Suffer Not

Chapter Two: So Let It Be Written - Episode 26

• Season 1 • Episode 27

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Marshal Birdie Johnson and Agent Tate Clay arrive back in White Round. 


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

Support the show

UNKNOWN:

Thank you.

SPEAKER_00:

What gang doth we remember from the last episode? The crew's been reunited. The crew is reunited. Yep. Tate brought Cameron down to the little sawmill guided by one of the, shoot, what's their names again? The Geraldines. The Geraldines, yes. That shyster tried to get a buck off you, even though he already got a buck off a birdie, which is appropriate. They're of that ilk. We did that. Clay gathered up the body of Sheriff Garvey, got him on a horse, and then he burned down the mill after retrieving a few books. As far as Bertie knows, that's what he grabbed. And now we are on our way, I believe, back to town. Clay, describe... What you found inside the mill. What are you talking about what I found? I found the books. I found a broken railing that Bertie probably fell over if I had to take a guess. I found... Did you make him roll like a dexterity when he was walking out of the building? It was a stealth and I had a critical fail.

UNKNOWN:

Yeah.

SPEAKER_00:

okay that'll happen so he slipped and shoved the nice damn it i found the scene the bloody scene of sheriff garvey and andrew having dueled it out along with two more of those little fire pits and the symbols that were on the bridge describe the feeling inside the the mill well one there were two You had, in one corner, a small little feeling of sadness and dread. In the other, a much larger feeling of... What would you say? Hunger? Malevolence. Malevolence. Malicious. Hatred. Something like that. And now those are with me. You got a distinct, like, mental image of... Teeth with meat in them. Yeah. Dirty. Fibers. Muscle fibers and whatnot. And, uh... Yeah, you guys are headed back to town, right? I do believe that's our destination. I can't remember why, except for the fact that that's where everything is. Yeah, where else would you go? The Geraldines? I mean, yeah, good point. At 2, 3 a.m.?

UNKNOWN:

?

SPEAKER_00:

We could.

SPEAKER_02:

All right.

SPEAKER_00:

Let's get a move on. The mill behind you grows a little brighter and a little brighter until eventually the surrounding area is now illuminated. And as your horses are... plopping through the tree stumps and foliage and debris. Maybe you turn around and look at the mill for a bit. Cameron certainly is watching it. And it's a beautiful sight, this two-story building right next to the river. The river is glowing, reflecting the light that's cast all around it. And in the darkness, it's very bright.

SPEAKER_01:

birdie

SPEAKER_00:

yep when's the last time you talked to will scott will scott huh well if i had to say man i can't remember if that was at the end or if it was if i seen him at his house do you think he actually couldn't remember because i can tell you tell me plug your ears You and Garvey 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 told you to go. Yeah. All right. Rest in peace. Yep. Last time I saw him, he came up on the sheriff and I while we were heading over to the Will Scott's house. And Garvey basically cussed him out a bit, told him to get back to the inn. Why you ask? I saw him a little bit later in the night. Yeah. And I don't know if it's still going on with all this hopefully over now, but he's to the point where he's losing his mind, the same way Smithson was. All right, well, nothing to do about it now. I guess we'll just have to keep an eye out once we get into town. Just a forewarning, so he might not even remember us by the time we're back. Well... We'll cross that bridge when we get to it. Or he might come after us with a gun. We'll cross that bridge if we get to it also. Nope. Head on a swivel now. I ain't seeing all too well right now, so you're going to have to be the eyes. So call that what you see, all right? I can still shoot at blurs. Some time passes. It's a much... quicker journey on horseback than on foot, especially with Cameron kind of guiding you this way or that way. He knows the area a lot better clearly than Garvey did, which makes sense. Cameron's from here. Eventually you get back to town. You cross this vast width of of deforestation, get back to this thinner kind of tree line that surrounds the town, and then you're back to town. Well, might as well get up to the end.

SPEAKER_01:

You want to

SPEAKER_00:

go that path? I can't think of a better place to go right now. I'm tired. We

SPEAKER_01:

could... Swing through the little sheriff's office. He's got a cot there.

SPEAKER_00:

Just the one, though, right? Yeah, but I don't know how I feel 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, but whatever else he may have on 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 loose in a pocket. He's got a key ring. It's got a good amount of keys on it. He's got a notebook with a pen. 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:

And we start riding towards there.

SPEAKER_00:

Cameron? Yeah? What do they do with the deceased around here? Well, they used to take them just down the street. There was a... But since the... You know, there's a lot less people that need to go there. Well, we've just been taking them to the church. Or the family just, you know, buries them. There's a plot. I think we'll leave this one up to your old man in the morning. Well, Garvey ain't from here. Garvey's from, where'd he say, a town over, right? He's probably from Saginaw. Yeah. You want to ride him all the way to Saginaw? Well, no, but there's a train. I mean, you know. You want to put a dead guy on a train? Well, my father will know what to do. We can just talk to him in the morning. That'll work. So you get to the sheriff's office, 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, too big. Ah, here we go.

SPEAKER_01:

Kunk.

SPEAKER_00:

Cameron. Yeah. It's best to go sneak back in the church. Unless your dad finds out what's going on tonight. Well, we might want to keep him here just because of the uncertainty. Well, I mean, do I need to? Not necessarily. I think it might be a better idea to keep you here with us. I'd feel a little bit more comfortable with that. Yeah, if that's okay. All right, well, I'm calling dibs on that cot. I'll take the chair. 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 jokingly said, yeah, Bertie, that's where you're going to sleep. Bertie's going to that one. Looks like you're right every now and then. Clay. Oh, there's a reason to keep me around. That's right. Don't, uh, run into the cage on your way in. All right. Well, yeah, I got to call it, man. I'm, I'm beat. Okay. If anything comes up, just shoot or holler. Yeah. You, the three of you are egg zosted. Him more so. This has all been one day, mind you, this whole chapter, this whole, whatever, however many episodes this ends up being, you know, eight, 10, I don't know. This has been one day. Um, Tate at least got a couple of hours. Birdie's in one of the cells. Yep. And then Cameron's in the other one right next to it. Clay is in the cot and there's just like a, you know, little nook, little walled off nook for sleeping area for a sheriff. Clay is going to A, make sure the door is locked. It is. And B, he's probably still going to take the chair. He'll kind of lean back in the chair and kick his feet up on the desk. And that's where he goes to sleep. Is there a safe or a lockbox or anything 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:

Okay.

SPEAKER_00:

The one that's a key is kind of a, it's a larger, more like a locker type of thing. And that's in the like little nook, the little sleeping nook for the sheriff. And then the one with the combo is underneath the desk. Okay. Can you peek around for anything that might have the combo on it? Roll for it. 65 over 64 spot hidden. And I'm not going to use a luck point. The one with the combo, you know, you open a drawer, dig through some of it, open another drawer, and you're trying to be quiet not to wake up the other two. How hard are you trying not to wake the other two up? I mean, with how tired everyone is, I don't want to wake them up, but they're also... Knock the fuck out, but I'm not like creaking shit open all the time. Do you want to roll a stealth check? No, it doesn't matter if they wake up or not. 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 for it? He sits there and tries, and yes, it does open. He will open it, put the satchel with the books in it, close it, and lock it, and then he walks over to Bertie.

SPEAKER_01:

Hey, Bertie, wake up real

SPEAKER_00:

quick. I need you to hold on to this overnight. 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 key in his pocket if there's anything else. No, I think it's definitely time to sleep. All right, well, night. Tate will walk over and sit on the chair and throw his legs up, cross his arms. I think he's a little sketch, so he's got, like, he's crossed, put his legs up, he's got, like, his pistol laying in his lap. And he nods off

SPEAKER_01:

pretty quickly.

SPEAKER_00:

After being woken up, Birdie, you know, maybe watches him walk over there, but passes out pretty quick, too. Oh, yeah. Cameron's, you know, over on his cot, kind of, you know, shaking a little bit here and there, like twitching in his sleep. And Sadesky, he who plays Tate Clay... May I ask you to evacuate from the studio? You can ask me to. It doesn't mean I will. Birdie closes his eyes very quickly. Everything fades into a relaxing darkness. There are images that flash in his head he's kind of having one of those nights where he's tired and he's trying to sleep but he's tossing and turning and it's almost like there's a repetitiveness to his thoughts it's keeping him up but eventually he does rather he sees Garvey and Andrew in the room he sees Something that must have been behind him feels that thing that was in him, trying to get in him, hurting him. And eventually he rightly falls asleep. Darkness gives way to a woman kneeling before a pit in the ground. Her hands are clasped together, her head bowed. What you're looking at is a painting. 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 the feather floats, the tip pointing down. Slowly it floats toward the ground. The tip penetrates the earth, pushing deep into the soil. Behind you a figure in white stares at you, faceless, emotionless. It's Flesh shimmers darkness. You hear a crow shouting. You turn quickly and look. In a wide open field of dead grass, you see a birch tree. Tall. Barren of leaves. The bark peeling delicately. Atop it sits a bird in black. The birch tree ignites. And fire spreads from the base, crawling itself up toward the top. The bird sits and then unfurls its wings, spreading them wide and wider and wider. The wings encompass the whole sky and the world is plunged into darkness. The fire of the birch tree fades and ash is all that's left. You turn looking at the figure in glowing white behind you. Though it has no face, you know that it smiles. Gleefully, it reaches out its arms, and what you think must be hands rip the air in front of you. And suddenly, you open your eyes. Sunlight penetrates through the barred windows of the sheriff's office. We're just going to take in the room. Make sure Cameron and Clay are still present. You can see Cameron clearly. He's sleeping soundly, his arm kind of dangling from the bed a little bit. From where you were sleeping, you see his feet, his boots just below them.

UNKNOWN:

Okay.

SPEAKER_00:

where he's going to rub his eyes and take in the room. See, he wants to check his vision because it definitely wasn't good last night. How would he feel if his vision was about the same as when he went to bed? He wouldn't feel as good about it, that's for sure. Well, that's what he sees. The room is still blurry, right? You know, he can see the bars and it's not like he's blind, right? But his vision clearly went down, you know, a couple grades, however that's measured. You know, he can still see there's dust in the room and the beams of light coming through the window are clearly illuminating that dust and slowly floating around the room. Bertie is going to sit up, put his boots on. And he's going to stretch his way out of bed. Cameron looks over at you, you know, his big bags under his eyes. Yeah, morning, sunshine. Yeah, good morning. And he closes his eyes and, you know, rubs his temple. You and me both. You and me both. Tate Clay wakes up. He feels rested, still tired. Kind of that groggy, you know, I didn't quite sleep enough, but I slept feeling. That's almost worse than just staying up. You know what I mean? He can see the morning light penetrating through the windows and, you know, the door. Like the... bottom of the door. Some dust floating around, and he can hear movement from the divider on the other side of him. He hears, Good morning, sunshine. Clay, you up? Is that you, Birdie? Yep. I'm up now. Well, that means you don't have a cup of coffee for me yet. So we should probably fix that stat. Yeah, there's a... There's a Keurig right over here. Yeah. Oh, yeah. I think I saw someone else digging around last night. Not sure how fresh it is, though. Hmm. I don't know what you're talking about, but either way... All right. Well, I'm up. Eyes are still fuzzy. Man, Bertie's going to look around and see if there's just a water basin or a sink or something in this office. Yeah, it looks like, so the three of you are up and kind of looking around. Looks like Garvey, you know, had only been here for not very long. It's hard to tell exactly how long, but he started to kind of make it a little bit livable again. There's water in the water basin, a little mirror. That type of stuff. Very general grooming stuff. You do find some coffee in a tin, and the tin has kind of, you know, has a little lid put on top of it that's buckled down. But when you go to smell it, you unbuckle it, and it smells pretty old. But you should get the job done. I don't know. I think maybe we head over to the inn. That way we can check and see what's been going on in our absence and get a cup. That's what I'm feeling. How about you?

SPEAKER_01:

I don't disagree with that.

SPEAKER_00:

All right. Cameron, you want to come on with? Huh? Yeah, yeah, let's go. Yeah, we're going to the inn. What's the plan? The plan is we're going to walk to the inn and get a cup of coffee and see what's going on. Oh. Then you're going to join us. And he's looking at Clay, you know, as Bertie's talking, he's kind of looking at him, but then most 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 to Clay. Tate will use it to unlock the locker and grab the satchel out. When he grabs the satchel, there's kind of a weight that's pushed down like on his shoulders and his chest. What do you guys do? I recommend we get this to the commission as soon as we can, Bertie. Well, ends on the way to the train station. 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 son of 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:

I agree.

SPEAKER_00:

All right. Bertie's going to walk out of the station and make his way down the road to the inn. He unlocks the door.

SPEAKER_02:

steps

SPEAKER_00:

outside and it the sunlight feels great the warmth the just the feeling of it feels brighter than normal but not in a bad way Clay gets the same exact feeling Clay will check the bag and make sure the books are still there All three books are still there. The blood on the one is dried quite a bit. It's maybe about 8.30 a.m., give or take. There's people walking around, horses. The two horses that you guys rode 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 to the Will Scotts. The door is unlocked. You walk in and the floor creaks. You see that man in the cap with the mustache sitting at the bar. When you guys walk in, he turns around and nods at you. Will Scott. We're just going to walk up to the bar. The fella in the hat is, you know, 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's talking to the bar top, you know. All right. And how long have you been here roughly? Hour. Hour? So it's just about finished up here. Does he have a plate or a cup in front of him or anything? No. What's that you're finishing up? Just notes, numbers, boring stuff. Tate's going to go behind the bar or into the back and start heating up water for coffee. Okay. Go into the kitchen, find all the things you need, get it boiling. pour it, put it in the cups. How many cups do you make? He'll make three. And he walks out and we'll set him on the bar top. Cameron kind of points toward one and then points toward himself with like a questioning look on his face. Like, is that for me? Pot's in the back, Cameron. Oh, oh, oh. He walks back, comes out with a cup. All right. Bertie's going to get a cup of coffee and take a healthy swig. All right. Okay, so Will Scott's not here, according to this gentleman. You look around at all, or you just come sit down and just haven't seen him? I sat down, called a couple times. 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 a message? No. Nope, we'll get on over there ourselves. I'm sorry, I don't know if I ever caught your name. Yeah, that's fine. He closes the notebook, puts it in his bag, walks out the front door. All right. Bertie's going to look at Tate. Kind of an odd fellow over there, huh? He's lucky I didn't accidentally spill his cup of coffee. Cameron looks at the cup that didn't even get touched and kind of makes that look and kind of shakes his head like, huh? You're still a little green. He takes a sip and then looks over his body. No? Turn of phrase, kid. Oh. All right, Tate. Yeah, sure. Well, we definitely got to touch base with Will Scott. If there's still a Will Scott to touch base with. Well, I mean, last I saw, he was fine. Last I saw, he was on the decline. Doing what, man? You're being vague. Just with his memory and whatnot. All right, so you had a faded memory. But he was still breathing, had all his fingers and toes.

SPEAKER_01:

Yeah. All

SPEAKER_00:

right, well, let's go find him. Telegraph was at the train station, right? Yep. His wife did have some pretty gnarly bruises on her head, though. Yeah, that was courtesy of Andrew. We know for sure? Well, no, we suspect. Whatever Andrew was doing was... making some other people go crazy. The reason Smithson came in and, you know, shot at us. And Smithson would just let him go in the store and take whatever he wanted, no questions asked. So I think this hoodoo shit going on is a little bit deeper than just a person here or there, you know, stabbing themselves in the neck with a pen. All right. I mean, how the hell did he disappear in a flash of fire and reappear somewhere else? I'm sorry, what was that? The kids kept saying it seemed like he was disappearing and reappearing in places. I think this is the first I've heard of that. And it kind of checks out with those footprints. I think the ones you followed to get to the mill. Okay, I definitely remember them. All burnt up. Yep. And no footprints leading past them. It wasn't like a fire. It was like the grass was dead. You know, like when you put like a tarp over grass and it just like dies in that square. You know what I mean? That's what the footprints look like. Like the grass wasn't burnt. It just was dead. Yeah, all the life sucked out of it in just that spot. And no footprints leading from it. Yeah, it's strange. I think this book you had was more than just one of these abilities. Let's just be prepared for the worst. Always. Always. All right. I got to return these horses, too. Okay. Let's maybe not do that quite yet because there's still a... I suppose. There's still the sheriff to consider. I

SPEAKER_01:

suppose.

SPEAKER_00:

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 coffee and then kind of and puts it down. So you guys are heading to the Will Scott's house. Correct. Okay. You guys leave the Will Scott's and heading toward the residential area. You see the fellow you were just talking to with his briefcase walking also toward the residential area. He's ahead of you. You walk past the little sheriff's office where the two horses are hitched up and the guy is a little bit faster and he turns. You realize he's also going to the Will Scott's house and he knocks on the door. He pulls out a pocket watch and checks it as you guys are approaching. What do you guys do? That might be the answer to my question. Well, whatever that is. What's your question? Whether Will Scott's still with us or not. Well, you see a finger kind of peel one of the curtains to the side a little bit. And then release it. Tate's making his way to the back of the house. Okay. Bertie's walking up to the front. You hear knocking on the front door 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 last night. And Birdie's with them? Birdie is going to the front door. The front door, okay. Yeah, yeah, okay. And he reaches into his pocket and he pulls out a unfolded, it's already bent, like bobby pin. He sticks it in and he kind of shimmies it a little bit. And he pulls out a little folding pocket knife. Sticks it in to kind of twist it. And then the bobby pin breaks. Up front... Mark that down. What is Bertie doing? Saying? Bertie's walking up to the gentleman. Hey, Mr. Man with No Name. Hmm? Oh. And he, like, looks you up and down. 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 partner being a clown. Nope. I'm a U.S. Marshal. And I'm here to speak with Will Scott. He raises an eyebrow and kind of looks down at you. Marshal? Yes.

UNKNOWN:

Okay.

SPEAKER_00:

He got a, you know, credentials. Anything like that? Birdie will flash the badge and gun. Yeah, it's right there. And with his eyebrows still raised, he goes from looking kind of at a downward angle to an upward angle. Okay. All right. Well, I'm knocking and they're not coming, so... 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 bag back together. You see him go up to another house and knock on it the same way. Bertie is gonna go up and more loudly, doom, doom, doom, doom. Well, Scott, it's Marshall Johnson. If you're in there, come on out. We got a chat. Meanwhile, on the back of the house... Let me do that just one more time. Hold on. He pulls out another bobby pin and bends it. We'll try the door handle quick in case it did anything. Before you even have a chance to reach 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... unlocked it. Crit success. Meanwhile, up front.

SPEAKER_01:

Damn, I don't get nothing?

SPEAKER_00:

The doors only open a little bit. Is that... Is that... Is that... Is that guy out there still? Nah, I moved on to the neighbors. Who is that guy? He's with the bank. Say no more. Yep. And then you see his head kind of look down, and then he bends, picks up the envelope. Oh. They're coming for their pound of flesh, aren't they? Yeah. You see him kind of like... just have a blank gaze at it and he swallows and gets one of those grins like, yep. All right. What, uh, did you find Andrew last night? I think we should, uh, we should have a seat. We should have a seat and have a chat. Okay. A lot has happened. The, uh, the marshal's back. Okay, yeah, I'll be right there. He opens the door and lets you in. He kind of peeks out and looks. He looks left and then he looks right. And then he looks for like a little bit. And he's like, oh shit. 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 is just like... Cracking the door open a quarter of an inch and sticking his ear up to it to listen. He can hear Birdie and Will Scott chatting. That's as far as Tate's going. Back upstairs. Well, what is Tate going to do when he hears that? When he hears what? Birdie and Will Scott talking. Just listen. Okay, back upstairs. So, did you find him? Yep. Yep, I found him. You did? His eyes kind of lighten up and you hear down the stairs is coming a woman, the same one. And she sees you and you see her face kind of... Did he find him? Did you find our... Did you find Andrew? We should really take a seat here. Can we maybe get a pot of coffee going or something? Uh... You see her demeanor instantly change. Her eyes redden. She grabs her husband's hand and looks down at him. What did you find? Brady's going to take his hat off, kind of rub his forehead. There ain't no easy way to say this. So I'm just going to say it. Last night, your boy, down at the old sawmill, shot and killed Sheriff Garvey. And Sheriff Garvey shot back and killed him.

SPEAKER_02:

Oh my God.

SPEAKER_00:

Dwayne's just going to stand there. And... She collapses and grabs her husband and she's weeping. He... His eyes redden. Okay. Where is... Where is he? Uh... So during the altercation, the mill caught fire. We were able to get the sheriff out, but your boy was too deep. 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? Yep. Yep. It just caught up too quick. There's no way to get him out.

SPEAKER_02:

Okay.

SPEAKER_00:

As for what now... Well... Usually in these cases, you know, one of the folks lives. Seeing as how they're both dead. I'm very sorry for your loss. He looks away, kind of slowly nods his head and he's you know, holding on to his wife and trying to comfort her. You know, he's rubbing his hand on her back.

SPEAKER_02:

Okay.

SPEAKER_00:

All right. All right. I'm going to have to at least get a telegraph or something out to Where was the sheriff from again? Saginaw. Form his kin. Yeah, it's the right mess we got. Well, again, I don't want to be a bother to you folks, so I'm going to go ahead and get on out of here. Sorry again for your loss.

SPEAKER_02:

Yeah, okay.

SPEAKER_00:

Alright, ma'am. Bertie's gonna go outside and roll a cigarette. Hearing Bertie leave, Tate will Slowly close the door and wait for them on the side of the house. 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? I don't know. He kind of looks at the ground like almost ashamed of asking the question. Sad business we're dealing with here, kid. Tate, where you at? Around the side. Sit on back. Time to drop off Garvey? Yeah, I'm starting to wonder what else we can do out here. Like I said, I think we get the hell out of here. Hopefully half the town does too. All right, well, you go take care of them horses. Meet me at the train station.

SPEAKER_01:

You're just going straight there? I

SPEAKER_00:

got everything I need.

SPEAKER_01:

All right, I'll drop Garvey off.

SPEAKER_00:

Where are you going to drop him off at? The church. You know, I don't think we should do that. I think we should bring him to the train station. Folks are, his people are probably going to want him. Yeah, and they can come and get him from the church. My father can initiate all of that. And he nods his head like, All right. All right. Yep, no, that's a better plan. I guess my head ain't on straight today. How's your vision? It's still fuzzy. Still fuzzy? Yep. Don't sign no contracts. Only you can get a chuckle out of a guy on a morning like today. I'll tell you what. You good handling the church side? Yeah, I got it. All right, I'm going to go send some telegraphs. You do that? We can kind of fast forward through the, you know, the horses. Yep. You grab one of the horses. Cameron helps you get Garvey onto the horse. You get up to the church. My father might not be in yet. I can explain all of this to him when he does. Well, don't tell him too much. No, of course. Sheriff Garvey and Andrew got in an altercation. The mill started on fire in the process. We were only able to get Garvey out. I'll tell him an oil lamp got shot or something like that. What's your plans? You got any money saved up in there? A little bit. Not a... A little bit. Here's a few extra bucks to get you and I assume you're going to want to bring Peggy. Oh, uh... Down to Harrisburg. Um... And then he'll pull out, like, a scrap 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... Jeez, okay. Thank you. Thank you. Don't feel pressured, but I can guarantee 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'll see you soon. And he goes to shake his hand. He reaches out, reaches to grab your hand, and it is a firm handshake. Very distinctively, like, that's a handshake. Thanks, Agent Clay. Then Clay goes and returns the two horses. Unless he's doing something right now. Oh, that's a 100. Trip zeros. For his handshake? No, he was gonna use psychology or psychoanalyze to figure out if he was shaking like that on purpose. Oh, no, it's just a damn good handshake. That's all he gets. And Tate will go return the horses using federal authority as of why he had to take them and tip the stable owner a little bit. The stable owner's in the stable. He's like got both hands on his head looking around and then he sees the two horses coming back and he's like, oh, and you give him a tip, explain it to him. Meanwhile, Birdie is at the train station. There is another train coming tomorrow morning. He's sending a telegraph. What does it say? He's going to, I need to send it, send a telegraph to the Saginaw Sheriff's Department. Okay. So he walks into the train station and most of these train stations would have also like a little post office and the telegraph, usually one or two people 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. Sheriff Arthur Garvey killed in line of duty. Stop. Culprit also dead. Also deceased. Stop. Remains are at local church here in White Round. Stop. U.S. Marshal Hubert Johnson. Stop. Full stop. As the guy is, he's like writing this, you know, pencil on a paper. He kind of stops and looks up at you. But then like keeps writing without looking. Is Sheriff Garvey's actually dead? Yes, sir. Oh, my God. Okay. Sure, sure, sure. He goes and sits down, puts on the headphones and dee, dee, dee, dee, dee, dee, dee, dee, dee, dee, dee, dee. And I'll actually like generate that sound effect and put it in. Anything else, sir? I think anything else would just be, you know, like flowers on shit, right? Well, yeah. Yeah, that could be. Did you need a letter, tickets, anything? Yeah. When's the next train to Harrisburg? Tomorrow morning, first thing. Damn it, another day here. Is there any trains coming by that we could... Switch up. 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 this guy? Sure. All right. I'm going to need two tickets to Harrisburg tomorrow. All right. Yep. Okay. He, you know, rips them, takes your change, gives you back a couple pennies. All right, well, see you tomorrow at 5.30 sharp. 5.30 sharp it is. And you would know at this period 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 to town.

UNKNOWN:

Okay.

SPEAKER_00:

Where does Clay wait for Birdie? Or does he, what does he do once he's done with the horses? He would head towards the train station. Okay. You meet back up. Following the path he thinks Birdie would follow. You meet back up with Birdie. He's already walking back toward you. Maybe wave at each other. 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. Nope. Let's see if we can't change that tomorrow. Well, they're talking 530 in the morning. So, yeah, we're definitely going to want a sleeper car. Yeah. We can kind of fast forward through this.

UNKNOWN:

Mm-hmm.

SPEAKER_00:

Stop me if you hate it, but you guys go back to the sheriff's department, sheriff's office, sleep there another night, wake up bright and early, maybe lock those books back up, unlock them in the morning, and you get back to the train station. About ten minutes later... Was Tate able to upgrade the tickets? 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. Well. Yes. Tate was trying to do stuff on the train ride back. Oh. What does he want to do on the train ride back? Well, nothing now that he doesn't have a private car.

UNKNOWN:

Okay.

SPEAKER_00:

You were going to try to do a seance or something? No, he just wants to read through the journal. I mean, you guys are in commercial, but you got a window seat and a middle seat and then the aisle. So it's not like there's people sitting directly next to you or in front of you. We're feds, right? Yes. Absolutely.

UNKNOWN:

Absolutely.

SPEAKER_00:

An abuse of power was big in this time frame. Or you could just read the book where you're sitting. Okay. Tate's not going to read the book. Well, you have three books. Yeah, he doesn't want to open them surrounded by people. Okay. Yeah, probably best to keep them shut. Let Arthur and... I don't even think this is a J.S. territory. I think we find somewhere private when we get back first. You know, they don't like to tell us little folks much. Remember those pictures that they claimed there was nothing on them from the last investigation? Yep. We all know that's horse shit. They can play their games all they want. I think we get a hotel for one night, just spend a few hours in it, go over at least one of these. So you want to go rogue, huh? Not rogue. I mean, we're not keeping them from them. We're just investigating them first. I don't know. That way we know what we bring back. Okay. You don't want to do that on this train here. Not with all these people around us. I don't understand this birdie. I don't know if it could influence other people. That's my exact argument for why we should turn it in. Well, it's going to be turned in. Oh, I'm sorry. Let me rephrase that. That's my exact argument for why I think we should immediately turn them in. Yeah, I don't see the point in risking releasing whatever we got maybe trapped in that there book. I don't think trapped is the right word. I just think it's not accessed right now.

SPEAKER_01:

And the further we get away from, what, Philip? The further we get away from Philip's side, I think the weaker its power is going to get. I

SPEAKER_00:

mean, remember the story, right? Man in white shows up, gives a... bereaved kid a book and then all manner of hell is let loose

SPEAKER_01:

and who they channeled it through but philip himself

SPEAKER_00:

is that so

SPEAKER_01:

that's who i saw a

SPEAKER_00:

few

SPEAKER_01:

times

SPEAKER_00:

yeah well when i was up there in the mill there was a scared sad presence weak and then there was a Like a gleeful, evil presence that was definitely a bit stronger.

SPEAKER_01:

I

SPEAKER_00:

felt that too.

SPEAKER_01:

Not to be trash or anything, but I'm going to do this, Bertie.

SPEAKER_00:

I prefer you were there. You know, it's just so much better when there's more people around to keep an eye on than just you and myself. Because when Andrew put his hand up and got right into my brain, well, I wasn't good for much. Yeah, he did the same to me. And that's my point. You and I have both failed to stand 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'm not going to let you do it alone, but...

SPEAKER_01:

I'd prefer it.

UNKNOWN:

Hmm.

SPEAKER_00:

Well, we got a bit of a ride. Let me chew on it for a bit.

SPEAKER_01:

Think on it. Let me know.

SPEAKER_00:

I want to understand this more than the commission's going to tell us. I'm

SPEAKER_01:

chewing. I'm chewing.

SPEAKER_02:

What's up, Gamer Nation? Nope,

SPEAKER_00:

that's not the intro we're going to do. We're going to do this outro like normal. Despite the fact that we all got a little bit of a gamer in us, right? I mean, that's what we're here for right now is we're listening to some grown men play a game and sometimes have fun and sometimes cry a little bit. I mean, you know, I'll be honest with everybody, playing Andrew's parents in that moment That was challenging 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 was violent going out, you know, and, and I think one could probably assume that Andrew's parents probably were having issues with Andrew for some period of time. Uh, anyway. All that out of the way. Thank you for listening to Suffer Not. Thank you to Sadesky and Dubois. And thank you to our great, beautiful patrons, Steak and Totoro's Bang Bus. as well as all of you, all of you, the people, the listeners, the people that make the world go round for Tay Clay and Bertie Johnson. I mean, another episode of Mistakes Made is going up on the Patreon, as well as another episode of... Old Parasol Offline. So head over to the Patreon. Check those out. Also head over to the Discord and chat up with some folks. And also check out the merch. Check out the shirts and the hats and the coffee mugs. Like, subscribe, rate as many stars as you want. Share with your friends. Let your friends and your co-workers know. There's this show that's pretty good, pretty emotional. What's going on? Oh, it's a mystery. And then, you know, chat it up with people who don't, you know, they don't know either. But, I mean, you know, the story is just beginning. I want to assure everybody that the plan for this show is a long-term plan. uh, character driven story with, with a world that is developing, um, you know, in part through the actions of the characters and the, the dice that they roll and, And also, you know, perhaps at some point the audience might have a little input on the story, too. I think that's fun. I like stuff like that. But anyway, I'm going to let you guys go. I am grieving the loss of the Battlefield 6 beta. I don't know if any of you guys play those types of games. I used to a lot back in the day.

SPEAKER_02:

Back in my day, I used to play Battlefield 3, and I was good at it. before my knees cracked.

SPEAKER_00:

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 for something to fill that void. I got a scratch.

SPEAKER_02:

I got a scratch.

SPEAKER_00:

Anyway, so all that done, all that out of the way, big thank yous. Check out the links below and more content coming up. Oh, there's also an interview that I did with Chris from Chaos Engine. That'll also be coming out this week. That'll just be going here on the main feed. So keep an eye out for that. That should be coming out either Wednesday or, yeah, I'm shooting for Wednesday. So anyway, all right. We'll be in touch, you and I.

People on this episode

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Zenner, Cody

Host
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DuBois, Charlie

Co-host
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Sedesky, Charlie

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