The Troubleshooters - The U-Boat Mystery, Episode 1

[00:00:01] Speaker A: Hello, friends, and welcome once again to a single serving tabletop adventure from Queen's court games. My name is Aaron, and today I will be your director of operations as we attempt to unravel the U boat mystery, a lighthearted comic book cold war thriller for troubleshooters by Kristen Sunderland. And as is only appropriate for a game inspired by the franco belgian comics of the 1960s, I have assembled a crew consisting of one Icelander, an American, and two Brits, in that order. As journalist Emma Beck, we have the villain vanquishing Viking Vixen v. Hi. As grand touring driver Sonya Volkov, the audacious antagonist assaulter Aubrey. Hello. As the curious engineer Frederick Desjardins, the lovely law breaking lackey liquidator Lola. And from the RP geeks, as cat burglar Katarina Huppert, the saucy scoundrel smasher Shaman. [00:00:59] Speaker B: Hello. [00:01:01] Speaker A: You can find links to their sorted social media accounts by sending exclamation point cast to the chat or use exclamation point scenario if at some point in this game you decide that you want to purchase the troubleshooters for yourself. Also, while the troubleshooters keeps a campy and lighthearted tone, this scenario may yet contain content that some viewers want to avoid, including blood and gore, drowning, drug and alcohol use, gun violence, and kidnapping. The cast and I have discussed our lines and veils in advance via session zero and have agreed to a code of conduct in order to ensure a safe and respectful environment. We want all of you in the audience to feel that safe as well, without too much more to say about the matter. Dee? Lola Shamini. Aubrey, are you ready to take a step back into a time machine and fight the evil forces of the octopus? Yes, please. [00:01:55] Speaker C: About to explode. She is so excited. [00:01:59] Speaker B: Very excited. [00:02:01] Speaker A: Well, at the risk of losing one of our cast members to an explosion, let me tell you a story. Our story begins in the twisting asphalt, tangled track of the Paris Formula one Grand Prix racetrack, where Sonia Volkov has just exited a race. Was it eventful? Good eventful, bad eventful? [00:02:28] Speaker D: I think it was good eventful. [00:02:30] Speaker A: How did you finish? [00:02:32] Speaker D: I think I probably finished in the top ten. You know, this is like my first big race back, you know, gotta. Gotta come out swinging. [00:02:40] Speaker A: Mm hmm. Well, the conditions on the track were perfect for racing. Not a cloud in the sky, the nice fall sun beating down. Not too hot, not too cold. Nice to get that traction. All the rubber on the racing surface and not enough for a podium, but enough to keep you out of the very embarrassing back half of the pack. Now, of course, most of the media attention is focused on the winners. Who is your arch racing nemesis in this circuit? Um. [00:03:08] Speaker D: Oh, God. I think it's, um. It's probably somebody who is, uh. [00:03:17] Speaker B: Just. [00:03:18] Speaker D: Thinking about, like. [00:03:22] Speaker A: Me. [00:03:22] Speaker D: I don't know anything about Formula one outside of a few videos I've watched. [00:03:27] Speaker A: Well, I would assume that because they are a minor villain in this story and no one here is french, we would make them french, right? [00:03:35] Speaker D: Yeah, that's what I was thinking. [00:03:37] Speaker A: So then. Yes. Okay. So off stage to the left, just over your shoulders, the camera pans around. You can see all the cameras in the news. People crowd around the podium where a very tall, like, lanky, a very, very pointed beard, and then, like, flowing backwards hair kind of gentlemen is sitting there. He is french, so, of course, he has a cigarette in his hand, and it's very much just what he is. When you understand, you don't have to worry about the track conditions, and some people do not have that power anyway. You, on the other hand, have not attracted that much attention. Indeed, only two journalists have shown up. One, Pierre Martin, whom we will introduce in a moment. The other, Emma Beckley. Emma, why aren't you following a real story this time? [00:04:20] Speaker C: Well, see, here's the thing. Yeah, of course you can follow the big stories, but everybody loves an underdog, right? And Sonia, it's her first big race in a while. She had a couple, like, mishaps with the press and some really embarrassing personal things that happened, and now she's trying to, like, make a comeback. And I want to be the reporter to, like, get this story. So I figure if I start now and kind of, like, schmooze Sonia a little bit as she goes up, like, I'll be the one getting all the exclusives. [00:04:56] Speaker A: Getting on the ground floor. [00:04:58] Speaker C: Exactly. [00:04:59] Speaker A: They do have escalators, I'm pretty sure. So ground floor is a metaphor that still works for the timeframe. Soon enough, you'll be riding it on the several floors that those things work at this time in human history. Not the only one here working on an important job of potential future payoff, I don't think, in the eye of media attention, but nevertheless slinking around the track space. Katarina Huppert, what brings you to the Formula one circuit today? You are muted. [00:05:32] Speaker B: Yes, I am. To be honest, I am actually just hanging out here with m, like, I came to Paris for a job and it's not really worked out. So the least I'm hoping for is some kind of a party. Maybe we can go to a party. Later we go to a party. I just need a party right now. [00:05:51] Speaker C: I'm hoping that Sonia will have a party and then I can obviously get Kat to come with me because, you know, obviously like, hey, Sonia, I'm friends with you. This. She's friends with me. We're all friends. Look at us all being friends. [00:06:06] Speaker A: If I understand it, partying was kind of what got Sonia on the bad side of the press in the first place. Are you sure that's a good idea? See the face that she's making? Is that a face that says, you should trust me at a party? [00:06:19] Speaker C: Yes. Because again, right, I'm here to. [00:06:25] Speaker B: Flip. [00:06:25] Speaker C: The script a little bit and to try and put out the good side of Sonia. And I'm not like a PR specialist or anything, right. But, like, we can. I'm really good. Kat knows this. I'm really good at writing stories that show less reputable people in really good light. [00:06:46] Speaker A: Sonia, she just called you less reputable to my face. [00:06:50] Speaker B: Called me less reputable, which is fair. [00:06:54] Speaker D: It is one of those things, you know, it's like, I'm gonna overlook that for now because I really want this expose. [00:07:04] Speaker A: All publicity is good publicity. I don't know if that phrase has been invented yet, but tell you what is the 1960s. So what probably happened is that emma invented it and then her boss, who was a man, stole it and got credit for it. [00:07:18] Speaker C: Oh, you hate to see it. [00:07:20] Speaker A: Well, speaking of people who are doing hard work for little credit, frederick, you, on behalf of the institute, I believe, are also here for Formula one season, not so much for the glory. What brings you to the track today? [00:07:36] Speaker E: I'm on sabbatical. I'm not here for the institute. I'm just doing some research on the engines that they use here and some of the tech that is used in macars. [00:07:49] Speaker A: Is it frustrating to see people showing off what they believe is literally the peak of human performance as it relates to engines? And to have it just be like, oh, look at this pathetic ten cylinder, three liter. I don't actually know Formula one either, so I'm just going to throw out engine words. [00:08:09] Speaker E: So there are some innovations that were specifically made for this type of racing car that you don't typically see in the cars we use in other avenues. However, of course, there are upgrades and various things that we have developed and put together at the institute that definitely blow these out of the water. [00:08:33] Speaker A: And, well, nonetheless, if nothing else, on vacation. But you still have the smell of jet fuel, of racing fuel, of engine grease. You got the siren sound of a socket wrench off in the distance. So it's a vacation, but also familiar sounds of home and work, a working vocation. Well, I hope you are all enjoying the day, and no doubt it will continue. The race is only a small part of everything that happens. There's a party to go to. Of course, I'm sure Sonia has all kinds of things she wants to talk about, about the race. She goes back to the car, diesel mechanics and such. Hopefully, Katarina, you can manage to sit through that while waiting for the party to happen. But of course, there was one other person around who we mentioned. We come back to him now. Pierre Martin, a french journalist, not so much on the Formula one specific circuit, very much in the Hunter S. Thompson vibe of, I will write about what interests me in exactly this moment. I will find some specific angle of Formula One that isn't about the racing or the drivers that I can peel apart in a 10,000 long form article or 10,000 word, rather long form article. Sonia, you and Pierre, you go. I mean, about as far back as you can when it comes to, like, an itinerant bohemian author slash journalist. But how did you two meet? [00:10:04] Speaker D: Pierre's been covering my races for a while and was one of the few ones that didn't actively delight in all of the scandals. So, you know, I have some sort of connection with him, and I definitely want him writing up a lot of really nice things to say about me. No, it's not going to be like, but contrasting all of these bad things. [00:10:29] Speaker A: No, certainly not. And given his writing style and the level of fame that he's certain to achieve, it will be a good seven or eight minutes of the eventual biopic that is devoted to you and this moment in that relationship. Unfortunately, no note taking happening now. He has that familiar leather satchel, his Indiana Jones purse slung over his shoulder, with various writing implements, moleskine notebooks and such. Inside, chain smoking in front of an area that says, clearly, no smoking, but also with a glare that is telling the stewards not to come bother him about it. Because he's Pierre Martin. And if you don't know who he is, he will let you know all of that bravado simultaneously wrapped up in an air of. Couldn't possibly care less. So there are. Oh, God. What would a normal question be if I were pretending to be an extremely talented author who was asked questions not because they are interested, but because it is polite? What would that be, Emma? [00:11:32] Speaker C: You know, I think you have to talk about the team, right? Because a race is not just a singular win. Obviously, a lot of it comes to the driver, but you have to ask about the team. You have to ask about who made this possible, the other drivers on the team, what you think of the other drivers on the team, and what you think of the folks who won. And if you think that you'll be able to place higher as the season continues. [00:11:58] Speaker A: Yeah. So all of that. Not from a journalistic standpoint. It's much more friendly in a way. That could be that the two of you are just friends, or also that he has successfully disarmed you and will get you to bear your soul for these moments. But there it is. First question out of his mouth. So what do you think? Was it the car? Was it you? I noticed there was a pit problem tire, something like that. [00:12:22] Speaker D: I have, you know, half dozen of one or the other. You know, just. [00:12:28] Speaker A: I think I pushed it a little. [00:12:29] Speaker D: Bit too hard there in one of those laps. I probably should have gone in a little earlier. I think that caused the problem. [00:12:37] Speaker A: Tina, man, not pen in hand, but pen in brain, Sonia is generous in protecting those underneath her for their mistakes. That might be what stops her from climbing to the top of the Formula One circuit, but it keeps her at the top of politeness and dignity in a field otherwise dominated by men with more sense or with more ego sense. You know, you can just see it rattling out of the screen, all of that going on. Can I get everyone at the table except for me, because I don't roll in this game. To make an alertness check, move first. Rolling. [00:13:11] Speaker C: Oh, it's rolling. [00:13:12] Speaker B: I know how to do that. [00:13:13] Speaker C: Yes. Yes. [00:13:15] Speaker D: And it's what we're rolling underneath the number. [00:13:18] Speaker A: Mm hmm. [00:13:20] Speaker C: Equal to or lesser, 36 under 65. [00:13:24] Speaker A: Nope. [00:13:25] Speaker D: I got a 97. [00:13:27] Speaker A: Not good. [00:13:29] Speaker D: I'm deep in this interview. [00:13:36] Speaker A: Lola. [00:13:37] Speaker E: I got a two. Sorry. [00:13:39] Speaker A: Oh. Oh, well, that's. Well, the observant among you will hear a sound. And now, bear in mind you've been listening to Formula One racing all day long, but for those of you who have never heard that sound, it's a very high pitched engine. The thing about Formula One cars is you have many, many small cylinders, as opposed to, like, you know, big trucks, fewer big cylinders. So you get that high pitched whine that the tires are racing tires. So they have. And then again, higher pitched, that, like, slightly buzzing sound you hear on a racing track. This is not that. This is beat up plumber's van from Croydon kind of rumble with a little bit of a one cylinder that's a little mistimed then the tires are a little deflated, so instead of a nice, warm buzz, you get that kind of gravelly rubbery. It's a sound that defies description, but I know what it means. Having grown up in the Midwest and driven a shitty car. I don't know if that translates universally or across the Atlantic, but this is that sound. Hopefully, our audience comes along. What the two sounds do have in common, though, is tremendous speed. Those of you who passed your alertness checks, you will recognize this and be able to turn your head in the direction of this to see the van screaming forward towards where Sonja and Pierre are standing. Those of you who don't pass your awareness checks, you will be able to make out just the last bit of this as the car. Sorry. The van is screaming forward, and I mean, like, it's 1960, so it's not doing like, 120 here, you know, performance being what it is, but certainly too fast for this road. Also, like, no race tags, no, no, nothing on the side. These people don't belong here at all. And then full brake stand. Smoke coming out from the tires as it screeches to a halt, starts to slide, stops just by Pierre. The back doors fling open. Gigantic, hulking, huge man. Like, we're talking like, four hot dog. Mandy come lumbering out of the back. Sean's making a face. You can tell how strong a bouncer or a goon is by the number of hot dogs on the back. Like trees, you cut them open, you see how old they are. But like bouncers at a club, you can see how tough they are by the number of hot dog poles on the back of the neck. [00:15:55] Speaker B: Oh, God. [00:15:56] Speaker A: Two hot dog. Very, very young bouncers. Like six elder bouncers. These are four hot dogs. To put you back on the sense of it, come just reaching out, one of them under, over each of the arms, just like, sorry, I'm doing over. Cause I'm Pierre, but. And then I'm also trying to do under as the people. And biologically, that's not working out for me. So, like, these huge arms coming up under him and then, like, wile E. Coyote style, it just almost knocks him out of his shoes as they pull him into the van, and his hands are back and he's screaming and flailing. The Indiana man Jones. The Indiana Jones man. Purse flying off of an arm, skidding off the side, and before he's even hauled all the way up in it, the driver has floored it. And you just, you know, you're used to that doppler effect sound. Of the cars going. And now it's as the sound gets pulled away from you. And then they turn the corner, they haul him in another s turn on the other way. And that alone is enough to have the door on the outside swinging shut. And just like that poof. Cloud of comic book dust, Pierre Martin's gone. And I just imagine I'm just standing. [00:17:08] Speaker D: There like, what the is that? [00:17:15] Speaker B: Sonia, what did you say in that interview? One way to cut things short. [00:17:24] Speaker A: What? [00:17:24] Speaker C: Should we. Should we go after him? [00:17:28] Speaker A: Well, Emma, you're here for the story of a century, and what could be more of a obvious international crime syndicate kidnapping? [00:17:36] Speaker C: Absolutely. I'm running over. I'm gonna grab his bag, and I'm running straight to Sonia's car, riding shotgun, obviously, because I need. I'm not driving, but, like, I have my camera and I need to be there to take pictures. This is gonna be great. [00:17:52] Speaker B: Are we going for a ride? Oh, yes. All right, I'm running it. [00:17:56] Speaker D: Yeah. [00:17:56] Speaker A: Yeah. [00:17:56] Speaker D: Everyone in. [00:17:58] Speaker A: So, Formula one car, more than happy to let one of you risk life and limb, because these things have one seat that is very specifically tonya size. [00:18:06] Speaker B: That's not practical. [00:18:07] Speaker A: Do yourself a wonderful favor. Google a Formula one card right now. I'm gonna ask you where you'll be clinging to the back of this thing as you go. But that said, like, one person on this cardinal, unsafe, but reasonable in a classy, James Bond way. Going to start to look a bit silly. [00:18:26] Speaker B: I think Kathryn is, like, standing on the back with hands on the seat that Emma's sitting in, being like, go. [00:18:35] Speaker A: So I will accept that. That Sonia is running over or being shoved over the way Katarina is. And then, Emma, you've reached to grab the bag, and this is happening so fast all the time. Like, you're bending down, like, ah, yes, his bag. And then you look up in time to see the a rolling start as Katerina is mounted on the back, like a centurion being pulled by chariot. Like, onward. And then Sonia has one hand on the wheel, the other strapping the helmet back into place, and it's just you. And then you look left, and you look right, and then Frederick is sitting very nearby, having seen all this happen, making that moment of eye contact. We're like. [00:19:10] Speaker E: Mike, my toolkit was still on the fake. [00:19:17] Speaker A: Let's. [00:19:18] Speaker C: Let's go. We have been running. [00:19:23] Speaker E: My toolbox is still on the car. [00:19:26] Speaker C: Actual Formula one car. I don't think we're fast enough for that, do you? [00:19:33] Speaker A: What did you come. [00:19:34] Speaker E: You have a car. You could always catch up to me. But how else do you expect to get off the. [00:19:39] Speaker A: I will ask Emma, what did you arrive in? And why is it a vespa? Okay, so then the. So we have a small cut. The camera pans across, like the gate of this, of this racing complex, the front entrance, and you see families walking by, or pairs of businessmen who are totally expensing this out trip as like, business community building thing. And then a lonely security guard who is, because he's french, so he is also smoking, watching everyone go by, stodgy, starched uniform. And you start to hear that sound, the big rumble of this truck. And then it smashes through the gate. They come flying off the edges. There's a moment where you get to see everyone do the classic comic book surprise, like, diagonal stance flying by. And then the crowd is like. They see that this van goes through, and the crowd all kind of leans in, which means they get to hear then the car coming through, the screech of the tires as Sonia slams into the chicane. And then the centripetal force being what it is, and then Katarina kind of like sliding off to the edge, rocketing back into the middle her on the. [00:20:57] Speaker D: Back of the car. You gotta hold on that. [00:21:01] Speaker A: There's an elderly gentleman who's hat flew off when the car went by. So then he bends down to pick it up and goes to put it back on. That's just in time for them. You have huge, loud van noise, and then screeching, racing noise, and then a good four or five second pause. And then as the vespa comes, comes around and there's no screeching, Emma can just put a foot down to kind of help. Slide to the corner, and off you go. Well, the van is unclear whether to know that being pursued kidnapping is one thing, but it would be that there's not going to be a big shootout happening that would attract even more attention than already exists. But someone who called you are currently at least the 8th best driver in the city right now. Can you make a vehicle check to see how this pursuit is going? [00:22:00] Speaker D: Where is my drive? But it's vehicles. [00:22:04] Speaker A: Yes. [00:22:04] Speaker D: It's not drive vehicles. [00:22:05] Speaker A: If I had a nickel for every time. [00:22:09] Speaker D: Zero zero on the ten die is zero, right? [00:22:11] Speaker A: So it depends. If you have just a zero on the ten die, that is a zero, and then whatever the two is, if you have zeros on all the dies, that is 100. [00:22:21] Speaker D: Oh, no, I have zeros on the tens die, and then a one. [00:22:24] Speaker A: Well, that is a zero one, so excellent. Job for you. Well, I mean, yeah, yeah. You couldn't beat your. Your, um, your french driving nemesis, but, like, God help you if you can't outrace a plumber van, right? Exactly. [00:22:37] Speaker D: I mean, look, I I have places to go up. He has nowhere to go but down, you know? [00:22:44] Speaker A: And you got a target on your. When you can't see us coming. Cause you're either forward in the front of the road. I don't know why you have, like, a Liam Neeson and taken accent right now, but, I mean, like, maybe driving just brings out the worst in you. [00:22:56] Speaker D: I have a very, very few, very specific set of skills. [00:23:00] Speaker A: Mm hmm. Drinking and racing. [00:23:04] Speaker D: Yeah. [00:23:05] Speaker A: So all of that said. Yeah, same time. So you are. Maybe that was the problem. More on this later. So the. Yeah, there's a problem where, like, the, you know, narrow parisian streets. The 1960s, of course. So, I mean, if we make it through this track, you're gonna hit a cart full of something, right? So be thinking about that. You can't have a movie car chase about running into something. But before that, because you've had this opportunity and you're driving, and it's. It's quite comical because you're doing the very serious, like, Ben Hur neck and neck Formula one thing, but it's you, and then you're starting to pull forward, and it's not so you can win. It's because Katarina's on the back and coming into frame just behind. And then the big, again, like, four hot dog neck guy in the van is, like, doing the very serious van racing posture, but it's a van and not a Formula one car. Very comical framing for all of this. But, Katarina, you will notice now, pulling up alongside, there is something stitched patch on the shoulder of this person's ostensible plumber uniform, like a flight suit or a boiler suit. There it is. That's the british word. I'm looking for a boiler suit that he's wearing, but instead of on the shoulder, it would say Frank's plumbing or whatever. There's a very different kind of icon that you would recognize anywhere. [00:24:31] Speaker B: An octopus? Is it an octopus? [00:24:36] Speaker A: A purple, menacing, like, how did they make. It's like, they must have had an incredibly evil person designed this with incredibly evil paints. They've made it look so evil. And the stitching itself wrought from Satan's hand. Your arch nemesis. Will you explain to our audience the horror, the terror, the sheer unadulterated vileness that is up to us. [00:25:02] Speaker B: I would not believe how absolutely appalling and awful these people are. I literally cannot explain it. So I'm here in Paris, right? And I have this whole plan. And I'm going to steal the Rockville diamond. Of course I am. Like, it's one of the most heavily guarded things in Paris. I'm going to steal it. Have a meticulous plan. I look. I look amazing. I'm coming in from the ceiling. I'm avoiding all the alarms and everything. You know what? You know what happens when I get there? It's gone. It's happened again. Octopus once again, beating me. It's one of my top jobs. What do they need? What do they need a diamond for? They have the publicity already. All I've got is Emma writing articles about me. I need this. [00:25:46] Speaker A: What? [00:25:47] Speaker C: Okay, I'm gonna try and not take offense to that. [00:25:50] Speaker B: Thank you. Your articles are great, and I love them, and you are perfect, and I love you. But I want to be big, you know? I want. Well, not me personally, because no one obviously should know that it's me. Because crime. But I want the white ribbon to be, like the most mysterious and well regarded cat burglar in the world, basically. And I can't just. That if octopus. [00:26:14] Speaker A: Ooh. [00:26:14] Speaker B: Mister evil. But occasionally, we do heists. Keep doing all my best jobs. I'm furious. [00:26:22] Speaker A: I have to assume that it's personal. So your calling card is leaving the white ribbon. [00:26:28] Speaker B: They call me the white ribbon because. [00:26:29] Speaker E: I leave a white ribbon. [00:26:30] Speaker A: Naturally. But if Octopus has constantly been tormenting you, there has to be some kind of very insulting thing that they leave behind. So what is there like. Katarina, you have been thwarted again. Symbol. [00:26:45] Speaker B: It's just like this faint scent, smell of fish. You know, everywhere they go, just this fishy smell, like, permeates. And I'm like, have you got this made up in a perfume so you can spray it or something? Like, how are you doing this? [00:26:58] Speaker A: Because. [00:26:59] Speaker B: Ew. [00:27:00] Speaker A: Yeah, no one's talking about the white ribbon burglar. They're all talking about the macaroon bandits. [00:27:08] Speaker B: I know. [00:27:10] Speaker A: Mm hmm. Something I'm not so sure that you would know of the octopus specifically in this way. Save for that. They are a global of comic book villain organization. They are led by. His name has escaped me already. I know there's a Vaughn in it because of course there is. But it is a network of evil supervillain lackeys around the world. Globe spanning and nefarious. Emma, you will have also heard about them. And the good thing about this race is that despite the 30 km an hour that your little Vespa can get up to on a good day. It's very difficult for the people you're pursuing suing to make good speed again on these narrow streets, so you'll be struggling to catch up, but at least you won't be losing sight of them. Totally. For my amusement and literally no other reason. Can you make a vehicles check for me to see how your driving is going? [00:28:17] Speaker C: I can. Quick question. Would you consider this heavy traffic or no? [00:28:23] Speaker A: Yeah. [00:28:24] Speaker C: Okay, great, because I have plus two pips in heavy traffic on my scooter. [00:28:29] Speaker A: There you go. [00:28:33] Speaker C: Yes. Oh, yes, yes. Yeah. No, I started with it. Well, it didn't really, actually. I mean, it does matter, but I rolled an eleven, so automatic success because of the pips anyway. [00:28:45] Speaker A: Yes, well, eleven is a critical result, so give yourself one story point. Everyone should have started with four. You only start any scenario with four, so you've got those in the bucket. Emma will go to five, and because it is a success, you will get good karma, which means you'll get a bonus of some sort on your next roll. So, yeah, the van and the car, they're battling back and forth for position in what's otherwise going to be traffic. They just stay on the road. The van full of evildoers is fine. Smashing through the sidewalks and stuff. Sonia. I mean, the Formula One doesn't have a car, doesn't have a horn in the car, so you'd have to. The best you could do is yell out the front and you're not gonna harm. [00:29:25] Speaker C: Shouting from the back. [00:29:26] Speaker B: Yeah, she's probably shouting anyway. I think she's shouting angrily, like the man in the van. Like, hey, hey, give me that diamond. [00:29:37] Speaker A: Discretion. Having left the room as anger takes over. I didn't steal it, but if I were the kind of person. I'm the person who stole that instead of is really upset right now. But that is the advantage that Emma, of course, is able to take advantage of, because you can zip back and forth. Also to Paris. There used to be people being asshole drivers not caring for human safety, so they can be like, ah, another day where people are just driving on the sidewalk and they're Vespas. I suppose it wouldn't be a vespasian italian scooter, but I'm not going to start any more incidents with any of our french movie listeners. B is going to hear this and he's going to give me, like, four or five jokes, and then on the 6th, I'm going to get a DM from him about it. So we'll stay at that four for now and save one for later. Point being, you are able to navigate in a way that gives you a good shortcut. And now I would like to know what that shortcut is. [00:30:28] Speaker C: So there is this little bistro that Katarina and I really, really like to go to. It's kind of, like, on a corner, there's, like, a little alleyway right next to it. But the way that this little tiny room is situated, you can actually, like, if you angle it just right, you can go from the back door in the kitchen, straight out the front door, and aim down this alleyway to cut across, like, a whole block. It's really hard to make. The first couple times we tried to do it, we had a lot of washing to do because we smelled a little bit like pastry garbage for a while. It's fine. But this time, oh, Katarina, be so proud, because I managed to avoid every single thing, even that one pothole by the pasta place that always trips me up. [00:31:24] Speaker B: I have a question. As you were going through the bistro. [00:31:29] Speaker C: Yes. [00:31:30] Speaker B: Do you grab a cross? [00:31:31] Speaker C: Well, of course. And a baguette, because I know. Yeah, just, like, on the way. [00:31:38] Speaker B: Yeah. [00:31:40] Speaker E: Like, I imagine that as you were leaving on your vespa, you, like, collected frederick is screaming and goes, what the fuck is happening? Sorry, what the f. Is happening? [00:31:59] Speaker C: I'm not. We have. [00:32:01] Speaker B: We have to catch them. [00:32:02] Speaker C: It's fine. [00:32:03] Speaker A: Don't worry. [00:32:03] Speaker C: It's fine. I know where we're going. [00:32:05] Speaker B: It's not. [00:32:07] Speaker A: Also, hold this. Well, yes. The chase continuing eventually. Well, you know, the other thing about it is that you can't have a chase thing through a bistro without going with a tablecloth or something too, as well. Right? Like, it's a comic book thing. So, like, you have. You have, like, frame by frame that you're driving through. And then first it's the. It's the tablecloth that, like, comes up into your face, but you can push it back behind you. And then, like, the person on the florist is coming in. Like, it's a small french family owned place. So it's the marriage, age, daughter, or the wife has come back and has the flowers for that day's thing and throws them up in the air and catch the one of it. And then the croissant comes by, and then as the camera continues to pan, it hits you, driving very, very seriously. And then behind you, Frederick is actually assembled, like, an entire tabletop just in their lap, because this has all happened. [00:33:06] Speaker C: And with a little bit of tea or espresso, whichever Frederick prefers. [00:33:14] Speaker E: Doing his. [00:33:15] Speaker A: Best to stay calm, not succeeding, then you will be able to come out your shortcut. And now we're on the center of the street, and you have what has got to be a beautiful scene. A Formula one race car. I suppose it's France formula, un plumber van, and then Vespas scooter, and the three of you just kind of bouncing back and forth, trying to squeeze together into the middle of this. Now, Frederic, that puts you in a position to act, or, Katarina, you in a position to act and say, emma or Sonia, you are going to be way too busy driving a single slip up on your part. It's going to be a terrible, terrible situation. Is there anything that you are interested in trying to do? [00:34:01] Speaker E: What can I do? I can just chuck. [00:34:08] Speaker C: Then we won't have snacks for later. [00:34:13] Speaker E: I always keep snacks in my pockets. It's fine, but you won't need this. It's just chucking stuff at the back. [00:34:24] Speaker A: You keep this as you want. Right. But you've got this lunchbox, and it already has a preserves or jam or whatever it. Right. [00:34:31] Speaker E: I ensure that I pre pack my lunch and extras at the beginning of the day, because at the end, who's to say that I'll have it? I might get caught up and work. So you must always have the food there ready to eat so you're prepared. [00:34:48] Speaker C: Can we say that with my critical. The way that it's situated for a brief moment, Frederick and I are in front of the van, and we will get out of the way. But this positions Frederick to potentially throw some sticky, jammy bit at the windshield, if you'd like. [00:35:09] Speaker A: Sure. [00:35:09] Speaker E: I think it's a big, fat, jam filled doughnut with icing sugar all over it. So it kind of goes in an arc with the icing sugar kind of spraying out autocad of sugar and then lands smack in the middle of the window screen and just go all over it. [00:35:31] Speaker A: And this is. This is well before the era of in car window washer reservoirs. The best they can do is access windshield wipers. So again, this is a light hearted, fun comic book game. They start that, and, of course, just smears sham everywhere. What kind of jam are you talking about? Is it grape, strawberry, peach? [00:35:50] Speaker E: I think it's more of a custard and strawberry jam mixed together for some reason. Some fancy bistro. [00:35:59] Speaker A: Mm. Mm hmm. So then, of course, it's getting everywhere. Katarina, you can see the driver is growing increasingly frustrated, and then he just leans over and elbows his passenger, who, again, we're in. France is always a baguette when it's handy, then reaches out with the bread and is trying to scrape it off the windshield to make room. Can I get my two drivers to make an alert? Yeah. [00:36:27] Speaker D: 44 under 65. [00:36:29] Speaker B: Okay. [00:36:30] Speaker A: Give yourself a story point and then pick up some good karma. Well, that's excellent news, because both of you, having passed, you will note, send your passengers flying off in a wrong direction because this police chase has attracted the police. The gendarmes have been coming along. Of course, it's not, you know, it's not America. There's not, like, a helicopter. They're not shooting anybody. It's more very curious. What on earth is going on over here? The noises are happening. They've come along and you can see the cars coming in in advance, and there's a split second moment where, like, cop car rights, cop car left. And you know that if you keep going, you're going to smash into them. And then physics being what they are, rpg's play more about this object in motion will stay in motion until it encounters all the asphalt on the other side. After a beautiful parabolic arc off the car or the. Or the vesper. So with those rolls passing, you are able to reach to a halt as the. The van comes forward, the two police cars slam into the side of a screeching of metal, and then the man going off into the distance. [00:37:39] Speaker D: No. [00:37:43] Speaker A: What is the very first word out of each character's mouth, or words if the situation calls from? [00:37:58] Speaker D: Put my story. [00:37:59] Speaker A: Put the story. [00:38:00] Speaker C: The reporter. [00:38:03] Speaker B: Octopus. I will wave my fist. [00:38:08] Speaker E: Finally get my toolbox back. [00:38:13] Speaker A: I like that Frederick isn't saying anything. Just pops off the scooter and goes and grabs the toolbox. [00:38:19] Speaker D: I like that the toolbox has stayed on the Formula one car the whole time, I think. [00:38:23] Speaker B: Wedged in somewhere. [00:38:25] Speaker E: Yeah, it was, like, tucked into probably one of the exhaust ports at the bottom, but, like, maybe there were some grooves in the back of the car and it was kind of touched there, nestled. So it's easy access. So not the best for the car to be driving for this. [00:38:41] Speaker A: Yeah. [00:38:41] Speaker B: Really throwing your weight off. Like, Sonia, don't blame yourself. It was blame your tools. [00:38:47] Speaker A: All that explains so much. However, I will say, because, Frederick, you just got out of the car, you are an engineering master. Will you make an engineering role for me? [00:38:56] Speaker E: I will do my best. Oh, it is a 52, and I think I have. My engineering is 75, so I think I success. But also I have a thing. [00:39:19] Speaker A: My toolbox gives me two pips either way. Passes a pass. So you've rolled under your skill check. Then, in this case, I'll hand that narrative control over to you for a moment, because during the course of this chase, something happened to that car, the van, rather, that you could use to track it. [00:39:42] Speaker E: I think that as they were coming through the chase and when the doughnut hit the windscreen, in that kind of point of occluded vision, the van kind of went over a curb and clipped, like, a massive raid section, which tore a bit of the. Or pushed some of the tire away, and a bit of the. What are they called? You know, the housing for the tires? [00:40:17] Speaker A: The wheel well. [00:40:18] Speaker E: Yeah, the wheel well, it tore some of that away. So that is now hanging down and leaving a mark in the road. And also, I had observed the tracks, because it has rubbed up against the tire, it's also kind of burned those tracks in. So occasionally might leave a little bit of a very distinctive tire print. [00:40:42] Speaker A: Well, that will give you something to talk about with the rest of the crew, assuming they are not currently occupied by the officers of law who have hit each other. And all they know at this point is that three assholes in three very different cars, or, sorry, a menagerie of assholes. At this point, we're screaming through having a Formula one race, Formula three, for the three types of vehicles through the streets of Paris. Emma, you said that you're the PR specialist, or aspiring PR specialist. Katarina, you like the line light, but maybe not like this. And Sonia. Oh, man. The people who are snapping pictures right now. Oh, no. [00:41:26] Speaker D: Just, you know, being like, hes, this. [00:41:30] Speaker A: Is a publicity stunt. [00:41:37] Speaker C: Oh, no. Yeah. I'm going to walk over to Katarina, and I'm just gonna be like, can you just make sure? Like, she's got, like, a little bit of white showing. [00:41:50] Speaker A: No, I said, you're the PR specialist who's talking to the police, because the police are. Yeah. [00:41:55] Speaker C: Oh, right now. Yeah. [00:41:56] Speaker A: Everyone speaks French in this game. [00:41:57] Speaker C: Yes. [00:41:58] Speaker A: So they're like, I don't know what is. Just a minute in French. [00:42:06] Speaker C: I definitely don't actually know French. I'm so sorry. [00:42:09] Speaker A: It starts out with, like, no mercy is. Thank you. Right. I look. Greatest nation in the world. Don't worry about it. So, yeah, a conversation in French. The equivalence of, like. Excuse me. [00:42:21] Speaker C: Yes. Yes, of course. Of course. [00:42:25] Speaker A: How's that conversation going? [00:42:27] Speaker C: You know? Well, that depends. How do they feel about the press generally? [00:42:40] Speaker A: I would say it's probably indifferent. Not good, not bad. [00:42:43] Speaker C: Okay. All right, cool. That's fantastic to know. So I am trying to be as charming as possible. Just letting them know that, you know. Yes, Sonia, of course. You know, we just came out of a big race and it was a publicity stunt by a marketing firm. We're just trying to drum up more excitement and energy for the Formula one races, see if we can get more people excited about, you know, the sport. [00:43:16] Speaker A: Okay, so you're trying to be charming by lying through your teeth? [00:43:20] Speaker C: Sure. [00:43:21] Speaker A: That would be subterfuge. [00:43:22] Speaker C: Subterfuge. That's fine. [00:43:23] Speaker A: We have very different definitions of charm. [00:43:26] Speaker C: Well, I mean, it's fine. I'm actually way better at subconfused than I am at being charming, so. I love these dice today. That's an eleven, again. [00:43:38] Speaker A: Literally defies belief. But, okay, add yourself a point. Add yourself a point of that and take a good karma to keep in your pocket. Well, that being the case, you will get admonished and then given a phone number to. To report to. They'll take your name, but it's not a crime. It's more like you rascally kids saying to avoid, you know, they can't impound the car because they believe it is enough of a thing. They don't want to cause a fuss, but they also can't let it go. So they have to go through the whole rigamarole. But that won't involve hauling you before a magistrate or anything like that. Besides, they have their own mess to clean up with the car situation. It would be, of course, easy for you to just take off at this point and go screen back after them. But probably not the wisest idea in the presence of law enforcement, who have just said, hey, what the going on here? And then, as I mentioned to Sonia, there are cameras piling up around the place. People don't know who you are. They know that that is not a streetcar, that there was a chase happening and only a matter of time before. What would the equivalent in France be? It'd be like Jacques Jameson instead of JJ. So I don't care. Give me pictures of Volkov, but in French, only a matter of time before that happens. [00:44:59] Speaker D: Yep. And definitely, I'm trying to rehab my image, so it's a. [00:45:11] Speaker E: Trying to remember. [00:45:12] Speaker D: Like, helmet definitely has, like, you can't see my face, but, you know, I got a number on or whatever. [00:45:20] Speaker A: It's your car. [00:45:21] Speaker D: Yeah, it's my car and all of that. And it's just like I. Yeah, it is. Not necessarily fade into the crowd, but maybe like. Because they're taking the car away? Is that what you said? [00:45:37] Speaker A: No, they're not impounding the car. They're giving you the opportunity to do the right thing and take it back to where it needs to go. [00:45:44] Speaker D: And then that's definitely what I'm gonna do, is just being like, yes, officer. [00:45:53] Speaker A: So you say, that's definitely what I'm going to do. Are you doing it now or are you ignoring them and being like, yep, see, I'm driving there right now. See, not driving, just making motor noises as if to, I don't know that we can't track. [00:46:07] Speaker D: We can track this thing. So I just know what direction it went off in. So I'm gonna, like, for now, definitely gonna head back because if I want to continue this, I'm going to switch to a much less inconspicuous car. [00:46:20] Speaker B: Wisdom in that I'm going to jump on the back of the race car again. [00:46:27] Speaker D: This one won't be as much, this one won't be as fast, so it'll be a little easier to hang on. [00:46:32] Speaker B: Standing at the back, just like this is a normal thing to do. And I'm going to wave one hand frantically at Emma as she finishes talking to the police. We need to talk. We need to talk. Let's go. [00:46:44] Speaker A: Let's go. [00:46:46] Speaker C: Okay. And I'm gonna look at Frederick and just kind of, like, gesture to my scooter because I guess we are. [00:46:56] Speaker E: You'd better take me back. Those cars are not rated for the street. [00:47:01] Speaker C: Well, obviously. And I'll hop on and wait for Frederick to get on before following Sonja and Kat. [00:47:09] Speaker A: I mean, a cool transition where the newspaper pictures start popping up on headlines. They're in French. I can't read them, but it spins onto the screen and then spins off to reveal the four of you leaning, of course, on various tool chests, some on the car, but in the. In the area. I don't mean to presume, but I'm thinking at some point somebody is going to have to explain to everyone else why it is important that, or why the kidnapping is more than just a kidnapping and why everyone should be more alert, involved and perhaps desirous of solving it, since that is something you have all somehow managed to avoid talking about thus far. [00:47:54] Speaker D: We don't really have a lot of time to talk. As we were all driving very, very loud cars. [00:47:59] Speaker B: Did you all see who that was? [00:48:03] Speaker C: No, I was a little busy. [00:48:06] Speaker D: Yeah, I was trying to crash. [00:48:08] Speaker B: You're not going to believe this. You're not going to believe this. It was my arch nemesis. No, my arch nemesis. Just to annoy me again. Yeah, I think I think this was just to frustrate me. I think, you know, they probably didn't even want the journalist. They were probably just like, oh, you know who's going to be annoyed by this? Katerina Hubert. Yeah, we'll annoy her some more. Anything to them? Don't know. Don't know why they've got it in. For me, it was the octopus. The octopus again. [00:48:43] Speaker D: Does that mean anything to me? [00:48:47] Speaker A: Yeah, I mean, in the general. So you gotta imagine that you're sitting in, like, a James Bond movie where, like, not everyone knows that, like, Goldfinger is planning to turn the planet into gold, but they know there's something fishy about it. It. In genre. It's the kind of when Katarina says it's the octopus, the orchestra goes boom, boom, boom. And we're all on the same page. Right? You might not the details or whatever, but in the same, like, in a much cheekier version of, like, the Zeta cartel. You don't know the ins and outs of drug trafficking, but you know, that's bad. Or like a Pablo Escobar figure. Like, they are nefarious and well known, even if you don't have, like, the details. [00:49:27] Speaker B: You know what this means? She looks round. [00:49:36] Speaker E: I mean, so that. I do, but I need to get that spot on the car. [00:49:41] Speaker C: Are you thinking that we have to go after him or. [00:49:45] Speaker B: I am exactly thinking that. We cannot let them get away with us. Right in front of us. What do they. They take us for fools? [00:49:52] Speaker A: Just. [00:49:53] Speaker B: We need to show them that we are not to be messed with. Nervous? [00:49:56] Speaker D: Exactly. I still need Pierre to write that story. [00:49:59] Speaker B: Oh, yeah, Pierre. That. That too. Yes. Poor Pierre. [00:50:04] Speaker C: Um, as we've been, like, sitting here and. And waiting around, um, I have a thought, because I have Pierre's bag, so can I rummage through the bag? Because, you know, journalists generally, unless there's something that they're working on that maybe the octopus would be after, I don't see a reason why they would want to go after him. [00:50:36] Speaker A: You're doing this while Katerina is launching into the. So trying to visualize this, right, where Sonia's like, what the hell just happened? And Katarina spends, I, like, the better part of six or seven minutes explaining the grievances she has and why it is personal, but not mentioning the name or anything like that. And then, Sonya, every now and again it's like, but who? And then Katerina's like, and then when we were in leeds and then when we were in Pamplona, and then when we were. And then going through it, and you are like, okay, well, I've got eight or nine minutes until she gets the point. I'm just gonna. Okay, yeah, put a pin in that for a second, because, Frederick, what are you have thoughts about the octopus? Do you have. [00:51:23] Speaker E: Is that so? It would. Until I heard the words octopus, I probably would have just been attempting to work on the car around them, kind of shoving them out of the way. [00:51:38] Speaker A: Just reaching, reaching behind for the wrench, just completely ignoring that they exist in the space, but having to navigate around. [00:51:47] Speaker E: Them very much so until the octopus was heard. And I. [00:51:55] Speaker A: Like the visual of Katarina is getting more and more animated. So Sonja gets out of the car and is standing next to it. Frederick's working on it, and Katarina is getting more and more into Sonia's face as Sonja's, like, leaning, leaning, leaning back, and then finally just says, the octopus. And then Sonia's eyes go open, and then, like. So, like, the camera's on Katarina, and she's the octopus, and then, like, turns to Sonia, who's like, oh, my God. And then camera pans down as Frederick, just, like, dolly, rolls out the octopus from the floor. [00:52:28] Speaker D: Yes. [00:52:31] Speaker A: And then the deep background of the shot, like, overcowering your shoulder, leaning up against the cabinet. Tools that no one ever uses or whatever, is Emma, who has been looking through the bag? To answer your question, yes, there is a. I mean, there's notebooks. Of course there's notebooks. But it's all written in the very train of thought kind of style to it that appears. The kind of person, every time they have any kind of idea or thought about an article that could be anything, they'd write it down in the book. And then if they ever end up in a situation where they have to write something, you know, like, oh, I need more money for whatever itinerant, globetrotting, womanizing writers spend their money on. There's an idea here. Or, like, there's an especially good sentence like, oh, yeah, no, I'm keeping that one. Lots and lots of that. To the point that it becomes kind of like. It's all sentence fragments, and it. It'd be difficult to parse without spending a lot more time than you're willing to do. So the actual contents of this note is not so useful, but that makes the. The other thing you find in the bag all the more interesting, because it's all this, like, very Pierre stuff. You might not be close to Pierre, but you've read a couple of pieces in what l'Esquire the french version about him. Actually, that would probably mean the lawyer in France. That would be a very different magazine. But it is a dog eared academic, pseudo academic, we'll say, with the veneer of historicity. But obviously a little sexy, a little pulpy, if, like smutty history. Not sexy history, but a little scandalous history. The 1960s book equivalent of ancient aliens, perhaps. Right. Kind of book that is titled the one that got away. Hitler's last U boat. Lost U boat. The font that I have written these notes in, not being kind, with its ceres. And then in the center of it. Some pages are dog eared, some are not. But there is one scrap of paper, like a receipt folded over from a hotel on it, in his very cramped, messy. My brain's moving so fast. Cause I'm such a misunderstood genius. Scrawl, says Walhouse file, question mark. [00:55:01] Speaker C: Does that name mean anything to me? [00:55:03] Speaker A: Nothing. [00:55:10] Speaker C: Well, once Katarina, eventually she has to stop and take a breath. And it is in this moment. [00:55:18] Speaker A: I do not take that for granted. [00:55:22] Speaker C: It is in this moment that I interject. I think I know why the octopus was going after our dear friend. And I think we need to go find him sooner rather than later. And I just kind of hold up the Hitler's lost u boat. This kind of seems like something that the octopus wants for some reason. I don't. Obviously, I can't know for sure, and I just kind of flipped through the pages, but it just. It smells like the octopus in that very fishy way. [00:55:59] Speaker B: They're trying to heist a U boat. Well, this time we're going to get. [00:56:06] Speaker D: There first and rescue Pierre, of course. [00:56:11] Speaker B: And rescue poor Pierre. Can you imagine? [00:56:14] Speaker C: Do we. I mean, the. Okay, well, the. You know, uh. I think. I think the. The u boat thing is. Is important. Uh. [00:56:28] Speaker D: Oh, of course. [00:56:29] Speaker C: Here's fine, too. [00:56:31] Speaker D: But think of the loss of human life. [00:56:35] Speaker E: Does it say anything more about the uvo? What was it? [00:56:42] Speaker C: Did you say it's Hitler? I look at it and I just. I read the COVID and it's just the one that got away. Hitler's lost U boat. [00:56:54] Speaker E: You said another. Another name. The walhouse. [00:57:01] Speaker C: Walhouse file. I don't know. It's in his notes. And I'm not one for breaking into people's homes and rifling through their stuff. [00:57:10] Speaker B: But we break into his home and rifle through his stuff. [00:57:15] Speaker C: I mean, it's either that or we chase the people that kidnapped him, and. [00:57:21] Speaker B: We have no way of knowing where they went, no way of following them. [00:57:25] Speaker E: Well, I mean, their car wasn't very well maintained and obviously corner and the part broke off and that it was leaving tracks. So we call them technically followed. [00:57:43] Speaker C: We do have a way to follow them. [00:57:46] Speaker E: Technically, yes. [00:57:48] Speaker C: I mean, Katarina, I think just now. I mean, as your best friend and somebody who definitely knows you, it kind of seems like getting close to the octopus and, like, their shenanigans feels a little more up your alley than breaking into somebody's house and looking through their mail. [00:58:06] Speaker B: Yes, I don't really do houses, to be fair. I was just getting a little bit itch fingers after having nothing have a successful job in a while. But, um. No. Yes. Following. Following van. That's. That's Frederick. You are a genius. [00:58:18] Speaker C: You're. [00:58:19] Speaker B: You're. You're a genius and I love you. [00:58:21] Speaker E: I mean. Thank you. Yes. [00:58:26] Speaker B: Okay, well, what are we waiting for then? Let's go. [00:58:29] Speaker E: Uh, perhaps let's not take this car. [00:58:33] Speaker D: Yeah. [00:58:35] Speaker E: For it's. It's not rated for the typical streets. It's so bad for the car. [00:58:43] Speaker D: Yeah, no, I definitely, definitely will. We'll take a inconspicuous car. [00:58:49] Speaker B: Oh, how dull. All right, then. Oh, hey, Emma, by the way, did you go through the bistro on the way? [00:58:56] Speaker C: Oh, I did. Uh, Frederick, do you still have. [00:58:59] Speaker B: And I suppose you picked up a custard and jam donuth the windshield of. [00:59:05] Speaker E: The van der T. [00:59:08] Speaker B: All right, then. [00:59:11] Speaker C: I do have a croissant, though. [00:59:12] Speaker B: Ooh, thank you, m. Love you. [00:59:15] Speaker C: Love you. [00:59:17] Speaker A: To the question that was asked earlier, I forget who brought it up, but no, the book is called, yes, Hitler's lost u boat, the one that got away. It is a history book. The COVID does announce the author is doctor Stephen Armstrong of Columbia University Press. So, like I said, it's academic ish. It is a university book, but it's also a bit salacious in that unsolved mysteries of the sea kind of way. But reading the back again, going, thumping through it would take you forever. Well, much longer than you have right now. But it tells the story of U 890, which was a type nine C U boat on a secret mission to Japan at the end of the war. It sailed from Hamburg on the eve of April 16, 1945, and never arrived at its destination. Is there somebody here who has. Oh, Lordy, what would it be if you have a humanities? Does anyone have a humanity that's up in the 45, sixties, things like that? [01:00:17] Speaker E: Do we classes? No, no. [01:00:21] Speaker A: I would also say, like, science. It would be hard, but a science. Yes, I'd say, yeah, science, but. Because it's not engineering, like, literally, like, doing equations and stuff would be a very hard roll. So it'd be a negative four pips, but you could give it a shot to see if something could just come out of your life at some point. [01:00:41] Speaker B: Oh, can't end with a one four. [01:00:44] Speaker E: Oh, okay. So negative four pips means the fact that I got a 23 means I fail. [01:00:51] Speaker A: Yeah. Yeah, it was quite all right. It's just, you know, the. It would also. It'd be a little bit out of character, honestly, if Frederick knew, like, the salacious weirdness of engineering opposed to the compression ratio of diesel engines on the submerge. [01:01:07] Speaker E: I think possibly I might have studied the details of the upwards at one point in time, but not anything about the specifics about where they've been. [01:01:20] Speaker A: Ah, well, then, all of that said, are you intending to go immediately? It's still daytime. I mean, let's say it's early evening, late evening ish. The restaurant that you drove through would have been transitioning from, you know, like, sell, like, late afternoon snacks to, like, do very overpriced dinner service at the time that you drove through it. There's probably Le Carin who is really upset right now about the fact that reservations had to be cancelled or that they are. They don't have the, you know, the croissants that were promised. But that said, sun is still up and people are still about. So are you intending to go directly into the tracky part? [01:02:00] Speaker B: There's no time to lose. [01:02:03] Speaker E: It is perhaps best to go whilst we can still see the tracks before. I guess they might change vehicles. [01:02:13] Speaker B: This is much better than going to that boring old party. [01:02:18] Speaker D: I mean. [01:02:21] Speaker B: We'Ll find you some drinks on the way. [01:02:23] Speaker A: Sonia, the real. What was it the real treasure was the party that landed on us as we drove Ray Bistro along the way. [01:02:31] Speaker C: We had a great time, so I had a great time. [01:02:35] Speaker A: Whether or not Frederick yet, then, Frederick, you are the one who understands what is going on. You make an investigation roll to see how easy the whole trekking it goes. [01:02:52] Speaker E: 38. My investigation is 45. [01:02:55] Speaker A: So, yeah, that'll do just. Well. Yes, in that case, it is fairly easy to track around. They haven't totally paved over everything in asphalt now, so occasionally the wheel well, having cracked, leaves a nice big gouge and a cobblestone somewhere, or you can see a puddle of something that isn't filth. Is obviously automotive, as opposed to French. Sorry, that was number six laying on the. On the concrete. It heads out of. The Formula one track, of course, is not like in time, this will be the suburbs of France. Once we have invented suburbs in France, this will be suburban. But as for now, like, there's the city center, and then at some point, it kind of turns into farm with us here and there where the railheads go out a bit of industrial area. And it appears to quite quickly that the tracks we're following are going to lead to an industrial warehouse y kind of district. So you'll notice that the tracks are leading you more and more away from the city and more and more towards one of these warehousing. Not ex urban again, a term that doesn't exist yet, but further out of town, industrial warehousey areas. We will have plenty to roll and talk about when we get there. But for now, why don't we take a break? We will refuel our own mechanical liquid tanks that might have been damaged in the chase, empty out the things that have filled up along the way, and come back in, like, five minutes. Ten minutes? [01:04:25] Speaker C: Yeah, sounds great. [01:04:27] Speaker D: Sounds good. [01:04:28] Speaker A: Okay. Okay. Well, everyone in the audience, you do the same. Also, please fill up chat with your crazy, wacky u boat theories. I'm sure Emma's gonna need them when deuce reading was that book. See you in a bit. And we are back, having survived not only an incredible chase scene through Paris, complete with apparently an entire. Not afternoon tea. That's the fancy one, right? Cream tea is the light one. [01:04:55] Speaker E: They're both fancy as hell. I mean, I think it was more of jam donuts that hadn't gone astray. Slash onto windshield. [01:05:04] Speaker C: There was also a tea, though, in fairness, and a baguette and then a croissant. [01:05:09] Speaker B: That's just tea and pastries. That's not a cream tea or an afternoon tea. It's definitely not a high tea. [01:05:17] Speaker A: I'm taking furious notes here. They don't actually have the breakdown of tea in the troubleshooters rulebook, so every day is a learning day. So we just had a normal tea. Not fancy at all. Not a Harrods tea. This is just, you know, have your mate over spot tea. [01:05:32] Speaker B: Some tea. [01:05:33] Speaker D: Yeah, cuppa? [01:05:36] Speaker C: Yeah, cuppa. [01:05:37] Speaker A: I sweet. Oh, the coffee. Well, now, no tea at all. We had a light snack while dashing through the streets of Paris. Stopped by the police at the end, but managing to escape, not in a negative way, but just, you know, a little bit of smooth talking, fast chatting. And then once we are free from the. At the attention of the gendarme, now we can pursue across the streets of Paris, following Frederick, brilliantly tracking this vehicle. The spots of oil, the rubbing of the rims along the streets of Paris. Now, in this era, we have not yet reached the sprawling suburban nightmare where, like, London just continues to expand, eating smaller and smaller towns until it encompasses the entire south of England. No, this is the before that boom. You go from nice, fancy Paris immediately to slaughterhouses, train yards and things like that. So it's not going to take you actually that long to head to the southeast of town, which is where this trail leads to end up in what looked like 18 hundreds kind of style warehouses. We're not talking about the big steel Amazon one. These are buildings made of brick with fancier glasswork. Like, back when, like, artisans really kind of cared about building buildings and not just how much it cost per square foot. [01:06:55] Speaker B: It's gonna be such a hipster area in a few decades. [01:06:58] Speaker A: Oh, yeah, no, there's. There you can see the art loft and the, like, organic boutique egg moose only restaurant. Right, sorry, I almost went off on a chair about gentrification. Can't do that right now. Yeah, so. Exactly. We all know exactly what place this is. The night is fairly clear. There's a bit of a gibbous moon, so it's almost entirely full, but not completely full, so you have really good lighting. Skies are fairly clear, and, I don't know, let's put it like a light jacket weather, right? Not so much you need to bundle up, but a nice chill, just kind of a bracing breeze, I believe is how authors of yore would describe it. Now, I know that we're all going there. I assume we're not taking the race car, right? [01:07:47] Speaker D: Definitely not. [01:07:49] Speaker A: Oh, no. Frederick has enough problem with one suspension that has to be fixed. [01:07:55] Speaker C: Yeah, I only have my scooter and maximum two people can ride on that, so I'm probably not driving. [01:08:03] Speaker B: I think I just make Emma take me places. I. [01:08:05] Speaker C: That's who the other helmet's for. [01:08:10] Speaker A: This leads to an amazing side adventure where Emma's scooter gets tagged. Like, someone gets a picture of it because Katarina took it to a heist, and then, like, that's the beginning of everything peeling apart because they come to investigate Emma with license registrations. That's owned by you. You are obviously not the person in that picture. Oh, no. [01:08:28] Speaker B: I'm a very talented cat burglar. [01:08:31] Speaker A: So. [01:08:31] Speaker B: So would never make such a sloppy mistake. [01:08:35] Speaker A: Would never get made. [01:08:35] Speaker B: Yeah, never. [01:08:37] Speaker A: This is also before there was CCTV everywhere, so. [01:08:41] Speaker D: Exactly. [01:08:43] Speaker A: Imagining, like, victorian surveillance is just one guy with that big camera constantly taking pictures and replacing the bulb, like, every six minutes. [01:08:53] Speaker C: This gets expensive jeeze. [01:08:57] Speaker A: Well, then I think that means Sonia, right? You have a race car, but surely you have another vehicle for getting. [01:09:03] Speaker D: Of course, can't drive the race car everywhere, so, you know, probably have something that's very stylish for the era, like possibly a Mini Cooper. [01:09:12] Speaker A: Mini Cooper. [01:09:13] Speaker D: I think it just been introduced. [01:09:14] Speaker B: Mini Cooper. [01:09:15] Speaker D: Big thing. [01:09:16] Speaker B: 61, I think. [01:09:17] Speaker A: Yes, that's fine. Mini Cooper wants to sponsor this. I'll say it is the best car that exists in the entire world. All cars are Mini. Mini Cooper. Go ahead. Contacteenscourt Games is our email address. Mini Coopers, though, they're small now and cars were smaller back then. So imagining a very, very cramped situation as the four of you smash yourself into this and head out into the warehouse district. So you arrive, the building is, if you imagine, like, north on top, south on bottom map, it is taller than it is wide. So I'm gonna say it's about 15 meters wide, but then about 50 meters top to bottom on this map. Then. Then around it, there's maybe like a two meter, like, walkway for guards to path around, and then a fence, wrought iron interspersed with brick columns to kind of anchor everything down. Then in the front of it, there is a parking lot more just for, like, trucks, I'm sorry. Lorries to pull up, be loaded and leave. And that has a very big sliding gate. So it's two pieces. They come together, they come apart. They're on a little rolly bit. They look massively heavy because it's wrought iron. Like you can imagine during the day, some pretty thick blokes, you just struggle to push it open. Imagine it's also probably got a big screech to it. You can kind of see what's going on there. Good. [01:10:49] Speaker B: So all the way around there's only. There's like a two meter gap between a fence and the actual building. It's like a little path. [01:10:55] Speaker A: Yeah. So I'd say that the path there, the parking lot's gonna be a lot bigger because it has to be enough. [01:11:00] Speaker B: Except at the front, where there's all the cars. [01:11:02] Speaker A: So then go ahead. [01:11:04] Speaker B: What's the roof like? [01:11:07] Speaker A: So think like, corrugated tin at just enough of an angle to keep the water from, like, pooling on the top. [01:11:15] Speaker B: That's fine. [01:11:16] Speaker A: You could put a cat on this on a bad day and it would inspire a musical. Is it a musical? Is it a play I have made? It is a musical. Oh, thank God. I'm exposing myself as uncultured, everyday Hong queen squirt games. Has that Godot fellow showed up. We've been here forever. I turned away and ruined it anyway. So yeah, the fence, like a two meter path and then the building. And then the building is about 15 meters wide and then 50 meters, like tall being north to south. Not tall as in like a skyscraper of a warehouse. A single floor warehouse. [01:11:55] Speaker E: Is there anything like around the fencing or like breeze? [01:12:02] Speaker B: Well, yeah. What is it? [01:12:03] Speaker A: So it's a fairly industrial area. So you have warehouses that go block to block to block. I don't know, a similar neighborhood in London. But like here in Omaha, like all the shipping places are next to one another and there's one warehouse for this company and then a frontage road and then this. But we're talking about something older so it can be packed together if you can kind of come to mind with like a docs district in like peaky blinders, right. Or gangs of New York. They're packed together kind of like that with enough space for you to like walk around and things like that. But fairly dense in terms of spacing. [01:12:38] Speaker E: But what if though there were like a couple of trees like that, that little gentle push into gentrification making the area a little bit greener, a little bit closer to the wall so we could use it to climb over because I don't want to make a too much noise. So maybe two story points worth of trees. [01:13:00] Speaker A: Oh yeah, that's well within the context. Yeah. So you can two story points for minor changes that don't change things too much. I think that's very, very minor. Reaching back in history and finding a Baron von somebody who made the master plan for Paris and was like, people have a right given by God to see trees. And I don't know why he sounded a bit like churchillian there, but it's weird era. It's a class. [01:13:21] Speaker B: Can we have parked a little way away so we can see all this, but we're not like visible from there, right? [01:13:26] Speaker A: Absolutely. Giving you credit to be smart enough to not just drive up and like park right in front of the gate. [01:13:30] Speaker B: That's where we are. [01:13:30] Speaker A: Binoculars in the window at people who are 6ft away. Yeah. [01:13:35] Speaker B: Okay, everyone, I've got an amazing plan. Okay, right, listen, right, what's going to happen is I'm going to do this amazing series of like backflips and I'm going to backflip overdose the fence and then I'm gonna like sneak past all the guards and they never even noticed me. And then I'm gonna sneak in and then I'm going to like heist Pierre and I'm gonna leave behind my signature calling card. It's a white ribbon, just so they know it's me. And then we're both gonna. We're both gonna backflip back out, come back and find you. And then Emma is going to write an incredible article all about how I basically saved the day single handed. What do you think? [01:14:15] Speaker A: A lot of backflips? [01:14:17] Speaker B: Yes, backflips are key. Emma, don't forget to write about backflips. [01:14:21] Speaker E: Do you think that Pierre will be up for doing backflips, I mean. [01:14:26] Speaker B: Well, I've never heisted a person before. Usually I just carry things, so that's new, but I'm sure I'll be fine. What could go wrong? [01:14:37] Speaker C: Well, I mean, statistically, probably a lot, but. Well, okay, so hear me out. This is like a once in a lifetime kind of thing, right? Cause, like you said, you've never heisted a person before, and this is like a rescue mission. So I'm thinking that, like, at the very least, I should come with you because, you know, we should photograph this, like, really historic moment. [01:15:07] Speaker B: Oh, yeah. [01:15:08] Speaker A: You. [01:15:09] Speaker B: You make a good point. You make a good point. Get all the details right, you know? [01:15:13] Speaker C: Yeah, of course. Of course. Because, I mean, you're gonna be so busy back flipping that, like, you're gonna miss, like, key details that'll, like, really sell the story. [01:15:23] Speaker A: Well, on the topic of key details, why don't I say whatever one of you has the highest alertness? Go ahead and make an alertness roll. [01:15:32] Speaker C: I'm a 65. [01:15:33] Speaker B: I'm just thinking about higher than mine. I am right now. [01:15:36] Speaker D: 65, but go for it. [01:15:38] Speaker C: Okay, well, then I will go for it. [01:15:40] Speaker E: Why not? [01:15:41] Speaker B: Katherine is just dreaming about magazine articles. Not really in the zone, you know? [01:15:45] Speaker C: Well, letting me do it was a bad choice, because that's a 98. I I'm really engrossed in this conversation with cat. [01:15:52] Speaker A: I don't. All right, Frederick, are you paying any attention to this. This elaborate fantasy playing out between the author and the cat burglar? [01:16:01] Speaker E: I'd say I'm curious to see what's going on, but I think I'm also trying to scope it out. The only problem is that my alertness is pretty poor. I get very caught up in situations. Don't pay as much attention to other places. [01:16:14] Speaker A: I don't. [01:16:16] Speaker E: So, I mean, I can roll it, but the likelihood of me rolling under 15 is. [01:16:22] Speaker A: I will say, let's go with this. From the position that Emma has chosen, even though you are nothing entirely vested in the art of surveillance. Even just glancing out, you can see that there's the van that Pierre was heisted in. That is definitely in the parking lot. Then there are two black mercedes, full size sedan, Mercedes. Around this little parking lot area, you can see six goons. Just, you know that you can tell the type. Remember our hot dog scale of bouncer? These are like two hot dog goons pacing about. You can tell they're armed. They have holsters, like leather strap over the shoulder, then around the waist, kind of holsters. With a 98, I don't think you're going to be able to tell what's in them, but they are all armed with some kind of firearm, and you have no sense of what's going on inside on a 98. But Katarina probably knows that if there are guards outside, there are guards inside. That's just like heisting 101, right? So as you consider your backflips, as you consider climbing, if there are as many people outside as inside, that means twelve you should have to worry about, right? Give or take. [01:17:40] Speaker E: Perhaps whilst you're back flipping or whatever and you're assisting inside, I could. I could engineer some kind of distraction out here, maybe draw out the rest of them. I'm not sure. [01:18:00] Speaker B: I mean, usually I can manage everything by myself, but that does sound like it would be quite useful because there are quite a lot of them. [01:18:12] Speaker C: Um, director, what's. What's visibility like right now? I apologize if you mentioned it. [01:18:22] Speaker A: If you were an amateur astronomer, you would be borderlined around with how great visibility is. Like, sky is clear, nice, moonlit, like this is. This is good lights at least. [01:18:35] Speaker C: Okay, um, so I have six story points, and I was wondering if I could spend those to, like, help us sneak around a little bit more, especially if there are a bunch of guards. I'm like, originally I was thinking, like, really bad rain, but with the idea that there's a bunch of guards inside, I'm like, maybe something that's kind of like a dense fog to help us maybe move around a little bit more. It'd be easier to see, like, if they have flashlights. Like, to see, like, you know, that glow from the flashlights against the fog, stuff like that. Does anybody do the thing and then. [01:19:24] Speaker B: We go like that. [01:19:25] Speaker A: Like that, hiding from. [01:19:27] Speaker B: It'll be great. [01:19:27] Speaker C: Exactly. I mean, does anybody else have a. Have a thought there of rain versus dense? [01:19:33] Speaker B: I don't think either of them will actually help us inside. Like, maybe the big. Are there big warehouse doors that are open and it's just open to the. [01:19:40] Speaker E: Outside kind of thing, that. [01:19:45] Speaker A: If it's. [01:19:45] Speaker E: A nice night, people are more likely to be drawn outside if it's raining and overcome, it's probably like people are going to be inside, which is not where we want them right now. [01:19:57] Speaker A: Well, let's say this, folky, maybe if you want to change the setting on the scene notes from clear day to London fog, it's like proper pea soup. Then we'll call it. That would be like a two story point expenditure. You would all get a bonus on sneaking. But you are correct about the interior being what it is. If you want to go to cats and dogs. Sorry, my slang escapes. I know there's a very elaborate, like, idioms for weather, but there's a scale to it. So, like, pouring piss, cats and dogs, little drizzle. I don't. I don't know the whole spectrum, so I make sure I get it right. But if you want to go to, like, it is properly coming down, that's going to be. Sneaking is going to be easier because you also have, like, the rain on the roof banging around. Cover your footsteps. [01:20:53] Speaker B: A tin roof. [01:20:54] Speaker A: Oof. And then just to dissuade me of, like, the. Oh, the guards are gonna go inside. Like, no, like, these are the kind of guards that have to stay outside and suffer in the rain. Right. The human resources department at Octopus does not have rules for, like, oh, I'm wet, I want to come inside. Then you just thrown into the shark tank. And then they hire a guard. [01:21:12] Speaker B: Octopus branded umbrellas or little Macs. [01:21:15] Speaker C: Provided they do now. [01:21:18] Speaker A: Yes. Zero story points. They all have octopuse brand ponchos or raincoats. [01:21:24] Speaker C: Check our store. [01:21:25] Speaker A: Ponchos. [01:21:26] Speaker B: Honestly, this brand ponchos? Yes. Okay. [01:21:30] Speaker E: What are the octopus if not, like, the newest, hottest brand of clothing wear? And that's how they get around. [01:21:37] Speaker B: That's their cover. And that's why everyone's got this uniform. Oh, we should have. If that's true, we should have gone, like, shopping before making sure. [01:21:46] Speaker C: Anyway, sorry, I. So the. So the fog would be two and the rain would be our six. [01:21:53] Speaker A: Yeah, because at that point, like, unless someone bumps right into you, because I'm not talking about, like, just the rain coming down really hard in the summer. I'm talking, like, opening scene from Jurassic park. Right? Like, if it's more than 4ft in front of you or a meter and some change in front of you, you can't see it. Like, you might see, like, if you have your flashlight pointing there, you can see a blur. But, like, was that a tree limb swinging. I don't know. It would make it very difficult for anyone to spot you. I will say, though, if it's raining that hard and you get into a fight outside or have to do anything especially athletic, it will make it harder. So you get the benefit on the sneaking end, but you get, oh, it's going to be trickier. [01:22:30] Speaker B: But the plan is going to go perfectly, and we're all going to sneak in, heist Pierre, and then sneak out again. So I don't see that as being a problem. [01:22:38] Speaker C: No, I'm with Kat, obviously, err on the other side of overconfidence. So I'll spend those six story points and automatically the weather is in our favor. [01:22:50] Speaker A: It is staggering that you're like, wow, wouldn't it be nicer if it was raining and we didn't? And then all of a sudden, just like, it's like a Disney movie with the clouds rolling in and, like, the arcing lightning going through the sky, and then all of a sudden, just the guy just offstage yanks down on that, on that lever and the theater ringing above, just instantly pouring water down. [01:23:12] Speaker B: We have also bought really cool raincoats. Like, I want. I want Katarina to have, like, a little, like, unfold from, like, a tiny pack, and then it's like, it's really sleek and it's got a little hood and it's really, like, body fitting, but it's still a miniskirt for some reason, and it's just so trendy. [01:23:29] Speaker A: Anyone who's used one of those knows it will be a very difficult agility check to get it back in the bag. No. So that said, in terms of, like, things we're doing for sneaking, if it's going to be raining like this, Frederick, do you still want to have the trees? Because if that feels redundant to you, we can take that back and you can keep your story points. [01:23:49] Speaker B: I think we still have to get over the fence, don't we? Yeah. I have kit for breaking into places, I think. Do I? No, I don't. [01:23:56] Speaker A: So around the fence, there are side. [01:23:58] Speaker E: Gates, and I have a rope, so. [01:24:01] Speaker B: Are there side gates? Okay, if there are side gates, I. [01:24:03] Speaker A: Can pick the lock. Yeah. [01:24:04] Speaker E: So if we can. If we get open the door side gates and our visibility. And visibility is poor enough for them that, like, we'd be able to just go through and gate instead of trying to climb over. I think. I think, yeah, I'll take back the trees. Bye bye. The first hint of gentrification. [01:24:25] Speaker A: All right. With a snap of your fingers. We have rewritten french history, and the english baron who we established earlier to come in to talk about city planning, was forced out of the court of Napoleon III, and it no longer exists. They paved this thing cobbles 15 miles in every direction from the city center. Greenery. [01:24:43] Speaker D: What's that? [01:24:44] Speaker B: Instead of the tree? Can I spend story points on a. In the corrugated tin roof, like, a little skylight? [01:24:52] Speaker A: Oh, sure, yeah. [01:24:53] Speaker B: So we'd have to go in the front door. [01:24:55] Speaker A: I would say if you wanted something that's just kind of, like, flat for, like, ventilation purposes that you could open, that'd be two. If you wanted something that was, like, a proper cupola, that you could, like, have, like, a railing or a walkway, that would be more. [01:25:07] Speaker B: I shouldn't be able to get in the roof, and then I don't know what it looks like inside. [01:25:14] Speaker A: That would be too. [01:25:17] Speaker B: Let's just get in the roof. Let's change the inside with our amazing story points later. [01:25:22] Speaker A: And I mean, just again, in the context of the time, like, we're not talking about, like, fancy steel racks that are all organized, right? It's. It's going to be piles of crates. Uh, crates stacked on crates, sometimes neatly, sometimes in a bit of a mess. [01:25:37] Speaker D: Crates on crates on crates. Mm hmm. [01:25:39] Speaker B: Yeah. [01:25:40] Speaker A: Okay. The logistics sciences have not advanced in the 1960s. [01:25:47] Speaker B: Well, okay, how about I'll open. I'll unlock that gate when they're not looking, and then backflip onto the roof? Or maybe you can just climb, if you prefer. Emma. Like, whatever. It's all cool. Like, the backflips aren't actually always strictly necessary. Sometimes I just throw them in just for fun, and then we can reach both the roof and the inside and around the front, if you want to get around the front. Would that work? [01:26:17] Speaker C: I mean, I think that sounds like a great plan, now that we have all this rain to help us get through this a little bit easier. [01:26:26] Speaker E: Yes, yes. I should be able to get around to the cards in the front. I might. Yeah. [01:26:35] Speaker B: Okay, great. And then you're going to distract them in that everyone's going to come running outside and go, oh, what was that? Is that the kind of thing? [01:26:43] Speaker E: Yes, I think perhaps, yes. Going to distract them. And then I guess I'll figure out what I do after. [01:26:55] Speaker B: I'll leave the gate open, so I guess just, like, run away or something. And then we'll meet back at the car, and then we'll zoom away with Pierre, and ideally, they won't even notice that we've been there. [01:27:07] Speaker A: Really? [01:27:08] Speaker B: Like, oh, they'll be, like, looking under the chair, looking behind a crate, being like, oh, where did Pierre go? Oh, who can I be? And then they'll see the white ribbon, and they'll be like, oh, my gosh, it's our arch enemy, the white ribbon. I'm psyched for this, guys. [01:27:23] Speaker A: Okay, Emma and Frederick can cooperate to invent the first selfie stick. So you can hold it out the window from the car and get that shot of the five of you. Now, the four of you appear together in the car, like. Yes. [01:27:38] Speaker B: And then we'll have the trademark photo printed as a polaroid, and then we'll post it to them, except maybe, like, hide our faces. [01:27:44] Speaker D: I suppose that might be a good idea. [01:27:46] Speaker B: Yeah, okay, fine. [01:27:48] Speaker E: Really keen on having octopus coming after. [01:27:50] Speaker B: Yeah, okay, fine, fine. [01:27:52] Speaker E: Any other situation after this, so. [01:27:56] Speaker A: So gates being what they are and with the patrol route being what they are, and I mean, like, anyone who's been out in this rain, like, if you're an incredibly dedicated professional guard, you might be patrolling, but if you are just a hot dog goon, like, no, they are there on their post watching the cars. And, like, unless a boss comes out and yells at them, they're not going to be going around. So to that end, we can say that there's one little, like, side gate. And then, like, Katherine and MF, you went. Right? And then Frederick and Sonja, I assume. Sonia, you're hanging out with Frederick for this? Yeah. [01:28:23] Speaker D: Back up Frederick for this. [01:28:25] Speaker A: The two of you can go left and there won't be too much trouble. You might need to get sneaky if you want to get real close to people. But aside from that, we can say you have freedom of movement. You're just going to be soaked. Except for Katarina, who has the miniskirt poncho. Katarina, it falls upon you to open the lock. I believe that is security. It might also be prestidigitation, but I think security is the right one. [01:28:48] Speaker C: I actually think it's presta digitization, because that's lockpicking. [01:28:52] Speaker B: Lockpicker does say, spend one story point to flip a task, check for presto digitation or engineering when picking a lock or cracking safe. So, yeah, I think you're right. I think it is prestigious. [01:29:03] Speaker C: I just love that word. Such a good word. [01:29:06] Speaker B: That's a good word. 45. That's good under something. 65. [01:29:15] Speaker A: Yeah, I think it's hiding. That one, right. There you go. So, without any trouble at all, the lock pops open. Do you have, like, a flourish to do on a successful lock pick. [01:29:26] Speaker B: No, I just want to do more gymnastics. Probably not appropriate for every situation. [01:29:32] Speaker A: Park wheels. [01:29:33] Speaker B: Yeah, I shall just do a neat little, like. I shall, like, you know, dramatic cleaning. Pick the lock, and then just do a little. Maybe a little bow, you know, make sure Emma's watching. Make sure everyone's watching. [01:29:46] Speaker A: You don't even have to push the lock. You open it, and then the door swings open, and it's just like you have the hand out, so it looks like you're forcing it open with your mind at that point. And on we go. So, yes, the brick wall is about a meter and some change just ahead of you. Even now, difficult to see. Like, you can get, like, kind of the blurry shape of it there, but that's how much the water is coming down. And, of course, now that you're closer to the building, the banging on the roof of the water coming down, and those, like, big, fat globs, the one like that, you can feel them hit you when it's raining, it's like, I'm so bitch. Right? Like, that kind of heavy rain. Just sheets of it. So, again, movement, fine, maybe miserable. I hope you brought your wellies. No. Story points to change your gear to wellies. I don't think that's required in the book, but there we are. So, Emma and Katarina, you are looking for, like, a climbing spot to get up. [01:30:40] Speaker C: Yeah. If there's, like, a ladder or something there where there's, like, a ledge that'll make it easier for me to get up. That would be preferable. I'm nothing even remotely as agile as cat, so I'm gonna. [01:30:53] Speaker B: I'm gonna kind of direct, like, from below, and, like, stay underneath. [01:30:57] Speaker A: Like a personal trainer. [01:30:59] Speaker C: Yeah, yeah, yeah, yeah. [01:31:01] Speaker B: Be like. Keep those arms. Keep your form strong. Like, point your toes as you lift. It's unhelpful. [01:31:10] Speaker A: Climb with your knees, not your back. [01:31:14] Speaker C: Oh, my goodness. [01:31:16] Speaker A: That is all good and. Well, then let's just. Yeah, it's raining, so it's not. I have to ask for a check just because it is raining. If you want to make an agility roll, let Katarina do it. [01:31:31] Speaker E: Oh, really? [01:31:33] Speaker A: You both have to climb up, and it's not gonna be much fun if, like, the very first roll of this heist is Emma falls off the ladder and breaks it. [01:31:40] Speaker B: I'm underneath. [01:31:41] Speaker E: I'm ready. [01:31:42] Speaker B: Don't worry, Emma. I'm right here. All good. That it was a 26 something? [01:31:51] Speaker A: Yeah, no, I think. I don't remember. When you make a character, your skills are, like, all 15. Unless they are, like, 45 or 65. And within that, I think. I'm pretty sure I know which of you has one of those five skills. That's good. That's excellent. No, because I was gonna say, I thought from maybe a negative, negative two pips, because you're helping Emma along. But in either case, the roll succeeds. I'm going to say the both of you make it up onto the roof. Terribly slippery. There is a moment as you're climbing up where, like, there's a corrugated roof, right? So the water's coming off and you have that, like, turn if you lean too far to the right or left, it's just like, literally a faucet pouring down onto your head. But you manage to scrabble up onto the top of the ledge and find that little cupola, as described, would have a slight overhang. So if you cling kind of close to it, keep it out of your eyes. Inside, you see, as previously described, it's like crates stacked on crates. Stacked on crates. The tallest of them are, like four or five or six tall. So you could probably sneak in through this window and then drop down on top of it and then still be ten or so feet. Was that three and a half meters above whoever is on the ground below you? It is very densely packed, so it's not like an open room with crates. It's like a room full of crates that you can kind of squeeze between, like almost calling to mind, like a puzzle game, right? Like, there's not a whole. It's one of those. Can you get all the cars out? And then there's only a little bit of. Right. And then flashlight wise, like, well, the lights are on, but just like, kind of like looking at the heads bobbing around and things like that, you can see that. Yeah, there are six or so guards around, but in the middle of the garage, the garage, the warehouse, there is a bit of an open space. If someone were going to be held and wasn't being kept in a shipping crate, that's the only kind of place that you can think of where there would be room and it would make sense for that person to be. As you simmer on the plan, after that, we will turn to Frederick and Sonia, who, again, like, at least they get a freaking overhang to hide under. You are just in the damn rain, beating down, bouncing up off the stones. It's. It's messy. [01:34:02] Speaker E: Well, I won't be able to do my farmers work, but. Right. Shall we? I think that Frederick is going to try and get over to the cars, I guess we've already said he's been told where the guards sort of are based on what our initial thing is. So he's gonna try and, well, he's gonna look over at you, Sonia, and I go, okay, I guess we'd better create some kind of distraction and draw them out here. [01:34:40] Speaker D: Yeah, yeah, yeah, yeah, yeah. [01:34:44] Speaker A: What are we. [01:34:44] Speaker D: What are we thinking? [01:34:46] Speaker E: So I can possibly spark up one of the cars. It's not going to do anything particularly exciting in this rain, but it can possibly. I don't know if they have an alarm in there, in their bugs at this point in time, but possibility. [01:35:05] Speaker D: I mean, there's a prank that we did once, you know, where if we can get the car unlocked and turn it on, we just put a stone on the gas and then let it go. And then suddenly their car is running away and it's gonna crash through a fence. [01:35:31] Speaker E: That's a brilliant idea. Okay. I could easily get it. [01:35:36] Speaker A: I could have sworn you were gonna go for banana in the tailpipe. I was ready for banana in the tailpipe. [01:35:41] Speaker C: I was also ready for banana and a tailpipe. [01:35:45] Speaker D: That was option two. [01:35:47] Speaker A: Yeah. So, yeah, 1960s. Well, before fancy door locks, there's no item, you know, like, well, I guess Tesla's run away with things on the ground plate now, so we still haven't fixed the problem. It would be well within your ability to start it up and then rig the accelerator. Or rig the accelerator, then start it up, however, is appropriate. And send one of the cars. Sending off. I will say that the van is currently at an angle where it's not pointed entirely at the two mercedes, like they were parked here on purpose, and then the van, like, screeched in and really unload. Not a whole lot of thought put into it. So if you chose the van, it would drive forward enough and maybe, like, hit the front end of the mercedes and then from there, who knows? Depends on some roles. If you did either one of the mercedes, it would slam forward into the gate. You might be able to, like, dislodge the gate or get it stuck just based on that. But in terms of the external gate, right, yes, the external gate. Unless you wanted to put it in reverse and hit the wall, the opening for the loading bay. Up to you, the guards wise, there are two who are leaning up against the van. And if your memory is good enough, you can recognize the people as they were. The drivers of the van from before, they are still next to it. The other four who are outside, there might be one leaning up against one of the cars another that's just kind of like pathing around between. So we'll say there's two that are ambling about and there's a fourth one who is, like, clinging as close as possible to the overhang next to the loading dock, else his cigarette is going to go out. So he's kind of standing next to the. The people sized door that leads into the warehouse. [01:37:23] Speaker E: Right, so there's one car that isn't directly being monitored. [01:37:30] Speaker A: Yeah, sure. [01:37:32] Speaker D: That's the car to go for. Yeah. [01:37:35] Speaker E: So we'll attempt to get it open and I think that possibly just hedging our bets, I might try and slip a tracker in there, like, just under the seat. I think Frederick would have jury rigged one earlier. So just try and slip one under the seat just in case anything happens. And we have to follow them because they might not take the van. They might not take the van. You never know. So. Right, so do we need to roll anything to try and get in or. [01:38:17] Speaker A: Yeah, so the door fairly opened to unlock, but I really got hung up because I wanted to say, oh, so you're going to jimmy the car. And that's a joke that only people who watch UK tv or panel shows will get. So, yeah, there it is. That's appreciated. I just now noticed that shamini put on a coat because it's raining. Getting the doors open. I'm not a problem at all. They're not locked. The last thing you want in a. You can't key fob this. Right. It's going to be fiddling with the lock. It's time to escape. So that is easy. I will ask, what does this device look like? Because, like, 1960s weird gps tech that, like, you home brewed in your garage. Can you describe the actual physical tracker for me? [01:39:00] Speaker E: So it's a little bit clunky. It's not like the tiny little dot kind of thing. So it's probably about kind of palm sized at this point. It's very streamlined, but, I mean, Frederick's engineer, so it's got like a bit of a circuit board, like, all around it and this big kind of battery in the middle with some other little nodes around it. But on the bottom it's reasonably flat. So there's some. Well, tape, essentially tape just at the bottom of it. So it could just be stuck under the seat. It's the kind of thing that you kind of have to make sure you, like, really shove it in there and hide it, because it's not. It's not small and, I mean, it's sometimes it's not the quietest either, but I'm hoping that this rain keeps up for when they head off, so at least we'll. [01:40:11] Speaker D: I don't just hear that beep, beep, beep, beep. [01:40:15] Speaker E: No, see, the beeping is. The beeping is on our end. [01:40:19] Speaker D: Oh, okay. [01:40:20] Speaker E: Yeah, so I've got this little gps kind of radio type device that will. That I've left in the car, because I don't need that part with me. And that's a little bit heavy to, like, be lugging. It's almost as big as my mechanics toolbox, that one. So, yeah, so I'll basically kind of dig that out of my essential, essentially, overalls and, like, shove it underneath the seat of the car and, like, try to stick it underneath. [01:40:58] Speaker A: Yeah. So aside from the fact that, like, it's wet shit out here and you open the door, but people aren't paying attention, like, if you ever had to do something out in the rain, like, you are not giving it your all when it's coming down like this, like, whether or not you have rain gear or not, so you're able to get that in super, super easily. I assume that also means this is not the car that you want to slam into something and break, right? That would be defeating the purpose. [01:41:24] Speaker E: I think Frederick looks, having done that is kind of like, oh, yes, okay. That was very successful. And then we'll look back at Sonia and go, oh, crap. [01:41:37] Speaker D: The other car. [01:41:42] Speaker E: I guess. I guess so. Yes. Okay. [01:41:50] Speaker A: I like this because we're setting up two simultaneous dangerous situations. Because in the time that it takes Frederick and Sonia to go about this business, we know that Katarina and Emma have come to the roof of the place and about to drop down, which means that as Frederick goes to set up the car, problem with the next vehicle, and we have this moment of maybe we'll be discovered, the same thing is going to, I think, be true in the warehouse as Katarina and Emma stop their scoping out and start engaging. So sorry, I assumed you were gonna, like, drop down onto one of the. On the crates inside. Was that true? [01:42:25] Speaker C: Yes. Yeah, yeah. [01:42:27] Speaker B: Gotta stop sneaking around some crates, climbing around, maybe doing a little bit of balancing, maybe a little backflip. Just like, one little backflip. [01:42:36] Speaker A: Little backflip, yeah. If you have to go from pile of crates to pile of crates, like, Emma does, like, a running little hop, and then Katarina does the back handspring into, like, a. It's a cartwheel, but you don't use your hands. [01:42:50] Speaker B: I don't know what that sounds also? I do that. [01:42:53] Speaker A: I know there's one where you just, like, flip yourself over and your hands are like, I'm too good to need my hands anyway. If you know gymnastic terms, let me know in chat. We'll say that. So, yes, if you want to move around the place on top, it does take agility checks, because you are jumping from crate to crate. But to set the scene, I know you can imagine the comic book panel where camera is low, looking up onto the top, and so you see the guards standing in front of the crates. And then smaller kind of up off in the distance, you see Emma and Katarina across the top of it. I've been told it's called an Ariel. So, yes, back handspring into Ariel, as opposed to leap of faith on Emma's account. So moving from crate to crate, that would give you better angles on things. If you wanted to make sure no one was seeing you, that would be required. Yeah. [01:43:43] Speaker B: I want to try and sneak around, not be seen and see what's going on and find. Yeah. [01:43:48] Speaker A: Okay. So risk wise, then, it makes sense to me that, Emma, we'll say you drop down in a central location, you can kind of see the spot where Pierre might be, but you can't get a good look at it. And that cat arena would then be the one to ninja around. That way, you would both be flanking this space, but only one of you has to make the moves. Yeah. [01:44:07] Speaker B: Let's not be at the same side of things. [01:44:09] Speaker C: So then if one person. [01:44:11] Speaker B: The other person is the other side. [01:44:13] Speaker C: What I'd like to do is kind of position myself, because, like, since it's kind of, like, an essential space, I'm wondering if I can, like, get to one of the back corners and kind of, like, wait for Kat to, like, give me the signal, which, like, we absolutely have. Because, you know, like, duh, obviously. And then I can try and, like, cause a little bit of a commotion towards, like, the back corner. Like, so if there's. If there's somebody, like, getting too close to her, if she's like, I need these people that are here to, like, go away or whatever, I. Because I don't know exactly what they're gonna do up at the front. So, like, you know, gotta have. Gotta have my own plans. So, like, if I can find, like, a space where there's, like, a crate that I can, like, get next. [01:45:01] Speaker A: Well, let me. Let me stop you there. Cause the tone of the game is not if this thing exists and I have permission. It's I am creating my own. [01:45:08] Speaker C: It's true. I'm sorry. I'm sorry. Yes. So I find a spot where there's, like, a crate, like, that's maybe, like, a little bit smaller, and I can, like, get a little bit of leverage so I can easily push it over. And I'm gonna wait until Kat gives me the signal to cause mayhem if needed. [01:45:26] Speaker A: All right. So then, Katarina, it falls upon you to make your handspring into aerial roll. Agility. Agility. Before the next episode, I'm going to google a bunch of gymnastic terms, and every time I ask for an agility roll, I'm just going to pick one off of that. [01:45:40] Speaker B: That's 13. [01:45:42] Speaker A: Oh, exceptionally good. Well, today, effortlessly. There's gotta be some kind of really ballet music, but with a spy theme edge to it as you bop around. [01:45:55] Speaker B: Thank you. [01:45:58] Speaker A: Do you feel like. Like the da na na na na? But then instead of thump thump, it's like the James Bond orchestra. Like bom bom. Right? And you make it around. So, kat, from your new position, you can see that, yes. There's a chair, very standard wooden, normal chair with Pierre tied to it. You can recognize Pierre's face. He's got a burlap sack or a hessian sack over his head, down to his collarbone, so you can't see anything coming out of it. The chair is tipped back just enough because in front of it, there is a goon who has, like, the most sinister long feather you have ever seen and is rolling it just, like, super slow up and over Pierre. The bottom of Pierre's exposed feet as a woman who is wearing, like, a black turtleneck. Very form fitting because it's the genre. So you can see not only what she is armed with, but also what she's packing. And then, like, brown, like, they're not riding pants, but, like, in that same kind of genre. Right? Like athletic trousers in an era before athletic trousers. Right? They're like a khaki color. Also has a holster on this one. Cat. From your distance, you can see that it is a Walther PPK. So a fairly. Not like the biggest pistol in the world, but a very spy appropriate pistol. And the goons here are holding submachine guns. Not like armed submachine guns, but, like, in their holster. So you have the woman who's pacing around Pierre. You have the goon at the foot of it, and there's a third goon who's kind of watching the thing, arms crossed, waiting to tell people they're not dressed well enough to get into the club kind of position. The two goons have submachine guns. The woman has a pistol, and, of course, there's the feather to consider. [01:47:57] Speaker B: I would like to be, like, one kind of level up. Like, it's basically, I want to be really close. I want to be one level up behind one crate so that, like, where I am right now, I'm just gonna wait and maybe listen, maybe, like, see if anything happens. But I can, like, very quickly just, like, jump down and be right there. But for now, I'm just, like, against the back of a crate. [01:48:22] Speaker A: And the questions are kind of weird. Asking about an island in Sitomeyang, which, you know, we discussed before. It's a. It's like, an indonesian island in that part of the world. Think, like, in the. In the malaysian archipelago or, like, near Java, that kind of part of the world. Lots of questions about U boats, about submarines, about, you know, what. What did you learn about this? And, like, some of the other stuff's not gonna make sense to you. I will reveal that if it. Like, if you stumble across something, you'll recognize it. Asking who he talked to, where he got the information. Pierre, for his part, is not. Is not cooperating. By and large, torture doesn't work to retrieve information from people. But considering that I have two brats in the room, I also know that tickle torture is not the way to get what you want. So you are all understanding how Pierre arrived in this mindset. So Pierre's not giving up the goods, but that's what they're asking about. U boats in southeast Asia, world war two history. Something about, like, nazis making a deal with imperial japan. Hey, um. [01:49:43] Speaker B: Oh, mandy, can I see? Uh, I'm gonna look. Look to Emma and, like, get in a position where I can see Emma, and I'm gonna make the signal. [01:49:58] Speaker A: You would definitely have. Oh, sorry. The signal, yes. But I also. You definitely have some kind of elaborate ham signal where you can be, like, two. Yes. [01:50:08] Speaker B: Like, the whole. Every signal is just, like, way more complicated than it needs to be, for sure. [01:50:13] Speaker E: I feel like it's interpreted dance, like. [01:50:15] Speaker B: On top of the crate, and every time Emma tries to signal back, I'm like, no, no, no. Your hand was supposed to be at 40 degrees. Yours was really morphed five. [01:50:26] Speaker A: I'd like to. So Emma's not getting it right. And so katarina pulls the guidebook out of the pocket and, like, flips aggressively to page 47, where it shows the correct gesture. Well, we know we can answer this, Emma. God. What's the interpretive dance skill. I will take. Agility, of course. Prestidigitation, obviously, or entertainment, if you have entertainment. [01:50:52] Speaker C: Okay. Okay, well, I have prestidigitation, so we're gonna run with that. Yeah, obviously, absolutely. [01:51:01] Speaker A: Of no consequence mechanically, but just to. [01:51:03] Speaker C: Set the narrative of 14 under 45. [01:51:08] Speaker A: Hey. Well, there you go. So, Katarina, more than still criticizing, right? Because that is Katarina's nature, that it is not as elegant and as well done, but the information getting communicated now. So, coming back from that, you said, Katerina, you want to give the signal? So I have two important questions. One, what is the. The signal? And then what? What are you going to do? What is the signal supposed to affect? [01:51:36] Speaker B: I think the signal is just for some kind of a distraction. I think it's vague signal that covers lots of different things, different situations, and I think it's a complex sort of series of small moves involving, like, attempt to dance and, like, taking on an earlobe. [01:51:55] Speaker C: But it's to be noted, very different from the other interpretive dancers. [01:52:01] Speaker B: Oh, yes. [01:52:01] Speaker C: So that's how I know that it's the signal. [01:52:04] Speaker B: Well, this one has the bit where you tap your nose. [01:52:06] Speaker C: Yeah. [01:52:07] Speaker B: It has to be on the right, not on the left, because that's the other one. [01:52:11] Speaker C: Exactly. Yeah. [01:52:13] Speaker A: This is like baseball signals when you're giving instructions to batters or to base runners. All right, I. You have received the signal. So, Emma, you kind of. It's heavy. So you give them a little shoulder, and then maybe into it, this crate goes falling off back in the opposite direction of where those things are. The crate smashes to the ground and explodes. What was in it? What is the ground now covered in? [01:52:42] Speaker C: Chicken feathers. Imported chicken feathers. [01:52:45] Speaker A: Chicken feathers, yes. [01:52:47] Speaker C: Yeah. [01:52:49] Speaker A: Crate was meant for a very low class pillow company. Yeah. Just like. So you then say the camera's up on you, you push it off, and the only way you find out is because, like, a wily coyote cloud of chicken feathers comes up and starts to descend. [01:53:03] Speaker C: Exactly. Yes. [01:53:05] Speaker A: So then. Yeah, so then over by Pierre, like, the guard are going through this, and then they all get that metro. You get metal gear, solid exclamation points on their head. And because it is a video game, only one goes to investigate, because that's how these things work. The woman who I don't think I mentioned, I stopped at what she was wearing and that she had big boobs and a gun. I missed the part where fiercely large red poof of hair, not like a curly extendo, like Miss frizzle hair, but just like the luminous, swooping. Imagine shampoo, commercial red hair, gigantic volumes of it. She barks in order to the person who is not currently tickle torturing. And he starts humming over in that direction. And he's got that low shoulder goon movement gun up, all close, tight wound, like a spring that can pop it anymore moment, like, honking over, like, very bouncy walk, because, like, the shoulders don't move. It's just the legs and the neck. And he comes around this corner. So as that happens, Katarina, what is the next move? Oh, man. [01:54:16] Speaker B: Any one of them's gone. [01:54:17] Speaker A: I want. [01:54:17] Speaker B: I kind of. I'm kind of thinking that we did discuss them doing a distraction outdoors, but I guess I don't know if that is actually going to happen. So I'm for. That would be. [01:54:28] Speaker A: What I'd like to set up is that I know what you're going to do, and we know what role we need, and then I know what they're going to do, and I know what role, and then we're going to roll at the same time and then see what mess happens simultaneously is. [01:54:43] Speaker B: So there's basically this still one lady and one goon with, like, direct eyes still on Pierre, like, right there. [01:54:54] Speaker A: I mean, the goon is paying a lot more attention to his feet, so it's true. [01:55:04] Speaker E: I don't know. [01:55:05] Speaker B: He's like, I want to get in there and get. Get him. We're gonna need some more distractions. So we're gonna have to have another distraction plan, basically, because. So I will. [01:55:17] Speaker A: I can. I can make a suggestion. [01:55:19] Speaker B: Yeah. [01:55:19] Speaker A: That, Emma, you've lured this person over, and then you have more crates. So if the first person comes over and then gets knocked out by a crate, that might attract the attention. [01:55:32] Speaker C: Yeah, I can do that. Absolutely. Find more chicken feathers to drop. Yeah, absolutely. [01:55:38] Speaker B: Join in with just obscuring everything with chicken feathers. [01:55:42] Speaker A: Or you can set it up so that you're like, yeah, okay. So the first signal was, like, stage one of the chicken feather plan, which is weird that you knew that in advance, considering we didn't know, but it's a weird coincidence. Like, conduct operation chicken feathers, and they fall. You're like, oh, shit. How about that? And then, like, if. I guess, Katherine, if you want to be similarly positioned, where now you can push them together and try to simultaneously knock out two people and then only deal with the woman or something like that, I'll let you simmer on it while I turn over to. To Frederick and to Sonia. So, still out in the rain, the boxes is beeping just nice and pleasantly quietly. Totally, like, sound from, like, once the engine's going, no one's gonna hear this thing until the car stops somewhere where it's not raining. Tell you that for sure. You have the van and you have the other Mercedes. The van has the two people by it, and then the Mercedes has just the one, so. Mercedes. [01:56:36] Speaker E: Yeah, perhaps Mercedes, but only, like, I'm assuming that this guy is over on the passenger side. [01:56:43] Speaker A: So they're, like. They're leaning on the hood. Kind of like not leaning on it. [01:56:48] Speaker D: He's gonna go for a rest. [01:56:48] Speaker A: They're standing at the front of it. [01:56:51] Speaker E: Okay, cool. [01:56:53] Speaker A: You hear him kind of burbling. I think there's room for whiskey and cigars tonight, so that the van is the one you want to. [01:57:04] Speaker E: No, no. [01:57:06] Speaker A: Okay. [01:57:06] Speaker E: Sorry, Mercedes. If they're sitting on the hood, then they won't. They won't be looking behind them. What for? [01:57:14] Speaker A: Oh, I was referring to the van. Sorry. The two gentlemen who are at the van. The ones who are kind of, like, leaning back against the hood. The one on the Mercedes, like, still kind of leaning, but it's unfair for me to just take it away from you. So I'm going to roll dice, and if I roll high, we'll say he's leaning on the driver's side. And if we say low, he's leaning on the passenger side. [01:57:32] Speaker E: Okay. [01:57:34] Speaker A: Which is not great news, because he's leaning on the driver's side. [01:57:37] Speaker E: Right. Okay. [01:57:39] Speaker D: What if we were to spend story points to make him walk away for some reason? Maybe some sort of raccoon or something. Does something by the fence and makes a lot of noise? [01:57:57] Speaker A: Are there raccoons in Paris? [01:57:58] Speaker C: No. [01:57:59] Speaker A: What is an appropriate. What is an appropriate french mischief rodent? [01:58:05] Speaker B: Very specific, that. You need a mischief rodent. Maybe it's like a badger. And, like, he's just really into, like, wildlife. He's like, oh, badger. I don't see those very often. [01:58:17] Speaker C: I mean, we could do foxes, because foxes are. [01:58:20] Speaker B: It's kind of mangy and boring, though, you know? [01:58:22] Speaker C: No, but they scream. [01:58:24] Speaker B: They scream. [01:58:25] Speaker C: They sound like people screaming. [01:58:27] Speaker B: They sound like they're dying. [01:58:29] Speaker E: That is, like, one of the most terrifying nights ever. Coming back late, and they're just being foxes, screaming in the dark down this long path. [01:58:39] Speaker A: Very elaborate. I like the idea of a badger, and then the distraction is there. Okay, so I will say, like, I have two story points. You can get them away from the car. If you wanted to spend more, we could talk about, like, how elaborate this gets. But we can say, let's oh, God, what would it be? Yeah, so there's a trash can. Of course there is, because it's my game and I can sit the trash can, and then there's a badger that is, like, rooting around in it. This is a two story point thing. And, like, this goon, he lives in undersea bunkers and arctic research stations and dangerous dungeons, right? He doesn't really see wildlife that often. And the badger just kind of, like, thunks up the side of it, tumbles in, knocks over, and is, like, rooting around for food. And the guy is like, oh, holy shit. You see a badger? And everyone's like, oh, yeah, badger. He's like, oh, no. But he's adorable. Look at that little, like, trash pandas, raccoon. So, like, look at this little trash fennec fox. And the guy's like, no, that's not their animal, man. That's not how the metaphor works. He's like, shut up, James. I don't know those kinds of things. I'm like. Anyway, this conversation kind of goes on, and it's what? He's like, well, this is adorable. The little guy is just hungry. So he steps away from the front of the car and then turns and is, like, reaching into his pocket for some kind of, like, a wrap of chocolate or whatever. He didn't go to biology school. He doesn't know goon. [02:00:04] Speaker D: They don't teach this at goon school. [02:00:07] Speaker A: So here's. Hey. For two story points, that's what's happening. He's gonna pee at chocolate. For six story points, we can say that the other person is channeling trauma. Katerina. And being like, you can't feed it chocolate. And a larger argument erupts that distracts more of the guards. [02:00:22] Speaker B: Wait, how many? [02:00:22] Speaker D: I only have four story points. [02:00:23] Speaker B: How many? How much do I have to spend? [02:00:26] Speaker A: Let's say six. [02:00:28] Speaker E: Can we combine? Can we combine story points? [02:00:31] Speaker A: I don't know for sure. I'll say, like, one time ruling now. Yes. But I will go check the book, and then if I'm wrong later, we'll have to do it the right way. So if you want to put your story points together, I'm willing to put. [02:00:44] Speaker B: My story points into saving the badger that we brought into existence from being potentially poisoned, or at least, like, having very unhealthy diets. [02:00:56] Speaker A: So that's. Sony's spending four. Kevin is spending two. [02:01:00] Speaker D: Yeah. [02:01:00] Speaker A: Okay, so then, yeah, this erupts, and the guy gets in this. He's pulling out the chocolate. He's unwrapping it. And we'll say one of the guys at the van who did, he applied for the job thinking he was going to get said, like, work with animals. I've always wanted to be a vet and he might know it's an evil one. Trained dolphins or attack dogs or whatever, or octopuses or octopi. [02:01:24] Speaker B: He thought it was like a marine science thing. [02:01:29] Speaker A: Oh, no. Yeah. He saw it was marine science, but he didn't see the comma, which was, we need marines who are also into science. So, yeah, classic paperwork blunder. So then, yeah, they start, like, erupting and then shamini. In your real life, as a nature documentary kind of person, why is it you shouldn't feed them chocolate? [02:01:51] Speaker B: It's very high in sugars and fats and they probably have to eat quite a lot of it to be harmful. But just don't mess with the diet of wildlife, you know, let them have their little worms eating from the trash. Yeah, you probably shouldn't be doing that. I don't know what the bud is doing now. I think I. Industrial wasteland with a rubbish bin. Like. [02:02:12] Speaker A: But like, anyway, 1960s Paris. They're not eating. It's not like a Greg sausage roll that's in there. Right? Like, they stopped by a local bakery to get bread, made a sandwich. Right. This is before the processed food thing tipped off. [02:02:24] Speaker B: It'll be fine. The bunch. [02:02:25] Speaker A: Fun. Make an acceptable list of things that I'm allowed to feed to badgers. That way I know in the future we're trying to distract animals and games. [02:02:32] Speaker C: That'd be great. [02:02:32] Speaker B: Thank you. I appreciate that. Gotta get a. [02:02:35] Speaker A: We commit hard to narrative and durst miltitude here at Queens court games. Anyway, so, like, this argument is erupting. You can't feed it to chocolate. You're gonna shut down its poor little badger kidneys, you're gonna give it badger diabetes. And the guy is like, ah, where'd you read that? It was like, I. Documentary. It's David Battenborough. A live stream. David Battenborough. Oh, you're watching the british tv. And then it explodes into this huge, big thing. And now they are all just come. Like every. Every little argument sparks up another one. So the guy's like, oh, you're watching. And then the other goon at the van, not the one who was only about peanuts, like, oh, what do you have against David Attenborough? And now they're all in it. It's getting out of hand. [02:03:11] Speaker B: Are they all french or are they, like, multilingual? [02:03:14] Speaker A: We'll say they're multilingual international organization. Which part of why this argument happens, right? Because like, french pride and english pride and german pride all kind of crushing into one another. And, you know, we all believe in the octopus, but you gotta represent your hometown. So on that, Frederick, will you make a mechanics role for me? I believe it's going to be how we set this up, or, Sonya, I think you also have mechanics. Yes. [02:03:42] Speaker D: But yours is probably better than mine. [02:03:47] Speaker E: I do believe it is a. [02:03:53] Speaker D: Mine is a 45. Machinery. [02:03:59] Speaker E: Yeah, sorry, machinery. I was like, mechanics? What? No, yeah, machinery is 65. Oh, no, I rolled a 77. [02:04:12] Speaker A: Oh, no. Well, you get a story point. [02:04:17] Speaker C: Storyboard. [02:04:18] Speaker E: Yeah. Like, can I put forward that? What happens is they're having this big argument. So it's like, up. It's all hunky dory. It's fine. We're gonna go in and, like, do this thing. So it's a case of, okay, putting down the. The rock on the thing. We've got the door open, everything. And I go to. I have, like, a wrench or something. I don't know. I thought I might need it. And I also put that down in there. And as the car starts moving, I haven't realized whilst they're having an argument, one of them has gone to lean on the boot of this car. And I'm like, oh, shit, I need to grab my wrench. So I go to grab it and the car moves off. This person falls right flat in front of me as I'm, like, leaving to get me. [02:05:28] Speaker A: This is excellent. It's like, ah, this is excellent. Yeah. So you get a story point. And because if you critically fail a roll, if you roll doubles above your skill, it's a critical fail. So you get what's called negative karma, and that is some kind of penalty that carries on to the next bit. So we'll say that. Hold this situation, because now we need to know what's happening inside. So whatever comes with Katarina and Emma will happen at the exact same time that this goes wrong. Were we gonna go with double crate situation? [02:06:04] Speaker B: Yeah, I'm gonna reach into a crate first, grab some feathers, and then position myself and three, two, one it with Emma. But I want my crates to be, like, right next to Pierre. So that whole area is gonna be sucking it full of feathers. [02:06:21] Speaker A: I will say that you want a different pile of crates. So if you want your crate to be full of something else, totally fine by me. Unless this. It'd be if this is weirdly specialized in just chicken feathers, totally fine. [02:06:32] Speaker B: I really like the feathers because they could, like, fly up into the air, and then everyone's like, I can't see those feathers. I'm like, that's so good. That's so good. [02:06:40] Speaker A: Warehouse full of chicken feathers. Love that. [02:06:41] Speaker C: That's so good. [02:06:43] Speaker A: Yeah. All right. I think in this case, I'll take strength. I will take agility if you'd like it. That's. Oh, maybe there's an argument for melee in there somewhere, but I don't think that helps folks. [02:06:58] Speaker C: Melee helps me way more than strength or agility. [02:07:02] Speaker A: Okay. [02:07:02] Speaker B: Emma's trying to hit people with it. [02:07:04] Speaker A: Yeah, that's fine. [02:07:04] Speaker C: Yeah, yeah. [02:07:06] Speaker A: On the table. I just actually didn't think that you had Melee, so. Yeah, any one of those three things, whatever, is the best for you. [02:07:17] Speaker C: Well, this is upsetting, and I don't have any story points to fix it, so I rolled a 52 over 45. [02:07:24] Speaker B: I rolled an 87 over 75, and also do not have any story points. [02:07:28] Speaker A: Well, um, I'll do this for you. Anyone who wants to fail so bad they fall with the crate gets two story points. [02:07:37] Speaker B: Can I. Can I suggest something for myself? Just sort of assume that it's working and assume that it's gonna work. Give it a shove, leap down, throwing more feathers into the air, possibly going, haha. And then just realize that, like, it's still there. Like, it just tipped slightly and then tipped back. [02:08:01] Speaker A: Absolutely. [02:08:02] Speaker B: There's just, like, a few feathers. [02:08:04] Speaker D: Just. [02:08:07] Speaker A: So as a general, general mechanic in this game, if the players either fail a roll on purpose or, like, aggravate the failure by putting themselves in a worse position, that's a way for them to generate story points. [02:08:17] Speaker B: So, Emily, you saw my complication, if that helps. [02:08:21] Speaker A: Oh, this is something special. [02:08:23] Speaker B: Well, my. Well, I mean, I think we're doing it anyway. But my complication. Oh, no, this is not the correct complication. Oh, no. Complication is specifically about pitch and things that kind of. [02:08:35] Speaker A: So, yeah, yeah. In this case, story points for that. Emma, if you would also like to catastrophize the situation for story points, you have that option. [02:08:44] Speaker C: Oh, yeah. No, because what happens is mine gets stuck, right? There's, like, a nail, and it gets stuck on the crate next to it. And so I push just a little bit harder because the dude is walking. He's, like, right there, and I push a little harder. And the problem is, when it finally breaks, I'm. I'm not. I have not completed the push. I am right in the middle of it, and the momentum just takes me forward right over the edge. So as the crate falls and shatters and the feathers come up. I am also now on top of this poor man, assuming it's a man. Cause it's, I don't know, whatever. And I have fallen on top of him and there are feathers everywhere. But, hey, I'm on the ground floor now, so that's fun. [02:09:28] Speaker B: And it's probably like a really comfy landing for you both because you just got, like, a nice little down. Layers everywhere. [02:09:34] Speaker C: Yeah, exactly. It's very, very, very fluffy. [02:09:37] Speaker A: There's only one more thing that I'll add to this, but we'll get the picture all together. So all of you, bless you are ready to go. Operation coming together. Frederick accelerated her down. Reach for wrench. Man falls over and it's just like, do you retrieve the wrench? Or. No. [02:10:00] Speaker E: I think that is, like, my singular focus. So I would have retrieved it. And then once it's kind of like back in hand, turning Sonia to be like, okay, we've done it. Gotta go and see this person all in front of me. [02:10:17] Speaker A: And I go, okay, so you have wrench in hand. And then he is like, stumble, splayed out, looking up at you. Sonia, at this point, it interrupts the argument. We're no longer worried about what is okay to feed badgers. So this noise happens, and they all are starting to turn. They see you and now, like, weapons are getting drawn and all that. This isn't like a, hey, you're not allowed to be here. Like, go away in video game pods, like the red zone, immediately hostile, as opposed to escort you back out hostile. So, like spy movie. So this happens, and then the camera just shows them all getting their guns to point in at you, right? Like in the kind of, like, Austin power sense of, like, the goons pouring through. They're all there at the same time inside Katarina. You push it. I want to say it doesn't get stuck. I want to say that it's on a chain, so it just swings along like a glide thing, like a trolley on top. [02:11:16] Speaker B: Feels like it's going, but it just gotta go. [02:11:18] Speaker A: Yeah. [02:11:19] Speaker B: Now it's over there. [02:11:20] Speaker A: So Emma falls on top of this guy, kind of like rumbling and bouncing around. Katarina jumps down, lands, like, perfect cat, blur to landing, throws them up, and then, like, everyone just turns and looks, and it's just like, the camera just sees the feathers falling down and then the squeak of the thing just, like, rolling in the middle above you, looking upwards, look. [02:11:47] Speaker B: Oh, I thought that was right. Sorry about that. [02:11:52] Speaker A: So in a panoply of languages, you hear the command of, like, oh, get them. Cause, like, first of all, Kevin, they know you. The other ones are interlopers, but they know you. And this is what the situation is. Emma. You are both surprised, so it kind of washes out. He is surprised that he got fell upon. You are surprised that you fell. So that comes out in a wash. Katarina. Again, both of you, no surprise advantage for either one of you. Sonia and Frederick, because you have been caught, like, unprepared. It's gonna be an initiative penalty that they will get to go first. So bad karma, this is the penalty, means you get zero initiative. Frederick, you're gonna go last. No matter what else happens. Everybody else, you will roll your alertness. If you succeed on this roll, you add the value of the ten and the value of the one die together. If you fail, it's just the ones die. [02:12:57] Speaker E: So, like, if it's bound to fail us anyways. [02:13:02] Speaker A: There you go. [02:13:05] Speaker D: Um, I failed. I got a 70 over 65. [02:13:09] Speaker A: Oh, zero. [02:13:14] Speaker D: I was also surprised. I like checking the exact wrong areas, being like, you know, and then I turn around, see car move, see person fall, and then also just be like, yeah, mm hmm. That's a problem. [02:13:32] Speaker A: Oh, Catherine, what was your result? [02:13:34] Speaker B: 98. [02:13:35] Speaker A: 98. Okay, so I got an eight. I got a six from v. Fairly low. It all doesn't really matter, because on them, I rolled a 17. So, in the same word we talked about, Emma, you've got, again, two. Hot dog. Goon. He's there. He's landed upon you. He can't quite reach his pistol. And also, that would be very, very weird, but he can reach his two gigantic ham fists. So you are immediately in. In a wrestling match with this enormously big man. He is going to attempt to punch you. No, that's my jealous rolls. A 69, which is nice, but not below his score, so he does not do damage there. Just still hand first, going to punch you, hits, feathers, those pop up, et cetera. What was that? [02:14:32] Speaker E: Frederick, that was a terrible joke. [02:14:36] Speaker A: Oh, I know. [02:14:39] Speaker E: I was just saying, is that how Emma landed? [02:14:45] Speaker A: Now I understand why the violence isn't connecting. [02:14:48] Speaker C: Terrible. [02:14:51] Speaker A: He's not gonna swing at her face when if he misses, it's going, you know. Right, like Katarina, the person with the feather can drop the feather. But let's see what happens with this violence first, because. No, that is a 60. So in this case, I'll say that, like, the one there has a stiletto dagger that he's reaching for, but in the commotion, he runs up to go to stab you, but still has the feather in his hand, so he, like, comes back with his hand, like a Michael Myers stabbing motion, and then just, like, feathers you in the shoulder. Sweet. Then that's that goon for the others of you. Yeah. We've got ems in some weird shit. Katarina's falling into a fetish. Oh, God. It's like a whole thing for Sonia and for Frederick. Frederick, the one who's in front of you, is prone, so has to spend a move at to get up, but can still fight on. That result is a five. So it does connect the fists, doing three d six damage. The way the damage works in this game is you roll however many d six, and then every one that is a four or higher counts as an in three. So that's. No, no, and yes. You'll take one point of harm or lose one point of vitality to Frederick. To Frederick. Yeah. As this comes, you know, bapt in. Now, Sonia, you are, like, caught dead ass out in the open at range. But if I remember, you were. You were standing near the van, right? Or the mercedes. You were near a car. [02:16:29] Speaker D: Yeah, I was near. I was like. Because there's the mercedes be sent on a collision course with the wall. And then there's the other one that we put the tracker in. And then there's the van. I'm next. I'm right next to Frederick. Next to the one that we put the tracker. [02:16:42] Speaker A: Right. So they're not gonna shoot at their own car, right? They're goons, but they're not, like, total idiots. So in that case, they will use their move action to close in with you. And then that's the two of them. They're gonna try to get punchy. Oh, that is a 44, which does pass. I don't remember there being anything about critical wounds, but it leads to good karma. But good news on the damage front, I have rolled two ones and a three. So the first attack doesn't do you any damage. The second one is an 81 and doesn't succeed. That is the initiative of the goons. But the problem is, Katarina, you have this fierce redhead woman, and for the purpose of explaining things at home, there are the three tiers of enemies. You have just like normal red shirt goons. You have sergeants or lieutenants. It's like the underbosses, right? And then you have bosses. And as you go up that scale, they get more and more sophisticated powers. They can use abilities and things like that. And the one that you're facing is a boss. She has three tags. The first is multi attack. So she can attack three times a turn. The second is counter attack. So anytime that you attack her, she gets to attack you back for free. And the third, perhaps the most dangerous, is flips. Means she can flip her die the way that you flip your die three times. So octopus boss level agent turns and, like, sees you jump. And also, once the feathers have cleared, it's very, very well. Well, can I. [02:18:19] Speaker B: Can I say. Can I say that I dodged the feather and did a dramatic spin and just ended up face to face with her? [02:18:25] Speaker A: Oh, absolutely. Absolutely. So then face to face with her. And there's probably also, like, a little bit of, like that when in a movie fight scene, like, they're punching each other, there's nothing connecting. And then if it's a sword fight, they always lock blades and end up face to face. There's a little bit of that element to it too. So you end up just, like, nose to nose. And she's like, well, well, well, if. [02:18:46] Speaker B: It isn't the white ribbon my reputation for precedes me. So. [02:18:55] Speaker A: Yeah, you see? And then she goes, yeah, but it ends here. And then goes into the attack. So the first free action she gets is to yell to the goons and alert everyone who has not been alerted that, like, they need to go based on the instructions. I'm not gonna do the whole monologue, but it's like, anyone who is not currently beating the hell out of an interloper, grab Pierre and get into the van. I actually kind of like that idea where it's, like, very, like, um. Like a. Like a Tesco announcement over the speakers, like, attention, octopus agents. There is an intrusion on level one of the warehouse. Anyone not currently engaged in combat, please take the host. Right. You know, that kind of thing, but. So she gets three attacks. They're all melee, which is the worst of her. I'm sorry. The better of her skills. And unlike the other person who can't remember her knife, she has one first one does not succeed, the second one does. And the three one's a nine. Okay, so it's two successful attacks. Each one does four d six damage, which is. [02:20:02] Speaker B: I don't have that much fragile. [02:20:04] Speaker A: Well, they've only gotten two successes so far. Okay, that's four total. So across these three attacks, the two of you are scuffling back and forth. You're gymnasting. She's fighting back, you know, in a. Again, like, very, um. I'm thinking, like, uh. Like, Liam Neeson taken fight scene. So it's kind of brutal, right? Like, just a bunch of, not only the clouds of feathers flying around, but also those are very Batman like. Bamdeh. Ow. Right. [02:20:34] Speaker B: So the injuries to vitality flute are supposed to be, like, injuries, right? [02:20:40] Speaker A: So there's three kind of ways to do it if you're just taking vitality points. It's like Bruce Willis in die hard where, like, gets bloodied, but it's still completely functional. Right. Okay. Okay. As a player character, anytime you take damage, you can say, no, I don't, and become wounded instead. And then that's like, I got, you know, that's when I got shot in the shoulder. I can continue action. Moving, and, oh, I got shot in the gut. Now that things actually have affected me. So it's your choice anytime you take damage, whether it's one or four or 20 if you want to take wounded instead of being damaged, but at this point, it's four damage from a knife or four vitality damage from a knife. That on the table. [02:21:20] Speaker B: Okay, well, I'm still up, so I guess for now, it's better to be up. [02:21:27] Speaker A: And so that's all of their actions, and now it is your turn. Collectively, whoever wants to go first is fine by me. You're all kind of individually off. [02:21:44] Speaker C: Yeah, I mean, this guy's trying to punch me, and I don't have weapons, so I would like to try and kick him and run away. [02:21:57] Speaker A: So combat wise, you get three actions in any given scene. You get a free action, which is like, pick something up or yellow instruction. You get a move, action, which lets you go from zone to zone in combat, and you get a main action, which would be, like, attacking or reloading. You can do this in any order you want. So if you want to kick and then run, totally fine. It would be melee for kicking, of course. [02:22:17] Speaker C: Mm hmm. [02:22:18] Speaker A: Mm hmm. Camera keeps forgetting that I exist. I'm getting in and out of. [02:22:22] Speaker C: I know, I see that. All right. All right, come on. Here we go. Uh, pla hydro muffins. Well, that's a 96. It's not as bad as it could have been, but, um, still a 96. [02:22:38] Speaker A: In a surprise position as canonically decided to play Frederick, if you were in a very awkward position, moment to go. So extracting yourselves and trying to fling around like neither one of you has managed to punch each other, you're just mostly trying to get away from the awkward position. [02:22:51] Speaker C: You know what it is? These damn chicken feathers are so slippery. So I'm trying to, like, get up and, like, get enough leverage to be able to kick, and it's just, I'm slight. It's not happening. [02:23:03] Speaker A: Oh, my God. And you're also soaking wet. [02:23:05] Speaker C: Yeah. The feathers are sticking everywhere. At this point, I just look like a giant chicken. It's really bad. It's really bad, guys. But even though the kick does not connect, like, there's feathers flying everywhere. I have no idea. Like, I'm not. I'm not hitting him. Whatever. I don't care. I'm gonna leave him there with the feathers, and I'm still gonna run away. [02:23:29] Speaker A: Yeah. So the move action's fine. Are you running out of the warehouse? [02:23:33] Speaker C: Yeah. I don't want to leave Kat, and at this point, I don't know what's going on with her, but I know that she was going into the place where there were at least two other people, so I'm gonna head in that direction. [02:23:55] Speaker A: Yeah. So let's just, for the sake of things, establish that there's a zone where cat is. There's, like, the central open space. Then there's, like, the north of the warehouse, which is a zone with the Maisie bits. There's. The south of the warehouse is a zone with the mazy bits. The parking lot is its own zone, and then escaping in any direction is another zone. So if you want to run out the north of the warehouse from the spot where pierre is, you would need one move to get to the north part of the warehouse, and then another move to get out. Those of you who are in the parking lot, it's only one zone for you to run out. But remember, all the enemies also get a move. Action, so they can pursue. All right, so we know that Emma. This is funny, because as Katarina is dancing around with this boss character, you see Emma coming around the corner, but it just looks like a chicken has entered the fray. Then we turn, then, to Katrina. You have actions. Sonia, frederick, one of you can go. [02:24:54] Speaker D: I was gonna try and engage in some fisticuffs with whoever's closest to me. [02:25:00] Speaker A: Yeah, absolutely. Totally. Do you have a melee weapon at all, or are you just fighting? [02:25:06] Speaker D: I do actually have a. I have a dagger themed, just, like, a boot knife or something. [02:25:16] Speaker A: Matters for the purposes of damage, because the dagger will do more. Because you are all in the same zone. You don't need to move to fight one another. It's assumed that you can make that, like, three or four steps or whatever. I don't like. Indeed. D and D. It's like, five foot free step or something like that. Same kind of basic principle applies. So proceed on with your fighting. [02:25:38] Speaker D: Well, that is a 67 over a 45. [02:25:42] Speaker A: Man, it's slippery as shit out here. [02:25:44] Speaker D: So even as I think that's really what happens, there's an incredibly slick spot on one of those, and I just kind of go careening, like, I think, over the hood of the other mercedes. Like, I overshoot a little bit too much, just kind of slide right over the hood. [02:26:01] Speaker A: Love that. And it seems, like, totally meant to, but, yeah, no damage being done there. Frederick, you have a move, a free and a main action. [02:26:13] Speaker E: Yeah, the only problem is that I have this complication. [02:26:20] Speaker B: Oh, no. [02:26:22] Speaker E: So Frederick is kind of just standing there, holding the wrench, going. [02:26:34] Speaker C: Unexpected. [02:26:38] Speaker A: Will you explain the complication as a rule for the audience? [02:26:43] Speaker E: So, essentially, obviously, we all have complications. This complication is combat paralysis. Frederick is not one to engage in fisticuffs or fighting because that's not what their design forms. They like to make stuff, and it's a purse, and it bleeds. It doesn't have oil to change. So in this case, I'm forfeiting this action, these actions for this turn. And in lieu of story points, if. [02:27:28] Speaker A: I understand it correctly, you can take yourself out of a turn and get some story points, or you can take yourself out of the scene completely and get a lot more. I can look in the book, I want to say it's two six, but it's also possible that I've just got those two numbers in my head permanently. [02:27:46] Speaker E: That is definitely the case that you get more if you. Aha. Three points for making a task seem more difficult or failing a successful task or taking condition. Six points if you write yourself out of a scene all together. [02:28:06] Speaker A: So we can say that you get three if you give up this turn and then let them come at you. You can get six if you just. Oh, I surrender. You caught me. Oh, shit. [02:28:20] Speaker E: I imagine that this turn looks very much like a. Oh, this was unexpected. Drops the wrench, hands up to, like, try and back away, but kind of slips and lands all the rest. [02:28:41] Speaker A: So do you want. You want the three just for now, or do you want the six for being done? [02:28:47] Speaker E: I'll pick the six. [02:28:49] Speaker A: Okay. [02:28:49] Speaker E: The gift out. [02:28:51] Speaker A: So then, as a. We see the camera shows it's panning, right? We'll have, like, an action cam. So, like, you imagine a camera, steady cam, who's following Sonia as she runs forward, and then that, like, swing misses, and it slides across. And then Sonia ends up kind of, like, on her ass, but, like, in the same shot as Frederick, who has now, like, got this hot dog, man, like, staring down and, like, getting ready to haul them up to their feet and process a prisoner, in whatever sense, all of that happening. Katarina, face to face with the left hand of the octopus. The second left hand, not the third left hand. Cause, you know, octopus, lots of hands, but a boss figure of the agency that hates you and you hate them. [02:29:37] Speaker B: Katarina is really excited right now because they know who she is and, like, you know, she matters like this. I don't know, this just feeling really good about herself. And I am going to basically, I want to do some really freaking impressive gymnastics to escape from this situation, but I'm going to invoke my overconfident complication and take minus two pips to acrobatics. [02:30:19] Speaker A: Okay, so in terms of mechanics, are you. You're not going to attack for the. [02:30:24] Speaker B: Rest of the scene? No, I'm trying to let dodge away. [02:30:26] Speaker A: Okay. So if you want to move, if you as your main action, you can do a double move. So instead of moving one zone, you could move two, which means if you succeeded on whatever check came next, you could be totally free and clear of the. Of the room. [02:30:42] Speaker B: Awesome. [02:30:44] Speaker A: But it would be the agility to dodge incoming attacks to keep your footing on top of all the feathers that are everywhere and make it out. But if you succeeded in that agility test, then you would be free to say, I am now outside the warehouse, north, south, not south, north, east or west, because that's the parking lot. [02:31:03] Speaker B: If I invoke my complication and therefore I'm taking minus two pips to that, would that cancel out my acrobat ability, which I have been forgetting to use, which is, like, plus two pips and, like, use story points to flip things and stuff. [02:31:22] Speaker A: It wouldn't cancel it out and that you wouldn't be able to use it. We would end up in a situation where you get negative two pips for overconfident, but then plus two pips for acrobat, and you'd be at a normal roll. And then if you do fail and need to flip it, you can still use story points to activate the acrobat ability. [02:31:43] Speaker B: Cool. Okay. [02:31:43] Speaker A: Right. [02:31:44] Speaker B: In that case, I'm going to try and do. Yeah, basically, I just want to overconfidently do an over overly showy series of flips away. [02:31:58] Speaker A: Why escape just by running when you can escape by doing it? [02:32:02] Speaker D: Yeah. [02:32:02] Speaker B: Emma might be looking. The chicken. Is the chicken looking? You know, this could go in the. Oh, that was a 91. What does that mean? It's not great. [02:32:16] Speaker A: Well, if you have story points, you can spend two to flip it to a 19 and succeed, else there will be some kind of complication that comes. [02:32:25] Speaker E: Okay. [02:32:26] Speaker B: Yes. And then I'll use two story points. Okay? Yeah. Okay. I'll use three story points to flip that for 19. [02:32:34] Speaker A: Okay. So in that case, then you can. You've succeeded. You get to make two move actions. You can leave this, the warehouse, completely, if you'd like, or you can be in the. In the parking lot. Those are kind of the areas you can reach. You can escape the warehouse entirely. No one's gonna be chasing you. They just want to get out with Pierre. Or you can join what's going on in the front. [02:32:56] Speaker B: I will go to the front. Given that we haven't heard anything. We haven't heard any. The noises. [02:33:01] Speaker E: Right. [02:33:02] Speaker A: I mean, there's. There's. There's kerfuffle going on everywhere, so. [02:33:05] Speaker B: That's true. And it's raining because the loudness of the rain. I'll go up top. [02:33:08] Speaker A: I'll give you the benefit of the doubt and say that you're not charging out the front door. That, like, you're coming down that side path. So, like, if you. You get there and you see that they are being, like, there's still fighting going on. [02:33:19] Speaker B: Wait, I can't leave Emma because Emma's a chicken. Can I use one of my movements to do a flip? And then the second bit of my movement, can I, like, I don't know, donate it to Emma or slow us down to a. Both? [02:33:37] Speaker A: No, it's gonna be your moves. Will be your moves. So, like, thinking cinematically, right? Like, yeah. How are you going to, like, backflip harder to help Emma backflip. Right. [02:33:49] Speaker B: Backflips solve everything. Okay, in that case, I will backflip. Okay, in that case, I'm not gonna leave. I'm gonna backflip round a crate so that I'm away from the ladies. So she's like, oh, where have I gone? Oh, I've disappeared. And then I'm gonna backflip back out again, but in front of Emma and say, shall we go. [02:34:13] Speaker E: Please? [02:34:16] Speaker B: And I'm gonna basically put myself. [02:34:19] Speaker A: I didn't hear Vy's. Vy. You said, can we go? And Vy said something, but I didn't hear it. [02:34:24] Speaker C: Oh, I just said, please. [02:34:25] Speaker A: Oh, okay. [02:34:27] Speaker C: Just, like, a really sad. Like, I am just a sad chicken feather covered girl right now. Just please get me out of here. I'm cold. I'm covered in feathers. Please, can we go? [02:34:38] Speaker B: And I'm gonna just put myself in front of Emma and any, you know, folks who might be looking so that Emma has more time to climb up, run out, whatever it is. [02:34:51] Speaker A: If you're only doing the one move action, you still have a regular action. If you want to punch a goon, if you want to punch your arch nemesis, or if you want to. [02:35:00] Speaker B: Can I use that action to be some sort of, like, holding defense thing? [02:35:05] Speaker A: Yeah, you can hold it. [02:35:06] Speaker B: Yeah. So basically, yeah, I'm basically wanna, like the next person who tries to get Emma as she's trying to get out. I will try and get. [02:35:15] Speaker A: Okay, doke. So Frederick, in the process of surrendering Sonja in a bit of a scuffle, sliding across the roof of this Emma, covered in chicken, essentially zone wise, pinned between the goon, who she is intimately familiar with at this point in time, and then the tickler and the, the boss character. So it goes to their actions. Now, Frederick, the one who is above you is going to try to subdue you. I guess you can go willingly, or we can have him just beat you until you go along with it. [02:35:53] Speaker E: I think it's going to be willing. It's very much like the previous one too. Punch the last time was enough for me. [02:36:04] Speaker A: So that puts you in a cool position, because if you, anytime that a character is captured in troubleshooters, you get nine story points. [02:36:14] Speaker E: They give me so many story points. Okay. I think I have to spend them at the same time. [02:36:19] Speaker B: Yeah. Do you have to use them now to try and escape? [02:36:22] Speaker E: It's because I had, I have eight already through my complication taking me out of the situation. [02:36:28] Speaker B: Oh, my God. I think you can only have Max out at twelve. [02:36:31] Speaker A: Yeah, you max out at twelve. So, I mean, because it gets to the same place, it's not so much a big deal. I think if you say, well, I want to be captured, that is an extended version of the scene. Right. So in this one, it's not going to matter as much. But imagine we were having a car chase and you said, I want to be captured. That could mean the enemies pull you into their car and now, like, you're like, no shit, captured, right? In this case, you can say, I want to be captured, and then, like, they're gonna tie me in the warehouse or they might throw you in the van, who knows? But that's the distinction between, like, I am captured and will be removed from the scene, like, to somewhere else, versus I am not going to fight. But if the other three people win, then it's okay. Right? That's why the one is worth more. But because it kind of ends up at the same place. Or at least I know it will. Like, the nine and the six, it's all the same dish. We haven't, like, changed the narrative. The overarching point is that Frederick is like, I'm not gonna fight. And they're like, cool. Like, hope you like being tied up. Cause you're getting tied up. [02:37:28] Speaker E: Yep, I'm going. That's. Yes, I'm going willingly. [02:37:34] Speaker A: I didn't mean it like that. But then I saw vani smirk at me, and now it's gotten dirty again. [02:37:40] Speaker C: I'm so sorry. You said. I just. [02:37:43] Speaker D: You said the words, I need to be more careful. [02:37:46] Speaker A: So then with Frederick, then what's funny, what you see is Frederick being, like, hauled up. And then they don't have zip ties in 1860s, but being handcuffed or otherwise secured and then shoved in the direction of the place. Now, that means there were four goons out here. One is escorting Frederick. The other three are there. Now you slipdenne off the hood. So is the distance clear enough for him to take a shot? I don't know. I think the two of us have the one of them that is furthest away, probably the one who had these. The one who was smoking and had the strongest opinion about not feeding badgers chocolate has the pistol out now and then will shoot before the other two move in. Because, like, you know, they're goons, but they don't want to shoot their, like, offensive friends or work colleagues. That's just so much paper. Right, which is in 98. And they're using SMG. So it's not just like, one ping off. It's like you're on the ground, and then, like, he's got his submachine gun out, not aiming on the site, because they're goons. So it's more like hip firing. Rat a tat tat tat. And then, like, you're just crawling out of the way as these bullets ricochet all off the concrete. And then the other two of them come charging in. The first one does succeed on their fight, and the second one does as well. So that would be 66 total in damage. One success to three, four, and five total. Five. [02:39:12] Speaker D: That is literally my vitality. [02:39:14] Speaker A: Okay, so then you have some options. You can go out cold, which would lead you to being captured with Frederick, or you can take a wounded condition, but you don't lose any vitality. You just. You just end up wounded. [02:39:26] Speaker D: I think it's more thematic if I go out cold, that it's just I like scuttle away from these. And then it's just. They just come over and they just start wailing on me with those plums. [02:39:38] Speaker A: So, again, if you want to volunteer, you can be captured. So you get. You get rooted up, but you will get nine story points as they. They just dog pile down onto you. And then, like, next comic book scene, turn the page, and it's Sonia being hauled up next to Frederick that takes us to Katerina and Emma. So you don't know this is going on, but, like, judging by the sound wise, we can say you hear, like, the front door get kicked open and you can hear Frederick being like, all right, all right, all right, all right, all right. It's fine. Yeah. And Sonia, the same way. They're grunting like, get in here, so on. Or in French, like, leg it in here. Or German, like, das get in here. And then being hauled into the area. Now, the tickler goon is not pursuing either of you. Catering Remma. He is taking Pierre and Jean Tfo. The bad news is that the woman, this monster of nemesis, like, Pierre's getting out of here, and she thinks she has you made Katarina. So her move, action, brings her into the same zone with the two of you and Emma, like, no offense, but, like, she doesn't know who you are, especially care. So just one attack that she's going to, like, like, try to brush you out of the way like a fly so she can rededicate herself to putting the white ribbon in her place. [02:40:59] Speaker B: You've read more of the top magazines in which my exploits are described. Then she would know who Emma is. [02:41:04] Speaker A: Okay, there's a 42 on Emma, so that succeeds. And it's four d, six for the knife, which is 1292. Just two mentality. [02:41:19] Speaker B: Use my held thing to try and get in the way. [02:41:23] Speaker A: Sorry. No, but I didn't forget something that you get to defend, so. Yeah, it's an opposed roll on V's case. You can roll agility to try to avoid the attack. [02:41:31] Speaker C: Oh, great. Okay. [02:41:33] Speaker A: You have to succeed and roll higher than she did. [02:41:38] Speaker B: Can I do anything with the fact that, like, I'm standing here trying to defend Emma? [02:41:42] Speaker A: Um, it's like, you want, like, action from the previous turn, I have split the attacks. I suppose if you want to leap in and then make your defense roll against it, I'm fine with that. [02:41:54] Speaker B: We do both. We both defense. Yes, I would like. I would like to do that. Thematically, I would like to do that. [02:41:59] Speaker C: Yes. My defense is not. It did not pan out well, so I really hope yours did. [02:42:05] Speaker B: I don't. I haven't rolled yet, but I don't think I have. [02:42:08] Speaker A: It would be agility is the skill you use to defend. [02:42:10] Speaker B: Okay? Which I'm rolling straight right now because of reasons. [02:42:14] Speaker E: Okay. [02:42:16] Speaker A: And then if you succeed on this, then we'll say that, like, no, 98. Okay. Oh, my God. No, no, no. [02:42:23] Speaker C: Wow. I rolled better than you, but not by much. [02:42:26] Speaker A: Oh, no. [02:42:26] Speaker B: But it is very heroic. Emma, I just want you to know that I care about you, okay? [02:42:31] Speaker A: I know. [02:42:32] Speaker B: Completely self centered. [02:42:34] Speaker A: It's heroic and also overconfident. Right? You're like, I can pull this off. Putting yourself in harm. You've made situation worse. That would be two story points, just in the general sense of that. Plus, it's thematic for Katarina, you'd be like, excuse me. No, quite the important one. That's just the photographer. I'm the star of the story, right? [02:42:54] Speaker B: So I can have destroy points. [02:42:57] Speaker A: Yeah, it'd be two, because you made the situation worse. We are coming up to the end of the session. I don't know that. If you can see where, like, the dice pools are going, this is rough. We know for a fact that Sonia and Frederick are captured, and, like. No, I know Katerina and Emma. You have your hearts in it. I don't know that you'll be able to. To get out of this. So we arrive at a proposition. You can flee. Like, there's availability to take the actions and to make it out, but you'd be leaving your friends behind. Or it would break Katarina to pieces to admit defeat and be captured less. So for Emma, we would end up in a position where the four of you would be tied up and locked away in a warehouse. God only knows what the forces of Octopus would do to make sure you can't follow them on their trail. Pier would get away, but you have a tracker. [02:44:00] Speaker B: So I don't think Katarina would leave the other two, because that's too much like failure. It's too much like admitting defeat. And as far as she's concerned, it'll be fine. We can. We can somehow get out of this. She might be trying to persuade Emma to leave, but I don't know whether that would work either. [02:44:23] Speaker C: So, no, because of course, Emma's not gonna leave you. You are my best friend. There's no me without you, cat. So, of course, no. Would have to stay. [02:44:37] Speaker B: But yeah. Happy to fast forward through the inevitable horrific failure of us trying to fight every single person in this warehouse. [02:44:52] Speaker A: So then we can say that you put a good effort in MLS. So because Emma's not the fighter. [02:45:01] Speaker C: Good effort. [02:45:02] Speaker B: Thank you. [02:45:03] Speaker C: It's just not good results. I just. [02:45:08] Speaker A: Fate turns is the problem. You're outnumbered, you're wet, you're covered in chicken feathers. It's not circumstances for the best of you, but in that case, you get roughed up. We don't worry about wounds and like that. The advantage of being captured instead of rolling through is that you don't end up needing to then, like, heal and get rid of conditions. You'd be like, no, I see where this is going. Let's take the adventure in a new direction. So Emma, eventually, Katarina, she toys with you every time, like, a fist comes in and she dodges it. There's like a laugh and then eventually, oh, I thought that was the feather. When the damage doesn't go very well getting thrown, you cartwheel to move to one zone handsprings after you. Like, this is your evil twin arch villain fight scene, and it just doesn't work out. So the soundscape in the end is the guards are all piling up and you hear one of them shouting back, and I think, Dutch. And this time is a language we haven't touched on, calling back and saying, like, he's out there, we can go. That's not a dutch accent. I have no idea what a dutch accent is. I'll look into that. And then you are all tied up like wrists bound and then biceps bound around, but your wrist behind your back, because they're not idiots. Right behind your back, legs tied up. All the rope that you could use here to secure cargo has been used to secure you. And we'll say that I'll let you decide in the next session. But you are tied back to back with somebody else. Doesn't matter who, but you can sort that out right now. The place is full of feathers. And as this going on, like, you can see them, like, cracking open. The woman is cracking open more. The case is letting more feathers out. There's like a two inch thing of feathers all the way around the ground. And as they're leading out, Pierre, still with the head on, barefoot out, one of the goons has come back from the van with a jerry can and the woman with the red hair has the can sloshing it around the warehouse while saying, I really thought there'd be more to all of this. That if you were brave enough to take on octopus, you'd at least have put up more of a fight. But that's not something we have to worry about now. And then departing outward, takes a lighter, like, a Zippo style lighter, and throws it at the front door. And there's one thing I'll ask that whoever has the highest alertness, make an alertness check real quick. [02:47:51] Speaker E: That's all. [02:47:52] Speaker C: Like, I think me and Sonja are tied with 65, but I made the last one. Do you want to make this one? [02:47:57] Speaker D: All right, I can make this one. [02:47:58] Speaker C: Do it. [02:47:59] Speaker A: Makes sense for Sonia. Yeah. [02:48:03] Speaker D: 30. [02:48:04] Speaker A: Then you see it. We'll talk about, like, so, like, yeah. Background of the scene is all the. Sorry. Camera is all the crates stacked up, and then we see the. In the center of this. This image, the people tied. But then you see, like, Sonia is looking out next page of the comic book. Sonia alone sees the lighter sailing through the air, and it is a german, like, Nazi inscribed lighter. [02:48:31] Speaker B: What? [02:48:32] Speaker A: Like a war treasure? Kind of like scouring after the fact? Well, I mean, you're all superhero people, right? Like, so it lands, and then the whoosh instantly of the. Of the petrol igniting, of the feathers igniting. And as the very last page of this issue of the comic is the four of you tied, as red and orange flames lick up the side of this warehouse and start to creep inward. [02:49:08] Speaker E: This will help. [02:49:10] Speaker A: That is where we will begin in our next episode of the Troubleshooters, folks. How are you enjoying it so far? I mean, minus the part where you might burn to death, mechanically and thematically? How are you enjoying the game? [02:49:24] Speaker C: It is. It's super, super fun. I'm having a blast. With all these little bits getting into the swing of, like, using the story points to affect things. I can only imagine that the next couple sessions are gonna go a little bit, hopefully smoother, assuming there are more sessions to have if we get out alive. I don't know. Some of us have accumulated some story points, so maybe we can do something, which will be really, really great. But I do like the story points mechanic a lot, and I think it's fun and campy, and I like it. [02:49:56] Speaker A: You all have at least nine because you've all been captured. So whatever you had before that, add nine. Remember, you can't have more than twelve. [02:50:04] Speaker D: I only have nine because I'd spent all of mine on the raccoon badger. [02:50:09] Speaker C: Badger. [02:50:10] Speaker A: Which was hilarious. Like, that is exactly why you should use story points in this game. [02:50:17] Speaker B: Just love, hate the dramatic irony of Aaron using our feathers against us. [02:50:24] Speaker C: Oh, my God. That's the saddest. I need you to know that the mental image that I have in my head is all of us still tied up. I'm still covered in feathers, though. [02:50:38] Speaker D: Oh, yeah, of course. [02:50:39] Speaker A: Oh, yeah. [02:50:40] Speaker C: So it just looks really sad because it's me and most likely cat, but we'll figure that out next time. And I'm like, every now and then, like, cat will turn her head and then get a feather in the face. And it's. It's so sad. [02:50:54] Speaker A: It's so sad. It's Katarina and Sonja looking pretty roughed up based on the circumstances of their surrender. Frederick not beaten at all. And then someone has replaced Emma a little bit. I did a little bit. And then someone has replaced Emma with a baseball team mascot. [02:51:13] Speaker C: The weirdest thing. So strange. So strange. [02:51:17] Speaker A: Well, we will be back next week, same time, about 3 hours ish ago. In the meantime, time wouldn't be able to be here. Experience the troubleshooters first without helmgast, who have delightfully sponsored the program. And we thank them for introducing us to this game. I'm having a blast with it. Mechanically, the story points are a lot of fun. Now that we've established you can just invent raccoons and weather with, or, sorry, badgers and weather with them. I can only imagine it getting more interesting. The mechanics of the complications of taking penalties because you're overconfident or just deciding, like, I'm not going to fight, get rewarded for that you can enact revenge against later is super, super cool. And I like how the stats, breakdown wise, like, you're good at like five or six things, but that forces you to rely on one another and also put certain situations where, like, you're just not going to succeed. However, it's a fail forward game, literally up to the death. Like, the circumstances under which the characters can die are very far in between. So you get that constant cycle of, like, I'm failing to. We always win in the end, right? Well, all of that said, you have to wait a week to see more of us, but that might not be the same for other people, because tonight I have been joined first and foremost by the art czar of the court as Emma Beck, journalist slash Chicken v. If people want to see more of you, more of your art, more of your efforts, where can I do it? [02:52:39] Speaker C: Hi, folks. Thanks for watching. Tonight was super, super fun. So sorry that I am currently a foul. You can think you can find me on Twitter's four vampire because my name is Vy and I like vampires. But you can also see me doing pretty much everything over here at Queen's court games. I'm on a lot of stuff. Not everything but most things, if you like the art, it's mine. If you like the branding, it's mine. I if you don't like the art, maybe it's erin's, who knows? But if you want to see more art, I do post art on Twitter, but I also have art that goes up on the Queen's court games Patreon every month just for patrons. [02:53:24] Speaker E: It is fun. [02:53:25] Speaker C: It is amazing. You can start subscribing to our Patreon for as low as $5, you get a cool pin that I designed. So, I mean, Patreon, awesome place. But yeah, that's me. [02:53:39] Speaker A: Also here with us today making games look good because she's in them, making them sound good because she's our audio engineer as Sonja Volkov, race car driver. It is Aubrey. Aubrey, if people want to see the things that you are up to and working on, where can they go? [02:53:55] Speaker D: Well, you can find me everywhere on the Internet at Magpien cosplay. And I, you know, if you enjoy what I do here and want to see me be in the GM chair, go over to Gobbleton gaze. We are wrapping up our final season of our very first campaign. It is a wild time. Lots of deicide. You can also catch me over on Wayfair over on Hallowed Haven Studios as part of their hunter the reckoning game. And you can catch me over on and snow by Scald's tale. That should be releasing every Friday, I believe. And here's some more Pathfinder goodness. But yeah, other than that, here doing a lot of things on camera and not on camera. [02:54:43] Speaker A: Of course, it wouldn't be a globe trotting spy adventure of franco belgian roots if we didn't include two people from across the pond. We don't have friends in France. If you'd like to be our friend in France so you can be in this game next time, send us a message. In the meantime, we are happy, happy, happy to have had both of our guests, I should say across the pond and into our hearts. First of all, joining us for the second time, recurring guest. We don't have you on enough, but after the dare and now this, I hope you. Recurring guest. They are Frederick de Jarden. It is Lola. Lola. If people want see more of what you're up to, where can they find you? Where can they go? [02:55:22] Speaker E: You can find me on the twitter where I do ttrp stuff and yarn stuff pretty much everywhere. But to watch me and anything you can catch some of my previous, previous shows and that would be finishing off a kids and bike game, a series of determined events with the nameless domain and praise and static. And yeah, you can also check out the previous nameless domain production that happened on the summer solstice of Midsummer night's Dream where I played your, well, generally pretty awful gentleman, your Demetrius and, well, I guess very down to NFP equipments namelessly. [02:56:15] Speaker A: Main is doing excellent work in part because you're on it. But in general, there's a really good team there that is working hard on them, making content. I'm a big fan of their work. Also a big fan of the work coming off of our next guest in real life and in our games, teaching people what you should and should not feed badgers. But if you like that kind of science stuff mixed with more role playing, you should go to the RP geeks where Shamini, coming to us as Katarina, is mostly there all the time doing the hard work of making sure people can stay entertained and educated. Shamini, tell us about the geeks. Tell us about what else you're up to. Tell us where we can find all that information. [02:56:52] Speaker B: So much information is out there. Some of it is sciencey. It's very exciting. You can follow me at sbundell on Twitter or Instagram. And the rpgeeks Areeeks dnd across the Internet. We stream on Twitch on Mondays and check out our YouTube channel if you missed the viewscreen. One shot that Aaron Gmed for us, which was super good. [02:57:18] Speaker A: I also. You're doing a Starfinder campaign now, right? [02:57:21] Speaker E: We're currently. [02:57:22] Speaker B: Yeah, we're like a few episodes into this new Starfinder campaign. And every so often we just have a break from the campaign and we go like, so the science is happening. Guys, guys, we've invented science because we're massive nerds. [02:57:32] Speaker A: It was delightful. The last one, I think was about was about how memories are formed and how to, like, gaslight people into believing things that aren't true. [02:57:39] Speaker B: Yeah. [02:57:39] Speaker A: Okay. [02:57:39] Speaker B: It was. [02:57:40] Speaker E: Okay. [02:57:40] Speaker B: It wasn't an instructional manual. We're not encouraging this, but it is fascinating how you can give someone a completely false memory. And we did go into the techniques, but don't do that, please. [02:57:53] Speaker A: Ton of fun to watch. I show up all the time and I, like I said, I said this on the channel time. I watch like three actual play shows and one of his names don't make any other one is rpgeeks. So really great stuff going on there. If you want to find more things that I am in, just do it here. Honestly. God, I'm pretty boring on Twitter unless like I'm on some shit and writing an essay or something, but that's kind of far and few between. If you want to know what I am doing, it will come here first. Or a glorious person who I, who's invited me to show up will go regardless. Both of those things will happen on Twitter errand in words, or Queenscourt RPG for projects that go here. Vee talked about it, but I'm gonna say it again. You can, for only $5, get more of this. Because in addition to the art that Vee puts up and the amazing pin that Vee designed and I sometimes remember to mail out, you get access to more games that only patrons can see. You get early access to the online society. You get a customized single. Like from one of our games, v draws an entire postcard. Hello, welcome to the warehouse that's on fire. Could be the postcard that comes out this month, and you can only get it by giving us $5. Further up, you can be invited to games that we run for you. We are doing a call, I'm sorry, a mothership game coming up quite soon that we're gonna have a couple patrons play in, and also, if we're testing a game or working on a new system, we'll be that out for patrons as well. It's the exact same cost as subscribing to this channel on Twitch, but we get more money and Jeff Bezos gets none. So like, whoa, what a great deal. Aside from that, we will be back same time next week, but 3 hours ago, another Monday. This has been the U boat mystery for the troubleshooters sponsored by helmcast Games. Bye for now.