August 19, 2025 • 63 mins
Marshal Birdie Johnson and Agent Tate Clay arrive back in White Round.
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Suffer Not is recorded while playing the Call of Cthulhu RPG created by Chaosium.
Credits:
- Voice of Tate Clay - Chuck Sedesky
- Voice of Birdie Johnson - Charlie DuBois
- Narrator / Writer - Cody C. Zenner
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
UNKNOWN (00:00):
Thank you.
SPEAKER_00 (00:40):
What gang doth we remember from the last episode?
The crew's been reunited.
The crew is reunited.
Yep.
Tate brought Cameron down to thelittle sawmill guided by one of
the, shoot, what's their namesagain?
(01:00):
The Geraldines.
The Geraldines, yes.
That shyster tried to get a buckoff you, even though he already
got a buck off a birdie, whichis appropriate.
They're of that ilk.
We did that.
Clay gathered up the body ofSheriff Garvey, got him on a
(01:22):
horse, and then he burned downthe mill after retrieving a few
books.
As far as Bertie knows, that'swhat he grabbed.
And now we are on our way, Ibelieve, back to town.
Clay, describe...
What you found inside the mill.
(01:42):
What are you talking about whatI found?
I found the books.
I found a broken railing thatBertie probably fell over if I
had to take a guess.
I found...
Did you make him roll like adexterity when he was walking
out of the building?
It was a stealth and I had acritical fail.
UNKNOWN (02:03):
Yeah.
SPEAKER_00 (02:04):
okay that'll happen so he slipped and shoved the
nice damn it i found the scenethe bloody scene of sheriff
garvey and andrew having dueledit out along with two more of
those little fire pits and thesymbols that were on the bridge
(02:28):
describe the feeling inside thethe mill well one there were two
You had, in one corner, a smalllittle feeling of sadness and
dread.
In the other, a much largerfeeling of...
What would you say?
Hunger?
(02:49):
Malevolence.
Malevolence.
Malicious.
Hatred.
Something like that.
And now those are with me.
You got a distinct, like, mentalimage of...
Teeth with meat in them.
Yeah.
(03:09):
Dirty.
Fibers.
Muscle fibers and whatnot.
And, uh...
Yeah, you guys are headed backto town, right?
I do believe that's ourdestination.
I can't remember why, except forthe fact that that's where
everything is.
(03:31):
Yeah, where else would you go?
The Geraldines?
I mean, yeah, good point.
At 2, 3 a.m.?
UNKNOWN (00:00):
?
SPEAKER_00 (03:36):
We could.
SPEAKER_02 (03:37):
All right.
SPEAKER_00 (03:40):
Let's get a move on.
The mill behind you grows alittle brighter and a little
brighter until eventually thesurrounding area is now
illuminated.
And as your horses are...
(04:03):
plopping through the tree stumpsand foliage and debris.
Maybe you turn around and lookat the mill for a bit.
Cameron certainly is watchingit.
And it's a beautiful sight, thistwo-story building right next to
the river.
(04:23):
The river is glowing, reflectingthe light that's cast all around
it.
And in the darkness, it's verybright.
SPEAKER_01 (04:35):
birdie
SPEAKER_00 (04:36):
yep when's the last time you talked to will scott
will scott huh well if i had tosay man i can't remember if that
was at the end or if it was if iseen him at his house do you
(04:57):
think he actually couldn'tremember because i can tell you
tell me plug your ears You andGarvey were walking to the Will
Scott's house.
That's right.
And Will Scott was, you know,and Garvey like bitched him out.
Get the fuck back where I toldyou to go.
Yeah.
All right.
Rest in peace.
(05:18):
Yep.
Last time I saw him, he came upon the sheriff and I while we
were heading over to the WillScott's house.
And Garvey basically cussed himout a bit, told him to get back
to the inn.
Why you ask?
I saw him a little bit later inthe night.
Yeah.
And I don't know if it's stillgoing on with all this hopefully
(05:42):
over now, but he's to the pointwhere he's losing his mind, the
same way Smithson was.
All right, well, nothing to doabout it now.
I guess we'll just have to keepan eye out once we get into
town.
Just a forewarning, so he mightnot even remember us by the time
we're back.
(06:03):
Well...
We'll cross that bridge when weget to it.
Or he might come after us with agun.
We'll cross that bridge if weget to it also.
Nope.
Head on a swivel now.
I ain't seeing all too wellright now, so you're going to
have to be the eyes.
So call that what you see, allright?
(06:23):
I can still shoot at blurs.
Some time passes.
It's a much...
quicker journey on horsebackthan on foot, especially with
Cameron kind of guiding you thisway or that way.
(06:45):
He knows the area a lot betterclearly than Garvey did, which
makes sense.
Cameron's from here.
Eventually you get back to town.
You cross this vast width of ofdeforestation, get back to this
(07:12):
thinner kind of tree line thatsurrounds the town, and then
you're back to town.
Well, might as well get up tothe end.
SPEAKER_01 (07:27):
You want to
SPEAKER_00 (07:27):
go that path?
I can't think of a better placeto go right now.
I'm tired.
We
SPEAKER_01 (07:33):
could...
Swing through the littlesheriff's office.
He's got a cot there.
SPEAKER_00 (07:39):
Just the one, though, right?
Yeah, but I don't know how Ifeel bringing Garvey here around
the inn.
That's a good point.
All right.
Sheriff's office it is.
Tate will, as they're riding,kind of pat down Garvey.
Mostly looking for keys, butwhatever else he may have on
(08:01):
him.
You find a billfold.
Scott.
$14 in cash.
That's what you find.
As well as, you know, an ID.
He's got his badge.
He's got a dozen bullets loosein a pocket.
He's got a key ring.
It's got a good amount of keyson it.
He's got a notebook with a pen.
(08:23):
Little just flip.
And also a...
Yeah, that's what you find.
Got the keys that'll get us in.
Well, lead the way.
SPEAKER_01 (08:39):
And we start riding towards there.
SPEAKER_00 (08:43):
Cameron?
Yeah?
What do they do with thedeceased around here?
Well, they used to take themjust down the street.
There was a...
But since the...
You know, there's a lot lesspeople that need to go there.
Well, we've just been takingthem to the church.
(09:03):
Or the family just, you know,buries them.
There's a plot.
I think we'll leave this one upto your old man in the morning.
Well, Garvey ain't from here.
Garvey's from, where'd he say, atown over, right?
He's probably from Saginaw.
Yeah.
You want to ride him all the wayto Saginaw?
Well, no, but there's a train.
I mean, you know.
(09:26):
You want to put a dead guy on atrain?
Well, my father will know whatto do.
We can just talk to him in themorning.
That'll work.
So you get to the sheriff'soffice, hitch your horse,
horses, pull out your key ring.
Garvey's key ring.
Try this one.
Try that one.
And that one's too small, toobig.
(09:48):
Ah, here we go.
SPEAKER_01 (09:50):
Kunk.
SPEAKER_00 (09:53):
Cameron.
Yeah.
It's best to go sneak back inthe church.
Unless your dad finds out what'sgoing on tonight.
Well, we might want to keep himhere just because of the
uncertainty.
Well, I mean, do I need to?
(10:15):
Not necessarily.
I think it might be a betteridea to keep you here with us.
I'd feel a little bit morecomfortable with that.
Yeah, if that's okay.
All right, well, I'm callingdibs on that cot.
I'll take the chair.
(10:36):
Cameron, you're a young buck.
You're on the floor.
There is a cell.
There's two cells.
There are beds in the cells.
Or, like, also cots.
Oh.
I remember you had jokinglysaid, yeah, Bertie, that's where
you're going to sleep.
Bertie's going to that one.
(10:58):
Looks like you're right everynow and then.
Clay.
Oh, there's a reason to keep mearound.
That's right.
Don't, uh, run into the cage onyour way in.
All right.
Well, yeah, I got to call it,man.
I'm, I'm beat.
Okay.
If anything comes up, just shootor holler.
Yeah.
You, the three of you are eggzosted.
(11:20):
Him more so.
This has all been one day, mindyou, this whole chapter, this
whole, whatever, however manyepisodes this ends up being, you
know, eight, 10, I don't know.
This has been one day.
Um, Tate at least got a coupleof hours.
Birdie's in one of the cells.
Yep.
And then Cameron's in the otherone right next to it.
(11:41):
Clay is in the cot and there'sjust like a, you know, little
nook, little walled off nook forsleeping area for a sheriff.
Clay is going to A, make surethe door is locked.
It is.
And B, he's probably still goingto take the chair.
He'll kind of lean back in thechair and kick his feet up on
the desk.
(12:02):
And that's where he goes tosleep.
Is there a safe or a lockbox oranything like that in here?
Yes.
There's two, actually.
Key or combo?
One of them is a combo.
The other is a key.
SPEAKER_01 (12:23):
Okay.
SPEAKER_00 (12:24):
The one that's a key is kind of a, it's a larger,
more like a locker type ofthing.
And that's in the like littlenook, the little sleeping nook
for the sheriff.
And then the one with the combois underneath the desk.
Okay.
Can you peek around for anythingthat might have the combo on it?
Roll for it.
(12:49):
65 over 64 spot hidden.
And I'm not going to use a luckpoint.
The one with the combo, youknow, you open a drawer, dig
through some of it, open anotherdrawer, and you're trying to be
quiet not to wake up the othertwo.
How hard are you trying not towake the other two up?
(13:12):
I mean, with how tired everyoneis, I don't want to wake them
up, but they're also...
Knock the fuck out, but I'm notlike creaking shit open all the
time.
Do you want to roll a stealthcheck?
No, it doesn't matter if theywake up or not.
(13:33):
Okay.
Yeah, he doesn't find anything.
Okay.
Just notes, papers, reports.
Is the locker type thing locked?
Yeah.
Is one of the keys he has forit?
He sits there and tries, andyes, it does open.
He will open it, put the satchelwith the books in it, close it,
(13:58):
and lock it, and then he walksover to Bertie.
SPEAKER_01 (14:04):
Hey, Bertie, wake up real
SPEAKER_00 (14:06):
quick.
I need you to hold on to thisovernight.
And he hands a key out to you.
All right.
Put it in a pocket or something,all right?
Birdie's going to stuff the keyin his pocket if there's
anything else.
(14:27):
No, I think it's definitely timeto sleep.
All right, well, night.
Tate will walk over and sit onthe chair and throw his legs up,
cross his arms.
I think he's a little sketch, sohe's got, like, he's crossed,
put his legs up, he's got, like,his pistol laying in his lap.
(14:50):
And he nods off
SPEAKER_01 (14:52):
pretty quickly.
SPEAKER_00 (14:53):
After being woken up, Birdie, you know, maybe
watches him walk over there, butpasses out pretty quick, too.
Oh, yeah.
Cameron's, you know, over on hiscot, kind of, you know, shaking
a little bit here and there,like twitching in his sleep.
(15:14):
And Sadesky, he who plays TateClay...
May I ask you to evacuate fromthe studio?
You can ask me to.
It doesn't mean I will.
Birdie closes his eyes veryquickly.
(15:38):
Everything fades into a relaxingdarkness.
There are images that flash inhis head he's kind of having one
of those nights where he's tiredand he's trying to sleep but
he's tossing and turning andit's almost like there's a
(16:01):
repetitiveness to his thoughtsit's keeping him up but
eventually he does rather hesees Garvey and Andrew in the
room he sees Something that musthave been behind him feels that
(16:27):
thing that was in him, trying toget in him, hurting him.
And eventually he rightly fallsasleep.
(16:49):
Darkness gives way to a womankneeling before a pit in the
ground.
Her hands are clasped together,her head bowed.
What you're looking at is apainting.
(17:09):
Now the artist stands in front,brush in hand.
You see it's not a brush at all.
It's a feather.
black.
The painter vanishes and thefeather floats, the tip pointing
down.
Slowly it floats toward theground.
(17:34):
The tip penetrates the earth,pushing deep into the soil.
Behind you a figure in whitestares at you, faceless,
emotionless.
It's Flesh shimmers darkness.
You hear a crow shouting.
(17:56):
You turn quickly and look.
In a wide open field of deadgrass, you see a birch tree.
Tall.
Barren of leaves.
The bark peeling delicately.
Atop it sits a bird in black.
The birch tree ignites.
(18:18):
And fire spreads from the base,crawling itself up toward the
top.
The bird sits and then unfurlsits wings, spreading them wide
and wider and wider.
The wings encompass the wholesky and the world is plunged
into darkness.
(18:38):
The fire of the birch tree fadesand ash is all that's left.
You turn looking at the figurein glowing white behind you.
Though it has no face, you knowthat it smiles.
Gleefully, it reaches out itsarms, and what you think must be
hands rip the air in front ofyou.
(19:04):
And suddenly, you open youreyes.
Sunlight penetrates through thebarred windows of the sheriff's
office.
We're just going to take in theroom.
Make sure Cameron and Clay arestill present.
(19:29):
You can see Cameron clearly.
He's sleeping soundly, his armkind of dangling from the bed a
little bit.
From where you were sleeping,you see his feet, his boots just
below them.
UNKNOWN (19:49):
Okay.
SPEAKER_00 (19:50):
where he's going to rub his eyes and take in the
room.
See, he wants to check hisvision because it definitely
wasn't good last night.
How would he feel if his visionwas about the same as when he
went to bed?
He wouldn't feel as good aboutit, that's for sure.
(20:14):
Well, that's what he sees.
The room is still blurry, right?
You know, he can see the barsand it's not like he's blind,
right?
But his vision clearly wentdown, you know, a couple grades,
however that's measured.
(20:34):
You know, he can still seethere's dust in the room and the
beams of light coming throughthe window are clearly
illuminating that dust andslowly floating around the room.
Bertie is going to sit up, puthis boots on.
And he's going to stretch hisway out of bed.
(21:02):
Cameron looks over at you, youknow, his big bags under his
eyes.
Yeah, morning, sunshine.
Yeah, good morning.
And he closes his eyes and, youknow, rubs his temple.
You and me both.
You and me both.
Tate Clay wakes up.
(21:26):
He feels rested, still tired.
Kind of that groggy, you know, Ididn't quite sleep enough, but I
slept feeling.
That's almost worse than juststaying up.
You know what I mean?
He can see the morning lightpenetrating through the windows
(21:46):
and, you know, the door.
Like the...
bottom of the door.
Some dust floating around, andhe can hear movement from the
divider on the other side ofhim.
He hears, Good morning,sunshine.
(22:09):
Clay, you up?
Is that you, Birdie?
Yep.
I'm up now.
Well, that means you don't havea cup of coffee for me yet.
So we should probably fix thatstat.
Yeah, there's a...
There's a Keurig right overhere.
Yeah.
(22:29):
Oh, yeah.
I think I saw someone elsedigging around last night.
Not sure how fresh it is,though.
Hmm.
I don't know what you're talkingabout, but either way...
All right.
Well, I'm up.
Eyes are still fuzzy.
(22:49):
Man, Bertie's going to lookaround and see if there's just a
water basin or a sink orsomething in this office.
Yeah, it looks like, so thethree of you are up and kind of
looking around.
Looks like Garvey, you know, hadonly been here for not very
long.
It's hard to tell exactly howlong, but he started to kind of
(23:13):
make it a little bit livableagain.
There's water in the waterbasin, a little mirror.
That type of stuff.
Very general grooming stuff.
You do find some coffee in atin, and the tin has kind of,
you know, has a little lid puton top of it that's buckled
(23:34):
down.
But when you go to smell it, youunbuckle it, and it smells
pretty old.
But you should get the job done.
I don't know.
I think maybe we head over tothe inn.
That way we can check and seewhat's been going on in our
absence and get a cup.
(23:57):
That's what I'm feeling.
How about you?
SPEAKER_01 (24:00):
I don't disagree with that.
SPEAKER_00 (24:03):
All right.
Cameron, you want to come onwith?
Huh?
Yeah, yeah, let's go.
Yeah, we're going to the inn.
What's the plan?
The plan is we're going to walkto the inn and get a cup of
coffee and see what's going on.
Oh.
Then you're going to join us.
(24:23):
And he's looking at Clay, youknow, as Bertie's talking, he's
kind of looking at him, but thenmost of his eye contact is on
Clay.
Got that key, Bertie?
I sure do.
And Tate will hold his hand out.
Bertie will give the key toClay.
Tate will use it to unlock thelocker and grab the satchel out.
(24:49):
When he grabs the satchel,there's kind of a weight that's
pushed down like on hisshoulders and his chest.
What do you guys do?
I recommend we get this to thecommission as soon as we can,
Bertie.
Well, ends on the way to thetrain station.
(25:14):
That it is.
Besides, we can't just leave.
We got to Still got Garvey.
Yeah.
We'll leave Garvey here for now.
Andrew also, you know, the sonof the innkeeper is dead.
All right.
No use fussing around.
Let's get on over there.
We got to send a telegram too.
SPEAKER_01 (25:37):
I agree.
SPEAKER_00 (25:38):
All right.
Bertie's going to walk out ofthe station and make his way
down the road to the inn.
He unlocks the door.
SPEAKER_02 (25:48):
steps
SPEAKER_00 (25:50):
outside and it the sunlight feels great the warmth
the just the feeling of it feelsbrighter than normal but not in
a bad way Clay gets the sameexact feeling Clay will check
(26:13):
the bag and make sure the booksare still there All three books
are still there.
The blood on the one is driedquite a bit.
It's maybe about 8.30 a.m., giveor take.
(26:35):
There's people walking around,horses.
The two horses that you guysrode back into town are hitched
up.
Clay, you remember...
You might want to return those,pay for them before the
shopkeeper gets in.
And then you continue walking tothe Will Scotts.
(26:59):
The door is unlocked.
You walk in and the floorcreaks.
You see that man in the cap withthe mustache sitting at the bar.
When you guys walk in, he turnsaround and nods at you.
Will Scott.
(27:19):
We're just going to walk up tothe bar.
The fella in the hat is, youknow, jotting down some notes in
a notebook.
He's not in.
I'm not sure where he is.
Is that so?
Yeah.
Haven't seen him all morning.
And he's not looking at you.
He's just writing as he'stalking to the bar top, you
(27:40):
know.
All right.
And how long have you been hereroughly?
Hour.
Hour?
So it's just about finished uphere.
Does he have a plate or a cup infront of him or anything?
No.
What's that you're finishing up?
Just notes, numbers, boringstuff.
(28:06):
Tate's going to go behind thebar or into the back and start
heating up water for coffee.
Okay.
Go into the kitchen, find allthe things you need, get it
boiling.
pour it, put it in the cups.
How many cups do you make?
He'll make three.
(28:29):
And he walks out and we'll sethim on the bar top.
Cameron kind of points towardone and then points toward
himself with like a questioninglook on his face.
Like, is that for me?
Pot's in the back, Cameron.
Oh, oh, oh.
He walks back, comes out with acup.
(28:49):
All right.
Bertie's going to get a cup ofcoffee and take a healthy swig.
All right.
Okay, so Will Scott's not here,according to this gentleman.
You look around at all, or youjust come sit down and just
haven't seen him?
I sat down, called a coupletimes.
(29:12):
Yeah, I don't know.
Probably just not in.
It's fine.
Well, I might still be at home.
Dang it.
I'm heading that way anyway.
You want me to give him amessage?
No.
Nope, we'll get on over thereourselves.
(29:32):
I'm sorry, I don't know if Iever caught your name.
Yeah, that's fine.
He closes the notebook, puts itin his bag, walks out the front
door.
All right.
Bertie's going to look at Tate.
Kind of an odd fellow overthere, huh?
He's lucky I didn't accidentallyspill his cup of coffee.
(29:56):
Cameron looks at the cup thatdidn't even get touched and kind
of makes that look and kind ofshakes his head like, huh?
You're still a little green.
He takes a sip and then looksover his body.
(30:18):
No?
Turn of phrase, kid.
Oh.
All right, Tate.
Yeah, sure.
Well, we definitely got to touchbase with Will Scott.
If there's still a Will Scott totouch base with.
Well, I mean, last I saw, he wasfine.
Last I saw, he was on thedecline.
Doing what, man?
(30:38):
You're being vague.
Just with his memory andwhatnot.
All right, so you had a fadedmemory.
But he was still breathing, hadall his fingers and toes.
SPEAKER_01 (30:51):
Yeah.
All
SPEAKER_00 (30:51):
right, well, let's go find him.
Telegraph was at the trainstation, right?
Yep.
His wife did have some prettygnarly bruises on her head,
though.
Yeah, that was courtesy ofAndrew.
We know for sure?
Well, no, we suspect.
(31:13):
Whatever Andrew was doing was...
making some other people gocrazy.
The reason Smithson came in and,you know, shot at us.
And Smithson would just let himgo in the store and take
whatever he wanted, no questionsasked.
So I think this hoodoo shitgoing on is a little bit deeper
(31:36):
than just a person here orthere, you know, stabbing
themselves in the neck with apen.
All right.
I mean, how the hell did hedisappear in a flash of fire and
reappear somewhere else?
I'm sorry, what was that?
The kids kept saying it seemedlike he was disappearing and
(31:58):
reappearing in places.
I think this is the first I'veheard of that.
And it kind of checks out withthose footprints.
I think the ones you followed toget to the mill.
Okay, I definitely rememberthem.
All burnt up.
Yep.
And no footprints leading pastthem.
It wasn't like a fire.
It was like the grass was dead.
(32:19):
You know, like when you put likea tarp over grass and it just
like dies in that square.
You know what I mean?
That's what the footprints looklike.
Like the grass wasn't burnt.
It just was dead.
Yeah, all the life sucked out ofit in just that spot.
And no footprints leading fromit.
Yeah, it's strange.
I think this book you had wasmore than just one of these
(32:41):
abilities.
Let's just be prepared for theworst.
Always.
Always.
All right.
I got to return these horses,too.
Okay.
Let's maybe not do that quiteyet because there's still a...
I suppose.
There's still the sheriff toconsider.
I
SPEAKER_01 (32:59):
suppose.
SPEAKER_00 (33:02):
Bertie's going to finish off his mug.
All right.
Let's go to the Will Scotts.
After you.
Okay.
Let's go, Cameron.
Oh, yeah.
Okay.
He slams the rest of his coffeeand then kind of and puts it
down.
So you guys are heading to theWill Scott's house.
(33:22):
Correct.
Okay.
You guys leave the Will Scott'sand heading toward the
residential area.
You see the fellow you were justtalking to with his briefcase
walking also toward theresidential area.
He's ahead of you.
You walk past the littlesheriff's office where the two
horses are hitched up and theguy is a little bit faster and
(33:47):
he turns.
You realize he's also going tothe Will Scott's house and he
knocks on the door.
He pulls out a pocket watch andchecks it as you guys are
approaching.
What do you guys do?
That might be the answer to myquestion.
(34:11):
Well, whatever that is.
What's your question?
Whether Will Scott's still withus or not.
Well, you see a finger kind ofpeel one of the curtains to the
side a little bit.
And then release it.
Tate's making his way to theback of the house.
Okay.
(34:32):
Bertie's walking up to thefront.
You hear knocking on the frontdoor again.
K-k-k-k-k-k-k-k.
There's a door in the back,right?
Yeah.
Cameron.
Yeah.
Do that thing you did lastnight.
And Birdie's with them?
(34:53):
Birdie is going to the frontdoor.
The front door, okay.
Yeah, yeah, okay.
And he reaches into his pocketand he pulls out a unfolded,
it's already bent, like bobbypin.
He sticks it in and he kind ofshimmies it a little bit.
And he pulls out a littlefolding pocket knife.
(35:15):
Sticks it in to kind of twistit.
And then the bobby pin breaks.
Up front...
Mark that down.
What is Bertie doing?
Saying?
Bertie's walking up to thegentleman.
Hey, Mr.
Man with No Name.
Hmm?
Oh.
And he, like, looks you up anddown.
(35:35):
You know, like, eyes, boots...
Eyes.
You know what I mean?
Kind of deliberate.
Yep.
I'm here to see Mr.
Will Scott also.
What, for a film?
What?
No, that was just my partnerbeing a clown.
(35:57):
Nope.
I'm a U.S.
Marshal.
And I'm here to speak with WillScott.
He raises an eyebrow and kind oflooks down at you.
Marshal?
Yes.
UNKNOWN (36:09):
Okay.
SPEAKER_00 (36:10):
He got a, you know, credentials.
Anything like that?
Birdie will flash the badge andgun.
Yeah, it's right there.
And with his eyebrows stillraised, he goes from looking
kind of at a downward angle toan upward angle.
Okay.
All right.
Well, I'm knocking and they'renot coming, so...
(36:33):
Uh...
He reaches over and clips,unclips his...
reaches in, pulls out a letter,slides it under their door.
You have a good day.
Yeah, you too.
Stay out of trouble.
He walks away, clipping his bagback together.
You see him go up to anotherhouse and knock on it the same
(36:55):
way.
Bertie is gonna go up and moreloudly, doom, doom, doom, doom.
Well, Scott, it's MarshallJohnson.
If you're in there, come on out.
We got a chat.
Meanwhile, on the back of thehouse...
(37:16):
Let me do that just one moretime.
Hold on.
He pulls out another bobby pinand bends it.
We'll try the door handle quickin case it did anything.
Before you even have a chance toreach for the door handle, he's
pulled it out of his pocket,bent it, stuck it in, shimmied
it like two or three times,then...
(37:37):
unlocked it.
Crit success.
Meanwhile, up front.
SPEAKER_01 (37:44):
Damn, I don't get nothing?
SPEAKER_00 (37:53):
The doors only open a little bit.
Is that...
Is that...
Is that...
Is that guy out there still?
Nah, I moved on to theneighbors.
Who is that guy?
He's with the bank.
(38:15):
Say no more.
Yep.
And then you see his head kindof look down, and then he bends,
picks up the envelope.
Oh.
They're coming for their poundof flesh, aren't they?
Yeah.
You see him kind of like...
(38:35):
just have a blank gaze at it andhe swallows and gets one of
those grins like, yep.
All right.
What, uh, did you find Andrewlast night?
I think we should, uh, we shouldhave a seat.
We should have a seat and have achat.
(38:58):
Okay.
A lot has happened.
The, uh, the marshal's back.
Okay, yeah, I'll be right there.
He opens the door and lets youin.
He kind of peeks out and looks.
He looks left and then he looksright.
And then he looks for like alittle bit.
And he's like, oh shit.
(39:19):
Closes the door and locks it.
The guy.
See and make his way back.
Whatever.
And then to the back door.
All Tate's doing in the back isjust like...
Cracking the door open a quarterof an inch and sticking his ear
(39:40):
up to it to listen.
He can hear Birdie and WillScott chatting.
That's as far as Tate's going.
Back upstairs.
Well, what is Tate going to dowhen he hears that?
When he hears what?
Birdie and Will Scott talking.
Just listen.
(40:01):
Okay, back upstairs.
So, did you find him?
Yep.
Yep, I found him.
You did?
His eyes kind of lighten up andyou hear down the stairs is
coming a woman, the same one.
And she sees you and you see herface kind of...
(40:22):
Did he find him?
Did you find our...
Did you find Andrew?
We should really take a seathere.
Can we maybe get a pot of coffeegoing or something?
Uh...
You see her demeanor instantlychange.
(40:44):
Her eyes redden.
She grabs her husband's hand andlooks down at him.
What did you find?
Brady's going to take his hatoff, kind of rub his forehead.
(41:05):
There ain't no easy way to saythis.
So I'm just going to say it.
Last night, your boy, down atthe old sawmill, shot and killed
Sheriff Garvey.
And Sheriff Garvey shot back andkilled him.
SPEAKER_02 (41:30):
Oh my God.
SPEAKER_00 (41:33):
Dwayne's just going to stand there.
And...
She collapses and grabs herhusband and she's weeping.
He...
His eyes redden.
Okay.
(42:00):
Where is...
Where is he?
Uh...
So during the altercation, themill caught fire.
We were able to get the sheriffout, but your boy was too deep.
(42:26):
You see his lip quiver.
His wife is audibly weeping.
And he looks up.
Okay.
All right.
Well, what now?
You said he was at the mill?
(42:48):
Yep.
Yep.
It just caught up too quick.
There's no way to get him out.
SPEAKER_02 (42:57):
Okay.
SPEAKER_00 (43:02):
As for what now...
Well...
Usually in these cases, youknow, one of the folks lives.
Seeing as how they're both dead.
I'm very sorry for your loss.
(43:28):
He looks away, kind of slowlynods his head and he's you know,
holding on to his wife andtrying to comfort her.
You know, he's rubbing his handon her back.
SPEAKER_02 (43:50):
Okay.
SPEAKER_00 (43:57):
All right.
All right.
I'm going to have to at leastget a telegraph or something out
to Where was the sheriff fromagain?
Saginaw.
Form his kin.
(44:18):
Yeah, it's the right mess wegot.
Well, again, I don't want to bea bother to you folks, so I'm
going to go ahead and get on outof here.
Sorry again for your loss.
SPEAKER_02 (44:37):
Yeah, okay.
SPEAKER_00 (44:45):
Alright, ma'am.
Bertie's gonna go outside androll a cigarette.
Hearing Bertie leave, Tate willSlowly close the door and wait
(45:11):
for them on the side of thehouse.
So what happened?
With what?
Well, I mean, I don't know.
How did they take it?
That's not a question for me.
How do you think they took it?
(45:37):
I don't know.
He kind of looks at the groundlike almost ashamed of asking
the question.
Sad business we're dealing withhere, kid.
Tate, where you at?
Around the side.
Sit on back.
Time to drop off Garvey?
Yeah, I'm starting to wonderwhat else we can do out here.
(45:58):
Like I said, I think we get thehell out of here.
Hopefully half the town doestoo.
All right, well, you go takecare of them horses.
Meet me at the train station.
SPEAKER_01 (46:10):
You're just going straight there?
I
SPEAKER_00 (46:12):
got everything I need.
SPEAKER_01 (46:14):
All right, I'll drop Garvey off.
SPEAKER_00 (46:17):
Where are you going to drop him off at?
The church.
You know, I don't think weshould do that.
I think we should bring him tothe train station.
Folks are, his people areprobably going to want him.
Yeah, and they can come and gethim from the church.
My father can initiate all ofthat.
And he nods his head like, Allright.
(46:39):
All right.
Yep, no, that's a better plan.
I guess my head ain't onstraight today.
How's your vision?
It's still fuzzy.
Still fuzzy?
Yep.
Don't sign no contracts.
Only you can get a chuckle outof a guy on a morning like
today.
I'll tell you what.
You good handling the churchside?
(47:00):
Yeah, I got it.
All right, I'm going to go sendsome telegraphs.
You do that?
We can kind of fast forwardthrough the, you know, the
horses.
Yep.
You grab one of the horses.
Cameron helps you get Garveyonto the horse.
You get up to the church.
My father might not be in yet.
(47:22):
I can explain all of this to himwhen he does.
Well, don't tell him too much.
No, of course.
Sheriff Garvey and Andrew got inan altercation.
The mill started on fire in theprocess.
We were only able to get Garveyout.
I'll tell him an oil lamp gotshot or something like that.
(47:46):
What's your plans?
You got any money saved up inthere?
A little bit.
Not a...
A little bit.
Here's a few extra bucks to getyou and I assume you're going to
want to bring Peggy.
Oh, uh...
Down to Harrisburg.
(48:07):
Um...
And then he'll pull out, like, ascrap of paper and write his
address.
This is where I'll be.
His home address or the office?
Home.
Okay.
He...
Like, when you go to hand him,you know, the money and then the
note, he's like, oh, uh...
(48:29):
Jeez, okay.
Thank you.
Thank you.
Don't feel pressured, but I canguarantee a better life's
waiting for you.
Well, and he looks around.
I didn't say much.
But, again, I appreciate it.
Come find me, and hopefully I'llsee you soon.
(48:51):
And he goes to shake his hand.
He reaches out, reaches to grabyour hand, and it is a firm
handshake.
Very distinctively, like, that'sa handshake.
Thanks, Agent Clay.
Then Clay goes and returns thetwo horses.
(49:15):
Unless he's doing somethingright now.
Oh, that's a 100.
Trip zeros.
For his handshake?
No, he was gonna use psychologyor psychoanalyze to figure out
if he was shaking like that onpurpose.
Oh, no, it's just a damn goodhandshake.
That's all he gets.
And Tate will go return thehorses using federal authority
(49:39):
as of why he had to take themand tip the stable owner a
little bit.
The stable owner's in thestable.
He's like got both hands on hishead looking around and then he
sees the two horses coming backand he's like, oh, and you give
him a tip, explain it to him.
(49:59):
Meanwhile, Birdie is at thetrain station.
There is another train comingtomorrow morning.
He's sending a telegraph.
What does it say?
He's going to, I need to sendit, send a telegraph to the
Saginaw Sheriff's Department.
Okay.
So he walks into the trainstation and most of these train
stations would have also like alittle post office and the
(50:23):
telegraph, usually one or twopeople working on him.
Here, it's just one guy.
He nods his head.
What's it need to say?
Let's see.
To Sheriff's Department.
Stop.
(50:44):
Sheriff Arthur Garvey killed inline of duty.
Stop.
Culprit also dead.
Also deceased.
Stop.
Remains are at local church herein White Round.
(51:06):
Stop.
U.S.
Marshal Hubert Johnson.
Stop.
Full stop.
As the guy is, he's like writingthis, you know, pencil on a
paper.
He kind of stops and looks up atyou.
But then like keeps writingwithout looking.
(51:30):
Is Sheriff Garvey's actuallydead?
Yes, sir.
Oh, my God.
Okay.
Sure, sure, sure.
He goes and sits down, puts onthe headphones and dee, dee,
(51:51):
dee, dee, dee, dee, dee, dee,dee, dee, dee, dee.
And I'll actually like generatethat sound effect and put it in.
Anything else, sir?
I think anything else would justbe, you know, like flowers on
shit, right?
Well, yeah.
(52:11):
Yeah, that could be.
Did you need a letter, tickets,anything?
Yeah.
When's the next train toHarrisburg?
Tomorrow morning, first thing.
Damn it, another day here.
Is there any trains coming bythat we could...
Switch up.
(52:33):
He flips through some books.
No, none going that direction.
There's more going west, but no,not until tomorrow are there any
going east.
All right.
Let's see.
Bertie would know this.
I don't.
Does he buy tickets from thisguy?
Sure.
(52:53):
All right.
I'm going to need two tickets toHarrisburg tomorrow.
All right.
Yep.
Okay.
He, you know, rips them, takesyour change, gives you back a
couple pennies.
All right, well, see youtomorrow at 5.30 sharp.
5.30 sharp it is.
(53:15):
And you would know at thisperiod of time, like, trains are
never sharp.
Yeah, yeah.
They haven't gained that yet.
Not yet.
Okay.
Well, shit.
Bertie's going to walk back totown.
UNKNOWN (53:31):
Okay.
SPEAKER_00 (53:33):
Where does Clay wait for Birdie?
Or does he, what does he do oncehe's done with the horses?
He would head towards the trainstation.
Okay.
You meet back up.
Following the path he thinksBirdie would follow.
You meet back up with Birdie.
He's already walking back towardyou.
Maybe wave at each other.
(53:53):
Birdie does not wave at Tate.
He wouldn't acknowledge it.
Like, yeah.
Mm-hmm.
It's ain't a waving morning.
Hey, Tate.
No train till tomorrow morning,so we got another night in this
town.
Well, that's the best we can do.
Get us a sleeper car at least.
(54:16):
Nope.
Let's see if we can't changethat tomorrow.
Well, they're talking 530 in themorning.
So, yeah, we're definitely goingto want a sleeper car.
Yeah.
We can kind of fast forwardthrough this.
UNKNOWN (54:30):
Mm-hmm.
SPEAKER_00 (54:31):
Stop me if you hate it, but you guys go back to the
sheriff's department, sheriff'soffice, sleep there another
night, wake up bright and early,maybe lock those books back up,
unlock them in the morning, andyou get back to the train
station.
About ten minutes later...
(54:51):
Was Tate able to upgrade thetickets?
Sure.
Roll a luck check.
Because he's insisting.
Like, roll for it, punk.
Fail, 74 over 29.
Yeah, sorry.
It's all booked up.
(55:14):
Well.
Yes.
Tate was trying to do stuff onthe train ride back.
Oh.
What does he want to do on thetrain ride back?
Well, nothing now that hedoesn't have a private car.
UNKNOWN (55:24):
Okay.
SPEAKER_00 (55:24):
You were going to try to do a seance or something?
No, he just wants to readthrough the journal.
I mean, you guys are incommercial, but you got a window
seat and a middle seat and thenthe aisle.
So it's not like there's peoplesitting directly next to you or
(55:45):
in front of you.
We're feds, right?
Yes.
Absolutely.
UNKNOWN (55:50):
Absolutely.
SPEAKER_00 (55:51):
An abuse of power was big in this time frame.
Or you could just read the bookwhere you're sitting.
Okay.
Tate's not going to read thebook.
Well, you have three books.
Yeah, he doesn't want to openthem surrounded by people.
Okay.
Yeah, probably best to keep themshut.
(56:11):
Let Arthur and...
I don't even think this is aJ.S.
territory.
I think we find somewhereprivate when we get back first.
You know, they don't like totell us little folks much.
Remember those pictures thatthey claimed there was nothing
on them from the lastinvestigation?
Yep.
We all know that's horse shit.
(56:32):
They can play their games allthey want.
I think we get a hotel for onenight, just spend a few hours in
it, go over at least one ofthese.
So you want to go rogue, huh?
Not rogue.
I mean, we're not keeping themfrom them.
We're just investigating themfirst.
I don't know.
That way we know what we bringback.
(56:54):
Okay.
You don't want to do that onthis train here.
Not with all these people aroundus.
I don't understand this birdie.
I don't know if it couldinfluence other people.
That's my exact argument for whywe should turn it in.
Well, it's going to be turnedin.
Oh, I'm sorry.
Let me rephrase that.
That's my exact argument for whyI think we should immediately
(57:16):
turn them in.
Yeah, I don't see the point inrisking releasing whatever we
got maybe trapped in that therebook.
I don't think trapped is theright word.
I just think it's not accessedright now.
SPEAKER_01 (57:31):
And the further we get away from, what, Philip?
The further we get away fromPhilip's side, I think the
weaker its power is going toget.
I
SPEAKER_00 (57:40):
mean, remember the story, right?
Man in white shows up, givesa...
bereaved kid a book and then allmanner of hell is let loose
SPEAKER_01 (57:50):
and who they channeled it through but philip
himself
SPEAKER_00 (57:53):
is that so
SPEAKER_01 (57:54):
that's who i saw a
SPEAKER_00 (57:57):
few
SPEAKER_01 (57:57):
times
SPEAKER_00 (57:58):
yeah well when i was up there in the mill there was a
scared sad presence weak andthen there was a Like a gleeful,
evil presence that wasdefinitely a bit stronger.
SPEAKER_01 (58:14):
I
SPEAKER_00 (58:14):
felt that too.
SPEAKER_01 (58:16):
Not to be trash or anything, but I'm going to do
this, Bertie.
SPEAKER_00 (58:21):
I prefer you were there.
You know, it's just so muchbetter when there's more people
around to keep an eye on thanjust you and myself.
Because when Andrew put his handup and got right into my brain,
well, I wasn't good for much.
Yeah, he did the same to me.
(58:42):
And that's my point.
You and I have both failed tostand up and resist this thing
proper, right?
No, I resisted it pretty good.
I could still see.
Well, I can't.
If you want to dig into it, I'mnot going to let you do it
alone, but...
SPEAKER_01 (59:01):
I'd prefer it.
UNKNOWN (59:05):
Hmm.
SPEAKER_00 (59:06):
Well, we got a bit of a ride.
Let me chew on it for a bit.
SPEAKER_01 (59:09):
Think on it.
Let me know.
SPEAKER_00 (59:10):
I want to understand this more than the commission's
going to tell us.
I'm
SPEAKER_01 (59:21):
chewing.
I'm chewing.
SPEAKER_02 (59:51):
What's up, Gamer Nation?
Nope,
SPEAKER_00 (59:55):
that's not the intro we're going to do.
We're going to do this outrolike normal.
Despite the fact that we all gota little bit of a gamer in us,
right?
I mean, that's what we're herefor right now is we're listening
to some grown men play a gameand sometimes have fun and
sometimes cry a little bit.
I mean, you know, I'll be honestwith everybody, playing Andrew's
(01:00:18):
parents in that moment That waschallenging emotionally for me.
Um, cause you know, it's, it's,I mean, just putting yourself in
the shoes of a, of a, you know,grieving parent that just found
out their son is dead.
And not only that, it wasviolent going out, you know,
and, and I think one couldprobably assume that Andrew's
(01:00:41):
parents probably were havingissues with Andrew for some
period of time.
Uh, anyway.
All that out of the way.
Thank you for listening toSuffer Not.
Thank you to Sadesky and Dubois.
And thank you to our great,beautiful patrons, Steak and
(01:01:02):
Totoro's Bang Bus.
as well as all of you, all ofyou, the people, the listeners,
the people that make the worldgo round for Tay Clay and Bertie
Johnson.
I mean, another episode ofMistakes Made is going up on the
Patreon, as well as anotherepisode of...
(01:01:22):
Old Parasol Offline.
So head over to the Patreon.
Check those out.
Also head over to the Discordand chat up with some folks.
And also check out the merch.
Check out the shirts and thehats and the coffee mugs.
Like, subscribe, rate as manystars as you want.
(01:01:45):
Share with your friends.
Let your friends and yourco-workers know.
There's this show that's prettygood, pretty emotional.
What's going on?
Oh, it's a mystery.
And then, you know, chat it upwith people who don't, you know,
they don't know either.
But, I mean, you know, the storyis just beginning.
I want to assure everybody thatthe plan for this show is a
long-term plan.
(01:02:06):
uh, character driven story with,with a world that is developing,
um, you know, in part throughthe actions of the characters
and the, the dice that they rolland, And also, you know, perhaps
at some point the audience mighthave a little input on the
story, too.
I think that's fun.
I like stuff like that.
(01:02:27):
But anyway, I'm going to let youguys go.
I am grieving the loss of theBattlefield 6 beta.
I don't know if any of you guysplay those types of games.
I used to a lot back in the day.
SPEAKER_02 (01:02:41):
Back in my day, I used to play Battlefield 3, and
I was good at it.
before my knees cracked.
SPEAKER_00 (01:02:51):
But anyway, no, Battlefield 6, I was having a
blast with.
And it's just the beta.
I couldn't believe that.
So I now am...
Desperately looking forsomething to fill that void.
I got a scratch.
SPEAKER_02 (01:03:03):
I got a scratch.
SPEAKER_00 (01:03:03):
Anyway, so all that done, all that out of the way,
big thank yous.
Check out the links below andmore content coming up.
Oh, there's also an interviewthat I did with Chris from Chaos
Engine.
That'll also be coming out thisweek.
That'll just be going here onthe main feed.
So keep an eye out for that.
(01:03:24):
That should be coming out eitherWednesday or, yeah, I'm shooting
for Wednesday.
So anyway, all right.
We'll be in touch, you and I.
Thank you.
SPEAKER_00 (00:40):
What gang doth we remember from the last episode?
The crew's been reunited.
The crew is reunited.
Yep.
Tate brought Cameron down to thelittle sawmill guided by one of
the, shoot, what's their namesagain?
(01:00):
The Geraldines.
The Geraldines, yes.
That shyster tried to get a buckoff you, even though he already
got a buck off a birdie, whichis appropriate.
They're of that ilk.
We did that.
Clay gathered up the body ofSheriff Garvey, got him on a
(01:22):
horse, and then he burned downthe mill after retrieving a few
books.
As far as Bertie knows, that'swhat he grabbed.
And now we are on our way, Ibelieve, back to town.
Clay, describe...
What you found inside the mill.
(01:42):
What are you talking about whatI found?
I found the books.
I found a broken railing thatBertie probably fell over if I
had to take a guess.
I found...
Did you make him roll like adexterity when he was walking
out of the building?
It was a stealth and I had acritical fail.
UNKNOWN (02:03):
Yeah.
SPEAKER_00 (02:04):
okay that'll happen so he slipped and shoved the
nice damn it i found the scenethe bloody scene of sheriff
garvey and andrew having dueledit out along with two more of
those little fire pits and thesymbols that were on the bridge
(02:28):
describe the feeling inside thethe mill well one there were two
You had, in one corner, a smalllittle feeling of sadness and
dread.
In the other, a much largerfeeling of...
What would you say?
Hunger?
(02:49):
Malevolence.
Malevolence.
Malicious.
Hatred.
Something like that.
And now those are with me.
You got a distinct, like, mentalimage of...
Teeth with meat in them.
Yeah.
(03:09):
Dirty.
Fibers.
Muscle fibers and whatnot.
And, uh...
Yeah, you guys are headed backto town, right?
I do believe that's ourdestination.
I can't remember why, except forthe fact that that's where
everything is.
(03:31):
Yeah, where else would you go?
The Geraldines?
I mean, yeah, good point.
At 2, 3 a.m.?
UNKNOWN (00:00):
?
SPEAKER_00 (03:36):
We could.
SPEAKER_02 (03:37):
All right.
SPEAKER_00 (03:40):
Let's get a move on.
The mill behind you grows alittle brighter and a little
brighter until eventually thesurrounding area is now
illuminated.
And as your horses are...
(04:03):
plopping through the tree stumpsand foliage and debris.
Maybe you turn around and lookat the mill for a bit.
Cameron certainly is watchingit.
And it's a beautiful sight, thistwo-story building right next to
the river.
(04:23):
The river is glowing, reflectingthe light that's cast all around
it.
And in the darkness, it's verybright.
SPEAKER_01 (04:35):
birdie
SPEAKER_00 (04:36):
yep when's the last time you talked to will scott
will scott huh well if i had tosay man i can't remember if that
was at the end or if it was if iseen him at his house do you
(04:57):
think he actually couldn'tremember because i can tell you
tell me plug your ears You andGarvey were walking to the Will
Scott's house.
That's right.
And Will Scott was, you know,and Garvey like bitched him out.
Get the fuck back where I toldyou to go.
Yeah.
All right.
Rest in peace.
(05:18):
Yep.
Last time I saw him, he came upon the sheriff and I while we
were heading over to the WillScott's house.
And Garvey basically cussed himout a bit, told him to get back
to the inn.
Why you ask?
I saw him a little bit later inthe night.
Yeah.
And I don't know if it's stillgoing on with all this hopefully
(05:42):
over now, but he's to the pointwhere he's losing his mind, the
same way Smithson was.
All right, well, nothing to doabout it now.
I guess we'll just have to keepan eye out once we get into
town.
Just a forewarning, so he mightnot even remember us by the time
we're back.
(06:03):
Well...
We'll cross that bridge when weget to it.
Or he might come after us with agun.
We'll cross that bridge if weget to it also.
Nope.
Head on a swivel now.
I ain't seeing all too wellright now, so you're going to
have to be the eyes.
So call that what you see, allright?
(06:23):
I can still shoot at blurs.
Some time passes.
It's a much...
quicker journey on horsebackthan on foot, especially with
Cameron kind of guiding you thisway or that way.
(06:45):
He knows the area a lot betterclearly than Garvey did, which
makes sense.
Cameron's from here.
Eventually you get back to town.
You cross this vast width of ofdeforestation, get back to this
(07:12):
thinner kind of tree line thatsurrounds the town, and then
you're back to town.
Well, might as well get up tothe end.
SPEAKER_01 (07:27):
You want to
SPEAKER_00 (07:27):
go that path?
I can't think of a better placeto go right now.
I'm tired.
We
SPEAKER_01 (07:33):
could...
Swing through the littlesheriff's office.
He's got a cot there.
SPEAKER_00 (07:39):
Just the one, though, right?
Yeah, but I don't know how Ifeel bringing Garvey here around
the inn.
That's a good point.
All right.
Sheriff's office it is.
Tate will, as they're riding,kind of pat down Garvey.
Mostly looking for keys, butwhatever else he may have on
(08:01):
him.
You find a billfold.
Scott.
$14 in cash.
That's what you find.
As well as, you know, an ID.
He's got his badge.
He's got a dozen bullets loosein a pocket.
He's got a key ring.
It's got a good amount of keyson it.
He's got a notebook with a pen.
(08:23):
Little just flip.
And also a...
Yeah, that's what you find.
Got the keys that'll get us in.
Well, lead the way.
SPEAKER_01 (08:39):
And we start riding towards there.
SPEAKER_00 (08:43):
Cameron?
Yeah?
What do they do with thedeceased around here?
Well, they used to take themjust down the street.
There was a...
But since the...
You know, there's a lot lesspeople that need to go there.
Well, we've just been takingthem to the church.
(09:03):
Or the family just, you know,buries them.
There's a plot.
I think we'll leave this one upto your old man in the morning.
Well, Garvey ain't from here.
Garvey's from, where'd he say, atown over, right?
He's probably from Saginaw.
Yeah.
You want to ride him all the wayto Saginaw?
Well, no, but there's a train.
I mean, you know.
(09:26):
You want to put a dead guy on atrain?
Well, my father will know whatto do.
We can just talk to him in themorning.
That'll work.
So you get to the sheriff'soffice, hitch your horse,
horses, pull out your key ring.
Garvey's key ring.
Try this one.
Try that one.
And that one's too small, toobig.
(09:48):
Ah, here we go.
SPEAKER_01 (09:50):
Kunk.
SPEAKER_00 (09:53):
Cameron.
Yeah.
It's best to go sneak back inthe church.
Unless your dad finds out what'sgoing on tonight.
Well, we might want to keep himhere just because of the
uncertainty.
Well, I mean, do I need to?
(10:15):
Not necessarily.
I think it might be a betteridea to keep you here with us.
I'd feel a little bit morecomfortable with that.
Yeah, if that's okay.
All right, well, I'm callingdibs on that cot.
I'll take the chair.
(10:36):
Cameron, you're a young buck.
You're on the floor.
There is a cell.
There's two cells.
There are beds in the cells.
Or, like, also cots.
Oh.
I remember you had jokinglysaid, yeah, Bertie, that's where
you're going to sleep.
Bertie's going to that one.
(10:58):
Looks like you're right everynow and then.
Clay.
Oh, there's a reason to keep mearound.
That's right.
Don't, uh, run into the cage onyour way in.
All right.
Well, yeah, I got to call it,man.
I'm, I'm beat.
Okay.
If anything comes up, just shootor holler.
Yeah.
You, the three of you are eggzosted.
(11:20):
Him more so.
This has all been one day, mindyou, this whole chapter, this
whole, whatever, however manyepisodes this ends up being, you
know, eight, 10, I don't know.
This has been one day.
Um, Tate at least got a coupleof hours.
Birdie's in one of the cells.
Yep.
And then Cameron's in the otherone right next to it.
(11:41):
Clay is in the cot and there'sjust like a, you know, little
nook, little walled off nook forsleeping area for a sheriff.
Clay is going to A, make surethe door is locked.
It is.
And B, he's probably still goingto take the chair.
He'll kind of lean back in thechair and kick his feet up on
the desk.
(12:02):
And that's where he goes tosleep.
Is there a safe or a lockbox oranything like that in here?
Yes.
There's two, actually.
Key or combo?
One of them is a combo.
The other is a key.
SPEAKER_01 (12:23):
Okay.
SPEAKER_00 (12:24):
The one that's a key is kind of a, it's a larger,
more like a locker type ofthing.
And that's in the like littlenook, the little sleeping nook
for the sheriff.
And then the one with the combois underneath the desk.
Okay.
Can you peek around for anythingthat might have the combo on it?
Roll for it.
(12:49):
65 over 64 spot hidden.
And I'm not going to use a luckpoint.
The one with the combo, youknow, you open a drawer, dig
through some of it, open anotherdrawer, and you're trying to be
quiet not to wake up the othertwo.
How hard are you trying not towake the other two up?
(13:12):
I mean, with how tired everyoneis, I don't want to wake them
up, but they're also...
Knock the fuck out, but I'm notlike creaking shit open all the
time.
Do you want to roll a stealthcheck?
No, it doesn't matter if theywake up or not.
(13:33):
Okay.
Yeah, he doesn't find anything.
Okay.
Just notes, papers, reports.
Is the locker type thing locked?
Yeah.
Is one of the keys he has forit?
He sits there and tries, andyes, it does open.
He will open it, put the satchelwith the books in it, close it,
(13:58):
and lock it, and then he walksover to Bertie.
SPEAKER_01 (14:04):
Hey, Bertie, wake up real
SPEAKER_00 (14:06):
quick.
I need you to hold on to thisovernight.
And he hands a key out to you.
All right.
Put it in a pocket or something,all right?
Birdie's going to stuff the keyin his pocket if there's
anything else.
(14:27):
No, I think it's definitely timeto sleep.
All right, well, night.
Tate will walk over and sit onthe chair and throw his legs up,
cross his arms.
I think he's a little sketch, sohe's got, like, he's crossed,
put his legs up, he's got, like,his pistol laying in his lap.
(14:50):
And he nods off
SPEAKER_01 (14:52):
pretty quickly.
SPEAKER_00 (14:53):
After being woken up, Birdie, you know, maybe
watches him walk over there, butpasses out pretty quick, too.
Oh, yeah.
Cameron's, you know, over on hiscot, kind of, you know, shaking
a little bit here and there,like twitching in his sleep.
(15:14):
And Sadesky, he who plays TateClay...
May I ask you to evacuate fromthe studio?
You can ask me to.
It doesn't mean I will.
Birdie closes his eyes veryquickly.
(15:38):
Everything fades into a relaxingdarkness.
There are images that flash inhis head he's kind of having one
of those nights where he's tiredand he's trying to sleep but
he's tossing and turning andit's almost like there's a
(16:01):
repetitiveness to his thoughtsit's keeping him up but
eventually he does rather hesees Garvey and Andrew in the
room he sees Something that musthave been behind him feels that
(16:27):
thing that was in him, trying toget in him, hurting him.
And eventually he rightly fallsasleep.
(16:49):
Darkness gives way to a womankneeling before a pit in the
ground.
Her hands are clasped together,her head bowed.
What you're looking at is apainting.
(17:09):
Now the artist stands in front,brush in hand.
You see it's not a brush at all.
It's a feather.
black.
The painter vanishes and thefeather floats, the tip pointing
down.
Slowly it floats toward theground.
(17:34):
The tip penetrates the earth,pushing deep into the soil.
Behind you a figure in whitestares at you, faceless,
emotionless.
It's Flesh shimmers darkness.
You hear a crow shouting.
(17:56):
You turn quickly and look.
In a wide open field of deadgrass, you see a birch tree.
Tall.
Barren of leaves.
The bark peeling delicately.
Atop it sits a bird in black.
The birch tree ignites.
(18:18):
And fire spreads from the base,crawling itself up toward the
top.
The bird sits and then unfurlsits wings, spreading them wide
and wider and wider.
The wings encompass the wholesky and the world is plunged
into darkness.
(18:38):
The fire of the birch tree fadesand ash is all that's left.
You turn looking at the figurein glowing white behind you.
Though it has no face, you knowthat it smiles.
Gleefully, it reaches out itsarms, and what you think must be
hands rip the air in front ofyou.
(19:04):
And suddenly, you open youreyes.
Sunlight penetrates through thebarred windows of the sheriff's
office.
We're just going to take in theroom.
Make sure Cameron and Clay arestill present.
(19:29):
You can see Cameron clearly.
He's sleeping soundly, his armkind of dangling from the bed a
little bit.
From where you were sleeping,you see his feet, his boots just
below them.
UNKNOWN (19:49):
Okay.
SPEAKER_00 (19:50):
where he's going to rub his eyes and take in the
room.
See, he wants to check hisvision because it definitely
wasn't good last night.
How would he feel if his visionwas about the same as when he
went to bed?
He wouldn't feel as good aboutit, that's for sure.
(20:14):
Well, that's what he sees.
The room is still blurry, right?
You know, he can see the barsand it's not like he's blind,
right?
But his vision clearly wentdown, you know, a couple grades,
however that's measured.
(20:34):
You know, he can still seethere's dust in the room and the
beams of light coming throughthe window are clearly
illuminating that dust andslowly floating around the room.
Bertie is going to sit up, puthis boots on.
And he's going to stretch hisway out of bed.
(21:02):
Cameron looks over at you, youknow, his big bags under his
eyes.
Yeah, morning, sunshine.
Yeah, good morning.
And he closes his eyes and, youknow, rubs his temple.
You and me both.
You and me both.
Tate Clay wakes up.
(21:26):
He feels rested, still tired.
Kind of that groggy, you know, Ididn't quite sleep enough, but I
slept feeling.
That's almost worse than juststaying up.
You know what I mean?
He can see the morning lightpenetrating through the windows
(21:46):
and, you know, the door.
Like the...
bottom of the door.
Some dust floating around, andhe can hear movement from the
divider on the other side ofhim.
He hears, Good morning,sunshine.
(22:09):
Clay, you up?
Is that you, Birdie?
Yep.
I'm up now.
Well, that means you don't havea cup of coffee for me yet.
So we should probably fix thatstat.
Yeah, there's a...
There's a Keurig right overhere.
Yeah.
(22:29):
Oh, yeah.
I think I saw someone elsedigging around last night.
Not sure how fresh it is,though.
Hmm.
I don't know what you're talkingabout, but either way...
All right.
Well, I'm up.
Eyes are still fuzzy.
(22:49):
Man, Bertie's going to lookaround and see if there's just a
water basin or a sink orsomething in this office.
Yeah, it looks like, so thethree of you are up and kind of
looking around.
Looks like Garvey, you know, hadonly been here for not very
long.
It's hard to tell exactly howlong, but he started to kind of
(23:13):
make it a little bit livableagain.
There's water in the waterbasin, a little mirror.
That type of stuff.
Very general grooming stuff.
You do find some coffee in atin, and the tin has kind of,
you know, has a little lid puton top of it that's buckled
(23:34):
down.
But when you go to smell it, youunbuckle it, and it smells
pretty old.
But you should get the job done.
I don't know.
I think maybe we head over tothe inn.
That way we can check and seewhat's been going on in our
absence and get a cup.
(23:57):
That's what I'm feeling.
How about you?
SPEAKER_01 (24:00):
I don't disagree with that.
SPEAKER_00 (24:03):
All right.
Cameron, you want to come onwith?
Huh?
Yeah, yeah, let's go.
Yeah, we're going to the inn.
What's the plan?
The plan is we're going to walkto the inn and get a cup of
coffee and see what's going on.
Oh.
Then you're going to join us.
(24:23):
And he's looking at Clay, youknow, as Bertie's talking, he's
kind of looking at him, but thenmost of his eye contact is on
Clay.
Got that key, Bertie?
I sure do.
And Tate will hold his hand out.
Bertie will give the key toClay.
Tate will use it to unlock thelocker and grab the satchel out.
(24:49):
When he grabs the satchel,there's kind of a weight that's
pushed down like on hisshoulders and his chest.
What do you guys do?
I recommend we get this to thecommission as soon as we can,
Bertie.
Well, ends on the way to thetrain station.
(25:14):
That it is.
Besides, we can't just leave.
We got to Still got Garvey.
Yeah.
We'll leave Garvey here for now.
Andrew also, you know, the sonof the innkeeper is dead.
All right.
No use fussing around.
Let's get on over there.
We got to send a telegram too.
SPEAKER_01 (25:37):
I agree.
SPEAKER_00 (25:38):
All right.
Bertie's going to walk out ofthe station and make his way
down the road to the inn.
He unlocks the door.
SPEAKER_02 (25:48):
steps
SPEAKER_00 (25:50):
outside and it the sunlight feels great the warmth
the just the feeling of it feelsbrighter than normal but not in
a bad way Clay gets the sameexact feeling Clay will check
(26:13):
the bag and make sure the booksare still there All three books
are still there.
The blood on the one is driedquite a bit.
It's maybe about 8.30 a.m., giveor take.
(26:35):
There's people walking around,horses.
The two horses that you guysrode back into town are hitched
up.
Clay, you remember...
You might want to return those,pay for them before the
shopkeeper gets in.
And then you continue walking tothe Will Scotts.
(26:59):
The door is unlocked.
You walk in and the floorcreaks.
You see that man in the cap withthe mustache sitting at the bar.
When you guys walk in, he turnsaround and nods at you.
Will Scott.
(27:19):
We're just going to walk up tothe bar.
The fella in the hat is, youknow, jotting down some notes in
a notebook.
He's not in.
I'm not sure where he is.
Is that so?
Yeah.
Haven't seen him all morning.
And he's not looking at you.
He's just writing as he'stalking to the bar top, you
(27:40):
know.
All right.
And how long have you been hereroughly?
Hour.
Hour?
So it's just about finished uphere.
Does he have a plate or a cup infront of him or anything?
No.
What's that you're finishing up?
Just notes, numbers, boringstuff.
(28:06):
Tate's going to go behind thebar or into the back and start
heating up water for coffee.
Okay.
Go into the kitchen, find allthe things you need, get it
boiling.
pour it, put it in the cups.
How many cups do you make?
He'll make three.
(28:29):
And he walks out and we'll sethim on the bar top.
Cameron kind of points towardone and then points toward
himself with like a questioninglook on his face.
Like, is that for me?
Pot's in the back, Cameron.
Oh, oh, oh.
He walks back, comes out with acup.
(28:49):
All right.
Bertie's going to get a cup ofcoffee and take a healthy swig.
All right.
Okay, so Will Scott's not here,according to this gentleman.
You look around at all, or youjust come sit down and just
haven't seen him?
I sat down, called a coupletimes.
(29:12):
Yeah, I don't know.
Probably just not in.
It's fine.
Well, I might still be at home.
Dang it.
I'm heading that way anyway.
You want me to give him amessage?
No.
Nope, we'll get on over thereourselves.
(29:32):
I'm sorry, I don't know if Iever caught your name.
Yeah, that's fine.
He closes the notebook, puts itin his bag, walks out the front
door.
All right.
Bertie's going to look at Tate.
Kind of an odd fellow overthere, huh?
He's lucky I didn't accidentallyspill his cup of coffee.
(29:56):
Cameron looks at the cup thatdidn't even get touched and kind
of makes that look and kind ofshakes his head like, huh?
You're still a little green.
He takes a sip and then looksover his body.
(30:18):
No?
Turn of phrase, kid.
Oh.
All right, Tate.
Yeah, sure.
Well, we definitely got to touchbase with Will Scott.
If there's still a Will Scott totouch base with.
Well, I mean, last I saw, he wasfine.
Last I saw, he was on thedecline.
Doing what, man?
(30:38):
You're being vague.
Just with his memory andwhatnot.
All right, so you had a fadedmemory.
But he was still breathing, hadall his fingers and toes.
SPEAKER_01 (30:51):
Yeah.
All
SPEAKER_00 (30:51):
right, well, let's go find him.
Telegraph was at the trainstation, right?
Yep.
His wife did have some prettygnarly bruises on her head,
though.
Yeah, that was courtesy ofAndrew.
We know for sure?
Well, no, we suspect.
(31:13):
Whatever Andrew was doing was...
making some other people gocrazy.
The reason Smithson came in and,you know, shot at us.
And Smithson would just let himgo in the store and take
whatever he wanted, no questionsasked.
So I think this hoodoo shitgoing on is a little bit deeper
(31:36):
than just a person here orthere, you know, stabbing
themselves in the neck with apen.
All right.
I mean, how the hell did hedisappear in a flash of fire and
reappear somewhere else?
I'm sorry, what was that?
The kids kept saying it seemedlike he was disappearing and
(31:58):
reappearing in places.
I think this is the first I'veheard of that.
And it kind of checks out withthose footprints.
I think the ones you followed toget to the mill.
Okay, I definitely rememberthem.
All burnt up.
Yep.
And no footprints leading pastthem.
It wasn't like a fire.
It was like the grass was dead.
(32:19):
You know, like when you put likea tarp over grass and it just
like dies in that square.
You know what I mean?
That's what the footprints looklike.
Like the grass wasn't burnt.
It just was dead.
Yeah, all the life sucked out ofit in just that spot.
And no footprints leading fromit.
Yeah, it's strange.
I think this book you had wasmore than just one of these
(32:41):
abilities.
Let's just be prepared for theworst.
Always.
Always.
All right.
I got to return these horses,too.
Okay.
Let's maybe not do that quiteyet because there's still a...
I suppose.
There's still the sheriff toconsider.
I
SPEAKER_01 (32:59):
suppose.
SPEAKER_00 (33:02):
Bertie's going to finish off his mug.
All right.
Let's go to the Will Scotts.
After you.
Okay.
Let's go, Cameron.
Oh, yeah.
Okay.
He slams the rest of his coffeeand then kind of and puts it
down.
So you guys are heading to theWill Scott's house.
(33:22):
Correct.
Okay.
You guys leave the Will Scott'sand heading toward the
residential area.
You see the fellow you were justtalking to with his briefcase
walking also toward theresidential area.
He's ahead of you.
You walk past the littlesheriff's office where the two
horses are hitched up and theguy is a little bit faster and
(33:47):
he turns.
You realize he's also going tothe Will Scott's house and he
knocks on the door.
He pulls out a pocket watch andchecks it as you guys are
approaching.
What do you guys do?
That might be the answer to myquestion.
(34:11):
Well, whatever that is.
What's your question?
Whether Will Scott's still withus or not.
Well, you see a finger kind ofpeel one of the curtains to the
side a little bit.
And then release it.
Tate's making his way to theback of the house.
Okay.
(34:32):
Bertie's walking up to thefront.
You hear knocking on the frontdoor again.
K-k-k-k-k-k-k-k.
There's a door in the back,right?
Yeah.
Cameron.
Yeah.
Do that thing you did lastnight.
And Birdie's with them?
(34:53):
Birdie is going to the frontdoor.
The front door, okay.
Yeah, yeah, okay.
And he reaches into his pocketand he pulls out a unfolded,
it's already bent, like bobbypin.
He sticks it in and he kind ofshimmies it a little bit.
And he pulls out a littlefolding pocket knife.
(35:15):
Sticks it in to kind of twistit.
And then the bobby pin breaks.
Up front...
Mark that down.
What is Bertie doing?
Saying?
Bertie's walking up to thegentleman.
Hey, Mr.
Man with No Name.
Hmm?
Oh.
And he, like, looks you up anddown.
(35:35):
You know, like, eyes, boots...
Eyes.
You know what I mean?
Kind of deliberate.
Yep.
I'm here to see Mr.
Will Scott also.
What, for a film?
What?
No, that was just my partnerbeing a clown.
(35:57):
Nope.
I'm a U.S.
Marshal.
And I'm here to speak with WillScott.
He raises an eyebrow and kind oflooks down at you.
Marshal?
Yes.
UNKNOWN (36:09):
Okay.
SPEAKER_00 (36:10):
He got a, you know, credentials.
Anything like that?
Birdie will flash the badge andgun.
Yeah, it's right there.
And with his eyebrows stillraised, he goes from looking
kind of at a downward angle toan upward angle.
Okay.
All right.
Well, I'm knocking and they'renot coming, so...
(36:33):
Uh...
He reaches over and clips,unclips his...
reaches in, pulls out a letter,slides it under their door.
You have a good day.
Yeah, you too.
Stay out of trouble.
He walks away, clipping his bagback together.
You see him go up to anotherhouse and knock on it the same
(36:55):
way.
Bertie is gonna go up and moreloudly, doom, doom, doom, doom.
Well, Scott, it's MarshallJohnson.
If you're in there, come on out.
We got a chat.
Meanwhile, on the back of thehouse...
(37:16):
Let me do that just one moretime.
Hold on.
He pulls out another bobby pinand bends it.
We'll try the door handle quickin case it did anything.
Before you even have a chance toreach for the door handle, he's
pulled it out of his pocket,bent it, stuck it in, shimmied
it like two or three times,then...
(37:37):
unlocked it.
Crit success.
Meanwhile, up front.
SPEAKER_01 (37:44):
Damn, I don't get nothing?
SPEAKER_00 (37:53):
The doors only open a little bit.
Is that...
Is that...
Is that...
Is that guy out there still?
Nah, I moved on to theneighbors.
Who is that guy?
He's with the bank.
(38:15):
Say no more.
Yep.
And then you see his head kindof look down, and then he bends,
picks up the envelope.
Oh.
They're coming for their poundof flesh, aren't they?
Yeah.
You see him kind of like...
(38:35):
just have a blank gaze at it andhe swallows and gets one of
those grins like, yep.
All right.
What, uh, did you find Andrewlast night?
I think we should, uh, we shouldhave a seat.
We should have a seat and have achat.
(38:58):
Okay.
A lot has happened.
The, uh, the marshal's back.
Okay, yeah, I'll be right there.
He opens the door and lets youin.
He kind of peeks out and looks.
He looks left and then he looksright.
And then he looks for like alittle bit.
And he's like, oh shit.
(39:19):
Closes the door and locks it.
The guy.
See and make his way back.
Whatever.
And then to the back door.
All Tate's doing in the back isjust like...
Cracking the door open a quarterof an inch and sticking his ear
(39:40):
up to it to listen.
He can hear Birdie and WillScott chatting.
That's as far as Tate's going.
Back upstairs.
Well, what is Tate going to dowhen he hears that?
When he hears what?
Birdie and Will Scott talking.
Just listen.
(40:01):
Okay, back upstairs.
So, did you find him?
Yep.
Yep, I found him.
You did?
His eyes kind of lighten up andyou hear down the stairs is
coming a woman, the same one.
And she sees you and you see herface kind of...
(40:22):
Did he find him?
Did you find our...
Did you find Andrew?
We should really take a seathere.
Can we maybe get a pot of coffeegoing or something?
Uh...
You see her demeanor instantlychange.
(40:44):
Her eyes redden.
She grabs her husband's hand andlooks down at him.
What did you find?
Brady's going to take his hatoff, kind of rub his forehead.
(41:05):
There ain't no easy way to saythis.
So I'm just going to say it.
Last night, your boy, down atthe old sawmill, shot and killed
Sheriff Garvey.
And Sheriff Garvey shot back andkilled him.
SPEAKER_02 (41:30):
Oh my God.
SPEAKER_00 (41:33):
Dwayne's just going to stand there.
And...
She collapses and grabs herhusband and she's weeping.
He...
His eyes redden.
Okay.
(42:00):
Where is...
Where is he?
Uh...
So during the altercation, themill caught fire.
We were able to get the sheriffout, but your boy was too deep.
(42:26):
You see his lip quiver.
His wife is audibly weeping.
And he looks up.
Okay.
All right.
Well, what now?
You said he was at the mill?
(42:48):
Yep.
Yep.
It just caught up too quick.
There's no way to get him out.
SPEAKER_02 (42:57):
Okay.
SPEAKER_00 (43:02):
As for what now...
Well...
Usually in these cases, youknow, one of the folks lives.
Seeing as how they're both dead.
I'm very sorry for your loss.
(43:28):
He looks away, kind of slowlynods his head and he's you know,
holding on to his wife andtrying to comfort her.
You know, he's rubbing his handon her back.
SPEAKER_02 (43:50):
Okay.
SPEAKER_00 (43:57):
All right.
All right.
I'm going to have to at leastget a telegraph or something out
to Where was the sheriff fromagain?
Saginaw.
Form his kin.
(44:18):
Yeah, it's the right mess wegot.
Well, again, I don't want to bea bother to you folks, so I'm
going to go ahead and get on outof here.
Sorry again for your loss.
SPEAKER_02 (44:37):
Yeah, okay.
SPEAKER_00 (44:45):
Alright, ma'am.
Bertie's gonna go outside androll a cigarette.
Hearing Bertie leave, Tate willSlowly close the door and wait
(45:11):
for them on the side of thehouse.
So what happened?
With what?
Well, I mean, I don't know.
How did they take it?
That's not a question for me.
How do you think they took it?
(45:37):
I don't know.
He kind of looks at the groundlike almost ashamed of asking
the question.
Sad business we're dealing withhere, kid.
Tate, where you at?
Around the side.
Sit on back.
Time to drop off Garvey?
Yeah, I'm starting to wonderwhat else we can do out here.
(45:58):
Like I said, I think we get thehell out of here.
Hopefully half the town doestoo.
All right, well, you go takecare of them horses.
Meet me at the train station.
SPEAKER_01 (46:10):
You're just going straight there?
I
SPEAKER_00 (46:12):
got everything I need.
SPEAKER_01 (46:14):
All right, I'll drop Garvey off.
SPEAKER_00 (46:17):
Where are you going to drop him off at?
The church.
You know, I don't think weshould do that.
I think we should bring him tothe train station.
Folks are, his people areprobably going to want him.
Yeah, and they can come and gethim from the church.
My father can initiate all ofthat.
And he nods his head like, Allright.
(46:39):
All right.
Yep, no, that's a better plan.
I guess my head ain't onstraight today.
How's your vision?
It's still fuzzy.
Still fuzzy?
Yep.
Don't sign no contracts.
Only you can get a chuckle outof a guy on a morning like
today.
I'll tell you what.
You good handling the churchside?
(47:00):
Yeah, I got it.
All right, I'm going to go sendsome telegraphs.
You do that?
We can kind of fast forwardthrough the, you know, the
horses.
Yep.
You grab one of the horses.
Cameron helps you get Garveyonto the horse.
You get up to the church.
My father might not be in yet.
(47:22):
I can explain all of this to himwhen he does.
Well, don't tell him too much.
No, of course.
Sheriff Garvey and Andrew got inan altercation.
The mill started on fire in theprocess.
We were only able to get Garveyout.
I'll tell him an oil lamp gotshot or something like that.
(47:46):
What's your plans?
You got any money saved up inthere?
A little bit.
Not a...
A little bit.
Here's a few extra bucks to getyou and I assume you're going to
want to bring Peggy.
Oh, uh...
Down to Harrisburg.
(48:07):
Um...
And then he'll pull out, like, ascrap of paper and write his
address.
This is where I'll be.
His home address or the office?
Home.
Okay.
He...
Like, when you go to hand him,you know, the money and then the
note, he's like, oh, uh...
(48:29):
Jeez, okay.
Thank you.
Thank you.
Don't feel pressured, but I canguarantee a better life's
waiting for you.
Well, and he looks around.
I didn't say much.
But, again, I appreciate it.
Come find me, and hopefully I'llsee you soon.
(48:51):
And he goes to shake his hand.
He reaches out, reaches to grabyour hand, and it is a firm
handshake.
Very distinctively, like, that'sa handshake.
Thanks, Agent Clay.
Then Clay goes and returns thetwo horses.
(49:15):
Unless he's doing somethingright now.
Oh, that's a 100.
Trip zeros.
For his handshake?
No, he was gonna use psychologyor psychoanalyze to figure out
if he was shaking like that onpurpose.
Oh, no, it's just a damn goodhandshake.
That's all he gets.
And Tate will go return thehorses using federal authority
(49:39):
as of why he had to take themand tip the stable owner a
little bit.
The stable owner's in thestable.
He's like got both hands on hishead looking around and then he
sees the two horses coming backand he's like, oh, and you give
him a tip, explain it to him.
(49:59):
Meanwhile, Birdie is at thetrain station.
There is another train comingtomorrow morning.
He's sending a telegraph.
What does it say?
He's going to, I need to sendit, send a telegraph to the
Saginaw Sheriff's Department.
Okay.
So he walks into the trainstation and most of these train
stations would have also like alittle post office and the
(50:23):
telegraph, usually one or twopeople working on him.
Here, it's just one guy.
He nods his head.
What's it need to say?
Let's see.
To Sheriff's Department.
Stop.
(50:44):
Sheriff Arthur Garvey killed inline of duty.
Stop.
Culprit also dead.
Also deceased.
Stop.
Remains are at local church herein White Round.
(51:06):
Stop.
U.S.
Marshal Hubert Johnson.
Stop.
Full stop.
As the guy is, he's like writingthis, you know, pencil on a
paper.
He kind of stops and looks up atyou.
But then like keeps writingwithout looking.
(51:30):
Is Sheriff Garvey's actuallydead?
Yes, sir.
Oh, my God.
Okay.
Sure, sure, sure.
He goes and sits down, puts onthe headphones and dee, dee,
(51:51):
dee, dee, dee, dee, dee, dee,dee, dee, dee, dee.
And I'll actually like generatethat sound effect and put it in.
Anything else, sir?
I think anything else would justbe, you know, like flowers on
shit, right?
Well, yeah.
(52:11):
Yeah, that could be.
Did you need a letter, tickets,anything?
Yeah.
When's the next train toHarrisburg?
Tomorrow morning, first thing.
Damn it, another day here.
Is there any trains coming bythat we could...
Switch up.
(52:33):
He flips through some books.
No, none going that direction.
There's more going west, but no,not until tomorrow are there any
going east.
All right.
Let's see.
Bertie would know this.
I don't.
Does he buy tickets from thisguy?
Sure.
(52:53):
All right.
I'm going to need two tickets toHarrisburg tomorrow.
All right.
Yep.
Okay.
He, you know, rips them, takesyour change, gives you back a
couple pennies.
All right, well, see youtomorrow at 5.30 sharp.
5.30 sharp it is.
(53:15):
And you would know at thisperiod of time, like, trains are
never sharp.
Yeah, yeah.
They haven't gained that yet.
Not yet.
Okay.
Well, shit.
Bertie's going to walk back totown.
UNKNOWN (53:31):
Okay.
SPEAKER_00 (53:33):
Where does Clay wait for Birdie?
Or does he, what does he do oncehe's done with the horses?
He would head towards the trainstation.
Okay.
You meet back up.
Following the path he thinksBirdie would follow.
You meet back up with Birdie.
He's already walking back towardyou.
Maybe wave at each other.
(53:53):
Birdie does not wave at Tate.
He wouldn't acknowledge it.
Like, yeah.
Mm-hmm.
It's ain't a waving morning.
Hey, Tate.
No train till tomorrow morning,so we got another night in this
town.
Well, that's the best we can do.
Get us a sleeper car at least.
(54:16):
Nope.
Let's see if we can't changethat tomorrow.
Well, they're talking 530 in themorning.
So, yeah, we're definitely goingto want a sleeper car.
Yeah.
We can kind of fast forwardthrough this.
UNKNOWN (54:30):
Mm-hmm.
SPEAKER_00 (54:31):
Stop me if you hate it, but you guys go back to the
sheriff's department, sheriff'soffice, sleep there another
night, wake up bright and early,maybe lock those books back up,
unlock them in the morning, andyou get back to the train
station.
About ten minutes later...
(54:51):
Was Tate able to upgrade thetickets?
Sure.
Roll a luck check.
Because he's insisting.
Like, roll for it, punk.
Fail, 74 over 29.
Yeah, sorry.
It's all booked up.
(55:14):
Well.
Yes.
Tate was trying to do stuff onthe train ride back.
Oh.
What does he want to do on thetrain ride back?
Well, nothing now that hedoesn't have a private car.
UNKNOWN (55:24):
Okay.
SPEAKER_00 (55:24):
You were going to try to do a seance or something?
No, he just wants to readthrough the journal.
I mean, you guys are incommercial, but you got a window
seat and a middle seat and thenthe aisle.
So it's not like there's peoplesitting directly next to you or
(55:45):
in front of you.
We're feds, right?
Yes.
Absolutely.
UNKNOWN (55:50):
Absolutely.
SPEAKER_00 (55:51):
An abuse of power was big in this time frame.
Or you could just read the bookwhere you're sitting.
Okay.
Tate's not going to read thebook.
Well, you have three books.
Yeah, he doesn't want to openthem surrounded by people.
Okay.
Yeah, probably best to keep themshut.
(56:11):
Let Arthur and...
I don't even think this is aJ.S.
territory.
I think we find somewhereprivate when we get back first.
You know, they don't like totell us little folks much.
Remember those pictures thatthey claimed there was nothing
on them from the lastinvestigation?
Yep.
We all know that's horse shit.
(56:32):
They can play their games allthey want.
I think we get a hotel for onenight, just spend a few hours in
it, go over at least one ofthese.
So you want to go rogue, huh?
Not rogue.
I mean, we're not keeping themfrom them.
We're just investigating themfirst.
I don't know.
That way we know what we bringback.
(56:54):
Okay.
You don't want to do that onthis train here.
Not with all these people aroundus.
I don't understand this birdie.
I don't know if it couldinfluence other people.
That's my exact argument for whywe should turn it in.
Well, it's going to be turnedin.
Oh, I'm sorry.
Let me rephrase that.
That's my exact argument for whyI think we should immediately
(57:16):
turn them in.
Yeah, I don't see the point inrisking releasing whatever we
got maybe trapped in that therebook.
I don't think trapped is theright word.
I just think it's not accessedright now.
SPEAKER_01 (57:31):
And the further we get away from, what, Philip?
The further we get away fromPhilip's side, I think the
weaker its power is going toget.
I
SPEAKER_00 (57:40):
mean, remember the story, right?
Man in white shows up, givesa...
bereaved kid a book and then allmanner of hell is let loose
SPEAKER_01 (57:50):
and who they channeled it through but philip
himself
SPEAKER_00 (57:53):
is that so
SPEAKER_01 (57:54):
that's who i saw a
SPEAKER_00 (57:57):
few
SPEAKER_01 (57:57):
times
SPEAKER_00 (57:58):
yeah well when i was up there in the mill there was a
scared sad presence weak andthen there was a Like a gleeful,
evil presence that wasdefinitely a bit stronger.
SPEAKER_01 (58:14):
I
SPEAKER_00 (58:14):
felt that too.
SPEAKER_01 (58:16):
Not to be trash or anything, but I'm going to do
this, Bertie.
SPEAKER_00 (58:21):
I prefer you were there.
You know, it's just so muchbetter when there's more people
around to keep an eye on thanjust you and myself.
Because when Andrew put his handup and got right into my brain,
well, I wasn't good for much.
Yeah, he did the same to me.
(58:42):
And that's my point.
You and I have both failed tostand up and resist this thing
proper, right?
No, I resisted it pretty good.
I could still see.
Well, I can't.
If you want to dig into it, I'mnot going to let you do it
alone, but...
SPEAKER_01 (59:01):
I'd prefer it.
UNKNOWN (59:05):
Hmm.
SPEAKER_00 (59:06):
Well, we got a bit of a ride.
Let me chew on it for a bit.
SPEAKER_01 (59:09):
Think on it.
Let me know.
SPEAKER_00 (59:10):
I want to understand this more than the commission's
going to tell us.
I'm
SPEAKER_01 (59:21):
chewing.
I'm chewing.
SPEAKER_02 (59:51):
What's up, Gamer Nation?
Nope,
SPEAKER_00 (59:55):
that's not the intro we're going to do.
We're going to do this outrolike normal.
Despite the fact that we all gota little bit of a gamer in us,
right?
I mean, that's what we're herefor right now is we're listening
to some grown men play a gameand sometimes have fun and
sometimes cry a little bit.
I mean, you know, I'll be honestwith everybody, playing Andrew's
(01:00:18):
parents in that moment That waschallenging emotionally for me.
Um, cause you know, it's, it's,I mean, just putting yourself in
the shoes of a, of a, you know,grieving parent that just found
out their son is dead.
And not only that, it wasviolent going out, you know,
and, and I think one couldprobably assume that Andrew's
(01:00:41):
parents probably were havingissues with Andrew for some
period of time.
Uh, anyway.
All that out of the way.
Thank you for listening toSuffer Not.
Thank you to Sadesky and Dubois.
And thank you to our great,beautiful patrons, Steak and
(01:01:02):
Totoro's Bang Bus.
as well as all of you, all ofyou, the people, the listeners,
the people that make the worldgo round for Tay Clay and Bertie
Johnson.
I mean, another episode ofMistakes Made is going up on the
Patreon, as well as anotherepisode of...
(01:01:22):
Old Parasol Offline.
So head over to the Patreon.
Check those out.
Also head over to the Discordand chat up with some folks.
And also check out the merch.
Check out the shirts and thehats and the coffee mugs.
Like, subscribe, rate as manystars as you want.
(01:01:45):
Share with your friends.
Let your friends and yourco-workers know.
There's this show that's prettygood, pretty emotional.
What's going on?
Oh, it's a mystery.
And then, you know, chat it upwith people who don't, you know,
they don't know either.
But, I mean, you know, the storyis just beginning.
I want to assure everybody thatthe plan for this show is a
long-term plan.
(01:02:06):
uh, character driven story with,with a world that is developing,
um, you know, in part throughthe actions of the characters
and the, the dice that they rolland, And also, you know, perhaps
at some point the audience mighthave a little input on the
story, too.
I think that's fun.
I like stuff like that.
(01:02:27):
But anyway, I'm going to let youguys go.
I am grieving the loss of theBattlefield 6 beta.
I don't know if any of you guysplay those types of games.
I used to a lot back in the day.
SPEAKER_02 (01:02:41):
Back in my day, I used to play Battlefield 3, and
I was good at it.
before my knees cracked.
SPEAKER_00 (01:02:51):
But anyway, no, Battlefield 6, I was having a
blast with.
And it's just the beta.
I couldn't believe that.
So I now am...
Desperately looking forsomething to fill that void.
I got a scratch.
SPEAKER_02 (01:03:03):
I got a scratch.
SPEAKER_00 (01:03:03):
Anyway, so all that done, all that out of the way,
big thank yous.
Check out the links below andmore content coming up.
Oh, there's also an interviewthat I did with Chris from Chaos
Engine.
That'll also be coming out thisweek.
That'll just be going here onthe main feed.
So keep an eye out for that.
(01:03:24):
That should be coming out eitherWednesday or, yeah, I'm shooting
for Wednesday.
So anyway, all right.
We'll be in touch, you and I.
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