rolled very, very

29:32

good. A success. You

29:35

feel yourself being called

29:37

down the hallway a ways,

29:39

about halfway to the

29:41

grandfather clock, and you come

29:43

to study a portrait on

29:46

the wall. Tell

29:48

me what you rolled as

29:50

well. 26. Okay, I think that

29:53

Violet is the one that

29:55

is called to this particular oddity.

29:57

It's a wedding portrait. It

30:00

has an ornate

30:02

frame as you dust away

30:04

the cobwebs you see a joyful

30:06

looking man with brown hair in

30:09

a long black coat with

30:11

a high belt and silver buttons

30:13

all the way down its

30:15

front a black leather band across

30:17

it and a square top

30:19

hat it's a military uniform and

30:22

the woman in the photo

30:24

is wearing white delicate lace she

30:26

looks like a cherub there's

30:28

baby fat still in her cheeks

30:30

she has delicate tiny hands

30:32

and feet her frame is very

30:35

slight and her face has

30:37

a far off expression in it

30:39

um i think

30:41

that violet kind

30:43

of curiously kind of puts her hand

30:45

on the portrait kind

30:52

of staring at

30:54

it and i think that for

30:56

whatever reason violet is connecting with

30:58

the woman and

31:02

seeing perhaps this was

31:04

not what she wanted but it was maybe

31:06

what was expected of her so

31:08

that's sort of

31:10

violet sort of seeing her self reflected

31:12

a little bit back and

31:17

also all of the

31:19

stuff that was happening with enid was happening

31:21

fully in the room with us

31:23

yes yes it's a narrow

31:25

long hallway that should lead to

31:27

every other room in this

31:30

gigantic victorian house and yet doesn't

31:32

so i i think that

31:34

um because this place also has

31:36

electricity that is of great significance

31:40

to violet and

31:42

she wants to understand how it works

31:44

and this house is weird we've

31:46

established and violet kind of likes weird

31:48

and so i would like to try to take

31:50

the painting off the wall to see if there's anything

31:52

behind it sure um

31:54

as you do roll

31:56

for occult um sorry roll

31:58

for power you're One of

32:00

your main characteristics.

32:03

Just under. So a

32:05

success. A regular success.

32:07

Yes. When you put

32:09

your hands on the

32:12

portrait, you hear a

32:14

whisper in your ear. You're

32:16

like me. The thought you

32:18

just had, but this doesn't

32:20

seem to be coming

32:22

from your own mind.

32:25

It feels... Like someone

32:27

foreign just invaded it

32:29

to give you this

32:31

message. Roll for sanity.

32:33

That is a fail. You

32:35

cannot spin luck on

32:38

sanity, unfortunately. You

32:40

lose one point of

32:42

sanity because it could

32:44

have been the wind.

32:47

But something tells you

32:49

that it definitely wasn't.

32:51

There is something. strange

32:54

happening in this house

32:56

unlike anything perhaps you've

32:59

experienced before or perhaps

33:01

we'll find out how

33:03

much similar things you've

33:06

experienced. Behind the painting

33:08

there is a hollow area, a

33:10

crack on the wall that doesn't

33:13

have any paint on it.

33:15

It reminds you of the

33:17

scar that perhaps you saw

33:19

on Einid's neck as she

33:21

removed her scarf. It kind

33:23

of has a... beneath the

33:26

paint, there's like

33:28

a fleshiness to the

33:30

wall. Oh. It looks as

33:32

if this house has a

33:34

scar. Oh. I think this

33:37

house is alive. Perhaps,

33:39

and I'm going to

33:41

touch it. When you touch

33:43

it, you feel a warmth.

33:46

Like when Eden walked

33:48

into the house, as

33:50

if... There's just a

33:52

heat, a tingle, going

33:55

up your arm and

33:57

settling in your chest.

34:00

And I kind of, they

34:02

are only to her and

34:05

to the wall, say, I'm

34:07

sorry if someone or something

34:10

hurt you, but I guess

34:12

we're here now, my friends

34:15

and I think that we're

34:17

meant to take care of

34:20

you. House? You feel a

34:22

flash of anger. When you

34:25

say the words, someone hurt

34:27

you. Sparks fly from the

34:30

chandelier. The chandelier light goes

34:32

off. Oh. The light from

34:35

just the oil lamps is

34:37

rather dim. Sparks continue to

34:40

fly from the crystal chandelier

34:42

near the door. What is

34:45

Bula doing? First and foremost,

34:47

Bula is looking directly at

34:50

violet as if she has

34:52

just as... doing too much.

34:55

It is, and I... myself

34:57

am not unfamiliar with the

35:00

paranormal. It is it is

35:02

something honestly that Enid and

35:05

myself have encountered together. However,

35:07

I would like to not

35:10

encounter it together again. However,

35:12

I am now stuck inside

35:15

of this home that I

35:17

cannot get out of no

35:20

matter how many times I've

35:22

tried this door. And Bula's

35:25

just maniacally. trying to find

35:27

a way out of this

35:30

place while also wondering how

35:32

they found themselves in this

35:35

position and who did this

35:37

and looking for some kind

35:40

of clue since I cannot

35:42

get this door open. So

35:45

she starts to walk back

35:47

around to try and find

35:50

something. Bula is shaking the

35:52

door as she's trying to

35:55

make a doorknob reattach where

35:57

really just molten bronzes. Not

36:00

hot, but liquid now has

36:02

dripped through her fingers. And

36:05

the shaking of the door

36:07

shakes the whole front frame

36:10

of the house. Mr. Pren

36:12

has been, this whole time

36:15

I'm trying to organize the

36:17

papers that he drops and

36:20

he says, yes, I have

36:22

it here. He goes and

36:25

flips the switch for the

36:27

light. And with your skill

36:30

violet in engineering and interest

36:32

in electricity, you probably see

36:35

the power that sort of

36:37

lights up in the line

36:40

going up to where the

36:42

sparks were flying in the

36:45

chandelier. And Mr. Pren shuffles

36:47

his papers and says, yes,

36:50

finally, I found it. In

36:52

addition to the home, they

36:55

will inherit the guardianship of

36:57

one Iraq, age six. Yes,

37:00

you are the proper guardians

37:02

of, and on that of.

37:05

The chandelier detaches from the

37:07

ceiling or rather crystals of

37:10

it do. Electrified by this

37:12

newfangled electricity. And the crystals

37:15

end in a sharp tip

37:17

on each of them. They

37:20

start shooting downward. Bula, you

37:22

were standing near the door

37:25

last. Please roll for decks

37:27

to see if you jump

37:30

out of the way of

37:32

these crystals in time. Yes,

37:35

that's the 21. Is that

37:37

a hard success? Texas 50.

37:40

Yeah, that's hard because you're

37:42

under the 25. With a

37:45

hard success, you dive further

37:47

down the hallway towards Enid

37:50

and Violet. Enid and Violet,

37:52

give me a role for

37:55

Texas to see if you

37:57

are able to deflect the

38:00

shards of. glass that have

38:02

jumped up off the tile

38:05

floor. I did not. No,

38:07

that is a no firm,

38:10

oh no, wait, my desk

38:12

is 80? Yes. I do.

38:15

Roll the 77. You drop

38:17

the portrait and your hands

38:20

fly to your face to

38:22

protect you. Or rather, perhaps

38:25

you use the portrait. Enid,

38:27

how did you roll? Oh,

38:30

no, no, no, no. There

38:32

is way too many interesting

38:35

things happening and, oh, shiny,

38:37

at my face. You take

38:40

one point of HP damage

38:42

as a bit of shiny

38:45

wedges into your abdomen. Enid?

38:47

Ener? Very quietly, which in

38:50

medical speak, if you're quiet,

38:52

it's more painful. Yeah, so

38:55

she's quiet and she walks

38:57

over to the tea kettle

39:00

that has been sitting and

39:02

is now going. And starting

39:05

to make the noise that

39:07

it's ready, she takes the

39:10

kettle off and lays it

39:12

on a nearby doily and

39:15

takes off that scarf again,

39:17

nips it in the water.

39:21

and then puts it

39:23

on her side to

39:25

start cleaning whatever this

39:27

thing in her stomach

39:30

is. Meanwhile, Bula screams

39:32

as she sees right

39:34

in front of her,

39:37

Mr. Prin, impaled by

39:39

dozens of these sharp

39:41

crystals. He looks at

39:44

you. Blinks a few

39:46

times and says, oh

39:48

my, as he starts

39:51

to put his hand

39:53

to his face to

39:55

dab at, not sweat,

39:58

but blood. and falls

40:00

backwards, like a log

40:02

falling in a forest.

40:04

The house shakes and

40:07

a few tiles crack

40:09

as his massive weight

40:11

hits them. Oh, Blaishaw.

40:14

Mr. Prin is dead.

40:16

All of you please roll

40:18

for sanity. Yeah, I know

40:21

that makes sense for me.

40:23

The knots. Oof. Hmm. That

40:25

is a super not... It's

40:28

not a... It's a... Ooh.

40:30

This is an important

40:32

time to mention that a

40:35

fumble is a role of

40:37

96 to 100 when you

40:39

have less than 50 points

40:42

in a skill. If you

40:44

have above 50 points, it

40:46

must be exactly a 100

40:49

to fumble. So you didn't

40:51

fumble, and that's very

40:53

good. It was my

40:55

sanity though, right? I have 49.

40:58

I'm 49 because I lost a point of

41:00

sanity earlier. And you failed this role? Yes,

41:03

I failed this one. Yes. But the 96,

41:05

that's a fumble. That's so, it's a 96.

41:07

I think it's a fumble. Yeah.

41:10

Oh. Yeah. Not to recall

41:12

myself, make it worse for

41:14

me. Yeah. So I did

41:16

roll a D4 that was

41:19

going to give you just

41:21

one point of sanity loss.

41:23

But I think we got

41:26

to max out that diet

41:28

and call it a four.

41:30

Explain to me why? This

41:32

shakes violet to her core.

41:35

So I think that in

41:37

the. chaos of the chandelier

41:39

breaking and all of the

41:41

shards falling violet shielded herself

41:43

with the portrait and then

41:45

the crystals pierced some of

41:47

the portrait and crushed through

41:49

it. And as she saw that

41:51

Enid was hurt, she was going

41:53

to rush towards Enid, but was

41:55

stopped in her tracks when she

41:57

saw the body of Mr. Prim.

42:00

because it reminded her of

42:02

a terrible accident that she

42:04

had caused in her past

42:07

and seeing the mangled bodies

42:09

of the people who had

42:11

fallen from a balloon that

42:14

she had tried to fix.

42:16

It reminded her of that

42:18

carnage. We cut to the

42:21

scene with the balloon and

42:23

just describe what Violet sees.

42:25

As a scientist but also

42:28

someone who is invested in

42:30

unconventional means of science, she

42:32

was trying to prove a

42:35

theory right with limiting the

42:37

amount of volume needed in

42:39

a balloon to fly. So

42:42

we're in a field. Yes.

42:44

The balloon is prepared, sitting...

42:47

50 meters away. There are

42:49

other scientists around other students.

42:51

Everyone is preparing. Everyone is

42:54

testing the different elements of

42:56

the balloon. Yes. And so

42:58

Violet had created a type

43:01

of gas that she wanted

43:03

to try that is less

43:05

hot. And so it takes

43:08

up less space. And so

43:10

she switched out what was

43:12

supposed to be there. with

43:15

what she wanted it to

43:17

be there because she wanted

43:19

to be right so badly.

43:22

Her professor walks up to

43:24

her, an older man who

43:27

maybe mistakenly puts his arm

43:29

around her shoulder and says,

43:31

removes it when she shakes

43:34

it off. I just wanted

43:36

to apologize, Violet. I know

43:38

how much this meant to

43:41

you that we would test

43:43

your theory, but it just

43:45

doesn't seem safe at this

43:48

juncture. We'll continue testing, yes.

43:50

Of course. Yes, we will

43:52

continue testing. We, well, so,

43:55

and the balloon starts to

43:57

rise. Now, the gas that

43:59

we've put in this balloon,

44:02

of course, we've tested. for

44:04

a past decade. I feel

44:06

very safe in sending them

44:09

up. So it I will

44:11

say that you know if

44:14

we'll see how this balloon

44:16

goes and if it is

44:18

if it flies true then

44:21

we'll know that I'm right

44:23

because I you know I've

44:25

edited the balloon so it

44:28

is you telling this to

44:30

the professor right now. I've

44:32

edited the balloon because I

44:35

think that it is important

44:37

that we test all means

44:39

of science. You've done what?

44:42

I've edited the balloon, sir,

44:44

because it is important that

44:46

we test all means of

44:49

science. You mean you changed

44:51

the gas? I changed the

44:54

gas because it is important

44:56

that we test all means

44:58

of science, sir. There are

45:01

people in that balloon and

45:03

he runs and starts waving

45:05

his arms at them, trying

45:08

to get them to bring

45:10

the balloon back down, but

45:12

it's too late. They're so

45:15

high in the air and...

45:17

As that happens, there's an

45:19

explosion. It's just a fireball.

45:22

You see the professor before

45:24

you crumple to his knees

45:26

and pound the ground. One

45:29

of the occupants of the

45:31

balloon falls from the sky

45:34

just feet in front of

45:36

you. and you see his

45:38

eyes, a young man, they're

45:41

frozen, staring up at you,

45:43

and we count back to

45:45

the hall. So Violet is

45:48

just staring, and she is

45:50

like miles away in her

45:52

own brain, just staring at

45:55

the body. You did not

45:57

pass that test? I did.

45:59

I did. Yes. Okay, great.

46:02

Great. Bula, you have the

46:04

most blood splattered on you,

46:06

being the closest to the

46:09

falling chandelier. And you were

46:11

the first to notice huge

46:13

splatters on the walls as

46:16

well. Bula is just sitting

46:18

her left eyes twitching. Mm.

46:21

And she's just... This isn't

46:23

right. Yeah, I think you're

46:25

sitting on the tufted velvet

46:28

green bench that was right.

46:30

by the door. What does

46:32

Enid do? I think Enid

46:35

saw what happened to Mr.

46:37

Prim a second after they

46:39

did. Because she felt her

46:42

pain in her stomach, went

46:44

to the tea, went to

46:46

clean her wound, heard the

46:49

scream, heard the sound, looked

46:51

up and realized what had

46:53

happened. that her

46:56

injuries are far less

46:58

important than the chaos

47:00

in front of her

47:03

and the frozen nature

47:05

of this scene and

47:07

I think The her

47:10

training kicks in and

47:12

she is good under

47:14

pressure. She is fine

47:16

around blood. She has

47:19

seen many scenes of,

47:21

of, and states of

47:23

bodies, but nothing like

47:26

this, in this way.

47:28

But she's seen far

47:30

worse. And so she

47:32

kind of goes into

47:35

that, that state of

47:37

calm in a crisis

47:39

when other people look

47:42

more afraid. And she's

47:44

quiet, she is quick,

47:46

she immediately is still

47:48

holding her side. but

47:51

quick as a flash

47:53

is shuffling violet this

47:55

woman that she has

47:58

known for a very

48:00

long time and guides

48:02

her to the chair

48:04

where Bula is and

48:07

is sort of

48:09

attempting to ground

48:11

them and get

48:13

eye contact. She

48:15

knows that Violet

48:17

is somewhere and

48:20

she needs Bula

48:22

and Violet to

48:24

be here and so

48:27

I think in a... rare

48:29

moment of touch, she sort

48:31

of places the inside

48:33

of her palms on

48:35

the sides of Violet's

48:37

cheek and Bula's cheek

48:39

to see how present

48:42

they are. Are you all right? Is

48:44

anyone hurt? Bula, is any

48:47

of that your blood?

48:49

Bula takes deep breath.

48:51

Why are we here? I

48:53

believe we are now the

48:55

guardian of a couple of

48:57

things. Something

49:00

is not right. There

49:02

is blood on my

49:04

sweater. Yes. There is

49:06

a dead man on the

49:09

floor. Also, yes.

49:11

My friend is

49:13

terrified. There is no

49:16

second floor at

49:18

the top of

49:20

these stairs. Nothing

49:22

makes a lick of

49:24

sense. And I cannot

49:27

leave. From what I can tell,

49:29

there is not even a bath

49:31

for me to clean the blood

49:33

from my cheeks. So I would

49:35

like to know what the next

49:37

steps are and that you want

49:39

to know what's going on. I

49:41

cannot tell you because I do

49:43

not understand it myself. As

49:45

Bula says this, she looks

49:47

up and on the wall against

49:50

the stairs where the blood has

49:52

splattered, it started to drip down,

49:54

but is dripped in such a

49:57

way. that it reveals

49:59

writing. as if there was

50:01

slick oil where the blood

50:03

couldn't penetrate the wallpaper, and

50:05

spelled out in the writing,

50:07

in a coarse hand, says,

50:09

get out of my house.

50:12

Bula's the first to see

50:14

this. Oh well, isn't this

50:16

rich? Now there's blood on

50:18

the wall. The blood says,

50:20

we need to leave too.

50:22

Looks like, uh, listen. I

50:24

study the mind. I've spent

50:26

years studying how the mind

50:28

works and how we process

50:30

these things, how we process

50:32

traumas and losses. The only

50:34

thing that I can think

50:36

of is how none of

50:39

that matters right now because

50:41

none of this shit makes

50:43

any sense. You feel as

50:45

if the walls feel a

50:47

little tighter. It feels a

50:49

little colder in the room

50:51

as if a breeze is

50:53

blowing through it when no

50:55

doors or windows are open.

50:57

What does Violet see? So

50:59

Violet, I think feeling in

51:01

its hand upon her cheek

51:03

and hearing Bula, being very

51:05

logical, and like, I think

51:08

that's what Violet really appreciates

51:10

about Bula, is their logic

51:12

in the face of things

51:14

that are incredibly illogical. And

51:16

as she kind of gets

51:18

back into her body and

51:20

looks up at the blood

51:22

on the wall, very low

51:24

to herself, says, we have

51:26

to dispose of the body.

51:28

I mean, there's a dead

51:30

man in the middle of

51:32

the room, and there's only

51:35

us as witnesses. We have

51:37

to dispose of the body.

51:39

Because if we don't, well

51:41

then they're going to think

51:43

that we did that and

51:45

we didn't do that. So

51:47

we have to, and also

51:49

the house won't let us

51:51

leave, so how will we

51:53

dispose the body? Maybe we

51:55

can put them the cupboard,

51:57

yes, the cupboard, the cupboard,

51:59

by the thing. Oh, oh,

52:01

oh, oh. The, the, the,

52:04

the immediately, the two women.

52:06

Sorry. I think a psychology

52:08

role from each of the

52:10

other two ways. To see

52:12

if you're able to maybe

52:14

bring back a little, a

52:16

little sanity to your friend.

52:18

Or maybe if you're logic,

52:20

maybe she's a logical. I'm

52:22

being very logical. I'm being

52:24

very logical right now. We

52:26

have to do something. He's

52:28

just there. We can't get

52:31

out. How are they going

52:33

to get in? Well, it

52:35

was very easy for us

52:37

to get in. So maybe

52:39

the house just lets people

52:41

in and doesn't let people

52:43

out. It ain't getting out.

52:45

That man is dead. I

52:47

know, but we can't just,

52:49

we're going to live here.

52:51

How did you do in

52:53

the psychology world? Hard success.

52:55

Oh, very good. Your touch.

52:57

Does bring a sense of

53:00

calm if violet is okay

53:02

without that resolution and What

53:04

does Bula do did you

53:06

succeed on that role? I

53:08

did not okay fair That's

53:10

all right. Enid's got this

53:12

I would like to make

53:14

eye contact with Enid Yeah

53:16

a conversation through our pupils

53:18

and yes like the thing

53:20

that just happened for the

53:22

listeners at home the moment

53:24

the sweet baby being violent

53:27

started to have panic attack

53:29

the two psychology majors one

53:31

para psychology and one regular

53:33

psychology immediately locked eyes and

53:35

gave the oh no So,

53:37

eyeballs, you got this or

53:39

I got this and I

53:41

give the, Enid gives the

53:43

acknowledgement, I got this head

53:45

nod, carelessly rips her own

53:47

coat off of her body

53:49

that she has been walking

53:51

around and dripping with and

53:54

has not been prepared for

53:56

this fine house, rips it

53:58

off. covers the body very

54:00

quickly to at least remove

54:02

the sort of horror of

54:04

the immediate body. And then

54:06

very quickly, again, scoops Violet

54:08

up in her hands, lifting

54:10

her off the bench from

54:12

under her chin, and is

54:14

going, we mustn't dispose of

54:16

the body, it looks much

54:18

more suspicious. I thought we've

54:20

talked about this before, you

54:23

can't just. And she kind

54:25

of like starts going over,

54:27

she starts brists her. Yes,

54:29

it is painful, I imagine.

54:31

Sorry, continue. No, no, but

54:33

just that. It starts, starts,

54:35

knows how to, when you

54:37

get stuck in a logic.

54:39

whole, I just start following

54:41

the logic and poking holes

54:43

in it as a way

54:45

to calm you down. You

54:47

are able to regain one

54:50

point of sanity with that

54:52

hard success on the psychology

54:54

role and as this happens

54:56

Enid you feel a horrible

54:58

pain. And as you were

55:00

all discussing, how you wish

55:02

there were different places you

55:04

could go to, how you

55:06

wish there was a powder

55:08

room to tidy up, how

55:10

you wish there was a

55:12

room to make tea in,

55:14

doors start to fade into

55:16

view in this hall. At

55:19

the top of the stairs,

55:21

a small powder room door

55:23

appears. The doors... Slightly a

55:25

jar and you can see

55:27

a mirror in there. It's

55:29

very tidy except for the

55:31

blood dripping around the handle.

55:33

You see heavy wooden walnut

55:35

doors appear in the wall

55:37

beside the grandfather clock. And

55:39

Enid, you remember that you

55:41

are also in need of

55:43

medical care. Do you pull

55:46

out the crystal? No. That

55:48

seems like a very bad

55:50

idea. that could cause a

55:52

lot of extra tearing and

55:54

and she's just Yeah, the

55:56

pain reminds her of all

55:58

of the things that she

56:00

should be doing to herself

56:02

right now, but also her

56:04

mind is very much lingering

56:06

on the fact that there

56:08

is still a six-year-old that

56:10

she does not want to

56:13

see this body. So I

56:15

think she still continues to

56:17

ignore her own injury and

56:19

goes about trying to... cover

56:21

the body and put things

56:23

over it and remove the

56:25

blood because again there's already

56:27

been two witnesses and that's

56:29

plenty for the police and and

56:31

and it clearly the chandelier and

56:34

she and she's muttering to herself

56:36

mostly for you so you can

56:38

hear her logic from the coke

56:41

closet that is open beside you

56:43

I think she's still holding the

56:45

veil which is now covered in

56:48

a lot of blood. And yeah,

56:50

I think she's going around to

56:52

all of anything that looks like

56:55

a loose piece of cloth that

56:57

isn't belonging to her friends. Give

56:59

me a power roll. Okay. That's

57:02

a hard success, baby.

57:04

Your vision goes black

57:06

for a moment and you

57:08

see a different version

57:10

of this room. There

57:12

is no body on

57:14

the floor. The tile

57:17

is polished. Cobbwebs are

57:19

swept away and you

57:21

see a man in

57:23

a military uniform on

57:25

bended knee with a

57:27

woman standing before him,

57:29

droobic cheeks, delicate frame.

57:31

She's overcome with joy

57:34

as she takes his

57:36

hands and nods yes

57:38

furiously. He picks her up

57:40

and sweeps her off her feet

57:43

and plants a kiss on her

57:45

cheek. And then you

57:47

snap back to reality.

57:50

I think that makes her

57:52

drop the veil very quickly

57:54

and it lands in a

57:57

puddle of blood and the

57:59

white. mesh sort of soaks

58:01

in a little bit of the

58:03

red and she sort of goes

58:06

all right this won't do shall

58:08

we head upstairs yes as you

58:11

were cleaning and doing things

58:13

I think that Violet now

58:15

calmer because you were able

58:17

to get her out of

58:19

her logic hole yeah she's

58:21

going through her bag because

58:23

knowing Eaton and for a

58:25

really long time knowing that

58:28

like You have a wound

58:30

and I'm assuming that the

58:32

blood is seeping through your

58:34

clothes. Oh yeah, she's got

58:36

her white apron on so

58:38

it it probably took a

58:40

minute, but once it soaked

58:42

through her many levels of

58:44

wool. Yeah. You're like, alright,

58:47

that's enough. I'm looking for

58:49

something to like patch you

58:51

up while you're doing all

58:53

of that. Great. Yeah. So

58:55

yes, I think we should

58:57

go upstairs. We need to

58:59

look at that. Mm-hmm. Mm-hmm.

59:01

And it is hurriedly, like,

59:03

every time she goes to

59:06

move, you see her face

59:08

wince as she's collecting her

59:10

carpet bag and her things.

59:12

You never know what you're

59:14

going to need, especially in

59:16

a haunted house. I, because

59:18

I have a, I'm very

59:20

strong according to my character

59:23

sheet. I'm going to, like,

59:25

carry your bags. Oh. Oh,

59:27

no, no, you are absolutely

59:29

injured. You know that you're

59:31

bleeding, correct? Oh, yes. You're

59:33

bleeding, and it's inappropriate for

59:35

you to carry anything. I

59:37

keep forgetting. And yeah, every

59:39

time she goes to grab

59:42

another thing, you grab it.

59:44

No. Yeah, and then she

59:46

eventually just sort of gives

59:48

up and sits on the

59:50

stoop of the stairs until

59:52

you're ready. Yep. I'm sorry,

59:54

do you happen to have

59:56

some needle and thread? Of

59:58

course you have a needle

1:00:01

and thread. It's a carpet

1:00:03

bag. How do I repair

1:00:05

her? What do you do

1:00:07

with the needle and thread?

1:00:09

Well I'm going to take

1:00:11

the crystal out of her

1:00:13

side and I'm going to

1:00:15

stitch it. Excellent. Give me

1:00:18

a roll for medicine. Oh

1:00:20

boy, right here. Not even

1:00:22

going to give a girl

1:00:24

a shot. Actually, that truly

1:00:26

what I was grabbing from

1:00:28

my bag was a little

1:00:30

bit of a flask. Yeah.

1:00:32

When you specifically violate hand

1:00:34

her alcohol, you see her

1:00:37

instinctually just grab her neck

1:00:39

and kind of. How old

1:00:41

is Enid? She looks about

1:00:43

20. She looks freshly out

1:00:45

of college. She looks young

1:00:47

and incredibly old at the

1:00:49

same time. Like she's very

1:00:51

small. Yeah, she's very small.

1:00:53

So she appears really young

1:00:56

could pass for, you know,

1:00:58

a teenager if need be,

1:01:00

but there's something in her

1:01:02

face that looks really old.

1:01:04

How did you do on

1:01:06

that medicine roll? I got

1:01:08

a non. Oh, that's an

1:01:10

extreme success. Let's see. We

1:01:13

will roll. D4. And I

1:01:15

say that I also hand

1:01:17

you like these like big

1:01:19

thick like tweezers to like

1:01:21

help gab it. I'm sorry

1:01:23

but I need to clarify

1:01:25

something for my own brain's

1:01:27

purposes of this. Please. Now

1:01:29

upon removal of Sid Crystal

1:01:32

is the blood going to

1:01:34

spurt out of it? It

1:01:36

is definitely spurting. Okay. Yeah

1:01:38

as a medical professional in

1:01:40

the room you well know

1:01:42

this and perhaps I just

1:01:44

want to make sure that

1:01:46

I don't get more blood

1:01:48

on my person so I'd

1:01:51

like to move over to

1:01:53

the side the second that

1:01:55

I remove the crystal from

1:01:57

the wounded party. Your text

1:01:59

checked to save outfit. Yeah,

1:02:01

save outfit already covered in

1:02:03

blood. I think for the

1:02:05

medical aspect of this, you'd

1:02:08

have to immediately put pressure

1:02:10

on that wound and then

1:02:12

tightly wrap it, which you

1:02:14

well know and are very

1:02:16

good at doing this while

1:02:18

saving your outfit. Because maybe

1:02:20

you grab the coat or

1:02:22

the veil that's lying on

1:02:24

the floor nearby. And as

1:02:27

you do, blood spurts, but

1:02:29

I rolled very high for

1:02:31

you. You gain up to

1:02:33

your full HP. While that's

1:02:35

happening you all get on

1:02:37

the ground in order to

1:02:39

do this procedure and notice

1:02:41

The wall behind you where

1:02:43

the bench was sitting is

1:02:46

also covered in blood and

1:02:48

also Has words that the

1:02:50

blood could not drip upon

1:02:52

and this side has a

1:02:54

different message This says release

1:02:56

us And

1:02:58

it is written in

1:03:00

a different handwriting, a

1:03:02

firm bold print. And

1:03:04

at that moment, the

1:03:06

grandfather clock door. Oh,

1:03:08

creeks open. Oh, and

1:03:10

the young girl, whose

1:03:12

name you've learned is

1:03:14

Arachni from the lawyer's

1:03:17

paperwork before his untimely

1:03:19

demise, she peers out

1:03:21

and says, are you

1:03:23

going to find me?

1:03:25

Hello. Yes, um, we

1:03:27

were going to find

1:03:29

you. Hi, I'm Violet.

1:03:31

She just stares at

1:03:33

you with wide eyes

1:03:35

and looks up, hopefully.

1:03:37

So, um, do you,

1:03:39

have you lived in

1:03:41

this house your whole

1:03:43

life? She nods vigorously.

1:03:45

It's a very interesting

1:03:47

house, isn't it? She

1:03:49

nods even more vigorously.

1:03:51

Do, do, um, do

1:03:53

you have room? I...

1:03:55

Have a room somewhere,

1:03:57

but I haven't seen

1:03:59

it in a while.

1:04:01

This house is funny.

1:04:03

It moves. Um, interesting.

1:04:05

Do you know how,

1:04:07

can you talk to

1:04:10

the house? Oh yes.

1:04:12

Can't you? Well, not

1:04:14

yet. I think that

1:04:16

we've just met. We

1:04:18

haven't made, um, a

1:04:20

good impression yet. I

1:04:22

don't know. We have?

1:04:24

Oh, you definitely want

1:04:26

to make a good

1:04:28

impression or else. She

1:04:30

could get really mad at

1:04:33

you. The house? She just

1:04:35

looks at you confused. Um,

1:04:37

I don't want to be

1:04:40

presumptuous, Violet, but do you

1:04:42

mean your mother? I don't

1:04:44

have a mother, but I

1:04:46

do have Winifred. She's my

1:04:49

nursemaid. Have you seen Winifred?

1:04:51

Have you seen Winifred? We

1:04:53

haven't. We didn't know this

1:04:55

house. Game with the Winifred.

1:04:58

Can we meet Win a

1:05:00

friend? Let's find her! And

1:05:02

she rushes through the double

1:05:04

walnut doors that had opened

1:05:07

besides, appeared beside the grandfather

1:05:09

clock and leaves them slightly

1:05:11

ajar. As you hear her

1:05:14

footsteps go off into the

1:05:16

distance. I just before we

1:05:18

follow the child, is she

1:05:20

alive? Is that a ghost

1:05:23

child? Is that a real

1:05:25

child? I'm pretty sure that

1:05:27

child is not among the

1:05:29

land of the living. I'm

1:05:32

not entirely sure. It did

1:05:34

have, well she, my apologies,

1:05:36

she had, Arachne had, um,

1:05:39

um, quite solid when, when

1:05:41

she ran into me. Yes,

1:05:43

you did feel right. I've,

1:05:45

I've, I've had very, very

1:05:48

corporeal. Very corporeal, if, if,

1:05:50

ghost. Yes. Give me a

1:05:52

role for intelligence, all three

1:05:54

of you. This is also

1:05:57

your no rule. K-N-O-W, no.

1:05:59

It's your role. my para

1:06:01

psychology for this? Sure, like

1:06:04

psychic kids or versus... Yeah.

1:06:06

I don't know what this

1:06:08

role is, but it's a

1:06:10

double zero and a one.

1:06:12

That is a critical success.

1:06:15

Oh, yeah, very, very good.

1:06:17

You take it, girl. All

1:06:20

yours. Violet, when you were

1:06:22

talking to her, you've never...

1:06:24

felt anyone more real. Everything

1:06:26

in this house feels movable,

1:06:28

feels like it's speaking to

1:06:30

you on a level that

1:06:32

is so far beyond just

1:06:34

the physical, but she just looked

1:06:37

like a girl standing in front

1:06:39

of you. Okay. So I'm definitely

1:06:41

not a ghost, but

1:06:44

she probably understands the house

1:06:46

on a social level, perhaps?

1:06:48

Yes, and hopefully in a

1:06:50

cartography sense, at least a

1:06:53

little. We're kind of, or

1:06:55

are we walking towards the

1:06:57

doors? I think, I think,

1:06:59

as you look more anxious

1:07:01

and start floating towards the

1:07:03

double doors of this grandfather

1:07:06

clock, Enid starts to stand

1:07:08

up after being sootured very

1:07:10

elegantly and kind of hurriedly

1:07:13

and maybe even a little

1:07:15

begrudgingly starts to whisper a

1:07:18

thank you, a hurried thank

1:07:20

you to Bula. And you

1:07:22

hear a slight thank you

1:07:25

Bibi, Bila Bietras, as

1:07:27

she corrects herself and

1:07:29

kind of brushes past

1:07:31

you a little embarrassed.

1:07:33

You see a flush on

1:07:35

her cheeks as she's misspoke.

1:07:38

Bila kind of catches herself

1:07:40

here in, you know, almost

1:07:42

call her Bibi. And she

1:07:45

remembers that feeling of

1:07:47

an old friend calling her

1:07:49

something that... at a time was

1:07:52

very special and important to

1:07:54

her and she immediately corrects

1:07:56

herself and gets her barons

1:07:58

back about her. I know one

1:08:00

has time for all that. As

1:08:03

this beautiful touching scene happens,

1:08:05

where Enid is holding her

1:08:07

side, where she lost quite

1:08:09

a bit of blood, but

1:08:11

her friends have brought her

1:08:13

back to health, and you're

1:08:15

following the footsteps of this

1:08:17

young girl, who now the

1:08:19

three of you are guardian,

1:08:21

too. Behind you, you

1:08:23

hear... What sounds like

1:08:25

sand falling through a

1:08:28

sea of like an

1:08:30

hourglass, but all at

1:08:32

once, and as the

1:08:34

three of you look

1:08:36

over your shoulder, the

1:08:38

tile around Mr. Prince's

1:08:40

body falls to sand,

1:08:42

his body falls away,

1:08:44

the tile starting near

1:08:47

the front door, falls

1:08:49

into nothingness, just blackness

1:08:51

below, as it all falls

1:08:53

Like sand in an hourglass

1:08:55

coming in your direction and

1:08:58

you run. Thank

1:09:53

you for listening to Ain't Slade

1:09:55

Nobody. For ad-free episodes, lots of

1:09:58

bonus content and special programs. Please

1:10:00

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1:10:02

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1:10:09

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1:10:11

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1:10:13

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1:10:19

friends and followers. to your Thank

1:10:21

you Thank you luck out there. out

1:10:23

there.