Episode 51
Episode 51 - So It Went Down Like This
Agents Shields, Bennett, FRANKFURT, and FELIX move forward under the scrutiny of multiple federal agencies to see the mission through.
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Transcript
Hello?
Speaker B:What time is there?
Speaker A:Who is there?
Speaker C:I. I don't know.
Speaker D:Situation green. Northern hospitality.
Speaker A:Sorry, love, I have to take Tiberius. You are wandering around a small room with blue carpeting.
There are drawings on the round pillars here, but they seem to have been authored by children, even though you don't see any children present. The other people in the room here, actually, they have wild hair, they're wearing white gowns, and they have light blue slippers on their feet.
One of them yells at you about helicopters as you walk in slow circles near a window, but you don't really understand and you walk away, trying to ignore her. You look out the window. You see a red stone path there. It's surrounded by garden and bushes.
It's all seen better days and it reminds you of somewhere else you've been, but it's not quite right. And you close your eyes because it confuses you. When you open them again, a heavyset man with glasses approaches you.
He tells you it's time to sit down, but you. You don't really want to.
He grabs you roughly, one of his hands wrapping around the back of your neck, and he leads you through a hallway as dozens begin to scream behind you from the room you're being led out of, and he takes you to a small room that smells of urine, chemicals. His hands hurt you and you yell and then he hisses at you and you feel like you better be quiet.
You reluctantly sit on the hard mattress as he watches you until you drink water from a cup and take seven differently shaped pills from a small plastic container. He calls you an old fucker before slamming the door shut.
A yellow light flickers on above in a recessed area of the ceiling, and it emits a terrible buzzing sound. You feel weak and your limbs are all tingling. There's a heaviness in your chest, but you don't feel afraid or upset. In fact, you feel nothing at all.
You know there's somewhere you should be, but you can't muster enough energy to force yourself to remember exactly, so you just stare. The wall in front of you, it swirls and it. It pulses a bit and that seems okay.
You're not sure how much time goes by, but someone brings you food a few times. You don't really bother to eat, and the fat man's there and he calls you a troublemaking piece of shit.
Later, the door opens and one of the doctors comes in. You can tell because the doctors don't call you names and they more or less never even look at you. They just write things Down.
This one is just like that. But there are two people with him. They don't look like doctors or any of the other people here. You don't know them at all, and that scares you.
They call you by one of the names you have, and it feels like someone knocking on a door from somewhere deep, deep within. You try and focus on keeping it shut. The doctor takes your arm and violently stabs in a syringe. It hurts a lot, but you don't yell.
You know you're supposed to stay quiet. He picks you up from the cot and takes you a moment. It takes you a moment to get your footing.
The big man and the little girl, they look upset when they see you wobbling around like that. So you try to put on a show for them, trying to stand up straight, but you almost fall down again, and the doctor has to grab and steady you.
The girl. Wait. You know this girl? You know her? She's special. She's important. You would do. You would do anything.
And then the thought is gone again as the doctor forces you out the door and down the long linoleum hall and then through a screaming room and then out into the sun and then into the back of a big car. The doctor is gone now, nowhere to be seen. And the giant man from before with the sad eyes, he. He buckles in your seatbelt.
You watch the trees pass outside and you begin to feel sick. And you thank God that you are feeling something again. Okay.
Speaker C:Whoa.
Speaker A:As you begin to come out of this haze of no feeling, of no time, of no self, you regain your senses enough to weakly ask questions, if you'd like, during this car ride with two strangers. Although the more you look at this girl, even from the back, because you are sitting in the back of the car, she's in the passenger seat.
The more you have this feeling that you know her.
Speaker C:Tiberius will try to shimmy his back a little stiffer onto the seat and he'll croak out. Where are we going?
Speaker A:The other two people in the scene, I should be very clear, are Staff Sergeant Nicholas Shields and Corporal Amelia Bennett.
Speaker E:Don't you worry about that, bud. We're going to get your friend Frankfurt and we're going to find a safe place, and we're just going to debrief and get things back on track.
Does that sound okay?
Speaker C:No. No, I. I have to go home.
Speaker E:We would all like to go home. And what we're going to do is we're going to get things better. And then we can do that. Okay?
Speaker D:Is this guy A Mountie. Whoa, whoa, whoa.
Speaker A:Did you just notice his picture?
Speaker D:Yeah, just put the accent together. Look at that smile. Oh, my gosh. Sorry. I'm really excited to meet this dude. All right, please pardon the interruption. Yeah, please continue.
Speaker C:Frankfurt. No, no, he's. He's a loony. No, no, I just need to go home.
Speaker E:Look, I don't want to be the one to point out the obvious here, but we just got you out of a loony bin and he's not in one, so. Sorry, that was rude. Okay, what we're gonna do is we're gonna get your buddy Frankfurt, we're going to debrief. We got to do that, okay?
We'll take it one step at a time.
Speaker C:Can I borrow your phone? I won't make a call, I swear.
Speaker E:I. Sure.
Speaker A:Corporal Amelia Bennett. And I'm going to call you all by your last name, so I'm not throwing out the whole title. Bennett goes ahead and takes her phone.
She puts it in a mode that bypasses a certain level of encryption, and it becomes more or less a standard, everyday commercial phone. And she turns to pass the device to you. Tiberius. And as your mind is becoming clearer and clearer by the second, you recognize her.
And there's no mistaking it. It's the bartender. It's the bartender from the convention center.
The one you dragged up and down scaffolding on the outside to try to avoid something that was impossible, that was destroying human beings in ways that you hesitate to remember fully now. But it's her. Same face, her same eyes. She seems more confident. She seems more at ease. But there is a flicker of recognition in her face as well.
As you both stare at each other, her forehead twitches. Both of you, roll your sanities, please.
Speaker C:Cool.
Speaker A:Would either of you like to project any potential sanity loss?
Speaker C:I will not.
Speaker A:It's a good choice. Your willpower is still not great.
Speaker B:I also will not.
Speaker C:We stab each other in the neck.
Speaker A:Bennett. You couldn't believe that it was him. The man from those dreams that.
That completely clear bunch of memories that just haven't made sense with your life. Where you went to LA to follow your dreams. A place where your parents were still there to be angry at you for dropping everything and.
And leaving the country to go be an actress or a voice actress or whatever the hell you wanted to do in this strange, clear world that you obviously don't exist in. But there's this man in front of you. He's. From what you have convinced yourself are just lucid dreams.
It's the man who brought you through a nightmare hell. One with a horrible whistling creature that was tearing people apart all around you. Your coworkers, people you knew. It's him. Right here.
He's haggard looking, more so than before. He's in a gown, but it's. It's him.
Speaker B:Felix, right? I can call you Felix, or do you prefer something else?
Speaker C:No, no, Felix is right. I'm Felix. I'm Felix.
Speaker B:Felix. I'm Emilia. You can call me Amelia. I'm Corporal Amelia. Bennett. You look very familiar. Have we met before? Ever?
Speaker C:I'm Felix. I'm Felix. Do I have that phone in my hand by now?
Speaker A:That's up to Bennett.
Speaker B:Bennett is driving, is that correct?
Speaker A:No. So Shields is driving Bennett. You turned around to hand your phone to him after putting it into a mode that does not allow epic access.
Speaker B:As I'm turned around in my passenger seat to Felix in the back, passing him the phone, I kind of cup his hands, both of his hands, as I'm passing him the phone and not letting go, because I feel this familiarity, like a very deep connection. I know you.
Speaker C:Felix looks up. You see tears welling up in his eyes.
Speaker B:Here's the phone. It's exactly what you need.
Speaker C:Thank you.
Speaker B:Let me know if you need help with anything.
Speaker C:I will type in what I need to. To get to make sure everything's okay.
Speaker A:You're able to download the app. It's sitting there on the store for you. It's nice and small. You go ahead and put in your credentials.
Within five minutes, you are staring down at a beatific face.
Your anxiety melts away, but you're still so confused about what happened, how you ended up where you just were, how this girl is here in the car with you in Arkansas, presumably. But then you'd return your eyes to the screen. He's smiling. He's smiling even though his eyes are closed. And it brings you some measure of.
It brings you some measure of contentment and calm.
Speaker C:I will delete the app, delete the history, hand the phone back. Thank you, Ms. Bennet.
Speaker B:Of course. You're welcome. Amelia's taking slow, deep breaths in and letting it out. As she is taking in Felix's face.
Speaker A:Is she, like, peeking in the rear view mirror or the side view mirror to, like.
Speaker B:Absolutely. She can see him through that passenger mirror in the backseat.
And so she's taking deep breaths and she's glancing back at him and just trying to hold back tears. She's not sure why she feels like crying, but she feels an extreme closeness. And she knows she's got to get to the bottom of this.
But right now, what's going on, this level of professionalism, her and Staff Sergeant Shields and this mission is taking precedence. So she's trying to compose herself because she knows better.
Speaker E:Staff Sergeant Nicholas Shields notices out of the corner of his eyes that she's kind of behaving a little differently and kind of hears in her voice and he reaches in his pocket for a tissue and hands or one, doesn't say anything.
Speaker B:Bennett grabs the tissue, rolls her eyes towards Jill's, does a half smile. Thank you, good sir.
Speaker E:He just nods.
Speaker C:You guys have really great NCIS names, by the way. I'm just like, listening to the names as you say them, and it's like, boom. That's an episode right there, right?
Amelia Bennett, Staff Sergeant Nicholas Shields. It's perfect.
Speaker B:Respectfully, I just want to call him Nicholas. It's such a beautiful name.
Speaker A:Okay, let's. If y'all are cool, I think that's a good end to that particular scene.
Speaker C:Yeah.
Speaker A:Do y'all feel similar? Okay, sweet.
Speaker B:It's getting emotional. Let's move on.
Speaker E:Let's not dwell in it. Let's not dwell in it.
Speaker A:Paris well, GW didn't say much and y'all just sort of had a calm, easygoing trip. Country music filled in the gaps and he took you farther than he said he was going to.
But he dropped you off at a Greyhound station pretty much in the middle of nowhere, just pockmark on the skin of the state of Arkansas. And he bought you a ticket to Little Rock. He shook your hand, he ignored your awkward thank yous, and he told you to get where you need to go.
Don't look back. He got into his pickup and he drove away. You couldn't help but notice that he dropped you off right in an interesting spot.
Spot where none of the cameras are facing the cashiers or the loading areas. None of the cameras are pointed towards you. You sort of smiled to yourself.
But it was an easy drive to get to where Horatio mandated UB an apartment 93, the Pine View Residences. She was right. There was a key behind one of the apartment buildings, near a cluster of rusted gas meters. And thankfully it was the right one.
The apartment opened right up for you. It's musty inside, obviously hadn't been lived in for a while.
Coating of dust on everything but fully furnished television, decent looking sofa, microwave. Nothing to eat in the fridge, unfortunately, but a couple cans of Hormel's chili, box of granola bars that you began munching On.
And then you remembered that somebody might show up and you decided to wait.
Speaker D:What? Sorry. You wanted to take it away.
Speaker C:Take it away. Take it away now.
Speaker A:Yeah, we're going to go ahead and see. Is that what Red Hot Peppers.
Speaker B:Red Hot Chili Peppers. Chris hates Red Hot Chili Peppers.
Speaker A:Yeah. Not a fan.
Speaker D:Oh, man, they get down with that funk rock.
Speaker A:I'm opening it up for you. If there's anything you want to do to prepare for the arrival of others. Maybe you are suspicious of who these folks might be.
Maybe you just want to have some.
Speaker E:Assurance time to home alone, rig the place.
Speaker A:You've been through hell.
Speaker D:Yeah.
Speaker A:This is your opportunity to do any preparations you would like to do or just to sit down and wait.
Speaker C:It's a bucket of water over the door.
Speaker D:First thing I'm going to do is, yeah, I'd like to get a life sized cardboard cut out of Michael Jordan and a train set and hook that up to the train set and start it running around.
Speaker A:Okay, those are all available.
Speaker D:I'll also need some Christmas ornaments by the window that I can.
Speaker B:Yes.
Speaker A:There's also some bowling balls in the back bedroom. Did you want to do anything with those?
Speaker B:You need tar and feathers.
Speaker D:Those fuckers up. And if a weird lady feeding pigeons shows up, she's a friendly, so I would like to say hi to her. I'm referencing both movies now to sorrow.
Speaker C:That's actually Home Alone too, so I.
Speaker D:Know I'm referencing both wicked ladies.
Speaker B:What was the peewee lady's name?
Speaker C:Large Marge.
Speaker D:Large Marge.
Speaker A:Well, Large Marge and the pigeon lady, they're both in the bathroom. I don't know what they're up to. They just seem to be doing makeup, so no big deal. But they're there.
Speaker D:I weirdly happened.
Speaker A:Okay, what else did you want to do?
Speaker D:I had a weird flashback to the Shining too. When you just said, yeah, they're in the bathroom. Like, oh God, this place is haunted.
All right, before we get too far off track, no, I'm not going to do too much. I think I'll. I'm going to eat and rest is kind of what I'm doing. I'm just going to hang tight.
Speaker A:The walk, you think, although tiring, you feel like it did you some good. Your limbs and your legs just haven't felt great since you woke up. Just sort of like they're on the verge of going to sleep at all times.
But something about that walk gave you faith in your own body again. You have a little bit more confidence than you had before.
Shadows cast across the Window facing outside, and you look up from the couch where you're resting, and looks like there are three figures walking up to the door.
Speaker E:All right, so we were told that he might be a bit paranoid, so everybody, no twitchy movements. Okay? Can we all agree that that's the plan here? Okey dokey. He gives the door a firm knock.
Speaker B:Bennett has a couple of bottles of water with her. Felix, would you like a bottle of water?
Speaker C:Yeah. Yes, thank you. Do you mind if I stay out here for a little bit while you go in? I just need a little fresh air.
Speaker B:Well, I can stay with you.
Speaker E:It's actually probably a pretty good idea. Yeah, you do that. Okay. I'll take care of this.
Speaker B:And Bennett passes Shields the additional bottle of water in case our insider would like some water.
Speaker C:Oh, there's gonna be some water drinking for sure.
Speaker A:Shields, you go ahead and you knock on the door. Is it a cop knock?
Speaker E:Mm. Mm.
Speaker A:Paris, someone's knocking on your door.
Speaker D:Chris, I just want to double check one more thing with you. Can. I hate to do this, guys. Can Chris and I have, like, a chat real quick?
Speaker C:Yep.
Speaker D:Just to just. I want to make sure I'm 100% on how I'm about to play my character. Kind of like Chris was talking about in the chat I sent you.
I'm kind of wanting to play Paris now where he's like, he remembers now, like, the brutal shock that he just went through. To him, Frankfurt is dead or almost dead. And he's like, he remembers Francis. He remembers what happened. He remembers the shift.
Is that something I can do?
Speaker A:They're going to think he did already.
Speaker D:They're going to think I'm crazy.
Speaker A:So I want to make it really, really clear. He doesn't have DID So the memories were always side by side.
He was just choosing to squash down what felt less real to him and honestly, kind of weak because of the upfront Frankfurtness of it. All. Right. I'm down with him, like, softening up, but he doesn't have did like, he hasn't killed off Frankfurt. Frankfurt is 100% still there.
That's super important. But you don't have to swap from one to the other. You can make your choice to how you feel in the moment, and if he's feeling like Paris, great.
But Frankfurt is just as real as Paris.
Speaker D:Okay. Because I was kind of wanting to do it where.
Well, not Frankfurt's dead, but Frankfurt is took the, like, all that death and injury, like, he's not dead. He's still there. But, like, that Paris is now the dominant. Like he's Paris again. It's kind of what I want to point out.
Speaker A:So that is very much did. Now you don't have it yet, but we are going to go in that direction for you if you do gain a trauma, since you're going to play it that way.
If that's okay with you.
Speaker D:Okay, yeah, I'll.
Speaker A:Once you hit your breaking point, this will be a full on trauma.
Speaker D:All right, I'll dial it back just a little bit then and just play it. Yeah, I got it. Cool.
Speaker A:All right, let's get him back in. We left Shields doing a non cop knock on the door of apartment 93.
Speaker D:Paris walks over the door and looks at the people.
Speaker A:He opens the door.
Speaker D:Oh, he looks at the people or.
Speaker A:You looks at the people? I thought you said looks at the people.
Speaker C:I also heard looks at the people.
Speaker A:Sorry, I 100% heard that, which is why I was confused. Peep hole.
Speaker C:Peep hole.
Speaker A:Peep hole.
Speaker B:A hole in the door.
Speaker D:The hole of peeps.
Speaker E:I take it you're Frankfurt?
Speaker D:Yeah, call me Paris, but yeah.
Speaker A:What does Frankfurt look like right now to Shields?
Speaker D:Well, he looks. He's seen better days. Unshaven, little pale, he's limping, bruised. He looks like he's been hit by a truck. Basically, yeah.
But otherwise you could tell he's what was recently short cut hair. Also. Also clearly military in the way he holds himself and carries himself.
Speaker A:Sure.
Speaker E:I can call you Paris? That's great. That's really great. Paris it is then. You can call me Nick or Nicholas, Mr. Shields. Whatever, whatever you like. It's nice to meet you.
Speaker D:Yeah, all right, Nick. Good to meet you too. Paris puts his hand out to shake it.
Speaker E:Nicholas Shields will shake his hand firmly.
Speaker D:Why don't y'all, why don't y'all come on inside?
Speaker E:Sounds great. Are you coming, Felix?
Speaker C:Felix will pop his head in and take a look at Frankfurt.
Speaker D:Tiberius. Felix. Hey, it's good to see you. You all right?
Speaker C:Are you all right, man?
Speaker D:Paris takes a second and then looks back and says, yeah, I'm. Yeah, I'm good.
Speaker E:Great, let's bring it inside then. Okay, gentlemen, let's, let's just.
Speaker B:Amelia looks at Felix. Tiberius? Would you prefer Tiberius?
Speaker C:No, no, I'm Felix. I'm Felix. And he'll walk in.
Speaker A:The door closes, you all take a seat. Or perhaps you remain standing because the sofa has a good thick layer of dust on it.
You see the recent imprint of a human being who was sitting in the middle of it. But otherwise the place hasn't been inhabited for a little while.
Speaker C:Felix is gonna stay standing near the doorish area.
Speaker D:Paris says, so what's going on with Ryan and what's going on with Prentice? Or the Fletcher and Finster? What's. I heard they're. They're compromised. Unretrievable. What's. What's going on?
Speaker E:Okay, you're getting right to it. Just a moment. Let's just take a breather here.
Nicholas Shields begins the process of opening a window and dusting off the couch cushions out the window, making it a little more comfortable in there for people.
Once that's done, he says, okay, let's have a seat and let's just talk about how things went down, and then we can try and get things back on track here. That's what we're here for. We're here to figure out what went wrong. We're here to get you back on.
Speaker B:Track, and we're going to do that simultaneously.
Amelia, she's nodding in sync with Nicholas as he speaks confidently and calmly in a way that should be relaxing and confident so that they understand that we're all on the same side.
Speaker A:Okay, I'm going to have you roll persuaded, please.
Speaker E:Damn.
Speaker C:I want to say that that's like.
Speaker B:Twice as fast as it takes me out of 40.
Speaker A:It's exactly as you narrated your presence here. As this brick shithouse is trying to basically get people to settle and calm. Your presence augments that you're basically guiding Felix.
And it's up to you, Felix.
But she begins to kind of guide you down towards the couch to sit with her and Parish are sort of watching this as these two strangers seem to be genuinely trying to get you in a spot of relative comfort before you dive into what must be an absolute clusterfuck of an opera.
Speaker C:Tiberius will take a seat next to her.
Speaker B:Emilia just moves her hand in the direction of the couch as an invitation. Gentlemen.
Speaker A:And he said he sat down with you, Ms. Bennet. So you sit down with Felix in Paris. Do you also have a seat?
Speaker D:Yeah, he grabs a chair if there's not a speed on the couch, but otherwise he.
Speaker E:Great. I'm so glad that we could all get comfortable here because what happened wasn't easy. It's not something anybody ever wants to happen.
So what we were gonna go ahead and do next is we're gonna go step by step over what went wrong, and you're gonna tell us. You're gonna debrief us and.
Speaker C:Princess was dead. He was dead. I saw him dead to rights.
Speaker B:You said Prentice.
Speaker D:I'm confused.
Speaker C:Wait, are you saying his name is Prentice?
Speaker B:I'm sorry, what did you say?
Speaker C:I've been thinking his name is Princess the entire time.
Speaker E:No, she wouldn't know Prentice. She only knows him as Finster.
Speaker B:I don't know any.
Speaker A:She doesn't know Finster or Prentice. She only knows Persona non grata number two.
Speaker B:So I'm just trying to clarify what. What he's saying.
Speaker A:No, this is all in character? From my understanding, yes.
Speaker B:What do you remember of Prentice?
Speaker C:He died. And we're in the van and they put something in him and he came back. But it wasn't him. No, sir.
Speaker E:So let's rewind a bit. Let's start from the beginning and just give me a brief overview.
Speaker D:Hold on, hold on. You're saying Princess is alive?
Speaker C:It's not.
Speaker D:He was dead. I saw. I saw a bullet go through his fucking body. He's dead. You saying he got back up?
Speaker C:He's puts up and moving and with a big hole where his heart should be. So.
Speaker A:Roll of sanity. Paris. Frankfurt. Same question. Would you like to project any potential loss?
Speaker D:I would. I'd like to project that loss on Prentice.
Speaker B:What?
Speaker E:Well played.
Speaker A:Your wish is granted.
Speaker C:Whoa.
Speaker A:Go ahead and roll a 1D4. All right.
Speaker D:I guess my bond with Prentice is about to get a little fucked up.
Speaker B:If I could say. We were advised that Fletcher and Finster are compromised. As Amelia looks around the room.
Speaker E:So you're telling me that Finster's got up and started walking around again, huh?
Speaker C:That's what I'm saying. And that. That. That woman that was with them, she. She's one of them, too. When she murdered everyone in the. In the movie theater. And. And.
Speaker E:Oh, so she's the. Okay.
Speaker B:And it's okay. Just take your time. You take it.
Speaker D:So Paris gets up and starts pacing. What woman? What are you talking about?
Speaker C:A chance.
Speaker D:I don't know. Fucking Chloe. But what?
Speaker C:I don't know.
Speaker D:Where's Ryan Fletcher? Where is he? What's going on here?
Speaker C:He's. They're not. Who they are. They're gone. Those are husks. Someone's wearing them.
Speaker B:I imagine that might be why we are here to help you.
Speaker A:Frankfurt. You assume that means they have insects in their skulls. Something about that actually calms you down. That's something you're familiar with, at least.
It's Frankfurt.
Speaker D:Yeah. Walks over the window, just kind of stares at the window for a minute. Like, slows his breathing down. Calms down a little bit. It's like. Yeah, got it.
Speaker C:And you're okay?
Speaker D:Me? Yeah. Honestly, I think I might be better than I've been in a couple days.
Speaker E:Well, we're so glad you're alive.
Now, if we could slowly and as slow as you need, start from the beginning and just tell us how things went step by step, so we can process all this and hopefully find a way out of this mess into getting you home.
Speaker C:Chris, I will continue to dump from my perspective, from what I know.
Speaker A:So are you focusing on the strange behavior of Fletcher and Finster, or are you going to start at, hey, we arrived in Arkansas, this is what we were given. Nuclear power plant. Are you going to kind of go from that?
Speaker C:Yeah, I'll start from the very beginning, obviously keeping things that I don't want out there. So I'm not 100% honest, you know.
Speaker A:Well, rather than a brain dump then, especially since we have someone here who didn't take part in any of that, do you mind kind of giving the high level summary of what you deliver so that our new player can absorb those factoids?
Speaker C:I mean, I feel like Tiberius remembers a lot more than Marconi does, so.
Speaker A:Well, maybe John Marconi, maybe y'all can kind of bounce off of one another and tell the story of why you're in Arkansas to begin with.
Speaker D:Yeah, I think give it a whirl. I'm happy, Happy to try.
Speaker A:It's a last time on. Shoved into the middle of this episode.
Speaker D:Paris says, yeah, Nick, sorry. You're right. From the top, from the top. So we arrived here to Visit Arkansas Nuclear 1.
Reviewed some footage over three individuals, Candace and Roger Stoltz and Joseph Levitt, if I remember correctly.
Speaker E:Oh, sorry. Just one moment. And he pulls out his phone and begins recording on the phone.
Speaker A:Candace Stoltz, just as a reminder, was not in the room yet.
Speaker D:I thought she was. Half her body was in the room, wasn't it?
Speaker A:Well, you cut. You kind of. You know, you might want to ease him into that particular apparition. Say, footage of two workers in the nuclear.
Well, you can do whatever you want.
Speaker D:But, yeah, I don't think Paris would ease anyone into anything. And he'd be like, yeah, man, it was two people and a fucking half a corpse.
Speaker A:That's what happened. For the sake of chronology. Yeah, you were watching a video with two workers and then suddenly her body appeared.
Speaker D:But, yes, I was gonna get there. Sorry, do you want to do it? You can do it if you'd like. You could take it over.
Speaker A:You got this.
Speaker D:All right. Paris has this. Paris is going. Is what we're doing.
Speaker E:And just so you know, it's encrypted. You're all good here.
Speaker D:Paris looks at us like. All right. Yeah. So we were brought into Arkansas Nuclear 1 and reviewed some footage of a Joseph Levitt and Roger Stoltz employees.
There something unnatural took place. I don't know to put this, but half of corpse showed up. Candace Stoltz.
I should soon say corpse, because I think she was still alive when she appeared on camera. Yeah. So with that happening, obviously we're pulled in to start looking into what's going on.
We, after looking at the bodies, went over to Roger Stoltz's house. That was the first time we noticed ourselves being either followed or another interested party.
Weren't sure at the time, but we did figure that one out. I'll get to it. But while there, we discovered that he had been using a lot of. Taking a lot of pills, a lot of. A lot of supplements.
Speaker B:Was that Joseph?
Speaker D:No, it was Roger Stoltz. Excuse me. That's Roger Stoltz coming. We located those. Is coming from a place called Biotech Pharmaceuticals. So we.
Speaker C:His head exploded. Imploded.
Speaker D:Yeah. So we. Yeah. Long story short, you watched his head.
Speaker C:Implode on video, and then half his wife from decades ago appeared in. And by half, I mean the top side. As in cut in half. As in only half of her body.
Speaker B:But you said from decades.
Speaker D:Yeah, well, if you really want the gory details, she apparently had died decades ago. But half of her screaming corps.
Speaker C:Yes. She got six.
Speaker D:Sorry. Her dad.
Speaker A:Apparently she had died six months ago.
Speaker D:Apparently she had died six months ago. But it was half of her screaming corpse dropped into the.
Speaker C:It was frame. It was her from her wedding day. It was her from when Robert Stoltz and her got married. It was that day decades ago.
Before their kid, before the accident, before he was in a wheelchair.
Speaker B:Which one's the kid?
Speaker C:Michael. His kid. He died in. In the car crash that Candace died in six months ago.
Speaker B:You've. You guys have. You've been through so much.
Speaker C:It's not just the video. We. We saw the bodice. It's not doctored.
Speaker D:Tiberius. Some of us are trying not to dwell too much on the gory details.
Speaker C:These are agents to know.
Speaker B:Yes. If you think it's important. We are here only to help, but. And I apologize for interrupting. I just wanted to make sure we were clear, so.
Speaker C:And I want to be sure I'm clear. You're with the agency, right?
Speaker B:The agency.
Speaker D:Paris tenses up, you're gonna make me.
Speaker C:Have to Say it.
Speaker B:Well, I. We're on the same page, Roger.
Speaker D:Right. So, like I said, we looked through Mr. Stoltz's house. Found a lot of interesting information.
Mainly the source of this medicine he had been taking unlabeled, wasn't being regulated. So we took a visit to the warehouse. And that's when.
Speaker C:Hog City Mushrooms and Herbs.
Speaker D:Yeah, Hog City Mushrooms and Herbs. And. And.
Speaker C:And what do you remember about that situation? Tell us all the details.
Speaker D:I remember you trying to get a fucking knife out of a plastic blister pack. And Prentice is dead now.
Speaker E:Okay, okay, let's back it up. Let's. Let's take it slow. One detail at a time. Just so you show up at a.
Speaker D:Warehouse, things got a little heated.
Speaker E:Heated with who?
Speaker D:Yeah, the warehouse manager. Things are pretty clearly not on the up and up. And.
Speaker E:Okay, violence. And how did that conversation with him go?
Speaker C:He no longer has a solid head. It's more of. In a liquid form now.
Speaker D:Yeah, he's been.
Speaker E:Yeah, I understand that part, but if we could just rewind a little bit the conversation leading up to the inevitable violence.
Speaker C:Oh, you mean.
Speaker E:How did that go?
Speaker C:You mean who liquefied his head? You know, I can't remember. Do you remember?
Speaker E:If we could just start at the beginning of when you walked into the warehouse and. And maybe give us an idea of the conversation you had with this manager, that'd be great.
Speaker D:Look, here's what you need to know. Things got bad. Tiberius here and the rest of the crew took off.
Speaker C:Phalanx. My name is Felix.
Speaker D:Felix took off with Prince's body, and.
Speaker C:I was trying to save him. Yeah, I didn't know he was dead already.
Speaker D:With Fenster, Brian Fletcher. And they took off. I don't know what the fuck happened after that.
Speaker E:Okay, so who was Prentice in all this again?
Speaker D:Finster. You know him? Finster.
Speaker E:Okay, that's the.
Speaker D:I had. I was able to extract some information about what's happening. They are dealing this medicine out. Drug, narcotic, supplement. I don't know.
It's not my field. And they're monitoring these people as they take it.
And then after a certain period of time, they're taking some of them off to a slaughterhouse, a house somewhere. I gave. I gave Fletcher. I gave Fletcher all the information. I don't know if by then he was compromised or not.
He's the one I called you laughing about. Felix.
Speaker C:Oh, you blind, boy?
Speaker B:What. What's happening?
Speaker D:Careful.
Speaker E:If I need to split the two of you up and question you separately, that's fine with Me? I don't think it would be great if things got violent right now.
Speaker C:Are we detained? Is this what's happening right now?
Speaker E:Absolutely not. Absolutely not. We're here to help. We're not here to detain. We're here to get information and get things back on track. That's where we're at.
Speaker D:Look, I found out what was happening. I got us the next steps, okay? All right? I barely got out of there with my fucking life. Do you understand? Barely.
Speaker E:Nobody's blaming anybody for anything. We just are trying to get the details here.
Speaker C:Who gives a fuck? Who gives a fuck about these fucking cases? They are turned. We have to put them down.
Speaker B:She again cups his hands and looks him in the eyes.
Speaker C:They're gone. They're gone. They're gone. I'm Felix and they're gone.
Speaker B:Felix, you knew these people. We know that you knew these people. Fletcher and Fincher. They're not no one to you. Feel whatever you need to feel. Tell us whatever we need to know.
But we are here to help you. Look into my eyes. I hope that you understand that we. We only want to help. That's why we're here.
Speaker C:Felix will look into her eyes. Believe me when I say this. They're gone. I don't know who's in their place, but they're not good. They chased me down a parking lot.
They slaughtered an entire movie lobby to get to me. They're building something. They need to be stopped. If there's a more important cause, I'd love to know. But I think this is the one.
Speaker B:Bennett starts to move her hands from cupping Felix's hands, but to slowly moving into a hug around his waist and just says. I know that they meant something to you. And we know that they're compromised. You're not alone.
Speaker C:I appreciate it, Emelia.
Speaker B:Felix's closeness to Felix and she can't control it. Despite her professionalism.
She kind of looks to shields for understanding and security, but feels this closeness to Felix that she can't quit holding onto.
Speaker C:Felix looks at or Tiberius looks at her. It's going to be okay. It's going to be okay.
Speaker A:Fuck it.
So what I'm going to do here is because of the circumstances and the fact that this tension was just dissipated through this action, I'm going to go ahead and give both of y'all 1d4. Willpower back.
Speaker D:Woo.
Speaker A:So please roll a 1d4 each.
Speaker C:Wait, did I roll the question mark? Ooh, I rolled a four. Hell yeah.
Speaker A:Nicely done. So you had six, so now you're back to 10. Willpower out of 14.
Speaker C:Felix, that's pretty good.
Speaker A:The connection between you two, although you cannot yet define it, and it's still quite confusing, it is there. And there. There's something anchoring in that.
Despite the absolute insanity that it exists at all for this one moment, that falls away and the connection rises above.
Speaker B:Can I ask you a question also about willpower after shields?
Speaker E:Sure.
Speaker B:I guess my question was I haven't lost willpower. So when I roll willpower and it says 2, and I'm currently 10 out of 10, what does that mean? I don't do anything.
Speaker A:You actually have 12 out of 10.
Speaker B:Okay, thank you.
Speaker A:I already got that in for you.
Speaker B:I just saw that. Thank you.
Speaker E:Sorry, I gotta mentally get back there.
Speaker B:You're Canadian.
Speaker E:Maple syrup.
Speaker D:Okay.
Speaker E:I'm just rubbing maple syrup on my chest right now. Well, Mr. Felix, I understand the gravity of the situation with your partners, with Mr. Finster and Mr. Fletcher.
We are making note of everything you've told us, but our primary concern is getting you back on mission here, and that's what we're going to try to continue to do. So what happened at the point that you brought Mr. Finster out of the warehouse? What happened then?
Speaker C:We jumped in the car. They did something to him.
Speaker E:They?
Speaker C:I don't know who they are. They're not who they are. They're not who they are.
Speaker E:So was it.
Speaker B:What happened?
Speaker E:Anybody outside of the operation you're in, or was it.
Speaker C:I. I don't think he's been himself for a long time.
Speaker E:And who are you referring to?
Speaker D:Talking about Ryan or Fletcher? He's talking about Fletcher.
Speaker B:Gotcha. Incident.
Speaker C:Ryan.
Speaker E:Fletcher.
Speaker C:Fletcher. It doesn't matter. It's dead. He's dead. He's done. That's not him.
Speaker E:Gotcha. Okay, so Ryan is Fletcher, and Finster is also Prentice. Am I getting that?
Speaker B:Prentice? Yes.
Speaker D:Yeah, you got it.
Speaker E:You brought Finster, Prentice into the back of the car, and they. Who was they? When you said the next part, it.
Speaker C:I don't know who they are. I don't know. That's the thing, I don't know. They don't like light.
Speaker E:Okay?
Speaker C:They don't. They could run so fast, and they're so strong, and bullets don't stop them. It doesn't.
Speaker D:Look. Hey, hey, hey. Sorry. I think the only other person there was Fletcher, So. Felix, is that who you.
Speaker C:Fletcher's dead.
Speaker D:You got in the car with Princess.
Speaker C:Dad. They're all dead.
Speaker D:Yeah, I don't know. All I could say is I saw the three of them leave.
Speaker E:And when you saw them leave, were they awake? Were they up?
Speaker D:No.
Speaker E:Okay.
Speaker D:Finster was. He was dead. He was dead.
Speaker B:Bennett's arms never left Felix's waist. She's just clenching tighter as he gets emotional over his memories. Like eventually, he's either gonna quit breathing or give in and go to sleep.
Speaker A:Go to sleep.
Speaker D:It's become a chokehold, and his eyes.
Speaker C:Are tearing up as he's yelling and looking around.
Speaker B:A bottle of water is not going to make this better. So she's just hugging him.
Speaker E:Agent Shields pulls a flask of maple syrup out from his, takes a deep swig and passes it to each of y'all.
Speaker B:Now is the appropriate time for syrup. And that's syrup. Not syrup. I'm just saying.
Speaker C:Yeah, syrup.
Speaker A:He uses a small maple leaf to dab at the corners of his mouth.
Speaker E:As he passes through the bus.
Speaker C:Obviously, I take a swig. I mean, it's.
Speaker E:Yeah, I mean, it's maple syrup.
Speaker C:Yeah.
Speaker A:You feel stronger than ever before and much more polite.
Speaker C:Did you know that Grade B syrup is better than Grade A syrup?
Speaker B:So.
Speaker E:B for better.
Speaker C:That's how they get you, dude.
Speaker A:Damn.
Speaker B:It's a trick.
Speaker A:Mm.
Speaker D:All right, Chris, feel free to cut this next line in case it's too much, but Paris looks over, furrows his brows at Ben, and just looks at it. From one recognizer, says, man, small fucking multiverse.
Speaker A:Do you recognize her?
Speaker D:Yeah, because. I mean, he saw her. Because he screamed at Tiberius about, what the fuck is this person doing here while we're in the middle of an operation.
Speaker A:Yeah, she looks so different here that it's not actually that easy. The reason Tiberius. There was a traumatic event that brought them close together in a short amount of time. It's fun for you. She was background noise.
But I just wanted. I will allow you to roll to see if you recognize. So this is.
Speaker D:It's a small. I just wanted to say it's a small fucking multiverse.
Speaker B:Roll. I didn't.
Speaker C:I want to know.
Speaker A:We're not doing a multiverse. Well, you know what, guys? So go ahead and roll your talking.
Speaker E:To actual Gary here right now. No, I'm kidding.
Speaker A:Roll your human intelligence, please.
Speaker B:That party was crazy. I didn't do drugs. You did.
Speaker A:You can check it. You can check it. So what this means is that, again, she was background noise.
You were highly focused on the unnatural entity that was about to shred all of you into weird metal flowers.
Speaker B:One person gave a shit. It was Tiberius.
Speaker A:That's correct. So let's continue the. Let's continue the rollback. Like, where were we?
We were getting hung up on the fact that Ryan Fletcher was not Ryan Fletcher anymore. And Prentice became something else too after he had been shot to death.
Speaker D:Yeah, our Tiberix. Felix can't seem to get past. Get past.
Speaker A:That makes sense.
Speaker E:You just take as much of that maple syrup as you need, okay, bud?
Speaker C:He takes a big slurp and then he, and he kind of like he looks at, he looks at shields and goes what? And hands it back.
Speaker D:Tibera says, yeah, it's like, yeah, they, they carried Tiberius and Felix carried out Finster's body with, with Fletcher got into the van and took off. I.
Speaker C:He had this. Behind this orb, this fleshy sack that he carved a hole in his chest and put it in and. And he came back. But it wasn't him. It's not him.
It's not him at all.
Speaker E:Well, that sounds awful. I can't imagine what that must have been like. It's a real tough time. So he gets up and then what happens to you guys after that, eh?
Speaker B:We understand you to be professionals, you've been through a lot, but only you can fill us in. So.
Speaker D:Look, I don't, I don't know what happened with the other three, but once I extracted the information, I called Fletcher, passed that along to him. At that point the what I assumed local law enforcement was starting to arrive, so I did what I could to cover, make distraction and ran for it. I, I.
Speaker C:Local law. Local law. And Tiberius will run to the TV and turn it on and switch through the channels trying to find news channel.
Speaker D:Yeah.
Speaker A:It does not take long. Nothing that's shown in what is a lengthy obviously has been a lengthy bit of coverage.
Even local news has expanded their time slots to bring breaking news on what is now a statewide investigation into a wave of violence cascading across the land. Nothing that's related is really news to Shields or Bennett. But Felix Frankfurt, the fallout of what happened is more than apparent.
The way that the truth has been misinterpreted or twisted or hidden. Well, it appears that local and federal law enforcement are on the scenes regardless. They are looking for Felix.
And as you watch in your silence, this newscast, they apparently have just released body cam footage from one of the two officers who was killed at the Ozark Cinemaplex. Showing close up stills of Felix injured, his right eye bleeding heavily and his chest also showing a gaping wound.
Speaker C:And I'm assuming that that's got bandages on it in my eye and my wound. Right.
Speaker A:Currently, right now you Have a gauze pad on your right eye, but nothing visible on your chest through your gown. But you are wearing a gown. You do have. You do have a bandage on it, though, underneath it. The assailant with Felix is very difficult to identify.
She's got a black hoodie tightly closed around her face. You see red hair creeping out from the very, very bizarrely tightly closed hole. She's holding Tiberius as if to carry him.
Tiberius is looking up and he looks frightened, angry, and he's yelling. In the still that's shown, you can see that Sheriff Washington county is delivering a press conference. Because these are new images.
They're trying to identify and find this man who was with the assailant.
Speaker D:Paris looks over at Felix, just looks at him, says, what the fuck did you do?
Speaker C:It wasn't me. She was after me. They were after me. They wanted to turn me. They wanted to make me them.
Speaker E:Okay, let's rewind a little bit because we've gotten from you with Finster and Fletcher in the car to this. So what happened between then?
Speaker D:Let's.
Speaker E:Let's get there.
Speaker C:Well, we. We went to a hotel and locked myself in the bathroom, and I snuck out the window and.
And I ran and I ran and I ran, and I finally made it to a parking lot and a movie theater. And that's what they're talking about. She killed them all. She can sound like them. She can be them.
Speaker B:Who? Who killed them all?
Speaker C:This woman. This woman.
Speaker E:And where did she. Was she in the hotel as well? I'm lost on that.
Speaker C:Yes, there were all three of them, but it wasn't them. It was someone else. It was. They were creatures. They're. They're. They're not human anymore. They're something else.
And they're spreading and they're breeding and I don't know what they are, but we gotta. We gotta stop them. We can't have more of them. It's a. It's not a life to live.
Speaker E:Okay?
Speaker C:And Felix will get off of the couch and go to the window and kind of look through it, the blinds, and just hang out over there by the wall.
Speaker B:Bennett, she's gonna follow him, but hang back, right? So she's not gonna be invasive. I mean, he might take it that way. I was gonna say invasive. That's not inv. She's not gonna be.
Speaker C:It's not a large room, right? Like, if I walk to the window.
Speaker A:No, you're in the living room. It's. It's all good.
Speaker B:She's not gonna be so intrusive. That she's touching him, but, you know, hanging back until he's ready for that hug.
Speaker A:Okay, this is the hug squad from Canada. Love it.
Speaker C:Oh, yeah.
Speaker E:We come bearing hugs and maple syrup.
Speaker A:Tell us more about your terrible nightmare lives. Okay.
Speaker E:You know what goes with nightmares? Maple syrup.
Speaker D:Our entire Canadian demographic is going to completely bail.
Speaker E:Yeah, they're done with us. We're written off.
Speaker D:It's like, oh, fuck you guys.
Speaker C:They're going to be impressed about how I know that B grade syrup is better than a grace.
Speaker A:Yeah, that'll bring it back in. Oh, inside, inside baseball. There. Let's stay on. Let's see what they got to say. All right, so let's, let's. Let's get back to it.
Speaker E:Okay then, so back to you, Frankfurt. When you were getting the information you got, where did you say they. They were taking the. The people they were monitoring?
Speaker D:Yeah. So, Chris, you have to help me a little bit just to make sure I got it all.
Speaker A:No, no problem. So you remember Tito? The man who you executed. Well, tortured and then executed, I prefer.
Speaker D:To say, had a friendly conversation with that ended poorly.
Speaker A:I told you it was like an old slaughterhouse. An old slaughterhouse or an old butcher shop out in the middle of nowhere.
And when you asked him repeatedly where that was, he said, just look at the coordinates on my GPS in the wizard's carpet Kirin Moore van.
Speaker D:And then I believe I failed miserably to get those. Or did I get those?
Speaker A:He didn't have much time.
And so as a non technical individual, as the sirens were approaching and you were also distracted by numerous teeth that needed to be collected, you were unable to find a way to access the history of the proprietary GPS system in the van, and you made your way. Actually, you set yourself to create a distraction so you could cover your escape.
Speaker E:Okay, so the GPS is where that. That's located. So we need to get that to get back on track on this investigation.
Speaker D:Yeah, so we.
Speaker E:Great.
Speaker D:The next place that we would have gone to, the next lead we had was that. Was that slaughterhouse or butcher shop out there? Possible one of the other vans might also happen. Their gps.
Speaker C:Okay, but they're sterile.
Speaker E:So what happened?
Speaker C:But they're still after us. They're still after me. They're going to keep coming.
Speaker E:No, no, don't you worry about that. We're going to get you looking spiffy and new.
Speaker B:Actually, now that we're talking about it, Felix, how would you feel about a haircut?
Speaker C:What?
Speaker B:I can cut your hair. Let's Give you a new restyle you a little bit.
Speaker E:You'll be. You'll be looking good. Give you some big sunglasses, cover up that eye.
Speaker C:Yeah, yeah, maybe that's right. Maybe this beard's not right for me.
Speaker B:Do you want to shave your beard? Oh, my God. Let me shave your beard.
Speaker C:Felix will walk to the bathroom, y'all.
Speaker A:Pick up some toiletries from a corner store or a dollar store nearby. And you get to work on trying to disguise Tiberius. So go ahead and roll your disguise plus 20%, please. It's called a failure.
So go ahead and check that disguise for me.
Speaker B:So I like. I botch Felix's hair, which sucks, because I care about.
Speaker A:No, you don't. It's fine.
Speaker E:You roll.
Speaker A:That's not what happens.
Speaker B:All right.
Speaker A:That's not what happens.
Speaker B:Tell me what happens.
Speaker A:You go ahead and cut Felix's hair. You give him a shave. And so you go ahead and from the same dollar store, you get him some clothing.
Now, it's not a blazer and a dress shirt or anything. It's a T shirt and some jeans that fit okay. It's better than the hospital gown he's in.
Speaker B:That's all that you get from the dollar store.
Speaker A:Stretchy jeans that's likely I'll comfort. And he's got some nice giant glasses to go ahead and hide the fact that he has a noticeable gauze patch over his right eye.
You also get him a big hat. It's a very large fishing hat. It says burn to fish on it instead of born to fish. It's got a typo. Some sort of knockoff from China, most likely.
Speaker C:That's cool.
Speaker E:If anything, this disguise points out that you're trying to disguise yourself.
Speaker A:Yeah, there's an arrow pointing down. Man on the run. She's going ahead and setting you up with that. While that's going on, shields, you're still talking to Paris a bit.
And as you're going through these dangling threads in their previous investigation that was completely derailed by the other two team members being so heavily compromised, apparently unnaturally. You hear there's a slaughterhouse where they're bringing innocent people who are being drugged.
Drugged with something that apparently has unnatural phenomenon that surrounds it. There's a carpet cleaners that has employed people to watch those who have been exposed to this unnatural agent.
And there is a place that they never visited.
At least no more than a drive by called Hog City Mushrooms and Herbal Supply company that was apparently preparing the proprietary herbal blend that was in this unnatural agent.
So there were three places of interest that you heard Shields as he was describing this, between the interjections from Felix about the horrible fates. Later. Horrible motivations of their fellow agents.
Speaker C:Chris, time out for a second. Is Hawk City not the place that we went to? And Gap 2?
Speaker A:We went there first, and they were close.
Speaker C:Okay, I misremembered. Okay, I'm good now.
Speaker A:Yeah, no worries. And so, yeah, Biotech Pharmaceuticals is where you had a shootout and a party split. Felix, you have a very short cropped hair.
Now, it's more or less a buzz cut. You have a cool hat that says burn to fish. And you have stretchy pants as well as a neon green T shirt that says Smash with an exclamation point.
You're not sure what that's a reference to. And you have giant glasses that cover mostly your right eye.
Speaker C:So what you're saying is I look very cool.
Speaker A:Yeah. Yeah, you look really cool.
And so all four of you are now back in this living room, and it's time to decide what you want to do in order to either continue this operation or to hunt down those who have affected Felix so terribly. Or to run away and go home, or to do anything. It's your game.
Speaker E:So you're telling us right now, here and now, that we are not being railroaded.
Speaker A:That's correct. I'll bring attention to our Canadians, that you were told specifically by the regional director that the jobs.
Speaker E:To get the mission.
Speaker A:Their boss. Their boss says, don't worry about the other two. You have more important things to do. You must finish this opera, Felix.
Speaker C:Yeah.
Speaker B:Do you. Do you feel like with everything you've been through, we can. We can move forward and end this once and for all?
Speaker C:Yes. We got to go after them. We got to stop them. We got to. We got to put them down. We got to put their bodies to rest.
Speaker D:I think she means the opera.
Speaker C:Fuck the opera. What does the opera have to do with this? They were our friends here, so we.
Speaker D:Got it on the first friend I've lost.
Speaker B:Felix, you've said your fellow agents, your friends, they're gone. Well, if they were here right now, would they want you to finish what they started or lose yourself in seeing what they've become?
I think you know that they would want you to get this job, right? And let our higher ups put something bigger together to help put them to rest. Either way, we're with you.
Speaker C:Promise me. Promise me the agency's on it. Promise me they'll stop them. Promise me it's not going to keep going.
Speaker E:Oh, we can guarantee you, the agency is on it.
Speaker C:Then you got me. Well, whatever use I am.
Speaker E:Okay then. So we finish out this mission, take it from there. Sound good?
Speaker C:Sounds like what we got.
Speaker E:All right, we got three places of interest. We've got the mushroom and herbal supply company. Hey, we've got wizards, wizards, Carpet, Karen Moore, and then we've got the slaughterhouse.
Speaker C:Please do that every time. I love it. It's a great affectation.
Speaker B:You so gonna be.
Speaker E:How's the boot? We go ahead where I'm sitting. I think the obvious place is we hit up the wizards carpet cleaning and we get, we get some more gps.
Speaker D:Yeah, we need to go get that those GPS coordinates. I don't know how else we can find this spot.
Speaker A:You four go ahead and continue to clean yourselves up, get in a position of comfort in this safe house, decide to rest for the evening. At least part of it.
Because traveling back west means traveling back into the apparent net that the feds have set up in order to complete their investigations into several high violence events. What this also means is that you will have to be very careful in how you approach these places. These places that are so close to what happened.
Speaker E:So. Okay, I have some thoughts and I'm gonna run them by you because I don't work for a government agency and I just wanna.
And my level of access as an Interpol badge carrying guy, I'm curious about.
So if we were to go to find out where the van was taken that had the GPS that Paris slash Frankfurt was was looking at, could we, would we be able to access that using our credentials?
Speaker A:No. So that would not. Yeah, there would be no reason for you to, no reason for Interpol to be involved in this unless there was some major precedent.
Now what that will do for you is more or less a get out of jail free card. If you're caught where you're not supposed to be, maybe, maybe you could flash that in, weasel your way out of getting in trouble.
Somebody's going to call the number on that thing, you'll probably be okay. But yeah, you're not going to be able to like horn in on an existing atf, FBI joint investigation and get access to evidence.
Speaker E:Yeah, again, I'm not a fed, but my next question is, would it be possible to call our boss to get information that was on the gps? Like somehow I think you would need.
Speaker A:Some more information, but I like that a lot. You need to know the model of the gps. You need to know whereabouts it was going.
You need to know basically what company owns that data owns the server in the cloud that has that data so that maybe a subpoena could be issued or some sort of bureaucratic shuffling outside of that could be completed.
Speaker E:Gotcha.
Speaker D:Also, Chris, just to double check is. So it's like Felix is the only character that they've actually like based on the news that we saw Paris, Frankfurt has not been made.
But like, but Felix has been. Is that correct? Do I have that straight?
Speaker A:Everything that you've seen so far and it's repeating. I mean this is like the local channel has a near 24,7 brand breaking news cycle going on, popping off.
You haven't seen any indication that they're looking for you.
There was a quick snippet where there, there was somebody that they thought had stolen a boat that might be involved, but it's downplayed in the face of like Felix, Felix, Felix. They've got all the surveillance footage of him. He was caught on surveillance at the Ozark Cinemaplex.
The dead cop's body cam footage which was just released today. There have been camera phone.
There's footage that's been submitted from personal phones, sources that aren't named in these broadcasts that show him up close and inside of a moving vehicle.
So there's a good amount they have and they're looking for him as a person of interest who will be able to help move forward the investigation, which is getting larger and larger as the body count becomes impossible to hide from the media.
Speaker D:Okay. Yeah. My understanding was my actions have been written off as gang violence, as I believe what I heard.
Some sort of escalating gang violence across the state.
Speaker A:No, but that's, that's a great thing to think, to remind yourself and others about.
Speaker D:I thought I heard that on the news. The news bit that you gave us to listen to. They said, said escalating gang violence.
Speaker A:They did?
Speaker D:Yeah.
Speaker A:Across the state.
Speaker C:You caused so many deaths.
Speaker A:Right. So yes, that, that became a cascade of escalating gang violence across the state. So there's something else going on as well.
It's a good thing to think about. So it sounds like we're going to make our way to potentially Wizards Carpet. Karen.
Speaker E:More.
Speaker A:Maybe. Maybe we'll get lucky and find another van with interesting GPS coordinates that we can take a look at. Or at least we can get the make and model.
Speaker E:Yeah.
Speaker A:Is that the idea?
Speaker E:Just get a walk past, look at the types of vans they have, look at the gps, confirm on a couple of them that they're the same GPS brand, and then circle back to our supervisor.
So in order to achieve this little walk by style thing, Nicholas is going to go ahead and change clothes into jeans and a white plain shirt, belt, work boots, and, like, a trucker hat.
Speaker A:Got it.
Speaker E:Which we all haven't. He happens to have all that packed in his luggage. He'll go ahead. And if anybody wants to come, they're welcome to. I would not recommend Felix.
Speaker A:Well, y'all are. Y'all are in Little Rock right now, which is quite a ways away.
Speaker E:Oh, that's right.
Speaker A:So if y'all are. If y'all are driving back to Fayetteville, chances are if. If these two are staying on the case, which it sounds like, that's what the orders are.
They need to come with you.
Speaker E:Okay, well, then we'll gussie them up a bit so that they're a little less obvious.
Speaker A:We probably want to get rid of the neon shirt that says, yeah, okay, and I don't know, the burn to fish hats. Pretty cool.
Speaker C:Very cool. Very cool.
Speaker B:I'm gonna offer up to give another haircut to Paris. He needs a little clean shave.
Speaker D:Sure. Yeah.
Speaker C:Paris is like.
Speaker D:Yeah, that's fine. Yeah, I could use a rough couple days.
Speaker A:Sure. Bennett, you can roll your disguise plus 20% as you go ahead and work to make him a less harder to recognize from his previous.
All right, that's a pass. Cool. So you finish snipping. Snipping his hair, giving him a new look as best as you can.
Y'all are ready to jump in the vehicle and head back west with Wizards Carpet Care and more on your GPS as you continue Operation Midnight Passage.
