Episode 64
Episode 64 - Sacrifices Made
There is no choice but to face the aftermath of a cascade of difficult decisions.
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Transcript
Hello?
Speaker B:What time is it?
Speaker C:Who is it?
Speaker B:I don't know.
Speaker A:Situation green.
Speaker A:Flawed bodies.
Speaker C:Sorry, love, I have to take this.
Speaker C:Faith, go ahead and roll a sanity from violence for me, please.
Speaker C:Would you like to project any potential loss?
Speaker D:I'm thinking.
Speaker D:I'm thinking this is a no.
Speaker C:All right?
Speaker C:You're gonna ride it out.
Speaker C:Yeah.
Speaker D:I already just lost 4 willpower from writing out another big sanity loss, so.
Speaker E:I mean, that one was your fault.
Speaker D:I know if I roll another four, I'll go unconscious.
Speaker C:Oh, well, you'll have an emotional breakdown.
Speaker C:You won't go unconscious, but you'll have an emotional breakdown.
Speaker E:That sounds worse.
Speaker E:That sounds a lot worse.
Speaker C:Could be fine.
Speaker C:Could be fine.
Speaker A:He ripped a tooth out.
Speaker A:I'm gonna take a nap.
Speaker C:You've witnessed Frankfurt, now, still holding tightly to this man's slumping form, witnessed him very expertly from behind, reach into the man's mouth, pry it open with two fingers, and wrench out a tooth, causing blood to spray across the front of your clothing.
Speaker C:You feel some warm wet in your left eye, which has reflexively closed.
Speaker C:You naturally move to rub this out of your eye.
Speaker C:And you're watching almost in slow motion.
Speaker C:Frankfurt hold up his grizzly trophy as if he's peering at it like a jeweler peering at some precious stone, using what little starlight and moonlight there is to examine this dark red object in his hand.
Speaker D:Jesus.
Speaker D:Come on.
Speaker A:Yep.
Speaker A:Can you see the other two police officers having and having them arrested?
Speaker C:You see flashlights in the peripheral of your vision.
Speaker C:You hear yelling in the darkness.
Speaker A:Okay, so we don't know.
Speaker A:Okay.
Speaker C:Yeah.
Speaker C:Once again, neither of you have any idea what's transpired with the other two?
Speaker C:No idea.
Speaker C:You just hear yelling in Spanish.
Speaker A:All right, well, let's get to it.
Speaker D:Yeah.
Speaker A:Frankfurt starts to head into the.
Speaker A:Inside the ziggurat.
Speaker C:So, Frankfurt, you are currently grasping this cadaver by the throat with your left arm tightly coiled around it where your right hand is holding up a nice looking tooth.
Speaker C:What do you do with these things before you decide to move forward?
Speaker A:I roughly and with little respect, drop the corpse on the ground.
Speaker A:But then very gently, carefully polish the tooth off and place it inside a special pocket inside my jacket.
Speaker E:That's my tooth pocket.
Speaker C:Faith, you watch him do these things.
Speaker C:He throws down the police officer's body to the stone slab, steps beneath you, and then very carefully and delicately polishes this tooth, puts it in his pocket.
Speaker D:Help me with this guy.
Speaker D:And Faith's gonna grab one wrist with both his hands and start pulling him.
Speaker C:Down the steps towards the yelling?
Speaker D:No, down towards the inside of the place we wanted to go.
Speaker C:Taking him inside the pyramid.
Speaker C:There are no steps there.
Speaker C:But you want to go inside the pyramid with the body.
Speaker C:Okay, well, you've never been inside.
Speaker D:Okay, well, he wants to go in.
Speaker C:There with the body, you know, really Got it.
Speaker E:Okay, Chris, this is what happens when there's a step pyramid.
Speaker E:Like, we just assume there's steps everywhere.
Speaker D:Yeah, it's just MC Escher.
Speaker C:It's all steps.
Speaker C:Yeah, I hope so.
Speaker C:That'd be fun.
Speaker C:Dope.
Speaker C:Yeah.
Speaker C:Faith, you grab the man's wrist and start dragging him towards the shadowed entryway of Yolotl Shishogli.
Speaker A:Well, because you can't really see his face, but if you were, you would see kind of a confused look on his face for just a moment, then kind of shakes his head and says, yeah, yeah, sorry.
Speaker A:I'll grab the other wrist of the soldier and starts dragging him.
Speaker C:With Faith, you do much better with grabbing motions if you like crooked in your elbow and your forearm.
Speaker C:So you do that in order to pull him.
Speaker C:You're still fairly strong.
Speaker C:It's just you've had to adapt the way you grab and pull and push a bit because of what's happened to your forearms.
Speaker C:And so, yeah, you kind of shove his wrist between your biceps and your forearm and you help drag this man's dead weight into the shadowed entryway of the pyramid.
Speaker C:It's very dark in here, pitch black, in fact.
Speaker C:It doesn't take long to feel the oppressive nature of the stonework around you.
Speaker C:The only thing reminding you that you were just outside is a small rectangle of bluish light that's receding as you blindly drag this man into the darkness.
Speaker D:Okay, once we've got him, like, far enough in, Faith is going to let go of him, make his way back out.
Speaker D:Just get an idea what's going on out there.
Speaker D:If he can make out what's going on with Felix and Forest.
Speaker C:Okay, Frankfurt, what are you doing?
Speaker A:Frankfurt's going to let go of the arm, pull out his flashlight and aim it down the other direction.
Speaker C:The swaying flashlight beam immediately highlights a damaged interior wall only a few paces down to the right.
Speaker C:You can see more cordons there.
Speaker C:We're going to now move to Felix and Forrest Forest.
Speaker C:You've just witnessed these officers smirking and laughing, wrenching Felix's arm behind him, applying handcuffs.
Speaker C:One of them goes ahead and gets him to his feet very brusquely.
Speaker C:The other turns towards you and you can see he has handcuffs in his hand and he is making A motion with his finger in the air, turning as if to ply you into turning around.
Speaker B:He's smirking at you now, Forest, all wide eyed.
Speaker B:Oh, senore, senore, senore.
Speaker C:Senores is the plural.
Speaker C:But you can do whatever you want.
Speaker C:You can't speak Spanish.
Speaker B:I just am putting my two hands up in the air and slowly moving them towards my pocket so that he can see I'm not trying to put anyone in danger here.
Speaker B:I'm not reaching for a weapon.
Speaker C:Hold on, hold on, hold on.
Speaker C:You're putting your hands up and reaching towards the pocket.
Speaker B:My hands are in front of me, right, like two hands, palm, palms, facing the senor as I move them downwards to my pocket.
Speaker B:I just.
Speaker C:At the moment you start moving them down, he says, no, no, no, no, no, no, no.
Speaker C:And continues to spin.
Speaker C:Now his left hand is on his pistol.
Speaker E:Felix yells out in Spanish, brother, come on, leave her alone.
Speaker E:You got me?
Speaker E:We're trapped out here in the jungle.
Speaker E:What are you doing, Senor, Senor.
Speaker B:Dinero.
Speaker B:De niro dinero.
Speaker B:And I just start moving my fingers like I've got some money, you know, like rubbing my fingers together like more money.
Speaker B:And that's to imply I'm reaching into my pocket for my wallet again.
Speaker C:When you start lowering your hands, the man starts to actually stop smirking.
Speaker C:He starts frowning, his brow furrows and he draws his weapon.
Speaker C:His pistol is now aimed at your midsection.
Speaker E:Felix sees this and he goes, yes, we'll give you whatever you want.
Speaker E:$500.
Speaker E:Is $500 enough?
Speaker E:Come on, you don't have to kill her.
Speaker B:Thousand.
Speaker C:You feel a massive weight slam into your stomach, Felix.
Speaker C:All the air leaves your mouth and you are left gasping on the ground, your knees crashing into the rocky, rocky road.
Speaker C:You realize that you've just been hit by something.
Speaker C:This man that was brusquely picking you up has now leveled you down onto the road with a blow.
Speaker E:This guy's a bad guy.
Speaker B:And in that moment, Forest gasps and she just puts her, her hand straight in the air.
Speaker C:You see this man holding a pistol at you.
Speaker C:He once again motions for you to turn around.
Speaker B:I turn around slowly with my hands in the air.
Speaker C:Almost immediately you feel your hands wrenched to the small of your back and handcuffs are rudely placed upon your wrists very tightly.
Speaker C:You are nearly carried towards the police car, led with a very strong purpose.
Speaker C:Felix, you are lifted up off the ground yourself and brought towards the car as well.
Speaker E:I feel so petite.
Speaker C:You're both slammed simultaneously against the metal of the vehicle and you feel Hands rudely working all over your bodies, going into your pockets, going into your jacket pockets and beginning to remove every personal article that you've brought with you.
Speaker E:I start yelling, fascista.
Speaker E:Fascista.
Speaker C:You feel a crack on the back of your skull.
Speaker C:Go ahead and roll your constitution, please, Felix.
Speaker E:I gotta get some constitution first.
Speaker E:Give me a second.
Speaker B:She's gonna yell out as name because she's not enjoying the beating that he's getting.
Speaker E:I got a 77 which is a critical failure.
Speaker B:Damn it.
Speaker C:Everything goes black for you, Felix.
Speaker C:Sick forest.
Speaker C:You look over and you see him slumped to the ground and moving the officer.
Speaker C:You hear him say something under his breath.
Speaker C:Sounds like a curse.
Speaker C:Faith, you have gone ahead and walked out into the starlight again.
Speaker C:Your eyes now very accustomed to the darkness of the interior of the pyramid.
Speaker C:You look over at what seems to be a bit of a struggle.
Speaker C:The yelling is continuing with these flashlight beams violently flying everywhere in the distance there catching snippets and partial pieces of the tree branches, the road, the vehicle, the informational placard, and your two fellow agents.
Speaker C:You can see that they are being taken, handcuffed and pressed against the police car to be searched.
Speaker C:However, it's hard to see exactly what's happening since the lights are playing such trickery on your eyes from this distance.
Speaker C:But you're fairly certain that your agents are being arrested.
Speaker D:Okay.
Speaker D:Faith just nods to himself and goes and goes back down to.
Speaker D:To Frankfurt.
Speaker D:He's going to take.
Speaker C:Well, let's go to Frankfurt.
Speaker C:We left him discovering down one of the widest hallways, in fact, the only interior hallway that seems a crumbled wall only a few meters down that has been cordoned off with similar yellow plastic chains.
Speaker C:Frankfurt.
Speaker C:What do you do while Faith is not here with you?
Speaker A:Just surveys the area to get a sense of it with the flashlight, just to see what he can see.
Speaker A:He's not going to enter the room, though.
Speaker C:Further beyond this crumbled wall, in this cordoned off area, the hallway does continue and it does look like it goes to some small chamber of some sort.
Speaker C:There are informational placards on the wall going down this hallway towards that small chamber.
Speaker C:Otherwise there's no other branches.
Speaker C:It's very small in here.
Speaker C:There's not much interior.
Speaker A:Am I able to tell how the wall was broken by looking at it?
Speaker C:You walk up to the wall.
Speaker A:Explosive and pick like tools.
Speaker C:Yeah.
Speaker C:You walk up to the wall and you begin shining your light over this rubble, over this damage.
Speaker C:It's pretty significant.
Speaker C:With your demolitions, you can tell there Was no charge placed here.
Speaker C:There's no scoring marks.
Speaker C:There's no shard material.
Speaker C:There's nothing that looks like an accelerant went off here.
Speaker C:In fact, it looks more like maybe somebody used tools.
Speaker C:Because you can see great gashes in some of these stones, as if a pickaxe or shovel was used.
Speaker C:Something metal, flat and sharp.
Speaker C:You shine your light within for a moment.
Speaker C:You can see bright murals.
Speaker C:Colorful, well preserved.
Speaker C:Small altar, stacks of stones, large statue or two formless shapes.
Speaker C:Until you walk in and maybe get a better look.
Speaker C:Air is musty.
Speaker C:It's humid.
Speaker C:You hear someone approaching from behind you, and you turn, you see Faith has.
Speaker C:Has arrived next to you.
Speaker D:They're getting arrested.
Speaker D:Do you think we have time to check this out or.
Speaker D:Or what?
Speaker A:Some distraction?
Speaker D:Well, yeah, that's what I'm thinking.
Speaker A:You think we can take those two guys?
Speaker A:I'm betting we can, yeah.
Speaker D:I feel like we could ambush them.
Speaker A:Well, this room's not going anywhere.
Speaker D:That's true.
Speaker A:Let's go deal with these two.
Speaker D:Yeah.
Speaker A:Come on.
Speaker A:Frankfurt starts heading back out.
Speaker D:Yep.
Speaker A:And he's.
Speaker A:He's gonna.
Speaker A:When he.
Speaker A:When he doesn't get to the exit, he's gonna look for the.
Speaker A:The handgun on the officer.
Speaker A:That or as.
Speaker A:As they're leaving.
Speaker A:Sorry.
Speaker A:Because I redragged the body.
Speaker A:And as we're leaving, he's going to stop at the officer and see if he can find his handgun.
Speaker C:Yeah, it's.
Speaker C:It's very easy to find.
Speaker C:It's.
Speaker C:It's right there on his hip and in the holster.
Speaker C:There's nothing special that's keeping it from you, so if you want to pick it up, you're.
Speaker C:You're welcome to do so.
Speaker A:Yeah, he'll pick it up and make sure it's loaded.
Speaker C:It is.
Speaker A:Okay, good.
Speaker C:It is.
Speaker C:It's a Glock.
Speaker A:Cool.
Speaker A:All right.
Speaker D:Safety on.
Speaker A:Grabs a Glock and.
Speaker A:And continues to head outside.
Speaker C:You leave the somewhat oppressive atmosphere of the interior of this pyramid into the cool, relatively cool air.
Speaker C:And both of you emerge and look down across the way towards where your compatriots are ostensibly being arrested.
Speaker C:Will return to their scene.
Speaker E:Now, I'm assuming that my hair starts turning like a golden yellow and a lot of power lines start coming out of me as I've entered my new state of being.
Speaker C:Or.
Speaker C:Or.
Speaker C:An old man just got hit on the back of the head, and it's really dangerous because now he's unconscious.
Speaker E:Oh, yeah.
Speaker E:And he is old and frail.
Speaker B:Is he unconscious?
Speaker D:Oh, yeah.
Speaker D:He failed that.
Speaker D:Critically failed.
Speaker C:Critical fail is not the best thing to roll in this situation.
Speaker C:I do recommend all of you, during these high stakes situations we get into, to stop critically failing.
Speaker C:That would really improve the longevity of your.
Speaker B:The one guy that never has a weapon on him just got knocked out.
Speaker B:Makes a lot of sense.
Speaker E:All those critical successes from me, running away from blobs.
Speaker E:It's catching up.
Speaker E:It's finally caught up.
Speaker D:Olivia, if he had a weapon on him, he would still be knocked out.
Speaker E:Yeah, and I don't because Frankfurt took my taser so force.
Speaker C:You, of course, have seen him slumped to the ground.
Speaker C:He's moving.
Speaker C:You heard the officer curse under his breath.
Speaker C:The other one that's currently searching you and removing everything from your pockets very rudely, honestly, fairly violently, stops.
Speaker C:He's got his what feels like the palm of his hand against the base of your skull, kind of pressing it against the back cart window.
Speaker C:And you hear him ask something of his compatriot in Spanish.
Speaker C:The other one near Felix, responds.
Speaker C:He's speaking in hushed, serious tones.
Speaker C:You see him bend down, kneeling next to Felix.
Speaker C:He turns him over onto his back and puts his fingers on his neck.
Speaker C:He says, no, no.
Speaker C:The other one goes ahead and grabs your hair, pulls your head back, and he hisses something in your ear in Spanish.
Speaker C:Sounds extremely cruel.
Speaker C:He opens the back door and tries to shove you in the back of the police vehicle.
Speaker C:Do you comply?
Speaker B:Yes, I do comply.
Speaker C:The door slams.
Speaker C:You find yourself rudely deposited in the back of a very poorly washed and terribly worn set of seats here.
Speaker C:Looks like this is a squad car, often used for picking up the inebriated late at night and bringing them down to a junk tank.
Speaker C:And it also looks like those who attend to this vehicle haven't for a while, and it's had many of these visits over perhaps weeks.
Speaker C:And the patented filth at your feet is truly something to behold.
Speaker C:You can't hear much now, just that they're speaking outside and that they sound very serious.
Speaker C:They're both crouch down out of your view.
Speaker C:You look around.
Speaker C:There's a cage here separating this back half from the front two seats.
Speaker C:You don't see a computer there in the dashboard, like perhaps you would in a typical police cruiser.
Speaker C:What would you like to do?
Speaker B:Can I search sort of the backseat?
Speaker B:Is there any way that this Mexican police car might be janky enough that I could potentially pull it apart to kind of get into the trunk?
Speaker B:I know that sounds a little awkward, but.
Speaker C:Doubt it.
Speaker C:But let's.
Speaker C:Let's just ask the dice.
Speaker C:So this is specifically built to Disallow such things.
Speaker C:This is kind of a temporary holding sale before jail for so many people like yourself who run afoul of Mexican law enforcement.
Speaker C:And as you look over your new confines, you can see that this has been built specifically to stop that sort of egress.
Speaker B:Well, okay, so Forest is just going to kind of keep, like, knocking at the window towards those Mexican.
Speaker B:Not so, gentlemen.
Speaker B:I know they can't understand me, but.
Speaker B:Senor.
Speaker B:Senor, this is a mistake.
Speaker B:Mistake, senor.
Speaker B:Let me out of here.
Speaker B:Senor.
Speaker C:We're going to move back to Faith.
Speaker C:In Frankfurt.
Speaker C:You hear a car door open and slam shut.
Speaker C:When it did, a dome light did turn on in the squad car, and you can very easily see Forrest being rudely thrown into the back of the vehicle by one of the men.
Speaker C:The streaming light illuminated the ground outside of the vehicle.
Speaker C:You see Felix surrounded by a dark shadow on his back on the gravel road.
Speaker C:You see one of the other police officers crouching over him.
Speaker C:Once the door closes, this scene dissipates again into partial darkness, partial awareness on your parts.
Speaker C:But now you can tell me what you'd like to do.
Speaker D:Faith's gonna draw his gun from his jacket holster, take that flashlight, and ready it.
Speaker D:So flashlight pointed in the fist towards the enemy, gun over the wrist, crossing it, ready to turn on the flashlight and surprise them when they get close enough.
Speaker C:Got it.
Speaker C:Frankfurt.
Speaker A:Yeah, Frankfurt's gonna.
Speaker A:He's gonna follow suit and move quietly and quickly towards the two police officers.
Speaker C:Gonna roll.
Speaker C:Your stealth versus my alertness.
Speaker A:A lot of question marks.
Speaker C:You both begin quickly making your way towards this scene.
Speaker C:Are you going straight towards them, or are you kind of skirting the outside?
Speaker C:Are you guys crunching over the gravel or crunching through the underbrush?
Speaker A:Is the.
Speaker A:Let me ask this question.
Speaker A:Is the car directly behind them?
Speaker A:I wouldn't approach them directly if it would put, you know, if it put Forrest, like, in a potential line of fire.
Speaker A:So he'd come from another angle if he needed to.
Speaker C:That means you would come from your left towards the front of the vehicle, across the hood, pointing the gun across the hood at both of them on that side of the car where one's crouched, and one has just deposited Forest inside of the vehicle.
Speaker C:That would be the way to ensure that she wouldn't be caught in a crossfire.
Speaker A:Okay.
Speaker C:Does that make sense, what I just said?
Speaker A:Yes.
Speaker A:I just have to turn the car and the cops around in my brain, which is fine.
Speaker A:So.
Speaker C:Yeah.
Speaker C:Yeah, Sorry.
Speaker A:No, no, that's fine.
Speaker C:It's a little weird.
Speaker C:We should get that straight.
Speaker C:If I need to draw something I can.
Speaker A:No, no, no.
Speaker C:Okay, cool.
Speaker C:So you two begin this a little bit of a circuitous route towards the far side of the vehicle, patting your way along the tree and brush line so that you end up behind the informational placard and positioned at a spot on the other side of the vehicle where it is between you two and the police officers.
Speaker C:That's your plan.
Speaker C:You both wordlessly agree to this in the darkness as you begin quickly making your way towards your fellow agents.
Speaker E:I pictured them both grinning in the dark and doing a thumbs up at each other.
Speaker D:That's pretty wordless.
Speaker D:Works for me.
Speaker A:Like the Buddy Jesus.
Speaker E:Yeah, like buddy Jesus.
Speaker E:Buddy Christ.
Speaker A:Buddy Christ.
Speaker A:That's it.
Speaker C:You're not sure if it's because the two officers are completely distracted by what is becoming a concerning motionless Felix on the ground, which they are now both crouched over and speaking in hushed tones to one another about presumably, or the very loud racket from inside this squad car from forest, who is yelling indignantly and loudly and repeatedly that there's been some mistake.
Speaker C:But whatever it is, they don't hear you emerge out of the brush line.
Speaker C:They don't see you.
Speaker C:They have no idea that you're there.
Speaker C:You both feel prickles backs of your neck, this familiar rush of adrenaline.
Speaker A:I would like to use the aim mechanic.
Speaker A:Yeah, exactly.
Speaker D:Yeah.
Speaker D:We haven't dead directs.
Speaker D:We're gonna aim.
Speaker A:Yes.
Speaker A:Point being is I want to get close, take.
Speaker A:Take a.
Speaker A:Take my time to aim and then do the thing.
Speaker C:Y'all are very close.
Speaker C:Number one, you're point blank.
Speaker C:Number two, you've got a surprise here going on.
Speaker C:Typically John Frankfurt gets a -20 for operating handgun.
Speaker C:Unfortunately, just because of the way his fingers are split, they don't necessarily always work the way he wants them to.
Speaker C:However, because you have so much time to compensate for this problem that you're now very familiar with with yourself, we're going to waive that detriment and so both of you can.
Speaker C:If you're executing them, you may fire your weapons here at a plus 20% and roll damage if you hit.
Speaker A:All right.
Speaker E:That'S a gun noise.
Speaker B:That was pretty good.
Speaker E:Thank you.
Speaker A:35 out of 87.
Speaker B:I can't do that.
Speaker D:Success.
Speaker D:78 of 99.
Speaker A:What a 99?
Speaker A:You'll have to help me with the damage, Chris.
Speaker A:I don't know what the Glock does.
Speaker A:I don't have that in my.
Speaker C:It's.
Speaker C:It's a glock.
Speaker C:It's a 1D 10 nice.
Speaker A:Oh, my gosh.
Speaker A:10.
Speaker C:I need to do a couple of rolls here.
Speaker C:I don't think we're gonna need it into combat, but let me check.
Speaker C:Paris.
Speaker C:You fire, lighting up the scene again.
Speaker C:And for a moment, the seconds tend to sort of thin out for you.
Speaker C:And stretch and stretch, as if time has decided to take a breather just for your benefit.
Speaker C:When the muzzle flashes appear before your eyes, you see Felix on the ground.
Speaker C:There's blood behind his head on the gravel.
Speaker C:The two men are staring at him, worried.
Speaker C:The one on the right, his head and part of his neck are gone in this stretched out moment in time.
Speaker C:And you watch as a lot of that ends up in the darkness behind him.
Speaker C:You can almost hear it splatter in a violent flurry against the leaves in that darkness.
Speaker C:And he flies back.
Speaker C:The other you see turn to look at his fellow officer, his perhaps partner.
Speaker C:He looks confused.
Speaker C:Something strikes him in the ribs and he falls over from its impact.
Speaker C:My only question for you two is, do you keep firing?
Speaker C:It looks like the second individual is scrambling a bit.
Speaker C:The first is motionless in the darkness.
Speaker D:Yeah, yeah.
Speaker D:Gonna make sure this one.
Speaker D:The second one, hands down for good.
Speaker A:Frankfurt also quickly trains on him and fires.
Speaker C:If he has time, you have time.
Speaker C:You both fire on him until he is motionless.
Speaker C:You think maybe about three or four cartridges were spent out of each of your firearms before you're sure that these police officers are dead.
Speaker D:All right.
Speaker C:The smell of propellant you is strong in the air.
Speaker C:And you both kind of look over reflexively at Forrest.
Speaker C:Forrest.
Speaker C:You see these muzzle flashes.
Speaker C:You hear the men yell, gasp.
Speaker C:You're not in a good position to really see the aftermath of what happened to them.
Speaker C:But you can see the faces of your fellow agents across the hood of the vehicle only a few paces away.
Speaker C:Outside, they look grim.
Speaker C:Faith is covered with blood.
Speaker C:You've never seen him like that before.
Speaker C:He's got blood over his face, over his mustache, across his front of his clothing.
Speaker C:And you can see Frankfurt, who you've always been a little bit wary of.
Speaker C:He has a huge blood slick running down his midsection, down his pants.
Speaker C:When the muzzle flashes are done, you don't see them anymore, just these dark silhouettes.
Speaker C:There's silence outside once the gunfire stops.
Speaker C:Not even the sounds of insects or birds.
Speaker E:Then you hear let the bodies hit the floor.
Speaker E:Slowly rising in the jungle.
Speaker C:You've pleased Drowning Pool, Lord of the Amazon.
Speaker B:I guess we get to move on to me then, right?
Speaker B:So, okay, at this point, Forest's eyes are kind of wide eyed Tears welling up.
Speaker B:Fuck, fuck, fuck.
Speaker B:Get me out of here.
Speaker B:Get me out of here.
Speaker C:Faith Frankfurt, what would you like to do?
Speaker D:Faith is gonna make his way to Felix and check his.
Speaker D:Check his pulse, make sure he's okay.
Speaker C:Felix, I need you to roll another constitution for me, please.
Speaker E:I will.
Speaker C:This time, don't do a critical fail is my.
Speaker C:That's my best advice to you.
Speaker C:I've been running these games for a while, and I'm telling you, that's probably the wrong thing.
Speaker E:I.
Speaker E:I totally got mistaken.
Speaker E:I thought you said that you wanted us to roll as many of these as possible.
Speaker C:I think I said that earlier tonight, and I apologize.
Speaker D:As a joke.
Speaker E:Oh, I forgot about the spoofs.
Speaker A:That was before the.
Speaker A:No.
Speaker C:Right, right, the no spoofs, or.
Speaker C:Yeah, exactly.
Speaker E: I got a: Speaker C:All right, then I get to roll something down.
Speaker E:I'll allow it.
Speaker D:Are you rolling for incontinence?
Speaker C:He always fails, that dude.
Speaker C:Okay?
Speaker C:That's part of his character build.
Speaker E:It's my character secretary.
Speaker E:You guys haven't figured this.
Speaker C:Yeah, everybody's got character secrets.
Speaker C:That's always been his.
Speaker C:I mean, not so secret, but, you know, that's his.
Speaker C:Yeah, you go ahead and bend down after rolling your sanity for murdering somebody else in cold blood, you're gonna end.
Speaker A:Up like me, all right?
Speaker C:Just like always.
Speaker C:Would you like to project?
Speaker C:Same with you, Frankfurt.
Speaker C:You'll be, you know, given the option to project as well.
Speaker C:Obviously, since you're near to violence, you just automatically pass your sand roll and lose whatever is commensurate with that pass.
Speaker E:He's better than us.
Speaker A:That's not the word I'd use, but yeah, sure, sure.
Speaker D:Yes, I am going to project.
Speaker D:I'm going to project on Faith's fishing buddy, Billy Toussaint.
Speaker D:We're going to think about catching the big one and how that's always such a great feeling and how murder is not a great feeling.
Speaker D:But we're thinking about the fish and catching the fish, getting a big bass.
Speaker D:Everything he knows about fishing, he's channeling that through his mind.
Speaker D:And here I go to roll.
Speaker D:Boom.
Speaker D:And I don't know why it's disguised.
Speaker D:I don't know what I got.
Speaker D:Oh, it's a one.
Speaker D:For some reason, it looked like questions.
Speaker C:It shouldn't be disguised.
Speaker C:Yeah, I think I rolled near the same time, so.
Speaker D:And have I done any.
Speaker D:Have I made any checks on violence here?
Speaker C:Yeah, you've gotten two checks.
Speaker C:Boom.
Speaker C:Boom.
Speaker C:Good call, man.
Speaker C:Thank you for reminding me.
Speaker E:I forgot this is A good point, because I totally forgot that this is a mechanic.
Speaker C:Yeah, yeah.
Speaker A:Frankfurt is actually going to project on Felix, since that's all I got.
Speaker C:Just to let you know, killing in defense of oneself or another is a zero loss for you who's already inert to violence.
Speaker C:Oh, well, then I told you I'd start kind of giving you the meta information that people think I should be giving you since the veiled roles are so unfair.
Speaker A:Appreciate it.
Speaker A:In that case, I will.
Speaker E:You're still thinking about Felix.
Speaker A:I will look angrily at Felix is what I will do.
Speaker C:You're allowed to look at the agent's handbook, guys, if y'all want to, like, see what these sanity hits are.
Speaker C:Because I do.
Speaker C:I do look at them pretty religiously.
Speaker C:You're welcome to do that.
Speaker E:I.
Speaker E:I do want to clarify if you're looking angrily because you're angry at me, because that would hurt my feelings.
Speaker A:Yeah, well, that's what.
Speaker A:That's what my.
Speaker A:Yes, he was going to project onto you because he just had to kill people for your cause somehow.
Speaker E:Okay, I was hoping it was like a longing, but, yeah, whatever, it's fine.
Speaker A:No, no, definitely one of the angry ones.
Speaker C:So, Faith, you go ahead and take his pulse.
Speaker C:Go ahead and roll your first aid, please.
Speaker D:Can do.
Speaker D:It's dog shit, so let's just hope it doesn't make it worse.
Speaker D:Ooh, yeah, that's an 80.
Speaker C:He has no pulse.
Speaker D:Oh, God.
Speaker D:Oh, God.
Speaker A:What is it?
Speaker D:He's got no pulse.
Speaker A:Paris or Frankfurt runs over and I guess also checks, just to double check.
Speaker C:And this whole time Forest is yelling at you, but, yeah, you bend down and you go ahead and try to take his pulse.
Speaker C:You're gonna also roll a first aid.
Speaker B:What are you doing?
Speaker B:Let me out of this car.
Speaker B:Let me out of this car.
Speaker D:Go Fin.
Speaker E:He pushes his thumb through my neck.
Speaker B:Felix.
Speaker E:Frankfurt.
Speaker C:You see the blood?
Speaker C:You see the blood that he's lying in, and you realize it's not the blood of those that you just dispatched.
Speaker C:Their forms only a few inches away, half in darkness, but obviously covered in gore.
Speaker C:You think Felix is dead.
Speaker C:This is glorious.
Speaker B:Oh, you better not start pulling teeth.
Speaker E:This is because you looked at me mean, like, angry, like, this is on you, dude.
Speaker A:No, no, that's your fault, man.
Speaker A:I saved those angry stares.
Speaker A:Those are for special occasions.
Speaker A:Frankfurt stands up, says, yeah, right, and walks over and opens the door for our screaming friend Forrest.
Speaker C:See that?
Speaker C:She's in the back of his squad car.
Speaker C:She looks flushed, she looks upset, and she is handcuffed with the handcuffs.
Speaker C:Behind her back.
Speaker B:About fucking time.
Speaker B:What the fuck?
Speaker C:What the fuck?
Speaker B:I'm getting out and I'm.
Speaker B:Somebody give me.
Speaker B:Get a key.
Speaker B:Get these cuffs off of me.
Speaker E:Come on.
Speaker B:Help me out here.
Speaker B:What the fuck?
Speaker C:You look across the scene lit by starlight and what look like flashlights that have rolled away from this area into some of the nearby brush.
Speaker C:You can see two forms in the darkness.
Speaker C:Ostensibly the police officers who were just gunned down in front of you.
Speaker C:Closer to you.
Speaker C:It's the form of Felix in a puddle of blood beneath his head.
Speaker C:He's unconscious or unmoving.
Speaker C:Otherwise.
Speaker C:Go ahead and roll your sanity.
Speaker C:Please.
Speaker C:This will be from violence.
Speaker C:Would you like to project.
Speaker C:Project any potential loss?
Speaker B:Yes.
Speaker B:I'm going to project onto my woodworking carpentry class.
Speaker C:Okay.
Speaker C:Go ahead and roll a 1D4 3.
Speaker C:Go ahead and subtract 3 from my willpower.
Speaker C:Bring you down to a 7.
Speaker C:And your woodworking class needs to come down by 3 as well.
Speaker C:That looks like it's going to kill it off.
Speaker C:Am I correct?
Speaker C:Yep.
Speaker B:No more woodworking class to rely on.
Speaker C:Yeah.
Speaker C:So that's something that gets zapped away by this.
Speaker C:This moment where you are surrounded by what is a mass shooting.
Speaker C:The aftermath of.
Speaker C:You have no idea what happened.
Speaker C:But it looks like Felix was probably shot too.
Speaker B:Help me.
Speaker B:Help me.
Speaker B:Did you guys.
Speaker B:Did you check on him?
Speaker B:Somebody help.
Speaker B:Help.
Speaker D:I think he's dead.
Speaker B:What the f.
Speaker B:You don't know that.
Speaker B:Get these cuffs off of me.
Speaker D:Gillis rummages around him.
Speaker B:Tiberius.
Speaker A:Frankfurt looks for the cuffs.
Speaker B:Tiberius.
Speaker D:Cuff cuffs.
Speaker B:Get up.
Speaker C:You walk a small few feet away into the darkness and feel around for the keys to the cuffs.
Speaker C:Yeah.
Speaker C:You find them after a bit of searching in one of the gentleman's pockets.
Speaker C:And you're able to extract Forest from her restraints quite quickly.
Speaker D:I'm sorry.
Speaker B:You're sorry?
Speaker B:Come on.
Speaker B:We have to get him some help.
Speaker D:I checked his pulse and Frankfurt did too.
Speaker B:Forest just wants to try to apply some sort of of first aid and stop the bleeding.
Speaker C:Yeah.
Speaker C:You kneel down beside his prostrate form.
Speaker C:Go ahead and roll your first aid.
Speaker B:Which is not great by the way.
Speaker D:Oh fuck.
Speaker D:Yeah.
Speaker E:I want to give a reminder to the audience that my next character will be a cat person.
Speaker E:And that cat person may or may not be fellow putting that out there.
Speaker E:Hope for the best everyone.
Speaker C:I will not allow Felix to die.
Speaker C:Thank you for this reason.
Speaker C:Reason.
Speaker C:But I did armor.
Speaker C:So force.
Speaker C:What kind of maneuvers are you attempting to revive him?
Speaker C:Are you doing chest compressions?
Speaker C:Like what are you Doing?
Speaker B:Yes, absolutely.
Speaker B:Cpr, first aid.
Speaker B:Typical.
Speaker B:Checking for the breath.
Speaker C:You start frantically pushing against the top of his chest and slapping his face.
Speaker C:You go ahead and lower your ear down to his mouth to listen for breath.
Speaker C:In this moment, you are becoming more and more frantic.
Speaker C:Go ahead and roll your alertness, please.
Speaker C:Fuck.
Speaker B:Fuck.
Speaker B:I knew I should have taken that class.
Speaker B:I missed my research.
Speaker B:Faith is on you.
Speaker B:Alertness.
Speaker B:What?
Speaker B:You're my mentor, buddy.
Speaker D:Oh, nice.
Speaker B:Success and alert.
Speaker C:Disturbed.
Speaker C:Your heart jumps in your chest because you hear a rasping breath despite the emotion welling up in your chest.
Speaker C:He's breathing.
Speaker B:Oh, my God, he's breathing.
Speaker B:Come on, guys.
Speaker B:Help me.
Speaker B:Help me.
Speaker B:He's breathing.
Speaker B:It's shallow.
Speaker B:I can hear it.
Speaker D:Okay, just take a deep breath.
Speaker D:If he's breathing, give him a second.
Speaker D:Okay.
Speaker D:And he cradles Felix's head and lifts him up slowly.
Speaker B:You gotta stop the bleeding.
Speaker C:You go ahead and feel this wetness on the back of Felix's head.
Speaker C:His hair is matted to his skull.
Speaker D:Check the back, the trunk of the car.
Speaker D:See if they have some first aid stuff.
Speaker B:Yeah, they have to have something in there.
Speaker B:Forest is gonna run over to the car and check it for any sort of kit or something.
Speaker C:Frankfurt.
Speaker C:Sorry, I'm taking your agency.
Speaker C:Frankfurt goes ahead and hands you the keys.
Speaker C:He's also searching these guys.
Speaker C:And you use those to open up the trunk.
Speaker C:Inside is indeed a trauma kit.
Speaker C:Looks like a roadside trauma kit.
Speaker C:You also see two shotguns.
Speaker B:I'm just gonna grab the trauma kit and run right back over.
Speaker B:Help me, guys.
Speaker B:Help.
Speaker C:Y'all start to bind Felix's head.
Speaker C:Putting copious amounts of gauze and coagulating agent where it seems like he might have a head wound during this application, he begins to groan.
Speaker C:Faith, Frankfurt.
Speaker C:You both feel relief when he stirs.
Speaker C:His eyes flutter open just as you're finishing the dressing.
Speaker B:Listen, you guys, we've gotta get Senegar's help to get him out of here and get him, like, we have to get him to a hospital or something.
Speaker B:We have to get him more help, but we've gotta call Sen.
Speaker B:I'll call Senegar, but you.
Speaker A:Whoa, whoa.
Speaker A:Hey, hey, hey.
Speaker A:It's okay.
Speaker A:He's coming too.
Speaker A:All right, here's what we need to do.
Speaker A:Someone go down and get the van, but don't forget, we still have a job to do.
Speaker A:Okay?
Speaker A:So we need to get down there and take a look at this room.
Speaker A:We can make it quick.
Speaker A:It's gotta be done.
Speaker B:There.
Speaker B:There's shotguns in the trunk.
Speaker E:My favorite country song.
Speaker C:Felix, you.
Speaker C:You're groggy as hell.
Speaker C:Feel like you were just yelling at your mother or something.
Speaker C:It's fading.
Speaker C:It's going away.
Speaker C:And you're looking up, and these.
Speaker C:These other agents, they're here.
Speaker C:It all sort of comes back to you.
Speaker C:The frustration with the police officers trying to figure out how to distract them, how to get them to do what you want.
Speaker C:And then you think they hit you in the stomach or the head, maybe both.
Speaker C:But you look up and grim faces.
Speaker C:Force.
Speaker C:Looks extremely upset.
Speaker C:She's closest to you.
Speaker C:She's finishing up tying something around your head, which feels fuzzy, disconnected from your being, like it's someone else's.
Speaker C:Somebody cleaned your clock.
Speaker C:You've felt that before?
Speaker A:Frankfurt looks down and says, well, there you go, Felix.
Speaker A:Look.
Speaker A:Wasn't exactly the.
Speaker A:The distraction I had in mind, but.
Speaker A:And kind of looks around like, I guess it got the job done.
Speaker A:So there you go.
Speaker D:Three people are dead.
Speaker D:Frankfurt.
Speaker E:I'm a damn good field agent.
Speaker A:Well, look, I doubt anyone heard any of that way out here in the jungle, but still, I still think we should grab the van.
Speaker A:We still need to get down there and take a look at things, and then we need to figure out what to do with these bodies.
Speaker E:Just put me in the van and go do the job.
Speaker A:Frankfurt looks over at Faith.
Speaker A:You want to go run for the van, or should I?
Speaker D:I'll get it.
Speaker D:And he.
Speaker A:Okay.
Speaker D:Makes his way down.
Speaker C:Cool.
Speaker C:So you're going to drive the van back up closer to the pyramid.
Speaker C:Okay?
Speaker C:That doesn't take very long.
Speaker C:They wait for you.
Speaker C:All right?
Speaker C:Yeah.
Speaker C:You've got the van ready.
Speaker D:Okay.
Speaker D:All right, Felix, you just hole up in the van.
Speaker D:Relax.
Speaker D:We're going to get back to what we were supposed to be doing, Mama.
Speaker E:Another ten minutes.
Speaker A:Forest.
Speaker A:Do you want to stay here with him or come down with us?
Speaker B:I don't think we can leave him, but.
Speaker B:Okay.
Speaker B:Those guys are dispatched.
Speaker B:We all need to be hooked up with the monitors that I have, the earpieces, radios.
Speaker C:Yes.
Speaker C:So you've got spare ones that you can now affix to your ears so you can stay in contact with Faith and Frankfurt, who already had them equipped.
Speaker B:Right.
Speaker B:So that's the plan.
Speaker B:I am gonna stay up here because I can't leave him alone, but if you need me, I'll come.
Speaker B:Just call.
Speaker B:Okay, Sounds good.
Speaker B:I'll get a hold of Snedeker and see if.
Speaker B:If he can help.
Speaker D:And Faith is gonna grab a shotgun.
Speaker D:He's gonna switch out for a fresh mag.
Speaker D:He's Gonna load the shotgun with whatever ammo's in there in the back of that vehicle.
Speaker C:Yeah.
Speaker C:Looks like there's a couple boxes of buck shot.
Speaker C:It's standard 12 gauge.
Speaker C:These are Remington 870s.
Speaker A:Frankfurt's actually gonna put the Glock in his belt and then go grab the other shotgun.
Speaker B:Oh, and a par.
Speaker B:Thank you and good luck.
Speaker B:I'll keep an eye out.
Speaker D:You got it, Felix.
Speaker C:You crawl into the van.
Speaker C:Your head's still pounding.
Speaker C:You bring your fingers up to where it's hurting the most.
Speaker C:It smarts in the back once you touch it.
Speaker C:Bring your fingers back to the front of your face.
Speaker C:You can see there's.
Speaker C:There's a little bit of dampness there, a little bit of blood.
Speaker C:But whatever they put in the dressing seems to be stopping that flow quite handily.
Speaker C:Kind of straighten up.
Speaker C:Your eyesight returning to normal.
Speaker C:You feel more ticked off than anything at this point.
Speaker C:You look over into the darkness, and you see the two collapsed forms of who you think must be the police officers.
Speaker C:And you wonder what might have happened while you were out.
Speaker C:Forest is now in the vehicle with you.
Speaker C:She's fiddling with an earpiece, testing it.
Speaker C:She hasn't turned her full attention to you yet.
Speaker C:Did.
Speaker E:Did we win?
Speaker B:What the hell was that?
Speaker B:What were you thinking?
Speaker B:Do you have a death wish?
Speaker B:What?
Speaker B:What was that?
Speaker E:I guess we did weigh in.
Speaker E:I'm gonna go and go for a snoozer.
Speaker B:You're not out of this yet.
Speaker C:You have a little nappy time.
Speaker E:Yep.
Speaker E:The thing you're supposed to do when you get a concussion.
Speaker A:Yeah.
Speaker B:Jesus.
Speaker C:He closes his eyes, leans back, twitches a little bit, tries to get comfortable so he's not laying on his skull wound.
Speaker E:Aw, he's dreaming.
Speaker C:Forrest, you hang tight.
Speaker C:Keep an eye on him.
Speaker C:His breathing is definitely very audible in the confines of the panel van.
Speaker C:Sounds fine.
Speaker C:Doesn't sound raspy or guttural, just measured.
Speaker C:And you wait to hear from Frankfurt and Faith, who are disappeared now into the darkness, most likely towards the entrance of Yolo Tolshosholi.
Speaker C:Speaking of which, you, too, make your way back through the darkened entryway of the pyramid back to the front of that crumbled and crushed wall that has those simple cordons guarding its opening and carrying shotguns in your hands.
Speaker A:Now my flashlights.
Speaker A:Right, Right.
Speaker A:Or did we just.
Speaker C:Absolutely.
Speaker C:Absolutely.
Speaker A:It's like, I don't need no flashlight.
Speaker A:Yeah.
Speaker A:Frankfurt's gonna just head back to where he was.
Speaker A:And as they're walking, he'll kind of look over at Faith and say, well, that was.
Speaker A:That was exciting.
Speaker D:That's one way to put it.
Speaker C:So I assume we're gonna go into this revealed chamber.
Speaker D:Yeah, boy.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker C:Oh, yeah.
Speaker A:Let's go see about this room.
Speaker C:As you gingerly squeeze your way into the narrow hole created by this damage, you can see that the reveal chamber, it's about 5 meters in width, 5 meters in length, 3 meters in height.
Speaker C:So it's not huge.
Speaker C:Your swaying flashlight beams reveal age old dust that's swirling through the air.
Speaker C:Dust that's pushed forward by your movements as you enter the small chamber entirely.
Speaker C:Again, every wall here is adorned with intricate and colorful pictographs, surprisingly vivid colors.
Speaker C:You see images of priests clad in ceremonial garb.
Speaker C:You see offerings laid at the feet of enigmatic tree like deities.
Speaker C:You see the labor of countless hands toiling in the service of some higher purpose.
Speaker C:All of these things appear in the numerous ancient images that surround you on every wall, on the floors.
Speaker C:On the ceiling.
Speaker C:In the center of the chamber is a solitary altar.
Speaker C:Its surface is weathered by the passage of time, yet you can still see traces of offerings long since vanished as you play your flashlights across it, dark carbon streaks marred only by the thick dust covering the interior of the entire chamber.
Speaker C:Surrounding the altar are a series of stone benches.
Speaker C:These are worn smooth by the touch of generation past, hinting at perhaps gatherings and ceremonies that may have once taken place within these walls.
Speaker C:In this tiny chamber, fresh footprints tell the story of many individuals more recently walking through the unearthed room at various times perhaps since the vandalism took place.
Speaker C:Against the far wall is a carven statue resembling the tree, like ornamented, that you saw adorning the entrance to Yolotal Shoshotli.
Speaker C:It's highly detailed, and the surface of its stone, it's glistening.
Speaker C:Though no other areas in the chamber share this property, it also appears to have large calcium deposits obscuring its finer details, like thick layers of barnacles.
Speaker C:Both of you, roll an alertness, please.
Speaker A:29 out of 64, success.
Speaker D:8 of 83, success.
Speaker A:All right, try hard now.
Speaker C:For both of you who are unpracticed, perhaps, in the academic study of archaeology, anthropology, ancient societies, for both of you, the pictographs don't really seem to tell a cohesive story, and you don't have the time to really sit here and debate or introspect on what you're seeing.
Speaker C:They are seemingly unrelated images side by side, including the large, looming tree like beings that are covered with whipping vines.
Speaker C:Your general impression is that the people worshipped these beings, as they're often Shown in poses of supplication, bowing down, their heads touching the ground.
Speaker C:There are other images though, showing corn harvesting as well as, again, images of priests or kings.
Speaker C:You assume so because they're dressed in fine garb and they all have a great blue or white third eye on their foreheads.
Speaker C:There's also a repeated pattern of perhaps the sun or some sort of flaming orb, but it doesn't seem to relate to any of the figures depicted.
Speaker C:There are other designs and glyphs that circle around these images, but to you their meanings are unknown aliens.
Speaker A:Frankfurt is going to take out his phone and use the camera feature and then do a kind of a sweep of the room, snapping photos as he goes to try to capture as many of the murals as he can.
Speaker C:Your prior alertness will assist you with that.
Speaker C:Anything you're doing, Faith.
Speaker D:He will also be taking pictures with his camera and getting as much as he can out of this.
Speaker D:I think I also brought the UV light and, and the spray.
Speaker D:I'm just gonna test that here.
Speaker D:I guess that's in the van, so I'd have to go get that.
Speaker C:Ah, you have it with you.
Speaker D:Okay.
Speaker C:It's totally fine.
Speaker C:You go ahead and switch on this handheld UV lamp.
Speaker C:Have you sprayed anything with luminol or what?
Speaker E:Yeah.
Speaker C:You're just turning it on?
Speaker D:Yeah, spraying it as I go on the altar area.
Speaker C:Gotcha.
Speaker C:You go ahead and spray this oxidative luminol on the altar, which are forensics.
Speaker D:Yeah.
Speaker C:Zero.
Speaker C:Okay.
Speaker C:Yeah.
Speaker C:You spray it on the altar and you go ahead and shine the light.
Speaker C:You don't really see anything shine at you like you saw in the Hotel del Solitario.
Speaker C:Room belonging to Dante Sombra.
Speaker D:Probably means something like if there was blood, it was way too long ago for it to register anymore or something.
Speaker C:You whisper to Frankfurt.
Speaker D:Yeah, yeah, exactly.
Speaker A:Uh huh is all he says.
Speaker D:So the whipping barnacle statue thing, how big is it again?
Speaker C:So since the actual room is not too high, it's the height of the room basically in the back of it, it's three meters in height.
Speaker C:It looks like it's bent in the middle, almost like crouching down a bit.
Speaker C:But it doesn't really have legs.
Speaker C:It's just kind of this mass of calcified stone that looks very sweaty.
Speaker D:Gross.
Speaker E:And shout out to our European listeners.
Speaker E:We are all about meters here at, you know, our show.
Speaker E:Thank you so much.
Speaker E:Across the pond into our hearts.
Speaker D:What he said.
Speaker C:We're going to use cubits from now on.
Speaker C:I think that's appropriate.
Speaker C:Really?
Speaker C:Really.
Speaker C:Get our Ancient Aramaic listeners into this shit.
Speaker A:Frankfurt starts pacing across the room.
Speaker A:Oh, it's about, let's say about ten and a half shoe lengths.
Speaker D:Well, I, I don't know what I expected to find, but I kind of had a loss.
Speaker D:Frankfurt.
Speaker A:Yeah, once.
Speaker A:Once Frankfurt finishes the photos, he's gonna go, and I don't know how to put it, he's gonna examine the altar.
Speaker A:Is a way, I guess the way to put it, like look closely at it and kind of, you know, run his hands over it and look for anything of interest, secret.
Speaker C:But you move the thick dust aside, it's again got those score marks on it, some sort of measure of carbon that was under the dust, but otherwise you don't see anything else on top of it.
Speaker C:There are no mechanisms.
Speaker C:It's basically just a big stone.
Speaker A:He'll move his way over to the statue and kind of do the same thing.
Speaker A:Give it a little closer, closer look, using his zero skill forensics.
Speaker C:It feels fairly damp.
Speaker C:It has like the, it has the look of, of maybe like a cave stalagmite perhaps that's been constantly dripped upon by calcium infused water to build its structure.
Speaker A:Are there any holes or openings above it where water might have come through?
Speaker C:You look up with your flashlight and know that the top of this sort of tree statue, it nearly touches the ceiling, but there's nothing there that looks like water damage or calcium deposits similar to what's on the statue itself.
Speaker C:It's the only thing in the room that seems to have this phenomena.
Speaker A:Frankfurt kind of mutters to himself, the fuck is this?
Speaker A:Faith?
Speaker A:You ever seen anything like this?
Speaker D:Can't say I have.
Speaker A:Shit.
Speaker A:Okay, well, we got these, we got these murals.
Speaker A:We got a statue here.
Speaker A:We got a bowl.
Speaker A:I'm not seeing anything else.
Speaker C:No, no bowl.
Speaker C:Just like an altar.
Speaker A:Sorry.
Speaker A:We got the pictures, we got a statue and definitely no bowl.
Speaker A:Just an altar.
Speaker A:Just an altar here.
Speaker E:I mean, it sounds like you gotta do some magic, some opening of dimensions.
Speaker E:I don't know, that just feels like the right time to do it.
Speaker A:Let me just do a quick rip apart reality again and see how that goes for the rest of my physical being.
Speaker B:Do it.
Speaker E:Do it.
Speaker D:I'm ready.
Speaker C:Tell me more.
Speaker A:No, not a threatening situation.
Speaker B:The listeners want this.
Speaker B:John, come on.
Speaker A:No, it'll happen.
Speaker A:It'll happen.
Speaker C:Do it for the listeners.
Speaker C:We do meters for our fucking bullshit European listeners.
Speaker C:You do magic for all the rest of them.
Speaker A:I'm here for me and my entertainment alone.
Speaker A:All right?
Speaker C:All right.
Speaker B:But you're still alive.
Speaker B:If not for that then what for?
Speaker E:Shout out to our John listener.
Speaker E:John, if you're listening to this, thank you.
Speaker A:I am.
Speaker A:You are welcome.
Speaker A:I've got a battle mage to make.
Speaker A:Okay.
Speaker A:Yeah, hold on.
Speaker A:Frankenris looks over at Faith and says, yeah, I guess.
Speaker A:Pick up anything with that black light.
Speaker D:Of yours, shines it on this statue directly.
Speaker C:You shine the UV light over in the direction of the statue, there's nothing that pops out at you.
Speaker D:Nope.
Speaker C:Do you spray it with luminol as well?
Speaker D:Sure, yeah, why not?
Speaker D:Give it a go.
Speaker C:Give it a spritz.
Speaker C:Go ahead.
Speaker C:And spray some luminol upon this calcium barnacle covered tree that has these decrepit looking vines that are draped down its side and coiled along the floor next to it.
Speaker C:Nothing is revealed by your application of Luminal.
Speaker A:Frankfurt looks behind the statue to see if there's anything there.
Speaker C:More pictographs continuing whatever story this is, if at all.
Speaker C:Maybe it's just random graffiti.
Speaker C:Who knows?
Speaker A:And you said there were.
Speaker A:There's also pictographs on the floor and the ceiling as well.
Speaker C:Indeed.
Speaker C:Which you've now captured with your photography advice.
Speaker A:Okay, cool.
Speaker A:Well, he goes and has a sit on one of the benches, looks around.
Speaker C:It's not very comfortable, but, yeah, you take a look around and the dust continues to kind of spin through the air with Faith's movements and your breath.
Speaker A:He glances over at Faith, cocks an eyebrow.
Speaker A:Not a people's eyebrow, just a regular eyebrow.
Speaker D:Every eyebrow is the people's eyebrow.
Speaker B:Hey, Chris, if I could.
Speaker B:I just want for us to try to check in with these guys, make sure we can hear them.
Speaker B:Because she doesn't know anything about the inside of Yeloti.
Speaker C:Yeah, Y'all have open comms right now, right?
Speaker B:Yeah.
Speaker E:Yep.
Speaker C:So you can just speak with them.
Speaker B:Paris.
Speaker B:Faith, this is Forest.
Speaker B:Can you hear me?
Speaker A:Yeah, we got you.
Speaker B:Coming in.
Speaker B:Clear.
Speaker B:You guys doing okay?
Speaker D:Yes.
Speaker D:Oh, you go ahead.
Speaker A:No, sorry.
Speaker D:Over.
Speaker B:Sorry.
Speaker B:Sorry.
Speaker A:No, no, please, you.
Speaker B:Over.
Speaker D:No, I insist.
Speaker D:Sorry.
Speaker A:No, no.
Speaker A:Sir, I appreciate your Canadian politeness, but.
Speaker A:But please, please, please.
Speaker D:Look, but I already said you go first.
Speaker B:Copy.
Speaker B:I hear you both.
Speaker B:You're good.
Speaker B:Over.
Speaker A:All right.
Speaker A:All right.
Speaker E:You hang up.
Speaker E:No.
Speaker A:All right, so Frankfurt says.
Speaker A:Well, Forest.
Speaker A:Yeah.
Speaker A:I need to tell you, but I think I accidentally cut Faith off as he was about to talk to you.
Speaker A:So please, Faith, will you please tell him what you look like?
Speaker B:Oh, he's such a nice guy.
Speaker B:It's okay.
Speaker B:He doesn't need to talk.
Speaker B:Yeah, it's okay, Faith.
Speaker D:Brain dumps what we've seen so far.
Speaker B:Okay, cool, cool, cool, cool, cool, cool.
Speaker C:So now, Forester, vaguely aware of what they're looking at inside of this unearthed chamber.
Speaker B:If you guys could just check in with me every.
Speaker B:I don't want to put a time limit, but check in frequently.
Speaker D:Heavenly, please, every two.
Speaker A:We can just keep describing what we're seeing.
Speaker B:Yeah, just keep talking.
Speaker B:Talk to me as if I'm right next to you.
Speaker A:You're in the room with us.
Speaker A:Hey, Faith, I'll.
Speaker A:Let me look down this hallway.
Speaker A:Maybe I'll.
Speaker A:I don't know, maybe there's something else down here.
Speaker A:Might help.
Speaker A:Paris steps back out of the room into the hall and shines his light down the other direction.
Speaker C:Yeah, this looks like the more well visited area.
Speaker C:There are small dioramas that have been set up here by some outside group depicting life in ancient Zapotec culture.
Speaker C:You see small figurines that are building little boats that go across rivers.
Speaker C:Farming large fields of maize or corn.
Speaker C:Putting together massive laborious efforts towards megalithic structures like this one.
Speaker A:Does any of this appear to be damaged, disturbed, vandalized?
Speaker C:No, sir.
Speaker A:Goes over the comms.
Speaker A:Yeah, nothing here really.
Speaker A:Just.
Speaker A:I mean, it looks like he didn't come this way.
Speaker A:So he.
Speaker A:Paris heads back to the room.
Speaker B:Okay, just keep spitting information my way.
Speaker B:I'm gonna take notes as you go.
Speaker A:Well, I mean, aside from the altar, the statue and these benches here, they've done a pretty good job capturing all the murals that we can see.
Speaker A:Shit, I'm out of ideas.
Speaker B:It's a pyramid for God's sake.
Speaker B:Secret doors.
Speaker B:Search around.
Speaker A:This isn't Indiana Jones, but we begin.
Speaker D:Pulling on the stalks of the statue for left.
Speaker E:Oh, is there a bag in the statue's hand?
Speaker E:That's always a big one.
Speaker B:Is there a beetle that comes to life?
Speaker D:Statue's obviously just a dried out husk of a dark young.
Speaker A:But Paris will walk the room and just kind of run his fingers along the walls just to see if anything.
Speaker A:There's any grooves or anything weird.
Speaker C:Go ahead and roll your search, please.
Speaker A:Son of a bitch.
Speaker A:If there's a fucking.
Speaker A:Oh.
Speaker A:Succeeded.
Speaker A:Nine out of 28.
Speaker A:Look at that.
Speaker D:Yeah.
Speaker A:Whoa.
Speaker D:That's the ticket.
Speaker C:You go ahead and run your hands and fingers across these pictograph laden stones, moving the dust over them.
Speaker C:And you feel as you search for anything, it seems like a loose perhaps panel or some sort of hidden.
Speaker C:What's it.
Speaker C:Whatever.
Speaker C:Whatever you're.
Speaker C:You're kind of blindly searching for, you feel like you're not going to find it because the dust is so thick here, you think you would quickly be able to identify anything that's been recently disturbed just from that sort of activity, sort of motion.
Speaker C:And as you revisit every corner of this chamber again with this in mind, it seems to you that whoever's coming here has not touched these walls.
Speaker C:Your own graspings reveal nothing but smooth painted stone.
Speaker C:Felix, you're just starting to doze off when your phone buzzes violently in your pocket.
Speaker E:I guess I'll answer.
Speaker C:Go ahead and pick it up.
Speaker C:And the voice on the other end is not one you recognize, but it does does sound very far away.
Speaker C:Like someone speaking through maybe a rolled up cardboard tube.
Speaker C:Oh, is this Felix?
Speaker C:You hear?
Speaker E:Who's this?
Speaker C:Back at the airport, you're gonna want to go to locker 253.
Speaker C:You'll find an envelope there for you.
Speaker C: Password: Speaker A:Instructions are enclosed.
Speaker C:He hangs up.
Speaker E:I'm going to motion to forest.
Speaker B:Did you just receive a call?
Speaker B:What was that?
Speaker E:Locker, Locker.
Speaker E:And then damn fucking if I can remember.
Speaker E:253253.
Speaker B:I'm writing it down.
Speaker B:Zero.
Speaker E:Can I.
Speaker E:Can I roll intelligence test?
Speaker E:I already forgot.
Speaker C: -: Speaker E:0414.
Speaker B:Locker 04.
Speaker B:Okay, rest.
Speaker B:And can I grab his phone from him and try to see who the incoming call was?
Speaker B:Or star60 whatever is like a callback.
Speaker E:Don't look at the gallery.
Speaker B:Is this a landline thing or does that work on something?
Speaker B:Elephants.
Speaker C:It just says unknown in his history.
Speaker C:That's extremely typical for your, your weird like special operative phones.
Speaker B:Rest, Felix.
Speaker B:Rest.
Speaker E:Felix rests.
Speaker C:Okay, cool.
Speaker C:You're entering.
Speaker C:Rest.
Speaker C:Mo.
