Hello, and welcome to FlashCast episode twenty-two – prepare yourself for Foley, X-Men: First Class, Mr Three, and The Conjurer.
The Skinner Co. Network
FC22 - Foley
[Music] Hello and welcome to Flashcast episode 22, brought to you by Jeff, Joe, and of course, Linda. Prepare yourself for Bollywood, X-Men, First Class, Mr. 3, and The Conjurers. [Music] Tonight, we have myself, OpoponX, Inc. Manipulator, and Vocal Gymnest, Jessica May. Hello, audio choreographer and psychological pillar, and JRD. Hello. Seat warmer. [Laughter] It's a little inaccurate today to use the tonight. Yes. Yeah, we generally do record in the evening. Mm-hmm, that's true. But we're doing a little afternoon record session because it's Mr. 3's birthday, formerly known as Mr. 2. Yeah, I've actually already complained on the internet about it, about how the fact that he's not actually sleeping yet. Yeah, we have lots, lots of festivities in the evening if he can just nap it out because I don't want him to collapse in the middle of all the hubbub. I just wanted to give a quick thanks to everybody on my Twitter feed who wished to wish to my happy birthday. Yeah, absolutely, thank you. He's very excited that it's his birthday. It's all he's talking about, and all he's looking for is something called a push broom, which is just, it's a style of broom. He's really excited to get it. He doesn't know if he's gonna, Gramp is gonna take him out later to the broom store, and they're going to pick one out especially for him. Not to be confused with the shovel store. Oh, actually he did. He called it the shovel store. The broom is at the shovel store. Oh, well. So, Gramp is gonna take him. We're really excited, and then we're gonna clean the garage. Because that's all he really wants to do for his birthday. Yeah, which is so special. That he should be so easy at 16. Anyway, while we're giving shout outs, I wanted to also throw a very hearty hello to Nutty of Nutty Bites, who gave us a very nice little plug on her podcast, as she's want to do. If you have not listened to Flashpump, I highly recommend you go and listen to it. I've already told you to do this, so do it. Thank you very much, Nutty. That would be, I believe, Nutty Bites 5, which also contains a really great interview with a local zoo, which is more like a farm with lines. I thought that was pretty interesting. I want a farm with lines. That's awesome. Pull in the plow with lines. Yeah, where is this? Do you think lines would herd cattle, or do you think they would just herd cattle? I think they would probably eat cattle. Herder herd. Yeah, that was nice. Anyway, it was a good episode. Pretty pleased. I mean, we missed an episode this week that sucked. Yes, sorry. Had to drop one, but things have been a little busy. But I can, with a great sigh of relief, announce that we've sold the old house. Yes. Which probably doesn't mean much to people, since I tried very hard not to be complaining on the topic. But... Yeah, yeah. We have the sort of feeling that we shouldn't be doing that so much to you. But it was a massive stressor. Huge, huge. Charity forgot to smile for like five months, and it was just... It was a roller coaster ride. It was crazy. It was like an epic battle. Every minute, it seemed to be... the battle was ever changing, and... Yeah, selling this house was like watching Lucy and Charlie Brown trying to play football. It was just every time we thought the house was sold, they would yank away the football. Yeah. It was terrible. It was horrific. But now it's over. Oh, it kept falling for it, too. I understand why Charlie Brown, because he just wants to get that ball out of there so bad. I have new respect for that, Cartian. Otherwise, the other option is to simply burn the ball down. Anyway, they didn't want to insurance anymore because no one was living there, so burning it down wouldn't have been a very good option for us. It's a football metaphor. Anyway, we've had some really great feedback though on the brighter side. Some people have been... we've got the donation bar up over the week. And we've had a little bit... Oh, it was so exciting. Charity's like, "Hey, look." It was just like nonchalant, and I look over, and there's a little donate button. I'm like, "Wow!" It's the first day, you know? I didn't expect anything. And never did I really ever, and you know, I find that I do work harder though. Like, we work pretty hard, but I was so happy to stay up extra late last night, like a few extra hours just to get some extra sounds in there and ambules. So... So I'm going to throw... when the donation period comes around for the monthly people, which, man, super fantastic that you have that much faith in us, I really appreciate it. Well, certainly throw it to them on the Flashcast, and then as other donations come in, as you may have noted at the top of this show, we'll mention those too. Yeah, we can't quit now. Yeah, thanks for your support, everybody. But yeah, it really... it's changed everything. Like, I feel... like, I feel like more serious. You know, like, we're pretty serious about it. It's like, the only other thing that we have going on, besides our children. But, uh, I don't know, it just gave me new vim and vigor. It's really exciting. It was a really, really good suggestion, Joe, not just for, you know, the monetary gain, but... The inspiration. Yeah, absolutely. Yeah, I actually told somebody that we had just received some donations, and they were like, "Hey, wow, you know, you must feel kind of validated now." And I hadn't really thought of it in that sense. And, but you know what? Yeah, it is kind of like, wow, people are willing. It's worth something? Yeah, it's worth something to somebody other than us. That's great. We also got a nice comment from Scott Ross, I believe it's pronounced, I hope he's pleased with that pronunciation. Anyway, we got a nice comment from him on the Twitter, discussing how he was working his way through the library. I was recently on his "The Secret Project" podcast, which was a fun little go-out, otherwise pretty nervous about it at the time. Oh, you seem, yeah, he... Anyway. Yeah, quite a bit. But he mentioned that he was working his way through the back catalog, and I have to admit, a lot of the episodes pre-100 kind of make me cringe. Oh, you know what? It really does. It really does. Like, there's a special portion of my brain that's just kind of worried about ever listening to those episodes again. Like, I remember as to have no idea I had an audio department, like... Just extra hours I spent just doing nonsense, not understanding what I was doing, messing it up more than I was helping it. And it just scares me, and I keep thinking, "Should we go back? Should we re-record them?" No, because we should use our time on something new and awesome. Outside of even just the recording, I mean, I was looking for something specific in one of the old flashpulled episodes, and I happened to come across... I have to come across the old script for Mulligan Smith and The Trunk. And I read that through, and I was embarrassed for myself. I was like, "Oh my gosh, how did I miss that edit? How did I miss that edit?" Yeah, because you're the editor. I don't know what people know, but you're... So there were definitely things that I was like, "Wow, you know, there's a process for this now, and I didn't have it back then, but we do a lot better." Yeah, like, you don't necessarily have to know, I guess what you're doing. Well, you need awesome content, which charity's for. But the rest of it, it's just a matter of falling on your face, just doing it enough times until you figure out your own process. Yeah, I think you had a point with this, so, "Jaredy, did you not?" I appreciate that, but I think that even with the writing, the writing's gotten better. Well, yeah, exactly. Oh, you were. But yeah, I would also argue that the reason that we decided that this would be a pulp experiment, as opposed to some sort of serious bit of literature, or even, like, a pod book release, was because we knew that it was going to be a learning experience. It was not necessarily meant to be taken entirely seriously. Well, and with this format too, well, I guess if you wrote serious stories, we could still narrate them, and I don't know. It's a better format for us all to have a role, I think. Well, especially with the later, fully work that you've been doing, but we'll get back to that. Well, my sounds. Come on, what about my editing? Come on. No, absolutely. I would just say, "I brought her to a new level, baby." No, you're like, "Hmm." No, absolutely. I don't know, maybe half a level. Point five. I think that we're going to use the donations we receive to work up to a Zoom H4N. What is that? It's a portable recording device. Is it like a mic? Extremely high quality? Yes, but it's a sort of self-contained recording device, so like, you can just bring it on the road. Okay, that totally conjures up the cone of silence. Do you remember the cone of silence from gets hurt? Although, I think that's sort of the antithesis of the cone of silence. All I can picture is like a mic with somebody within the cone of silence. Yeah. Yeah, very good. But yeah, it does a very high quality recording from everything I've heard. We just want to have like, maybe a mic like this, but three of them, so we're not like, have our faces pressed together while we're talking. No, it's more for what we're out and about, so you can record like ambient noises that high quality and... Sounds like fun. That's sort of more of a mic. But we could also use it as a mic during recording, I guess. It'd be nice to have a mic that I haven't smashed yet. Well, it wasn't your fault. No, I know it wasn't, really, but you said my furious fury crushed it. Your furious fury. Yep. Speaking of pulp, though, I did see a pretty neat... Speaking of pulp, I saw a really neat infographic this week from SyMaps.org, although that may not be where it originated from. It was sort of a history of science fiction as laid out in a timeline, although there's some artistic license taken with how it's presented. It's very organic looking, but you can see pulp's sort of effect on science fiction and how that came about, but it goes through all the literary genres and how they connect. It's quite interesting. That sounds really cool. You're trying to click on it? Okay, so you can kind of see if you're looking at the link I provided on the site that pulp runs as sort of the main artery throughout. And you can see how it relates to like amazing stories or weird tales or astounding everything. It's so pretty, though, even just to look at, you know? And how it sort of loops over its two wells, and it's all coming out of a Gothic novel. I think it's a fantastic piece of art, and it's also a great way of wrapping your heads around where everything fits or how everything fits together. Nice job. So yeah, I highly encourage, if nothing else, to check it out on the website there. Check the link. And if you're interested in checking out more about the flash pulp genre, go ahead and check out 3D Fisher's stuff. Oh, yeah, that's correct. I'll provide that link again. We mentioned the last episode. He's got a wiki that he put together for a school project. Super cool. Good stuff, everybody. So I wanted to, before we move into mailbag, I just wanted to quickly ask a throw question out there to the listeners. I think the flashes need a clubhouse. I think we need somewhere to sort of centralize and hang out. I sort of intended the blog for that, but I find that because it's always reacting to the last thing that I said, it doesn't really work to maintain an ongoing conversation, which isn't what I want. I don't want everybody just talking back to me. I want everybody talking to each other. I think Facebook is a little bit maybe awkward for folks. They don't necessarily like to reveal their public name and everything. We should make a forum. Maybe. My problem with a forum is that Jim, who hosts the site and provides our wiki space, he has a fantastic forum, and I don't want to feel like we're in some way muddling the two. I can care. Anyway, so just a thought. If anybody has a good suggestion, please come back to me with it. I'd be happy to hear it. So our first call today. Now I'm actually upfront. One will apologize because we're recording early. I rather suspect that we're going to receive a Viennese legend at some point or a call in from someone else, and it's just going to get missed. And I'm very sorry about that, but certainly anything you have to mention, we can include in Flashcast 23. Yeah, there always will be another. Well, we're not going anywhere for a while. And I'd also like to mention, before we move into Fresh Fish. What is Fresh Fish? Well, before we even explain that, at the end of this show, there's going to be two pieces of fan fiction, one that we've owed for a while, and one that just came in. And we really appreciate the submissions, both the three day fish and Jack Antor. So yeah, keep an ear out for those. Unfortunately, they're just a little long to drop into the main body of the show, without feeling like we got off topic and sidetrack, but there's certainly worth a listen. So just keep on rolling after the afternoon. The musical. Interlude. Yes. Okay. So, we've been teasing Jessica May about a certain segment. Do you have anything you want to announce to the world? Yes, I completed the intro for Three Day Fish, because he lets us know about Pulpy movies coming out, because he's a projectionist. So yeah, I made a little, I don't know, jingley thing. I don't know. I don't have these terms for audio jazz. Yeah, I don't know. She made some audio jazz for you. Yeah, so I guess we'll play it now, and I hope you like it. Fresh Fish, a new batch of cinematic pulp with the always listening Three Day Fish. Hey, Flashcast. Three Day Fish happily reporting on X-Men First Class, which was excellent. I had high hopes for the movie, and it exceeded even those high hopes, if that can put things in perspective. To really sell it to you and to make it sound like I'm just a gushing fan. What I enjoyed about it was to went back to the real inspiration, or at least core message of X-Men, which is basically a retelling of the civil rights movement in America in the 1960s, just with mutants instead of African-Americans. And all that fun stuff. And I feel like this maybe did a good job of going back to that original plot and really bringing it out. So yeah, I definitely recommend a lot better than Thor. I like Thor, but it's probably the best Marvel movie to come out so far, which sets the bar really high for Captain America. But we shall see. Always listening. I love it. Thank you. I'm very pleased to hear that, and I find it interesting that they've gone back to that message. I think the X-Men have certainly always worked best when they're reflecting some sort of political. Well, actually I'd argue that without getting too deep into it, all sort of pulp-related items usually work best if they're sort of set in a mythological, like if they have the undertone of myth and have some sort of larger message that they're trying to portray. So it's easy to put the X-Men and their mutant powers into the archetype of the freedom fighter, or the freedom rider as it were, trying to come out in the civil rights movement. And I think the reason that the X-Men worked again so well in the 80s is because there was this feeling of lost youth and coming out of the 70s and sort of the despondency of that. There was a large feeling of having lost a generation of punks, and I think that's why the X-Men kind of re-resonated at that point. But I'm very excited to hear this is a good film, because X-Men 3-Man... - Was not a good film. - You had some issues. - Shazbots. - Yeah. Well, no, actually X-Men 3 had some issues. So anyway, thanks for the call, it was fantastic, and I hope you enjoy the new bumper. Yeah, yeah, I hope you like it. Mr. Fish? Now, despite our early recording time, Joe did manage to slip in a flashcast submission, and he included some links, and I have some idea of what the comments are going to be related to, so let's get straight to that. Okay, I'm excited. Hello, flashcast crew, Joe from Colorado. First, I hope everyone is feeling better. The only thing worse than an illness working its way through the family is an illness that hits everyone at the same time, particularly when you have little ones involved. Voice of experience. In my last comments, my use of the term "world" was a bit sloppy. From previous comments Jay or D had made, I did understand the intent was that all stories were taking place in the same universe. I think you noted Karwick was the exception to this. I should have said revisit this story arc. I confess to being curious about how you will tie some of the threads together. Even ignoring Karwick, you have two "apokalai" in Ruby and the murder plague, followed by a post-apocalyptic world with smart machines that didn't seem to be around during the former two arcs. Not saying it can't be done, just curious how all of these threads will get tied together. Stephen King, can I? As already noted, I'm a big black hall fan. Really enjoyed this week's story. Reminds me of James Randy debunking modern-day charlatans who use sophisticated tricks to build the gullible out of their money. See those two "apocalipses", they don't necessarily need to end and doom, right? I should sort of clarify, I may have implied in the past that Karwick isn't necessarily of the universe. I think that was sloppy language on my part. He is definitely of the flashpulp universe. It's just that his stories aren't told in such a way as to make it obvious how they interconnect with other stories. Like, they're so standalone in a sense, and they're usually just about social situations until the end incomes. But they, yeah, Karwick is definitely integral to the rest of the universe. Integral. And I can't, without giving too much away, there are many "apocalai" but... Only one "apocalips". Yeah, well, yeah. And it shall be interesting to see how that connects with the other threads. Yes. But yeah, there are, like, nothing is sloppy, nothing is, you know, thinly connected. It all makes complete sense, but you have to wait until you're told. Yeah, I'm going to have to go back through all of the episodes and make sure that I have all my details straight. Now, I will hold up the pulp field and say that not all pulp stories necessarily... It's a characteristic of the genre to sometimes have items a little out of whack, but I think that I've been able to maintain my chronology straight. I'm sure you have. You're a stickler for details. Yeah, and I'm sure I can come up with a Marvel no-price for anybody who can find anything that seems out of order. Oh, that would be handy, too. We would like to know that. Yeah, but on the other, other, other, other spinner-et... Yes, there will be eventually an explanation for how the apocalypse is linked together and why there's sort of a smart future and where it doesn't seem to have appeared just yet. I can tell you with only a shade of foreshadowing that maybe the collective detective is involved, and I can also mention that we will certainly be seeing a return of the achievers. Very interesting. But I'm very glad that you enjoyed the newest episode. It was fun to have a black hole doing a more upbeat episode. Often his tails are a little depressing. Kinda heavy. Somebody does. And it's interesting that you mentioned Randy, who I have a lot of respect for, because Barry on the blog mentioned Penn and Teller, who also do a certain amount of debunking and maybe following that same triangle of libertarianism and religion. Yeah, I find that very interesting. Regarding GRD's blog piece on the Antikythera mechanism, based on sophisticated CT scans and several reconstructions, including one of Legos, I think the verdict is in on its purpose. As you surmised, it is a celestial calculator and accurately predicts eclipses. This requires complicated gear ratios to do things like divide by 19. Very cool. While the sophistication of the mechanism was unexpected given its age, all of the evidence solved the points to the conclusion that we have once again underestimated our ancestors. Based on evidence such as this, I hope folks will realize we don't need aliens or magical powers to explain works, such as the Great Pyramids, Stonehenge, or the Nazca Lines. Human spirit and ingenuity is enough. I love magical and fantasy stories as a source of entertainment and recognize them as yet another outlet of human creativity and imagination. I just don't like selling the human race short by setting limits on what we were capable of when the evidence clearly contradicts this. Yes, holla. I must admit, before we really got rolling into the Flashpelt universe, I was very sorely tempted to not include any magic of any sort of fantastic nature, to have the entire universe be a straight, because I don't think that, um, I think fantastic doesn't necessarily have to be fantasy. I think there's a lot to love in the universe, and I think actually a good example of that would be Game of Thrones. Although there is magic in that series, a lot of what you would think of as the setting is entirely, while entirely creative and entirely, well, no, not of whole cloth, but at least creatively embellished. It doesn't necessarily have to include wizards and, you know, it will eventually, I know that there is, you know, dragon relations and things going on to the North and etc, etc. But at the same time, the core of the stories are very realistic and told in a human sense. Yes. Sorry about the whole Imperial versus Metric confusion. I should know better, but all that would stay hard. Speed limits here range from 48 kph on smaller roads. Okay. 72 kph on main roads and 105 kph on the highway. But during rush hour, it is not uncommon to come to a complete stand still several times during the drive podcast rescue. Finally, given that my Twitter profile list means an alpha geek, it would be kind of hard to take Umbridge at the geek moniker. Take care. Yeah, I know traffic. Toronto is, is, uh, is killer, yeah, killer. Thank you for the clarification on how fast things are. And thank you for another fantastic comment. Yeah, for real, man. Thank you so much for calling in. It's nice to have extrapolation on an item from the blog. Yes, yes. That was very nice. Very well-rounded comment. Okay. And I think because of our early, like I mentioned our early timing, that's actually the end of mailbag. But anything else that comes around by next week, we will be sure to include. So please feel free. As it is, let's move into back through what. So I wanted to mention something. It's actually been on my notes of discussion for episodes for quite a while now, but while I sometimes joke that the three partners have taken on Star Wars plotting, I would argue that, and this goes back to how the universe fits together, um, on a episode to episode basis, my largest pacing inspiration has to actually be the X-Files. And not just the parts that I enjoyed about the X-Files, but all of that stuff that I really hated in, say, seasons eight through end to end. I promise you, when the FlashPelp universe is done, it is done. Yeah, you have some satisfaction. It's like anime and stuff. There's a start, there's an end, there's a point. Yeah, well, I think the stricter lines that the British and the Japanese seem to apply to their television content in really enforcing. Like, you're going to have one season and you really need to push for that second season. Yeah, yeah, it's not just filler. Well, you look at something like Coronation Street, but anyway. Yes, I was thinking that, but I thought, because it wasn't something nice, I wasn't going to say it. The dramatic and better shows, I would argue, stick to a very... Strict timely, yeah. But what I mean by X-Files plotting, the episodes that I really enjoyed from that show were the ones that, although they may include some small... No, Scully doesn't believe them, but then she does, but then she doesn't. No, just because the ones that would include some small piece of the larger puzzle, partially involving Fox's sister or whatever. Yes, yeah, I completely agree. But would mostly be about the Loch Ness Monster or whatever that one, the Macguffin for that episode was. But the episodes that I hated in that show were the ones that were almost strictly plot, or were just a bunch of people making tense phone calls to each other. Yeah, I missed that show. Yeah, at least it was trying for something for quite a while. Like, it was really out there, but they made a go of it. The truth was out there. Speaking of mass-produced entertainment, I've been listening to a lot of movie soundtracks while I'm plotting lately. Recently, as we mentioned last episode, we finally got to see Inception. And the soundtrack to that was fantastic. Yeah, it was wonderful. Anything you're doing to the Inception soundtrack is going to feel epic. You can be doing dishes, and you're like, "Yes, this dish is clean!" "Is this dish even real?" I think it's fantastic. There's something to that soundtrack that sounds like Hans Zimmer, instead of getting somebody like a Wynton Marsalis or something to come in and do solos, they got a Martian. There's just this extra little something. You can hear it too, and I guess it's the use of the theorem. Or it just keeps everything slightly unsettled. Yeah, well, the day of the earth stood still. The soundtrack for the day of the earth stood still. By Bernard Herman, he uses a theremen, and it's used very selectively with an orchestra, but it really gives this other world feeling to the whole thing. A depth to it too. Yeah, Zimmer uses this metallic, weird alien sound throughout, and it's just so good. Not to mention the horns. Yeah, you give me percussion and horns, and I'm ready for business. Well, it's true, actually Basil, what's that guy's name? Basil Polidorius or whatever, the guy who did the soundtrack to Conan. That's just all horns and percussion, and I'm on board with that entirely. I have been in love with that soundtrack since I was a child. But when I'm listening, when I'm doing Blackhall stuff, I tend to listen to a lot of the ravenous soundtrack. Mm-hmm, yeah, because it's got more of a Canadian feel to it, doesn't it? It makes the fiddles and stuff. I think the connection is that if I'm listening to the ravenous soundtrack, I feel very much in the mindset of the area in which I grew up, which was sort of rocky and full of trees. Yeah, in the woods. And there's definitely that feeling when I'm writing Blackhall of sort of coming home, or visiting an old friend, and it's very familiar to my grandparents' farm. It's very familiar to the woods that I would hang out with with my friends when I was a child, the place where my parents go camping every year. It's all of that combined together. So, just to close off- That sounds lovely. To close off background plots, I wanted to introduce a new feature for background plots, a sub feature. Mm-hmm, I don't even know about this. Every episode I'm going to throw out a character. I haven't pre-for after you own this guys, and I probably should have, but... I'm going to throw out a character, one of the main stables for Flashbump, and I want you guys to name who you think the actor would be. That you would like to see portray them. Oh my good god. Okay, so to give you a little time- How much time do we have? To give you a little moment, I'll tell you my choice. I need some IMDB. Michael Fastbender? Or who? Blackhall. Who's Michael Faston-Ha-Ha? Fastbender, except it has to be like tired beaten up fastbender. Fastbender? Wait, can we use like any actor? Any actor, a live or dead, that's fine. Clay-teasted. You would just use that by the- He would be good. Cast him as the shark. Wait, a live or dead, he's not dead? Yes, no, no, no, that determines the era. Like how long could it be? It could be young Clint Eastwood. Honestly though, I don't see Eastwood as Blackhall. Honestly, I couldn't. But Michael Fastbender, the guy from- He was in 300. He was the guy who delivered the- You know, the Persians are all black in the skies with their arrows, and he's all- Then we'll fight in the shade. That guy. Which guy? The best friend of the king. Okay, the one that's telling the story, right? Uh, probably. Okay, yeah. No, I know the one you're talking about. Yeah, he's got sort of that stubbly kind of like- And I mean, he's been in a lot of- Not too many, but- I mentioned 300 because it's the one that I think people probably will be able to first pinpoint. But he's been in a lot of us stuff. He was in a remake of Jane Eyre just recently. He's got a lot of range. He was great in glorious bastards. Okay. In his own way. I think I remember that. Yeah, but yeah, I think he could do a good job. Or the other choice I would go with would actually probably be a really gaunt Colin Firth, who had been locked in a room with a thug for a weekend, and just beaten mercilessly. Man, these are not the people who I would think it was black. No. He should- I don't think I could think of Colin Firth as black. It would be as good for his acting life. I was totally- 'Cause it's- Tell me why I'm off. Maybe it's 'cause I'm thinking he was too old or something. But I'm thinking like, Anthony Hopkins or Tommy Lee Jones, sort of like old face. Yeah, Tommy Lee Jones at a certain point before he got too old. But the thing is that I guess I'm going in another direction 'cause he's British, right? So he's gonna have an accent and I don't know- No, he can do anything. Tommy Lee Jones can be anybody. He was that guy in M.I.B. and he was an entirely different character in The Fugitive, which was totally different than U.S. Mario. Oh wait, no, that was sort of all the same thing. Wait, was he also in No Country for Old Men? No Country for Old Men? Which he was some sort of drizzled hard ass. Same thing, yep. Okay, I think you're saying something that's not nice about Tommy Lee Jones. I would never do that in your presence. I have seen- What is it? A coal miner's daughter? Yeah. Yeah. He did a good job. I know you love that, Jim. Well, I don't- Yeah, it's sad. It's a good Sunday. Like, ooh, kind of movie. I'm trying to think of who I can picture as black all- A gloomy Sunday, kind of. Ooh. I can't think of the dude's name. I would like to know what everybody else thinks. What would you consider, like, what actor would you want to play black all? Oh, and to look back to the Clubhouse discussion, if you do have a comment that you want to throw in, if you're listening to the episode and you're like, "You guys, you don't even know what marshmallows are for" in response to something in which we're making extravagant claims about marshmallows. Feel free to go to the Facebook page and tell us how wrong we are. Lighting them a flame is not the way to do it. Okay. So I think it's a good opportunity to move into. The audio, an accident of hope. Oh, that's mine. So I finished another bumper, another little advert. I'm very excited about this one. Although I was very excited about the last one, too. Yeah, I really dug it. Yeah, it's about a- I think it's about a minute and 20 seconds. Our friend Peter, he did the audio reading for it. He did a fabulous job. He's a stage actor, so naturally he would. Of course. Actually, not to interrupt, but speaking of Peter, if there was somebody I would hire to do a recording of 172, black all, the last black all we did, it would actually be Peter to play the magician. Yeah, that would be awesome. Because he's got that bombacity, he's got that. Well, let me just show you this right here. Yeah, I think it would be fantastic. Yeah. Anyway, sorry. Oh, no, that's fine. So yeah, his was rather peppy and sort of salesman. Like, it was a lot of fun hearing you put it together. Oh, it was, because we would just keep playing it back and forth and be like, well, what do you think? What should we do here? What do we do here? And it was so much fun. It really went well. But, you know, you could put him with next to dead air, and it would sound great. But, so I appreciate your help. And I hope you guys like the bumper. You should, because it's really good, okay? Jeez. The Flashpulp Podcast. Three to ten minutes of fiction brought to you thrice weekly. Now it's three, three, three apocalypse is in one. Suffering from tough, stuck on humans. Well, 20 hellish hours of suffocation in the all-encompassing web of Karwick the Spider-Man will get them right out. Too many brains lying around? The ravenous mouths, the rounding zombie fighting group will quickly clean those up. Nosey neighbors infect them with the murder plague, and watch as they dissolve at a paranoid maniac's bent on the preemptive assassination of their friends and family. Why stop at one end of the world when you can have all three? You can find them all at flashpulp.com or search for them on iTunes. [Music] So thank you so much, Peter, who also we should mention, uh, releases a podcast, uh, at radiosrevenge.com. Absolutely, go there. It does great work. Mm-hmm, absolutely. It gets an ensemble, that one, which is always fantastic. Anyway, um, by that you mean who wears nice outfits? You know what I just realized? I just realized that, uh, I think I referred to the episode, last nice episode is 172 earlier, but that's only because I had planned it as 172. Yes, yes. It got dropped. It was actually 171, and it contained, might I add, some fantastic audio work. I was so excited about hearing that all. I was very excited when I heard that we were by water in this story. That was very exciting. So I found some water, we discussed it further, me and a pope about all the different things that were happening. As I was reading it, I was thinking, "Oh great, there's a sound of something breaking here. Make sure you get something breaking. Oh, listen to the mice. Oh, we got to get a mouse sound." Yeah, you can use it twice here. So it was just so fun to go through it and think, "Oh, there's a noise that can go here. Great." And I really like making my own noises, but there's this wonderful place that has public domain noises, or sounds or sound effects. And what is it called? A free sound.org. Is it our public domain or some of the creative comments too? We'll look into it. Yeah. Even when I thought we were good for ambient noises, I really like to have something continuously through, or some background noise that keeps you there, and then adding noises from the main parts of the story. So after I heard it, I realized an extra few things would sound good or whatever. It was so much fun to unveil it, because it's a little more creative than the cuts I usually do, because I've been doing them for so long. It's a year of the same stories, which is cool. It's really nice to be able to put things together really quickly, but everything's pretty much set in stone how I do it, so having the variety each episode, it was so much fun. And to be able to find sounds that were exactly what I wanted. That's definitely a bonus. So if I recommend any episode 171, go there because I do a really good job. I can't wait to have you starting to make more of your own sounds, though. I think that's going to be exciting. Yeah. If we had that recorder, I would love to do that, because it would be so much more personal than just grabbing them. The issue with that is that we would have to, because sometimes we get the story unedited at five or six or seven at night, and then you have to edit it twice before it, and then you have to read it through a few times, hope, and then we're recording it, and then we're editing it. So to get my own sounds, it would take much longer than just grabbing them from online. Well, my assumption would be that we would essentially just build up a library of 10-minute audio chunks of ambient locations or whatever, because the truth is I much-- Yeah, that's a good point. Although I really enjoy the sort of high notes being hit with the audio renditions. I don't want people walking. I don't want door handle turns. I prefer more the ambient background style of noising. But they went on a dock? Yeah. They went up a dock yesterday, I had-- No, yes, that was fantastic. Yeah, it really depends on what the actual specific thing you're looking for. Sometimes it's nice to have a door handle jiggling when you say in the story that the door like-- Yeah, if we need the climax, is that door handle? If we need to do special miking for stuff like that, fine, but I'm just saying the library, it would be nice to build up a library of you know, a field of bugs or-- Or my own Foley, like being able to figure it out. It would be really cool if we could do them like-- Because your readings are getting so good, like if we could actually do live recordings of them. It brings me back to when we actually went and saw War of the Worlds, and we were sitting right above the Foley guide. So it was so neat to just see, oh look, you know, that's a little, you know, garden planter that he's rattling on right now. And like, I'm picturing Jessica May doing that stuff. Yeah, but it was such a technique, it was so great. Your idea of having me as like, okay, we're in a city, okay, we're on a quiet street, we're in a field. Having these big chunks that we can just, okay, this episode is set, you know, black holes walking through a field. So we'll just have this noise, and that'll be our background field noise, and then we start building onto that. That's really cool with that. And then just looking for holes, filling it up. Yeah, yeah, and I can't promise that we're going to do it every episode 'cause it takes a lot of time to start. Yeah. And, you know, one I am going to bed getting up at seven is... Yeah, well, the number, the episode number escapes me at the moment, but the middle part of the crumble in which Billie and Mulligan are heading in to discuss things with Orta as the giant. Yeah, Orta as the TV. The TV background. I really liked how that episode started essentially silent in the background, and then moved to just this murmur. I felt like it gave you a sense of moving from location to location, and it didn't require fully through the whole thing. Yeah, it wasn't a whole bunch of extra junk. It was just, yeah. If you had moved into this room, that's what it would naturally. Yeah, 'cause some of it can just junk it up, you know? Like, this story is really good, and we do not need to distract from that. That's where I deal with volume a lot, just 'cause I don't want to, like, dock noises or anything. I don't want to distract from the story. I love the dock noises. When you finally got all of that nailed down, it was really-- Yeah, it's a lot of adjustment of, you know, a little more of this, a little less of this, but it's so much fun, for me at least. Okay, I think it's a good time for... The art of narration. Okay, well, there were a couple of things that I worked on this week. I'm hoping either Jessica May or J.R.D. will post them to the flash pulp page sometime soon, but I came up with a little Winnipeg and Smith picture the other day. It's adorable. I knew who they were the moment I saw them. Oh, it was adorable. Yeah, I really like the style they're in. They're a little cartoonish, but it's fantastic. Yes, um, yep, my computer recently decided to die, so I've spent a lot more time drawing lately. But your well levels are suffering. Yeah, well, that's okay. It's kind of a blessing in disguise because I've been complaining to Jessica May a lot lately that I want to start drawing more and I want to have the time for this, so it was, you know, ironically enough, I had just gone on to the computer and Jessica May said, "Didn't you want to draw some more? Didn't you say you wanted to spend some time? You should do that now." So I closed my computer and I started to draw. I actually drew the Mulligan picture and then I went to open up my computer again and it never turned on again. So it all worked out but... Fortunately, it's a MacBook and it's still under warranty, so we just got to scoot it into an Apple Store. Yeah, but it's been nice the amount of time I've spent working on. A little computer right now. Yeah, and if you want to send me those scans, I'll put it on the Facebook page. Yeah, so there's the picture of Billy and Mulligan, which are kind of a little cute sort of manga-y styles or whatever. You know, honestly, it's nutty that prompted me to do it. I was like, "I should put out a Mulligan picture too. Then we could have like a little fanart thing going on." A little Mulligan family. I love nutty's puffy-headed Mulligan. Yeah, so I wanted to add a little something to that. You know, I actually started drawing that I thought was going to turn out to be Joe Monk and I was like halfway through and thinking, "Wait a minute, this is Joe Monk. Who is this?" And as I got a little bit further on, I thought, "Oh, this is Billy Winnipeg. That's who it is." So of course that led to Mulligan. But I actually followed that up with a picture I did recently. Just J.R.D. and I had been talking about the various different threads that were following throughout Flashpulp and I started doing a little Flashpulp crest. Yeah, it was a little bit of everybody, you know. And when I was done, I presented it to J.R.D. because each story arc is represented on the crest in some way. And I defied him to point them all out as to who they were. And he had trouble with, I think, one of them. But you should totally, like, paint that somewhere in our house like our family crest. But then we'd have to keep adding to it every time there's something new. Good time with a new character. I can already think of a new thing that's got to be added on to there and I'm just not sure how I'm going to do it yet. I'm also excited that we've been discussing a poster project. Yes, that's right. I've had a couple of ideas for that as well. But now that we're talking about getting stickers and stuff done, J.R.D. has been thinking maybe we could put out kind of like movie posters almost. Movie style posters here for the individual threads. And I've already actually got a draft of what Carwicks is going to be like. Because as soon as he'd said that, I had this beautiful image just pop into my head. And I thought, yes, this is Carwick, this is going to be so much fun. If we ever had the time to do it, I would love to do the same idea, but geared towards individual stories. So like a mulligan, the crumble poster, you know what I mean? Yeah. I think these ones I'll probably want to paint them though, so I think that should be. Well, I think for the style that you're aiming for, they would definitely look nice painted. Yeah. It'll probably, it's a long-term project. Yeah, so I've got these two new drawings up. I've got the flash pulp crest and the billy and mulligan picture. And I've sent those off. So hopefully those will get up on the flash page soon. And we'll see you about some posters in the future. And fish, I'm sorry, I don't have a logo for you yet. But Jessica May took some lovely photography this weekend, so we'll see what happens. Yes. All right, so I think it's about time to check out, but recall that there will be two pieces of fan fiction just after this bit of business. Thank you very much. Yes, thank you very much for. Yeah, big thank yous to 3-day fish and big thank you to Ray, slash Jack Antor. Go check out the show notes for anything you want to check out the links mentioned. All right, well, you should also look into our wiki, which is at wiki.flashpulp.com. And these amendments or submissions are greatly appreciated there. And a big thanks to Jim over at relicradio.com. Thanks, Jim. Thank you. And also retrojim.com. Fantastic work, and big thanks to hosting all of our endeavors. Maybe one more thanks to Jeff, Joe, and Linda. Yeah, absolutely appreciated. So if you have any comments, questions, or suggestions, you can find us at flashbulb.com or scener.fm. Color voicemail line at 206-338-2792, or email us text or mp3s to skinner.fm. Jessica May's vocal talents and musical stylies can be found at maintenance.com. Opoponax's artistic work and general updates can be located at opoponaxfeathers.com. Or more recently, flashbulb. Yeah, the entire run of flashbulb can be found at flashbulb.com or via the search bar and iTunes. Flashcast is released under the Canadian Creative Commons attribution on commercial 2.5 lessons. [Music] ♪ Sunday to be my hour, that's number left ♪ ♪ Here is the shadow that is with our number left ♪ ♪ Little white flowers will never wake the new morning ♪ ♪ Not where the black rose of our own has taken you ♪ ♪ Angels have no part of ever returning you ♪ ♪ To a day behind me, if I stop of joining you ♪ ♪ Throw this on day ♪ ♪ ♪ ♪ Sunday to me, I'm weary of bending it ♪ ♪ So this is the last time and then I am bending it ♪ ♪ When there's a candle and thread that I know ♪ ♪ Why should they cry when they know that I'm glad to go ♪ ♪ It's the dead dream, then I'll dream I'm arresting you ♪ ♪ On the long journey I know I'll be blessed to you ♪ ♪ Throw this on day ♪ ♪ [MUSIC] [MUSIC] [MUSIC] [MUSIC] Bunny was pissed. She was pissed because Will mother f*cking coffin had been short with her. While her transient memory could not recall what they had exchanged less than kind words over, or as a matter of fact, what those words had been, she knew when she was being persecuted. After Will had gone off on one of his errands, probably out to fight pixie sh*t rub on his prick, Bunny assured herself. Bunny took a swig of her liquid courage and sought out her means of revenge. With the grace of a zombie, Bunny found her way into Will's room. "I'll show 'em who's a f*cking knee-briff freeloader," said Bunny, moderately sure that she had been accused of being such. Spotting what looked like a diary, Bunny made a grab for it, thinking it was Will's own. The diary was small and cheap-looking. Upon opening it, she saw what her father would have called chicken scratch scrawled along the line paper. As she began to read though, she felt strange, not sober exactly, but focused, alert, as if she would only be able to exact her revenge after reading the contents of this diary. She took a seed on an ornate wooden chair. This is what she read, entry one. "There I am. I am in study hall, my sophomore year in high school. The room was cool, and the foam-marble floor tiles seemed to make the room feel all the colder. I am sitting at the very front of the classroom. To my left is the doorway leading to the silent and vacant hallways of the high school. In front of me is the whiteboard with half-forgotten dry-erased markers smeared along its edges. "There's Mr. Thacker sitting behind his desk in the front of the class, working on his computer. His gut forces him to lean forward to type. I hear the clack-clack-clack of the keyboard. I notice him. But he's not what concerns me. I am overcome with the feeling of being watched. I begin to turn around to see if anyone's staring at me. Someone is. He seems as surprised to see me as I am to see him. I wake up. I sit up and whisper one name into the dim room, but I say the name as though it were a question. Lloyd Farron? As I sit up in bed marveling at how vividly the dream portrayed myself more study hall. How odd, I think to myself. I close my eyes and fall back asleep. If I dreamt again, I did not recall the following morning. When I awoke, I could still remember that odd dream. I do not know exactly what was odd about it, other than maybe how real it felt. I tried to remember who else I had that study hall with, but I drew a blank. Dismissing my puzzlement, I began my morning routine. I returned home at my usual time, late, ready to lie down on my couch and veg out in front of the tv, and I did so. I do not know why I fell asleep. Perhaps it was the caffeine I had just urinated out of my system, or maybe the warmth of the room. Whatever the reason, I was out. There I am, in the dream again. In front of me is the white board with half-forgotten dry erase marker smeared along its edges. There's Mr. Thacker, sitting behind his desk in the front of the class, working on his computer. His gut forces him to lean forward to type. I hear the clack-clack-clack of the keyboard. I notice him, but he's not what concerns me. I know I'm being watched. I turn around to see him. There he is, sitting four desks back, and one desk over. Lloyd Farron. We stare at each other. Somehow I know that he is real, in one form or another. I call out his name. Lloyd? Lloyd Farron? The room seems to ripple, as though the sound waves carrying Lloyd's name across the room are heavy and nearly visible. Lloyd's eyes widen in surprise. Before I can call his name again, he calls mine. Russell Bardsley? Again the room ripples, and it is though the words are traveling through water instead of air. I must have made a face because Lloyd grinned at me as though he had seen something he had suspected, but had been, until now, unconfirmed. Suddenly, I'm awake. Waking up somehow felt unnatural. It was like I woke up because Lloyd left the dream, and not because I wheeled myself to wake up. Entry three. Almost a week has passed. I'm afraid to fall asleep now. I cannot explain why. Partly, I do not want to have the dream again. Of that I am sure. There's something more, an instinct that warns me of danger. Part of me says I'm being absurd. More of me remembers that awful feeling I had the last dream. The feeling stemmed from a realization I had when Lloyd spoke my name, a realization that is hard to explain. When Lloyd called my name, I knew beyond a shadow of a doubt, that it came from outside of me. That is to say, I did not dream that Lloyd said my name. Lloyd had been in my dream, and had said my name. The realization was much like any realization in any given dream. Sometimes dreams open in the middle of an event, but even though you cannot recall how you got there, you know everything about what led up to the situation. So it was with Lloyd. I do not know how I know that he said my name, and not that I dreamt of him saying my name, I just know. My certainty of that knowledge is of little comfort. Entry four. There I am, in the dream. All is clear is when I first had it. I know I'm being watched. I turn around to see him. There he is, sitting right behind me. Lloyd Farron. We stare at each other. He gets up. The room seems to vibrate. He walks towards me purposefully. The room begins to do more than vibrate. It blurs, and the entire room skews left and right. He's standing over me. My desk is facing him now, though I did nothing to move it. Lloyd slams both hands on my desk and leans forward, an evil grin twisting his entire face. "Russel Birdsley, my, my, my," he said, punctuating each my. It has been a while since our sophomore year. He looks down and begins to shake with laughter. There's a hateful energy surrounding him. The room dissolves away. Without looking up, he asks me in a whisper, "Do you remember?" Before I can ask what he means, he's in my face screaming, "Do you remember?" "What? What? Remember what?" Fear grips me. In real life, I may have begun to cry. I know now that Lloyd intends to wreak havoc in this dream. "Do you remember?" Now his voice has an inhuman timber. His face is consumed with rage and is unrecognizable. I try to run, but my body won't respond. I cannot even stand. It's just a dream, I realize. I can wake up. "No!" Lloyd roars. His hand shoots out and grabs my throat. His hand is impossibly strong. I cannot describe the horror at that moment. The horror of knowing I was without enough will to escape this nightmare. I punch and kick like a child, but my blows seem to lose all their momentum upon impact. "How does it feel, Bardsley?" Lloyd hisses, his voice still nightmarish, carrying me until I feel my back hit a wall. "How does it feel, Bardsley?" My eyes meet Lloyd's. Incomprehensible loathing burns me as I stare. He begins to chant, "How does it feel, Bardsley?" With each chant, he pounds me against the wall. "How does it feel, Bardsley?" Each strike against the wall hits me with more and more force. "How does it feel, Bardsley?" The wall cracks, but I cannot look away from his vehement gaze. "How does it feel, Bardsley? How does it feel, Bardsley?" He's brought me up to his face, warped and twisted, like a demonic kabuki mask. "I'm going to die. I knew it now. He would kill me right here. He was in control here and he knew it." As if in response to this realization, Lloyd lists me higher and raises his fist. "How does it feel?" Lloyd's voice is back to a whisper. Slowly he lowers me to eye level and places me back against the wall. His grip is becoming shaky. "How does it feel to be powerless, Bardsley?" The anger drains from his face in the form of tears. We stare at each other for what seems in eternity. With a hellish roar of Lloyd draws back his fist and I wake up, screaming. Tears are streaming down my face, eventually exhausted and dehydrated. I pass out. Entry four. I kill the engine. Resting my head on the steering wheel, I let out a long sigh. After a moment, I swing my legs out. I feel my feet hit gravel. I don't immediately get up from my driver's seat. I pause. Not out of an unwillingness, but because my limbs feel heavy. Finally, I stand, close the car door, and walk across the well-kept lawn. It had been years since I visited this place, but I know exactly where I'm going. It's a short walk. I'm at his grave. Lloyd's grave. I had brought a flower, an Easter lily, but it now felt like a pointless gesture. I did not even know why I'd come. The dreams had not returned. In fact, they had stopped altogether. Yet the urge had been foremost on my mind for weeks now. Not knowing what else to do, I placed my flower upon his grave. I have told others about my dream, but never have I told anybody about what happened between Lloyd Farron and me. That is a secret I shall take to my grave and settle with Lloyd when my time comes. Blinking, Bunny slowly lowered the small book. Looking around, she blinked again. "What the f*** am I doing in here?" said Bunny, and left. But not before leaving on the chair. A small diary. Mulliken was guiding his tricell southbound at a capital city to meet with some new clients. They had called him the day before about a problem with threats that the police claimed they couldn't help with. Mulliken quickly scratched down the directions to their location, then promised to meet them the next day. The private eye had been driving for a little over half an hour when he spotted a sign advising that Crystal Beach would be his next left turn. With a deft flick of his pinky, Mulliken turned his signal light on as the road came into view. The road to the beach was a short one, and soon white sands and blue water appeared before him. There was a large parking lot at the top of the beach where several trailers and other vehicles were already stationed. He guided the tricell into a vacant spot well away from all the camping vehicles, then exited the car and went in search of his clients. It was a short task. A couple were already headed in his direction. The woman closed the gap to Mulliken first. She was very attractive, with shoulder-length brown hair and an oval-shaped face that ended into a sharp chin. "Are you Mr. Smith?" she asked the moment she got close enough where shouting wouldn't be required. "You can call me Mulliken." "And you're Sally Hutchins?" he asked, already extending his hand. They had time to complete their introductions before her male partner caught up to them. Coming to a stop, he immediately doubled over and sucked in a deep breath of air, then repeated the action multiple times and in quick succession. Mulliken quirk and eyebrow and looked at Sally. "Is he gonna be okay?" "Mr. Mulliken, this is my production assistant, Paul Walder. He'll be fine, fresh air just doesn't agree with him," she said, then sympathetically padded the squat, round-faced man gently on the back. "My apologies, Mr. Smith. Spent a stressful time, and I'm very much out of shape. I'm not afraid to admit that." Paul explained as he was finally able to maintain a breath long enough for conversation. "Right. If you don't mind me getting right into things, you mentioned a problem the police couldn't help you with?" Mulliken directed his question to Sally, but it was Paul who answered, "Yes, sir. The gist of it is, a scant couple of days after we arrived to work on our movie here, we started receiving death threats. If you follow us to our trailer, we can show you the letters that mysteriously started appearing on our trailer step every morning for the last week or so." Sally offered, and both men followed her. Mulliken stood outside Sally's trailer inspecting six letters, all of which were written in lettering cut from magazines. "I didn't think people actually did that," Paul commented on the hastily pasted lettering. "I wish that was the only criminal cliche I've seen employed by someone," Mulliken added dryly. A breeze blew into his face that pulled his attention away from the death threats in his hand to look out over the beach. Seagulls floated in the air 200 feet away while huge waves rolled towards the shore beneath them. A memory began to dig its way back into thought. "I work hard for the money," suddenly invaded his mind. Mulliken looked at Sally whose cheeks were beginning to flush. She fished her cell in her purse and politely asked Mulliken to be excused. The PI's attention drifted back to the beach in hopes of rescuing the negative knowledge. He scanned the pale sands, flying birds and rolling water. To his far right was a lifeguard shack, unoccupied since the beach was closed for the movie shoot. An elderly man strolled across the beach with a metal detector busily ignoring shouts from set crew telling him to stay off the beach. "Hey, Paul. What kind of movie are you filming here?" Mulliken asked. While Mr. Smith were filming a story encouraged by true events that occurred on this very beach, Paul explained. "The nearly bloodless battle?" Paul squinty eyes lit up with excitement. Mulliken thought he might have heard a slight squeal. "Oh, you know your local history! Glorious! Yes, well, Mr. Smith. The fight between the Raven Gang and the Streaturchin Gang wasn't so bloodless. He took a pose that suggested to Mulliken that the plump man was about to instruct him about the time period. Mulliken cut in on Paul to take control of the conversation before the PA could drag him too far off track. Right, it was about 50 years ago when both gangs met here to confront one another. Quickly got violent but only fist were thrown until one person with the Ravens pulled a gun and shot a Streaturchin dead that is." Scratching under his chin, Mulliken tried to remember the name of the man convicted with the murder. "James Cooper," Paul said as if reading the gumshoes' thoughts. "Yeah, that's his name. He died in prison. He never found the gun. I heard they never found the gun." Mulliken extended his hand to the PA. "Anyway, Paul, I have enough to get started. Tell Sally I'm going to start poking around and not to worry. I won't get in anybody's way," he said over his shoulder as he walked away towards his car. As night fell, Mulliken sat in the tursale and waited with a large grape-slurpee in hand. He had been absently sipping at it for the last hour, but finally movement interrupted the monotony and drew his attention towards Sally's trailer. Quietly, he pulled a latch to open the car door. He stepped out into the night and approached the shadowy form who was trying to peek into Sally's window. The creeper's head bobbed around from window to window, his movements becoming more agitated. A simple clearing of the throat caused the warrior to jump but quickly recovered. Once he got over the initial surprise, the man spun and pointed a gun at Mulliken, who had closed within only a few feet away from the man. A quick study of the man confirmed a slew's suspicions. The creeper was the same man he'd seen earlier on the beach, prowling around with a metal detector. Instead of a metal detector, this time was a rusted old revolver. Mulliken stood calmly in the face of the weapons barrel and resisted all urges to reach for his own gun. He hoped silently that the on-site security would show up soon with the police. Sally's not in. Would you mind pointing that lead slinger somewhere else? "It's unnerving me a bit," Mulliken spoke in an even tone. "No," the man shook the gun but kept his finger off the trimmer. "I warned them to stop," the older man yelled while his free hand waved at the movie trailers. "You want them to stop making the movie?" Mulliken asked. "Yes, they're reminding everybody about what happened. After fifty years, people were starting to forget. My life was starting to become normal. I never thought I'd have to dig this gun up again." The man's voice took on a pleading tone but the gun stayed pointed at the investigator. "You mean the murder?" Mulliken stated, taking a cautious step towards the irate man whose age was somewhere in the 70s. "Now they're going to spark interest again. I can't have that," he screamed. Mulliken considered jumping to the side but held his position. "Right. They might encourage police to reopen the case, to find the missing murder weapon," Mulliken offered and braved yet another step forward. Then they might find out that the man they sent to prison, who died in prison, was innocent. Gently Mulliken reached forward and placed his hand over the gun. With some gentle force, he encouraged the older man to point the gun towards the ground. "It was self-defense. I didn't want to actually use the gun. I brought it with me to increase my reputation with the other ravens. I can't go to prison." The ex-Gangster's voice dropped to a whisper, his grip on the gun loosening completely, letting it fall into Mulliken's expectant hand. "I can't help you there," Mulliken said. The police came around from both sides of Sally's trailer. [Music]