In which three Investigators, members all of the Hermetic Order of the Golden Dawn, descend into the bowels of the Paris Opera to ferret out the Opera Ghost once and for all.
Present for this Session:
Celestia Adams (Jen)
Lily Farthington-Smythe (Des)
Cyril Weston (Shal)
And…Edie the Dog.
The Esoteric Order of Roleplayers
[The Veil of Isis] Session Eight: La Musique de la Nuit (Part II)
In which three Investigators, members all of the Hermetic Order of the Golden Dawn, descend into the bowels of the Paris Opera to ferret out the Opera Ghost once and for all. Present for this Session:Celestia Adams (Jen)Lily Farthington-Smythe (Des)Cyril Weston (Shal)And…Edie the Dog.
- Broadcast on:
- 04 Mar 2013
- Audio Format:
- other
The Veil of Isis, a Cthulhu by Gaslight, Golden Dawn actual play with David Larkins as the keeper of arcane lore. So I gave Shout-em-er kind of the broad strokes but if you guys want to just kind of re-play, let's see, Jen's a great no-take girl, all right so there was the diva, the opera diva and I'm really stuck on this point and I can't get past it. Carlata, she was talking to her handler, what's his name? Joseph bouquet was hung, I was the stage hand, what's the name of the head of the opera? Tremaine, Johnny Tremaine. And then there was the British man who was basically like Lawrence Taylor, Lawrence Taylor, who was the two opera guys who direct the opera and then Colonel Lieutenant Lawrence Taylor is the, he's basically, what would you say, he's a friend or companion of the diva, admirer, admirer. He's an uber fan. He's an uber fan of the diva, Carlata, and then his assistant Raj got, Rajiv Chaudhuri, he was arrested because they think that he was the one who hung the stage hand because Carlata and the stage hand kind of butted heads. Yeah, but there was, Taylor was like, oh yeah, but there was a watch found at the scene of the crime. Yeah, which was LT, which was Lawrence Taylor, right, so, but it was, so many years of service because he was like a military man, it was like his gold watch from retirement, I thought it was Rajiv's. Yeah, it was like, you know, thanks, thanks, thank you so many years of service. Oh, so they found his, well, I'm sorry, that was part of the frame up, that was a frame up. That was a huge thing. Well, on that note, that's why, that's why the assistant was arrested because his watch was found at the scene, right, and, and y'all saw everything that happened, it was crazy. But the point that I keep harping on is that Carlata, when she went back to her, to her dressing room, said, these things keep happening, yes, and we want to know what things keep happening. Yeah, because. What? There are things happening that are bad. What? What? What? So basically, that's where we're at. Right. Okay. So Lily is, we're all staying at the hotel. What is it called again? St. Augustine's. St. Augustine, and then Mather's just doesn't want anything to do with us. He's like, pretty much like, oh, I know, he gave me the package. See ya. He's giving us the cold shoulder. And we were supposed to kind of find out like, yeah, yeah, and so basically, oh, it's funny. It's good more. Thank you. And so essentially, um, so essentially, um, he's dismissed us, so we really can't get any more information, except that we know he isn't planning on, he said he wasn't planning on like, right, completely disintegrating or expanding in a way. He said he didn't think it would be wise at this time. He didn't think it would be wise. Not like his mother. Who knows? Yeah. He may change his mind. He's got this patron fellow. Get LaRue, guest on the roof. Careless. Careless man. Yes. So, and he was kind of in our host. Yeah. He's been our host because he has. He's kind of hanging out. Mathers could give a fuck. And he is a reporter. Yes. So he's been reporting on the murder. Yes. This LaRue fell. Mm-hmm. Oh, and, um, the Opera Management asked LaRue and his companions, uh, to kind of, uh, do some behind the scenes investigating. Yes. So that the police wouldn't, um, you know, what? Scandalize. Scandalize the opera. Mm-hmm. Yeah. I don't want more of that business, basically. Yeah. So we've had some of those already asked people. Nice. Mm-hmm. Which is good that the GM, our almighty GM in the sky, provided us with that. Mm-hmm. Look at the little-- Mm-hmm. I like to throw out these little tokens. Oh, there was a cool thing in Mirror Mirror Mirror that I have to tell you about. What's Mirror Mirror? It's this movie. It was done a couple of years ago. It was like a retelling in the Snow White tale. Oh. It's our Netflix, yeah. It was just last year. It's, like, very, very recent. Really, Robert's. Uh-huh. Okay. So how do the mamas? All right. Some things are like, "What?" Other parts are kind of funny. They're this cool thing where, basically, the mirror is, like, this magical entity outside of the queen. And that's the mirror to, like, take care of things. So it creates these, like, weird stick figures that are, like, puppets. Yep. With strings. Sure. And so then they are in the forest, attacking the dwarves in Snow White. Oh, that sounds really cool. And so then they realize that they're on strings. And Snow White has a sword and, like, cuts the strings. It was really cool. I just thought I'd tell you about that. Because the body fell from a string, maybe, and it got you. Um, no, because David's pulling all the strings. Oh. Ah, there we go. All right. Bingo. So you guys are headed back to the operas where we left off. Yeah. You have to do some investigating. Mm-hmm. Okay. So we're arriving at the opera, taking your lunch. Oh. Come on. We didn't have lunch. What happened? I just remembered to show them I know about the man in black, the cape, with the mud. Mm-hmm. Oh, no. No. There's a box directly next to ours. Mm-hmm. And it was box number five or box number seven. And there was a woman in black waiting outside of it. And there's something about an opera ghost that inhabits box five. So we got into box five and we looked at the floor box five and there was a chunk of blood. Mm-hmm. This was after the murder. And the woman who was at the waiting at the box was met and she was very, very... Head of the valley. Very true. Mm-hmm. So, yeah. Mm-hmm. Right. So I jotted down your bullet points last week. You guys said you wanted to question la carlata. That's right. What keeps happening. Mm-hmm. Question Madame Girie. Mm-hmm. And search the basement. Right. Who wanted to do that? I was punchy. Was that you? Me. Yeah. I don't want to say that. I was punchy. I want to search Merlin's camp. Oh god. No. You want to go back? I want to go to Pinede. Go to Pinede. Go to Pinede. Pinede. Pinede. Pinede. Pinede Joe. Pinede Joe. All right. No. No. No. No. No. No. No, Merlin's camp was a total... Yeah, exactly. No, Merlin's camp was a total about herring and... Yeah. All right. Fine. I'll never leave it down. In a hundred years a game. I'll get bigger. No, it wasn't just you. And I die. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Merlin's camp. Yep. Exactly. It just happened. I don't want Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Yep. Exactly. It just happened. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. Oh. Oh, Merlin's camp. Oh, Merlin's camp. Oh, Merlin's camp. As you cross the square towards the opera house, you spot LaRue outside, chatting with a couple of men. They are both young men well put together. The older one is wearing a French military uniform. They are both blond and they are very welcome. As you approach LaRue, it breaks off this conversation. He says, "Madam, madam was so good to see you." Then he turns to his compatriots. It says, "May I introduce Philippe de Comte de Chanyin?" And his younger brother, Raún Val Comte de Chanyin. Say, "I curtsy." Toche. Yes, they are very polite. They shake Cyril's hands and kiss the hands of the ladies. Oh, and of course Padma has been indisposed with a traveling bug. She had to retire back to the hotel after lunch. All that sea travel? Yeah, that's the kitchen of water. All that opium shed is so good, of course. So much. So what brings you here to the opera house? Oh, well, so Philippe takes a question and says, "Well, I read the story in the paper that Monsieur LaRue wrote about the murder last night. My brother here, he is a great fan of the opera, and old friends with one of the girls in the chorus. So we just thought we would swing by and make sure everything was okay. Okay. And Raún Val is just ensuring that all is well. But Raún, I believe you wanted to come inside and talk to Mademoiselle Dei. And Raún Val is not in the affirmative. So LaRue says, "Well, LaRue, I don't be all proceed." Exactly. All right, let's go. So as we're walking in, I ask LaRue, if Carla is in? Oh, yes. There is a show tonight, so she will be in. Okay. Wow. It's almost gone. Oh, wow. Okay. It is an old maxim of shookiness. Is it? Show business. The business you call it? Show. Show. So we're making our way into the backstage. Yes. Yes. Let's see what it is. This is the 13th. All right. All right. So as you call, entry hall there. Grand staircase. All right. Okay. I got you guys to look at them. Yeah. We kind of stared at them all. Look at them. Look at them now. All right. This is in plane. Exactly. And then you make your way through the... Oh, that is so cool. All right. As you're walking in, LaRue is, of course, discourcing is usual. Expensive way. So have you found it in any new details? Nothing new. No. Last. It is quite a shame though. This rumored ghost has been a feature of the opera for some time. But there's always been fairly harmless, you know, like local superstition. This is the first time that such talk of an opera ghost has turned into murder. But of course, if it is this child-hiré person that the police seem to think it is, then I suppose it's not the ghost's fault after all. I don't believe he's at fault for this. The evidence is just too circumstantial. Mmm. Um, the Philippe Change agrees. It does seem. It does seem a bit fancy. Mmm. Mmm. That's weird. Why would he? How would he know? Well, anyway. Just based on my conversation with... Right. Yes. Of course. And the wonderful articles. Yes, indeed. He's a good writer. He's a very good writer. Yes. Very precise. To the point. Are we on our way to go see Mademoiselle? Yes. You're making your way through the opera up under the stage, or stage hands. Mmm-hmm. Bussling to a fro. Everyone makes butt hitting the wall. Yes. Set it on. Mmm-hmm. It begins. First blood. Oh, I missed by six. Yes. Excellent. Nice. So, Cyril and Celestia, you both... Oh. Mmm. Check that butt. You both note, you know, maybe like a dozen stage hands kind of, you know, going to a fro. Yes. And you do note a couple of them have mud under boots. Oh. And muddy boots. It's not raining. No, it's not. It's not raining. Well, let me stop. Let me stop. I'm going to stop what I'm going to say. Hey, you're trekking not all over the floor. Where does this mud come from? Yeah. It's got like two by four. Right. What's going on? Oh! He's got the ladder. He just knocks my hat off my head. I'm too short. Yeah, exactly. It's just like butt habit. Yes. Yes. Great. Do you ask about the mud? Mmm-hmm. Oh, he starts talking to you in French. Yes. Oh, shoot. All right. I'm your hood. Yeah. So, you translate for him. Mmm-hmm. What do you think? And then he responds in French and you translate. You're French is pretty high, right? Oh, yeah. It's 42. Okay. Mmm-hmm. So, I say, what does the -- why do you get mud on your boots? Yeah. And so he says, oh, you know, don't worry about it. It's very common to get muddy boots when you have to go down to the sub-levels. Mmm-hmm. I see. Why? They're not paved? No. Mmm-hmm. I just had to fetch some lumber here in the case. Okay. Excuse me. It's kind of heavy. All right. All right. I'm just going to add some entrance to the sub-levels for us. Mmm-hmm. Yeah. Uh-oh. I'll just back that way. All right. Follow footprints. Yeah. All right. Literally mud. Wham. Wham. All right. All right. So, that's a big clue. That is. All right. Okay. I feel compelled to go check out that, but I still want to talk to Madeline's all day. We need to do those -- her and the Carlota. And Carlota. There's got to be -- there's got to be talk -- talk among the staff. Again, or whatever. So, I think we need to question her first. Her first? Okay. We need the first girl. And then we can go downstairs. I don't know what you think. I don't think we should go downstairs until we're good and ready to go downstairs and there's no other thing. During a production. Yeah. During a production. During the actual show, because then whatever's going to be down there is going to be moving around. We can just watch the door. If there's a door. Madeline may be more than one. Yeah, there's pop. This is true. We're going to catch it off guard if we're during the show. Mm-hmm. Before and after the show. They're expecting people to come in. To investigate. If something else were to happen. Like, something else happened up in the catwalk. Yes, it did. And then something happened -- I mean, then the mud was turned downstairs. So, yeah. I don't know. We could put a string across the door. Yeah. I'm sure there's more than one door. I know. But still. We could just string them all. String along all the doors. Yes. Well, let's think about it more. Yes. I think we need to talk to people first. So, you want to talk to the chorus? Well, if -- and I'm just whispering this to you. Yeah. I don't want anybody else to hear this. Yeah. I think that if Madeline Silday is talking to Raul, she'll probably -- if we could overhear that or be near her when she's -- we might get the actual truth and not some. Bullshit. Okay. Yeah. Okay. So, are we on the way? We're walking. Yeah. We're Snoops. Yeah. Yeah. Yeah. Yeah. Snoopy. So, that'd be hilarious if, like, instead of being called investigators, you're officially called Snoops. Snoops. All right. All right. All right. So, we're on our way. We're going to -- who first? Christine. Okay. So, yeah. Sorry. Thank you. Yeah. Christine Day. That's what they said. You said Madeline Silday. No, you didn't say Christine. No. You didn't say Christine. No. You didn't say Christine. No. No. You didn't say Christine. Chris. No. Play your knowledge. Play your knowledge. Play your knowledge. Oh, my goodness, the back. Yeah. Time out. Yeah. All right. Not for you. Oh, my goodness. She's obsessed with her bone. That's cool. All right. Yes. Yes. Ralph was looking quite anxious. You know, sort of straightening his thigh. Yes, of course. I would like to go talk to Christine. Sorry. As soon as possible. All right. Make sure she's okay. They say okay it was. Yes. Make sure she is all right. Mm-hmm. Say "boom." She's well. Yes, that she is well out there. All right. Let's go. All right. We'll just follow along. Yeah. You follow the "Roo" -- the "Roo" and the "Shan Yee Brothers." Mm-hmm. Backstage. Down a short flight of stairs. Up a hall. You know, past a bunch of dressing room doors. Finally, you're right. Yeah. At a fairly nondescript door. Yes. It's marked with a number, no name. Ralph Knox. The voice calls from within. Enter. He slips in. You hear a young girl's voice. Oh, really? So good to see you. Okay. He closes the door, believes it. Okay. Listen. Listen. Yes. He'll be listening. Oh, I missed place four. Fail. Come on. Cyril. Come through. Oh. No! I'm going to push. Yeah. I'm going to push mine. I'm pushing your wrist. Okay. So if you failed and obviously you don't get discovered. That's right. I'm just spilling into the room somehow. Mm-hmm. And that could be funny. That would be so hilarious. What does you listen? My listen is 50. Oh, good. Okay. Yeah. Let me see. I failed. You failed. Okay. All right. So you lean in closer and closer until your hat actually, you know, hits the door. Yes. And the door just, you know, swings open. Oops. Oh, I'm so sorry. So it's like a little, you know, four foot by six foot dressing room with a makeup table and a big mirror. Mm-hmm. And, you know, a rack for the costumes and so forth. And there's a young woman, Raven dark hair, kind of, you know, sort of pale complexion. And... I think you're part of it. I'm so sorry. She's like, "Ooh." I'm so sorry. I'm so sorry. Just like, this is the wrong room and how this is the bathroom. Because there's all these people standing behind you. Oh. You can see that's down? Yes, of course. You were all standing in the door going like this. Yeah. So, so Raul says, do not worry about it. And he introduces all of you. Exactly. I was going to push my way through anyway. Yeah. He was. He said they were just going to wait outside. But why don't you all come in? Mm-hmm. So, as many of you come in, it's... One, two, three, four, three, four, five. Five people? Yeah. Well, the roof is kind of big. He's sort of walrus sized. So he's going to linger out in his hallway. Okay. But, you know, keeping her open. Yeah. So, uh, so Raul says, I just wanted to do, uh, to check in on you. And we'll, we'll assume that this is in French, but that... I can, I understand it. Yes. So, anyways, I just wanted to check in on you, my dear, and make sure you were okay. To which she responds, uh, oh yes, you know, a bit frightened, but I'm fine and so forth. And, uh, and she says, you know that I have, I have other, uh, higher powers looking over me. Mm-hmm. Mm-hmm. Mm-hmm. And then Raul says, yes, yes, of course you do. Right. Huh, interesting. Uh, can one give me psychology rules? Mm-hmm. I miss my two. Okay, I'm annoyed. I'm annoyed. I'm sorry. No, I failed. You guys, but... What? Triple zero. Oh. Oh. Oh. Wow. That's good stuff. Oh, my God. Oh, my God. Oh, my God. She's obviously... Well, obviously, Christine is a, is a, um, a young lady of, you can see what Raul sees in her. She's, she's obviously a, a lady of great virtue and honor who, uh, you know, is, is pure as a drone snow. Okay, I'm pushing my role. Isn't beautiful, pure. Are you pushing it? I'm gonna push it again. 'Cause I want to know. I want to know what's going on. So if you fail, you're gonna, if you fail, you're gonna lose your, your, uh, patience with her and actually, like, kind of get in her face, basically. I won't appreciate what I, okay. I'm gonna, I'm gonna, I'm gonna, like, just tug on your sleeve and go. Okay. I'm gonna run, run, run. Okay. No, no, no. You're side-eyeing her hardcore. I am. Later. We'll discuss a lot. I think she's into me. Oh. Wow. She's looking at you. Yeah. I'm gonna start starting over. No, no, no. Miss Sure. We'll get the story later. Yeah, yeah, yeah. All right. Yes. So, um, yeah, okay. Oh, that's okay. Can I talk to? No, I can't. I don't know. Well, do you have a question for, it was 'cause as you look at us, does she kind of like what it is? Yeah, well, yeah. Well, yeah. I was sort of patting her hand. Yes, of course you do. You know, please just be careful. All right. So do you have a question? Well, the question is, like, let's talk about this. What does she know about the Dabra? Okay. And have there been any strange goings on? Okay. I'll ask her that in French. Okay. Um. That's okay. Mm. Mm. Mm. Mm. Mm. Mm. Yes. Um, well, she looks at Raoul and she looks back at all of you. And she says, well, again, in French. Um, I happen to believe that the opera ghost is my guardian angel. Why would you think that? My father told me when he died, that he would send the angel of music to look over me. And now, um, I hear the angel speaking to me sometimes when I'm, when I'm feeling low or otherwise feeling like I'm in trouble. Mm. Really? Why would you be in trouble? Just, you know, it's hard for a chorus girl here on the opera. Mm. You give me notes. I called you. Is anyone mistreating? Yeah. Exactly. Fail. And where does this get set? Yeah. I'm on the toilet. He's on the toilet. The hell? Oh my God. Would you? No, you didn't. I passed myself. Okay. Okay. All right. Oh, wow. Okay. Okay. So, Cyril, you get the feeling that she is not being totally honest with you. Huh. What's going on? Mm. We seem to detect something, Cyril. What is it? Mr. Weston, right? Yes. Mr. Weston. What? What? It must be the ghost. Do you think the ghost is, when she's making this up, do you think it's an actual person talking to her? Probably. I'm not actually a ghost. I could be wrong about this one. All right. All right. I'm going to ask her, okay. I'm going to ask her, has she ever seen the ghost? Mm-hmm. Okay. So, um... Are you just here, the ghost? She has a taste, tell me. Uh-huh. She denies it. She says no. No, he only sings to me. Let's see, where does he sing to you? Uh, here in my room. Does the sound come from a certain area of the room? Um, I just hear it. All around you? Yes. Well, that must be lovely and comforting. It is. Quick. Um, I must ask you again, because this is of vital importance, since a man has killed. Have you seen anyone strange or unusual? Um, it could be the ghost, it could be somebody else. We just need to know if you've seen anything that just seems out of the ordinary. Um, Raul's kind of looking at her like kind of nodding. You should say something. Yes. If you know anything. Yes. Please. And so, finally, she kind of breaks and she says, "Well, I didn't want to say anything because it wouldn't sound proper, but the angel of music does come into my room." He is a, I'm shocked. No, I'm not shocked. Yes. He's a man dressed in black. And I've been to his domain, deep beneath the opera itself. Really? Okay. Um, have you ever felt you were in danger at any time with him? No, he's very fine. Okay. She knew what to lead us to. Do you know how to get there? I do not. Why is that? He's always blindfolded when he takes it. Oh, man. Wow. Of course. So, it happens when people don't have parents. It's like, really? You're like a strange man coming here. Blindfolded? I think you're going to die soon. Sure, why not? Hey, it all worked out. Yeah. Sure. Nothing bad can happen from this. All right. So, can I see this? This is a 1950 equivalent of hanging out in chat rooms. Yeah, basically. So, those are basically like, do I feel like there's anything else I could get information out of her? Give me one more. Come on, baby. Come through. Yes. Yes, I make it. I make it. You get the feeling that she's mentally unstable. And living at least partially in a delusional fantasy world. So, it's hard to say whether these trips to the angel of music's... With the some man. Or even this man. Or real or not. I don't know why a young woman would lie about spending time alone with a man. True. She didn't seem reluctant to reveal that information. Yeah. I mean, that seems to be something that would be damning. Yeah. Yeah. I'll tell her, I'm going to say to her that, you know, thank you so much for telling us these things in confidence. We will try to keep them as quiet as possible. So, it's not to damage your reputation. Yeah. Raul says, I appreciate any discretion. Yeah. It will be as discreet as possible about this. But thank you so much for telling us. And you must tell us the next time you see him. Does he come and see you at a specific time all the time? So, again, she sort of hesitates and flushes, but then she says, well, every Tuesday and Thursday night. Oh, dear. Every Tuesday and Thursday. Oh. What's today? Oh, Saturday. Oh. It's been a long way to go. [laughter] I mean, more bodies will pile up. Yeah, exactly. This is not good at all. Is there any time that he's ever been angry with you or upset? No, no. He's always been perfect gentleman. Okay. That's why I know he is the angel of music that might be positive to me. I'm giving Raul the stink guy. What? I'm giving Raul the look. Why aren't you taking care of this person? Oh. Why are you letting, why that what? Okay. Is he getting that message from Celeste? Stink guy. The school teacher gives him the stink guy. Yes. I think he'll understand it. Yeah. All right. He's getting an Anglo-Saxon stink guy. Exactly. [laughter] So, I guess we should leave and go talk to Carlisle. All right. Time to move on. Okay. All right. Who's got the lowest look? Mine's 55. Mine's 90. Mine's 40. What? How's the new 90 look? I rolled a natural 18. Oh, wow. Oh my. I've been changing my daily change and this is going to lay out. And it's dirty. I can walk normally. Yeah. That's exciting. This is so exciting for you. So, what is your upgrade from shotgun to health? Yeah. There's all this. Oh my god. But the characteristic 17. Oh. Pretty similar. Okay. So, what's your look? 40. Okay. So, which is funny because I just rolled a random one. I know, right? Oh. You're right. Okay. You're right. You're right. I know. You're right. You're right. You're right. Big Augusta. Bigger town. Yikes. You're right. Go ahead. 40. Alright. Come on, Jen. 99. Oh. Oh. Good stuff. That just happened. No. 99. So long. Nending that. Can I sing it on? Should I push it? You can't push it. You can't push it. No. Only skills. Only non-combat skills. Right. Alright. Failure. Epic failure. So, there's... Weedling flaming failure. You're right. Oh, wow. You're heavy taking a dive. Oh. Yip. Alright. So, Carlos dressing room. Up to Carlos dressing room. So, Raoul and Philippe stay with Christine. Luru, Lijuan. Back up the short flight of stairs down a couple other halls to a much more sort of well lit hall. Like the hall that Christine's dressing room and it was in had an electric light bulb, like one every 50 feet, you know. Oh, God. This one actually has like full lighting, like wall sconces, you know. And it doesn't actually stink. And it doesn't stink. Yeah. It's not moist and mold infested. Yeah. There's a carpet. Oh! Oh! Wow! Her wrist. And the... The wrist. The walls are plastered, you know. Oh. Anyway, the doors have names on them, so you get to the one marks. You know. La, la, la. Carla, la, la. Carla, la, la. Zambele. Zambele. Zambele. So, yes. Knock. This time there's a bit more of a weight. And finally, a young woman, you know, sort of serving... Oh! ...outfit into the door. Mm. Can I help you? The roof. You know, has a few words with her. Ah! Gassed on the roof. From the paper I would like to interview. The dam's in belly and so forth. Yeah. Are you okay? Well, I'm a little incensed that I'm going to have to share my information with the public newspaper. It's kind of an edge there. Yeah. Okay. That's fine. I like him. Do you? I like him as a person. We're a bit of cross-purposes, though. Yeah, that's true. Mm-hmm. All right. So what you're showing in, it's like basically kind of a sweet thing, sort of a, you know, just a sitting room area. Mm-hmm. The serving girl disappears. A few minutes later, a lot of cartilata comes out and, you know, draping these sort of silks and satins. Oh, yeah. You know, she kind of like breezes into the room, you know. Ah! She likes to strut still from the night before, like, a little like, "Oh!" Yes, yes, you know, her cheeks are, you know, a little bit damp, you know. Oh, oh, oh! Oh, oh! Oh, dear. Yes, she, uh, hmm. That's interesting. Yeah. And she, uh, she has a seat on a settee, and it says, "Well, in French. What can I do for all of you?" Does she speak English? Yeah, yeah. Yeah. She's here. I don't think so. You would think so. She speaks Italian. Well, duh. Of course. That's scary. She is. She is? Yes. She is speaking English. Good. Great. Like, slowly, like, good. Not much. It's as good as her French. All right, then. Boom. All right. If you don't mind, we would like to speak in English. Certainly. Excellent. Okay. Well, thank you so much for seeing us. Does Gaston have questions for her? No, he's got his pad out, but he's going to be tickly if you want. Oh, okay. Oh, do either of you want to start questions, or... All right. Start. I don't know. Yeah. I wanted to ask what, uh, your relationship was with, uh, Joseph, his cat. I noticed you're crying. Oh, yes. Uh, it has just been such a terrible trial, you know, with death. So many... Oh, you didn't like him. Yeah. Certainly, but I would never wish he was dead. Okay. Of course not. Of course not. Yeah, it seems. We didn't mean to apply it. No, no. No. He was an imputed, little stage hand, but, uh... Ha, ha, ha. But at most, he deserved a firing and a horse-o-wipping. Oh, oh my God. He was. Why? What did he do? Yeah. I like her already. She was like, "This is my type of lady." He insinuated that I was not the best singer in this off-road. Oh, dear. That's outrageous. That's what he said was the best. He didn't. He just said any number of the chorus grew up. He said it's me. Oh, my goodness. Wow. The divine harlocca. Wow. That's outrageous. That's specifically the chorus girls, eh? Yes. Yes. Interesting. It is. Chorus girls. Why would he... Wouldn't there be a replacement? Don't you have a... Understood? Understood. I have several, yes. Are they from the chorus or are they just, you know... No, they are professionals as well. This is why it was so insulting. Yes, exactly. He didn't even imply it was one of my understudies. Wow. It's horrifying. Yes. What are you just... Bo-chilling. Yeah. And yet you still weep for him. What a woman of amazing emotional strength you must do. I am. Oh, my God. It is true. Oh, my God. It is true. She can't either. Yes. Yes. That's extraordinary grace. I am, I am nothing. You have not been in the sense. Yes. Oh, right. Okay. What do we got here? That's almost the bar snake in her room. Yup. I am going to play right to her. Please. Please. Please. Let's kill her. Okay. So. Um. Let's see. Have there been anything... Yeah. What are strange... Strange. Going on. He mentioned that things were happening a lot. Oh. And so we are concerned. Oh. Yes. I'm going to get the fan. Shoot. I wanted to prove my fan. Oh. All right. Um. It seems, uh, every few months there is, uh, there is a something. Um. Nothing, uh, nothing terrible, but several of our performers have had to resign because it has given them a nervous condition dealing with these things. I am feeling like I am getting to that point as well. Wow. That's must be so horrible for you. Yeah. I hate to have to make you relive it. But could you tell us more? Mm. Oh. Let me think. Uh. Benz or something. Mm-hm. Just shadowy figures moving, uh, through the lower levels. Um. Money. Costumes. Supplies. Going missing. Uh huh. Money. Uh, money. Money. Uh, fair accidents, near tragedies, heavy statues, falling from balconies. Um, prop guns loaded with real shells. Wow. Oh my goodness. That's incredibly dangerous. Oh yeah. Uh, even, uh, one of our stage hands, uh, maybe two years ago, he took a bad fall down the main staircase. He said he felt like he was pushed. Oh dear. I, I have been here ten years. But it seems like these only started, uh, maybe six years ago? Okay. And, uh- Were there any other changes six years ago that you noticed? Nothing. Nothing at all. Just that the opera ghost was appearing or the things were happening. I think that that is when the stories of the opera ghost started. Wow. Who start, who really created that idea in terms of, um, like, meaning that it was a ghost or- Well, you know, some, some say it is a ghost. Some say it is a, uh, former, um, stage hand. Who, uh, knows all the secret passageways. Mm-hmm. Some say that it is a, a recluse, um, who lives at the, at the, the highest peaks of the opera building looking out over Paris. What do you know about Box Five? Box Five. Box Five, it is said that the ghost watches every performance from that box. And that, uh, that box is never to be sold to the public. When did that start? Six years ago? Yeah. Um, yeah, she, she tries from the room. It has been years. Maybe six years ago, maybe longer. I don't know. Do you know who sat there before? I do not. Mm-hmm. That's a good question. And what is your opinion of Madame Shady, the leader of the Bellator? Uh, Jiree, yes. Also good. Jiree. She, um, Jiree. Mm-hmm. I do not trust her. Why not? She, um, I think she has had union with the ghost. Yes. I have reason to suspect that as well. Yeah, we've heard of her. Well, she was outside of the box on the night that we saw the performance yesterday, I guess. Mm-hmm. Yes, I would suggest you talk to her. All right. Okay. Do you really believe that, what's his name? Raj, Raj-Ned? Yes. Uh, Chaudhuri. Rajib Chaudhuri. Do you really think that he killed the stagehand? Uh-huh. Because he is in prison right now and it is his most dire situation. I, I actually perhaps hope that he is responsible because it would mean that these ghost sightings were not as, perhaps sinister as I feel. But do you believe that, I mean, you are around them more than anyone else. Do you believe that he would be capable of such a thing? Well, he is a foreigner. Mm-hmm. But then again, he's a fake guy. Yeah, I like that. AKA non-European. Yeah. Oh, yeah. Yeah. Um, but then again, he has been Colonel Taylor's loyal servant for many years and I trust Colonel Taylor implicitly. What did Colonel Taylor say to all of this in terms of Raj being... He is most upset. You met him earlier in the jail. Oh, that's right. That's right. That's right. He is most upset. He has not heard anything that maybe she'll slip and say. Oh, yeah. And has vowed to, uh, to clear his servant's name. Mm-hmm. That is the just thing to do. Um, is there anything else around the, you know, the story of the opera ghost or the man who has murdered anything else that comes to your mind that you can tell us? I don't think so. Do you know anything about how often do you spend time with the chorus? No. As little as I can have. Okay. Yeah. Who spends the most time with them? No. Probably, uh, Madam Jiri. Okay. Um, some of the other stage directors. Okay. All right. I don't know if you guys can think of anything else. Mm-hmm. All right. All right. So, uh, can we call on you again if you have any other questions? Oh. Oh. What does she, what does she think of Mad? Kind of attention. Yeah. She, she looks conflicted because she wants to say yes. But at the same time, she said. No. Well, not too much later. I, I do have to prepare for tonight's show. Oh, yes. This much talking has already been a terrible translation. Oh, boy. She gets a little atomizer, you know. I'm going to squirt some perfume rose water. All right. All right. All right. All right. Well, um, off we go. Okay. So, um, Lourie says, uh, I am, uh, going to remain behind with, uh, with Lockhart Lata. I have a, if you were the, uh, procedural questions, but, uh, just, uh, so I can, uh, read some details correct in the, uh, for my next report. I will catch up to you as soon as I can. Very good. Mm-hmm. Mm-hmm. [laughter] [laughter] For the record. All right. Hey, Prince. Thank you, Prince. Yes. We're going. Go away. Bye. Thank you. All right. Listen. Another lucky old friend selected. Oh, Lock. Come on. Bring it out. Pass. 15. Yes. Okay. And go ahead and give me your list of roles. Oh. That seems up there. Make it. There you go. Oh, wait. Oh, I'm. Well, make it. Make it three. Three. Ooh. Take your listen. Yes. Oh, it's already chucked. Oh. All right. Yeah, exactly. All right. So you can hear the conversation quite clearly. Oh. And it is indeed just Baru, as he hears more, you know, sort of question. Great. How many more performances are you going to be doing this week? Are you really going to leave? Et cetera. It's exactly. Mm-hmm. Okay. You get a sense that he's working on sort of a page six sort of article. He's going to do a little profile on it. Okay. I'm going to try and boost his word count with his editor a little bit. Nice. All right. Yeah. But while you're lurking out in the hall. Yes. Mm-hmm. Celeste, you spot a man kind of passing by, you know, like a, the hall kind of tees into a main corridor. You see the man passing by. He's got a large instrument case that he's holding. And, uh, notably he has mud on his boots. He's another state champ. He might look like a state champ. Shall we follow him? What does he look like? He looks like a member of the orchestra. Member of the orchestra? Mm-hmm. So somebody has to stop pulling. He's wearing a white, white tie in tails. All right. So, yeah. Let's go. I would say. Yeah. Yeah. Following him. Okay. Not all of us. Really? Like who, who would be the best? Who is good stealth? Who's got the highest sneak? And sneak. Mm-hmm. I have nothing. Oh, I have fifteen. Ten. I have ten too. Oh, I have the best sneak. Mm-hmm. What is the best, um, let's see what else? But I'm a big guy, so. Right. Yeah, but you are a hunter. Yeah. That's true. You have to stop your prey. Your prey is carrying a giant tube off. Yeah. That's pretty pretty easy to stop. It's like a bottle case. Okay. Not that large. Well, um, let's see here. I would say you're the best luck. Oh. So. Well, yeah. You're the luckiest of everybody. If we continue to go and question Madam, as you read, then I think you could just look after. Stalk the little guy. Stalk the little guy for a little bit. Uh-huh. Yeah. And see where he came from. Like where he was tracking the mud. Yeah, you should track his mud. Yeah. See where he came from. But what's he going to do? He may be something dangerous. Because he's probably just going to his sea. Well, why would he come from the bowels of the. Who is this guy? I think he should be followed. Okay. And then, well, wait. So he's coming. Explain the game. The tea intersection. The tea intersection. The, the, this particular passage comes off of a sort of larger hall. So he's just heading from point A to point B along this hall. Okay. So we can track him going that way. The way he's going. Yeah. So we can follow him and. But we can backtrack where he came from. Yes. They both put the mud on the boots. Possibly. Unless it runs into another muddy path. Right. Right, of course. Is the, is he going, or are we going opposite directions? What do you mean? Like we're going to go toward Madam. Where's, where's her? Yeah. Where's her stuff located? Her room. Where can we reach her? Let's see. The directions you've been provided. It would be, it would be going the opposite direction from where he was coming. Uh huh. Okay. Damn. I think we should track this first. And then, what do you, what do you think? What do you, what do you think? Meanwhile. Yeah. You're already off. Yeah. Okay. All right. So let's, let's try to see where those mud prints are going. Okay. Okay. So go ahead and give me a sneak roll. Film. All right. And a left roll. Yes. Yes. Okay. Yes. Okay. So, um, he, you know, you see him kind of give a glance back over his shoulder as you come out behind him. Um, but, uh, he doesn't seem to pay any mind to you. Right. Like, you're just some guy. Yeah. Um, yeah. He's, um, he's blonde as well. Um, sort of, um, sort of like, like features. Mm-hmm. If you will. Um, a little mustache, you know, a little blonde mustache. So anyway, he's just making his way towards your extra fits. Okay. Is that good? Yeah. Oh, okay. You guys are going to try and track. We're going to go. I mean, while you guys are going to try and track. The prince. Okay. That's right. All right. Oh, yep. That's a better tracking. Right. I have nothing. I have ten. I have ten. You can both do it. I bet I have thirty. So, triple z-rolls. Ooh. Nice. Nothing. I don't even see the mud in here. Yeah. Yeah. We're going to idea this. Well, well, on a phone or you get to check your skill. All right. Nevertheless. There's too much mud. All right. There's actually, you see nothing at all. Don't even see a lot of mud. Zero. It's impossible. You see a little bit of mud, but you can't. You can't tell. It's just like one piece of mud. Everyone. Yeah. Is mud laden. Mm-hmm. But we know that whoever's in the box, I mean, why would the... I don't think stage hands would be in the boxes. I mean, that would be like the front of the house. No, we're musicians. Exactly. Yeah. So, that means... So, Cyril comes back. Yeah. Nice. Hey. Hey. Ah, he went to the orchestra pit. Did you see him set up his instrument? No. Oh. Nice. Watch him do it. Okay. He did the same. Suspicious. Mm-hmm. Okay. You can give me a tracking roll. No. No. No. 33. Oh. Oh. Mm. So close. Mm-hmm. We're like... I see you last in the mud, huh? Yeah. Yes, you did. Sure did. Okay. So. Adam's your name? Adam's your name. All right. So, you make your way through more labyrinthine passageways? Yes. And make sure you come to a somewhat beat up looking door that's on the last there. It's the name plate. Mm-hmm. Nothing like that. I'll try. Okay. So. You go in. All right. So there she is. You recognize her from last night. She was an older woman dressed in black. Mm-hmm. She usually has her ballet cane with her. Mm-hmm. And she does now. And so she looks a little surprised. Can I help you? Oh, yeah. Um. We were just here on behalf of the Opera House to ask you some questions about last night. Who sent you? Um. From Fremen. For me. For me. For me. For me. Yes. For me and Richard. Mm-hmm. Missy or Richard? I see. Well then. What can I do for you? Well, um, to be quite honest, we are following up on the rumors of the Opera Ghost. In addition. In connection. In connection to the death of Joseph Bouquet. I see. So she gets a little pale. Yes. And sort of looks around and says, "I know some things, but I'm scared to speak of it." What are you afraid of? This ghost is capable of murder now. Yes. And so you do believe that it is the ghost that did this? Of course. Of course it is. It has to be. Sorry. Can we speak outside of the Opera? If it would be better? Yeah. Would that prevent any overheary? It might be. Well, I mean, it might see her going with us. Uh, it's true. There may be no. Yes. Um, I can only tell you this now. What? Who is it? What? I have seen the ghost myself. Mm-hmm. Yes. And he speaks to me and his voice is gentle and soothing. He speaks to you. Yes. And he has a Germanic accent. Other times his voice is frightening. Low and metallic sound. Mm. It's horrifying. Um, the role of the chorus girl has also been talking with him. Yes. You know about this? I am aware of young Christine. Yes. Well, why has he, I mean, does he talk to all the chorus girls? No, Christine is the only one I'm aware of. Mm. But she is just a romantic fool. Mm-hmm. Mm-hmm. What are you talking about? Romantic. Oh, it's a fool. [laughter] Well, but what do you mean by romantic fool? I mean, does he have designs on her? Is this, uh, how can a ghost? No, you know, romance, the old sense. Not meaning Amorous, but, you know. Oh, okay. I didn't know. Like, um... She finds it very romantic. Oh, yeah. So it's, okay. Sorry if you guys got that. I didn't get it. Um, alright. Well, that note. Um, how often has the opera ghost, like, how long Carla just said that he's been around for, like, six years? I suppose so. How long have you known his, of his, uh, you know... He contacted me five years ago. For what? He needed someone to... ...attend to his needs in terms of providing him with program books and keeping box five clean? Huh! He never misses a performance. Who is he? I do not know, but he gives me money and has promised that one day he will make my daughter Meg, uh, rich and, uh, wedded to royalty. And so I do what he asks. How do you know that this is true and he'll follow through with this? This is my only hope. Oh, wow. Who killed someone? What did he usually ask of you? Just the minor things. Nothing terrible. And, uh, prior to last night, I didn't think it was too much to, uh, to help him out. Well, how can you stand by while an innocent man is in prison for this murder? Because I fear for my own life now. And I fear I upset too much. Yeah. I'm sorry. But if you go to the authorities, perhaps they can figure out where he's living in the opera. The ghost sounds very unghost-like. Yeah, sounds like a man. He's just a person. Yeah. Do you know where you can find him? No. And I will say no more, except seek out the opera's gas man. We'll clear. Okay. Gas man? Gas man. I love her. Yep. Need a lot of them. Only one? They converted to electricity, uh, ten years ago. Oh, oh, oh. Really? So does he work in the depths of the opera? Um, yes, he has a, uh, he has a small office down on the, uh, first-level basement. First-level basement. Thank you. Thank you. Thank you. Thank you so much. And we will leave the street and hopefully get this resolved. Yes. Fuss. Measuring. Or death. Fuss. Or death. Yeah. Fuss. Death. Death. Fuss. To the first-level basement. Yes. Oh. Finally, we get to do the basement. Exactly. To the palace. That's right. We. Um, okay. So your head down stairs. Yes. I'm all clear. I'm all clear. So you, uh, you asked around a bit. Yes. Um, and you are directed to more players. Um, office. Mm-hmm. It is indeed first-level of the sellers. Um, these are dark, vaulted chambers. Um, rather, rather grim. Um, there's not been wired for electricity. And so you are provided with a lantern, actually. Oh. To find your way to Mokler's office. Okay. Geez. Yes. Um, you do know periodic, uh, muddy tracks on the stone floor of these sellers? Uh, but yes. You find Mokler. He is, uh, he is in his office. He's got a little kerosene lamp on his desk and he's, uh, leading the newspaper. Oh my god. Oh my god. Oh my god. What do you do? What do you do when you're serving with your bone? Yeah. All right. Sorry. So he's, uh, he's dead. He's dead. He's dead. He's, you know, he's a working class Frenchman. Okay. Um, yes. Um, Madame Jerry, hello. Uh, hello Madame Wanda. Um, Madame Jerry sent us to you because, um, we are investigating this offer ghost. And she said you may be someone who could help us with this matter. Mm. Yeah. He, uh, takes out a tobacco pouch and begins to make a cigarette. It's a rolling bagel. All right. I don't know why she would have said that. Um, I have a feeling you would. I do not bear the, uh, I do not, uh, bear the ghost in any particular sympathies after, after killing my friend last night. And he does want to be someone who knows about him in any matter so that we can get to the bottom of it and a venture from death. Well, believe me, if I knew anything myself, I would have been to the police already. Mm-hmm. Let's see. Well, what do you know about the offer ghost? Hmm. Well, some say he is, um, [clears throat] some say he is the ghost of a musician who died in the opera. I am not so sure about this. Mm-hmm. Have you ever heard the ghosts speak to you? I have never seen the ghost. You have never seen the ghost yourself. How long have you been here at the, at the time? 15 years. 15 years. Can you tell us about box five? Mm-hmm. Very good. It was, um, supposedly the, uh, the ghost box he never misses a performance. Sounds expensive. It always hit the box. Don't go. Yeah. Do you know who is there to, who used to use it? Rock type or the ghost? Mm-hmm. It was just another box. Yeah. Mm-hmm. Nothing ever happened in box 15 unusual before this. Yeah. Mm-hmm. Tell us about the, I thought the man who died. You, you, you were a friend of his. Ah, yes, Joseph. Mr. Mm-hmm. Okay. Yes. Oh, we were good friends. We worked together for many years. How many years would you say? No, ever since I started here. Well, he was here before you were. He was here before. Oh, I thought that was the other man. He was here before. Oh, I thought that was the other man. Yeah, anything special. Huh. All right. Well, now that I think of it, um, uh, buquettes, you know, he, he said he had seen, um, something suspicious, um, some time ago. Well, what is it? Was there any hint given to you regarding the nature of the suspicious? Oh, yes. It was quite a story. Well, please, please, well, well, uh, yes. All right. That's fine. Um, let's see. So, let's get the scene here. It's dark. There's just a couple of lanterns. Smoke. Do the, uh, papers. Mm-hmm. All right, then. Good. So, we're about to hear the tale. Oh, okay. It's about to speak the tale, Joseph Bouquet, and the suspiciousness. Okay. Um, no, no, let me think about it. Uh, I think this was December of '93. Mm-hmm. So, just about four years ago now. Um, this was right around the time, if I recall, but, uh, very strange things began to happen. Like... Oh, you know, odd accidents, that sort of thing. Mm-hmm. Puffin audience. Things missing. Mm-hmm. Exactly. Yeah. All right. Um... But yes, uh, Bouquet came to me with a, with an interesting story, this particular day. He had, um, stated the opera late to finish up some repairs in one of the workshops. Uh, as he was leaving, he claimed to have seen a figure dressed in long, dark clothes arrive at the opera. He was born here in an unlit coach. Uh, and the coachman came down from his perch and assisted this man carrying something into the opera. Mm-hmm. Uh, sometime later, the caked figure and the coachman, uh, returned to the street. The figure in black handed the coachman what appeared to be, uh, quite a few francs. Mm-hmm. And then they exchanged a few words. The coach then pulled away, leaving the mysterious man on the dark street in front of the opera. I asked Bouquet if he investigated further, but, uh, he said that due to the late hour, he instead returned to his flat. Uh, do not know if Bouquet ever followed up on what he had seen. Um, but I remember he did mention recognizing the coachman. Mm-hmm. Um, let me see. I don't remember the man's name, but I think Bouquet said something about the coachman now being in the employ of one Dr. Charles R. Shit. You give me a no or a cultural for that one. Do-do-do-do-do-do-do. That was a good seven. Twelve. Yeah. That is ten. So you both, uh, I assume that's the twelve of the success. Mm-hmm. Uh, you both recognize that name, uh, he is a renowned French cyclical researcher. Mm-hmm. All right. Yes. Mm-hmm. Um, okay. So... Presenting. Yeah. I'm just trying to think. What was the size of- did Bouquet talk about the size of what this man was bringing? And he could have been simply an instrument, simply a man. What was it, particularly if it seemed strange? He didn't mention the size, but obviously if it took two men to bury it. It was quite large. Yes. It felt like a coffin? Perhaps. If your thoughts are so morbid as to imagine such a thing. Well, they are. Considering there has been a death. Yeah. Well, did it look like it's- so you said it was- you asked if it was like an instrument. Oh, yeah. But it would be not. But he knew about it. That's the thing. Well, um... Thank you. Thank you very much. Thank you. Thank you very much. Um, yeah. Okay. We need to go down. Yes. Exactly. So can he be a guide to down into the catacombs? Yeah. Give me a persuade, Roland. I'm persuaded. We will need help. Why is my persuade- come on, fast talk. This would have to be a persuade. I miss by seven. Okay. Do you want to try? Good God, man. Sure, why not? Uh, no. All right. I'll try persuade. And I'll say. Oh, this is a case of such enormous importance. We need a long time employee like yourself. Water butter. Mm-hmm. We need someone who really knows the guts of this establishment. And the way that all those up there simply can't go- we need your help. Yes, yes, yes. Damn! So he just listens and passively is all three of you try to argue with. No. No. Damn it. And he says, those passages below are very treacherous. Mm-hmm. I would suggest you all take a source of light in case one of you gets separated. You do not want to get lost in the dark. What? You'll never find your left. But that's why we need your help. Where no one can hear you. Yeah. That's all right. It's not in my job description. All right. For your credit. Yep. You know anybody that knows that? Yeah. Who would anyone be willing to help us? I can't think of a one. All right. Of course. No. I'm going to find Shane my ankle. Ooh. That was gutsy. I was folded into the persuade role. Uh. Uh. Do you want to push the persuade role? I am. But maybe he won't even be able to help. Maybe it is as he says. And no one can help us. We have to go find our way to see how. Wait a minute. I don't know if we should go down there. We could come back later for him after we talk to Mr. Rochet. Yeah. I think we need to just not go on anywhere. He's not going anywhere. Yeah. Because we need to explore that and then. Mr. Rochet isn't going anywhere. No. He's not. So, I mean. Well, when's this, when's the performance starting? What time is it now? Uh. It's been a couple hours. It's going to be like six hours from now. Oh, good. Okay. So let's, let's call upon Dr. Rochet. Yeah. Yeah. Okay. This I could go along. Yes. Delicate genius. We'll be helping. Delicate genius. All right. Pop. So. Mm-hmm. Um, very good. So, uh, if you head back out into the light of day. My character is getting a little antsy talking to all these exciting people and not doing any of their cards. It's making them really nice. Oh. Oh. And our shirts and our cards right over. Why don't we pop a few cards? Mm-hmm. Let's do it. Pop a card. I can't hack it. This is just like. Holy. Yeah. All right. Bust out the card. Yeah. The cardomancy roll. Do it about the ghost. Oh, we want to ask specifically about, about the, the. The ghost man. The Germanic metallic speaking. Phantom. You might call him that. Mm-hmm. Of course I pass. Mm-hmm. I've got an advanced cardomancy. Yes, we do. Yeah. Oh, yeah. I know what signy is not. Oh, wow. I'm going to add shuttings. He's a sash. Haha. Hahaha. Hahaha. Hahaha. Hahaha. Hahaha. Hahaha. Hahaha. All right. Well, again you turn up the hermit. Again. Wait. We only get one wheel. There it will go. My choice of shirts. Um. Oh. Oh. Oh. And I didn't notice that. Absolutely. I thought you were being that dude. Hahaha. He was that dude last weekend. What? You were listening to Led Zeppelin and you had your Led Zeppelin shirt on. Well, it was purely accidental. We were in the car. Yes. That guy. Uh, but anyway. All right. Uh, but this, but there's a slight change. Uh, yeah. Again, you turn out, uh, turn up the moon as part of your time. Oh. But this time it is, uh, upright. Oh. Right. Oh. Oh. All right. That's something. In the case, signifies deception, error, falsehood and change. That's right. That's right. So a changeable man. Deceiver. Someone is not who he claims to be. Uh-huh. I'm guessing. Yeah. Maybe. Maybe he gets down the roof. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. Riche. So we have, we have just those two cars. No? No. All right. So we're on our way. What was the name of the reporter we were with? Desktop lover. Desktop lover. He's awful. He's conveniently disconnected himself. Mm-hmm. This process. Mm-hmm. That's true. Thank you, Mr. Weston. Mr. Weston makes a good point. Dude. You're a slipped an oose. Mm-hmm. Okay. Oh God. That's horrible. Oh my God. Dude, the air, I just completely... Oh, too soon. Oops. Oops. I just couldn't help myself. It's like a guy fell out. It's on my mind. It's on my mind. It's like a guy fell out. Blue. All right. So the coach right over... Yes. Uh, you discussed these things. Yes. You know that Riche is president of the Institute Metaphysic Internationale. Doesn't that just tell him? Honorary president of La Socite du Nervisselle de Tudes Physics. Or Caesics. Mm-hmm. We don't have a appointment. He's not gonna want to say it. And professor of physiology at the Faculty of Medicine. Oh, wow. I'm sure he will talk to us. All right. Okay. So arriving at his offices at the Faculty of Medicine, I will need a successful French role. Oh. Take a pass. Oh, really? Mm-hmm. What? I found that. I found that. Wish it. I'm pushing. Mm-hmm. Violin dejection. Nope. 19. I made it. Okay. All right. So you start speaking and you can see the secretary is not liking her accent. Mm-hmm. So you stop and you kind of try harder and you get it this time. So now I will need a credit rating or persuade a little. Mm-hmm. Um, credit. I'm gonna check the dog in her bone situation. 18 made it. All right. Mm-hmm. Mm-hmm. Mm-hmm. So you do drop Mather's name. Mm-hmm. You know. Oh, and then some. Oh. Miss your Mather? Yes. I would like to speak to his associates. Concerning a great matter. Yes. So Secretary, the doctor is very busy but I will see what we can do so they disappear for a while. Mm-hmm. Come back. Right this way please. Yes. Boop, boop, boop. Here we go. There's a dog in there. Oh my god. Um, so. Okay. So yeah, you're shown through to Richard's office. Thank you. Yes. And he shakes your hands and says, "What can I do for you?" Well, um, of course you've heard about the opera ghost. The opera ghost. Yes. Yes. Of the royal opera. Yes. And you've heard about the hanging that occurred last night. I did read that in the paper, yes. Terrible. Terrible. We were on the scene at least. We were there. It was horrifying. I see. We are, we've come here on behalf of, um, the opera house. Mm-hmm. To investigate, um, any sort of information that we can find out about the opera ghost. The myth there of any strange happenings with Joseph Bukei at the opera. Um, and your name was among a couple of names we were given regarding some mystery surrounding the opera house. I see. I failed to discern the connection there. Well, there was a carriage that had been hired. A couple of years back. Four. So, December of '93. Mm-hmm. Does that ring a bell? No. Well, we were told that you were there, um, on December, um, in 1893. Um, you were there during a delivery. Why would I be present in a delivery of opera? That's, that's why we come here. I mean, to clarify what, what we were being told. Nothing. You got nothing. You got nothing. I've never participated in a delivery. That sounds more like something a coach would do. Indeed it does. But there's, there's been a lot of strange occurrences of the opera house. I'm not sure if you were aware of those. Or if your organization has investigated any of those happenings. I've, um, heard a few anecdotes. There's evidence of spirit activity in box five. There's been no investigation. Yes, no. It's strange. Um, what I've read of it seems nothing more than, sort of, superstition one encounters. Is it an opera or sort of venue of that nature? Mm-hmm. Mm-hmm. Do you ever go to the opera? I think it's the only thing that you do. Oh, it was the last, it was the last show that you've had seen. Perhaps two months ago. Two months ago, really. Mm-hmm. Well, um, who was the diva for that? Would that have been for a lot as unfairly? Yes. Was she? Yeah, at the time. Callin de Colombo. One other thing. Yeah. We know you were there. Yeah. You were coming after you. No. We don't say that. No, we don't say that. Um, well, um, if there's anything that you remember that comes to a mind. Can I do a little spot hidden of his office? This should be any... Oh, I did it. And I hit it on the money. Is there anything in there? He's got a lot of, um, tomes on various occult studies. What a beautiful library. Yes. It's a lovely library. You know, we are students of the occult ourselves. Oh, I see. Yes. My secretary mentioned that you said you were associated with missing evidence. Mm-hmm. Indeed we are. Oh, that's why I can't help you more. I just find it strange. Why would your name be mentioned? By, um, who was at Montclair? It was Montclair. Um, Montclair. The gas man. Who is Montclair? He is the gas man of the opera house. He had spoken to the dead man. Again, why would I have had an association with the gas man? Mm-hmm. I wasn't a direct association with him. All right, well, um, I think I have an idea. Excellent. But I have nothing to do with you. Sure. Thank you for your time. Well, again, I apologize. If we should want to come back and take a class or something with you. Certainly. Certainly. Yeah, seriously. You can enjoy a brochure from the, uh, society. The dudes. The geeks. Is he speaking at anything? Coming up? Anything? Uh, he has a, he has a talk coming up in mid-January. Oh, okay. Okay. All right. That's so cool. Mm-hmm. All right, so I think, uh, I've got to leave. For now. Mm-hmm. Thank you for your time. Mm-hmm. All right, so emerging under the Parisian streets. I have an idea. I think, I think here's the deal. I think. Yes. That whatever we're dealing with is a, can disguise itself to look like different people in order to pass diabolical. I thought he was simply lying. Because there was a body in the trunk, and he's a necromancer. Oh. That's true. Could be an imposter? If so, why him? Well, because he is a questionable person. I mean, he's, he's an upstanding person, so, you know, why would you follow up on it? Well, let's ask some of the ladies if they've seen, like, if the, perhaps Madame Sherry, who was very forthcoming with their information. Yeah. If she is aware of this Mr. Richard. Okay. If they're, I wonder if they're not an imposter. Mm-hmm. So it's not just one person, it's several? The ghost isn't one man. Yeah. Because he covers his face. Mm-hmm. Maybe they all like it. I like it. I always like it. Okay. That's a good idea. It could be the orchestra. It could be. It could be. Because, uh, Madame Whosel Day seemed to hear someone a little bit different than Sherry. And she says that she heard, like, two different voices. Two yes. So it may be more of the one person. I think that holds water. Okay. So as you're, uh, chatting out on the sidewalk, a coach pulls up and, uh, Mr. Richard, you know, comes out. Does he? Mm-hmm. And, uh, sees you there and tips his hat. Yes. Soft dinner. I fall off. Like, I have a map. Yeah. [laughter] It goes up yet. [laughter] [laughter] And, uh, you know, he climbs into the coach. Mm-hmm. Yeah. So that's to his coach. Let's do it, uh, La Peric. If you please. What is that? Well, La Institute would be. The school. And, uh, or, um, I'm sorry. Let's society. This is. And La Peric would be a surname. That would be his coachman's name. What? He's going to the school. Yeah. Does society, but which one? Just society. His secrets to society. Where are we now? I thought that's where we were. No, you're at the faculty of medicine. Oh! Oh! Let's go. All right. Let's go there. Yeah. Yeah. Yeah. It's like, get a coach right after him. Followed by the coach. Yeah. [laughter] Yeah. All right. So the low speed coach chases. That's right. We're heading. Do we do more cards? I don't know if you want. We'll do the same cards. We'll do the same cards too. It'll be creepily the same cards. Exactly. Again and again and again. No! The card's going to late though. It's not. It's true. You should be back to him. All right. [laughter] So basically we're following him. So why would he suddenly go to the society list? I mean, maybe at an appointment there. Maybe it's his normal day. Or we put the window. I think it's a little. Yeah, it's like four in the afternoon. I think it's a little strange that he would suddenly. He spooked. He said he was going to dinner, right? Yeah. You might be at the society. You might be at the society. I think we're going to dinner and all that. One, many lives. Did I start meals at the society? Yeah, he was. Well, you'll have to point out. So you arrive at this building. Yes. Yes, you arrive at this building. Yes, we do. We don't give a fuck. We're just sitting there. You see, you see regret, you know, entering. And the coach waiting outside. Well, the coach is waiting outside? I don't know. Do you? Is it? What do we smell? Is there any food? There's a cartridge. Heads, brops. You don't smell anything out on the street. Okay. Is there any evidence of larger activity? Like, are there other people coming in? Is there a sandwich board out there or anything? Do you see a few other men going in? Yes, in black. Yeah. There you go. Black rock coats. It's cold. No, sure. Everyone's wearing a phone. Does she eat the ball already? She can't have. She might have. She might have. She might have. No. Is that a random? Yeah. Is it the one over there in the corner? Oh, no. No. Wait. I heard it. No, that was another one. Hey. How many bones? Are we serious? I don't know. What's this? What's this? Let's do this. Okay. Okay. You need the dungeons? Yeah. That seems pretty. Yeah. It seems like we're getting a lot of push to go on. Yeah. Somebody wants a signal in there. Nobody wants you to go there. Yes. Everyone does. Everyone does. Everyone does. Yeah. Your reality. So basically we're just going to hover outside of the society and the coach. We know where he went. So that makes it instantly suspicious. Okay. So we're just going to keep him in mind and go back. Talk to you. What? Talk to me about the building itself. Is there a possibility of me creeping around the side? It's going to be doing it up? No, it's a Parisian row house. So there's nothing. So you can't. So no. All right. Okay. Back to the opera house. That's it. Great. The third thing we can do there without putting ourselves at undue risk. Mm-hmm. So back to the opera house you go. Mm-hmm. And... You want to go ahead and go inside? No. No. Yeah, you're sure if you do, if you do then we'll wait for you. You've got an elephant gun. Yeah, come on. Yeah, if you want to go for it. He'll just, what does he do? He's breaking with the elephant gun. He's just going to kick you out. Right. He's going to kick you out. He'll call the cops. He'll get arrested. He'll do a brush. There you go. We'll go in a dungeon with mail up and then. All right. It's good. All right. Getting on down. Well, I think can we talk to LaClaire for a cloud? LaClaire. LaClaire. LaClaire. Again. LaClaire. And I wanted to pass around Mr. Weschitz named with Madam Jodi. That's a good idea. Oh. So she's a talker. She might have. Mm-hmm. Okay. So I'm going to talk to LaClaire. The gas man. Mm-hmm. Basement one. Meet me down there after you talk to you. Shall we? We're going to go together? Oh, sure. Okay. Come on. Okay. All right. Is she re-first and then downstairs there? Mm-hmm. Okay. So, um, what did you want to ask her about? We should reset. Yeah. Okay. So we'll approach Madam Jodi. Is she still in her room? Where is she? Is she working? She doesn't. Uh, you asked around. Mm-hmm. Of course. Yeah. Mm-hmm. Mm-hmm. Yeah, you find her up in her office. Oh, the rain. She's still. [Laughs] She's checking in to see if we are alive. Oh. Yes. Okay. So. Yes. Okay. So. How can I help you? Mm-hmm. Madam Jodi, we had just spoken with Ms. Sumo Flair, the gas man, down in the first basement. He told us a rather interesting tale. I wonder if you heard it about a darkened coach approaching in December of '93 and two men in a large crate of us, nothing? That's certainly strange. Anyway, attached to that tale was the name of a French psychical researcher, Mr. Rashette. Somewhat higher up in this medical establishment as well. And we were wondering, we went to go see him, perhaps you knew him as well. No. Nothing. No one. All right. All right. Thank you. We're sorry to take up your time. Thank you for being so forthcoming. I understand the risks. So, um, as you're leaving her, um, her dressing room. Well, have you seen Mr. LaRue around? Um, yes, I believe he is still here. I think he's planning on attending tonight's perform. Okay. Thank you. Excellent. That's really right. As you're leaving the dressing room. Mm-hmm. He's here, actually. Oh. Kind of. From the shadows. Whoops. Yeah. Okay. Turn to the shadows. You see a, uh, a man with a blonde hair and a goatish face wearing a black opera cape. What? And he's motioning you over. Let's go. Hey. It is the muddy, muddy-booted, violist. Okay. Mm-hmm. Mm-hmm. It's my goatish face. I never forget something that I track. So, um... That's a goat. That's a snails. That's a goat banana. Oh. That's a goatish face. That's awesome. Yes. So, yeah. You must... You must come over here. Who are you? My name is Eric Zahn. I am a violinist in the orchestra. Okay. And? I need to tell you that it wasn't me. I did not murder-booted. Why would you think that we would think that? Because I am the opera ghost. What? You're the opera ghost, huh? Why are you the opera ghost? Yeah, what? I am. I am. But why? You're a man. You're not a ghost. You're a goat, man. You're a goat. I need a goat. You're a goat, not a ghost. That is to say I've been posing as the opera ghost. How long? Sometime now. Why? Because I'm in love with Christine Day, but I dare not tell her. So, I come to her in disguise as the ghost, supposing as her angel of music. So, were you the one that took her into the basement? Yes. I did do that. So, do you do anything to her? I don't know. Yeah. We don't care. I did. I did. I got her this morning. Yeah. I'm just curious. I mean, it seems nefarious. Where do you come from? My light of work. And you all got crazy. Yeah. She really believes. All right. Well, were you ever going to reveal yourself to Christine? I have hopes for some time now that I work up the courage to do so. But that's so far. I have not been able to. Just a second. I can hear some cracking like that. So, you know the basement well? Some parts. Yes. I can show you some secret passageways. That would be awesome if you would be willing to do that. If you do that for us, we would be happy to keep your secret. Absolutely. Yes. Of course. We have a real. I just, I do not want to be blamed for that murder. Understand completely. I don't think. Oh, Andy. I'm a narcissist, man. He's very slight. He's so small. He's impossible to do. He couldn't have done it anyway. He doesn't have physical strength. It wasn't a bone. It was the handle of the wind roller. Oh, lovely. And it's terrific. Her bones fell here. Yeah. She's got a cheerleader. She's got a cheerleader. She's like, oh, I can just chew something. She just needs the passagels. All right. So, um, she seemed comfy out there. So, are you correct to deal? Bull. Yeah. What? Yeah. In exchange for our silence, he's going to take us on a tour of the basement and show us some secret. Well, then who did kill Joseph? I know. There's a real ghost. Somewhere. Everyone here knows that there really goes to me out. Were you the one speaking to Madam Jiri? I am. Jiri? No. That is nothing. You give me a second. Yeah. Well, let's see. Make it. He says he's not telling the culture. Ha ha. Really. Please, you need to be honest. We do not want to turn you in for the murder of this man. No. For you, it'd be turning into an innocent man. We would like to find the real person so that the innocent man or another innocent man doesn't get a prison. Yes. Certainly. I've given you all the information that I can at this time. Do you know if someone who is talking to her? Someone what? Who is talking to her? Who? Madam Jiri? I do not know. Ha ha ha. All right. So how many of these real ghosts are there? Yeah. Who is it now? Wow. You must find all 72 operas. No. Secret society. Secret society. Secret society. Yeah. That's it. All right. All right. So yes, he'll take you down. He'll show you some secret passageways. Okay. So far. Like we're to Christine and stuff. Yes, exactly. What is this? All right. So, uh, she's on. Where is he from? He's German. John. What do you happen to know any of the, uh, anything of the story with Mr. Grechette and a certain box delivered at night in the cover of darkness? Yes. Four years ago? No. There's nothing here. All right. Nobody knows. Nobody knows. So he takes you down, you know, along the way, saying, "I cannot linger long. I have to be up in the pit for the performance in three hours." So how long would it take us to just get a journal tour? Come on. Inside. Come on. Probably about an hour. Okay. Rest. All right. Okay. Sorry, you guys. All right. All right. So we're going to go now. All right. Let's do this. Okay. Do you want to put down your bill before we go? Put down what? He's showing his bill. Oh, does he? Is that with you? Oh, no. No. All right. I pictured him holding it, but no. Oh, no. It's down in the pit. All right. Goatman. Okay. Lead on. All right. So he leads on. Yes. Yes, yes, yes. So he takes you down into this other area. Thankfully. Dank. Dank. Draping. Draping. Draping. And along the way explains there are five subterranean levels beneath the opera. Why? Why so many levels? I mean, I know why. Well, the pair's opera. What does that mean? It's old. They just store things there? Yeah. Yeah, all kinds of things. There is a fully functioning set of stables, horses, along the way. Elevator to bring the horses up to the stage. Everything is powered by hydraulics from the underground river below the opera room. So where's the loan? Hmm. All right. So during the siege, during the last war, and when the Commenade Uprising, this building was used as a prison and a military base. Okay. All right. So we get into the depths of the more five levels. Okay. So yeah, he takes you down. He shows you, you know, like their doors and their passageways. You know, and he takes you to one particular trapdoor that's situated like four feet off the ground, you know, and it's only like two feet square. You know, he says, "If you open this door and we'll take you into an access hall that wind its way down one level and then come out into another tunnel." There are many such passageways that I have used to get around, and one of them takes me to behind the room of the chorus girls, dressing rooms. And in such a way, I'm able to speak through the mirror to Mademoiselle Day. And she thinks that I am speaking to Margaret. Are you a good singer? I have a voice, yes. Hmm. Just wondering how convincing it was. How often do you visit her? Um, every Tuesday and Thursday. See, I was going to say, like, what if he wasn't Mondays and Wednesdays? Oh, wow. Oh, well. I was hoping for that. Didn't get it. All right, so, so Tuesdays and Thursdays you visit her. Okay. Okay, so have you heard about the other strange occurrences where statues have fallen and other mischief has happened? Were you the cause of any of that? Um, none of the, none of the terrible mischief, I will admit to having stolen some goods. Yes. Hmm. Did you know Joseph? Um. He passed. Some what, yes. Was he a pleasant fellow? Was he difficult? He took it along? He was a stagehand and all that and plot is working the last little rough around the edges. Mm-hmm. Can you think of anyone who wanted to kill him? No. Really? Really? Mm-hmm. Really? Okay. All right. Um, so where is he taking us? He should see us taking you on the school. Just all around you. Okay. And then you kind of show you. And then basically the, the past of the things he's showing you are like, you know, very tight little tunnels. Yeah. Corridor. Yeah. Corridor's, you know. Well, um, what's his last thing? Zans. Zans. Mr. Zans, have you seen any proof that a ghost exists here? Only a fleeting glimpse of this. Like what do you see? Man in black. That is how I knew to assume that costume. Mm-hmm. And that's all he's in black. There's no other. A breath written in tact. Mm-hmm. A face hidden somehow. So you think he, you, so you've only seen him. You haven't heard him or? I have not. Okay. But sometimes down in the cell there's you do here. Snatches of music. Like what? This. You may listen. Oh. Oh. Oh, I fail. Yes. Hey. Fail. Fail. Yeah. So Cyril, you can pick it out. Mm-hmm. It's just like very... Yeah. [laughter] It's very slight, but there's a slight sort of harmonic sound. Seems to be kind of drifting up. Harmonica? No. Seems to be kind of drifting up from the package. Oh. You know. Ding, ding, ding, ding, ding. Oh. It sounds like a banjo. Right. Yes. But it sounds like a, what does it sound like? Just, but it's very slight. It's just like you can just barely make it out. Well, looks violent record. Well, music. It sounds like some kind of melody. Oh, okay. I tell a direction. It's going to be funny. Yeah. Just that it seems to be echoing up from below. From below. So it's down. Because apparently it can be here, you know, sounds of people above, you know. And so it's definitely not coming from that direction. What level are we on right now? What'd you say? Probably the second level. You've gone down some stairs, so you're telling us. All right. So it's beneath us. How much longer are you willing to take us? Like the room. Have you ever like investigate? Oh, sorry. That's the first question. Oh, yeah. Yes. Yes. He takes his pocket watch out. I do have to leave soon. Okay. Is there any other, have you done your own investigation in terms of the ghost? My name as much has allowed me to court the young. No, you're a professor there. Okay. Do you realize that this would be calm? Yes. You do realize that he has arrived and he seemed to be very concerned for her and worried about her. Yes. I am only two away. I bet. What? You're not going to do anything rash, are you? Certainly not. Okay. Well. I believe they're just childhood friends. Yes. But it's probably true. Yeah. Definitely. Yeah. More brother sisters. Yeah. Definitely. No. Well, no, I would. Well, I'm just saying, while I do feel that this is something that maybe helped you to get to know her better. I'm sorry. I do believe that it might be best to reveal to her your intentions. I know. I'm waiting for the right time. I just cannot do it. Why not? This sneaking just seems a little hard on your psyche. Mmm. Mmm. He seems a little delicate right now. That is a good point. Perhaps. I will think on this. Okay. But for now, I will put aside the deception. Yes. I think it's best just for now. Yeah. I don't think she even knows I'm alive. Oh my God. Yeah. Yeah. So that's a problem for her. I want to start by friending her on Facebook. Yeah. All right. So, um. And other people could be looking for you if you continue with this. Yeah. I mean, then she would definitely not want to. Well, now the murder is involved in being much less prone to assuming that is nice. Certainly. Yes. Because we can keep your secret as long as you keep it yourself as well. Thank you. Okay. Okay. So, here we are. We're going to go further down here. Further down. Can we find our way back, do you think? You can, you know, leave marks on the- Okay. So we'll do that. I miss Padma. I don't know. She's so good at that. I don't know. She's so good at that. Yeah. Okay. All right. So you, uh, you proceed down into the cellars. It is, uh, completely black. I mean, you're, you're underground or in these stone vaulted halls. And with only your lantern light to guide you. Mm. Um. Mm. Mm. Mm. We're right here, are we? At a certain point. Mm-hmm. You're walking through a narrow, almost sewer-like passage, although there isn't any actual sewage. Mm-hmm. Okay. Good. Um, but you do hear a high-pitched screeching sound approaching you. Oh my gosh. Yeah. Mm-hmm. Oh, bass. Yeah. Sort of like screeching. Maybe bass. Maybe rodents. Sure. Uh, you see hundreds of tiny eyes. Uh, plenty of light of your rats. No! I will need a luck roll from Sophia. Oh, no. I don't want to get the play. Pass. Four. Yes. Oh, yes. That was, uh, up about three feet. Mm-hmm. So you could duck back into that if you wanted to. Okay. So we go. All right. So you all, you all hustle back. Yeah. Jump up just in time as it's like sea of rats. Oh. Courses by. Oh. Yeah. Wow. Wow. What are these details whipping around? Yeah. So forth. So they pass by. Oh. And it starts to get quiet again. Oh my God. That was terrible. That was gross. That was gross. It was like, wow. There's so many rats, brook. So much of them. Yeah. That was an adventure. Yeah. That was an adventure. What were they fleeing, I wouldn't do. Yeah. Let's find out. Let's find out where they were. Yeah. Let's go back to where they came from. Mm-hmm. So you merge into the, duck back out into the passage. Rat poop everywhere. Exactly. Slick. There is some, there is some turdish. No, turdish. Yes. As you come out, you can see with a glance down the passageway from the direction they came, an ominous, fiery face floating in the darkness. What? What? Yes. Sort of skeletal red. Just sort of coming towards you. Really? Yes. All right. Speak to it. That's amazing. Speak. How big is it? It's human-sized. Okay. And I will need sanity rolls for this to get inside. Oh, yeah. It's a fiery head. I pass. I fail. I fail. So you lose one. It's too much for me. It's a lot. It isn't like, oh my God. Who got? Because something you don't see every day? Yes. And so then, then as the, as it comes towards you, you can see that it is actually a man bearing a red, red light lantern. Oh, right. Good thing you didn't shoot it too. What? Oh, I have nothing at thought about that. I was barely going to say hello, sir. Hello. Okay. Hello. Hello. Greetings. But you wanted to bench it like us. Just two adventures crossing in the night. So he, he looks at you curiously and says something in French. So, Lily. Oh. I will need a French roll because this French is so bad. It will so like, you know, fit the little glass. Yes, I make it. All right. So, you know, I'm like, what are you doing down here? Oh, is this? Well, they are everything from the upper ghost. Well, that's fine. Hey, man. I'll be honest. Yeah. Yeah. Maybe you'll be like, yeah, he's back this way. That'd be me. Yeah. Yeah. You're talking to him. Yeah. Please call me Larry. Larry ghost. So, uh, so he says, I, I have seen a dark figure down in this past. How often? Of course you have. Time to time. Are you sure it wasn't your own reflection? Not entirely. How often? So from time to time, do you think it's responsible for the death that occurred last night? I'll need a fast talk rollout of you to get anything in. Is that why they gave me sight? Wow. I make it. Okay. Someone, I'm really, I'm like beautiful. Oh, yeah. You're stunning. Yeah. He's like, oh, this beautiful woman's talking to me. Exactly. I've never come across beautiful women in these, these catecholans. Um, so, um, he says, uh, he says, well, um, to tell you the truth about him. Yes. You can tell me anything. I, uh, I am paid a few francs, I am paid a few francs every week, uh, to rid the fantan's layer of rats. Phantom. I am known as the rat catcher. The rat catcher. So you know these tunnels well? I don't know. Of course I can't say that to him. Yes. You don't say that, uh, I can't, I know. Well, I said it out loud, but, uh, I really say it to you because. Yeah. Yeah. He doesn't know what you're saying. So, um, can you lead us to this layer? More fast talk? This will have to be a persuade role. Yeah. Yeah. Or a lot of role to threaten him, but, you know. No, no, no, no. That persuade is so shite. Why didn't I? What? I don't know why. I put a lot into occult. And now there's no occult I fail. All right. Can you persuade him still? Can I try persuading? Through her. Uh, it would be like an half of your perception. Oh my God. What's the plan? That's true actually. The worst thing that happens is nothing. Right. Exactly. Nope. Nothing happens. That's what that is. Let's see it. It is not worth my life. I got 35. Oh my God. Okay. Give him the, give him the say stink guy. And 18 or less there. Stink guy. 18 or less? Yep. Come on, man. Oh, 82. It's not worth my life. Do you have such information? Yeah. It's creepy. Yeah. It's creepy. Yeah. All right. Uh, well. You cannot avoid. We will simply follow his tracks. Yes. We will simply backtrack him. Yeah. We'll follow the rat poop. You can attempt a track. Bingo. Okay. You can give me a track roll as double your normal chance. Oh. Probably be zero actually. Oh. One person can track it. Oh. Oh. Cool. Rat poop. Tracking. Woo. All right. So following the, following the trail of the, of the rats. Yeah. Yeah. It does take you deeper down into the sellers. Is the music getting louder? It is getting louder. See. See. See. Set the blind. To the death horse. [laughter] In due time, you come to a passage that takes you to a remarkable site. A cold black lake. Ooh. Ooh. It's on the ground lake. It is motionless water. There's no light. Fucking the light from your lanterns like glass. Yay. No. Look. Do I think, I've become a, I've left Padma's eye here. Oh. You see me freaking out a little bit. You see a little more than a forest of support columns jutting out of the still water. Black mildew and fungus sprouted on the columns and ceiling. The ceiling itself is only about five feet above the surface of the water. Ooh. A small boat has been pulled up and is resting on the passageway floor. Oh. By us? Mm-hmm. Let's get in. Let's do this. Let's roll. Let's roll. Fail. Fail. Oh. Fail. I'm going to push. I'm going to push. I'm going to push. I'm going to push. I'm going to push. I'm going to push. I'm going to push my listen. Yes. Okay. I'm going to say that you're straining to hear where the music is coming from. And you're straining so hard if you fail it, you're going to fall into the water. Okay. You're leaning forward and you're going to lose your balance. What you're listening? I've already broken my leg a couple of years ago. Yeah. Yeah. What you're listening in? My listen is 50. Oh. That's not too bad. Yeah. 50/50 chance. I know. I did before. All right. I'm going for it. I'm going for it. Oh, come on. Chris Flash. No. Now I am soaked to the bone. In 40 degree. In 40 degree. In 40 degree. Full of water. Full of water. Full of water. Full of water. Full of water. Can we do a luck roll? Let's see if he grabs me right before my fall. Please, please, please. He sees me teetering. Only like her feet would be in the water. Yeah. Yeah. I won't say a luck roll. I'm teetering. Let's see. What's your dexterity? Eight. And what's your dexterity? Twelve. Okay. Why would I fall? If it's a dexterity call, I could grab it too. Roll. Okay. What's yours? Sixteen. Oh, Jesus. All right. There we go. Roll a. Let's see. Sixteen versus eight. Eighty-five or less. Oh. Oh my God. Oh my God. Eight-nine. Oh my God. Boom. That's hilarious. Hi. You look betrayed. Well, that's what happened. That's what happened. Yeah. So you just managed to sort of grab just a little bit of her sleep. Yeah. I get your piano shot. I'm just like. Oh yeah. And she... Shh. Shh. Shh. Shh. So I figured... For that alerting nobody. Yeah. So ripples go rippling out across the water. Okay. Yeah. And you are soaked to the bone. And you're out. And I gave her my coat. Oh, thank you. That's very... That's the right time to do it. I'm shivering. I like it. I want to take... Hypothermia. I hate to say this. 'Cause it's inappropriate for me to say. But you might want to take some of the wet clothes off. Oh. I'll look the other way. And you put my coat on the roof. That's actually true. I think he's probably right. Mmm. Mmm. This is awful. [laughter] But I wanted to listen. Is that the bed? All right. I'm gonna... I'm gonna take off... All right. You know, you're... I mean, I really honestly don't care about most of the rules. So... Of society and... It might dry off. Okay. Put it back on before we go back. So I am going to take off my dress. Okay. Okay. And put it on... I have his coat. Put it on the coat. Okay. So I'm in like my... [laughter] Yes. My horse's... My bustle. My bloopers. My bloopers. And the pants. And the men's gym. The men's coat. Yeah. And my boots. Yep. Okay. 'Cause I'm not taking these boots off. Nope. They send everything that's on the ground. No. No. No. No. All right. So my dress, I'm just... I'm holding it, I guess. Yeah. All right. So the music is still reverberating and it's louder than ever, but you can't tell if it's coming from behind you or from across the lake. I think it's coming from across the lake. Oh. How did he get a chance to like... Just... Well, that boat. The dinghy. Well, she left on this side of the lake. Which means she's on this side of the building. That means he's inside. Well, there has to be a passageway somehow. That could be a passageway. Okay. I'm coming back. It's what we need to do. Is there any place where we can hide out and like, scope out? I mean... Well, we can look to see like maybe if he's going to come or go. There's no like... Alco. Yeah, that's what I was hoping for. Yeah, that's what I was hoping for. Do you want to go check out his lair? Yeah, let's go check out the lair. Let's go check out the lair. Okay. So, what does that mean? Traverse to the lake. It's on the freaking dinghy. What about this is not making sense? It just needs you to be explicit. Fine. We're going in the boat across the lake to find the guy. He's getting my big butt into this little dinghy. And these are up to his face. Yeah, the three of you in the boat make for a somewhat rickety crew. I'm a denturer. But there is a... There is a mower. I can pilot the boat. Yes. Oh, very good. Nice. Very good. There is a mower on the back and you can just, you know, swish it back and forth. Rutter? Yep. I'm sorry for being so mean, sweetie. Well, no. I mean, you know. It's like we go to a slayer. Okay. So you go up the stairs and then you take a lap and you go through it. You know, it's like... All right. The steps getting there. So you head across the lake. The music is definitely getting louder. In due course, you do see a door set into the side of the wall about 10 feet above the level of water. As the ceiling kind of opens out, a faint light is coming out of this door. A set of moldy and mildewed stairs to send into the water. And there is a second dinghy secured by Rusty. There we go. Oh, dinghy. Should dinghy. Didn't see that one. Double dinghy. Double dinghy. All right. Floating next to me. More than when you go straight. Yeah. I know. That's true. I need more than one. That's true. I have no idea if it does this. Oh, sure. Sure. Two ghosts. Hey, nine ghosts. I'll accept that. There's only one dinghy. Oh, my God. All right. So, you pull up alongside the stairs? Mm-hmm. What do you do? What's up? Go down the stairs. Right? Going down the stairs? Where about the light? We're gonna go toward that light. I think the light is just... The stairs lead up from the water. Right. It's just the other way. Yeah. Yeah. Yeah. Be careful on the moss. Yeah. Really slippery. Yes, it is slippery. But you're... You take proper care. I think so. I'm a little accident prone. You take... Obviously. We're lagging. We're lagging. You take proper care and you head up these stairs and pass through the arched doorway. Mm-hmm. And come into a large room. Oh. There are many things in this room that you see all at once. Oh, yeah. I'll describe them all before you get your chance to react. All right. In the center of the room is a large column, nearly eight feet high and three feet around, of candles that have just all kind of melted into each other. Oh. Yeah. It's like just so many candles being stuck on top of one another. Ew. At one time there's probably a candle over them, you know. But at this point it's just so... It's just, you know... Oh my god. So that's, that's what's providing the light that's coming out of the door. There's probably about 50 candles burning. Oh my god. So it's providing a pretty good light. You can warm your plants. And heat, yes. Yes, yes. Musty and mildew tapestries cover the walls. Ooh. A tattered and faded oriental rug covers a small portion of the cold masonry floor. A few chairs and a warped battered desk cluttered one wall. By far the most unusual feature of this damp chamber is the gleaming metal construct standing against one wall. It's sort of lozenge shaped. It is about seven feet high, four feet across, and no more than a foot deep. And sort of chrome. It's a... You said it's a... What construct? A lozenge. So it's like a coffin. Yes. It looks like a coffin. It's sort of set up against the wall. You discern that this is the source of this strange musical... The music's coming out of that thing? Noise. Yes indeed. And furthermore, this close in, you can discern that this is not music. It is some strange kind of bone jarring, deep bass kind of... It is rhythmic. Is it like breathing? Does it sound like breathing? It's like rhythmic breathing, but it isn't like breathing. It's not like a pulse sounding. Exactly. It sounds like a pulse? No, no. It's not like a pulse sounding. But it's... Is it like a chant? Somewhat, yes. Somewhat. Chant-like, somewhat breath-like. Exactly. Metallic? Metallic, yes. Mm-hmm. And... Brimming, sort of... It doesn't sound like any instrument we've ever heard. It's big. Exactly. It's deep and low. Is it affecting us in any way? Well, you do get to make a sanity roll. All right. I make it. Fail. All right. So, Celestia. And to lose... Mm-hmm. Two points. Two points. Yes, it deeply affects you. It's quite bizarre. Okay. Okay. Now... It's trippin' you out a little bit. It is. It's affecting you. It's affecting you. (laughing) Oh my. Now, at that works desk that I mentioned. Yes, yes, yes. That's nearby to you. Okay. You're gonna look at it, right? Yeah. Yeah. Your vision was drawn by the silver, you know, coffin-like thing. Yes. Yes. But you see that at the desk, there's actually someone sitting with their back. Oh, no! Wait, wait, wait! Is it the person in here? There's a person in here. Oh! No! You didn't see them at first because they were wearing a black hat and cake. Oh! No! No! No! There's a ghost! And they're hunched over the desk, apparently engaged in writing something on the desk. So, is it... Does that sound so loud that he can't hear us? Yes. Or it can't hear us. Yes, exactly. Holy crap. Molio! This is it. What are we gonna do? What are we gonna do? What are we gonna do? We're gonna jump to it. We're gonna jump to it. We're gonna jump to it. We're gonna jump to it. Why not? All right. Go ahead. I'm gonna get set. Oh, no! I got it. I got it. I have my gun ready, though. Oh, of course. I got one over here. Oh. Do you get set? Yes. I hear you. Oh, my gosh. You shot loud enough for him to hear you. And, uh, startle, he jumps. Yes. He looks around. Yes. And it is Eric's on. What? Damn him. What the fuck are you doing in here? What the fuck are you doing in here? You scared us after that. Okay, so, uh, dude. Mr. Zaw. How's it going? Mr. Zaw. Mr. Zaw. So, so he jumps up. And he says, "I didn't think you would come down here." So yelling over the lyrics. Clearly not. Over here? You must get away immediately. What? This is the layer of the ghost. Why are you here? And he kind of holds up a piece of paper. And you see, like, on the desk, there's a lot of, like, sheet music. He was composing something. But the piece of paper he holds up is clearly a little note that he was writing. All right, here it goes. But I was composing a letter to give to Christine announcing my true intentions for her. Just like you advised. Well, yeah. More in terrible danger, he must leave immediately. From really? Oh, you? Yeah. Are you kidding? The ghost that I, I, I did not tell you what the ghost, I have been working with the ghost. But that, that is done now. Now that he has turned the murder, I am done with him. Well, where is he now? He is away. He is probably up in box five at this point. The opera is due to start in less than an hour. All right. All right. He is... Or is he a person? He is... He is... What is he? He is not a ghost. What is he? That is all he can tell you. Oh, is he a monster? He is not human. Sorry. In what way? Please, we must leave immediately. Why is he... Okay, so I would say for Eric saying we should probably leave. I don't want, I want to investigate the laws and just the throwing laws and shit. What is it? What is that, dude? Yeah. It is, it is how the ghost came to Paris. So was this one? Oh. This is what was delivered. It is how it was came. Can we open it up, Paris? Can we open it up? Let's open it up. Let's open it up. Let's examine it, poke at it. Okay. Yeah. Who has mechanical repair or electrical repair? Oh, you say... Ahhh. You do this. Yeah, I am going to roll anyway. 20%. I am going. You got your default. Fail and electric. It is a one. Electric repair is a one. Fail. I rolled a three. I rolled a two. Oh! No! No! You know what? I am going to say since all three of you are brainstorming it, you know, then... Average. Average. You are all looking at it. Uh-huh. And so like, cereal, you are like running your hand along the side. Is there a seam? Yeah, there is no seam, but you do find a little depression that is about six inches long. Uh-huh. And so it sort of... Oh, you know, maybe. And then you guys are kind of... Oh, no, no, no. No, it isn't. And Zahn is just like, you know... Yeah! Yeah! Please, we must go! Oh! And then like, right as you kind of figure out like... You know, and it does split apart. Like, it starts to open up. He says, "You don't want to look in there!" But, you know, it is too important. Too like this. Yes. And it begins to open up like a door. Uh-huh. And then the side is like a room. Even though it is only one foot deep. Yeah! Aww! So I'll need some. Oh, what kind of it weighs? It is a nice room. It is a nice room. Well, that is a poor fail. That is totally passed. A fail. Okay. Those of you who pass lose one. Okay. They fail. Lily. Yes. You are going to lose seven. Wow! And you are going to give me an idea roll. Lily, Lily, Lily, Lily. Okay. Uh-huh. What is the idea? Uh-huh. You want to fail this. Right. Do I really want to do this? You do. Oh, no. You pass it? You put this together. I pass. It was a six. I have an idea of 60. Wow. Wow. Alright. My head explodes. No, no. Uh-huh. So. We got to solve this case. We got to solve this case, guys. No, basically. Guys. Hey, guys. Guys, guys. We got to solve this case, guys. Super cereal. Super cereal. Alright. So, here's. Oh, I cannot be dead again. He sent me a note. He sent me a note. I was like, Robin is dead. It was so sad. I love that. Alright. The hell? Alright. Alright. So. I'm not really sorry now because. Ooh. It's coming off. There you go. Oh. That's what you get. That's what I get. That's what you get for passing. Okay. That's the duration. Alright. Alright. Alright. So, okay. Alright. So, I see whatever it is we're seeing. I mean, what does the room look like? Okay. Can you describe that? Basically, it's the size of a small room. Uh-huh. It is lined with strange machinery, control panels, wires, and glowing crystals. It looks nothing like the-the-the-the-any of the mechanical shit we would have seen in the stage. This is clearly not a very great word. It is not. Okay. I'm good. Um, you can all give me an idea roll again. Oh. This is what you want to pass. I do. I pass. I'm free to fill. I have five. Oh, sweet. Yeah. I'm on. So. You-you realize that even though, um, you've never seen anything like this in your life, it looks like it's been damaged. Mm. There are panels that have been pulled out. There are wires that are sort of sparking. Oh. You know. So. It looks like-it looks like there's been some damage. This is Eric. This is damaged. Yes. I-I don't know. I think he's-I think the-the ghost is stranded here. I don't know. Mm-hmm. Wait, we need to get out of here. We need to get out of here right now. We need to leave. We need to leave. We need to leave. We need to leave. We need to get out of here. Immediately. Immediately. Let's go. Fast. Fast. Quick. Fast. Fast. Running. Running. Not too fast. Mold stairs. Yeah. Watch out. Whoa! That's in the lake. The wall. Yeah. No, no, no. All right. So we go. All right. Yes. Okay. Okay. We're rolling across the lake. Is there any way I could go to somebody's dressing room to drive my clothes? Oh, certainly. Certainly. So we're back. Are we back in the- You get back up top. Okay. You're back in the real world. Oh, the air is like sweet. Yeah. Son excuses himself. He has to go prepare for that. Of course he does. You know. People are bustling around. You see LaRue. He's backstage. Mm-hmm. And he's talking with Richard and Moncharmine. What? Yeah. And he motions really- What? Yeah. You're heading off. Yeah, I'm totally not decent. But he motions Cyril and Celeste over. All right. So where do I go? Oh, you know. Son kind of points. You know. Just go down that way. Take a right. Take a left. Okay. Somewhere. Yeah. Go to days. Yeah. Um. I'm watching it. I'm watching it. I'm going to Carlotta's. [laughter] Oh. It's going to be Carlotta's bosom and dry off. Oh. It's all powdery. It'd be like dough. Yeah. It wasn't me dough. Oh. Oh, Jesus. All right. Anyway. What else right there? Sure. Yeah, okay. Oh, it can accommodate more than one person. Oh, my goodness. Wow. Oh, yes. Ample. Yes. So LaRue and the opera, the opera managers are looking at this little letter. This little slip of paper. This little slip of paper is good. No. Oh. All right. Oh, it's in French. All right. It is in French. Are you serious? I don't. Flip it over. The English is on the back. Oh, for Christ. [laughter] I was trying to figure it out. Aww. I would look at it and then, well, now I'm not there. You know. Yeah. LaRue translates for you. Oh. Oh. Oh. Oh, my. Oh. Oh, my. Ooh. I think it's where the farm is. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Well for me. So the managers know about the ghost. I did. They have been accommodating them. Well, these many years. Yeah. Yeah. [laughter] You do know that much French. There has to be a reason why. Yeah. You should be sure. Maybe we can help the ghost. Do you know any electrical worker? No, I don't. But maybe we can hire someone. [laughter] I'm going to get hired. Someone did. Okay. Well, what? Can I come back now? Let's go get tested. Tesla. He'll know what to do. He'll know what to do. Tesla. Oh. Oh. You just did that. That would have been amazing. That would have been. Awesome. Let's pretend that happened. Yeah. Yeah. Yeah, I know. All right. So, um. All right. All right. So, Mr. Richard. Mr. Fermine Richard. How long have you known? How long have you been accommodating this monster and your bowels? [laughter] That's a good question. I'm being treated for that. I'm going to assure you. [laughter] Anyway, about the gross. Yes, about the gross. [laughter] Mr. Montcharmon and I, we bought the opera, um, ten years ago. Mm-hmm. And, um. No, I'm sorry. Am I there? Am I there? Yeah, you're there. All right. Yes. You arrived. We bought the opera three years ago. Uh-huh. And when you buy an opera, you inherit the superstitions. There was, there was a superstition about Box Five, and the previous managers had, had a tradition of leaving money out, and the money would disappear. We, we just rolled it into the expenses. All right. You didn't realize it was an actual opera ghost. One does not trifle with the superstitions of one's performers. [sighs] This is true. Well, you're in it now. [laughter] Yeah. Well, you're in it right now. Well, um. Wait, so basically they knew about this. Yeah. And they've been accommodating him, and they want us, he wants us to leave. Mm-hmm. Obviously. Yes. [clears throat] Can we make it like is that we have left, but we have- Why does he want us to leave? Well, we saw something, we could take you to where this ghost is living. He causes problems, even when we're not here. We can take you to where he lives. Give me his heart. Wow. Actually, wait. What? Yeah. Wait a minute. What? Wait a minute. Wait a minute. Okay. Okay. Rewinds. [laughter] No, we need to get out of here. We need to get out of here. We can't be here. This is beyond anything. And he has seen us. He knows. He sees all. We need to get out of here. We need to leave. You're just scared. It'll pass. No, no, no. What I saw in that room, that surpasses anything that I've ever seen. It is not fear. It is- he knows who we are. And he will seek us out and he will find us. And he will kill us. And I- this is not worth dying over. If he is comfortable here and they are comfortable having him here, by all means. I- I- you wash my hands a little bit about the murder. It's a sad state of events. Obviously. Why- why would he- I know that- I don't know. I don't want to end up in that position. Obviously. I don't want to end up killed. He's an issue, even if we're not here. That's right. So, I don't really think it's us. I don't think we're the issue. I just feel like we'll be next. Okay. We'll be next. We'll be next. Had you paused his monthly allowance? No. Why is he seems to feel that this is something in jeopardy? He would like to continue to receive it. Why would he question it? Huh. Well, now that murder is involved, I can assure you I was contemplating something. So, he knew you were attempting? Are there the foreigners? What the fuck? Oh, we're at. Where the fuck? No, we're at. Obviously he's talking about us. Obviously he's talking about us. Well, there's a lot of foreigners here. That's right. We're at the old foreigners. Yeah. But, they're the ones who've been lurking around here. So, he's probably a box five. You want a box five? Let's go to box five. Yes. Let's go. We're going to box five. At least try the reason. You're going to stay with the delightful crew. We're on here. I'm going to stay with him. We have a core deal. Maybe. Maybe he knows who the real murderer is. I'm sure he might be protecting some. Yeah. Maybe it's a wasn't him and he knows. Did you not see that? I mean, that room. What was that? We could lead. We could lead the owners. Oh, yes. That was pretty bad. We could lead them to there and they can. I'm arguing with you. We will do that at some point. But right now we're going to go. I'm all shaken up and sealed with liver. Yeah. Okay. Okay. Okay. So, yeah, the opera is filling up with patrons. And the show is going to start pretty soon. I'm with LaRou. You're with LaRou. He takes you to, you know, box eight or whatever he's in tonight. This is too close for me. This is too close for comfort. Well, it's actually-- It's even an odds. Okay. So, I could see from-- You're on the far side. So, I could see maybe a cross to box five. Yeah, yeah, yeah. Get your opera glasses in. Yeah. You see us. It killed. What are you doing? Oh, look out. There you go. My friends. Look at that doll. Look at that doll. Oh. No. Oh, dang. There you go. There you go. Oh, man. Yeah. Oh, you're done. Yeah, buddy. Yeah. All right. All right. Meanwhile, the two of you head back around to, um, to the, uh, whatever. The staircase, nublays, or whatever it was called. Right. Uh, head up there. Box five. There it is. There you go. Is the, uh, the Madam there? She is not. No, she's not. She's not. Not tonight. Um, and you try the door and it was open. It is open. So you proceed into box five. It is empty. It is empty. But all three of you give me spot hidden. No, no, I'm, uh, what am I doing? She's all the way across the arm. You're, you're in box eight, but you're all. Oh, we're all looking. We're all looking. I failed. I passed 12. Yes. All right. Celeste. Uh, pull out that, uh, that's the picture of the, uh, actual opera interior. The interior. The interior area of the opera. Oh, this? Hold that. Yeah. The auditorium. Yeah. So you notes this chandelier. Yes. The seven ton chandeliers. Yes. Swinging. Uh, huh. Oh my God. Very slightly, of course, because it's so heavy, but it is swinging. All right. Okay. Um. So I'm at the acoustics are pretty good in this. Yeah. Probably. So I will go to the edge of the box and, and cry out. Yeah. Oh. Oh. The chandelier. Okay. So, uh, your voice, uh, rings out across the, the general hub of, of the, uh, of the, uh, variance. Um, but even as you, even as you cry out, you watch as the chandelier. Oh my God. Oh, no. Yes. It's weak. Oh. Oh. Oh my God. Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no 55 now. Okay. So Lily. No. You lose another six. No. That's it. And that is actually give me another idea roll please. Oh, yeah. You don't want to put the pieces together. 16, I make it. 16, I make it. Okay. So you're going to get another temporary on top. Let's see here. Swirling madness. Yeah. I can't believe what I'm seeing. Yeah. No, you're gonna you're just gonna faint. You faint away. I don't get an idea. No, you don't get an idea, but kind of wanted an idea. It was too much to even actually come on. Come on. Okay, I can't help it. A little taster. You're gonna not break or scream. Leave me in wonderful. I must be really scared. Yeah. Can you even imagine? I mean, that would be unreal. Yeah. Unbelievable. Yeah. Unbelievable. Yeah. So you guys don't lose anything just because it is so unreal. Right. It's like it didn't just happen. Yeah. Yeah. No, it's like, hmm. It's like, like, oh, wow. Yeah. Yeah. Yeah, just happen. Now what? Now what? I don't think it's our fault because there wasn't enough time. Yeah, we did. We did. For the ghosts. Two minutes here. That's your idea. I'm not saying it's necessarily. But it seems like it could be. That's what comes to you. As I faint. Yes. Because this is just not even. Okay, I need to be taking it back to the hotel. Well, you've lost more than 20% of our sanity between hours. No. So that's gonna be indefinite insanity. Wow. Wow. Why do my characters go nuts? Go nuts or die. Go nuts or die. So it's basically something that I can mull over. It's just to become immediately apparent. All right. Can I at least go back to the hotel? And in fact, I have a pretty good idea, but it's not going to, like, interplay directly. More of a campaign level. All right. All right. Well, can I go to the hotel? Well, if you'd like. Can I be slipped off? I mean, you say to me. We're also thinking to take me. The room brings you back around, you know, fanning you and lightly slapping your shoes. I know it is terrible. You don't do it. You smile over in box five. They're still there. Yeah, they're screaming. Give you go. Where are you? They quite fair. Yes. The time period, which they got that letter. I mean, why are there no clients in that time? There's no time that you guys don't left. It would have taken you. Yeah. Yeah. We're just screwed. That's just it. Yeah. I'm outraged. Okay, come on. I just want to stay for the one he wanted you out of there immediately. Instead, like he wanted to see you just leaving. Yeah. He didn't want to see you checking out box wide. No, so it happened. And there you go. So it just happened. So I know. So let's go down and look at the chandelier. Yeah. Okay. It is a it is a bloody mess. Bloody mess. The half doesn't have been killed out, right? Wow. More of an injured. Well, we should put someone out the box outside of the box. Do you want to stay? Yeah. Just in case he shows up. Yeah. I'll just wait outside respectfully. There's no compartment. Oh, sorry. No, I'm what? There's no like hidden trap doors or anything in box file that they he may have access to. You checked already. So the fixture. The fixture. How was it severed from the ceiling? Yeah. So, you know, obviously, you're obliged to hang back while the gendarm, but the gendarm and other opera staff, you know, do their best to clear out the injured. This is horrible. Commissary me, Freud is on scene. And so after about a half hour investigation, he comes around, of course, you know, and he's, you know, even in this like sort of carnage, he's trying to tell me Freud how to do his job, you know, check that busy body. Come on. You know, he knows what he's talking about. But eventually, yeah, eventually, me Freud comes over to the room and says, well, the chain was clearly sawn in half. From above. Would have to be otherwise it would go down with the chandelier. Am I able to, am I coherent? Yes, you're back. You're back. You're back with us. But I'm still with the other thing. Yes. Oh, God, we got, we have to leave. We can't be here. We are so close to coming, he's coming, he's going to come after us to figuring this out. No, this, this is something that this is just beyond our control. This is something this is a, this is an entity that needs to be, it can, it can just, he appears, he reappears, he's at the bottom, he's at the top of the opera, this is not making any sense. Maybe, maybe Rishette could provide us with somebody who could exercise the, ah, for fucks. I've said too much. How do I know that either of you aren't in on this? How do I even know that? You seem to know exactly where to go during this whole time. I barely know either of you. So how in the hell am I supposed to know that you're not working with this entity? I don't know. How do we know you're not? Obviously I'm not. Then the room, I mean, all of you, I don't, where have you been all day? Were you up there sawing the chain to the chandelier? Yes. I have been here, the multiple people here can testify in my whereabouts. I'm just staring at everybody. Yes, they're raised upstairs. Are there ways to get around upstairs? The catwalk? Certainly. The passageway and catwalks. Shall we go investigate? We'll be looking around. Obviously this is poor, a stairwell woman. She's at too much. We'll give her a little glass of chartreuse in the lot. It's on the roof stage with you too. Can I really trust him? Yeah, he's sort of keeping his distance, but he's still there. He's a gentleman. It's a little spiral in my eyes. He takes you back to a reshars office. Yes. Yeah, that's some hard liquor. You're just shoveled. Yeah, I can't. He dresses in like gold. I look moldy. Yeah, it's disgusting. It's unpleasant. All right. Let us investigate the rings and what not of this hole. All right. So you're making your way backstage? Yes. Eric's on meets with you. Oh, Eric. Of course. What part did you have to play in this terrible tragedy? I have no part. And this is too much. I will take you to the ghost lair and we will deal with him once and for all. Yes, let's do that. You won't do that? Yep. All right. What about Christine? Oh, sorry, I'm not there. Oh, you're not there? We will deal with him once and for all. Well, what about the, how do you plan on dealing with him once and for all? Let's define that. We must capture him or kill him in the attempt. Okay. Sounds like a good idea. Is he killable with a giant elephant gun? I think that will do the trick. Yes. Oh. Oh, let's go for it. Does Eric know where he is now? My best guess is that he is down in the lair. But I think we can catch him unawares. Look at Paul. Oh, okay. I'm just in the office. Oh, yeah. What, but I think it's a sound plan. Should we do anything like a pindergram ritual or anything like that? We have a hexagram ritual, which is a step up. Yes, I do. I also have a wand. I have a healing symbol and I have a force wand. And a force. Yes. I will be using that. Okay. I have a force wand and a healing talisman. All right. And Cyril's got his elephant gun. Yeah. So, bear on this. And that's right. 50 cups. Yeah, you do know if I picture that way. So, yeah. Perhaps it's time to stop tolerating this mad man. Thank you. Let us go down. Okay. Eric, what have you got? You got anything? You got like a string? A girl? I think I'm going to take one of them. Because he would have clubs. Yeah. He indicates that he hasn't. He has a knife. He shows you a knife. All right. Let me club props and nothing else besides that. Let's club props. Yeah. It's the Dan made of paper machine. I was going to play it once, where I used to real. I managed to hit myself. All right. Down we go. Okay. So, I know it's madness. It's madness. I'm going to go. All right. So, the manager's down there too. I mean, like, shouldn't they fear me? Don't want to. Oh, he doesn't want to handle the shit. Oh, and he wants to keep his own involvement. Quiet. Remember, we'd like to tell his tale. He's trying to protect it. I don't think so. He's in any position to. What I have to show you would give me anything. Oh, no. And so he takes you into the back. Most of the people, most of the staff are freaking out up front or else gone entirely. Yes. So, it's early quiet. Yes. He takes you back down to the sort of course girls dressing room hall and he takes you to Christine Day's room. The door is open. There's no way inside. Yes. He walks to the mirror. He stands up. He gets up onto the desk. So he's standing next to the mirror and he says, listen closely. And then he turns to the mirror and he says, no, promenade. And then he just steps into the mirror. Sweet. That's right. That one next. Sandroll real quick. Oh, God. D8 pass. All right. Yeah. You guys are made of promenade. All right. And so you take a step forward and it's like you're just walking through air. Nothing, you know, like the future of your progress. Okay. And you, and you step out and select it and you do the same. And you come out and Zaun's there. You're on a little stone landing. There is kind of an arch, you know, stairwell. And so you're at the top of a set of spiral stairs. So he, he leads you down, down this set of stairs that goes on and on. It's like actually kind of dizzying the distance that these stairs are traversing. In due course, he, the stairs come out into a boiler room. Okay. But the boiler looks kind of disused and the door to his room is barred. Okay. So then he walks across the room to a, to a section of wall and, and turns again, makes it listen closely again. And then he turns to the wall and he says, Cleo and he just steps through the wall. Cheese. All right. So you do the same. You step out into a small room. There is an exit on the far side from where you're standing against this wall that is covered by a tapestry. It is a mildewy tapestry. And you can all of a sudden hear the face thrumming of the, of the silver device from the other room. So you're, you're in some side room basically. In this room is a black stage coffin. Like a prop and several sets of black capes and hats. Well, I will put, put the set on. Several sets of hats in case you see. Who isn't the fandom? Okay. And it's my turn in November. Let's see here. Meanwhile upstairs, LaRue is, you know, tending to your knees. Okay. So no sooner have you stepped out into this room that the tapestry is drawn back. And you see a man dressed in black, a black hat. Yes. Scarf over his face. Yes. And at this point, he looks at you all and he says, in the sort of strange metallic voice, right? Darth Vader? Wait, are you gonna use it some way? I might. Okay. We know you're about a poor beleaguered and stranded traveler from distant worlds. However, it's good. You must be held accountable for your crimes against our people. Therefore I have no choice. To have this case, shoot you with the devil again. I got my wand. Well, I know you. Do you want to wand him or do you want to? What do you want to do? I want to hit him with the force of wand. Let's do wand things. Wanding. All right, because as you're saying this, he begins to like kind of do this weird sort of hand motion with his fingers. Right. Sort of tracing over his face like this. Yes. Okay. So it's we're going now. Okay. So basically what you get to do is decide how many magic points you want to expend. Okay. Oh my god. How many do you have 12? And then after you, after you expend however many points you want to expend, you're going to make a resistance role of your remaining points against the spello's constitution. All right. Okay. So how many points do you want to expend? Keeping in mind that the fewer you expend, the higher likelihood that your wand will have an effect on him. But perhaps the effect will be less powerful. What? Basically the less that you use, it'll it's not going to be as powerful when you hit him. But there will be a greater chance of you affecting him. But you'll be able to do like a bunch of small attacks versus one big attack. Oh, okay. But one big attack may not succeed. And then I'd be screwed. Yeah. So I don't want to do that. All right. I'm going to use four points. That's good. Okay. What? What's the hesitation? No, no, I'm just okay. So you use four points. Yes. So how many points does that lead you with? Eight. Okay. That's not bad. It seems reasonable to me. It does. Okay. See there, I went back like down a zero frame. Yeah. So go ahead. You're going to need to roll a 30 or less. Okay. 25. Yes. You used four. That did. All right. So the the opera ghost falls over. Just collapses. Oh my God. Damn. Oh my God. Oh my God. Okay. You're just going to point blank him. Wow, wow. Wow. So let's see. Well, as such. Okay. Go ahead and roll. Well, actually, double your double your elephant gun skill. My skill should be on. Well, thunder skills is under the weapon. Right. 55. Yeah. Okay. So it would be 110. Yep. So go ahead and roll anyway, because on 22 or less, you're going to do 30. 30. Okay. So just roll normal damage. I'm sorry. You see six plus three like. Oh, wow. Okay. So you, you put a 60 caliber slug right between his shoulder blades, and you see the sort of like black blood just go on the other side. Yeah. Just this loud, loud bang that, you know, louder than even the the thrumming from the, from the vice and any stirs, no more. Oh my God. I believe that the reign of terror is ended. At this point, the thrumming begins to oscillate faster. Uh huh. Uh huh. Let's get the hell out of here. Yeah, yeah, yeah. Yeah, it almost immediately starts to hit a frequency that's causing sonic disruption. So Celestia, you take one point of damage. Uh, Cyril, you take zero. Can we, can I hear any of this? It's so loud. Oh, no, you're not talking. I want to do a part of the game. Don. Sorry, sorry, you missed the finale. Sandy will do that to you. It does. That's the finale in its own way. Yeah. Don screens. Obviously he was caught at a particularly, you know, ill-aspected convergence of sound waves and blood just like fountains out of it. He died with the music in him. No, he, he's alive. Oh good. But it looks like it's tongue exploded. Ew. Oh man. Oh no. Oh, convenient. Carry this guy out, man. Yeah. So, so unable to speak now, he goes running out into the main room and heading for the boat. We should kind of follow him. Oh, but he can't speak. So we'll, we'll clear, we'll clear out of it. We'll clear it up. As we said. Okay. All right. So you're able to do that. Right. As soon as you pass through the wall that you hear the thrumming no longer, you begin your ascent of the long staircase. Yeah. You're about halfway up when the, when the whole staircase just kind of. No, no, no. You hustle it and, and the rumbling dice down. Uh-huh. But, yeah, the little small boy. A little steamy. And so, yeah. So meanwhile, up above, we feel slight tremor. Who was that? Who was that? He's coming after me. But, but then there's no longer any tremors. Where are they? Yes. And so eventually you guys come back out into Christine Day's dressing room. And with Eric in tow? No, you left the other way. Oh. Uh-oh. Yeah. And so, um, and so, yeah. All right. And who's, who's there? When we emerge? We emerge to the dressing room. And, and so what do you want to, you know, you want to go running back to everybody? Yeah. Yeah. To report to somebody? Well, let's go up calmly. Should we just tell the managers that they're, um, the ghost is, is not worry about it. I think we should let Furman know that he's, just quietly. I'm not the orchestra. Let the conductor know. We're gonna let's go. Yeah. Yeah, but just so you know, you don't have to worry about the ghost anymore. We're leaving. Don't look down stairs. I'm gonna throw over my shoulder and get at me. You're gonna take a look? Fine. It's good. It's good. What the hell? All right. Um, we'll just hustle on over there at this point. All right. See you later. Bye. Special damage. All right. So yeah, what we came for. Yeah. So LaRue, LaRue, uh, escorts you all out of the opera. Right. And, uh, we believe we had, we have killed the ghost. The ghost. This is a fantastic tale. Yeah. That is a fantastic tale. My goodness. It is so fantastic. I fear if you were to write it, no one would believe you. I will have to disguise the distinction. Indeed. Indeed. But you must, uh, you must fill me in on all the details. Yes, perhaps, perhaps tonight we can go to that place we, we love so well. Yes. Oh yeah. Yes. Very good. We will meet for dinner though. Yes. Okay. So that sounds good. Let's see here. Let's see. Uh, you get four points of sanity. All right. Uh, Sierra, you get four points. I think you're gonna be bumping into your max there pretty soon. Really close to your max. Lily, you get three. Oh, okay. I am eight. So, wait, so, I have a question. I'm just like, that's all you like. Oh, he's doling stuff out now. I think everything's so cool. I can't lose it. Uh, now Celestia, you're gonna get a further two points. Oh, what's and? And, and Sarah will have further eight points. What? Oh, I'm killing Befanto. So you're like, you're probably gonna max out there. Yeah, he's next. Uh huh. Oh, yeah, I'm at my max there. Okay. Now, however, I take one of those. Uh, you're all gonna lose some sanity. What? From the deaths in both the chandelier. So, Celestia, you lose three. Sierra, Lily, you lose two. And Lily, you lose one. Of course, you already lost one. He's taken it from an extra scenario. No. No change. Doesn't work that way. Oh, it doesn't work. I don't think so. All right. That's why you gain a person than me. I see. Um, and then you start thinking about it. You're like, oh, I fucked up. We're really gonna go to see dinner now. You're like, oh, okay, oh. There's this arm that just really bugged up the crap out of me. Yeah, exactly. Yeah, exactly. No, it wasn't like that. I was excited to see an arm in your mind. Yeah, yeah, yeah. Yeah. And now you can all make a note of this. Basically, you're credit rating in Paris due to a combination of your assistance with the investigation and LaRou's influence. Mm-hmm. So in Paris only, yes, your credit rating from now on will be at a higher five points higher. All right, plus five. Yeah, got it. So, yeah, I mean, you tell LaRou what happens. He listens avidly. He promises to use his influence with the police to get chowberry cleared on this. What about Eric? Um, Eric has disappeared. So, he's gonna be a ghost again, roaming the hall. He's gonna go back to the door. He's gonna go back to the door. Or hunt us down. I don't know. Yeah, I'm talking explode. It's a bit hard. Well, somebody does have his music. Yes, he does. So, I just love Eric's arm. Yes, yes. Okay. All right, well, that's it. That's basically this. It's wonderful. The curtain is drawn on. The little heating table. It says sushi. I'm still, I'm still looking at my core on my shoulder. Yeah. You're like sniffing the champagne. Right. Yeah, I never really get over it until like we're back in England. Basically. Until you're back in the middle of that green and pleasant land. Yeah, no. I used to love friends. Here we go. We've got Nip. We used to love Paris. Nip. No more. It's like. Yay. Good job. We didn't die. Yeah. - Yeah. - Yeah. (laughing)