Mayday Plays - 💀 KULT: Divinity Lost 🪽 Mayday plays The Atrocity Exhibition, Episode 3 - "Scenes from a Painting"

Episode Date: July 10, 2023

💀 KULT: Divinity Lost 🪽 Mayday plays The Atrocity Exhibition, Episode 3 - "Scenes from a Painting" by Mayday Roleplay

Hello. Good evening and we'll come to Mayday roleplay. Thank you for joining us at a more Nocturnal hour as we have as we continue to view, give back Queen's atrocity exhibition, a published module for cult

divinity loss. But before we begin our festivities this evening, some mentionable things need to be mentioned. We'd like to thank our handler level Patreon contributors. Their involvement allows us here at May Day to continue to produce and tell stories for your viewing pleasure.

So thank you Adrian K, OG, Penn, Bimblewort, Cameron S, Eric A, Jonathan M, Ren, Bimblewort, Ren WTF, and Alex Johnson. If you too would like to contribute to all that is made, be sure to find us on Patreon. You'll get access to early releases, art, and our Discord server built around our wonderful community there. If this is your first time at the Atrocity Exhibition and you need to catch up or want to view our catalog of completed

seasons and shows like Tales from the Loop or biggest by night subscribe to our YouTube channel for our VODs or Spotify and SoundCloud for podcasts friendly recordings and as always follow us on all major social media platforms and our website for updates on future content and other news. updates on future content and other news. Cult Divinity Lost is a horror game, and this actual play is intended for mature audiences. Be advised there may be violent themes, adult language, and the exploration of darker subjects. Please take care of yourself and be aware. Things to look out for are body horror, blood and gore, eyes, corpses, the disappearance of people, religious iconography, acts of mass violence and death.

Safety tools are used at our table and X-card can be employed at any time. And unless we have anything else to touch on. Mm-hmm. All right, let's get started. Actions render consequences. To acquire forbidden knowledge, dark secrets, or broker deals with those beyond the illusion, something has to give.

Flesh is only temporary. Blood can always be acquired. What matters is what you get from sacrificing those on the altars of old gods. And can you live with it long enough to enjoy its benefits? So enjoy your power, your influence, and your fame. You still have time. Cold to Boa.

Three weeks ago, you arrived at the Cecil Thorne Art Center a bit after midday as your mother Maryelle insisted that you two should have lunch after her final shipment had arrived and while on time nowhere could she be found and her gallery close. So as you wait you comb through the remaining galleries settling on the Huat still housing a series of hyper-realism. And at its crown center of the exhibit is the taking of Christ by Caravaggio. What are you doing while you wait?

Cole is studying the way that the light is kind of splashing across the scene and giving depth to the place that isn't very specific, but is incredibly specific because of the people and the way that the light is like glinting off of armor and like the shadow thrown across their faces. And they're just kind of trying to like send themselves back in time to when this might have been made and understand what that would have been like to see something that

someone like had their hand on a brush and put this on canvas and it's lasted for centuries and what would that have been like to see? The only thing they would have seen close to that is real life. And I think Cole is kind of struck by the fact that in the modern day, there's television and movies and YouTube and whatever else.

And it's really interesting to like, this is the only visual medium that people had back then. And this was how people connected with stories. And so I think Cole's just kind of lost and thought about that. While you're fixated on studying this portrait, this painting, as far as you knew you were alone, the gallery is closed on Tuesdays for, you know, for to the general public. So it's usually vacant and where you go. But it's the interruption of somebody talking right beside you as you're fixated that kind

of startles you in the moment and when you kind of look over to this person who's talking to you, you notice that it's a lot of to set head of security here at the Cecil Thorne Art Center and as he interrupts your your trains of thoughts, what he says is the first time I saw Carvaggio was during a time of great turmoil in my life.

Do you like Carvaggio, Cole? And he seems like fixated on the painting, just as much as you were kind of just studying it from like corner to corner. This is my favorite piece, but it's a good one. How much is you were kind of just studying it from like corner to corner? This is my favorite piece, but it's a good one. The light, the people, could reach in and touch his face. Yeah.

Kravagio's had this way of exposing things to light, things that we wanted to keep hidden, doubt, vanity, violence, all of those things make us human. It's a shame though they won't be featuring the Kavaggio in this next exhibition. Back when loved Kavaggio. Yes, I've heard. Back when you loved Carvaggio. Yes, I've heard. Your mom sent me to get you. She's waiting downstairs, and you know she hates to wait. Of course, I've been waiting. She couldn't come get me herself, and they'll start like,

kind of give a last glance over the art and kind of push off and start walking back. It was nice talking to you, Cole. You too, Mr. Tussette. And Cole, you just start heading down the stairs and like as you're mid-stair, you can hear the loud sound of your mother like asking where have you been

and why you weren't on time. As Alano just continues to watch you before he turns back to the Carvaggio painting and continues to watch it. Yeah. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing.

I'm going to do it. All right. I'm so sad I was muted. I had a really good one and no one heard of. Just say it. That's too late. I'll say it for another time. Why don't we get started with Cass introductions, starting with you, Lev. I'm Lev, I'm your resident problem trial, and I'll be playing Cold and War. I'm Amanda, and I'm playing Dr. Isadora Swan. I'm Caleb James Miller, I'm the only good one, and I'll be playing Kuleko. Take that back.

That's fucking back. You shit, sir. Starting already. This was wrong. I'm Sergio. I'll be playing Cecil Throne. And just remember, Liv, there's always another stream. I know.

It's locked away in the vault now. My name is Zach, and I am playing the concept known as Mint and I have a degree. Okay. I'm so much out of context. So much out of context. I just want everybody to know that. And I'm Eli. I'm your storyteller tonight. Let's keep things rolling.

Let's do some general housekeeping. We have some things we need to square away before we get started. Sergio and Caleb, I had you guys pre-roll your guys' start of sessions. So let's just quickly just get those results. Both of you, I believe, rolled terribly. Yeah, yeah. I might as well start because I rolled the worst in Caleb. Both so low that you have three moves against me. Oh, yeah. Yeah. It's not a nice knowing you do. Yeah, I've got a little time removed from my little death clock here. You have two moves against me and a hold from the curse trait. But good news,

everybody. I got three turns ready for my academic trait, meaning that I can convince these demons that I'm really well respected in my collegiate authority. So I'm sure that's going to change the tides. Maybe even logic puzzle your way out of hell. I'm not mean to need to be my demon. If you pull something out, I will buy you dinner. I'm going to start asking the demons if they've ever read Kafka and see where we go from the Perfect well, that's good to know and good for me

Let's go move on to our relationship. So every session we add or minus to our PC or our NPC relationships. So let's go around really quick and suss out who we're adding to our friendships who were detracting from our friendships, you know. Who wants to start? Well I was thinking in terms of like PC, I felt that me and Cecil were brought a little closer just because of the sheer animosity that took place after our big like who gets to spill it first thing and mint withholding those files, I think it made it a little clear that like there were sides drawn. And even if it's temporary, I do think that he was drawn to Cecil.

And despite Cecil having the dumbest fucking idea in the world to try and, you know, sell the devil, he does see deliberately, like, how similar their situations are, that they're just dealing with the last few seconds running out on the hourglass. So I do think that drew Hugh a little closer to Cecil. Perfect. Perfect. What's that? Who's next? I mean, I guess I might as well kind of go along with the idea. I'll just add one plus one to Hugh for sure.

He was the only one standing up for me. So I think Cecil would. I think in the end of the question, I am going to minus one on Cecil because he knew more things about my mom than I did. I am trying to actively do some choice to shit that Cole has trauma against. Yeah, that's the same. Minus one to see is still, because I did try to. I did, yeah. Just kidding.

Just kidding. I don't have to go to court. Already negative. Perfect. Just kidding, you die. Sir, I don't have to go to court. You're already negative. Yeah, does that like, there's a new name for it, right? When you go double negative on them? I can't remember. I think we were at zero if anything. Oh, OK.

So now it's bearing in. Yeah, yeah. Actually, I think... I'm going to... Hugh actually gets a plus one for me. Hey, hey! I'm spooky. Okay, I'm spooky.

Because of a, I'm a doctor and a mountain of eyes. A mountain of eyes. I want to see... I want to actually take a minute. I love that. So, plus one. You see your eyes. You have nice eyes.

Mm-hmm. Are they all the same pupils to the react the same way? Can I do this? I'm not yet. And for that reason, we are friends. Yeah. That reason alone. Perfect.

And the last thing I think we need to just quickly talk about is your guys' experience. You guys have earned yourself all advancements to your playbooks. So I just want to quickly just touch base on what you guys chose to advance. And if you want to throw in a Y, if there's an where you feel free to do that. Who's got something cool? Can I plead the fifth on this advancement? I don't know if I necessarily want to say.

Okay. Oh, it's probably going to come to light in some way. I'll say this. I gained a new advantage. Oh, yes, that's, that's fine. That's general. Okay. Yes. I also gave to new advantage

It's a door what what did you what did you snag? I actually just I need to up my Tributes out of the negative so that's what I did beautiful stronger Faster smarter cold Beautiful. Stronger. Faster, smarter, Cole. I took a... I took a plus one to my perception, because I feel like Cole is... Even more paranoid than they were. Their eyes are open.

I mean, they've been open. They're just being forced and held open now. All right and you do you what what else have what have you so I'm virtually always going to do in actually view but everybody's I'm getting phomo that everybody's figure fucking advantageous So I'm actually, I'm gonna take an advantage too. I took the death drive, which means that in a situation where I am fighting, I fight with no regard to personal safety, and it gives me some pluses

in the fight. Interesting. All right, reckless attack, cool. Yeah, feels right for letho. Yeah. Woo-hoo-hoo. All right, cool. I think. Yeah, feels right for that though. Yeah. All right, cool. I think that is all we need to is there anything else that anybody needs to grab on the top of session before we get started? Double check-in. No, no, no, no, cool. Perfect. So you all managed to escape Dubois gallery.

You met some of the things that was lurking in the darkness, things that look like zombies, people, and things that look out of the fragments of a hellish bout of creation. You guys get through the service tunnels with Mary, with the help of Mary Jensen, which seems to have led you back safely down to the second floor. You guys contemplate your next moves and you guys believe arming yourself with a gun, uh, seems the best option here. What you said is, you guys, you guys, the Mar guys is gonna help you

I'm gonna you Arming yourself over safety and that's fine. That's good like you what is Look where Americans we just celebrate our independence god damn it. This is only what is always where is our gun? Yeah, it's a clock god damn it. I don't care about the meds coming back Yeah, so you all managed to through this terrible fray of this exhibition managed to make it to Cecil's office where you have barricaded yourself there for the time being. And while you guys are noticing that you're not quite where you should be, whether it's in time or space, you guys start to get to know each other and kind of realize that maybe you all aren't so different

when it comes down to a few things. And as Isadora was about to kind of, I don't know, participate in the conversation outside against the window of the sliver of Cecil's office. You see two people banging their head hands frantically on the door. One is that Hugh Clocks is William Reeve, a private investigator that he had spoken with earlier in the night. And the other one was Rahim Nasar, who is one of the gallery,

somebody who works in art sale and trade that was invited here. They're both frantically banging up again. And the one who accused the du Bois of stealing a painting. Am I remembering? Yes. It meant performance. And recording was grabbed between Maryl,

Rahim, and Samantha Church, which is who is missing currently. But they were discussing that Rahim had a huge Mario of stealing something from his family's personal vault. Very quickly. Who was by the door? Cause I thought last time I mentioned it, but I think I left for the windows. I was, I believe Cecil was the closest to the door.

Yeah, I think when we teamed off, me and Cecil went for the door and you guys were closer to the window in the desk where the files were. Or at least that's not my mind. All I know is as soon as Cecil hears the knock, he draws the gun at the door and fires. How could I just do it? I was just thinking to raise it out of the door. The reason being is I'm going to actually immediately go because I don't want them to knock. I'm gonna open the door. I'm gonna rip it open and just drag them in. Yeah, they they spill immediately in and is it they've spilled it? I'm gonna see that they've spilled in the face and be like

Yeah, and then but they're also like pantingly and they're breathing but they're like I still smack them Have that right yeah, and as you as I'm giving our life. I don't know. I think Cecil's like how do we know you're real? How do we know you're live? He's gonna get the door shut behind him guys like shut the fuck up shut the fuck up And as they're like trying to crush you then you hear something like slam up against the the fuck up, shut up. And as they're like trying to crush me, then you hear something like slam up against the door in the window. Guns swing around.

And what you see is just what looks like a blob of some kind, just kind of press up against and it's leaving like slick across the window. But as you guys look kind of closer, you notice that it's like made up of like lens and body parts and stuff like that. And now as it's pressing in, like as you kind of notice, um, the goo against the wall, like you notice like an eye is starting to kind of float closer to it. Are you guys saying where you guys are? Are you guys trying to hide yourself away from this? I'm gonna grab a book or a piece of paper and train to

boost on that shit immediately up on the window. What the fuck is that? So you're gonna cover the window with a book. Like it's a long sliver window. Like it goes from the door. Yeah, the length of the door. So are you guys gonna hide away from this or are you guys doing something? I'm ducking under the desk.

Probably backing away from the door, but I am also pressing the newcomers. Like, what the fuck is that? What, tell us about what it is that chasing you. I wonder what the fuck that is. I think we've been following us for the last couple of minutes and stuff like that. Is it bad? Thank you. Shhh, shut up.

Hold on a second. Thank you. She's having what she's at the top. Hold on a second. Yeah, I think you press his himself against the door as heavy as he can, propping that big eye arm against it. Hoping that God it doesn't press the door. I want you to also roll and act under pressure. You know, you guys are going to duck out of this way to see if this is true. Act under pressure is plus coolness.

What coolness. So it's too... They're all good. Oh, fuck me. I rolled a 10. I rolled a 10. Not too bad, right? Okay, who rolled 15 and up?

I did. Okay, la, Hugh. Anybody else? No, 10 to 14. Oh, the right 10? The right 10. You had 10? Yeah. And...

I have a 9. 9 and below? 7. No. The 7 is... Oh shit! The 7 is 2, 2s. And my go... Oh! That's 2. Okay. You The sideline. Two twos. And my goal.

Oh, that's two. So the goal. Okay, we didn't bad. Wait, you roll. I'm sorry. I'm sorry. I'm sorry. I'm sorry.

I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry.

I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm20. Take it again. Let's go. Yeah, roll. Yeah, roll to the d10s. See what what happens? That's better that the 15 Okay, so yeah, it's just cold and Cold calls. Yeah, we know. Well, no, I'm a no. Oh, it's Colin Yeah, so this thing slams up against the wall, and as this kind of goo just kind of seems

to kind of like surround the door. Eventually you just see like two like eyeballs just pop over the window and it's like scrolling around. Everybody else kind of ducks and covers, but cold you know, a little slow on the draw. And like mint is able to capitalize and get most behind most of the desk but you're just kind of still out in the open. And as a Doria, since you are like right out front, you're just kind of deer in the headlights as they absolutely clock you. Yeah. Um, and as you guys, well, as you're making eye contact with this thing, it seems to like,

keep watching you as the eyeballs eventually like suck back into that form and the thing just kind of starts to just condense into itself and just kind of shuffle off down the hallway for a little bit. condense into itself and just kind of shuffle off down the hallway for a little bit. We might want to find another office too. We were going to the basement. We should go to the basement. Um, why do you give up on us? You want to ask questions now? Let's walk and talk. I don't want to open this door and have it just lay a trap on us.

I mean, it's obviously doing that if it's moving away. We have to stay here forever. We're never going anywhere else. This is just sort of no no no no no no no we've got to do something. We're talking about about ending the ritual. That's the only way we got out of here. Then we got to leave the room or okay we leave the room but I think we need to go get married down in the safe. I can't leave her down here. I think that's a good thought because I'm thinking maybe this thing is running back to the Du Bois. Maybe it's sending them towards us. They need us for the ritual, right? Maybe it's just a security camera. Exactly. We need to get out of here. Yeah, yeah, yeah.

Okay, you know, it's great saying all this while walking out the room. And I'm just, if it's ready to, I don't know if it's waiting for us to leave, should we throw something out first? I just like to know I'm done out first. I just take things. No, no, no. I can't see you. Going back out there?

I'm so human. Here. I'll open the door and step out there, and you guys run one way, and I'll watch in case it comes after us. I was thinking we could maybe push a chair. Also, Raheem, nice to meet you. I'm an artist. I'm not in this gallery. I don't know if you saw my performance,

but we'll talk about that later. We could just, I don't know, push a chair with a, maybe put a coat on the chair, if it looks somewhat human. Right, so the big plan here is to just toss a chair, just to make sure nothing immediately attacks it. Okay, we'll toss the chair. I think Hugh Cosen picks up whatever chair he can find.

Do they still look like in their trapped in the 1920s Art Deco style? Yeah, it's like dated more 40s, 50s. Okay, okay. But yes, but yes, still in that datedness. Got it. Yeah, so I'm gonna pick it up and look to the others and say, I guess you run one way, all toss the chair of the other. Yeah, to the basement.

Okay. All right. It's a door. Before you all decide to make a break for it, also remember, you also clocked down this long hallway that before you get to the end of it, which would have the next service door. Yeah. You clocked earlier. You did also clock a opening of a like office space if you needed to duck and cover. There was a midway. There was like a midway thing that you clocked last session. Okay, I will tell that to everybody be like we can either... They're okay. Share it there, see if they, I don't know, see it, and then we can just keep going.

Or we just barricade ourselves in here. I vote that we've got a... We're going anywhere else, then. We have to get in the basement. This office has... I need to be able to make more... Remember, I can't be in here. You. So.

Okay. So we're throwing a chair out the window at the door? Or on you, you. Yeah. I guess if you have a god-pre-do, if you don't learn hell anyways. I was gonna say that they're not gonna it's long distance for them right now.

This is our child. Well, so I'm gonna pick up the chair with this eye arm and then opens the door itself, moves out into the hallway, and will look left right and then toss the chair right, I guess. Right is where we came from, right? Yeah, right is where you guys came from. Left would be further into these offices. Yeah.

Yeah, you open the door. you look out, everything seems clear, you take the chair, you slide it down the thing. I mean, you still hear, scratch it a little bit, it's not as quiet. You can still hear things going on in the background, but it is starting to quiet down, which means that less and less people are being present here. Under here, more of like moaning and groaning than you are hearing screaming and panic. But you throw down the chair down the hallway and you hear it just shhh. Down the hallway, it taps it against the wall.

Yeah, once it hits the wall, he turns back to the others and says, I think the coat really did the trick. Let's go. What is the exit order here is I assume Q is the one leading out first, but who, how is everybody following? I think he was actually going to stay in the hallway and let them all leave. And then he'll be the last to go. Just in case something starts to come in the rest of the day. Cecil's not going to allow that. I think he will probably be defending Q and getting him to move as soon as possible.

So you're going to be pushing Q or Q. I mean you can resist if you would. Yeah, let's see really resist, but I'm not going to resist too much. He's just being crotchy and yeah. Okay, so I assume Q and Cecil are the leading the pack. The rest, I've Reeves and Rahim are probably going to be following. They don't want to stay here long enough to find out what the next things are, and they're not necessarily concerned about any of your safety on the, on the first go. But the rest of you, Cole, Mint, Isadora. Who's going next? Mint is Dora. All right, go. Who's going next? I kind of want to grab coal to make sure that they're

closed by and sort of like quick check them really, just subtly and silently as we're walking. Can I? You're going to, oh, sorry. But you're going to be kind of ahead of them, though. Yeah. OK. Pole.

It's a door speed walking probably past them. Nope. Hold his, it's a door speedwalk and probably pass them. Like, nope, I don't got some for this. Are there scissors or a letter opener or anything on the desk just out? No. Okay. That I think Cole will just do like a quick look over, not see anything of use.

And then turn back to Mint and just kind of nod and grab onto her hand and follow. Okay. So as the main four gentlemen leave this party ahead down the hall, Mint, you're the first one to get out the door, leading Cole, is it or you one to get out the door, leading Cole. Is it or you wanted to kind of walk past them,

but you kind of get bottlenecked and mince the first one out, followed by Cole and you. And as you and Cole get out the door, I need you both to roll and avoid harbor roll. Yep, okay, all right. Oh, hi have a plus zero. What you guys asked 13. Oh, I got a six.

Oh, hurt me daddy. No advantages. You can you take advantage of? I actually do. Okay. I am going to use it if it comes to it. Sure. What did you initially roll?

I rolled a six. You rolled a six. Good. Good. What did you do? I was waiting for mint and then is it or what was yours? Oh, I didn't roll because I didn't I walk it. Oh, I thought that was only mint and, oh, no, you were in that mix. Oh, I thought I'd gone ahead of them.

Now you failed that previous roll. You lost it. Just as a part of it. No. 14. 14. Okay. It took a minute. I was like, it's is a part of it. 14. 14. Okay. It took a minute. It's in under your fine.

Okay. So mint and Isadora, you are going to avoid the worst of this, but you might be in a bad spot in a couple seconds. Cole, are you doing any advantages outside of what you rolled on that six before we proceed? I would like to use inner power. Okay. We got a roll for that. Is that face?

I don't know. I'm talking with inner power. Roll your roll puzzle. All right, let's see. Let'm talking about a power roll. You're doing a roll puzzle. All right, let's see. Let's see what this looks like. Now I've rolled well. 20. 20.

OK. Mate, you were, you know, you wanted to make sure that Cole got out safely. And you thought holding on to them was like the answer as you're kind of semi dragging them down the hallway with you, not wanting to be left behind

by everybody else who's kind of just power throughing ahead. But as you walk out with Cole and as Irosador finally clears the and as the door finally clears the the threshold of the door that you hear like a rickety sound coming from like above and whatever that blobby goo stuff

just starts drops down on you guys. Is the door you managed to get out of the way. But you kind of are now prone on the ground from it, and you kind of stuck a little bit in the goo, but you're kind of just on the ground crawling away now. Cool. You kind of got smacked onto it, and you feel like just a bunch of different stuff, just the gelatinous,ness of bodies and stuff like that, but you also just feel body parts, hands kind of grabbing you in this jello and stuff like that.

And as you kind of like grow uncomfortable by this moment, you kind of, in the panic, just something inside you just bursts from you as this light that you remember from a while a long time ago in California, as the last time you saw that. As you seem to kind of just be able to unshape this goo away from you as it kind of just splats up against the walls unnaturally. And now you're just kind of in the middle of the hallway

and the midst of just goo. And mint and as a door you see all of this. Yeah, you kind of see just like, you are used to cold being very monochrome and like white, black, gray color scheme. But there is like a splash of like watercolor bright yellow kind of something that kind of wafs detonates off them, and they're just standing in the center. At least we should move now. Let's keep moving. Let's keep moving.

What the fuck was that? Interesting. Let's keep moving. Let's keep moving. What the fuck was that? Interesting. I don't know. I'm not in charge of it. It just happened sometimes. Can we please go? You're lucky I was about to shoot into that thing, but yeah, let's go. Right. Where are you guys heading? Are you guys heading towards the hallway?

Are you guys heading towards all the way to the end of the hall? I mean, I feel like the safest route is those back alleys are the back tunnels. So if I know that those exist heading towards the safe or the lower level, I will probably try to head towards that. Okay. Yeah, but that's just on the end of the far end of the hallway. If you want to make a break for it,

I'm going to ask you guys to act under pressure. If you guys want to try to hide for a second to make or to assess your surroundings breaking up and forward, then you guys can jump into the hallway that is a door clocked earlier. Either way, it's fine, but it'll just be how we perceive forward. I'm for making a break for it. I don't know about that. And then either way. Yeah. I actually have, I'm so sorry, I have this thing like genius that I can roll

whenever like life situations, there's like very life threatening that can help us get out. Can I within this time see if there's another faster way or should I hold on that? I mean, you clocked earlier on a higher roll last session for the hallway and you guys are just in a hallway. So the only option would be to jump into another office space and hide there or to keep going all the way down the hallway. There's nothing there. But so I would run into. We're running.

We're going to get on the bridge. Everybody act under pressure for me as you guys are fleeing for that service tunnel. And we was run, man. Oh, my God. She's stink. Okay run in. Interesting. Okay. Oh. Okay.

How we do a rolled in 11? Who rolled the 15th? Yeah, I also rolled in 11. So 15 and above. I rolled a 20 and I got a one. So 21. Beautiful. This is the number four.

We did 10 to 14 Everybody. Oh everybody. Oh my god. Oh my god. Oh my god. Oh my god Cronenberg looking mass of patrons, you guys make a break for it. Mint, grabbing, Cole back to their feet as you guys all push down this hallway, which seems to just feel like an eternity as you just don't know what the fuck is going on. But as you guys finally break and push in to the service tunnel hoping that this will bring some brevity, some safety, you guys enter and it's dark as immediately the door behind you slams shut and you're now in this service tunnel and it's quiet. You guys want to do anything prior to moving forward? You guys are going to move forward to the darkness?

Just keep moving, yeah. I'll kind of lead the way. I think I know how to get there. I'm going to put my hand on the wall really quick, like as a guidance. So I'm going to give you... I think it takes out like a fucking like ancient Nokia and and like uses the backlight for a little bit of brightness in these tunnels. Yeah, I think it's a little little globe, you know, yeah, the whole dark. Blackberry does the same. Yeah, yeah, it's probably like the last version of a blackberry. It gives you a little bit of light enough to kind of see. You guys kind of see a a tunnel hallway where you hope that's going to eventually lead to like stairwells like it did in

the previous on the previous floor. But you guys press forward. And as you guys kind of press forward and you guys adore you're you're kind of running your hand you, as a door, you're kind of running your hand against the wall. And once was like a smooth kind of concrete feel eventually kind of starts to taper into something that feels like more old-ish and cobbled stone. And eventually like as you continue to trace your fingers along the way, eventually you feel another type of material. And then you just feel like indentations and grooves. There's, it's porous in a way, but it's not like stone or concrete.

And if you finally like passes you as you kinda like taper off the slowly feel it, what you see is just like a skull. Yeah. As you kinda do that. And as Hugh, you kind of step further into the tunnel and getting deeper, you realize that like the walls are lined with skulls in the way that you've seen photos of the Parisian catacombs where bodies have been stacked up upon each other and kind of made as like mortar to build

structure here. This was not in the blueprints when we built this. As above so below. We're already below. How are we getting more below below? No. I don't know. It just reminds me of France. I wonder how steep it does go actually now at this point.

I mean, if the books are right, like nine levels, right? What does that mean? The other two guys that were with us, are they still here? Yeah, they're still with you guys. They've been kind of quiet catching their breath. They seem to be like when you kind of look at them, they're kind of been sweating as if they've been like running around for a minute.

And this is probably like the first time they've had a bit of brevity. So they're just kind of keeping to themselves. Do we want to ask them questions? I'm so sorry. I am a little curious as to why Detective was at my gallery. Yeah. Hold on.

Yeah. Why are you here? Does that even really matter? He's an older man. He's in within his 50s. He's graying and stuff like that. He's somewhat fit. He's taking some deep breaths. We're hitting different levels,

but we have no information. So if anyone has anything else that contribute to the catacombs that we're walking into, did you already know about the painting? Is that was that right? William kind of like looks over at Pracheme. I was just kind of more involved in personal affairs but anything but more kind of started leading into trafficking but Braheem over here was more of the one who was dealing with a loss. Hmm. Trafficking. What do you mean trafficking? Trafficking. What do you mean trafficking?

Well, an art, right? Yeah, exactly. Bringing kind of like pipes up. To I don't know what El how else your mother got the rest of these pieces, but the piece that I had in my possession was not granted. Something that I... our family decided to keep when that queen had died, and I never wanted it to see the light again. How dare you suggest that we took this illegally or something?

Everything at this... everything at the center is perfectly up and up. Cecil, we'll explain to me, Mr. Thoreau, and how something that would have been tightly sealed in my family's vault all the way in Tunisia. Be sure to might in your gallery after I've successfully... I mean, clearly... ...physically know. And I have the correspondence to prove it.

I mean, I'm sure there's some explanation. I'm sure the right wheels were greased. It's not that hard to acquire art. There was no amount of money in the world. Missed the walk. It offered me that would have made me hand over this piece to her. It's not being so family heirloom by it being so rare. Why? Why? Why? I think we know why. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, because of the evil, because of the evil that was put on it, because I am not ignorant to the monster that truly is Vakuin, and the guys that everybody thought he was just

a simple man, a man full of madness, no, he was an evil man, full of evil, and what he made was evil. So, you knew what this thing might have been capable of? I knew it had some type of power attached to it. We didn't know how deep it went. You should have warned somebody. You should have said something. Go away. Go. Go to burned it. That seems very responsible if you think we don't destroy art for no reason well did you notice how all the paintings and all this in one facility now the painting sends you to hell I'm just saying right it should have

been destroyed but my father was an ignorant man he thought that he thought that it needed to be preserved and needed to be sinned. And he believed that did you follow in his footsteps in that air against? No, I didn't. I wanted it to be destroyed, but it's not my place. I do not currently own the rights to it. And as soon as I do, I would have. So that queen.

So that queen left it to your family? No. That queen That queen left it to your family? No, we required it when his assets were distributed upon his death. We bought it. Did your dad talk about how to stop this thing that's happening? Did he mention if we destroyed the paintings, we destroy what's happening? Again, my father didn't want to destroy it. He said that you cannot destroy creation

no matter where it roots. My grandfather thought we should just burn it, which was the simpler way to handle things. So I suggest just setting it a blaze or I don't know, they're made of oil. There's definitely materials that can cut and ruin a painting. Things of that power can't just be destroyed

by burning them. They have a way of coming back, usually. Do you know? She's somewhere to start at least. If there was some sort of ritual, like the one in the gallery that, I don't know, made those paintings evil, it may be they're all tied,

maybe this is a part two, and undoing this shit will undo the first shit. I'm also suspicious about burning it. This one I'm seeing. A door open can be closed. This is at least a lead. Look, we just need to get Mary Jansen, convince her it's a stupid idea to stay down there

and then we sneak back up the way through the secret tunnels and we get back to that exhibit. And yeah, we set these fuckers on fire. If possible, I wanna, because I can use my reasoning to like get a little bit more information about the entity. Do I have to physically be in front of like the paintings or be off of this information that was provided for me.

And that's specifically in your, yes, for my advantages, I have, for scientists, I have like reason, so sure. Let me bring it up exactly, so I can mess it up. It was in your way out of hell. Yeah, it was a specific story. I'm gonna logic this thing out. Yeah, sorry.

Yeah, whenever I vest again object entity, oh, you did. Yeah, so you need to be in front of something. Yeah, or you need proper equipment. Could that be my brain? Wheel of the dealin' folks. Let me sell you on this car here. No, it's a stuffal bag I have my brain. I'm, I had to turn it off.

I'm also looking for an entity or you're not looking at an object or an entity. So there's nothing for you to even science. I have a brain dumpster. I thought it was a human body if not a machine. That was good work. you're not looking at an object or an entity, so there's nothing for you to even science. Is that the current juncture? I thought it was a human body, if not a machine. That was good work. It was good work. If you were a doctor of psychology maybe,

but you were a doctor of surgery, can I operate on these vibes? Okay. What? A good apology. Apologies, sorry about that. No, you're fine. Okay, so are we moving forward? Is there more that you want to ask for him or William at this current juncture?

William still really hasn't given us anything of what he was doing. Well, he's investigating the, you know, whatever stolen paintings is going on. Yeah, I don't know if it's connected to Brahim. He might be looking into me. Well, I was actually, I was here for, well, as I said, I was here for something a little bit earlier. It started with your father actually, looks over at Cole.

Your father initially hired me. My father hired me. Yes, yeah. He was suspicious of his wife having an affair with somebody at the office, so it started with that. But as I was investigating, I started to kind of look more into that because that seemed to be a more credible running of numbers than an affair from a dead, from an old one. More money involved, right?

I was gonna say, I hope you gave him a refund because that kind of sucks. You even do the job? Well, I don't think he's really, excuse me. Now I'm not gonna say that. Sorry, Collie. No, I say that's alright I know I was gonna make it crack but you recently it's okay um restraint incredible listen I mean this a fair thing I mean it strikes one of two bells for me he mentioned that she was obsessed with this artist and spent time with him that's one lead but there's also that security fucker that wasn't calling back to you

See so I mean they seem to have been in league with this since beginning There's no point in looking to Vakine. He's been dead for years They Apparently had a personal relationship and if your mother's to be believed in any uncertain terms, death don't mean shit in this place. What do you think To set is Vaquin? I mean I want to rule anything out of here. You saw the way they embraced and the way that your father talked about your mother and that artist. I'm just saying that she was obsessed with the guy. She was obsessed with him because he had cool art. It was fancy.

It was hard to call. And all of that art tells a story of living forever, of sacrificing everything to continue. I just, something we have to consider is that this guy still in play. I don't know how it makes a different one way or another. The only thing that seems obvious is that we have to destroy these paintings. Well, it's...

If... If to set is just to set, then he can be dealt with like anybody else, but if he's some sort of vessel, then... What if he's still here and we see him? Like, we have to... Be sure, if he's... If he can die if he's someone we have to fight in addition to whatever the fuck else is outside Well, maybe we avoid him for now

Until we can't that's a fair strategy Yeah, all right, let's go save that girl before God knows whatever leaks into the vault if the vault's still a vault and it's not I don't know Al Capone's fucking bank It's not Al Capone's bank. We just keep a couple pieces down there. It's storage mostly Well, I'm just worried the tunnels turn into the French catacombs I don't know what the most valuable place in the building becomes actually question for Rahim and the PI, whatever your name is.

Reve. Reve. Reve. So we know that there's some spooky shit happening, obviously. And then there's Hell. How much of this is familiar to both of you? Because we've talked about curse paintings

and sort of side hustles. Are you familiar with hell have you been here before? Do you like to roll a reader person? Yes, but I want to add my observant advantage, which just makes I get extra questions. I think on how I roll. Need to person. Add my intuition. That's 12. 12? Okay. I get one question. You have one question with your observing thing. Do you get any additional questions? I do and I want to ask from that extra list, which is is there anything odd about you?

I believe. You are weirdo? Hey. Yeah, you weird. Weird? What are the other questions you want to ask? You are weirdo? Hey, yeah, you weird. Weird? What are the other questions you want to ask? Oh, I just get the one.

Oh, you just get the one. I thought you got an extra question from your... It just gives you different questions. Oh, different questions. I see. I guess the weirdest thing is that despite being out of breath from running from the fears of like that, they seem perfectly calmer in the situation that you would think us the villain would be.

Okay. So they seem awoken. Okay. That's a spy. Wonderful. I don't say anything. I think they just know as much as we do. Yeah, which means that you might know that they have secrets at their own Good I think I Could I use my forked tongue ability to convince? Reaves it's a good idea that he being front of everyone and our team stayed behind us. Oh Yes, okay, sure. Yeah, you got a roll something for that. Yeah, I have a roll plus charisma. Tell me. Roll complete shit. And I add my charisma, which is not even... Oh, it's actually my best act of your three. That's eight. So they see completely through me. That's eight so they see completely through me

You trying to kind of convince them They ask you are you armed Yeah, I'm armed. Yeah, oh then you have no problem being up front there, buddy You need to kind of like slap you hard on the shoulder. Why don't you take the lead? And Inspector without a gun. Kind of fucking detective, are you? He-he-he-he-he-he. It is a social event, Cecil. You're the one who hired security.

Where is that security, by the way? If you find a dead one, we can take a gun off of him or something. Oh, I'm actually being possessed by a demon. I hope they don't not use guns when there's zombies. I don't think they need guns when there's zombies. We really start to embrace this place so yeah I wouldn't say that as much. I just I feel like I see the end. I know I know how to get out of here. I feel like we can do this. I Got work together. I

Know I haven't been you know the the easiest guy to get along with okay, but if we work together, I think we can do this Inspiring hmm I feel like this is a very good alliance that we all just made. Yay. Shall we move forward? Yes. Down the hall. All right. You guys continue down the hallway together now in mutual understanding.

We're all in the same page now. Yeah. If you don't want to go in the front, if you want to hand me the gun, I will go in the front. Damn, not giving you the gun. Shum, I'm fine. I'm fine in the front. Okay. Just thought I'd give you a little... It says, you're the first to hear it. It's the sound of like an accordion playing.

No. Then slowly it's kind of like a company by like a violin and a guitar. It's playing like French Romani jazz as you guys kind of get closer towards it And even as you continue on you start to kind of smell the the aroma of like Like a city street like air, you know like dusty old like air is of like that cobblestone But like the slussiness and once you guys get to the stairwell You almost even see that there seems to be like street light coming from above versus, you know, what you know is probably going down lower would

lead you to the basement where the vault is. But you kind of feel that there's like outdoors above you. What do you want to do? I'm just trying to remember exactly how many steps before we get to the vault. I'm going to just kind of keep heading in the direction that I think I'm supposed to be going, but if I feel like I've already gotten to or passed the vault, then I feel like all is lost and we have to turn around. You're at the split for where you can either go back up to like what you're seeing that like a street lamp is like what you are going up to the second floor

or you can go down into the darkness continuing on which would be heading towards the basement. So that's what I'm saying. Do you want to keep going downwards? Do you want to go up? I'm not interested in visiting the town. I'll probably continue going down. What the fuck is going on around here? Maybe we're already dead. And this is our mind trying to fathom the last few milliseconds before the synapses fire off for the last time and a bleeding

in whatever memories we have left was was was that Queen French? But you know, French and they yes. And he was just. It reminds me of a Parisian city. Are these his memories? Is this something he's making? Yeah, I mean, if you guys look up, you guys just notice like, it's not like you can fully see it, but you see like a source light of what would be a street lamp.

And you can even hear a little bit of street shots. I can't. You might be on to something. I can't. I've got to kind of want to look, kind of creep and just see a little bit more. What is this choices? I mean, you can go up the stairs and see what you see or you could continue downstairs. I mean, you both, you know, detective, detective.

Do you mind checking that? Why I got to check it? Because you know, detective, detective. Do you mind checking that? Why I gotta check it? Because you're a detective. OK, you're a doctor. So if you're hurt, I help you. Is the door, or not, is it, or cold just starts walking towards it? Hey, kid, oh, shit.

He'll start walking after. No, no, no, no, you don't go too far. OK, he's going up with coal. Anybody going with coal? No. don't go too far. Just, okay, I'm just going up with Cole. Anybody going with Cole? Any, I'll go with Cole. Oh, bless you. Cole is having memories of going to France as a kid with their mom and their dad

and just like having visited small French, like countryside towns that only like rich people really go to visit. And I think after all the talk about like was your mom cheating on your dad and like all of this stuff, I think they're kind of drawn to the light of it because it's like almost like going back in time and trying to like I don't know if see if they missed something or like rewrite history a little bit to be like okay no there was there were good times maybe.

So I think that's where they're they're going up toward the toward the city, questionably. All right, Cole Mint are heading upstairs. Anybody else joining them or anybody wanting to continue down to heading towards the vault? I'll just put a hand on Hugh's shoulder and be like, to continue down to heading towards the vault. I'll just put a hand on Hugh's shoulder and be like, you know, let the youth is wasted on the young. Let's hang back. Let's hold. Okay, at the rest of you are staying put where you're at. Yeah, yeah.

If Cecil puts his hand out, he's gonna look at him and begrudgingly agree. William and Reeve is going to join you guys as Isadora's taunt and being a bitch. Hmm, who resents that. As he joins you three, you guys head up the stairwell. And the three of you who remain with Brahim watch as they ascend the staircase and as they get to a point where you guys no longer see them that street lamp dissipates and disappears. The three of you who decided to go upstairs as you guys finally get to the top of the landing of the

staircase which you expect to be another hallway is actually a street, a cobblestone street that's slicked with rain and the air is thick with scent of smoke and coffee and musk neon lights reflect the oily puddles casting a Mount Form buildings of vivid color. You find yourself somewhere in 1950s Paris. As you guys kind of look around at this city, that's kind of erected out of nowhere. Okay, we did it. We looked at this is what it is. We can go back.

We're in Paris. We're in Paris and we were in DC. Literal seconds ago, mint, this is cool. This is, it's not one of those fun times. The way to figure out how fun it is. This is not that. This is go back to where everyone else is. What if it's safer here?

What if we don't have to... Have we just stay here? No, we, to be accurate, we were at Paris. We were in hell. Then we were in DC. People take planes to Paris. Plains with wings, not planes as in dimensions. We need to go back.

It's not scary here, it's not scary here, it's scary there. And it's scary here, it's just not scary here yet. I'm scared. I'm scared. I'm scared. I'm scared. I'm scared. I'm scared. I'm scared. I'm scared. I'm scared. Listen, I know that you're going through it right now, and I can't pretend to know what any of this is like.

My parents are human, but... Shary. No. No. Maybe we just save the meaning of rafter. We can do weird stuff in DC. There's so many weird things to do in DC on Earth. Let's just go. Yeah?

And leave your sailor moon just like, you know, maybe that'll be helpful. Eli, would I know if that queen was alive in the 50s? I would say with somebody who has a background in it, you even would know this that that queen spent his childhood in Harris. I'm gonna take Mint's hand. Maybe we can ask him. How would we even find him? He was a kid in France. By the rule of every story ever,

we wouldn't just appear in France in the 50s randomly, in a random street for no reason. Yes. It would just be us. Like, if I, if it turns around, can I see the group? Like, if I look back in the direction of the last year. Yeah, you turn around and what is just sidewalk? Like, were you I stepped up?

Where did there was, there's nothing there anymore? It was, it's now just the front of a storefront. I Love that. I love that about this life I stolen you I turn around and I turn back You remember the stairs no were behind me remember the stairs and the people in the DC in the gallery Mm-hmm the hell. And that's going. There's a wine shop behind me, Cole. It's wine and cheese.

And you want to find... Ah. What? What else are we going to do now? I mean, this is what we're supposed to do. Sure. Sure. Sure. Ha ha.

I'm, can I? Do I have, let me, okay, I think I might have something. I might have something for this. What you got? Why are you, why are you court that out? Well, yeah. We'll take a minute to figure out your next moves. The three, the rest of you guys, you guys are,

you're downstairs, you were following the light and your friends going up the stairs and then the light disappeared. Now you're just alone in the hallway. What do you guys want to do? Do you guys want to continue downstairs? Do you guys want to investigate the upstairs again? See where they might have gone?

That's a shame. Actually, I'll come back to the cola and admit and get these rolls, but let's keep it together here. You guys witnessed things. We're told a little bit of information. And now it's three people that you just saw have now vanished. Mm-hmm. I've been here. three people that you just saw have now vanished. They're not gonna be in rush hour three. No, they're not. Keep it together. Here we go. What a deep hole. Thank you. My terrible roles continue. I rolled a nine. The strain is too much for your mind to handle. The GM chooses your reaction. Oh, they're not your reactions either.

Yeah. Suffer either minus two or minus four stability. Oh my god. I already lost one stability so I'm unfocused currently. Oh well we'll take the minus two. You haven't suffered trauma. You're just you're just losing people. You're actually it's more like you're starting to lose control here, Cecil. You, you, a man of power, authority, who's always been able to handle the situation, no matter how hard it's been thrown at you. In fact, that like nobody will sign your, your damn contract

and nobody's listening to you at this point. You got really employees that take off without helping you and stuff like that. You're starting to feel this amount of pressure, just pushing, pushing, pushing down on you. You're breaking, man. And I know that Hugh agreed to sign it. So I think I'm going to kind of fixate on him

and just not let him out of my sight, probably keep a hand out on him at all times. And I'm just like, we gotta keep moving. If we're lucky, we'll come back. As long as he stays alive, you have your, your patty out. And you need to keep them alive at all costs. But you're starting to feel the distress of this, all this around you falling apart

and you have no control over it. Isadora, what did you roll? Unnighted. Oh, dude, you're enjoying this. You're having the time of your life. I don't get extra stuff when you keep it, keep it together hard. Now you just grid your teeth and you stay the course. You're you're you're fascinated by things. It's just you're my suspicion. My my gut, prove to be accurate. I'm not sure. I'm so good all. Yeah, you're just, you're just taking out shots.

I'm not taking names like this dissertation, you're about to write if you make it out of here, it's gonna be a piece of cake. No, because I, I pretty much just, I'm like, they're gonna get trapped and then they did. And then he, what did you grab? I got a 14. 14.

So that is a slight complication to yourself. Let's see. So you can choose from the following conditions. So you can become angry, you can become sick. Alright, so Caleb Hugh had rolled a 14. And so I've got to take one of these complications. Yes. I think Hugh was going to take sad. I think that he's just staring up at that light. He was thinking about how he was going to follow.

Cole up there. He's thinking about watching Cole shoot out that magic just before and realizing that they've got a lot more in common than he first thought. And that conversation they had by the punch bowl right after he talked with their father is making a lot more sense by the second. And so I think he just sort of stares wistfully up there. That's a shame, they were good kids. There were great kids, wonderful kids. That meant a lot of potential. But we have to keep moving. We have to keep moving for the rest of us for the survivors.

Well, we get the way. Yeah, let's get going. So are you guys heading downstairs? Yeah, to the vault. Don't say it like that, Eli. It's not like we're fucking fucking idiots you guys are going downstairs Yeah, we are It's dirty it's full of trash the people hate us when we visit we're going to hell bitches

So as you guys continue down the stairs and you walk eventually hitting the bottom and you head towards the nearest door which is not too far away at this point. There's it's not as long of a hallway. It's kind of just, this is the bottom of the staircase door. So you go and you open the door and as you enter and as you exit, the first thing you guys hear is the sound of gunfire, explosions, screams, and angry chance of people. The air is thick with an arseic mix of gunpowder and smoke, barely covering the scent of a sun-baked corpses that you now see. It's like daytime, as the bright light kind of just like, like, blinds you guys for just a moment,

as you guys try to adjust to all of this, being in the dark for a good plethora of this evening. And you seem to like walk out to what looks like somewhere in Europe. You hear actually as the chanting continues as you kind of like now are starting to focus on the words and stuff. It sounds it sounds Italian. And Caleb, you as an academic man, can kind of use you. Yes, I know I took that advantage for a reason. You can roll whatever that helps the contribute to kind of get a sense of what you might be

at this current junkshared. It doesn't help at all here, but I can make a move that influences someone who has heard of my authority. Oh, I thought it was like I could, I thought of it, we do like, I can gain access to a library. You can try to observe. Yeah. Well, to get as you as an academic man can start to notice the general layout, architecture and stuff like that.

And you believe that you are somewhere in, uh, somewhere in Italy, maybe in a much more, um, busy city, maybe somewhere like in Milan or something like that. Um, but the seems to you guys seem to be stumbled upon what seems to be like turmoil riots and civil unrest. That's currently happening here. I think Cecil is trying to see through the illusion. He's trying to find the doors, the familiar doors of the vault. Okay, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, reality, but you also affect the illusion. The GM chooses one, something senses you, or the illusion tears around you. Something senses this. I don't like that one. Yeah. Yeah. Wait. I don't like that either.

Eli does have a number of uh of moves against me. That's true. Oh um, I don't get much. Sorry. Yeah, he was just fucking marvelling that they've stepped Yeah, he was just fucking marveling that they've stepped, you know, away from Paris and somehow back into Italy and is at a loss. It's like touching the cobblestone on his feet, searching around the room, trying to understand where exactly what time frame, what conflict this might be. Actually, hmm, that's the door, yes. Because we're in a life-threatening situation, I can see and discover a way out. That do you mean if I roll for that, a Virginia's? Sure.

Okay, oh, that doesn't totally suck. No, that doesn't to 15 yay I can choose up to three edges, which is Rational you realize how to save yourself. Well, I'm not gonna do that Can I don't want to use that because that's horrible Well, I'm not going to do that. I don't want to use that because that's horrible. How about this? You realize an effective way to dispose of the threats, and then I deal one harm whenever I exploit it.

OK. We'll keep that in your back pocket for anything that arises while you are here in Italy. Cecil, you, as you're witnessing this riot happening in the streets, and the fact that like, it's impossible for one to exit a small narrow hallway and enter into the, to the bright city streets of Milan, um, you try to see through the illusion. Um, and as you do, you can tell that this is not... this is a... this is an construction of a space, right, within this place, that it's manifesting from something. And you can... you can derive that what is probably manifesting is from back mean itself, that as this, as he has, this ritual has punched you

somewhere in this space, it's leaking back mean life and his memories and, and his essence into it. And what you might be witnessing is a core memory that's now becoming tangible reality. And now you're stuck here in it. You're within these walls. And as you can even look toward, when you look at people from the corners of your eyes and in the peripheries, from the distances of it,

they seem like normal people. Their faces are constructed normally as you would be looking at Isadora or Hugh. But when you start to like focus on them, then you start to look through it. They're not really people, or they're not even alive anymore. They're constructs, their faces are falling off.

They're old rotting corpses that are reanimated and reliving this time period that seems to have fixated a point of Vuines like but as you kind of like fix eight on that a moment somebody somebody like approaches you one of these these rioters these anarchists and stuff like that and they start speaking to you in Italian and if thrusting this paper in front of you and and they're asking and demanding something of you and they're pointing their fingers at you and they're pointing their fingers at the paper and they continue to like aggressively shove you and shove you and as that one person starts to get up in your face now another person

starts to get up in your face. Now it starts to see that other people are getting involved and demanding a question to be asked but yet you don't speak Italian. So you don't even understand what they're asking of you as they could keep and you know they're starting to push you and shove you and get really aggressive and you and as a door you see that a violent showcase of a crowd starting to form around Cecil as they're starting to to get aggressive. Yeah, I don't even care. I think I'm pulling that gun out and like back up back up. Oh, if they don't back up, I will shoot at one of them. Yeah, I mean, when you pull the gun, it doesn't stop them. Somebody just starts throwing something at you. And people start to like the crowd fire into the crowd.

Oh, for God. Oh, for God. This is incredible. Isadora Hugh, while Cecil Rose at combat role, are you guys doing anything? Are you helping him? Are you guys getting involved with his shenanigans or are you just witnessing a crowd,

a mob starting to form against Cecil? I think he is going to push his way, the best that he can, like making way, to get to the center with Cecil and start pulling people away from him. But it's very clear that Hugh is trying to keep his emotions under tap so that nothing goes out of control in this situation outside of Cecil already firing into the crowd. It's high intrigue, high pressure, and Hugh's worried he's going to lose grasp over that arm of his.

Let's act under pressure then as you try to tame an entire crowd of people who have now get, have now have gotten violently aggressive with, with Cecil, especially now that he's drawing, he's gone by, probably by the time he, you can get to him. Is it or what are you doing? My question is, there's no way I can I influence others because I know it says influence an NPC through like like trying to figure out what's going on. I know I don't speak Italian but I can curse a bad thing and that's the only thing I know. Is there a way I could kind of

figure out like a way to like I could say some Spanish words that are close to it like no Nintendo I don't know people please spaghetti lasagna I'm not going there I'll allow you to influence others and see how this goes the higher you roll the better the more you contain the crowd and see if you can get I can maybe some of it but yeah could we say but could we say that if the two of these folks are successful, it might calm the crowd enough that I wouldn't fire into them. It's only if they're just like not stopping. Sure, we can see what the rules are and we can collectively agree of what exactly happens.

Is it or what did you roll on that influence? You don't know what that means I got a nine I'm that was I'm so sorry Let's see I didn't help at all Yeah, what happens when you influence others on the blow? Uh, it's, uh, what is it? The attempt has an intent.

Well, the mob. So the mob. Yeah. So the mob, uh, when you influence others, and it got a nine and below, the character gets a plus one on their next role. So the mob essentially gets a plus one on their next role. Um, since you decided to roll against the group of people.

But if that is, oh, is that for PC or a thought for NPC? I, oh, that's where it's like, I just, we just get screwed. What's that? Hold on. Oh, yeah. When you influence NPC, your attempt has unintended repercussions GM makes a move either way I was trying to feel like maybe you won't kill Sergio. Yeah, oh, like just or me. I'm like

Maybe it's a nursery. Uh, hold on Yeah, not killing me Maybe it's a nursery. Hold on. Yeah. Not killing me. I'm not gonna go down, not without a fight. Um, yeah, so I'm sorry, you rolled a... Uh, so... How do you act under pressure? I rolled a 12, which means it's not good, it's not great.

Um, you do it, but hesitate in our delayed or must deal with the complication the GM reveals an unexpected outcome, a high price or a difficult choice. Okay. Unfortunately with the low-roll Cecil, none of these stop you from firing your gun into the crowd. Yeah, yeah. As the crowds are to just continue to get violent with you Cecil, and it panics you into the crowd. As the crowds are to just continue to get violent with you, Cecil, and it panics you into the point of pulling out your gun and you're debating whether or not,

and Hugh and his adora are moving through the crowd, and Isador is trying to like, try to do something with the crowd, but it's not, it's a lot of gesturing and a lot of no one getting what they're saying or even bothering to care. Cecil you kind of get into the front you're trying to push people away from Cecil to kind of just give some space but in that panic and that that fray Cecil fires into the crowd and I rolled the 13 for what for the the shot for the engaging combat says you inflict damage but at a cost and the GM may choose one subjected to a counter attack you do less damage than intended you lose something important you expend all your ammo

I'd really not like to do that. You would be set by a nice threat. Don't tell you like the one you want the least. I don't know. No. I don't know. No. I'm like shit. Yeah. It doesn't make sense to that. We just like fire everything. I probably just do a warning shot. It's a panic single shot. But when you hit what you did was you actually hit somebody and you hit somebody in the crowd. And it's just like some young man who just gets shot straight in the chest by your bullet. And then he goes down. And then everybody around you, all these faces that no longer look like normal humans, they look like old living dead corpses and stuff like that, start to just turn on you and start to just now attack all of you at once.

Like the mob just goes after you guys and start to kind of grab onto you and physically start to like get you guys all the ground both you Hugh and even you as a door are gonna get caught into this so let's fuck so yeah the complication is that the mob is now after you oh at least no one at least you and I't get shot. That's what I was worried about. How do you guys want to proceed? How do you guys want to get out of here? Do you guys want to avoid harm? Do you guys want to engage in combat? Do you guys want to find a situation? Try to find a way out of this. How do we want to move on? And we're going to hold those rolls because I want to like to see check in on our other team.

I just so in my mind, I got a complication off of trying to help with the crowd. I'm thinking that in this grapple, he was panicked by the shot. Shot goes off and all sense of control he has over those eyes go off. And so my intention is to use his advantage in our power to give us as free as possible in this situation. And the complication would be, I'm about to hurt a lot of innocent people if it goes off the way it might. Okay, roll those dice. It's a roll plus soul, I believe. Yeah. Yeah. If Brahim is close by us, right?

Yeah, Brahim, Brahim's involved in this stuff. He was, he's, he's involved by proxy. He wasn't finding any. I'm doing everything I can to put him in my, in harm's way. Make some kind of move to put him in harm's way. Thank God. And if I do it, I can use my new advantage called opportunist.

OK. But it's going to be something like a, like, not indoor injury, but maybe an engage in combat or a, um, it's a void harm. You're trying to get out of harm's way. OK. And you're going to use brachying to get out of that harm. All right. Let's

one do one. And there's hold on to that roll because we're gonna um, is it or anything else you want to do to get your ear in this cuffle? Yeah. How do you want to get out of it? I'm gonna have to, yeah, I'm gonna try to avoid harm. All right, roll that avoid harm and hold on to that roll number. Man, cold. You turned around expecting to see a staircase back downstairs to the safety of your friends and the tunnels that you were hoping to get to the vault and now you find yourself in the middle of Paris. Really keep it together for me. How do you feel? yourself in the middle of Paris. Yeah, really keep it together for me.

How do you feel? Okay. I'm happy in Paris. 11. 10. All right, you both are going to earn yourselves conditions as you are losing your stability. Let's see, let's see. So you can either become angry, sad, scared, guilt-ridden, obsessed, distracted. What are we feeling? I think cold's distracted. Okay. I think men just scared. Great. Check out those boxes. Hold on to

those feelings. What do you want to do? Okay, you said we can get the fuck out of here if we find them, right? Let's just find him. It's fine. Come on, it's like, I know Paris is kind of gross, but isn't it kind of fun? We can go on like a little Paris date. No. I would love to after this. Yes?

I was really. No. Yes And starts booking for where people would be like is there is there a place that they can enter like a Starbucks not a Starbucks You know the Starbucks in 1950s France Just a little cafe. Yeah. I think Cole is gonna have like a manic sort of giggle

at Mint's obvious distress and then kind of like swoop up behind them and like loop their arms together, one to mess with Mint, but mostly so that they're together and like they say together. Yeah. Reeves is falling behind you.

Oh yeah, I'm a dude here. Yeah, yeah. Super dude talks about your fancy day and he's like, oh yeah, Reeves, do you speak French? No. God. Okay. Keep only speaking Italian. I do. No. I Italian. I don't know.

I bet. Okay, we're looking, we're looking for, for the artist. I don't know what you do. He'd be a kid at this point. I'll, we can just ask if anyone knows the Vecuins. Yeah, we just need to talk to a little boy. Hello. He doesn't have to be alone.

He can have a person want, like there's nothing weird about that, right? Maybe, maybe not in the 50s. What's the 50s? Uh, you start going forward saying, Fakweets? Fakweets? Fakweets? I don't know.

I don't know. You can find a cafe, Cole will go in an impassable French. Ask if anyone knows where the Vikings are. Okay. Yeah, I mean, as you guys link arms and walk down this cobblestone, you eventually get down to a street where, you know, you're in, well, it seems to be like part neighborhood, part series of like cafes and nightclubs and cabarets. You know, there's apartments that kind of are on top of shops and buildings that are on the bottom floor.

I just love that you're going into every building in Paris and going, Hey, you guys know Steve? Do you know Steve Smith? Yeah. Where is he? We need to talk to him. We're so son. Yeah, yeah, I think that's all I can do. You know, as you guys continue, you know,

you're seeing all of these buildings. I mean, you could easily go, you've got, you go into like one of the cafes and you kind of ask that queen and the person kind of looks at you a little confused. Um, not like that seems like a very common name or like never heard of them kind of shoves you off unless you're here front to buy food or to, you know, um, you don't really see anybody who can help you. And even you too, like see that like like from a distance, these people look normal,

but the closer you get to them, like, you start to see that their face is kind of start to whither away and turn into, you know, rotting almost fleshed corpses or even flayed bodies in a way. To kind of just remind you every time you interact and engage with something here that it's not just remind you every time you interact and engage with something here that it's not real. It's an illusion. And you're kind of playing into it a little bit. Can I see this is where in a cafe you sit? You currently yes. Can I just start?

Like, I think once it becomes clear that this is not reality, men's going to start pushing tables and start like coffee painting on the wall of the cafe to try to quickly replicate like one of the more iconic paintings or something. You're gonna make what painting? One of... Geez. Yeah, there's a specific one I do want, but I need to get the prison, the self portrait.

Oh. Okay. So you're going to fashion an image of the portrait. Yes, and while that's happening, I'd like to use my new advantage called Forbidden Inspiration. What do you roll for that? Roll plus soul. If I succeed, there's a chance that I can see through the illusion, but I have to roll well enough. Okay. Yeah, roll. Okay. That'll save you. Yeah, how you,

well you fashion from the illusion, this, this image. Can I help her with that? Can I assist? How would you like to assist? I mean, I've I went to art school too. It's a The man with your What or painter what did you do? I my my medium was watercolor. I think because mint is coffee. Coffee is like watercolors. Oh, mint. Mint is drawing from, yeah,

mint is drawing from an internal power that not just like going down and grabbing some paper and painting. Okay, okay. That's fair. Yeah. This is true. What did you roll?

I, sorry. I got excited about painting. Um, I rolled plus soul. Okay, so that is 10. 10, which means I get one option. And I do want to... I want to entice an entity to come to me and I would like the entity to be him to be Vaquina possible.

Let's go, dude. Interesting, interesting. Mint is wildly painting and jumping from place to place. This isn't like a methodical work. This is as she remembers details about this painting, she's jumping from place to place. And I think as she's painting, you see her movements get a little bit stiffer, but she's still moving with just as much speed. I'm just sort of mumbling at she goes. Yeah, that was the secret one. Also, that's the secret.

It's a nice secret. Thank you. Well done. Well done. Maybe. Sorry, give me one second. Oh. Technically the queen is tied down to something. You know what I'm saying?

Seeing how serious Eli know, I look right now. It terrifies me Yeah, this might be bad. I feel like I might have just like summon Bowser into world one, but we'll see Okay, so you you go outside of the cafe and you start to to You start to paint something. I'm I'm outside the cafe and you start to, to, you start to paint something. I'm in the cafe, painting with coffee on the wall of the cafe. Okay, yeah, you just go, you grab that cup of coffee and you start to splash it on the wall

and you start to paint something which you thought was going to be like the face of vacuum or something like that, a piece of what you've seen his likeness to be or what it might be at this time. You're not sure. But as you're kind of painting that instead of painting an image of a person, you start to start painting what looks like to be like the like the face or the side of a building that kind of matches

this rich coffee texture. And it seems that you're building and painting a an access point to what you're looking for. You said you as you're like painting this you're trying to you're envisioning back when you're wanting to know where he is and stuff like that. So instead of manifesting him himself, you're manifesting his location. And you find you're now painting what looks to be the side of an apartment and its front door. Is this something that I've seen before? No, but it looks like it's a part of the neighborhood and stuff like that. It fits the motif of what you know, and as you kind of finish painting and you step back,

it kind of looks realistic enough as the coffee is kind of dripping down the walls, but it seems real enough that if you were to reach out and grab the knob of this door, you might be able to open it and enter in. Okay. I think she just starts reaching out. She looks at both of them at Reeves and Cole. I don't know, and sticks her hand into the painting. I don't know, and sticks are handed to the painting. Yeah, you reach onto the doorknob and it feels slick, but it feels slick in the way that like rain might be, like cast it on a doorknob, but you turn it, and then it makes that sound that as it's physical,

as you fully rotate it, and you open the door. Continuing in? Yeah, fucker. Incredible. Yeah, you open and you enter into this this subspace, manipulating the this illusion that's around you to your to your will. to your will. You enter into like a small, small apartment. And the first thing you hear is you kind of go down the hallway into this apartment is the manic scribbling of something and then the ripping of paper and the crumbling of paper and the toss of it aside and then again scribbling, scribbling, scribbling, ripping apart, throwing it away. It's repetitive, it's like clockwork.

It's just a manic and excessive and as you kind of turn this corner you see this young-ish man who just seems to be covered in the sea of papers and they seem to be like constantly drawing over and over and over again. Seeing that the thing doesn't manifest what they want and they immediately tear it apart without even giving it an opportunity to shape it or rebuild it. And as you're kind of sitting there, like kind of in the corner, seems to be this large daunting male looking figure that kind of has like long, lanky arms and it seems to just look similar to the person down there, but much older and stuff, but it seems to be kind of looming over

this person's manickness and it seems like it's kind of casting this dark shadow over them. You both clock the person as you guys get a little bit closer into the hallway is that the young person is in fact a young version of that queen who's manically and obsessively trying to draw almost like the perfect meeting or something on his paper and continues to just filter through this cycle while this thing watches on. You did it. Does it... um... this might be your part? I doubt that boy speaks English. Uh, yeah.

What? Do you want me to ask him anything specific? Besides the obvious? Yeah, what the fuck? want me to ask him anything specific? Besides the obvious. Yeah, what the fuck? Cool. Yeah. Cole will kind of take a few steps into the room and keep an eye on the thing in the corner. You see how the thing seems more fixated on back-ween, but you notice that it's like arm start is like kind of like hovering around back-ween and it's got these like sharp

appendages around it, you know, and as you're getting closer to back-ween, you notice that he's kind of wounded a bit like on his physical person, that you're noticing and you're most likely it's coming from this thing above him. But he's still just manically focused on drawing and ripping and tossing. Can I pick up one of the things that he tosses off to the side? Sure. You just open it and You just open it.

And it's not much of anything. It's like attempt to like draw a face or a person or something, but it's never really past the first entry stages of it. It seems like the moment he went slightly out of line of the circle he was drawing, it was now imperfect and he immediately discarded it. And seems like similar to all of that, it's starting to like really pile up around it.

I'll just hold up one of the pieces of paper and in French say, it seems like such a waste. He's always the back of the paper, yes? He's always the back of the paper, yes? He seems to ignore you as he kind of draws another bit of it and finds in perfection in it throws it away. I want to try and catch his wrist when he throws it just to see if he reacts to me physically. The moment you grab his wrist, the one that's drawing the physical paper, you feel like a lot of resistance from it.

You're breaking a cycle that he needs to continue on. And he's moving it, trying to get closer, you know, fighting you to put his pencil back. And between the both of you, like eventually, like it just causes the pencil itself to just break. And now he has nothing. But he's just like fixated on the paper. And the thing behind it starts to stretch itself up and ignoring you just kind of strikes down on back queen and wounds and injures him for stopping what he was doing.

Mint, do you wanna do anything? Well, well, Cole's doing this? Yeah, I think as soon as I see the strike happen, I immediately like stand up and kind of like, hey, like I think I start like trying to stop them but I don't have a plan yet. I think I just get up and like, punk in my guess, and I think that's...

Okay. I'm looking for stuff, and then I look back to Reeves. Like, do you have anything? Or no, I have a knife. Yeah, I have a knife. Should I take a moment? Yeah, Reeves has a gun. Okay.

Reeves was armed. He was just not gonna let Cecil bully him into being the first man in the hallway. But yeah, you call out to this creature, you know, after Beckine has been struck, and it puts its attention towards you, and you can feel as its gaze kind of leans into you that you can feel that dark shadow kind of cast on you that feeling of disappointment. That one, an artist often feels by others who don't understand their potential.

And, you know, as you're holding that knife out to it, it seems to kind of start to move its hands towards you but definitely keeping that thought and gaze on you. If you want to harm it you may. I do want to. Especially I think I think Mint has wished that art block could be personified as something that they could stab all of their life. So I think they immediately go for it. Okay, yeah, roll that harm. Cold.

Boombi. Boombi, something of yours, of your advantages. As now you, like now that cold, now that Mint has kind of distracted this creature and has taken its highs off of them, that gaze seems to have relieved him somewhat of that shakingness that seems to have plagued that queen as to kind of estetting himself and taking a breath.

It seems like you have a moment to maybe communicate or to do something in this moment with that queen. Can I use my influential friends? Sure. And just try and make a connection. I don't know, you wouldn't know my mom yet though. But maybe if this is like full on

like all of backwings sentience is somewhere in here, I think I'm still gonna try to reference my mother to get some kind of something out of it. Like just try to make a... I guess I'm trying to establish a connection. Trying to establish a connection. Yeah. Yeah, roll that. You have to roll something for that. Yes, plus charisma. Yeah, roll that. You have to roll something for that? Yes, plus charisma. Plus charisma. 20.

Do you have anything specific that you want to tell him? Now he, as he's like taking these deep breaths, he finally notices that he's not alone here in this moment. He's now finally willing enough to look up at you and take in the person who is in front of them. And he seems to feel a bit of relief. Like, you're like, you know, if you're approaching him with kindness or understanding and stuff like that, you know, he definitely feels that coming from you.

I think if there's that connection, I think holds immediately going to try to say something along the lines of, you know, your creations have been used in a perverse manner and are wreaking havoc on the living, how do we stop it? And it's like some kind of, some kind of something just to like seeing the creature in back of him, I think Cole thinks that maybe it wasn't him fully. That was in charge of all of the weird shit. And then maybe he was,

he was also influenced. So I think she's trying to get some kind of a, So I think she's trying to get some kind of a Upper hand or something Yeah, so you kind of reach down to him and you kind of tried to teach to to reason With him in this moment and he's kind of muttering something under his breath that, you know, that he's like, I'm gonna fade away. It's all gonna be for nothing. Nothing's going to remain.

You know, I'm not gonna leave anything behind in this world I have to keep doing all of this. I think Cole is gonna start naming behind in this world I have to keep doing all of this. I think Cole is gonna start naming every artist they can think of who was not successful in life, but is seen as one of the great artists of sentient life, like Van Gogh, and that's the only one I can think of because I don't know much about art. But, toll knows a lot about art. Call it went to art school, so it calls just like naming artists offhand that he would know as well.

And just like, it's not for nothing. People will remember you. It won't be nothing, but we can't have them remember you for all of the harm that your art might cause. How do I stop it? What good is art if it's not even going to be appreciated by the ones you love? Any kind of like motions over to the big creature that stands before reason and meant... that stands before Rees and meant... It stands for the name of the... He's my father.

My mother tried to sacrifice me. She didn't love me. He doesn't love you. There are other better places in the world to find goodness. Where? I don't know, but I know they exist. Friends. Yeah. If I- I'm sorry, if I can offer everywhere else, trust me, trust me. The need to get the attention your parents didn't give you from everywhere else.

That's art, buddy. You're on the right track. You're fine. My art is different than yours and hers than everyone's. We all have different art. We all find it in different places, but they're right. I love their art. And I could love your art if it wasn't used to kill everyone, you know? Before it got bad, it fucking slapped. Yeah. I was excited.

Honestly, I hated my mom's galleries, and this one was really, really excited about. He takes a moment to like take in and absorb all your words and mint. Were you this this other person that you have taken the attention to that gaze hasn't left you? He's getting closer and you had intentions to engage him in combat. Is that still a thing as you as you kind of call that last bit out to to Beckine or to yeah to Beckine? Yeah I think it best she's saying this as she's potentially like trying to grapple this guy but she is going to try to

stab him. Okay oh and I rolled a ten. You rolled a ten. Beckine looks to you, Cole. And he holds out his hand to you, and he says, show me. Show me where they are. Do I take the day to mean the people who will love art? Or the people who would love his art? His art. Okay. Yeah, I'll take his hand. And I think I'll just try to like project images first of myself and mint the entire gallery of people who were gathered to see his art,

Brahim, anyone in art school who even had a passing interest in And then I think with a little trepidation, Sasha, and all of the people in California, I don't know, like, for a fact that they would have liked it, but I know that it was in their area of interest. And I think it's just like a rola dex and once Cole personally runs out of people, they'll start over again and they'll like slot in just like random celebrities and like politicians and public figures

just to like round it out to make it seem like, it's not a full life because I don't know it for sure but it's not necessarily the truth. Your mom liked Vaquin. The what? Your mom liked Vaquin. Yeah my mom. Oh yeah my mom.

Yeah definitely my mom in there somewhere. Yeah, yeah everyone that was at the gallery, for sure. I think my mom comes up more than I intend her to, as time goes on. Okay. Yeah, and you list all these names of all these people who, yeah, it seems to fill him with a bit of joy and understanding that there are others. There's a list of names and stuff like that. And it seems to uplift him in a way that brings him some relative peace.

Though, mint, you are, this being has gotten close to you. This giant monster of a person with this disappointing gaze. You go and you slash at him as he kind of reaches out towards you and you manage to slice off one of his fingers and reaves also kind of Jess pops off his gun right behind you. And it seems to make the creature kind of recoil

but it goes and it just like swipes its hands back out and rage. I want you to avoid harm for me. This is complicated this a little bit. 13. 13. 13. Okay, yeah, so he he he you kind of for the most part duck out of the way. But you grow you you fall on the ground and your knife is now not with you. But Rief also takes some damage as well as he's kind of flung to the ground. You guys didn't realize how incredibly strong this creature is. And as you guys are starting to feel its weight, realize that like you can either try to continue to fight it or you can get out of here as well before it starts to really tear you guys apart. So with that and Cole with holding on to Gevequeen, what do you guys want to continue to do here?

Do you want to continue to fight this creature? Do you want to continue to sit here and talk to Gevequeen or would you like to take him somewhere else to safety. I think I'd really call wants to take him somewhere else because in Cole's mind this this thing is the problem not him. Okay. Can we still see into the cafe or are we closed in the apartment? Um. No, you guys can still see

the cafe. It's it's the front door of the building. Now what you see is just the you guys and the door was closed behind you, but now you still see the cafe. It's the front door of the building. Now, what you see, it's just the, you guys, the door was closed behind you, but now you see that same door is still there. It has not disappeared. You're in a house. Yeah, then important part of the creative process,

it's just going to walk. Come on. Yeah. Okay. All you, you two rule act under pressure to see how you guys escape this is you bring back Queen out of the or into the try to get him into the hallway as many you are scrambling to your feet to get out of here and to leave this place with that queen. It's a nine. A nine. What could eight or nine?

Fun. Um. Okay. Yeah, you guys tried to escape this, this being, and so like that you cool, you finally get, you know, back when you get to this feet, you help carry him along the way, and stuff. But he's such a massive being, and it seems that as you guys are running down the hallway, he can just stretch both of his hands out and try to reach and grab onto you. And he does end up grabbing onto the back of both of you. Cole, I need you to roll me another inner power here.

17. 17. Yeah, as as as a that Queen's father grabs onto you and starts to kind of drag you both you still holding hands with that Queen. You feel that building in you that that

inner that inner power and you also notice that as you're kind of doing that. The power is not just resonating from you. It's resonating from back clean as well. As you seem to both emanate with the same resonance of power as that watercolor bursts from you as well as what seems to be mixtures of more heavier pigments like oil and stuff like that seems to be mi heavier pigments like o seems to be so as it r the hands of of vacui

allows you guys to get th the door. Well done. And you guys open that door, close holding on to that queen. The other three, I had you roll rolls for things that are going on as you are being insulted by a mob of anarchists in the streets of Milan. Cecil, you wanted to be, you wanted to use opportunity to try to get brachim to replace you in this fray so that you can get out of the crowd.

Uh, Isadora, you were, you were avoiding harm as well as you, Hugh. So what, what's the result of this group? How are we doing? Oh, very good. Hugh? Oh, yes, you were causing...yes, that's right, you were causing harm. I will say it again, I had you muted. Oh, I'm sorry.

I was causing harm with my little inner power thing, and I rolled an 18, which means the power attacks all opponents in your vicinity causing to harm. And Jesus. And yeah, that's good. What was your avoid harm? Cause you'll probably get a lick of this, depending on where you actually this works out. I got a 12. So I avoid the worst of it, but you get a little bit of it. Okay, cool. Hugh, do you have a description of how your inner power manifests? I think that arm. I think that he's panicking in the center. And he's seeing that Cecil's getting like, you know,

12 different arms put on him and Raheem's now being pulled into the mess and the gun's discharged and he knows how bad a panic like this in a crowd can set in and he's having flashbacks to South Texas. And his arm begins to bubble, metastasize and grow, and then shoot out at the wrist in tendrils that almost web across the crowd, grabbing on to the necks of each of these crowded members, a huge mass of them being conglomerated around their necks with these big, uh, fleshy eyeballs that are forming themselves into hands and picking them up and fucking tossing them, trying to clear the road as much as he can,

sort of like a venom blast around him, Cecil and Isadora and Rahim. That's beautiful. Yeah, you spread that, that everywhere. And it seems to grab all of these living corpses and just toss them about. And even you, Zadora, unfortunately, probably got hit with one of these bodies and they were kind of scattered and pushed around, which gives enough opportunity for Cecil to kind of slip out using Braheem

as kind of a, also, that have that barrier. So you guys are now cleared enough as he sweeps away this mob to run. Yeah, if I manage to put him in harm's way, my opportunist, my opportunist advantage kicks in, which I gain stability plus one when putting someone else in harm's way. Oh shit. Okay, yeah. So, that stuff to you. So I go from distressed just to shaken. Oh, yeah. The confidence is returning. You're regaining power over the situation. And it's giving you a back to a state of normalcy, which is involved. So you three, four though, are still together. But he's going to be running behind the pack,

since you've kind of left him behind with the remaining of the mob. But he's a big enough and strong enough guy to kind of push off the the stragglers who didn't quite go down from Hughes' power. As you guys are fleeing away from the crowd though, you know, a bunch of the buildings and stuff like that are kind of just spend destroyed by either my fire or rubble and stuff like that. But up ahead you notice that there is, well, it looks like a bank of some kind, but it seems that it's been like blown through and there's just it's like a bit of rubble going on around the front, but it seems like a cool place to duck out and hide if you guys are looking for some safety for a moment. Well, we definitely want to prioritize cool places, so we

probably head there. Absolutely. You see it's Alcone's bank, I was right. I might be like, as we're running, I might be saying something like, Italy, YouTube, Brainiacs, what year do we think it is? Was that Queen here? Well, could be honest, I don't know, and I don't give a f- Was that queen here? Well Could be honest, I don't know and I don't give a Fuck I don't know

Yeah, here. What do you? Could I put forward like an investigate or an observe a situation to like rack my brain for anything I knew about that? Yeah, I need to leave riots. There's going to be a point in time. Some connection back. Actually, both of you want to either assert the assert the situation or investigate where you're at. Let's do that.

Let's gather our surroundings. Yeah, I don't have good reasons. So I can investigate. OK. Yeah, I'm going to go with Investing. Oh no, we're going to observe the situation. My perspective is really good. Oh my God, that's. OK, I have a 15 for my investigate.

So I've got two questions whenever you're ready. Sure. Let's start with you then. OK. I'll just start with how can I find out more about what I'm investigating. So I'm looking for some connection to that queen. How can I find it?

OK, what's your second question? Is there anything weird about what we're looking into here? Is there anything odd that I'm not considering about the situation? Okay. So your first question is more centered towards where you might be able to find back clean in all of this fray. Yeah, so first question really is where do I find the connection of that clean? Second question is there is there anything weird about that investigation? Is there anything weird about what I'm looking for?

Okay, the first question is, you're somewhat of a history buff, you know, you're taking time to observe general research, especially around that queen. You would have known that Vacquine spent some time in Milan. He's he spent some time here. During when Italy was in some deep civil unrest, especially in this specific city. This was a later in his life when he was

getting well into his art. He was a later in his life when he was getting well into his art. He was an avid fan of Carvaggio and a keen to melancholy studying his work. So this is a remnants of looking at the chaotic turmoil of his time in here in Italy, because he was coming here to study enlightenment and came and into nothing but chaos. Yes, I'll turn to the others and think it's got to be the 40s. He came here in search of his favorite artist. I think if we find him anywhere,

we'll be searching down Carvacea. He's here somewhere in Milan. I have to know of a Milan art center, something like that as a gallery owner myself. Doing to roll for that, or do I know off top of my head if there's any art centers in Milan. I'm not certain. Or maybe I know of a row street or something where galleries are commonly found. Yeah, there's a couple places in Milan museums,

famous museums that you could go to. Sorry, I'm gonna have to butcher some Italian. There's the the Casa Museo, Vocce di Stefano, and the Pinoza de the bear is another public gallery that would have been around during this time. I had one of the best ladies of my life in Milan and she lived next to the pinnest of the let's head there first. Sure. As we're going I get I get rolled an 11 for my observe the situation so I get one question What is being hidden from me? Okay, I my tie I will probably tie this in with Caleb's last question of but before I do sir Do were you observing the situation to or you just following off the back?

So no, I was letting them take charge of that. I'm not good with that. As you guys are kind of nestled in this bank kind of taking a breather to kind of, you know, get a bearings of what's going on before you ask another round of locals, you know, how they really feel. You guys, is Adora and you kind of clock something, because the phrase still going on in the distance, you're still seeing people throwing stuff, fighting in the streets,

the turmoil in the chaos, you know, it's still present, you're just in the background of it now. And as you guys are doing that, you guys clock something amongst that fray, something that fills you a little bit with the dread and uneasiness. It gives you kind of an ethereal feeling. It's a shadowy figure, a month's that fray in the distance, it's tall and imposing,

dressed in Tunisian fashion. It appears to be getting closer and closer to you, but it never seems to, at the same time, like, every time you look away, it's still kind of in the distance. You're kind of clocking and seeing if that's really there. But you never really get to see what its actual face is. It's just like blank face of darkness. But it radiates in a very fearful aura in you. And the way that like those who have brushed themselves up against death,

or have felt death before, in your case, Isadora, kind of radiates that feeling. But as he kind of gets amongst that frayed, kind of also disappears out of your sight, as Cecil kind of interjects about his lay in Milan and going to one of the galleries where we might be able to find back clean. Stay out of the shadows. Stay out of the shadows if anything we should be in the shadows, right? We need to lay low and figure out how to find back queen.

That's...you know the route. I do know the route. Yeah, follow me. Yes. I'm going to keep kind of...I will look back every now and then, just so you know, just to see if I keep... If that thing is following us or probably is. I mean, every time you look away from it, it seems to, you know, you've, you've still kind of cl- oh, no, catch it in the distance. It seems like it comes to you,

but every time you look away and come back, it's all the way far away again. Um, but eventually as you continue pressing on, once it, once you get away from where that centralized disturbance was going on with the crowd and stuff like that, once you get away from that, as you guys are now traversing to get to this gallery that radiated from him kind of dissipates and disappears. But in a few moments after taking some time walking through the street to eventually find the Pinocchetta, DiBera, gallery. It's kind of torn, same in the same fashion, you know, torn, been seeing the remnants of this this overall chaos here. But it seems unoccupied and it seems like maybe a safe place to be. Are you guys heading there? Yeah, I think we'll stumble into it. Are you guys heading there? Yeah, I think we'll stumble into it. Okay.

Yeah, you walk in. It's seen, you know, you see light coming in from the outside as if something from the roof had kind of collapsed. And there's just a series of debris everywhere. I think, I mean, unless there's something immediately obvious, like something that would draw our attention, Cecil would probably like stumble to the reception area or like a desk and probably pull the Contract out from his pants and slap it on the table and be like we can't keep going If you don't sign this you have to sign this, you.

I have to know that if I at least die here, I'm going with my soul intact. You really want to do this now. The way things are shaping up, I don't know how long I have. You really think that this is the smartest thing for you right now. Just here, bear, and in the middle of this gallery, we're gonna sit here, we're gonna remove everything that's wrong with you. I take out a pen and I click it, it's just a signature.

I take two seconds, we can keep going. You don't know what happens, and I sign this, do you? No, but I have a I have a sneaking suspicion Is it or as you're Looking around the gallery you hear like a Rusted can get kicked across the the thing as it kind of scatters into The gallery has now you are realizing that you're not alone here. While the other two are talking, they're contrasting.

You guys clock the sound of the can, as Cecil is trying to hold out that contract. Cecil, and I'm gonna point in the direction. I'll just quickly roll up the contract, stuff it back in my pants, and probably aim the gun in the direction. Who's here with us? Is Adora do you want to go a little bit in further where you heard the source of that?

Can It can come out to us Okay, I'm staying with the guy with the gun. I mean, you kind of peeked over the corner and you noticed that like on the floor, there seems to be like a mixed-shape like bed here tucked in the corner. And then you, you know, as you kind of like look,

like, yeah, you don't, I'm like, go around and do a little, I take her three lands and you notice that there's like, cans and other stuff that like somebody's been like, I'm gonna live without a hear. That painting of him, he was living in a hoarder's home, he had just made love to that woman.

He was like tacking onto this, and things he has something and starts moving out towards where that can came from. I think it was called coupling. Coupling. I'm gonna, yeah, that's okay. Yeah, I'll probably move with them and try to turn the corner to get a better view.

Yeah, as you guys kind of clock that corner, you finally see the Mick mishave bed there. What looks to be like a small like thing that of a like a kitchen fire or something like mishave kitchen so you like put like to warm and to keep our There's a collection of like wine crates covered in dust and a crumple mortar and scattered amongst the rubble are just sketches of portraits of shadowy figures stalking the streets.

There's also sketches of what you guys saw of the tears of Jiraba and the surrounding desert kind of on the walls and on the floors and paper on any type of material that could be found here is starting to be scattered with these images. And as you kind of follow the trail of all of that eventually you see someone much older in life, a younger man, but amissated a little bit, manic with hair grown out, you know, out, even a disheveled beard and mustache kind of growing, is just a man hunched over with charcoal, drawing more of this of these images and sketches. And he seems

preoccupied that and the can, you see a can not too far by where you probably just accidentally kicked it in his fray of trying to reposition himself to be able to continue with his work. Is that him? Oh, it must be. Somebody say something. We stepped into his painting. It's like we're drifting through his memories. Bakuin.

The sound of his name startles him as he kind of, still crouch, kind of turns around and he kind of puts his hand out fearfully. No, stay away. No, no, no, no. I'll put the gun away. We won't hurt you. I'm a doctor.

I can maybe help you if you're hurt. Are you hurt in any way? Doctor, what doctor? Doctor, yeah. Why would a doctor know you're lying to me? You're trying to deceive me. You're trying to put things in my head. I know.

Because I have a degree. I work too hard for that. You're not taking that away. Beckling? Beckling? Hey. No. I don't.

I'll pull up my wallet. I'll pull up my wallet. And I have a business card where there's like a doctor. Some, he's like, look, here's a doctor. He takes the card out of your hand. He looks at it for a moment and then he just goes and starts scribbling something on it with his charcoal. I should have thought that. Can I back to give you or something? should have thought that. Can I back it's gonna be worth something? Can I get a sense of which painting he's working on right now? If it's one of the ones we saw in the exhibit? The one is the the the not sketches of the paintings but the sketch of the the triptic, the tears of the centerpiece. Yes and the desert you're seeing it

it seems to in your experience someone who who was of of academic stature would know that yeah, yeah, type of south, a type of desert that might be found in Africa and there's been mentions you know of Tunisia and and things of that nature. So you're seeing him draw images of this place and drawing images of the those particular symbolism that were part of the overall ritual that was used to start off all of this. I'm going to find one of the charcoal sketches of the triptych. I'm going to get as close as I can. I know he's going to back away, but I am going to turn it so that he can see his own piece

and bring it close to my face. And wait for him to calm down and use reaching down on his old knees and just trying to make eye contact. However sporadic it is with that queen, and he speaks low and slow and says, I have to know what this means. You and I are very similar. We're scared. We're scared of what happens when all of this ends, when we stop breathing, when there's no more work to be done, but

where I come from, you killed that fear. You escaped it. But this thing, it's killing us. It's taking away our opportunity to come to terms with what's happening to us. And you can help put right what your obsession took from us. I need your help, Baku. I need you to tell us what this means and what we can do. The more you say that to him, the more he seems to get kind of distraught, you know, as he's trying to rack his brain in order to see if you're being honest with him, if you're not lying, if you're not putting just more thoughts into his head, he's already, you know, he's, you know, he's pressing his hands up against his forehead

and anguish trying to reason like he's kind of muttering to himself. You know, and he's, he even starts to, you know, so he just, you don't get it, you don't understand, you know, out there, you know, there, there are answers to be found, you know, it's more than just anything, you know, we, we could, we could transcend life itself. We don't, we don't have to deal with all of this suffering and all of this pain and this chaos and this turmoil. Like, you know, and we can figure it out. It's out there in that desert.

You know, they, they, they know the answer. They found it to figure it out. It's out there in that desert. You know, they know the answer. They found it. To figure it out, I just have to define them, to find them. They know the answers. They figured it out. They know who to contact. Who, who, who are you, who are you trying to find? Your yelling Cecil kind of disrupts that moment of understanding between Hugh and Bakwine. As Bakwine gets angered by it and he starts to you know reach down and grabs something immediately and throw a can toward your direction. He's like, get away, you're trying, you're trying to, to sway me away from the truth,

from the answers that I'm trying to get. You, you, you are, you're putting things into my head. And you, I don't know how much, I don't know how much longer I can put up with this guy. I'm at a loss here. Do you have any ideas? There's something here. I mean, we're in the paintings. He has to have something for us. Maybe, maybe if we kill him, maybe if we kill him, it'll fucking end and we can fucking get out of here.

I can't, the business card, the one that he signed, can I get that, like, can the drawing or anything specific, as I'm trying to see if there's like a clue or something else on that? That's okay. Yeah, you, he probably tossed it onto the ground, so it's easily, you know, he's kind of himself back. One second. You would also know that you guys came to this specific gallery for a reason. You weren't necessarily hoping to find back queen here, but you were also running a trail of the sources of his inspiration. Carvaggio, yeah. Maybe it's not about him. You know, he's the person that put us here,

but he had to learn from somebody, right? He came to Milan to study Carvaggio. He came to find that the atrical lighting, he tried to understand the biblical stories. Maybe it's there. Fuck him. What do we need from him? He put us here in the first place. He thinks he can cheat death. He doesn't understand.

He doesn't get that no one gets to say no. Let's go find Carvaggio. Well, what is the Carvaggio? Didn't have magical paintings. I mean, what good are we going to find in it? No, no, there just has to be something here. And if he won't give it to us, we oughta find it. All right, fine, fine. What's the door? I'm debating if I want to influence him. You can? Yeah. I want to...

I'm going, uh, yes. No, no, no, no, no. I already had bad roles with this. Not gonna do it. I'm just gonna back off. Okay. So where are you guys going? I hear. Yeah, just gonna move through his room looking for. Carvaggio. What are you wandering the gallery? Before, I know that they were like dusty bottles of wine and whatnot and I would like to snatch one. But while we, in his room before we leave, do we, is there anything that draws our attention

that could be a clue in any way? Because he's in the room, but I wanna see if there's something else that we're not seeing because we're distracted by him. Outside of the series and the rays of the sketches, he that he's now put on these walls or amongst the rubble and stuff like that, nothing of a note. I mean, the crates of wine does have wine in it. So you're easily can get a bottle. No, even even that queen seems to perk up when you you seem to get

the bottle as Cecil and Hugh have backed off a little bit and it's kind of settled down a little bit. He notices you and the bottle. But he goes back to sketching. This is a good year. This is you and the bottle. But he's this is it goes back to sketching this is a good year. This is very good. No, he's just sketching, but he's now in a much more conversing, but you've got, you know, can I unbottle?

I'm going to see how far like uncork to wine, see if that actually relaxes him. If you want to use the, if you want to try to influence him with the bottle of wine, then I need to do influence him. There we go. The others can observe the observation or to do anything, if you guys are looking for something associated to Carvaggio.

See where, where is the door is going with that tent. I don't know, I hate tents. Let's come back and bite us in the ass. So you pop open the cork of wine and you, I assume, take just a sip of it. And then you reach down and you kind of shake the bottle near that queen. He gets a little startled by it, but he notices that it's wine. He grabs it with both hands, sniffs it, and then starts to kind of drink and consume it. Yeah, there's, what did you guys want to do as you guys are trying to look for something associated with Kravaz Gio?

I want a dog shit for my investigate, so. You may get some information anyway, but you pay a price for it. Okay. What about you, Hugh? I was going to investigate too. Can I roll for that? Yeah, please do.

Please roll better. I rolled a little better. You may ask one question, the information comes at a cost determined by the GM, such as requiring someone or something for the answer, exposing yourself to danger or needing to expend extra time or resources. Will you do what it takes? What is the question you want to ask? How can I find out more about what I'm investigating, which is Carvaggio? Hopefully, maybe we'll find that painting from the very beginning of the session. Also known as the Taking of course. Yeah, you you guys wander a little bit around trying to see if there's anything in any of the other rooms that are kind of adjacent to this one. As you kind of hear, is Adora kind of passing a

bottle back and forward with Vaquine and you just hear his his muttering and shuffling around in the distance. It takes some time, a considerable amount of time. This was a surprisingly large gallery than you expected. But eventually in the back, there is some paintings of hyper realism, and amongst those would be the taking of price by Carvaggio. Oh yeah. And what you see also down at the bottom of where the painting is amongst this free and thus there is another person there. It looks like an old man beggar but he's kind of just wrapped up in cloth, just laying at the foot of this carvaggio. All right, we found it. What do we do? Do we talk to this guy too?

Yeah, I mean, I can't imagine why he's here, rather than talk to us. Does he look like a VecQueen, like a different version, an older version? No, he kind of looks like just an old man beggar, very tangly, wiery, great beard, tattered, ripped clothes. It just seems to be snoring passed out on the ground. Somebody else who probably took refuge here from your general of subject, but just interesting that it'd be nestled under the Carvaggio. Hey, old timer. I'll probably nudge him with the gun. Try to wake him up. Actually, with your academicness, would you have a strong skill in art history? Yeah, yeah, absolutely.

Okay. Outside of writing, art is his great love. Okay. Cecil, as you kind of approach this man and be like, hey, old time, or you know, kind of question the purpose of this person, you know, you kind, he kind of like starts to get up, you know, trying to waver off your, you know, your disturbance. But as he kind of sits up, you clock this person Caleb, I know you,

as Michael Angel, Marcessi Carvaggio, the artist himself, as an old man, just nestled underneath his painting. And he's just like scratching himself, you know, patting the dust away from his face. But he just looks like, you know, what Carvaggio would have been had he not had been successful in his art. Yeah, as soon as I realized that and realized that Cecil is smacking Carvaggio with a 9mm pistol And you know grab

Cecil by the big open collar and bring impacts. I don't think you want to do that Why who is it? It's him. It's Fucking Caravaggio. That's him the the artist I'll look down at the body and so what is this like a purgatory for artists? We're gonna find hell next. I'm sure they're all down here. So you would know that when you earlier when you brushed up against the illusion that this felt like this was stemming from memories and things of Vakuin. It's an extension of himself. So the wise Caravaggio here did hear me

Caravaggio? I'm pretty sure Caravaggio was much older. Well, wasn't it? But think of it who put the idea of living forever in Valkyrie's head, other than someone who had already done it? Could it be saying that? Maybe they did. Hey, hey, hey, I'm Caravaggio. Hey, hey, hey, I'm Caravaggio. What's up with you? You smut her something in Italian? Oh fuck. Speak in the English?

Good. Yeah, that'll do it. He continues to say something to you in Italian. It's just so cool. Do you know Latin Hugh? There's got to be some bridge here. I'm sure. I just want to know what he told Vekwing, if he knows him.

Is there anything I could do to attempt communicating here on a roll? Unless you speak Italian. I don't think you speak Italian. You could try to gesture him but you also do know that like that queen is here in the building. Yeah. Oh, oh, they could translate. He lived in Milan. Dr. Could you get him over here drunk? I was gonna say how how far away were they did I hear any of this at all? Because I was drinking no you've been like you turned around and you and and Q and Cecil are gone you heard them like walk off and they were like talking about like their next game plans like You know like let's go find a curvaggio, but you didn't follow them. You've been focused on you know

drinking with the back queen. So, yeah, but you guys are in different rooms. All right, we gotta get the doctor then. Yeah. It's just remarkable that they picked this painting, this artist, I mean, all of this. that they picked this painting, this artist, I mean all of this. I mean, the taking of Christ is the birth of the betrayer's kiss.

And in Dante's in Ferno, when they're taken in to see the devil, Judas is in the middle head of Satan's mouth, the ultimate betrayer. I mean, it's all true. The ultimate betrayer. I mean, it's all true. It's- I didn't read Dante's Inferno. Let me get the doctor. Just keep an eye on this asshole. A part of me wishes I had gone to hell with someone who had read the classics. Calm down, okay? Something that's such negative thoughts. We're gonna get out of this. Okay. I'll stay with Carvaggio. Maybe he can talk to me about Dante's and Fereno. I haven't teach you a little Italian. And I think that he

literally goes up and starts tapping it where Judas is kissing Jesus on the cheek. And Hugh in his own way is trying to talk about how beautiful he thinks that moment is even though Kravagio's never going to have a connection there. He's just desperately trying to explain. Yeah, he seems to nod and point in the same direction as you, some say some things, but you're not sure if it's towards understanding or just general conversation. What are you telling me? It's a door when you get a door. I'm just power walking, I'm power walking towards his adora,

and I'm yelling, like, Dr. we need him. Get him up. Jesus, coming. I'm gonna just hold on. Let me see if he's open to the idea of moving Down that's gonna be the more to be caravaggio Caravaggio, would you like to meet caravaggio?

He he's pretty intoxicated. He's he's ranked most of the thoughts. So he's a lot more calm and compliant. Um, when you say Carvaggio, he's like, Carvaggio, I'm gonna kind of grab him and he's telling you something in in in French about about something something and the only thing you really can pick up is the is the is the Carvaggio like he's like explaining something to you passionately about something that he loves but the only thing you're getting is Carvaggio and he's like he's like grab like holding by the

shoulder grabbing you is it's like you know I the shoulder, grabbing you is like, you know. I've been there. But he seems much more friendly and much more complacent than he was like 10 minutes ago when he thought he were putting nonsense into his brain. So he might be. Yeah, I'm going to shuffle, like, I guess arm him just in a nice way. him let him bring another bottle with us to probably and he seems to Receive that as he's like link darms with you. He's still talking to you about all of this stuff He's like he's like pouring his heart and soul about something that he like know so much about you know like you know

You met you know, you know, and you're just nodding along as he's, as you're leaving him with Cecil down the way until you guys get back to where he was. And the hew in the same way, that's kind of what Krovaj is doing with you. He's trying to explain something to you

that you seem to receive the passion by it and respected, but not quite understand what exactly he's getting at. I think Hugh definitely has a moment where he's looking at one of the greatest artists who ever lives, who painted far more masterpiece than anyone had any right to, and you know, Bill Baroque. And he's caught in between the moment of like,

this is going to be one of the last things that I ever do on this earth. And I will never be able to explain this to anyone ever again. So he's just trying to soak up the moment of all of this Italian he'll never understand and watching the master point at his work and knowing that this is almost worth

whatever way he dies in the next few hours. I respect that. Yeah, and as you're enjoying this with him in this moment and Isadora in that queen, you guys both unite these two. And, you know, there seems to be a moment of recognition of these two together. And they both kind of sit down in the way that they were kind of both explaining their passions to each other. They both kind of come together

and explain their passions to each other. And they both seem to understand each other both speaking Italian. And they're just going back and forth. And you, while you saw that queen in the height of madness, that madness is just rippled away as it seems competent, present, and just in the place where he wanted to be, you know, sharing, you know, the love of, and the passion that he has with someone who also genuinely respects it. And you three are here witnessing all of that. And now all seems pretty good.

But then Hugh is a doerah who observed and felt an underlying presence earlier in the fray and stuff like that. And now start to feel it creeping in around this illumination of passion and joy. And it's terrifying and it's scary and it seems that you might not want to be a part of it if it continues to enter into the space. So you've united Vacquian with his hero, but your safety is still in the line here. What do you want to do? We want to ask him a couple of love things.

I mean, we... What does he say? Vac? We can barely speak to him. He speaks French. Maybe this is not. I thought you'd hiding them would do something. Well, let's take the painting and let's go. You want to steal the taking of Christ?

Like it matters here? And by the way, if this is hell, why is there a picture of Christ here exactly so Okay, so what are we doing? We're stealing the painting and why or are we We'll take the pain Okay, yeah We might be like I love us. They, the two seem to be enrapt in, in their own exchange that they don't see you taking the painting. But you do grab it off the wall. And are you guys just exiting out of this building? I don't know. I think that like this is not leading to anything concrete and I think

Cecil is really you know distressed and I think he would probably like walk up to VecQueen and just be like all right all right enough of this power wow this power. Wow, what do we do next? How do we get out of here? Backween seems annoyed by the fact that you've interrupted his conversation and starts again to speak French to you about, something that seems seemingly rude to you, Cecil. You don't speak any English. Sorty, sorty, way out, leave. Um, he kind of just like throws his hands in the in a random gesture, but as you guys are trying to converse with him that feeling is still

leaking into the space I'm out the feeling of like we're about to be in trouble That's the Tunisian guy that was Tunisian guy, the long man Lingering of of evil of death that was Okay, if I feel like time is running out I'm gonna cock the gun and put it to Caravaggio's head and say, start fucking speaking English and tell us how to get out of here right now.

What are we doing? That doesn't work. We are finding solutions. No, you're being dumb because now you're going to make noise. We need to go. This is not involving us. Do you want your idol to die? And I'm looking at Vaquin.

Vaquin seems very panic by this. He's trying to raise his hands to you and trying to gesture that this is not the way to do things or to try to insist that you stop doing that. I'm still speaking in French. Point in a direction. Point and I'm like pointing in different directions. I think Vacquian will point in the direction in which where he was initially camping, but there was a further hallway past that.

Okay. All right, let's move. Okay, that's something we need to go. Oh yes. Okay, as you guys start exiting the room, leaving behind Carvaggio and room, leaving behind Carvaggio and back queen. It seems that illuminating shadow eventually snuffs out them in that room. As you guys make your way back out of that way, heading past back queens, back queens little hide out, his little sanctum amongst the sketches of all of this the the sands the sand dunes and the and the images of of parse partials of his paintings you guys enter into that darkness

and that is where we're going to leave off tonight. because we are at time. Yeah. Oh, man. Very good. Very good. Man. A little year at tour. Oh, yeah. Yeah, that's the nice. We are learning languages. That's the best thing.

So international. The dualingo demon. Yes. Stop it. Yeah, I should have made a deal with the dualingo demon. Yes. Stop it now. The fucking yeah.

Well, thank you guys so much for joining us this evening. If you guys love Cole divinity loss as much as we're enjoying it, be sure to check out coldrpg.com where you'll be able to get access to the source books as well as wonderful modules, including the atrocity exhibition that you guys can

play with your tables at home. If you like us here at Mayday, we have tons of other awesome stuff that we have going on. We have completed our band part of the Masquerade campaign, Vegas by night, as well as our tales from the loop campaign. Run by love, our upcoming Dune to Repeat, as well as our Tales from the Loop campaign run by Lev. Our upcoming Doom to Repeat sees Arc 3 will be coming in the upcoming fall.

And we have a couple of other stuff that are gonna be happening in between. So please keep a weather eye out on what's coming up next after this. I just wanna say one quick thing because we haven't said it before. But all of the art you are seeing besides the cool little icons that Zach made for us representing our character. All of the art in the background and stuff is all art that you can find in the book of cult. It's really cool.

The cult book is really pretty. Yeah, absolutely. Absolutely. It's so fun to like just like look at the art in it's like on level of like the Zine work and the vampire books if you're familiar just gorgeous really catered details in each page yeah which is why we would like to thank Red Moon roleplaying for helping contribute to this actual play which has helped us get access to such art and stuff like that. So thank you. Yeah. Have a good rest of your evening and weekend and we will see you soon. See you next time. See you guys next time.