Chapter Seven: A Different Approach | Ten Candles: Eclipse

Summary

Podcast Summary: Critical Role & Sagas of Sundry – Chapter Seven: A Different Approach | Ten Candles: Eclipse

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Introduction

Critical Role & Sagas of Sundry, hosted by Geek & Sundry, immerses listeners in epic tabletop role-playing adventures. The current season, Ten Candles: Eclipse, is a tragic horror series where 40 players, guided by Game Master Ivan Van Norman, navigate a doomed journey with no survivors. This summary delves into Chapter Seven: A Different Approach, released on May 12, 2025, capturing the key discussions, character developments, and the unfolding horror that befalls the crew aboard the International Space Station (ISS).

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Character Creation

The episode begins with the hosts—Vince, Josh, Genevieve, Trish, and Stacy—gathering to create their characters for the Ten Candles campaign. The process involves defining Virtues, Vices, Moments, and Brinks, which shape each character's strengths, flaws, aspirations, and pivotal observations.

• Genevieve Zane: A microbiologist specializing in extreme weather, secretly an ancient astronaut theorist. "I want to find out about what they are." [17:27]

• Stacy Martell: A highly accredited marketing director sent to the ISS to promote its value amidst political climate doubts. "The moment that I hope to create is to send at least one, preferably more of the video packages that I have created to Earth." [19:37]

• Joseph Myers (played by Josh): A corporate shareholder and comms officer with ulterior motives. "Activating a nuclear warhead that disrupts the moon orbit." [18:21]

• Trish (played by Stacy): Engages in character creation with enthusiasm despite the looming tragedy. "Honesty." [07:28]

Notable Quote:

Trish: "I love this collaborative character creation." [06:21]

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Setting the Scene

Game Master Ivan sets the stage aboard the ISS, where the moon is physically approaching Earth, threatening to alter its orbit disastrously. The crew has been surviving on limited supplies since an EMP wiped out power on Earth. As they monitor the moon's descent, tension mounts with the realization that their life support systems are dwindling.

Key Points:

• Operational Status: Limited power from solar panels, low supplies.
• Immediate Threat: Moon approaching at 430-500 mph in a decaying orbit.
• Objective: Correct the ISS's trajectory to avoid collision.

Notable Quote:

Danny (Vince): "This is shifting our course, and we need to stabilize it before it's too late." [13:15]

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Initial Challenges

The crew attempts various strategies to manage their dire situation. Joseph Myers proposes detonation of a nuclear warhead to disrupt the moon's orbit, a contentious and high-stakes plan.

• Course Correction Efforts: Utilizing limited power to adjust the ISS's path.
• Discovery of Missing Crew: Announcement that navigator Dimitri is unaccounted for, heightening anxiety.

Notable Quote:

Joseph (Josh): "My moment, it says I will gain hope when the comms flicker to life. And I swear I hear my wife's voice." [21:34]

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Rising Tension

As the crew grapples with technical malfunctions and dwindling life support, interpersonal conflicts and psychological strains surface. The discovery of Annabelle, a crew member exhibiting violent, cannibalistic behavior reminiscent of previous mental breakdowns (Derek Marcus), escalates the horror element.

• Annabelle's Breakdown: Previously sedated for outbursts, now openly dangerous.
• Survival vs. Morality: Debates over quarantining Annabelle versus risking further contamination.

Notable Quote:

Trish: "She's right, Danny. We don't know everything." [26:30]

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Horror Unfolds

The situation deteriorates as Annabelle's condition worsens, leading to gruesome events aboard the ISS. The crew faces horrifying transformations and the looming threat of the moon's collision.

• Mutated Organisms: Stacy discovers the dark side of the moon behaving anomalously.
• Leslie's Descent: Another crew member succumbs to madness, paralleling Annabelle's fate.
• Visual Horror: Descriptions of blood, mutilated bodies, and eerie silence amplify the tragic atmosphere.

Notable Quote:

Genevieve: "Shadows aren't only in the day, shadows are the night." [116:38]

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Attempted Escape

In a desperate bid to survive, the crew attempts to shuttle themselves back to Earth using the ISS's modules. This involves high-risk maneuvers, including navigating through debris and managing failing life support systems. The mounting threats culminate in catastrophic failure as the moon cracks and debris pummels the ISS.

• Manual Course Correction: Genevieve initiates a risky trajectory adjustment.
• Final Struggles: Characters face intense physical and psychological challenges as the ISS spirals out of control.
• Monolith Encounter: Introduction of mysterious monoliths amid the chaos, symbolizing an otherworldly force.

Notable Quote:

Josh: "We have to try and get off the station." [52:37]

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Climactic Tragedy

The episode reaches its tragic peak as the ISS collides with Earth following the moon's disintegration. Characters face fatal injuries, and the countdown to disaster affirms the "zero survivors" premise of the campaign.

• Final Confrontations: Violent encounters and sacrifices as the ISS nears its doom.
• Monolith's Influence: A dark entity pulls characters into despair, sealing their fates.
• Catastrophic Impact: Description of the module's destruction and the characters' demise, emphasizing the tragedy.

Notable Quote:

Josh: "I'm sorry, Ashley. I tried to let you in." [226:00]

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Conclusion

Chapter Seven: A Different Approach serves as a harrowing testament to the Ten Candles campaign's premise, embodying themes of sacrifice, despair, and the inexorable march towards tragedy. The meticulously crafted narrative, enriched by character development and escalating horror, culminates in the inevitable downfall of the ISS. This episode underscores the emotional depth and storytelling prowess that Critical Role & Sagas of Sundry brings to tabletop adventures.

Final Notable Quote:

Genevieve: "We are the shadows. We are the dark trails left behind." [117:11]

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Insights and Reflections

• Collaborative Storytelling: The hosts exhibit a deep commitment to their characters, fostering an immersive experience.
• Emotional Depth: The portrayal of mental breakdowns and interpersonal conflicts adds layers to the horror narrative.
• Tragic Imperative: Adhering to the "zero survivors" rule, the episode effectively builds towards an unavoidable tragic end.

Overall Summary

Chapter Seven: A Different Approach masterfully entwines character-driven drama with escalating horror, set against the backdrop of a doomed ISS. The episode highlights the strengths of collaborative RPG storytelling, delivering a poignant and tragic conclusion befitting the Ten Candles campaign's dark theme.

Transcript

[Vince]

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[Josh]

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[Vince]

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[Josh]

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[Vince]

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[Vince]

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[Trish]

To technology solutions, Enterprise Mobility helps businesses.

[Vince]

Find the right mobility solutions so they.

[Trish]

Can find new opportunities.

[Vince]

Because if your business is on the.

[Trish]

Road, they want to make sure it's.

[Josh]

On the road to success.

[Trish]

Enterprise Mobility moving you moves the world.

[Vince]

Find your [e-mail] warning.

[Nora]

The program you're about to listen to contains explicit language and descriptions of adult themes and graphic violence that some people may find disturbing. Listener discretion is advised.

[Vince]

My friends, my friends, my friends. Hi.

[Genevieve]

Hello.

[Vince]

Hello. I am very excited for this table. I honestly am not. Only because I have to. God, it's so hard not to do spoilers. Love you, love you, love you. I'm sorry. I love you.

[Josh]

That implies nothing.

[Vince]

Vince. Josh, thank you for coming. I don't. Why do you keep coming back?

[Genevieve]

Why do we keep coming back, Vince? Gluttons for punishment. I think so.

[Vince]

You know, that's up to you, man.

[Josh]

I welcome it.

[Vince]

You do? You're like.

[Genevieve]

Misery loves company. Yes.

[Vince]

We literally. I. Vince. Storytime. You two heard this, but Vince walked in and was like, I read the whole rule book. Yeah, yeah. And went straight into it and I sent it like yesterday. So, yeah. Yeah, Cool, man.

[Danny]

Good.

[Vince]

I'm glad you're here. I'm honestly legit glad you're here. Thank you for saying yeah. Trish, it's good to see you again.

[Stacy]

You too.

[Vince]

You know, we're doing spooky stories.

[Trish]

It's been a while.

[Vince]

It has been a while since. Oh, God, Foreververse days.

[Trish]

Yes.

[Vince]

That's still on. Pluto everywhere.

[Genevieve]

Yeah.

[Trish]

I have so many friends that are like, I turned on my TV and saw you and I'm like, wow, that was from a long time ago.

[Vince]

Yeah. I was just adding streaming services the other day and I was like, I wonder if it's still there.

[Trish]

And I totally am.

[Vince]

Yep, I'm still there.

[Trish]

Well, I have to play, you know.

[Vince]

What they were playing?

[Trish]

What were they playing?

[Vince]

Puppet Land.

[Trish]

Aw.

[Vince]

Yeah, I know.

[Trish]

So sweet. But, yeah, no spoilers for anyone who hasn't Seen foreververse yet, but I feel like I took my character out in a way that would be appropriate for 10 candles.

[Vince]

I actually agree with you. Yeah. I also, for people who was on that show, I don't know if this felt it to you. Was that like Navy SEAL training in the RPG world? Oh, my God.

[Trish]

You know, a little bit, yeah.

[Vince]

Cause it's like, okay, new system. Go character by tomorrow.

[Trish]

Well, but same psyche.

[Vince]

Same psyche.

[Trish]

Quantum leaped from game to game to game to game to game. But same base character.

[Vince]

Same base character. You were juggling two character sheets, but. And one had to be flopped out every month or so. Yeah. It was a thing. Hi, Nora.

[Trish]

Hello.

[Vince]

You're the only one. I loved playing with you on LA By Night. Yeah. It was the first time we played together ever. I know. And we're only, like, recent friend acquisitions, but that was super fun, and I was super excited when you decided to come and play.

[Stacy]

Yeah. We got to play dark characters as well.

[Vince]

Yeah. Yeah. It was fun being bad guys.

[Stacy]

It was. Although you're sorry, guys.

[Vince]

Your judgment's still out, so to speak.

[Stacy]

I know.

[Vince]

Yeah.

[Stacy]

What happens? We'll see.

[Vince]

I don't know.

[Genevieve]

Check it out.

[Vince]

Or it's just gingham. Sundry is just becoming a dark place. A little bit. A lot of vampires, a lot of people.

[Genevieve]

Dark places. Ivan. No. No.

[Vince]

But, yeah. No. Thank you for all playing. This is. This is. I love this because this series has been just so different. Like, some days, and we were like, wow, I've never played with any of you before. And then some days I'm like my old friends. So let's get into it, shall we? Let's do a scary.

[Genevieve]

Let's do it.

[Vince]

Take your. You have five pictures which are going to be acting as our cards for this session. I'd first like you to take your top one. This will be the virtue. And we are going to pass it to your left. Yeah. So take it and hand it to the person to your left. Or, no, do not write on it yet. Take it and pass it to the person to the left.

[Stacy]

I see.

[Vince]

Yes.

[Trish]

Great.

[Vince]

Now, on that, I would like you to write a virtue sharpie. Sharpie. Yes. And you know, you're either in Clan Fine or not fun when it comes to sharpie times. So virtue, meaning what is something that you look up to in someone? What is something.

[Genevieve]

This is something that this character would look up to.

[Vince]

Yeah. That you appreciate about someone. Because this is a virtue that you will be ostensibly and literally handing to someone else.

[Trish]

Okay.

[Josh]

Done and done.

[Stacy]

Mm.

[Vince]

I know, I heard you stop writing.

[Trish]

God, do we have to keep it a secret?

[Vince]

We will not be keeping it a secret. We are going to hand them out. This is kind of like getting your camp name. When someone gives it to you, I love it. That's your virtue and your vice. So. Yeah.

[Trish]

Mm. I love this collaborative character creation.

[Vince]

It's different and it's because the story system's so fluid. It allows for a lot of interpretation. And like you pointed out earlier, and I know you talked a little bit about, I like my spreadsheets when it comes to my planning.

[Trish]

Oh, you know I do.

[Vince]

I know you do. So it was definitely one of those. I want you to think about it, but don't think about it too hard.

[Trish]

Well, that's. Yeah, I didn't plan too much for today because I am an over prepper and then sometimes it gets me into, like, wonky gear catch situations when something happens that I wasn't prepared for. So.

[Josh]

Well, I planned my whole character and then walked in and promptly threw it all out.

[Genevieve]

Threw it all out.

[Vince]

Yep. As is very common in this. Give them back to their owners. To your right.

[Trish]

That is for you, sir.

[Vince]

Thank you.

[Stacy]

This is not a one word thing.

[Vince]

Technically, a one, like a virtue should be something that is if you say it really fast.

[Genevieve]

So just the first word, then maybe.

[Vince]

Then the first one.

[Stacy]

Strength.

[Vince]

Why don't you. Why don't you. Yeah, why don't you tell us, Nora, what did you get?

[Stacy]

Strength.

[Vince]

Yes.

[Stacy]

I can't see what the other. What did you. What is this?

[Genevieve]

Strength by truth. Truth gives me strength.

[Vince]

Aha. Okay, so you could say so one thing.

[Genevieve]

Honesty.

[Vince]

Honesty.

[Trish]

Yes, great.

[Vince]

Honesty.

[Genevieve]

I was describing honesty.

[Stacy]

I'm just gonna write that in the most poetic way.

[Vince]

Honesty. Honesty.

[Trish]

Honesty.

[Vince]

That is definitely a virtue.

[Josh]

I'm over here.

[Vince]

Yeah.

[Trish]

I like where we're going today.

[Vince]

Yeah, it's fantastic. Jeff, I write two sentences now that all of the blood has gone to your face. Why don't you go next?

[Genevieve]

So I got resourceful.

[Vince]

Resourceful.

[Genevieve]

Very resourceful.

[Vince]

That's also very concise.

[Genevieve]

Very concise. To the point. One word.

[Josh]

It's so many syllables, though. It's like the same.

[Vince]

Trish, what did you get?

[Trish]

Insightful.

[Vince]

Insightful. Okay, so we have resourceful, insightful, honest. And how about you, Vince?

[Josh]

I got dependable.

[Vince]

Dependable, Very practical virtues over here.

[Josh]

Yeah, I'd say.

[Vince]

And very resourceful is very practical as well too. So it's just you. Yes, Insightful is very cerebral. So.

[Trish]

Yes.

[Vince]

Now let's take another one of your portraits. And let's pass it to the right. Yes. Now, on this here. Oh, no, on this, I would like you to write a vice. Something that you would not wish upon anybody. Something that you. Something that creates more problems than it solves.

[Trish]

One word.

[Vince]

Again, one word. Be very direct about it. So this is. This is your vices.

[Genevieve]

I wrote the Oxford Dictionary.

[Josh]

I received the entire Encyclopedia Britannica on the back of mine.

[Genevieve]

Miriam's dictionary states that this type can be used in many ways. Fabric.

[Vince]

And let's pass it back. So go back to their owners to the left. Thank you.

[Josh]

It's a great photo, right?

[Vince]

You're not mean to make a photo.

[Trish]

I do appreciate that photo.

[Vince]

It was not on purpose. Why don't you start a soft fence?

[Josh]

I got greedy.

[Vince]

You're greedy.

[Josh]

I'm very greedy.

[Vince]

So greedy. And then remind me what the virtue is again.

[Josh]

Dependable.

[Vince]

Greedy and dependable. You're dependably greedy.

[Josh]

Fun contrast to play there.

[Vince]

Yeah, absolutely. And how about you, Nora?

[Stacy]

Covetous.

[Vince]

Covetous.

[Genevieve]

That's a new one.

[Vince]

All right. Yes. Excellent.

[Genevieve]

It brought out the orthosaurus.

[Vince]

Trish, what did you get?

[Trish]

Selfish.

[Vince]

Selfish. Insightful and selfish. All right. Interesting.

[Genevieve]

Interesting.

[Vince]

Josh.

[Genevieve]

I got blunt.

[Vince]

Yeah, straight to the point.

[Genevieve]

Straight to the point.

[Vince]

All right. That makes a lot of sense.

[Stacy]

The irony of your last.

[Genevieve]

Yes, you're very honest. I like this.

[Vince]

You're already twisting your mental dials. Yeah. Making those mental dials. So I will describe to you the situation you're in. And, oh, boy, do I have a treat for you today.

[Josh]

Oh, good.

[Vince]

Yes. After much discussion before this setting, I'm pleased to tell you that you are on the International Space Station for this episode.

[Josh]

Oh, delightful.

[Vince]

Which means in so many different ways, what has been happening in this world. You have only the knowledge of what you have been able to scramble. And we did discuss getting the radio to work, but only a week after everything went down.

[Josh]

Yeah.

[Vince]

All right. And since then, you have been watching the Earth go through turmoil, Just constant turmoil. And very quickly, because of your position on the International Space Station, you have noticed the moon is getting closer. And it is not getting closer in the way that, oh, it's bigger in the sky. As you would see from the ground, it's physically approaching the planet. And as a result, is when you are making your pass to come to where the moon is. You see, every time you pass it, it's currently has. It's coming at you.

[Josh]

It's gaining on us.

[Vince]

It's gaining at you, in fact, because you're in the International Space station and you have actual instrumentations that allow you to measure this kind of stuff. And because you were not affected by the EMP that destroyed the entire planet on bottom side, you were able. Cause otherwise if I ruined you with power, you'd all be dead right now because of life support. In fact, probably all of your instrumentations did BL for a brief moment, but then once the solar panels kicked back in and you replaced the batteries, everything was fine. But with your instrumentation, you can tell that it's going at the speed of a Boeing jet. So basically it's at a decaying orbit of around anywhere from 430 to 500 miles an hour. And that's the speed it's maintaining and it's been maintaining for the last two and a half weeks.

[Trish]

So ISS is maintaining, or the Moon.

[Vince]

Is maintaining, Moon is maintaining speed. And now you're at the position in which the Moon is close enough to change and steal your orbit. And that's where we're going to start our story today.

[Josh]

So doing this bizarre figure 8 kind of pattern right now with the moon.

[Vince]

And the Earth, you haven't. The figure 8 pattern is going to start to begin.

[Josh]

Oh great.

[Vince]

Yes. So ostensibly you're in a position where you know that the actually. No, you're right. You would have actually gone through that Figure 8 orbit for a while where it would have stolen and then you would have exchanged it back. Yes, that makes a lot more sense because it would have stolen you way before you gotten too close to it. So figure eight, you have been exchanging orbits with the Moon as it has been closer and that orbit has become tighter and, and tighter as our story begins. So with that said, I would like you to take a third card and I would like you to write a moment that you hope your character can achieve in this story. It has to be something that has a chance of succeeding, that can succeed. Excuse me. But also has an option of fail as well too. This is important because if you to fulfill this moment at some point in the story, you will get a mechanical benefit for it.

[Josh]

This can be more than one word.

[Vince]

Thank you, Vince.

[Genevieve]

Yes, I was like, I'm really limited here with one word. I don't know how I can save the world in one word. I don't know.

[Vince]

But that is truly the. It is a moment that you hope your character can accomplish in the story.

[Genevieve]

It.

[Vince]

Like a Polaroid picture. It's a new asmr.

[Genevieve]

I don't wanna. I'm not trying to moat out. That's what I'm saying. So, I mean, how far can I go on this?

[Vince]

Is this something you can accomplish?

[Genevieve]

Yes.

[Vince]

Is it something that can fail?

[Genevieve]

Yes.

[Vince]

Then write it down.

[Genevieve]

Okay.

[Josh]

You were hoping that basically you're intending this happens during the session, during the episode, and if it does, if it goes well, you gain a benefit.

[Genevieve]

That's right.

[Vince]

Thank you. For the Oxford dictionary version or the rule book version. I read the rules.

[Trish]

You would think it would be the lawful neutral kid, that would be like. I read all the rules. But not today.

[Vince]

It's okay.

[Trish]

Curious. Vince, your IRL alignment.

[Josh]

Oh. Oh, boy. I'd like to say it's chaotic good. Well, no, you see, a lot of people say they're chaotic good, but aren't actually when push comes to shove, chaotic neutral. That's fair. No, I'm definitely more neutral.

[Genevieve]

Good.

[Trish]

Okay.

[Josh]

I'm just, you know, I like doing good things, but I don't feel that every rule or regulation is necessarily the best at all times.

[Trish]

Got it?

[Josh]

Yeah.

[Vince]

How about you guys? No, I think you just need to share today.

[Stacy]

I would just rather look at you quizzically. Rather side eye you instead of answer that question.

[Trish]

I always like asking people that question. I just think it's fun.

[Vince]

It is a fun. It's a fun question that only Vince gets to answer.

[Trish]

So I figured if Josh needed more time.

[Genevieve]

I do. I'm still writing.

[Josh]

Oh, it was a. Yeah, I gave it more time.

[Vince]

Yeah. Nice. See, and you know, my favorite bit is that I have enjoyed in this show and I have been observing how lovely the silence is and I love watching your natural host instinct kick in. You always do.

[Josh]

Dead air fill the.

[Genevieve]

Fill this room.

[Vince]

No dead air. You just want to make sure that it's all taken care of. And oh boy, am I loving the place that it's putting you in right now.

[Trish]

So, yes, you're ready for me to be super uncomfortable today is what you're saying.

[Genevieve]

I'm not ready to be comfortable. Like, I've already been chastised for writing a sentence. I'm ready to go.

[Vince]

This is more into it.

[Josh]

Use it.

[Vince]

Speaking of being chastised, what's your moment and who are you playing today? Josh. And please introduce us.

[Genevieve]

Today I'll be playing Joseph Myers.

[Vince]

Joseph Myers.

[Genevieve]

Joseph Myers was a shareholder for the company that pours money into one of the many rockets that delivers supplies to the space station and was on a mission with a branding officer, I believe to check out the space station and made it up there. But he is a corporate guy and he is, like I said, a shareholder. So he has ulterior motives for the company.

[Vince]

Got it. So he's a company man.

[Genevieve]

He's a company man who made it up here alone, however, so something behind that.

[Vince]

Got it. So you made it up. Did you come with the, like you said, the, the corporate.

[Genevieve]

I came with a little corporate knowledge, a little bit of maybe.

[Vince]

But you said you came with a corporate employee or you came as a corporate employee.

[Genevieve]

I came as a corporate employee.

[Vince]

Okay. Correct. And then what moment do you hope to generate in this story today?

[Genevieve]

Activating a nuclear warhead that disrupts the moon orbit. So.

[Vince]

Oh, so you want to detonate a warhead?

[Genevieve]

Possibly, yes, that's possible. That could be why I'm up there is to Cool.

[Vince]

Great. Awesome. Trish, who will you be playing today?

[Trish]

I am playing Stacy Martell.

[Vince]

Stacey Martell.

[Trish]

Yes. And Stacey is a very well respected and highly accredited marketing director from the United States who was sent to ISS by the International Space Station program by the union of nations that run ISS to come up and create some videos selling the general populace on why the ISS is needed.

[Vince]

So there's. This is interesting. Do you want to have it be like there's an upcoming bill to basically or an upcoming proposition to pour more funding into the station and you are there to help?

[Trish]

Yes. And in some nations that's. That's more of a thing than others. Right now, due to political climate, some people feel that money could be better invested elsewhere. So I, Stacey, can spin anything.

[Vince]

Spin doctor in space.

[Stacy]

Yes.

[Trish]

And so I was sent to the ISS to create a series of video packages that convince everyone why ISS is worthwhile and why they should invest their money.

[Vince]

And what is the moment you hope to create in this story?

[Trish]

The moment that I hope to create is to send at least one, preferably more of the video packages that I have created to Earth.

[Vince]

So your goal is to actually do your job, spend fast.

[Trish]

And the video packages I feel like that Stacey has created while up here kind of morphed in what they were from selling ISS to almost more of a journalistic Holy shit. This is what's happening up here.

[Vince]

So now you become a disaster reporter instead?

[Trish]

A little bit. So it's a hybrid of both. So this is still really great, but also what the hell is happening?

[Vince]

Videos done. All right, excellent. Vince, who are you playing today?

[Josh]

My name is Danny Baron. Danny, I am the comms officer on the ISS and a mechanical engineer. And yeah, I just maintain the comms systems. I would have been the first to realize comms had gone out when everything kind of went to hell. And the first to try working on a radio replacement to establish some sort of contact, which we.

[Vince]

That's great. Yeah. So ostensibly, you reconnected whatever you could at this point, which. At this point, which I would say from what I know from your timeline and where you are, there has definitely been radio transmissions, but they have basically been guys in bunkers.

[Josh]

And it's also situational in terms of, like, which part of the Earth we are orbiting over at any one moment.

[Vince]

Sometimes you catch it, sometimes you don't. Sometimes you hear terrible things, and you've heard terrible things. You've also heard things you cannot explain. So I do imagine you being like a sonar, you know, sub guy sitting with your cans on.

[Josh]

Yeah.

[Vince]

What moment do you hope to create?

[Josh]

My moment, it says I will gain hope when the comms flicker to life. And I swear I hear my wife's voice.

[Vince]

You want to hear your wife's voice one last time? Okay. You want to hear your life voice? All right. Sounds excellent. Nora.

[Stacy]

I am playing Genevieve Zane. Genevieve, who is a microbiologist, and she specializes in extreme weather conditions. So her goal is on doing research on the ISS is to hopefully find in sometime in the near distant future if we are able to colonize on other planets. However. So not there yet.

[Vince]

No.

[Trish]

So not there yet.

[Vince]

Yeah.

[Stacy]

She's also secretly a ancient astronaut theorist.

[Vince]

Oh, okay, cool, cool, cool.

[Stacy]

Writing books under a pseudonym. Can't tell anybody about that because she wants to keep her job. But I don't want to say it's aliens, but it's aliens I love.

[Vince]

Okay, cool. And what moment does this ghost writer of ancient alien archaeology hope to create in this story?

[Stacy]

He wants to find out about what they are.

[Vince]

You want to know about them. Okay. Capital T. Them. Yeah, capital T. Them. All right, great. Excellent. Well, that leaves us with one final task before we actually begin our story. And I would like you to take a third card that is with you, one that hasn't been written upon yet. And we are going to pass these to the left. These are your Brinks. So what this basically means is an observation your character has made against another character that has seen them at their darkest and lowest moments. Now, this is going to be a little different. Oh, did we pass yours already? Did I pass? Okay, so this is for you and I. This is going to be a little tiny bit different because I'm actually going to participate in this with you. So you pass to the left, and then. No, you're fine. You're getting there. And then I'm here and Then.

[Josh]

So I get one from you.

[Vince]

Yes. And then I have Trisha's. Great. So what this means is you're going to observe someone at their very lowest point in basically write the I have seen you. And a couple examples they give in the book are just terrible low points. Something like, I've seen you lose it over this dead dog. You cried for hours and I almost left you. Or things like, I have seen you worship them. I have watched you whisper a silent prayer when you didn't think anyone was looking. So we've had some incredibly awful brinks that have come up as a result. That does not mean you need to write something awful. It is just something that you've seen someone do.

[Josh]

But it is like that darkest side of someone is.

[Vince]

Yes, it is. And for Vince and Trish, different for us. How this is going to work differently with me is that Vince, you will be writing a brink for them. You get to see. You get to basically do a I have seen them. And this can apply not just to the proverbial them, but also the situation. You've seen these monoliths which you have observed have come up the state of the moon that you have very clearly observed as it is coming into the orbit of the Earth closer and closer. And it could even be about the proverbial them. This is your opportunity to kind of expand on our world. Yeah. And Trish, I will be writing a they have seen you an observation that them has imposed upon you in this circumstance. So there we go. So exciting.

[Genevieve]

This is something our character has seen the other characters do.

[Vince]

This is character with their own eyes.

[Genevieve]

On the space station.

[Josh]

This is character they can also like. One example was, you know, I have seen you on trial for the murder of your family. That's something that only you know about that person. And it could have taken place before the event or during or what have you, but it's just something you know about them that informs their character that no one else knows.

[Genevieve]

I don't have enough room on this card. My diatribe here.

[Josh]

Brink Volume 1 by Josh Petersburg.

[Genevieve]

In the beginning, there was the edge. A cliff overlooking a precipice.

[Vince]

One would say a brink.

[Genevieve]

A brink. One would say close to the brink. Close to the edge. Highway the Danger Zone by John Cleese.

[Josh]

Now, Ivan, wait, please. I will wait. And as well, the Brinks are the one thing, not virtues and vices. But the Brinks are intended to be kept secret.

[Trish]

Yes, got it.

[Vince]

They aren't kept, meant to be secret. This one's always tough for Me.

[Josh]

What are you gonna do to trash.

[Trish]

What if they seen me?

[Vince]

Right? I'm dying to know.

[Josh]

I hope you find out. You have this, right?

[Stacy]

Yes.

[Josh]

Before we actually started the game, I came up with a plan for every single person I could possibly write a ring for and what they would all be. And I was so excited about this one. I was hoping that I would get this.

[Stacy]

You would write it all out before I would.

[Josh]

My phone has a note on it. It's like this long. Guys, I'm crazy.

[Genevieve]

It was 100 pages. The book was. Was legit.

[Vince]

Yes.

[Genevieve]

Yeah.

[Josh]

100 page rulebook.

[Genevieve]

It was. It was intimidating.

[Vince]

Yeah.

[Genevieve]

To be in 12 hours.

[Josh]

It's also awesome how many different. Because in the appendix in the back there's all like the example modules of ways you can run the game and the different ways you can adapt the rules to different settings that, you know, do or don't include creatures or do and don't include this. It's such a flexible system. It's really awesome. He said buying for time storytelling, you guys. Yeah, Cooperative storytelling.

[Genevieve]

They called me the long winded writer.

[Josh]

Ivan just wants to thoroughly terrorize Trish and I admire that.

[Trish]

I think that's what's happening.

[Josh]

Yeah.

[Genevieve]

It takes deep thought to execute. Deep horror.

[Josh]

Yes. Honestly, the only thing that I might enjoy more than writing a ring for them is them writing one for me.

[Genevieve]

The fidgeting has begun. The mic.

[Josh]

I know, I know.

[Trish]

I'm about to be real uncomfortable today.

[Vince]

All right.

[Josh]

Hey now, Ivan, I just want to preface this a little bit. You are. This is open ended. You are entitled to play it however you want because I'm not sure what's already been established.

[Vince]

Thank you, Fence.

[Josh]

So it's intentionally a little bit vague. I just.

[Vince]

No, I appreciate you letting me know. Okay. So. Yeah. Okay.

[Stacy]

Oh, got dark real quick.

[Vince]

Yeah.

[Stacy]

Well played, sir.

[Genevieve]

Oh my.

[Josh]

I want.

[Vince]

I. I ironically know exactly what that means.

[Genevieve]

That's what I really. When I turned it over, I was like, ah. I was like, I didn't even know that was there.

[Stacy]

One and one. Now. Got it.

[Vince]

Got it. I have to write the print down.

[Josh]

I'll burn your eyes.

[Vince]

Trish.

[Josh]

Game secrets.

[Trish]

Okay, now we have one more picture.

[Vince]

That's the character concept. That's simply your name, your occupation. If you wish I could write that down. Now. It's about as much of a character sheet as 10 candles will allow you to have. So it's really for you.

[Josh]

I rolled a 40 on strength, so.

[Genevieve]

You so mega stalled.

[Josh]

Oh my God.

[Vince]

Cool. Okay. Cool, cool, cool, cool. Cool, cool, cool. Great, great, great. So basically what we're going to finally do, now that you have this concept out, they will be laid close to your side. You may take your virtue, your vice, and your moment, and you may organize them in whichever stack you'd like. The only thing that's important is that the brink must be on the bottom. This is important because you can only burn the card that is on the top. Virtues and vices will allow you to reroll any one that might occur in the game. The brinks, should you get to it, will allow you a full reroll of everything. And you cannot generate your moment unless it is the card on top at the time in which that moment comes up. So what that means is that if you, for example, your moment came up, Joseph, in which there's a chance to detonate the warhead, if your moment isn't on top of your deck and say you put your virtue in your vice on top of it, and you didn't rip those up as a result of doing rerolls before you got to that moment, it would not play out okay. Versus if you put your moment on top and your moment does not come up, you cannot get to your virtues and your vices until the moment has been completed.

[Trish]

Got it.

[Vince]

So this is why you have to stack the deck and virtues and vices.

[Josh]

Give us rerolls on ones, essentially.

[Genevieve]

Okay.

[Trish]

Single use character sheet is not a burnable card. Okay.

[Stacy]

And you said brink was on the very bottom.

[Vince]

Must be on the bottom, because it's.

[Genevieve]

All you have left.

[Vince]

It is all you have left exactly as it is. So for anyone who's keeping track, because the good news is that on the International Space Station, you are working off of an atomic clock and not something that's tied to Earth's magnetic field. You're looking at day 19.

[Josh]

Day 19.

[Genevieve]

Day 19, yes.

[Vince]

Right.

[Josh]

And this is day 19.

[Vince]

Since the monoliths came, since the monoliths rose, since, in your perspective, the blip of the power went out. And let me preface this with. Your story begins on the International Space Station in which you are currently exchanging orbits with the moon. It has come so close into your proximity that you have managed to be able to maintain a figure 8 orbit between the moon as it is constantly exchanging you and it is constant diligence. There has been someone who has taken the time and the opportunity to pilot this course. You've had a navigator on the International Space Station this entire time, and you and he has been ostensibly making every waking moment to replot the course of the International Space Station in order to maintain this. But the moon is getting closer now, and everything has to be re corrected. This is something that has to be done every six hours, hours or so. On top of that, you were supposed to be resupplied weeks ago when everything first started happening. And so far you're three weeks behind on your food supplies. You've managed to ration as best as you can. You've been paying particular attention to your water at this stage, but you are dangerously low on supplies. Thankfully, due to the solar panels, you've been able to maintain power. But because the moon is taking up so much more of the sky than it was when it was in the ISS's original orbit, there have been long spans of night, and you are in one of those spans of night. You are running life support, and that's it at this point. Just the air is keeping you alive at this stage because the sun has not come back and you have been ostensibly jettisoned to the dark side of the moon. So now you're on the return course to come back to Earth, but it is still dark and the batteries are not charging due to sunlight. What do you do?

[Josh]

I've been on the phones for the last hour or so trying to again establish contact with anyone planetside. We've had spurts of communication, but nothing.

[Vince]

Concrete, and one very delightful song.

[Josh]

Song?

[Vince]

Yesterday a rogue broadcast on a ham radio signal came up and it was just someone, and you didn't catch their name because you had. You didn't catch the beginning of the broadcast, but it was someone singing. Someone on Earth was singing a song and you kind of recognized it.

[Josh]

This is ISS to Earth, ISS to Houston, to Moscow, to anyone who's picking it up. Is anyone down there? Anyone? It's been 19 days now, and could really do with hearing a voice right now.

[Vince]

Not uncommonly. No response.

[Josh]

Okay, we need to take, I don't know, we need some kind of proactive action because the scrubbers are almost crapped out. Food's low, water's low, life support is on its last legs, and we're not gonna last up here for much longer. No one's coming.

[Trish]

Have you been able to get through it all?

[Josh]

No, I'm hearing just music and warnings and the occasional distress signal, but no one can hear me. It's a fucking ham radio. I mean, we're in space, so. No, we gotta either find some way, I don't know, off this station, or a way to extend the supplies we have so we can last until whatever's going on down there is done.

[Trish]

I mean, forgive my naivety. I haven't spent very much time up here, but is there any way that we can science up some resources?

[Josh]

We have the module you came in on.

[Trish]

Yeah.

[Josh]

You two. It's not. Without the resupply. It's not designed to make the return trip the way it is right now. We could try and jerry rig something to get us back planetside, but that would only really work if there's someone to receive us on the other end.

[Stacy]

So we're stuck here. And I don't know what other proactive measure we could take. We're already rationing our supplies out there is definitely.

[Vince]

And again to keep this conversation and this story going beyond the rationing and supply, the more direct problem at hand is that your course correction needs to be adjusted or something. The moon most likely is going to throw you off your orbit and will send you out into deep space.

[Genevieve]

At this point, the module we came on still has battery power that we can transfer some of our system's life support on. When I work for the company, I learned that it is very possible to revert the systems. However, the module only fits two and the escape pods only fit three.

[Josh]

Yeah, I don't think getting off is probably not an option. But that's if we can use some of that power to help correct the course of the station. It buys us time so we're not flung off into space.

[Trish]

Sure.

[Josh]

Or what have you. Okay. Yeah. Is the navigator still here on the station?

[Vince]

You do know where he is? He's in a module. Let's put him in. Let's put him in the Zvezda Russian service module because that sounds appropriate. That's usually where he tends to spend his time. He's been sitting there literally with a notepad and has just been crunching numbers for the last two and a half weeks, making sure that every little adjustment is made in order to prevent the slingshot effect, so to speak.

[Josh]

And what's his name?

[Vince]

Let's have his name. If he's to be in the Russian space module, we can make him Russian.

[Genevieve]

Dimitri.

[Vince]

We'll have him be Dimitri.

[Genevieve]

Dimitri.

[Josh]

Alright. Dimitri said he'd be in Zvezda right now working on the calculations. If we can just get. Let's get over there, get in touch with him and see what he needs to make this work. And if we need to draw power off. I would rather not do that. But if we need to draw power off of the your module, then we'll do that. Fine. But we got to keep the station in orbit.

[Vince]

So you begin making. Well, I'm sorry, that's what you two would like to do. Is there anything else at this point that anyone else is interested in or are we all just converging on Zvezda at the moment?

[Trish]

I know that I reported on a piece, I think a few years back about growing plant life here on iss. Is there a way for us to potentially expand that effort and grow vegetables, grow some type of sustenance?

[Stacy]

We're not, we're not there yet. I mean I'm barely, I'm working with single celled organisms, just trying to keep them alive in harsh conditions. That's, that's far, far from being able to plant anything. I mean we really need, if we don't get these supplies, I don't, I don't know.

[Genevieve]

There is a tissue lab for genetic culturing, but it's mostly just harvesting sproutlings and seeds to see them grow. There's not enough.

[Josh]

Everything here is like experiment sized. It's not, we can't farm the iss, at least not for this many people.

[Trish]

Got it.

[Vince]

Unless you wanted to convert it into something. But there are definitely enough seeds. But that is completely your prerogative. This is an intense survival situation and it's nice that you guys are thinking about the long term, but you are having this conversation as you get close to Zvezda. The ISS is obviously a very small contain, so you're walking single file as you're making transitions from each one, doing your movements in zero G. As you're getting through. And as you get close to Zvezda, you actually are looking into the open area and you can see Dimitri's clipboard is kind of swaying in the midst of the zero G. And a long string that had his pen attached to it has been tied and wrapped around one of the chair backs and is just kind of listfully floating in the middle of this open service module.

[Trish]

Well that's not a good sign.

[Josh]

Dimitri.

[Vince]

You don't hear a response?

[Josh]

Where the fuck did he go? Okay, I want to go inside the module and look around.

[Vince]

Well, as you go into the module, kind of look around, you see that nothing's really out of place besides this floating clipboard that's kind of wavily moving around. Everything seems to be where it should be. My cheat sheet. Stacy, as you kind of get closer, you grab the clipboard and you pull it forward and look it up and you can see in Russian big red letters have been written. Do you know Russian?

[Trish]

Very, very small amounts from what I've needed as far as my interfacing right before I came to the iss.

[Vince]

Okay, you can definitely see and read enough for it to say I'm sorry, guys. What?

[Stacy]

What's wrong?

[Josh]

What?

[Trish]

This isn't good. There, as you can see. And I will pass it around so that everyone may examine the evidence. It's all red letters and very big.

[Vince]

Does anyone else speak Russian?

[Josh]

Just conversationally, because we all work together.

[Trish]

On the iss, see what you think. But from my limited knowledge of the Russian language, it looks like an apology.

[Vince]

Fuck.

[Josh]

I want to go to the comms on the wall that just intercom for the station itself and I want to hit the button and I'm going to call it. Hey, Dimitri, if you're on, of course you're on the station. Wherever you are on the station, get to a comms and ping us. I don't know what the fuck you're doing not being in Svetska right now, but we need you here.

[Trish]

I mean, do we think he just left? Like, gave up and left? Left?

[Josh]

Yeah, like went to the corner store? No.

[Vince]

What?

[Josh]

No, we're all. Okay, we're all tense, we're all kind of bummed out right now, but no, he's still on the station. There's nowhere else to go.

[Vince]

Right.

[Genevieve]

Well, you could have taken one of the escape pods and left us here. Oh, no, check the monitor. I mean, honestly, we don't have the.

[Vince]

Power right now with the emergency systems on, you won't be able to check statuses of anything unless you physically investigate them. Because at this point it's maintaining life support. With its red dim light, I can't.

[Genevieve]

Tell if it's gone or not.

[Vince]

The board's off. Yep, there you go.

[Trish]

No, I meant darkly. If you said I'm sorry and gave up and left to fucking float out in space until he explodes or whatever happens.

[Josh]

We had to have known there would have been some. The system would tell us. It always tells us.

[Stacy]

Okay, are there sleeping quarters we can check?

[Josh]

I guess. Okay, hang on, let me see if I can. I can maybe try and pull something up here.

[Vince]

Do you want to try to see? What do you want to pull up on the board?

[Josh]

I want to get this thing open.

[Vince]

You have literally access. I mean, you can turn on some of your power to go and check the systems. That is definitely an option.

[Josh]

I want to try and just get this thing open and temporarily get it running enough to check.

[Vince]

All right. It's a lot of dice.

[Josh]

Okay, that's we got a success and we Got one. One loss. Not rerolling that.

[Genevieve]

There you go.

[Vince]

One, One for me, two for you. So by all means, tell me kind of how you go through the process of getting the board up and running, basically going from reserve power or emergency power and giving it just enough juice so that you can check the systems, and then I will tell you what you see.

[Josh]

Okay. So I'm just describing how I get the thing on.

[Vince]

Yeah. I just would love to hear how you feel like your character. And if this is by the way, by all means, if it's too technical, since obviously we're all space astronauts inside of the this. But. But I'm giving you narration rights to be able to tell me how you get the power on.

[Josh]

Okay.

[Vince]

For a moment. Yes.

[Josh]

Okay. So I am one of the few mechanical engineers left on the station right now.

[Vince]

One might say the only yes.

[Josh]

One might say the only yes. So I, I, I get the panel open. There's an access. An access channel just underneath. I get it open, and I know that there is a. There's basically a mainline power grid that runs through the entire station.

[Vince]

Right.

[Josh]

It accesses through auxiliaries, every other system, but I can channel power off of the main line mechanically without having to go through the emergency system.

[Vince]

Basically just turning the spigot on in an area enough just to let it.

[Josh]

Yeah, it's a little bit Lego y. It's just reconnecting the line. It diverts power temporarily without having to reboot the entire system.

[Vince]

Great. So you divert enough power that you basically see the regular fluorescent lights of this module. Click on. In fact, part of the module that you're in, including the airlocks that are close to your area, as well as the engines that are used to correct orbit, which are right next to you, all kind of boot on for a moment. And you can see systems dialing and rebooting. And you do see The Airlock Hatch 1 is currently red as if it has cycled. Okay.

[Josh]

Technically, it might not mean anything. It's also, there are errors all the time. Technically, Airlock 1 is registering. It has been recently used.

[Trish]

Oh, shit.

[Vince]

It could be Poisk.

[Josh]

Poisk. It could be from an eva. It could be from a lot of things.

[Trish]

Great.

[Josh]

I don't want to jump to conclusions right now. Okay. But Dimitri's not here, so he's not responding to comms. At the very least, we need to try and still get this course correction done while we have time. We can look for him later. Yeah, but we don't have a lot else we can do. Right.

[Genevieve]

Now.

[Vince]

You do see that the notes that Dimitri has left are still on the clipboard that he's left into it. It's a ho lot of advanced astrophysics science. It's a bunch of gobbledygook for anyone who doesn't understand astrophysics. But there is some numbers on there that could make sense. So who wants to put in the course correction?

[Trish]

I mean, anyone good with this? I was president of Mathletes, but I don't feel like this is preparing me for this specific challenge.

[Josh]

I'm going to be busy just trying to keep power in this module, so someone else has to do all the inputs.

[Stacy]

Listen, I only have like undergrad level physics. I don't know.

[Genevieve]

Well, I've seen the schematics for it. I. I could try.

[Josh]

Okay, yeah, Just put in what's on the clipboard. It's not. It shouldn't hopefully be too complex. Okay, I'm gonna try and reroute power.

[Genevieve]

While you do that, I'm gonna take a big deep breath and kind of turn to the side and swallow my spit without anyone watching.

[Vince]

Of. Great. And you go up to the dimmed interface panel and you see the UI laid out before you. Three ones. Three ones. Four sixes.

[Genevieve]

But four sixes.

[Vince]

I will take those. I get one dice to see if I can steal narrative control. Nope, I can't. So. Okay, but please, why don't you take narration rights in this conflict?

[Genevieve]

So I take the clipboard and I start running my finger down the numbers and I very deliberately make sure I don't make any mistakes, because any wrong number can send us spiraling off towards the moon, can use too much fuel, too much boost, and if we go from too far to the left, it's over. So I run the entire numbers and luckily there's a safeguard check on the system when nothing will be finally inputted until I hit the button. So I double check everything. Everything looks to be normal to my knowledge, but I am not a navigational expert, but it looks correct. And I push the button to enter the coordinates.

[Vince]

So as you push in the button, you hear the of the outside engines, they boost up and you can feel the vibrations of the module that you're in just rattle ever so minor. It's good. But vibration and jet fuel is jet fuel. And you can feel as kind of the space station starts to make this slow pivot as it's making its course adjustment appropriately.

[Genevieve]

That's a $700 million turn, guys.

[Stacy]

How much time does that save us? Well, or how much time does it give us.

[Genevieve]

According to this, we're just back on regular track to continue the orbit around the moon. This just keeps us from careening into it because it keeps coming closer.

[Trish]

Okay, do we know where we are to finish the orbit around the moon and get back to the orbit around the Earth part, where we'll have the sun?

[Genevieve]

It looks like at least three hours until we get out of this darkness.

[Vince]

Okay.

[Josh]

At least what Dimitri was working on last was stabilizing the orbit so we maintain that new path. Granted, the moon is apparently moving, but this should correct us enough that we maintain our sort of cyclical trajectory long enough to figure out how we can get off the station or we can get help.

[Genevieve]

When three hours comes up, we'll be facing the Earth, and if we have a shot to get back, it'll be then.

[Trish]

I mean, I'm sorry to get dark here, but do we even really want to get back? Look, we've all been seeing where the moon's going. I feel like maybe, maybe the safest answer should somehow try to get people here.

[Josh]

Until what?

[Stacy]

We have no supplies?

[Josh]

How do we. How do we live on this thing?

[Trish]

I don't know. That's why I feel like that's what we need to figure out. I mean, if the moon's gonna slam into the Earth, that's not a viable option.

[Genevieve]

Standard operating procedure for these types of events is to just follow straight protocol, go with the navigational systems and continue the mission until we figure out an alternative.

[Josh]

The way these things usually work. One of the other Leslie was telling me about this. But the orbit is anomalous, obviously. The moon moving toward Earth is bizarre and crazy, but these things, because of the massive size of these bodies, tend to self. Correct. It's much less likely the moon will actually collide with the Earth than it will simply find some new oblong path as it eventually reaches equilibrium. Our best chance of survival is getting back to Earth. And there's a perfectly good chance everyone on Earth will survive, pending whatever else might be going on down there. I've been hearing some weird shit on the comms, but if we stay here, we're going to die. It's a guarantee. We have to try and get off the station.

[Vince]

Now. You mentioned Leslie. So what role does Leslie serve on the station?

[Josh]

Leslie is the captain of the ISS for the American team.

[Vince]

Got it. The captain of the American team. Okay. All right, great. So, and you know, that is something that Leslie has absolutely told you. I mean, it is Leslie, to make sure that no one makes any rash discussions at this point. But even Leslie has mentioned that at that point, the oblong orbit of the Moon at this stage will definitely wreak havoc upon Earth for sure. You know, going crazy with tidal floods and maybe even causing some unnecessary earthquakes that have been dormant for so long because the Earth's magnetic field is off. But that is their professional opinion, that everything should settle in at some point.

[Josh]

So it's better than staying here.

[Genevieve]

Well, there were 4 billion people in Earth and there were 40 in space, so I think our chances down there are a little bit better.

[Josh]

Yeah. Okay, next order of business, I suppose, would then be to see what we can do about this module you came in on to see if it's even viable to try and take that off the station.

[Vince]

All right, so let's say for the purposes of this, that that module that brought you in has been originally offloaded and garnished for supplies, but there is definitely a chance because of trying not to use all of the power, There is a chance that there could be more stuff inside of it because you've been. You've ostensibly kept it on lockdown this entire time. So if you want to go investigate to see if there might be some extra supplies inside of there, that would be great. I just want to know who is going to cycle the airlock to go inside.

[Trish]

Genevieve.

[Stacy]

Yeah.

[Josh]

Honestly, she's been on like twice as many EVAs as I have.

[Vince]

So it's time to get an EVA suit.

[Stacy]

Yep.

[Vince]

And it's time to go into the module.

[Trish]

All right.

[Vince]

Are you going out through piask, or are you going out through a different. Because the PIASK airlock in Prius, that is one of the areas where you can do docks. It's Rassvit and Piris, who are the areas where supplies come in at. So there's basically two different areas that you can have supplies come in too, that you could EVA out of to go to the module. So. Ooh. In fact, let's make it this. The reason you have to EVA out is because at some point there was an emergency system and it just. It just disconnected. And it's been managed to staying with you, but it's just kind of ever. So it's maintaining orbit with you, but it's away, so you gotta pull the module in.

[Genevieve]

I like that better.

[Stacy]

Okay.

[Vince]

Yeah, Cool.

[Stacy]

No pressure.

[Vince]

No pressure. But you can't drag it in. You have to just go into it.

[Stacy]

Okay.

[Vince]

You know, so you can carry what you can carry.

[Stacy]

Okay. So I'm putting on this suit.

[Vince]

Yeah.

[Stacy]

And then having to go out there.

[Vince]

Yeah.

[Stacy]

Carry things back.

[Vince]

Yeah.

[Trish]

Okay.

[Vince]

Yeah.

[Stacy]

All right.

[Vince]

Yeah, let's do that.

[Stacy]

Does it matter which one we go through anymore?

[Vince]

It doesn't matter.

[Stacy]

Okay.

[Vince]

No. An airlock's an airlock for the purposes of our story.

[Stacy]

Okay.

[Vince]

I'm sure the people who are ISS nerds will yell at me, ISS and then one one for me.

[Trish]

Yeah.

[Stacy]

Oh yeah. Yeah.

[Trish]

So do I have enough juice in my camera battery to film this?

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[Vince]

You tell me.

[Trish]

I don't know, honestly. But I'm gonna hit it a couple times because you know, that's how you get things to turn on. And I wasn't supposed to be the cameraman but that's fine and turn on my camera and just kind of watch as best I can with the.

[Genevieve]

I'm gonna say if you notice she's highly trained in the spacewalk apparatus with the EVA suit. It was provided by our stockholders and it's made at Michigan related factories.

[Trish]

It looks really good and these are the kind of exciting things you can do aboard the iss.

[Stacy]

Now before I go out, do I know how much time I have to.

[Vince]

Go in and out to go in and out. So you definitely with the air supply that you have on this multi layered EVA suit. You see this is where I have to get reality checked a little bit. So I'm gonna be very general and say that you are in the, you are more in the half an hour hour category than you are and then like the minutes category. Yeah. Because no proper EVA can be done in minutes. It probably. I've heard that there are spacewalks that can take up to a full hour. So we're going to work off of those assumptions since we're all just playing astronaut for the day. Okay?

[Stacy]

Okay.

[Vince]

All right.

[Stacy]

I'm testing my communication system.

[Josh]

Yeah, I'm gonna have comms open. I hear you. You're coming through fine. Just take your time.

[Stacy]

Okay.

[Vince]

Are you going out the same airlock? The one thing I think it is important. Are you going out the same airlock that was. That was mentioned that had the red alert on it, or are you going out the other one?

[Stacy]

I would say the other one.

[Genevieve]

Good idea.

[Stacy]

Red alerts are very.

[Vince]

So you cycle out and please narrate to me how you accomplish this spacewalk to get to the module effectively.

[Stacy]

So there's really like I'm just walking along the outside of the module itself, so I'm not out, just like using little tss.

[Vince]

You tell me, because this is part of your story as well too. So whatever I've given, feel free to elaborate, expand upon, or, well, not disregard.

[Josh]

So you're taking over story.

[Stacy]

Okay, I'm just going to try to run over as fast as I can.

[Vince]

Like just using your personal momentum as you're walking with the magnetic boots.

[Stacy]

Yes.

[Vince]

Okay.

[Stacy]

While keeping communications. I don't know. I've never done this before. You have to walk me through this.

[Josh]

Okay? No, you're doing fine. Just remember, I know it's been a while. Remember the training. Okay, you're closing in now. You're gonna want to reach out and grab.

[Stacy]

I see it.

[Vince]

Yes.

[Josh]

Grab the hatch there.

[Stacy]

Uh huh.

[Josh]

Okay, good. Now if you can work the door, there's gonna be a release of air when you open it because it's detached, but hold on. And then you can just pull yourself inside.

[Stacy]

Okay. Okay.

[Vince]

As you open and you cycle through this detached module, you go into it, you do see something out of the corner of your eye. It seems to be something, a shape, a shadow that's kind of. It's pitch black. But you do have the starlight and the little bits of the moonlight that is giving you a little bit of illumination in the void of space that you are in. But something is reflecting light.

[Stacy]

What the fuck is that?

[Josh]

Everything okay?

[Stacy]

I think. I think so now. I don't know. It just must be something I saw. I don't know. It's nothing. It's nothing. It's fine.

[Josh]

Jen, you sure?

[Stacy]

It's just something caught my eye. I'm not sure what it is.

[Genevieve]

Turn the camera over here. Magnetic boots brought to you by Myers Industry are the finest in the industry. And they can always be counted on, even in outer space. See, I told you.

[Josh]

Let's keep it going.

[Vince]

So you get inside of the hatch and you do see that while you had an opportunity to unload some supplies when the module first was docked into it and brought into the station, that it detached during the whole incident, we'll say. And since then, you've not been bothering to want to do this up to the. So you do go in there and you do see that there's about. I'd still less than a quarter of the original supplies that are still in there. But you get to carry what you carry. So what do you focus on?

[Stacy]

Food and water.

[Vince]

Great. You grab as much food and water as you can physically hold onto and you walk back into the module, you cycle through and you pull yourself up into the EVA suit and you're back now inside of the. Inside of the airlock module.

[Trish]

Wow. What a heroic moment. Genevieve, tell us what that was like.

[Stacy]

What? I'm sorry, I don't. I don't like being on camera. It was. Things are. There was supplies in there.

[Vince]

Yeah.

[Josh]

Guys, bigger problems right now. I know.

[Stacy]

Yeah. Really, we don't have time for this.

[Trish]

You are the hero. And again, we have another adventure here on the International Space Station.

[Genevieve]

Cast and crew is always on top of board and make sure they get the job done, folks.

[Stacy]

I can't fucking believe this.

[Josh]

Why are we letting sieves on here again? I don't.

[Trish]

It's really good.

[Josh]

What do you got?

[Stacy]

I just brought some back, some food and water. I don't know what technical equipment we might need or they might have. So I don't know if we need to go back out there, but for now, at least we have food and water.

[Josh]

Now. I really should have asked while you were out there. Okay. When you were in the module, if you were paying attention, there would have been a panel to your right. Even in low power states, it will give you a readout of the current status of the ship insofar as the onboard batteries go. Do you know if it read green? It would be just letters in green. Were you able to see that?

[Vince]

Why don't you roll to see if you're observant enough. This is a conflict that could be both and bad. So I'm all for it.

[Genevieve]

Conflict got you to the conflict. Cheek.

[Stacy]

All right, two for me.

[Vince]

I will use this opportunity to also take narrative rights or try to roll for narrative rights. And I actually have a lot of dice in this circumstance because you have four right now. So I get six let's see if I get more than two sixes, which I do not. I get one six, so it is still up to to you, Genevieve.

[Josh]

Tell the story.

[Stacy]

I saw that there was a green light, but something's odd. There was only half of the supplies that were in there.

[Josh]

I mean, we might have inventoried wrong when you guys first docked. I don't know.

[Genevieve]

The manifest is usually correct, but yes, absolutely, there could have been a few.

[Trish]

I mean, is it possible that our missing navigator may have absconded with some supplies?

[Stacy]

I did see something. I mean, it's silly. I don't know. I don't know. I just saw a thing and it just caught my eye for just like a second, but come on.

[Josh]

Okay, it's all. This has been a rough couple of weeks.

[Genevieve]

Space debris.

[Josh]

Yeah, it's getting to our head a little bit. This is not abnormal. We've trained for this. It's okay, sure, let's. The module has power, that's what matters. Yes, which means we could use it to try and get off the station, but we would need an incoming return trajectory, typically supplied planetside, and we'd obviously need to be able to get in there and start it. That usually requires it being attached to the iss. There are ways to make that work, but not with what we currently have with us.

[Trish]

Okay, so what are the next steps?

[Vince]

So to be something to kind of keep into it, because I do see more stuff, there is an opportunity here to maybe reattach the module. You do have a remote manipulation arm that's on the station, and it's usually used for very minute techniques, but for the purposes of our story, we could use it in order to basically either attach or reattach the module, or at least get it to a situation where it's easier to get to and from it to resupply. That being said, the remote arm uses power.

[Josh]

We do have the remote arm that assists with EVAs and docking. We could use that to reattach the module, or just try and guide it back and then attach it manually. But it's power hungry, and that means it would need to temporarily divert power from the only other system we have running right now, which is life support.

[Vince]

And more importantly, do you want to sit and enjoy this food that you just found as well too, so. Or water, whatever it is.

[Trish]

How long do you think we'd have to be without life support? I mean, is it sustainable?

[Josh]

I mean, it wouldn't, it wouldn't negate life support. We wouldn't necessarily run out of air or water. Cycling. But what it means is that it's going to operate in a low power state for the time it takes, maybe five to 10 minutes, tops.

[Genevieve]

Hopefully, if we only run one carbon dioxide filter instead of the normal two, the air will become lighter. We may become lightheaded, but we can turn it back on after. And that's the most minimal drain on the power, right?

[Stacy]

As long as we all do it before we pass out, yes.

[Josh]

The only difficulty being the fact that we now don't have sun access. The solar panels can't recharge while we're on this side of the moon.

[Trish]

Got it.

[Josh]

So if we drain it too much, the life support will not last until we come around the other side of the moon. It's mathy, but this might be our.

[Stacy]

This might be our only shot to.

[Josh]

Bring that back, though it almost definitely is our only shot, I think.

[Vince]

So at this point, then, if the plan is to use the remote manipulation arm in order to get closer into it, this circumstance, I guess. Who would like to remote pilot the arm?

[Josh]

Well, I'd like to take a second, actually. We did find food and water. I'd like to enjoy some of this for a moment. And then before we actually try and reattach the module, I'd like to take a tally of who is still on this ship.

[Vince]

Oh, yes.

[Josh]

Something happened to Dimitri, whatever that was, and we haven't heard from anyone else.

[Vince]

Leslie's been sleeping today, so I'd like.

[Josh]

To make sure everyone else is still okay and they're on board with this plan.

[Trish]

Okay. Do you want me to go around and take inventory? I mean, I can just kind of pose as if I'm getting statements from everyone about their life so we don't freak anyone out.

[Josh]

Yeah. If you can check crew quarters and the galley just to make sure everyone is there and accounted for. And also knows that we're going to be trying to get the module running.

[Trish]

Okay, got it. So I'm gonna start going around through the ship as I've known it in the approximately four to five weeks that I've been here. And just let everyone know that for our comprehensive reports that we are taking back to Earth, I would like a statement from them as to what their daily life on the International Space Station is like.

[Vince]

Great. So I'm going to say that beyond Dimitri and Leslie, there is one other person on the space station with you, and that is it. And everyone else has succumbed or fallen in one form or another in various different ways. Yes. Because, I mean, we're presuming at this point that. 1, 2, 3, 4, 5, 6. Making a lot of assumptions here at this point, but yes, I'm going to say the old. There's only one other person alive who's left on the station right now, presumably alive. And who is that?

[Trish]

The person left on the space station.

[Vince]

Is besides Dimitri and Leslie.

[Trish]

Besides Dimitri and Leslie is Annabelle.

[Genevieve]

Annabelle, yeah.

[Vince]

And what does Annabelle do on the station?

[Trish]

Annabelle is pretty far down on creepy doll on the comms team. So she's on the comms team, but she's more entry level as far as entry level gets to iss. So she's one of the best at what she does, but she's not high up the food chain.

[Vince]

So I'm going to say that you have not spoken to Annabelle in a while and it's because her outlook on this situation has taken her down a downward spiral so intense and so incredibly debilitating that you've actually had to sedate her a few times.

[Trish]

Jesus.

[Vince]

Because it has been so tough. Violent outbursts, yelling, screaming. And she was not at all claustrophobic in any of the tests leading up into this. She was a very reasonable, grounded engineer. But as soon as the prospect of not coming back to Earth was potentially a reality for her, it was like a switch just clicked on and suddenly she wasn't Annabelle anymore. Some wild feral thing that just wanted to get out of its cage. So with that said, are you going to go check on her?

[Trish]

Yeah, yeah. As far as everybody else that's disappeared from the space station in one way or another, as you said, am I potentially going around room to room and finding bodies or are they just not there?

[Josh]

Do you want to put it down to a conflict roll to see what we find?

[Genevieve]

It's so dark.

[Trish]

Well, I mean, how else are people just disappearing from the space station?

[Josh]

No, no, I agree.

[Vince]

And I'm actually just trying to decide. I'm just trying to decide how much I want to take control of this and how much I want to leave to this to a conflict roll. Yes, I know what's going to happen with or without the success. Okay.

[Trish]

We didn't lose any dice and we have won six.

[Vince]

Actually. This is your territory. This is 100% your territory, Stacy. So you get to tell me exactly how this goes down and I am more than happy to help you in this circumstance, but let me know, tell me who was left. And you have some assumptions about what happened to Dimitri. So was it a joined effort or did he make a decision on his own?

[Trish]

Well, I start going around from door to Door and sleeping quarters and offices. Because I don't know if people are choosing to work or choose to, in this time, spend time in their rooms and knocking on doors, I'm not hearing a response. So the first time I knock on a door and don't hear any response, I let it be. I figure they're sleeping. I move to the next one, knock on the door, don't get any response, try to knock again on the same door. Excuse me. Excuse me. Hi. I'm here reporting for the International Space Station, and I need a statement from you. Are you available? Okay, well, we'll. We'll be in the comms office. If you change your mind, move on to the third room, knock on the door. Uh, hello? Hi, this is Stacy Martell reporting for the International Space Station. Are you available to make a comment?

[Vince]

Go away.

[Trish]

Hello?

[Vince]

Why are you.

[Trish]

If you could just let me in for one second, I'll be very quick and not interrupt you at all. But I would also love to fill you in on some of the goings on here at the space station.

[Vince]

No. No. The answer is no. I'm not letting you in. I'm not letting you talk to me. Just go find your own room.

[Trish]

Do you need a shipment of resources, perhaps?

[Vince]

What are you, a fucking robot shipment of resources? No, no, I'm fine.

[Trish]

Do I know if this is Annabelle's room?

[Vince]

I don't know. Is it Annabelle's room? I'm not trying to pass it on to you. This is your success.

[Trish]

Sure.

[Vince]

This is your narrative rights?

[Trish]

Is that you, Annabelle? I wasn't sure if this was your room. I'm going around room to room, but. But honestly, I'm here to help. And you may have noticed that it's been very dark here lately.

[Vince]

Yeah, no, it's been dark. The world is dark. Everything is dark. And yes, I'm fine. I just don't want you to come in right now.

[Trish]

Okay. Okay. Then I won't come in.

[Vince]

Thank you.

[Trish]

At all. If there were a way to find some light, but it would require your help, would you be interested?

[Vince]

It. The pause is enough to maybe be a shrug. Maybe.

[Trish]

Okay. We're working on something really promising right now.

[Josh]

Okay.

[Trish]

And if we. If we need your help, would it be all right if we come back? We can talk through the door if you're more comfortable that way.

[Vince]

Sure. Just. I don't know. Just. Whatever you want to do, go for it.

[Trish]

Okay. Keep up. Hope we've got this.

[Josh]

Stacy, whoever you've got, bring them back to the airlock right now. We have something going on out here. We need you here.

[Trish]

Okay, I'm going to really quickly just run through the rest of the rooms and knock, hello, knock, hello. And just markdown who's not there. And I feel like I do get one of the rooms, the door is open, and I find absolutely no one in there at all.

[Vince]

No one in there at all. It's Leslie's room and they're not in their office at the moment. It could be somewhere else in the station, but at least all the sleeping areas that you've checked. You've heard from Annabelle. Okay, that's about what you know.

[Trish]

So then I'm going to circle back to Annabelle's room, and if the offer for help is still available, we could use you now.

[Vince]

Oh, God. Jeez, that was fucking quick.

[Trish]

Sorry.

[Vince]

All right, yeah, just let me get dressed. I'll be out in a second.

[Trish]

Sure, no worries. On the comm. Be there in a second. Bringing Annabelle. No one else is here.

[Josh]

No one. Okay, whatever. Just brief us when you're back.

[Trish]

Got it.

[Vince]

So you, Stacy, come back? Unless you want to wait for Annabelle to come into it.

[Trish]

I'm gonna wait for Annabelle.

[Vince]

Okay.

[Trish]

Yeah.

[Vince]

It takes a few minutes longer than it should to get dressed, but you kind of watch as Annabelle, she has, like shoulder length dirty blonde hair and she has just bags under her eyes like she's been crying for God knows how long. And she kind of pulls up her flight suit or over this dark tank top that she's wearing and she zips up and goes, okay, let's go.

[Genevieve]

For the record, let's just leave most of that questioning footage of the B roll, put it on the cutting floor.

[Trish]

100%.

[Genevieve]

Absolutely.

[Josh]

It's just Annie. Where is everyone else?

[Trish]

Didn't answer their doors.

[Vince]

Danny, they're gone. All of them.

[Stacy]

Wait, what do you mean?

[Josh]

I'm sorry, gone?

[Vince]

Why would they stay?

[Stacy]

Where would they go?

[Genevieve]

This girl's been highly sedated. Maybe she's a little bit loopy from the space, the travel.

[Trish]

No, no, it's a good story.

[Vince]

I mean, what, you just want to stay here? I heard you talking for a while ago and you're right. Why go down? Why even. Why even bother at this point?

[Josh]

Hey, we want to go too, but we want to fucking live, right?

[Vince]

Yeah. Good for you, Danny. I'm glad you've got this gumption to turn this tin can into your salvation.

[Genevieve]

Okay, Maybe it's time I go get some more sedatives. Annabelle, you might not be feeling as good as you thought.

[Vince]

Don't fucking touch me. Joseph. Sif.

[Josh]

She's fine, she's fine.

[Vince]

Just don't get anywhere close.

[Josh]

I watched Leslie go to bed last night. I saw her get in her cabin. Where is she?

[Trish]

Not in her cabin. That was the one door that I did open. I was sure if I would find a corpse.

[Vince]

She was trying to go do something in the hydroponics lab. Last I heard from her, for whatever it's worth. Close to your lab, she.

[Genevieve]

Genevieve. It's.

[Trish]

Hey.

[Vince]

Hey.

[Stacy]

That's worth a lot.

[Vince]

Yeah. Yeah.

[Trish]

Well, thank you.

[Vince]

What did you need from me? I mean, you said you needed my help for something.

[Josh]

Yes, we're trying to get the command that the module they came in on reattached to the space station. So we can try and jettison off this thing, right? Get back to planetside.

[Vince]

Yeah, it dislodged in the thing, sure.

[Josh]

Yes. You are the robotics expert here.

[Genevieve]

So?

[Josh]

So I need a little bit of assistance. I can jerry rig the thing to work, but I'm not great at controlling it. I just need a bit of help.

[Vince]

It's gonna take power.

[Josh]

We can give it power temporarily. I crunched the numbers. We can spare maybe 10 minutes without draining life support before we hit the sun again.

[Vince]

Alright. Well, I mean, however.

[Josh]

I don't. I know how this sounds. I was looking over the schematics and trying to compare them to make sure the module was in the right orientation to reattach to the station and I did. It could be anything. I saw something out there and it looked like what you said. You.

[Genevieve]

Floating space debris probably couldn't.

[Josh]

It might be.

[Trish]

It might be humanoid or mechanical.

[Josh]

Look, I could. I'm not trying to cause a thing, but I could have sworn it was moving. It's.

[Vince]

Do you want me to bring it in too? With the arm?

[Josh]

Danny, I'd rather not do that. But last I saw, it went around the other side of the module. What it could have. All I know is that space debris doesn't change your trajectory while it's floating around.

[Trish]

Okay.

[Vince]

All right. Well, whatever it is, there's not much we can do about it. So if you just want me to pull in the module closer so you can resupply easier, I'll do that.

[Josh]

Yes. Let's just reconnect the module. But we lock down the airlock until everything is secured and we know for sure.

[Vince]

So this is the point where I'm going to have you do the conflict roll. I think in this circle, since you're manipulating the power, let's just see how the whole Ordeal goes because I'm not gonna roll. For Annabelle at the moment, this is a conflict and you took the lead on it. So I'll take the 1 1, but you can have the 1 6. Go ahead.

[Stacy]

If you saw something and I saw something, we are potentially pulling that something in towards us. Are you sure you want to do this?

[Josh]

It's a risk right now that we have to take. We can lock the airlock down from the inside so it's inaccessible from the exterior. The function exists. We're not supposed to activate it because if someone's on an eva, they get shut out. But we can do that.

[Vince]

So let's go into this because I. I personally feel like that this whole process will probably exist. You did get a success onto it. So using Annabelle, you're able to reroute the power to get into the actual module. And she does use the robotic arm. It comes to life. You can hear as it slowly starts to manipulate and move its way down the module, which is still just slightly spinning, but still staying adjacent to where it is. You look through the security cameras that she's using to remote manipulate this arm. She grabs a hold of the module and slowly starts to guide it, ever so slowly back to where it is. And as you are getting it close to the airlock, it's taking time, but Annabelle seems to be savoring every single moment, guiding it and moving it back in.

[Josh]

Oh, come on.

[Vince]

This is delicate work. Just let me do it.

[Trish]

You're doing a great job.

[Vince]

And she puts the module back in place, using almost up the entire 10 minutes to get it into place. And at that point, the cameras have pivoted enough and you have moved into the light enough that you can see the thing that is floating into the breeze. And it is an EVA suit that is just dangling by a single cord that seems to be outside of the airlock that you did not go out of. It's much more distinct using the camera's robot arm. Fuck.

[Trish]

Dimitri.

[Genevieve]

Yeah, probably turn the camera off.

[Josh]

I don't know why he'd take a fucking eva. Okay, whatever. Okay, I'm gonna hold on.

[Stacy]

Leave him there.

[Josh]

I'm gonna reroute power back to lifestyle support now that it's attached.

[Vince]

It does. You probably have a 30 second buffer rather than a 10 minute buffer now.

[Josh]

Okay, so with the trajectory that we put the ISS on, we should have just enough life support to get us into sunlight again so we can recharge the batteries. We have the module attached now.

[Vince]

Can I go now?

[Josh]

Yes, you can just be there's something going on here. Just be careful, okay?

[Vince]

Yeah.

[Josh]

Stay in your bunk if you could. Or stay with us, but let's not get too adventurous on the station.

[Stacy]

I know this is a difficult time, but we're here for each other. We're all we have.

[Vince]

Well, I appreciate that, Genevieve, but I don't really think that's going to matter in the end. So. Good luck with your module. I hope whatever is in there gives you something to hold onto until then. I'll just. I'll be where I'll be.

[Trish]

Thank you.

[Josh]

If you see Leslie, can you let her know to come find us or hit the comms or something?

[Vince]

Yeah, if I see Leslie, I'll let you know.

[Josh]

Okay, thanks.

[Vince]

And Annabelle, just as calmly as if it was four weeks ago when nothing was wrong, just makes her spacewalk back into her room.

[Trish]

Hey, we got the job done. Okay.

[Stacy]

Hey, if we see anything, you get.

[Trish]

The camera rolling, okay? Yeah.

[Josh]

Okay. This whole plan about getting off the station when we reach Earth orbit again, it really depends on Leslie being here. I assumed she'd still be in her bunk, but we still need her in the module.

[Trish]

Annabelle said hydroponics.

[Josh]

Hydroponics, yeah. If she's in there, we need to go find her. I don't know why she's wandering around the station, but we gotta track her down.

[Vince]

Okay.

[Trish]

Are we going to do anything about Dimitri's suicide mission?

[Josh]

If he's wandering out there for as long as I think he has, it's done. I'm fairly certain he chose to be out there.

[Trish]

Okay.

[Genevieve]

It's not just. We're not gonna call it a suicide mission. We'll call it sacrificed during the operation. Technical failure in the suit.

[Trish]

Sure, sure.

[Josh]

People will know what happened here.

[Genevieve]

I got shareholders to report to. Okay, so when we make it back down there, if you ever want to have any more supplies put up here, you're gonna follow the protocol in the sop.

[Stacy]

You really think this doesn't really matter now?

[Genevieve]

I don't have time for this.

[Trish]

Or if we can get some kind of message to them down there, maybe they can send us more supplies. If the plan A doesn't work, you know there's always a plan B.

[Genevieve]

That's exactly right.

[Trish]

Plan C. Well, we're gonna be okay.

[Vince]

So does this mean, Joseph, that you're gonna be the one to go find Leslie and the hydroponics? Or are you going to leave that to the engineers and the scientists?

[Genevieve]

I will go find Leslie and the hydroponics. I'll go find her. Okay. Since you Guys want to sit here and figure out our next move? We have to save energy and we can't all move because there's not enough oxygen. Only one of us needs to take it up or more carbon dioxide will hit the atmosphere and we'll all be passed out and not going anywhere.

[Trish]

Good call.

[Josh]

Be my guest.

[Vince]

So you basically move to where some of the other laboratories are. There's the European laboratories that are on the other side of the station. So you basically do the clunk, moo, clunk as you grab ahold of each one of the sides and make this maneuvers. Getting to the other area where you know that the hydroponics and Genevieve's lab with all the microorganisms are currently at. And you get closer into the lab and you can see that Leslie is in there. And they seem to be hunched over something at the moment or currently look like they're deep into an observation of some time as you kind of get closer to where Leslie is. But at this point, you probably even have another full. Call it 15ft.

[Genevieve]

And I'm looking through a window?

[Vince]

No, you're looking through the doorway.

[Genevieve]

Through the doorway. Is it a closed doorway with them?

[Vince]

No, most of them are open. Most of the portals are open. Unless there's some kind of catastrophic failure, I'm going to say most of the portals are open in the circumstances. So.

[Genevieve]

Leslie. Hi, Leslie. My name's Joseph Myers.

[Vince]

I know. You look up and you look as Leslie turns around and you see there's blood covering her mouth at the moment. And she seems to have the corpse of one of your specimen rats in her hand at the moment. And there's a chunk that's been pulled out of it at the moment, Leslie.

[Genevieve]

I'm going to grab the portal door to the hydroponics and slam it shut immediately.

[Vince]

You slam it shut. Let's see if you do it in time.

[Genevieve]

No.

[Josh]

3, 6 fucking way.

[Trish]

Joseph is the man.

[Vince]

So, Joseph, as you grab, please. I mean, I guess at this point I have a whole bunch of dice that I could potentially roll due to.

[Genevieve]

The zero gravity as she's chewing.

[Vince]

And no, no, there's no way I.

[Genevieve]

Can let it go due to the zero gravity as she's chewing through the rat. These coagulated red bubbles are kind of floating through the air and it kind of. It's weird cause it looks like it's in slow motion. And her eyes are bloodshot with purple creases running through the white of her eyes. As I slam the door, she presses her face up right up against the glass and vomits against it.

[Vince]

And it just lifts up, and you can see the mixture of the mucus as well as the disheveled rat corpse is laid out. And she doesn't slam it very hard, but she throws her body against it for a moment before she pushes away and goes, as you watch her through the portal, through the smear of the yellow and red just gore that's there, and kind of goes back to the cages again.

[Genevieve]

I kind of look down for a second and I check and I look down the hallways, and I see them all not paying attention. And there's a couple emergency systems that can burn out anything in the room.

[Vince]

Oh, like a contamination fail safe.

[Genevieve]

Contamination fail safe. And since no one's looking, I put my hand on it.

[Vince]

Well, that's gonna involve you rerouting that power. And definitely, since you are not the engineer of this, I'm going to have to ask for a conflict roll on that as well, too.

[Genevieve]

I didn't touch it. I just put my hand on it.

[Vince]

Oh, on it.

[Genevieve]

Just put my hand on it. Didn't use it. I just put my hand on it. Okay, so I haven't made the decision yet, but I'm contemplating.

[Vince]

Will you let me know if you choose to hit that or not?

[Genevieve]

So cool.

[Vince]

Cool, cool, cool, cool, cool. All right. I think at this point. Genevieve, Dani, Stacey, Everything okay with you guys down there?

[Genevieve]

Everything okay?

[Stacy]

Yeah, yeah.

[Josh]

Have you found her yet?

[Genevieve]

Working on her right now. Just some with the door.

[Josh]

Okay. Hurry up, please. This place isn't a mansion.

[Stacy]

You sound weird. You don't sound like you're trying to sell me something.

[Genevieve]

It's the oxygen. I think it's starting to kick in.

[Josh]

He just is weird.

[Trish]

Slow breaths. You got this.

[Genevieve]

Thanks, Stacy.

[Vince]

Genevieve, it is your lab that he's so close to.

[Stacy]

I'm going to go down there to check it.

[Vince]

All right, so, Joseph, as you're sitting looking at this, knowing that you're gonna have to reroute the power before you hit this button, which should. I mean, it is the proverbial red button. It's not. And by the way, I should, for the record, say it's not one of those. We're gonna cleanse the room. It's a detach module airlock, and then just jettison it out kind of a situation. But you hear the boom, boom pong of clearly the rungs as Genevieve is making her strong velocity, and you can hear her more than really see her as she's coming up behind you at the moment.

[Josh]

Do we hear the thudding as well.

[Vince]

The thudding.

[Josh]

Yeah. Of her.

[Vince]

Not from this far away at this stage.

[Genevieve]

Dr. Genevieve.

[Vince]

You come across into it.

[Stacy]

What the fuck is happening?

[Genevieve]

The door.

[Stacy]

What is on the door?

[Genevieve]

Look, I don't know what's happening in there, but we can't tell anyone what's going on right now.

[Josh]

What?

[Genevieve]

I'm just gonna kind of like move my hand.

[Stacy]

I kind of move out of my way to check out what's happening.

[Vince]

I will tell you that the first thing you see is the gore, the red blood and the. The vomit that's all across the window at the moment.

[Genevieve]

I think. I think she's gone. I think she's. I know. I think she's gone. We can get rid of her. We can pull the button. We can. I don't know if we have the power. I don't know if we should.

[Stacy]

What happened to her?

[Genevieve]

I don't know. I don't know. I went to the door and.

[Trish]

Did you see her?

[Stacy]

Did you say anything?

[Genevieve]

I said her name and she. She was eating a rat and she vomited on the window and she's convulsing and floating through the air. I don't think it's a good idea we open the door right now, doctor. I don't think it's a good idea.

[Vince]

I think at this point. Raised voices. Yes.

[Josh]

Yeah. So I'm gonna also converge on the altercation running.

[Genevieve]

Jesus Christ.

[Josh]

What's going on?

[Genevieve]

You know, as you can see, probably. Fuck.

[Josh]

I'm also gonna go to the window and see what I can see through it in the door.

[Vince]

I mean, you peer through it, but it has coagulated and has run. It's made its smear. At this point, you have an opaque window at this stage. Opaque with blood and foam.

[Josh]

Is that Leslie?

[Genevieve]

I think it's what's left of.

[Josh]

What did you fucking do?

[Genevieve]

I didn't do anything, okay? I came over here and she was floating in the air to twitching and vomiting and eating part of the animal.

[Josh]

So you locked her. That's a medical.

[Genevieve]

If I didn't lock her in there, she's out here with us. Okay.

[Josh]

Fuck. Jesus. Come on. I'm going to open the door. All right, Give me those guys.

[Stacy]

I'm running to the lab.

[Vince]

All right. To the other end.

[Stacy]

To mine. To mine.

[Vince]

It's in the same. Oh, you're gonna go into the lab with Leslie.

[Stacy]

Oh, it's the same lab.

[Vince]

It's the same module.

[Stacy]

I'm opening it up.

[Vince]

Both doing it.

[Trish]

I am hiding behind.

[Vince]

Actually, we haven't seen. We haven't seen a roll from Genevieve in a bit. So if that was your choice, because it's your lab and your lab, if.

[Genevieve]

You two do this, you're in full control.

[Vince]

Oh, man. Okay, look, it's another day of sixes. Another day of sixes. Tell me what happens.

[Stacy]

I unlock the door and I'm trying not to slip over vomit and covering.

[Vince]

Just. It's less slipping and the more the effect that it's just.

[Stacy]

Oh, that's right. That's right.

[Vince]

Gravity is the gravity you're on avoiding it. And the smell. Oh, God, the smell. Oh, yeah.

[Stacy]

Fuck.

[Vince]

And you do hear the sound of eating as just. It's just something.

[Genevieve]

Close the door, Doctor. Close the door, Doctor.

[Stacy]

I just want to grab my.

[Vince]

All your specimens.

[Stacy]

All my specimens and my journals and everything.

[Vince]

You can definitely see as you're going and running for the specimens and getting what you can and trying to grab your organisms, you can see that clearly some of it has been smashed, broken. You do find your notes, your laptop, especially the one that's there. And as you get close to it, because of the proximity of these labs all next to each other, it's only like a station away from where Leslie is after having finished another one has now just taken it. And you can see this one is still alive. And it's squeaking as she kind of just looks at it, not looking at it, but past it and has her head over it. And you see the. As she just pulls. And you watch as bits of skin and tissue pull away as you can hear the crunch of bone. And she looks at you and she starts to speak. But it is not a language you know, and it is not a language you've ever heard.

[Genevieve]

Close the door, Doctor.

[Vince]

And you grab and she lunges for you.

[Genevieve]

Oh, God. Doctor, look out.

[Stacy]

Running out.

[Vince]

No ones. No sixes. This scene ends. She lunges for you and she grasps just enough of your coat to pull you and prevent you from making a quick escape to the. The door. Nine candles, nine truths. Good news, you have nine dice. Again, we need to speak some truths about this story. The first is the world is dark. That is for certain. Genevieve, since your conflict roll was the one that failed, you get to speak the first truth. Truth.

[Stacy]

I made it out the door.

[Vince]

You made it out the door. We're going clockwise, so Joseph, you are next.

[Genevieve]

I grabbed the door and tried to close it behind her.

[Vince]

You tried to close it behind her?

[Genevieve]

Yes.

[Vince]

Great.

[Genevieve]

Tried.

[Vince]

Stacy.

[Trish]

I maneuvered myself around Joseph and was able to close the door the rest of the way. That he wasn't able to close it.

[Vince]

You finished closing the door?

[Trish]

I finished closing the door.

[Genevieve]

Her fingertips were in the crease.

[Vince]

Your truth's already gone, though. But that's great. We can get into it. You dropped some of your organisms in the process of getting out through the door.

[Josh]

Upon the door closing, Leslie disappeared from view into an adjacent lab.

[Vince]

Leslie went to a causeway. Okay, great.

[Stacy]

Oh, do we keep going?

[Vince]

Yes. You're number six now.

[Stacy]

There's a noise coming from down the hall.

[Vince]

Okay, seven.

[Genevieve]

I noticed that the other door to the causeway where Leslie was headed is open.

[Trish]

We can't explain it, but all of us feel strangely drawn to the noises coming out of that room.

[Vince]

The sound. Oh, that's better. I like what you're doing with the sound. The moon is starting to crack. We pick up our story just as quickly as it ended. As you are outside of the laboratory module door, having just slammed it in Leslie's face. But in the map in your mind, you do know that there is another way around. There is another way out of this laboratory. And Joseph, you know that door is open.

[Genevieve]

Danny, we gotta get the door closed over there, okay?

[Josh]

Yeah, let's. We can probably beat her there. Hang on. Let's go. I want to move through the station.

[Vince]

Okay, move through the station. Go as quick as you can. Try not to hit your head on anything. Frantic spacewalks. Okay, good one for me, the rest for you.

[Josh]

So I hurriedly, frantically move through the crawlways, the walkways of the station, grabbing and pulling myself. I've done this a thousand times before. Yes. Redirect momentum to get to that other door where she might be coming through. And I arrive there, grab the door, ready to close it, knowing that she should have gotten to this point at exactly the same time I did her just before. As I'm closing it, I realize she's not here.

[Vince]

She's not here.

[Josh]

I don't see her in the labs at all.

[Vince]

Got it.

[Josh]

I still close the door. Yeah, but I don't know where she is.

[Vince]

All right, there we go. And then you report back to the group.

[Josh]

I got the door shut, but.

[Genevieve]

Lock it, Danny.

[Josh]

It's all locked down. But she wasn't.

[Genevieve]

She wasn't what?

[Josh]

She's not in the labs.

[Genevieve]

She's not in the fucking lab, Danny.

[Josh]

It's impossible that she got there before I did. Okay, it's double the length through the labs.

[Trish]

Okay, well, she obviously was influenced by something. Maybe she's moving slower.

[Josh]

Okay, that's the other thing that I wanted.

[Stacy]

We heard her, didn't we?

[Josh]

I don't know what that was down the hall.

[Trish]

Yeah, yeah, I thought I heard that.

[Josh]

Wait, did we all hear that?

[Vince]

I thought it was just me at that point. You can actually feel more than hear. You can just feel this shockwave just that rustles and moves and just vibrates the space station in a way that when an airplane gets turbulence when it hits some choppy air and it just shakes it ever so lightly as you come into it. And you peer out through a portal hole and you can see a crack, an apocalyptic crack as the moon is just cracked like an egg as it spider webs across its southern hemisphere.

[Josh]

What the fuck?

[Trish]

Okay. Okay, problem solved. Are we still thinking it will have an orbital root.

[Genevieve]

The moon is breaking around the Earth.

[Trish]

That would mess all that up, right?

[Genevieve]

The moon is breaking.

[Stacy]

What is happening?

[Josh]

It doesn't matter. It doesn't matter. We still have no choice. I don't know what to do about this right now. But we still have.

[Stacy]

Leslie was eating rats.

[Josh]

I am aware.

[Vince]

Tink, tink, Tink, Tink, Tink, Tink, Tink, Tink, Tink, Tink, Tink, Tink, Tink, tink, tink.

[Genevieve]

Start hearing debris from the moon. Small pieces of sand.

[Vince]

Start to small little tiny clicks. Just tiny pebbles that just seem to be cascading against the side of the ship.

[Josh]

This station is designed to withstand space debris moving at over a thousand miles an hour. As long as we don't collide into the main body of the moon, we will be okay. The trajectory is set, the orbit will hold. The moon's gravity is still there. We're going to be okay until we get Earthside. Once we're facing the Earth, we can try and get down.

[Trish]

I mean, will the Earth be okay?

[Josh]

If it's not, there's nothing we can do. We can't just duct tape the moon back together.

[Stacy]

You're right. You're right. We can't.

[Josh]

Okay. It's okay. It's fine. But Leslie, I wanted to mention.

[Vince]

This.

[Josh]

Is not actually the first time that I've seen that.

[Trish]

Wait, people eating rats?

[Josh]

It was.

[Genevieve]

It was what?

[Josh]

We had another guy once earlier. We called it just like a psychotic break. We assumed that he just went stir crazy. I don't know. Cabin fever?

[Genevieve]

You're talking about Derek Marcus?

[Josh]

But yes. How do you know about that?

[Genevieve]

Because I'm part of this company. And Derek Marcus was sent back to Earth for a reason. We were told he was sick. We weren't told he was eating rats and vomiting blood.

[Josh]

We thought the symptoms could manifest any Number of ways weird things can happen up here. It's desolate, it's isolated. But Leslie is now doing the same thing. And the things that she was saying that. That fucking gobbledygook. She was saying Derek was talking the.

[Trish]

Same way and he was sent to Earth.

[Genevieve]

Do you know what happened to Derek Marcus when you sent him back? Derek Marcus laid in a lab for two weeks until his body disintegrated.

[Vince]

Jesus.

[Trish]

How do you put a spin on that?

[Josh]

Okay, maybe. Maybe it's viral. Maybe there's some kind of pathogen on the station.

[Stacy]

We have to quarantine Annabelle.

[Genevieve]

We do.

[Vince]

Oh my God.

[Josh]

Fucking Annabelle.

[Genevieve]

We do.

[Trish]

Wait, do you think she may already be contaminated?

[Stacy]

She acted pretty fucking weird to me.

[Trish]

Yeah, but like not eating rats weird?

[Stacy]

Not yet.

[Josh]

If there's a chance.

[Stacy]

I don't want to take that chance.

[Trish]

Well, to be fair, she is kind of self quarantining at the moment. I don't think if we ask her to come out of her cabin that she will.

[Genevieve]

Small little droplet of blood floats by us all and I kind of move my head. Don't touch the blood. Don't touch anything.

[Vince]

Yeah, yeah. Actually I would probably go so far as to say that, you know, this small droplet of blood, they're micro, they're tiny, they're like beads. And you're not too sure where and how and when they came from. They are out here at the moment though.

[Josh]

Okay, we need to. Let's just get to Annabelle, make sure she's still in her quarters, check on her, make sure everything's okay. I'm not too comfortable with locking a person in her cabin if we don't need to. But let's just have a look, see how she's doing.

[Genevieve]

If you saw what we saw, you wouldn't call her a person.

[Josh]

If. If she has this. If this is even a thing we're.

[Stacy]

Speculating right now, at least just to warn her if anything.

[Vince]

So you all begin making a very slow and purposeful move as you get through the station. And the place feels so much smaller than it did previously. Every little corner, every shadow in this darkened red light, illuminated space just seems to scream that something is there in the corner waiting for you. And this oppressing deepening darkness that is constantly surround you is what is on your mind as you especially Genevieve, can just hear that voice, that just piercing, deepening, darkened voice that is in your mind as you get closer to where Annabelle's quarters are. And you just hear screaming as you get closer, just screaming as loud as they possibly can. Annabelle's voice. And she's just yelling, why? Why? Why? Annabelle.

[Josh]

Annabelle, voice.

[Vince]

Watch the ears. But the. You hear the. You just hear as the continued cries of her just yelling into just why? Why? There's no reason. It's just the moon. The fucking moon. Oh, God. And there's this delirium in her voice that you can hear as just. She seems to be crying or laughing. There's some bridge in between there that's so hard to tell. But, you know, there's a porthole in her room and she can see out. And you know that she probably has seen the same thing that you have. What do you do?

[Josh]

Okay, we need to sedate her again. She's going to be a problem.

[Genevieve]

Good luck with that.

[Vince]

Okay.

[Trish]

I mean, do we, though, can we just maybe leave her in her cabin? That's where she wants to be.

[Genevieve]

I am totally on board with that.

[Josh]

Agreement where she can hurt herself. I'm also trying to look out for her right now.

[Genevieve]

Better hurt than us, Danny, we're still alive on here. We still got a chance.

[Josh]

It doesn't have to be a dichotomy. It doesn't have to be one or the other. They're not mutually exclusive.

[Trish]

No, no, no, but we can find some compromise. I mean, she said she wants to be left alone, and we brought up that maybe she's already contaminated. If we go in, we would just contaminate ourselves. We have to look out for the greater good here.

[Genevieve]

She's exactly right, Danny.

[Vince]

At this point, you actually hear Annabelle's door opens at this point as she swings up open and you hear her scream, fuck you all. Just end it now. And she shoves herself past you and throws herself through the causeway as she starts grabbing ahold of pulleys and is just moving through the space.

[Josh]

I want to go after her as.

[Vince]

Fast as you can.

[Josh]

I want to try and catch her.

[Vince]

Catch her on the legs. You hear going, it's just the moon's gone. We're fucking dead. Everyone is dead. One for me, one for I. You take her, but you grab ahold of her legs. You get both arms around her naked feet as she's moving herself forward and she comes around and she's taking her arms and she's just turning around and she's just trying everything she can to wrest your hands off of her legs at the moment.

[Josh]

I want to pull myself up her body. Danny, don't put her arm around her throat.

[Vince]

No, just stop.

[Danny]

Just let it happen.

[Vince]

Just let it all happen.

[Josh]

I need you to relax right now, Annie. Relax, relax, relax. Breathe.

[Vince]

And she just takes another just adrenaline burst as you're clasping around her neck and she digs her teeth into your arm as hard as she can get some thinking, she bites into it and just starts pulling at you as much as you can. What do you do?

[Trish]

Just let her go. Just let her go and do what?

[Josh]

She'll bring the station down.

[Genevieve]

Choke her out, Danny.

[Vince]

Choke her out.

[Josh]

I'm trying it.

[Vince]

Choke her out. Okay. See if you can bring her to an unconscious state as she is digging into your flesh with every ounce of strength she has. One success.

[Josh]

One.

[Vince]

Okay. All right, tell me how it happens.

[Josh]

Okay. So I was hoping we'd be able to sedate her or that we'd have a less violent way of doing this, but she's given me no choice. And I tighten my arm around her.

[Vince]

Forearm and you can hear stealing the wind from her and she's. You fucking asshole.

[Danny]

You self righteous, egotistical pricks.

[Josh]

Just relax.

[Vince]

Stop, stop, stop, stop. You know everything. I'm sorry, I'm sorry, I'm sorry, I'm sorry. She passes out.

[Josh]

Fuck.

[Vince]

And you look down, it is bleeding. It is bleeding. She not only bit through your arm, but she bit through the skin. And you're seeing these tiny droplets of blood.

[Josh]

Yeah, I'm fine. Let's get her strapped to her bed and lock her door.

[Trish]

She's right, you know. We don't know everything. Why do we presume that we're the ones with the answers?

[Genevieve]

Because we're still alive.

[Josh]

Yeah, what's our alternative? To give up and die? Look, maybe this doesn't work. Maybe we launched the module and we just fucking hit the moon. I don't know. But we're definitely gonna die on here if we don't do anything.

[Stacy]

At least give her some food and water before we lock her in.

[Josh]

We'll put some in the room.

[Genevieve]

I'm gonna grab a medkit that was near the office that she just came out of. And I'm going to try and help suture his wound wrapping, which is basic gauze. And I'm going to pull a syringe from the same pack as well that has the very heavy sedative loaded into it. And I'm just going to hold it up and be like, well, we either inject her with this now and, you.

[Vince]

Know, so you just want to hold onto it with the syringe.

[Genevieve]

I want to inject her with the syringe.

[Vince]

So you put the sedative into her unconscious body and Then you, Stacy and Genevieve, you kind of take her body floating and put her back into her bed, leaving her with some food and water. And lock the door.

[Trish]

Sorry, Annabelle. We shouldn't have taken that choice away from you.

[Vince]

As you lay her down, you can see that she's been furiously writing in something in a journal that's close in hand, just penning away. They're just inked with tears at this moment, just all over it. You can see through her porthole off to the side. You can see as the moon is just coming into its orbit and it's just slightly peering through, but you can just see the distance between the chunk and the larger mass of the moon is just drifting just next to each other. Just like. Just like if you broke a cookie, just watching it peel away.

[Genevieve]

I'm gonna go through. I'm looking through her papers, trying to read what she said, and I get this kind of just. It's just the same sentence. She just wrote the same sentence over and over and over.

[Trish]

What does it say?

[Genevieve]

It says, shadows aren't only in the day, shadows are the night.

[Vince]

Two sentences. Shadows are only in the day, shadows are only in the night, and.

[Genevieve]

Shadows are only in. Shadows are in the day and shadows are the night.

[Vince]

Yes. Shadows are in the day and shadows are in the night.

[Genevieve]

Over and over. Yes, and over.

[Trish]

Well, you know, it's very poetic for being in the dark side of the moon.

[Josh]

Okay.

[Stacy]

She's not gonna survive in there.

[Josh]

We are down robotics, we are down navigation, and we are down a pilot.

[Trish]

And I mean, do we even know that the course correct we did before will be on the same trajectory now that the moon's mass is completely different?

[Stacy]

I don't know.

[Josh]

I'm not a physicist.

[Genevieve]

At this point, I have no idea. We can only cross our fingers and hope.

[Trish]

Okay, so I guess.

[Josh]

And if we want to do another one, if we want to try and alter the trajectory again and we have to drop power off the module to do that, then we can't launch the module.

[Genevieve]

If we disconnect the module and shut the power down, where Leslie was, was, we may be able to spare a few volts for another boost.

[Trish]

I mean, can we. Can we shut the power down? Pretty much everywhere else. I checked all those cabins and they were empty.

[Stacy]

We should.

[Vince]

So you want to isolate the.

[Stacy]

There's no sense in keeping power open right up and running.

[Josh]

We've already channeled almost everything to life support. We've shut down almost every non essential system on the station. Right now, the only things left are life Support a few lights and comms.

[Genevieve]

Turn off the lights.

[Trish]

Turn off the lights. Everywhere but maybe one room that we hole into. And turn off the life support. Maybe everywhere but one room that we hole into, provided that isn't some zombie plague. And now that you've been bitten and you start eating rats and.

[Josh]

Yeah, that's not a real thing. It's not a fucking. We don't even know if there is a disease. We know they both manifested similar symptoms, but a lot of people can get sick a lot of ways, especially up here.

[Trish]

Sure.

[Vince]

So if I'm hearing you correctly, you'd like to hold out inside of a module somewhere and turn off life support lights anywhere else. Where would you like that to be? You don't have to be specific to the map. You just tell me if it's. Is it a lab, is it a service module, is it a cargo block? What would you like to hold up into?

[Josh]

I suggest we leave life support on in as much of the station as possible, because if we leave rooms uninhabitable, we will not be able to get through them if we need to. That's not a solution we should take as plan A. Lights, fine, basic stuff like that, fine. But we need to be able to breathe in the whole station.

[Genevieve]

Right now we need to be somewhere where there's four doors around us. We gotta close the entrances.

[Josh]

The module right Next to Airlock 1, we can access the module, the launch module. From that point, we can also lock down most of the rest of the ship. The food and water can be stored in there. And I can put. And bring in the ham radio.

[Genevieve]

Do it.

[Vince]

All right, so you basically get together as much as you can to lock down the single modular. You bring in whatever you've managed to put together that you can hotwire directly into this radio, and you sit there in the red light and you wait.

[Trish]

Genevieve, I think I saw in the commotion, you pull a laptop out of your Oscar office. Do you still have that by any chance?

[Stacy]

Yeah, I mean, I grabbed everything that I could from my station. What room did I ended up leaving?

[Vince]

Well, it's all in the same area. If you have it all together, I'm assuming at this point you've all found a module, you've brought whatever you can bring into it, and you've shut the one door, the one exit out that you can get out into, and you've shut it and you've put the lights on their lowest setting and you've turn off life support everywhere but where you are. So whatever you manage to grab from your laboratory you have with you.

[Stacy]

So I do have my laptop and charger. I grabbed my notebooks and just some of the cultures that I could.

[Vince]

Shit. Shit it.

[Josh]

What?

[Stacy]

One of them's missing.

[Genevieve]

Which one?

[Stacy]

One of them's missing. Oh, God.

[Josh]

Okay, you dropped a sample. So what?

[Stacy]

So what? The whole reason why I'm here is to conduct this research. And maybe, maybe if we get it out alive, at least I have something to show for it.

[Josh]

It's still going to be in the labs. It's still in there somewhere. I'm sure we can.

[Stacy]

Do you want to go into where? Barfy McRat. Captain.

[Josh]

When and however we get help or the team is sent up to recover the station, I'm sure it'll still be there.

[Vince]

Time ticks as you stay inside of this module, and slowly, agonizingly, the minutes pass.

[Josh]

I'd like to be on the radios this whole time, just trying to send or receive any sort of signal.

[Trish]

And I'd like to, if Genevieve will allow it to be on her laptop trying to do the same.

[Genevieve]

I'm gonna be kind of just looking out the window, a little distracted, like my mind is on something else.

[Vince]

Right. Well, as you go and sit in your private moments, contemplating what you can, using the limited amount of power that is available to put this laptop to use, and using the radio to try to find signals, signals, wherever you can get. Just sits. Time stands still almost. But you know, it is passing and you feel like at some point you should be getting close to when you've broken the orbit and come into the light, but it doesn't come. The light doesn't arrive, and you still feel this omnipresent dark shape and it has this halo around it. Should you take the opportunity to go look at it.

[Josh]

Yeah.

[Vince]

And it's infuriating how much it's blocking your lifeline at this stage. And that's when the tinking, which at first was very light and minor, just every once in a while, a thunk, dunk, dunk, dunk. And it was the only sound to break the monotony of your key. Tapping and you tapping on the radio now starts to come in earnest. You can hear it. In fact, the first time you're really aware of it is when as something just collides across the side of the modulator. And as you hear it, just metal, just for a second, and hissing. Small, minor, just tiny bits.

[Genevieve]

Something hit the airline outside. Danny. We're spewing oxygen into the atmosphere. Danny.

[Josh]

Okay, I'd like to. Can I hear any sort of distance in terms of the hissing.

[Vince]

It's in this room.

[Josh]

It's in the room?

[Vince]

Absolutely.

[Josh]

Okay. I'd like to explore the room to try and find where a leak may have emerged.

[Vince]

Two ones. No successes.

[Josh]

I'm actually going to burn.

[Vince]

What is it?

[Josh]

A trait? It's my vice.

[Vince]

Greedy.

[Josh]

Greedy?

[Vince]

How do you want to apply greedy into this situation?

[Josh]

That's a good question. Well, I mean, we haven't determined success or failure yet. So should I roll this, see if I actually succeed, and then go from there?

[Vince]

If you think it'll help.

[Josh]

Yeah. Let's see whether or not this even goes well to begin with.

[Vince]

No. No.

[Genevieve]

Does not go well at all.

[Vince]

So thus ends our scene. Eight candles, eight truths. First, the world is dark. This conflict has failed. Danny, you cannot find the air leak. You don't know where it is, and there's some greed that is invoking inside of you right now. Something's happening. There's. There is a truth that needs to be spoken right now. And it is an opportunity to leverage your vice if you so wish. And you do have the first truth.

[Josh]

While exploring for the leak in the room, I sequester off a small pile of supplies, water and food, in a storage cabinet to use for myself should I have to attempt an escape alone.

[Vince]

You hide supplies somewhere, Genevieve.

[Stacy]

We're still. We're still able to breathe for the time being.

[Genevieve]

I look out the porthole and I see Leslie floating by.

[Vince]

4, 5.

[Trish]

I have uploaded all of my camera footage. I've transferred it all to Genevieve's laptop. In the time that we're sitting there, assuming the worst.

[Vince]

Leslie is still moving.

[Josh]

The hissing stops.

[Stacy]

I can still hear that noise.

[Vince]

The voice or the noise? Genevieve, year seven. Which means, Joseph, you get the last one. Last truth.

[Genevieve]

The voice is getting louder and undeniably loud. Like it sounds like it's going from a yawning moan to metal churning and like a gear moan. Like it's a mechanical human, like, groan.

[Vince]

If I may, because I've been in this setting a few times already. It is a hum. It is a deep, throaty, full blown hum. As if, like, have you heard Tibetan throat singing?

[Josh]

Yes.

[Genevieve]

Double double harmony.

[Vince]

That double harmony attitude. It is a sound, but it's not human in that kind of throaty way. But it is resonating, guttural, deep. And it does seem to be on itself as far as harmony. He goes. Yes. We pick up our scene immediately where we left off. You are looking, Danny, frantically, for whatever this sound is. And you use this Opportunity more to sequester supplies away than you are really to truly find the leak that is around there. It's. Something inside of you is clicking. What are you thinking right now, Danny? What is going on through your brain?

[Josh]

If there's a leak in the hull, we're not gonna survive much longer at all. But if it comes to it, if everyone does succumb or things go south, I need to be able to try and get off this station, even if it's alone.

[Vince]

Okay, Stacy, you have a laptop filled with media content right now. The power's low. I know what you want to do. So just tell me. Tell me what you want to do.

[Trish]

I need to. And for Genevieve's sake as well. This holds our legacy. And if this is the end, this is all that's left of us. And your work. And your work and all of our work. And if there is anything left on Earth, we need to somehow get this footage. There.

[Stacy]

There's a problem with there's limited power supply. And you're choosing to be on that right now?

[Trish]

I mean, would you like to take the lithium polymer battery out of this laptop and somehow use it to.

[Stacy]

Well, actually, it still needs to be.

[Josh]

There is a problem with that. We should have seen the sun by now. We've come around the far side of the moon. Maybe the math is wrong, but this is when we'd be in sunlight.

[Vince]

Okay.

[Josh]

And I don't see the sun.

[Trish]

Sure, sure. Well, you know, like we discussed, the trajectory would be off because of the moon splitting apart and stuff. But that doesn't mean that we're never gonna see the sun, Right? Just means that. Not when we calculated.

[Josh]

It's. It's supposed to be right there.

[Genevieve]

Yeah, it will be right there.

[Josh]

It's thing in the sky.

[Genevieve]

It will be right there.

[Stacy]

It's moving slower.

[Genevieve]

Yeah, maybe. Maybe we need another boost. Maybe we lost time when whatever hit us hit us and it spun us off.

[Trish]

Sure.

[Genevieve]

I can look at Dimitri's notes again, but I don't think anything is left that can help us.

[Vince]

So there's a couple of options here, considering. If I'm interpreting what you would like to say, and just using the knowledge of the space station at hand. You're right. And I'm going to say, for the purposes of this, you've been running off laptop battery not pulling from the grid. The battery's low. It's to the point of where it's on sleep mode. You've got maybe a couple of hours before it is dead.

[Trish]

Sure.

[Vince]

You can boot up the Flight module again, you're in the. We're going to say you're in the same room that you did it the first time so you can reroute the power again to go check out the flight mode module and use the boosters to recorrect course again. Probably will be nearly the end of your power and, yeah, we'll leave it there. I'm also open to what everyone else wants.

[Josh]

Trying to course correct right now means we'd be doing it blind. We don't have a navigator, and it means virtually draining the life support.

[Trish]

It also, I mean, we don't even know what. What the mass of the moon is right now, or, you know.

[Josh]

No, it'd be a guess. It'd be literally just taking a shot in the dark.

[Genevieve]

Well, a shot in the dark is better than floating forever in the dark.

[Stacy]

It's better than doing nothing.

[Josh]

Not if it drains our life support. We're already down to dregs right now because of the gambit we pulled trying to get the module reattached.

[Trish]

Okay, so the other option then, just to play devil's advocate, is to leave the life support on and have it run as long as it can. And what hope that an envoy from Earth comes up here with more supplies?

[Josh]

The other option, now that we've appeared around the far side of the moon, is to try and use the module to.

[Vince]

Jesus. Just as it slaps again, another large crease just collides right into the capsule yet again.

[Genevieve]

Dani. She's outside. She's outside.

[Josh]

Who's outside?

[Genevieve]

Leslie's outside.

[Vince]

And at that point, you can hear hands just scratching along the side of the metal casing as something just seems to be taking a wet hand and running it, as if taking it across a newly washed car as just.

[Trish]

She's alive outside.

[Genevieve]

How did she get outside?

[Josh]

I have no idea. Okay. There's a lot going on right now. There's no way we can stay on this station and survive. We need to get on the module and try and get off. You guys have a return path programmed into the module. This is not where we intended to launch from, but if we can repurpose that, we may be able to get us onto a safe return trajectory.

[Trish]

Okay. And just to explore options, I know we don't have a lot of time, but, I mean, Leslie seems to be able to survive out there. If Leslie can survive out there, then maybe we can.

[Josh]

I don't. That's not really what I'm getting from that personally. Okay.

[Vince]

Okay.

[Stacy]

I don't want to be like that?

[Josh]

No, there's something going on with her.

[Stacy]

I really don't see any other way right now.

[Vince]

So is it to the module?

[Trish]

Yeah, if that's what everybody wants to do. I'm on board.

[Josh]

We got to get off the station. We got to go.

[Vince]

Okay. All right. Okay. So that involves opening the door up that you have locked and going back into the station, which currently has zero light and zero life support.

[Josh]

Well, no, I think we left the life support running, but turned all the lights off.

[Genevieve]

Yes.

[Vince]

I see. Okay. So as you come to the door, you start to pull it open, and you clear the airlock, and. And you see the darkness of the International Space Station laid out in front of you. You can still hear the movements.

[Trish]

Do the movements still seem to be following us?

[Vince]

It's just sound. It's just sound, Stacy. And when you're in a tin can, it feels like sound is coming from you everywhere at this point. And as you open the door, you can feel the brisk, musky air of the stale air that is from the station wash over you as this dank, humid air follows you.

[Josh]

I'd like to search some of the supply panels along the side of the walkways for a Maglite or just a big flashlight.

[Vince]

Okay, go for it.

[Josh]

You've got to be shitting.

[Vince]

One. One. No Sixes. That's your hope?

[Josh]

Yep.

[Vince]

Yep. No. Thus we end our scene. Seven candles, seven truths. We first start with, the world is dark. Denny, you seem to be taking a lot of the first truths lately, but I implore you to do it yet again. What is the first truth?

[Josh]

I did not find a handheld flashlight, but did find an LED headlamp.

[Vince]

So. You found the headlamp. Mm. All right, Genevieve.

[Stacy]

I grabbed a utility pocket knife.

[Vince]

Grabbed a pocket knife. I.

[Genevieve]

Made sure the EVA suit was still intact for a spacewalk.

[Vince]

So are you just. Is there a truth that you're checking EVA suit?

[Genevieve]

Yes.

[Vince]

Okay. Absolutely. 4.

[Trish]

The sound of Leslie's hand, presumably on the outside of the space station, see, seems to follow us as we move through the hallways and into different chambers.

[Vince]

You haven't seen the sun yet because you're on a collision course with the moon.

[Josh]

Ham radio, though largely silent until now, has started flickering to life with a voice I can almost make out.

[Vince]

Last one.

[Stacy]

The darkness feels suffocating.

[Vince]

Dany, as you are leading your crew through. Genevieve, Joseph, you've grabbed whatever you can to go into it. Stacy, you have your ears trained on this door, this module that you're in, and you swear to God it's following You. You can just. With your mind's eye, just picture Leslie out there using whatever grip they have. Momentum, just hugging onto them, pulling themself across for all that it's worth. Genevieve, that noise. The dark humming into your brain. It wants you to take that knife. It wants you to hold it. It feels safe. It's so comforting to have it in your hand right now. Stacy, you want something. You need something. This. The fact that Leslie is so close to you, it terrifies you. There's something going on in your mind right now. It's more than just why you came up here. What are you thinking?

[Trish]

I am trying so desperately to find hope right now. In everything that's going on, when it seems like all is lost. And in my mind, there's always a solution. There's a solution to every problem. You just have to find it.

[Vince]

But you're having a hard time finding that it right now.

[Trish]

Sure.

[Vince]

I mean, I'm asking you.

[Trish]

Yeah, I. Starting to go places that don't make a lot of sense, only to have a place to go.

[Vince]

Right. Danny? As you lead the crew out going through it, you suddenly hear the ham radio flicker on and it.

[Josh]

Hello? Can you hear us? Can you hear me?

[Vince]

Oh, God.

[Josh]

We're on the International Space Station. What's going on down there?

[Vince]

You continue to hear static as something continues to come on. And you finally hear a different voice, something else. Clasp a pawn. And you hear it. We know true one dark. They come from one three don't go towards. And someone. It's not good information, but someone's listing something. Truths that seem to be laid out.

[Josh]

Okay, well, the radio is working. I'm hearing someone, but it's not making any sense. The signal's not strong enough right now. Okay, we gotta. It'll get better as the orbit gets closer to Earth.

[Trish]

It's something.

[Josh]

It's something. And I can try and tweak it and boost the signal, but first we gotta get to the pod.

[Vince]

Are you bringing it with you? Yeah. All right. So you exit through the door.

[Trish]

Yeah.

[Vince]

And you go through.

[Josh]

And I'm taking point with the point.

[Vince]

With the light so you can keep looking through. And as you kind of are again grabbing and moving through with your emergency light. And it is the one piece of white light that you've had so far in this entire moment. Everything has just been red emergency lights for weeks at this point. This one bright white light is just so stark. And just to see color, just to see a spot, small amount of normalcy as you're looking across the space station is both gratifying and also jarring at the same time, as normalcy is back. But it is not. Dani. As you continue to move and you move forward, you see the module in front of you and you know that you have to go down in order to get into where. So you need to move up and then go down into the space to get to where you're connecting and could potentially disconnect away from it. And as you're moving forward, you get closer and closer. And then that's a moment when a head lifts up and you see the eyes, just a hand block its face, and it's that dark, dirty blonde hair that you know of to be. As you continue to see blood across her mouth, and it looks like her stomach has been torn in from the inside. And you can see pieces of her flesh just seem to be coagulating. And something in her stomach is wiggling. It's physically moving. As you see something just flapping in the zero g as it makes its way up into her body cavity. And she just starts shaking her head and convulsing as she looks up and she grabs a rung and flings herself towards you again.

[Josh]

Jesus, fuck.

[Trish]

Can we all see that or are we single file?

[Vince]

Right now you're single file through, but you do hear it. You do hear the convulsing, you do hear the tiny, tiny screeches of something.

[Josh]

So I'm. My intent here is to literally, as.

[Vince]

A reflex, just clock her right as you do one. Several successes. Ooh, two ones. All right, tell me how it happens.

[Josh]

Okay, so she's rocketing toward me right now, using the momentum from her push. And I focus the on her face, which appears to really get to her. And as she's coming up, unable to see where she's going now, I just reflexively reach out and just catch her right in the temple.

[Vince]

All right, you just give her a right jab as you watch as you connect with her temple and her head just hits the side of the module cabinet as it just bounces. And you see as her body is disoriented as it starts doing small turns in the zero G. As you look at your hand and you look at the blood upon your hand and you step back and your momentum does not stop even with the clocking. In fact, if anything, that momentum pushed you towards the other direction. And you find yourself bong. And you feel metal clasp against your lower back as you impact against the side of the module. And all of you tumble like a chance. Who didn't get off the slide in time and you just all buckle into each other as you slowly all pool into a group right in front of this open space.

[Trish]

Can we see Annabelle's body?

[Vince]

It's spinning. It's tumbling.

[Genevieve]

I see her body spinning towards an unused portion where an airlock is. And it's a two door system. So she's going towards the first door. And we're lucky because the opening device is close to me to open that door.

[Vince]

Are you lucky?

[Genevieve]

Am I lucky?

[Trish]

I'm taking out my camera and using what juice is left to try to film what Annabelle looks like right now.

[Stacy]

And my knife is out, ready to attack if that doesn't work.

[Vince]

Got it.

[Genevieve]

So I'm rolling to see if I can open.

[Josh]

Does he get one more die?

[Vince]

Yeah.

[Josh]

Okay, There we go.

[Genevieve]

So I'm rolling to see if I can pull the latch that will open the first door.

[Vince]

You want to get her in that airlock?

[Genevieve]

Get her in that airlock.

[Vince]

Let's see how lucky Joseph is getting Annabelle.

[Genevieve]

I'm gonna look at her in the camera and I just don't. I don't give a fuck anymore.

[Vince]

Whatever. Yeah, you push her in. Wow.

[Josh]

Wow.

[Vince]

Three successes.

[Josh]

So you're making all of the rules.

[Trish]

From now on, right?

[Genevieve]

I got those. V. Dave dies, I guess.

[Vince]

Yeah. So you, yes, you, please take it away from me. I get a couple, I think.

[Genevieve]

Okay. So after Dany punches her, she screams and her head rattles against that. But he comes hurtling back into us. We all fall in the zero grav, but I grab my arm on the side of the tunnel and just instinctively I hit the airlock button. So the first door just pow, violently opens up. Pow.

[Vince]

And just whacks her and just smashes her. Okay.

[Genevieve]

Off the side.

[Vince]

I like that. So this idea that you are basically like you had mentioned, she was part in there, but you just kind of watch as. Because it's all in emergency power. There's no safety protocols inside of this. The emergency airlock ostensibly pins her into the airlock and. And you can see this distended gore, as I mentioned earlier, coming from her stomach. And it just is oozing now over the top of the airlock as it seems to pinch and it's going into her system and you can hear a tiny squeal. It seems to be there, but her body is more just looking around and it is taking pieces of her own flower and shoving it into her mouth as she is staring towards you, but not towards you as she's looking into this thing. This thing that's staring in front of her.

[Josh]

Okay, we gotta move. We gotta move, guys.

[Genevieve]

Come on.

[Trish]

Yeah, yeah, yeah, yeah.

[Vince]

You go past and you throw yourself down and you can see as you get within arm's length. She makes a grab, but very haphazardly, almost as if it doesn't matter at all because there's stuff here. And she puts it back into her mouth again. As each one of you descends into the module and you find yourself in a tiny entry module that was used to come up into the space station. It's probably the size of this table.

[Trish]

Can we seal off what that looks like? I want to seal it off.

[Vince]

You seal it off and the four of you sit in this cylinder, this squat cylinder. As you open it is blackness. It is darkness inside of here. What do you do?

[Josh]

Okay.

[Trish]

Okay. Yeah. Yeah. We're going to get out of here now.

[Josh]

Nothing's getting through those doors.

[Stacy]

Is everyone okay?

[Josh]

Yeah, we fine.

[Vince]

Are we good?

[Genevieve]

I'm all right. I'm all right. She didn't scratch you or anything, did she?

[Josh]

I mean, not that time.

[Trish]

She bit him before.

[Genevieve]

No more wounds.

[Josh]

Okay.

[Trish]

Did anyone get a good look at what was in her stomach?

[Josh]

Yeah, I don't even. I don't want to think about it. There was something, but I heard something inside her.

[Stacy]

It was like. Like squeaking, but not.

[Genevieve]

Look, when I told you that Derek Marcus disintegrated, I. I wasn't being 100% truthful. What actually happened was Derek disintegrated, but not all of his body. Something was left behind. There was something new. That wasn't Derek.

[Vince]

Did it speak?

[Trish]

Could we communicate with it? Is it in Area 51?

[Genevieve]

I don't know. Because that type of information was way beyond my pay scale at the time. But I do know that whenever they brought Derek home, whatever they buried wasn't Derek.

[Josh]

Okay, we have to assume this is probably happening in a lot of places. Right now, I don't think it's just us. But our best chances of surviving are still away from this place. Even if we have to try and pilot this thing mostly manually.

[Trish]

Sure.

[Genevieve]

We need to get out of here.

[Stacy]

They knew that that happened to him. That that means nobody's coming for us.

[Trish]

And why the hell did they send us up here after that?

[Genevieve]

There's people coming for us. There's people coming for us.

[Vince]

So are we going to Genesis in this thing?

[Josh]

Well, I'm going to take a minute first to just tally up what basic supplies we have with us now.

[Trish]

Sure.

[Vince]

You have about a quarter of what actually I would say, yeah, about a quarter of what was originally brought up because it is the handful that you took back and used was a blip in it. At the same time, the supplies that you may have squirreled away, I mean, I don't think you brought those with you. So it's basically what you have inside of here. There is enough food, there is enough water to last quite a while.

[Trish]

Okay.

[Josh]

Okay. Next thing is if we're committing to this. I want to reroute the remaining station power to the module, make sure we're fully topped up, and the life support systems in here will last as long as they possibly can. I can overclock the systems a little bit.

[Vince]

Let's overclock the systems a little bit, please. Look at all these beautiful engineering roles you're making. Danny, don't make me roll. Unless you want someone else to do the engineering for you. Unless Genevieve's feeling a little sassy and not wanting Danny to feel like he's got the grasp on everything right now.

[Josh]

Wanna work the power?

[Stacy]

You know, if your arm is. If I'm getting.

[Josh]

Yeah, I'm a mess.

[Stacy]

If I'm questioning, I'll talk you through it, what your arm's looking like, right?

[Josh]

I'll talk you through it. It's those wires.

[Vince]

16, 1 1. Okay, Genevieve, you've done this once before with the robotic arm. Having Danny talk you through it. Tell me how it goes down.

[Stacy]

Danny, what do I do?

[Josh]

Okay, so first things first. We gotta pull out the main line for the module here. It's designed to route power cyclically, but we need to have it siphon power off the station instead. Okay, we're still connected. We're still latched, thankfully. So you can just reverse. I'll show you that switch there. If you switch that, it reverses the polarity and it pulls power from and Sunshine Lake.

[Vince]

You're able to get it together and put into it. And you do feel the power come into here and you flip onto the emergency red.

[Stacy]

Oh, I think I got it. I think I did something nice.

[H]

Great.

[Josh]

Okay. We should be topped up now.

[Vince]

It flickers. It just flickers ever so slightly.

[Genevieve]

Oh, shit.

[Trish]

Is it supposed to do that? It's fine.

[Josh]

It's fine. The system is not designed to hold quite this much juice, but it can.

[Trish]

Okay.

[Josh]

This will give us as much time as we can possibly have in a module this size. So now it's just launching and let's see. The built in trajectory is designed to take you on a return path, but not launching from this position. We're going to have to do some manual jockeying here.

[Genevieve]

This is the module me and her came up in.

[Vince]

Yeah. Okay, great. So you're going to disconnect and then you're going to start moving it around as much as you can. Great, then let's disconnect. So you basically, Danny, look at everybody as you go into this. And as you said, we're ready to do this. You take the. I don't know what these things look like, but for dramatic purposes, a big old lever. Just a big old lever. Just an airplane open the door ever. That kind of attitude. And you just. And you feel it just slowly coming away as you watch the ISS just drift away from you ever so slowly. That's when you can start to see just how much it's getting pommeled. You have a single view viewport for this. I should make it abundantly clear.

[Genevieve]

So all our heads are huddled there.

[Vince]

It's literally about this big. As all of you are kind of going through it. And before the ISS stays away from your view. You can see as it's just being pelted with rock and debris. And that's when for a singular moment, you watch as a bright light just hits your viewport. And the sunlight is so bright and jarring and intense as you've pushed away from the space station. It's just a single beam and it just kind of hits against the wall as this beam of sunlight crests as you move just 100ft or so away. Wow. Okay.

[Trish]

And we have no solar panels on.

[Josh]

Here, but we have power. We have a lot of power in the module.

[Trish]

We do.

[Josh]

And this was always the plan.

[Trish]

Yeah, yeah. And you know what's funny?

[Genevieve]

Module's batteries have a shelf life of at least. Of at least 40 hours.

[Trish]

Great. Cool. Cool. You know, I feel like in every sci fi movie you watch, you know, like the goal is to get to the space station so that you're not out on your own, and then you get there and you find the aliens. Right. And then the goal is to get back off. And we did. And this should be the happy ending part. We're heading to our happy ending part.

[Josh]

It might be, I hope. Yeah, I'm hoping it is, except the Earth's cracked.

[Stacy]

People are dying.

[Josh]

The moon's cracked.

[Trish]

The moon's cracked. We don't know that the Earth is.

[Stacy]

The moon's cracked.

[Trish]

Right, right, right.

[Stacy]

We left Annabelle our cruise.

[Josh]

I think she's better off right now.

[Trish]

I don't know how much was left of Annabelle.

[Stacy]

Leslie just contracted something and was just floating around.

[Josh]

All of us are given emergency training in the event that we lose the pilot. In the event that we lose the station. Yes, we all have a basic understanding of how to get the module down, but it relies on quite a lot of guesswork. We're supposed to have contact with Houston or Moscow the entire time, which we don't have right now. We have no one to talk us through this.

[Stacy]

And that's considering if we had a normal gravitational pull, which we don't.

[Trish]

But you brought the comms, right?

[Josh]

I have the radio, yeah.

[Trish]

Okay, that's something.

[Genevieve]

This module is equipped with several fail safes. Not all of them are apparent or maybe even ready right now due to our power. But there is a possibility that the pre routed course could still be in the nava system, the navigation system. And if we can get enough juice on the solar panel, we can triangulate where we are in relation to the orbit and maybe the computer can plan a boost. We have enough power to make it happen.

[Josh]

Let's see if we can dig it up.

[Genevieve]

But maybe we have to manually get further into the sun first.

[Vince]

I need that so that if you're going to plot any kind of manual course to get into the sun. There is no solar panels in the module. I'm so sorry. But as you mentioned, the module does have some power and you do have a little bit of fuel left in those boosters, so.

[Josh]

So let's see if we can get that navigational chart pulled up.

[Trish]

And if we can get around and more into the sun, maybe the comms will start working.

[Genevieve]

We can just start to burn towards Earth.

[Trish]

Yeah, yeah, yeah.

[Josh]

We're in space, so all we need is a push and momentum will take us the rest of the way.

[Vince]

All right. Is that the thing then?

[Genevieve]

This is the push.

[Vince]

This is the push towards Earth.

[Genevieve]

Towards Earth.

[Josh]

My man.

[Vince]

One for me.

[Genevieve]

So close.

[Josh]

So now if you have a virtue or vice active, you can burn it to reroll the one.

[Genevieve]

My top is my virtue is what I'm going for is my wish is the top.

[Vince]

Whatever you have on top is what you can roll for a rerollable one.

[Josh]

So you could consume that and it becomes part of the solution, but you can reroll the die that landed on.

[Vince]

A one one one.

[Genevieve]

Let's do that, I guess. Right, Right.

[Vince]

Give it to me.

[Josh]

It's a choice.

[Vince]

What's the virtue on top that you're burning?

[Genevieve]

Activate the nuclear warhead. Disrupting the moon.

[Vince]

So that's what's on top. Your moment, my moment. Your moment. Is on top.

[Genevieve]

Okay.

[Vince]

Yeah, you can't burn that.

[Genevieve]

So then I can't do it then, unfortunately.

[Josh]

Okay, that's fine. We succeeded.

[Trish]

Yeah, we succeeded. And I want to watch what Joseph is doing. Just kind of prepping for the worst to make sure I know how to do it.

[Vince]

Yeah, you're looking at it and. Well, what exactly what are you doing, Joseph?

[Genevieve]

I'm sweating. I'm beginning to sweat profusely. And in my brow, the droplets are kind of just. They don't fall because we're still in zero G, so they just kind of float upwards. And the small window is starting to get steamed from all the body heat of us inside and not enough oxygen. And I kind of pull an Apollo 13 when I just put my hands on the booster thrusters and I just peek out the window. And that darkness, darkness. And then a sliver just goes right behind as soon as it hits my eye.

[Vince]

All right. And you go straight, you just see that sliver and you just gun it and you boost through whatever you have left and you hit it for, you know, and you don't know if you went through all of it, but we're talking 1, 1,000, 2, 1,000, 3, 1,000, let it go. And you can feel the momentum. You can see as the space station just. And disappears, as do things in space do so quickly. And you're watching as the moon now coming into your purview, into your tiny port. You see, it just is a huge planet, and you're this close to it. You can see the crack. You can see it split, the craters of the moon as they are. You can watch, as you can see, it seems to just. The crack just seems to be drifting just next to each other. And you can swear to God, you can hear them crunching together as just rock on. Rock is just like slowly creasing on each other. And you can see that at this point, the Moon is starting to tilt in a lopsided way as it's just beginning to spin as this crunching rock is into it. And it's enough of a spin that you can physically still see it from the altitude that you are. You go.

[Josh]

Now. The module is designed to survive reentry into atmo.

[Trish]

Great.

[Josh]

And once we hit that, the friction will slow us down. We're coming at it at a pretty good angle right now. And once we're through, through all the tough stuff, the chutes will deploy and we land. I have no idea where we're going to touch down, but hoping it's not open water or Something. But we can deal with that when we get there.

[Vince]

So you are all together in this place, all four of you crammed in this cylinder as you ride through the void of space.

[Josh]

I'm getting back on the comms now that we can actually see the Earth a little bit and try and make contact with someone.

[Vince]

Yep.

[Trish]

I am on Genevieve's laptop. And fortunately, this is the type of laptop that has a SIM card in it. So if I can access any kind of cellular data connection from anywhere we are, then I could potentially connect.

[Vince]

I would. I would have to think about that for a hot moment. I know. I know. I want it so bad. But.

[Genevieve]

When he talks to himself, shit hits the fan, you know that it's gone.

[Stacy]

We're gonna die.

[Genevieve]

We're gonna die.

[Trish]

Yeah.

[Genevieve]

But in space, no one can.

[Josh]

Hear you scream, but they can watch you explode.

[Vince]

Throw a SIM card in there and try to see if by some chance you get some kind of satellite connection.

[Trish]

Okay, I'm gonna take the SIM card from my no longer powered cell phone, but take that and plug it in too.

[Vince]

All right.

[Trish]

No successes. Can I burn?

[Vince]

Do you have a virtue on the top?

[Trish]

I do have a virtue on the top.

[Vince]

What is it?

[Trish]

Insightful. Okay.

[Vince]

So.

[Trish]

Knowing that I could not connect to anything with the SIM card that I had in what I was originally accessing was US Data connection. I try international connection, because the SIM that I was given was through the International Space Station program, which is obviously from a lot of different countries going a different route, trying to take what I know and apply it.

[Vince]

So there's this funny thing about EMPs. You were high enough to maybe not have it be concerned, but you find nothing. You sit as you watch that little spinning disk as you attempt to connect to a network, and you watch it as you wait for that dial to turn to anything. Bloop. Your computer goes dark. Six candles, six truths. Stacy, we start with you first. The world is dark.

[Trish]

The laptop is out of power, and any data communication we could have hoped to have other than radio, is no longer an option.

[Vince]

Oh, yes. That was very clear.

[Genevieve]

The.

[Vince]

Module clockwise. So that's okay. You will have a chance it you.

[H]

Chose to hit play on this podcast today. Smart Choice. Progressive loves to help people make smart choices. That's why they offer a tool called Auto Quote Explorer that allows you to compare your Progressive car insurance quote with rates from other companies so you save time on the research and can enjoy savings when you choose the best rate for you. Give it a try after this [e-mail] Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy, if you've ever shopped online, and let's face it, who hasn't? Chances are you've bought something from a business powered by Shopify. You know that purple shop pay button you see at checkout? The one that makes buying so incredibly easy? That's Shopify. And there's a reason so many businesses sell with it. Because Shopify makes things easier and not just for shoppers. They make it easy to start and run your business. Shopify is the commerce platform behind 10% of all e commerce in the US from household names like Mattel and Gymshark to brands just getting started. It gives you a leg up from Day dot with hundreds of beautiful ready to go templates to express your brand station so you can get up and running fast. You can tackle your important tasks from inventory to payments to analytics and more all in one place. You can also spread your brand's word with built in marketing and email tools built for you to find and keep new customers. And remember that iconic purple shop pay button that's used by millions of businesses around the world. It's why Shopify has the best converting checkout on the planet. Your customers, customers already know and love it. If you want to see less carts being abandoned, it's time for you to head over to Shopify. Sign up for your $1 per month trial and start selling today at shopify.com realm. Go to shopify.com realm shopify.com realm.

[Trish]

There.

[Vince]

Is a beam of light coming from the earth.

[Josh]

The radio now has a clear signal.

[Stacy]

I'm growing very concerned about the wound forming in your arm.

[Vince]

Would you like to speak a truth about the wound?

[Josh]

You can establish like pure canon.

[Stacy]

Oh, it's infected.

[Josh]

First time.

[Vince]

Yeah.

[Genevieve]

A piece of the moon is going to hit the module.

[Vince]

6.

[Trish]

The food we have on board looks to be not as much as we had thought initially.

[Vince]

Six candles, six truths. The world is dark as you crest over the edge of the moon and it is like coming across the horizon of the earth like this could be some nature documentary in which they give you those wonderful space shots as the earth comes into light. But it is the moon. And you see the blue marble that is our planet come into focus as you are now making that return orbit from the moon's trajectory. And let me tell you something to really give you an idea of perspective when I mean the little blue marble we've all seen pictures of. You know, the earth looks like where the Moon is. I want you to instead imagine a world in. In which through your tiny porthole, you see one half moon. And coming out from the blackness of space, you see the Earth fill up your entire field of vision. Everywhere from the porthole, as far as you can see up, everywhere from the porthole, as far as you can see down, as these two contrasting colors now barely being illuminated by the sun's light. And it is being interrupted as it is more from when your module hits the sun for a hard second and you get the porthole before it comes back into darkness again. And they just. It is an otherworldly sight. You are probably looking at the moon being rather than thousands of miles away, more like hundreds of miles away from each other. What do you do?

[Genevieve]

We are way closer to the Earth than we thought.

[Trish]

Guys, that's great news.

[Vince]

It's fine.

[Josh]

As long as we can get into.

[Genevieve]

Atmo at this speed, we're gonna burn up. There's no way we can enter the atmosphere.

[Josh]

It'll still slow us down enough. The parachutes will take care of the rest.

[Trish]

Okay.

[Josh]

We probably have a little bit of fuel left to compensate if we need to.

[Trish]

Sure.

[Josh]

It'll still be a little while off. So let's focus on right now, Danny.

[Genevieve]

There are pieces of the fucking moon falling from the sky.

[Josh]

And there's nothing I can do about that right now.

[Genevieve]

But if we keep going down, Danny, there's not gonna be anything left. We have to go around.

[Vince]

Bong, bong, bong, bong.

[Genevieve]

Look, look. I'm gonna pull him to the porthole and I'm gonna show you how close the Earth is.

[Vince]

And it's one of those. You only catch it every few seconds. Cause it has to make a full rotation and come around. But then when it does, and it does take a while, so you catch a second of it before you leave the purview of the Earth. And again, we're imagining a world in which you're getting a slow pan of what is in front of you. You see blackness, you see space, you see darkness. And as you come around, you do see just these giant chunks of space rock that just seem to be floating. And they're large, but they seem to be getting bigger as they are coming somewhere. And it is now an asteroid field that you've looked at as you see that the moon has just done another chunk and has splintered. And you now see what was once open space is now a debris field of moon rock laid out in front of you.

[Genevieve]

I have an idea. This module was equipped with Certain modifications not necessarily known in the Geneva treaty. And by that I mean we have options. And by options, I mean we have nuclear options on this ship.

[Josh]

What?

[Genevieve]

The company decided as a fail safe method that a small but extremely potent warhead would be attached to the module. If Hiroshima and Nagasaki were a hundred. This thing's a 10, but it still packs a bang.

[Stacy]

Okay, so decided that that.

[Josh]

Fucking game to you guys.

[Genevieve]

Shareholders and bonds. We thought it was a good idea. Just in case something needed to happen in evidence. I mean.

[Stacy]

In case what needs to happen? In case the moon needs to be more. More broken up into pieces.

[Trish]

I mean. Okay, okay. What can we do with this information? We could fire it at potentially a piece of debris to knock it off course or something. But then. Scary. If we do re. Enter the atmosphere and burn up, wouldn't we turn into a nuke?

[Genevieve]

The shockwave would send us flying. We'd be disintegrated in seconds. We have to figure out a way.

[Trish]

Oh my God.

[Josh]

A warhead the size of the Tsar Bomba would not be enough to send the moon on a different course. It's like altering the rotation or orbit of a.

[Trish]

Not the moon, but maybe. Maybe a piece of moon debris. I mean.

[Josh]

At what cost? Then we're gone.

[Trish]

Would shooting it off in one direction change our trajectory? Would the motion, yes, in one direction make us go another direction?

[Josh]

It has an equal chance of destroying the capsule. You'd have to time that flawlessly.

[Vince]

I get what you're getting at with your hopes here, Joseph, and I totally understand it. But I want to understand that there is a tiny mini nuke that you've put inside of this thing. A p. A tiny pea shooter nuke that's somehow into this thing. Correct. I mean, I'm into it as I always am.

[Genevieve]

Let's call it maybe not even. It's not even necessarily a nuclear missile. It's just concentrated uranium which could be detonated.

[Vince]

It's still splitting atoms. It's a nuclear reaction. Is a goddamn nuclear reaction. Whether it's Nagasaki or whether it is A area 51. Yes. So whether it's a test. Any case, I'm still down if you are. But how are you going to do this? To try to create a reverse physics effect to try to get you into or clear through the debris Debris field. What is the plan?

[Genevieve]

If we jettison the warhead, it has a remote detonation that we can time for 30 minutes from now. 30 minutes or an hour should give us enough time to clear the blast radius. It's just A thought.

[Vince]

If.

[Josh]

If this is timed flawlessly. Yes, the shockwave would give us a little boost in the direction we'd like to go and clear some of the debris heading towards us. It could work. But that is such a slim chance. I need to reiterate.

[Trish]

What else do we have?

[Vince]

I do enjoy slim chances as far as conflicts go. So this is the perfect chance of something could fail. And let's see if it does. By all means. Joseph. Wow.

[Josh]

My God.

[Vince]

1 6. No ones. Briefly tell me how this thing somehow manages to work.

[Genevieve]

There's a timing device in the warhead that I can set for an hour. And it's already based in the module as like a torpedo bay. When it'll just launch on its own. It has its own self operating systems. It will carry itself. It won't drain any more of our power. But it will go off in an hour. No matter what.

[Vince]

You successfully launched it does not mean it has to detonate. But you did successfully launch it. Fair enough. So I'm going to give you your hope dice for whatever it's worth. Can't believe I'm handing you a hope dice for sending off a nuke. But that's ten candles for you.

[Genevieve]

I work. I tried to make it work.

[Vince]

Yeah, no, it's all good. It's all part of the story.

[Trish]

So does that mean that that hope picture is burned or.

[Vince]

I'm gonna leave it there on it at the moment. Because what is happening if we get down to the brink, which is something that can happen. The hope dice will go away if he fails with it. But we're not there yet.

[Genevieve]

Thank your corporate overlords.

[Vince]

So it out and we leave it there. You have half an hour. You have an hour. Hour. You have an hour until this thing goes off.

[Josh]

Knowing what might be coming. I'd like to hop back on the phones and try and establish a connection to Earth now that we're so close and the moon is no longer obscuring us.

[Vince]

Okay, you do get. I mean the static is clear at this point. It is not faded, it is not clear, it is brisk. And you are going through the channels as much as you can. And you are consistently getting static over and over again. And you occasionally going through each one. There's no repeat broadcast, there's no emergency system. Those things you heard, those truths earlier, they are not there. But it does stop. And you do hear something. And it is that humming again. That deep, throaty, royal. And it is so intense in fact you can even hear a higher pitched harmony like something shrieking in the background. The more you listen to it, the more you dive deeper into it, the more you can hear tiny, unique sounds. It's almost like. Like listening to the sound is like gazing into a mandala. And the more you stare at it, the more you listen to it, the more you can hear. And the deeper you go.

[Trish]

What do you hear?

[Josh]

It's this noise. I unplug the headphones and switch on the speaker on the ham radio.

[Vince]

It pops onto it and you just hear it. It's just this resonating, this sound upon sound upon sound. And it is.

[Josh]

It's on like half the channels.

[Stacy]

What is that?

[Vince]

It is piercing. Stacy. It hurts so much, Joseph. It drives you insane. It feels awful. It just is off putting in a way that you cannot even imagine.

[Genevieve]

Can you turn it down?

[Trish]

Turn it off.

[Genevieve]

Turn it off. Turn it off. Danny.

[Josh]

Nothing else. It's just that.

[Genevieve]

I mean, I've never felt anything like that before. It's like it eats at your mind.

[Vince]

Upon taking another path on the Earth. You're close enough now that you can see the Pinheads. Just the single black columns and areas in which there isn't cloud cover. And oh, by the way, should I tell you, the storms. Oh, the storms that are above the Earth. These swirling hurricane like clouds that are just every once in a while covering the seas. And in the areas in which you can see down to the ground below, they are just like blackheads across the face of the Earth. Just little pockmarks. But it is so consistent. It's geometrically perfect.

[Trish]

What is that?

[Josh]

Is this happening everywhere?

[Trish]

What are those things? You know, I would think maybe they're, you know, craters from debris hitting. But it's too.

[Vince]

They're all perfectly aligned or uniform.

[Genevieve]

It's like. It's like they were there all along.

[Josh]

Guys, I. I hate saying this out loud, but what if. What if we're it? What if this is it? What if something happened down there and we're. We're what's left?

[Trish]

I knew we should have tried to grow plants on the space station.

[Josh]

Maybe we missed the worst of it. Maybe there was. Maybe it happened and then it's gonna be over. And then we can make something out of the Earth. Even if it's just us.

[Vince]

Wow.

[Stacy]

Even if we make it, what is left? What? Nothing. Nothing is like what it was before. We don't know what that is.

[Josh]

I don't know. I don't know.

[Stacy]

We were pulled into different orbits and now we don't know what life is like down there.

[Vince]

Oh, fuck.

[Stacy]

What's wrong.

[Josh]

Kind of just hurts. It stings.

[Trish]

Yeah.

[Stacy]

Let me look at it.

[Genevieve]

This can't be a coincidence. This can't be a coincidence.

[Stacy]

Jesus fucking Christ.

[Vince]

It's swollen. You can tell it's discolored at this point. I mean, infection is, you know, usually something that takes a little while in order to get through, but this seems to already be putrefying.

[Trish]

How.

[Stacy]

How are you just okay with that? Right now.

[Josh]

I'd really prefer this wasn't happening, but I can't.

[Genevieve]

You need to fast forward.

[Josh]

Do you have anything on board?

[Genevieve]

We need to make him a tourniquet so we can cut the blood and just stop the swelling. Just here.

[Josh]

Then I'm gonna lose the arm.

[Genevieve]

Better lose the arm than lose all of us.

[Stacy]

Yeah.

[Trish]

I mean, you saw the tentacles coming out of the middle of Annabelle, right?

[Genevieve]

If you want to be a corpse with a squid arm, well, that's your prerogative.

[Vince]

Okay, are we. Are we committing some kind of major surgery, right, or just tourniquet.

[Josh]

We're starting with tourniquet.

[Vince]

Okay.

[Genevieve]

This is a tourniquet.

[Vince]

Okay.

[Genevieve]

She has a knife.

[Stacy]

I was like, I do have a knife.

[Josh]

I'm gonna pull my belt off my suit and just tie it around above the elbow.

[Vince]

All right? You tie it up around the elbow, and you put all the pressure on it and you. I mean, it's. The tingling of the lost blood is now more. You're feeling it just as much as the actual pain itself. So I would like to see, though, because I do so love a good dice roll. Genevieve. I would like to see how well this is doing.

[Josh]

As long as it's not me.

[Vince]

One one, two six. Two sixes. This tourniquet is doing its job.

[Josh]

Okay, how much longer until that thing explodes?

[Genevieve]

45 minutes.

[Josh]

Okay, let me check on the power. Hang on. I want to see how the power and life support's holding up.

[Vince]

Power and life support's fine. It's taking some time and it's going through, but, I mean, under normal circumstances, I would say all system's okay.

[Genevieve]

We'll touch the atmosphere in 30 minutes. That's a 15 minute.

[Vince]

No, no, no, no, no, no, no, no, no, no, no. You see a porthole, a hand onto it, streaking.

[Genevieve]

It's fucking Leslie.

[Vince]

And it opens, and you can hear pounding onto it, and you hear a gurgling voice. I mean, God, if you. You don't. Oh, you don't hear it, but you can hear it, and it's just saying something. It is saying something. You can't tell what it Is it is awful. Awful right now, but it pierces into your mind and it sounds something like Let me in. Let me in.

[Stacy]

Fuck that.

[Vince]

And these hands are pulling and you can hear it is pounding everything you can, but it doesn't sound like a fist pounding against the module. It sounds like a rock being pounded into this steel over and over and over again.

[Josh]

There's no way she can get in. This whole thing is solid machined steel and aluminum.

[Vince]

There's no way.

[Josh]

There's no way.

[Stacy]

How is she alive?

[Genevieve]

There's no way.

[Trish]

Yes, that is the question.

[Josh]

She'll burn up when we hit atmo.

[Genevieve]

Yes, great.

[Vince]

Great.

[Trish]

Should we try to enter atmosphere? Sooner than 30 minutes.

[Josh]

Then there's nothing else to propel us.

[Vince]

All right. Are you going to wait it out? Wait for this thing to go down.

[Josh]

I want to see if there's any more juice in the engines.

[Vince]

Well, you can turn it on. You won't be able to know, but you can turn them on and put it on if you want.

[Josh]

I wonder, is there a way.

[Genevieve]

There's a way for her to. Hopefully. Maybe she's over by the engines that boost her off.

[Josh]

If she wanders that way, we can try and turn him on and just give her a push away from the module.

[Stacy]

How are we gonna get her to wander that way? Someone start knocking on the.

[Genevieve]

Someone tap on the window.

[Josh]

Yeah, let's try and get her attention.

[Trish]

Okay, Okay, I got it. And I'm gonna tap on the window and. Leslie, Annabelle, whoever this is, we can hear you. What is it that you want? How can we help?

[Vince]

And so you hear the. It's something. They are talking to you. But they are not speaking in any voice you understand. You are hearing and it is shrieking. It is piercing. But you feel more than you understand this draw towards the earth. It wants you to go to the Earth. It wants you to just let it happen. Come into is so safe. If you just let them in, everything will be okay.

[Trish]

Can I tell if they mean let them in, let them into the Earth's atmosphere or let them into.

[Vince]

They are telling you, Stacy. You will be spared. You will be great. Granted the final passage. If you just let me in and let them go. They are not for the next place. But you are. We know what you've done. We know that you are chosen. And if you would just let us in, then you will ascend.

[Trish]

Guys, Leslie's still in there. I can talk. I'm communicating somehow with Leslie. We can't just.

[Vince]

What?

[Trish]

We can't just let her die.

[Genevieve]

Out there, we.

[Trish]

You gotta let her in.

[Genevieve]

You're not talking to her.

[Josh]

Are you fucking nuts?

[Trish]

I am. I am talking to her. I can hear.

[Stacy]

Leslie.

[Trish]

And I'm gonna lunge for anything that's gonna open these.

[Josh]

I'm gonna lunge for her.

[Vince]

Yeah, it's great.

[Genevieve]

Oh, my God.

[Vince]

So technically, this is a conflict. Definitely is a conflict. But it's against two people who wanna go into it. So in the purposes of telling the absolute best story, I would like to see Dany, who wants to hold her back, roll this to see how it happens and how it goes down since Stacey, for this. So please, 1 6, 1 1, you grab Stacy, you hold her with all of your might. I'm going to roll one arm, by the way. Yeah. And you grab her and you hold her. And Stacy is still rambling at you. Stacy is going for this airlock.

[Trish]

Stacey, we have to save Leslie.

[Vince]

What is wrong with you?

[Josh]

If you open the door, you'll vent the module. We're all gonna die.

[Genevieve]

Stacy, calm down. Stacy, just.

[Trish]

Can't we just open it enough to let Leslie in?

[Josh]

It's space out there.

[Trish]

I'm trying to save someone, okay? All we've been trying to do is work to survive here. How can we not do that?

[Josh]

You wanna survive?

[Stacy]

You wanna leave that door closed? That's not Leslie out there.

[Josh]

If you open the door, we're all gonna get sucked into space.

[Genevieve]

Then who's alive, Stacey?

[Josh]

Who's left?

[Genevieve]

You're in here with us. You're not out here with her. You're in here with us. You're not out there with her.

[Trish]

She should be in here.

[Josh]

Don't listen to her.

[Trish]

She should be in here.

[Genevieve]

She should not be in here. Stacy.

[Trish]

She should be in here.

[Genevieve]

You saw her.

[Josh]

She's not right.

[Trish]

I'm gonna see if I can get free from his grasp. And instead of lunging to the. To the hatch, I'm gonna try to go back to the. Like, the porthole.

[Genevieve]

The porthole.

[Vince]

Okay. This one's for you.

[Trish]

Okay? I'm gonna try to go back to the porthole and escape there. 1 6.

[Vince]

All right.

[Trish]

So I wrestle free of Dany's one arm and shove him away from me and go back over to the porthole and tap on it and say, leslie, I can hear you. I'm trying to let you in. Please remember that. I'm trying to let you in.

[Vince]

And at that point, you see the rock that Leslie had been holding onto, and it comes down upon the porthole with as much effort as can be managed as it just. Can you watch as it spider webs just for a second.

[Josh]

I want to go over to the command panel and hit the boosters for whatever juice is left to try and shake her loose.

[Vince]

All right, keep rolling, buddy.

[Josh]

We get that one, too.

[Vince]

So, yeah, keep rolling, buddy.

[Genevieve]

Come on, Danny, take us home.

[Josh]

Oh, no.

[Vince]

All right. No sixes. No ones. This season ends immediately.

[Genevieve]

Oh, God.

[Vince]

Five candles, five truths. We are getting into a danger territory. Now, since we are more than halfway done decisions, we can get into a situation where dire consequences absolutely can happen in the circumstances. So with this said five truths, Danny, you have the pleasure yet again, of giving us the first truth.

[Josh]

So it didn't work because it failed. But I'll say the remaining fuel in the module, the fumes were just enough to jostle to sort of shake and lurch the command module. So she's just hanging on by a thread?

[Vince]

Yeah, by one grasping hand where the edge of the booster rockets are. I think that's nice. Go ahead, Genevieve.

[Stacy]

The radio spontaneously erupts with more sound.

[Vince]

Okay. All right, Joseph.

[Genevieve]

I look out the window with a horrified look, seeing the new nuclear warhead much closer than it should be.

[Josh]

Stop it.

[Trish]

I take what was a sturdy metal, like meal tray that was on board and use it to try to finish cracking the porthole glass.

[Vince]

Okay, so you found something to hit the porthole with from the outside.

[Trish]

Yeah, to let Leslie inside.

[Vince]

I will end you. The warhead goes off. Five candles, five truths. They've been spoken. And we start our scene immediately with a bright flash of light just erupting out of everywhere. It's searing. And you feel first the small shaking. And then in your mind, more than around you, you hear the screech as Leslie is evaporated off of the module. And you begin to shake and you begin to move and everything begins to just start to jostle and get into it. And you can hear metal bending and twisting and just everything. And more importantly, you can hear the sounds of impact. On impact, on impact. On impact, as your module is just flung with as much force as possible as it is now careening at a speed straight towards the planet.

[Josh]

That was not 45 minutes.

[Genevieve]

These things aren't an exact science. Fuck nuclear physics.

[Vince]

You cannot hold still. All of you are pressed through just the sheer velocity that you're in. All of you are on the back edge of the wall. Now, as you're starting to get closer to where the atmosphere is and you can feel your body, you can barely even get a hand up off the ground because the G forces are just so extreme right now.

[Josh]

As we were forced back to the back of the module, I leaned my body to try and catch the radio with my body so it wouldn't hit the wall.

[Vince]

Got it. And you. Yeah, yeah, yeah.

[Genevieve]

He's like, that's cute. Roll.

[Josh]

Oh, my God.

[Genevieve]

Oh, my God.

[Trish]

No successes.

[Genevieve]

No successes.

[Vince]

One.

[Josh]

One doesn't even matter.

[Vince]

No click and pop. So.

[Josh]

Yeah, this is where things get fucked.

[Vince]

Four candles, four truths. Things are happening, Danny. I can't believe I'm taking this one from you. I don't even care. You don't get the first truth. You've had so many first truths. Instead. But I'm not going to take it. I'm instead going to give it to Genevieve at this stage. First truth. For in this point.

[Stacy]

I'm at some point gonna stab at you for putting our lives in danger.

[Vince]

You can also say that it happens.

[Stacy]

Oh, yeah. I swing at you for trying to break that glass open.

[Vince]

2. With the pocket knife.

[Stacy]

Yeah.

[Genevieve]

I.

[Vince]

One more time. Sorry, would you mind? And again, for the purposes of getting into it, would you just like to say I stab you with the pocket knife.

[Stacy]

I stab you with the pocket knife.

[Vince]

All right.

[Genevieve]

We hit the Earth's orbit.

[Vince]

You hit the Earth's orbit. 3.

[Trish]

I very surprised by the stab wound that I've just received in my lower left abdomen. Use all of my energy to try to. I mean, I would. I say, would. I would assume she's. Because of the G force and us being pulled back, she's now on top of me. I guess if.

[Vince]

Or next to you, adjacent to you, you can. With your truth. You have power.

[Trish]

Okay. Being very surprised by the new wound to my lower left abdomen. I use the G force pulling us back against the wall to get that arm up and just let the G force take my elbow back straight into her windpipe.

[Vince]

So you. So you get her off.

[Trish]

You get it lifted enough to.

[Vince]

How about this? This is a way I like to interpret the truth. You get her off her and you pin her down using the G force.

[Trish]

Great.

[Vince]

How's that sound?

[Trish]

Sure.

[Vince]

Okay. We begin this scene. Four candles, four truths. The world is dark. The world is always dark.

[Josh]

Did you have a truth?

[Vince]

There was. Oh. Four get a truth. Excellent. Excellent. Let's just keep it going. Stacy, you can steer. Healer. You can still hear Leslie's voice in your head even though she's gone. All right. You have now erupted. The G force is pulling your module and all of your bodies laid up against it. Genevieve, you have used this opportunity to throw Something in. But now you can feel a.

[Josh]

Just.

[Vince]

Lack of air as Stacy's arm is against your windpipe and you're grabbing with all that force and you can hear her gasps of air at the moment. What do you do?

[Josh]

I want to reach over to get Stacy off of. To roll her over.

[Vince]

Joseph.

[Genevieve]

I'm going to grab the controls and go for another boost because we're just hitting the orbit. I have to slow down the module. I'm trying.

[Vince]

So you're trying to recorrect.

[Genevieve]

I'm trying to recorrect. I'm not even. I know this is chaos, but I watch him do it and I just.

[Josh]

Try and yeah, I've got this. Don't worry.

[Vince]

Recorrect as much as you possibly can.

[Genevieve]

Recorrect as much as I possibly can.

[Vince]

Okay. Try to find a safe landing spot. One for me and you.

[Josh]

Oh, he didn't roll his hope die.

[Genevieve]

I did not roll my hope die.

[Vince]

You still got a success. But you're good. Yeah. Doesn't matter if that's a rope in the future roll that because that succeeds on a five or a six.

[Genevieve]

Oh, okay. I did not know that.

[Vince]

So you gun it and using again just the dredges of whatever and it's more at this point just flitters just.

[Genevieve]

Trying to turn it anything I can. Yes.

[Vince]

And you take it as you steer as far away from the ocean as you possibly can trying to find coast or anything that you can land on so that you won't be stuck in the middle of the the ocean should. And when and if this thing lands and you push and move with all of your forces you can fighting against that g force you can start to see the front of the module is turning red. That iron hot just heat shield is absorbing so much heat. You can see it's starting to make an effect on the outer and it's starting to get warm in this thing as you continue to careen at a wild velocity in Genevieve. Dani, I know you want to try to get Stacy off, but Stacy, I am more interested in what you want to do right now.

[Trish]

She stabbed me. The bitch stabbed me.

[Josh]

You're trying to vent the module.

[Trish]

No, not anymore. Leslie, for all we know, isn't even there anymore.

[Genevieve]

Stab her again. Jennifer. Eve.

[Trish]

What the. Really?

[Josh]

Okay, everyone calm down. Enough. Just get off of her.

[Trish]

If you stab me again, I swear to God.

[Stacy]

What the is wrong with you? What's wrong with you?

[Trish]

You just stabbed other humans.

[Stacy]

Killed us all. Yes, because you're going to kill us all.

[Trish]

I Was trying to save Leslie.

[Stacy]

You know what? Leslie cannot be saved right now. And you know what? You're not talking to her.

[Trish]

Who made you go freaking, made you omnipotent God?

[Stacy]

Me.

[Vince]

Enough.

[Trish]

You sound like a four year old.

[Josh]

It's done. She's gone.

[Stacy]

You sound like an insane person talking to somebody who should not be alive that tried to kill us all. And what did you do? You grab a freaking tray to try to just blast the freaking window and kill everybody.

[Vince]

None of us.

[Stacy]

I'm the crazy one.

[Trish]

I'm the four year old stabbed me.

[Stacy]

You deserve it. You deserve it.

[Genevieve]

None of us hit the ground. It's coming closer. I'm trying to tilt it up.

[Vince]

The porthole is the all viewpoint that you have at this point. And you're watching as the shattered windowed porthole out of nowhere. Just. And as you start to hear the atmosphere come in, you can hear wind gusting through and you can start to see and more feel than anything the wild is breaking into the atmosphere. You hear everything displacing the air inside of you. This porthole having lost its integrity from being hit on either side is now just careening and you can see fire just.

[Trish]

Leslie, are you out there? Are you out there? Leslie, can you hear me?

[Genevieve]

There's no one out there.

[Vince]

And what do you do?

[Josh]

What kind of danger does this pose that we can see in terms of the porthole being broken?

[Vince]

The porthole being broken at this point is literally just the point that it's created. It's creating such a vacuum because we're.

[Genevieve]

In the atmosphere already because it's lit up so there is already oxygen because we're in the atmosphere.

[Vince]

So that's the thing.

[Stacy]

Is the tray large enough to we can cover the hole?

[Vince]

That's the thing. It's the vacuum because it's now pulling you all towards the hole. It's trying to suck you out of this tiny porthole right now.

[Stacy]

Does the tray cover it though? Try to cover that.

[Vince]

Does it cover it?

[Stacy]

Does it cover it? Can I? Can I?

[Josh]

Yeah. What's on top there?

[Stacy]

I'm covetous.

[Vince]

How are you applying covetous in this circumstance?

[Stacy]

My tray. It's my knife. Get away from.

[Vince]

This is my life. I'm taking care of myself. We're doing this. Okay? So Genevieve, as you grab this tray and you are looking at Stacy just like. You fucking crazy bitch. How could you do this? You grab that tray and you feel the air just as much as anything else. Take you as you're guided towards this porthole and you slam the tray up against the porthole, and it sticks, but you can still feel it pulling into it. And you can hear the sound of the wind coming beneath it. And you look towards your group, and you're thinking something. What do you say to them?

[Stacy]

You're lucky this tray worked, because otherwise I would have used you to block it.

[Vince]

Suddenly, the tray breaks, and you feel as your arm, which was the closest thing at the hand, just flies out of the window. And the velocity is so strong and the heat is so great, your arm is gone. Within seconds, as you feel this thing pull itself out. And suddenly, your arm, your torso, your neck, you scream as part of you is being pulled out through this porthole. This tiny little sense that is not enough to room for your body. And you're watching the three of her. As suddenly, as quick as it happens, her body is just cracked and boned and flung out from this porthole to disappear.

[Genevieve]

Oh, Jesus Christ.

[Vince]

Genevieve.

[Genevieve]

Oh, my God.

[Vince]

Genevieve.

[Genevieve]

Oh, my God. What have you done?

[Vince]

Thank you so much for playing. I really appreciate you taking the time to come this. Nora, well done. I'm going to have to ask you to leave my table now.

[Stacy]

I hope the knife's still there.

[Vince]

Three candles, three truths. Normally, Nora, Genevieve would give us the first truth. But since she was forced out through a porthole, I will speak the first truth. You're going to hit the ground. You're going to hit the ground. Joseph.

[Genevieve]

The parachute's activated.

[Vince]

Oh, wait, no. Yes. Sorry. It would go clockwise, but you can still have your truth.

[Genevieve]

Okay.

[Vince]

Yes.

[Josh]

I was thinking the same thing. You are.

[Genevieve]

I have another one, too.

[Josh]

Okay, good. The parachutes have not been deployed. There's time to do it.

[Vince]

Okay.

[Genevieve]

I grabbed the knife.

[Vince]

All right. Three truths, three dice. Our story begins with Dany activating the manual shoot release. As you suddenly feel all of the momentum, the G force just displace immediately as you're all thrown back again.

[Genevieve]

None of us are buckled in.

[Vince]

None of you are buckled. And you feel it. And you hear bone snap, all of you, as you hit back.

[Genevieve]

I can't feel my legs. I think I'm paralyzed.

[Vince]

And there's this muddy.

[Josh]

I can't feel my legs.

[Vince]

This muddy thought, this air that all the blood is gone. It takes every amount of effort. It is only the pain that is preventing you from passing out at the moment as the G force suddenly lessens up and you slowly start to descend. Well, slowly is definitely a slower than you were. Yes. What do you do.

[Trish]

Genevieve?

[Josh]

I'm gonna try and grab onto anything I can to brace myself against becoming impact. The impact.

[Vince]

All right, Joseph.

[Genevieve]

Stacy, My back is broken and I can't feel anything past my. My waist. And I'm laying like strewn about. Yeah, just kind of. I still have the knife in my hand and I just grab a latch to hold on.

[Vince]

Stacy.

[Trish]

Leslie, if you can hear me, I tried. I tried to let you in and hopefully you're still out there. If you're still out there. The porthole's open. You can come in now.

[Vince]

Stacy.

[Trish]

I hear you. I hear you, Leslie.

[Vince]

You just hear your name being spoken. And through the descending porthole, as you come closer to the earth, you can see one of the monoliths. Its beautiful, slick, perfect form descendants downwards. And there is something coming from it. You can see a pinprick of light in the darkness that is this black onyx form as you all slam straight into the ground. And you being the only one that didn't have a chance to hold on. Stacy, I'm going to have you roll as you're staring out at this beautiful, wonderful thing.

[Trish]

No successes in a one. But, but, but, but, but I am going to burn my vise.

[Vince]

Yes. Which is selfish.

[Josh]

Yeah, that tracks.

[Vince]

That tracks perfectly.

[Trish]

To reroll this one.

[Vince]

Yes, please.

[Trish]

So while I was staring at the gorgeous, stunning monolith, I saw everybody else grabbing on and realized that none of them were smart enough to buckle in or use a seatbelt and was able to get myself to a place where I could actually buckle in.

[Vince]

All right, let's see. No. Three candles now extinguished. Two candles, two truths. Stacy, as you get yourself in the seat, you can see this monolith. And you're looking at both Dani and Joseph knowing that they will fail and you will succeed. As you sit and strap yourself in, you pull the buckle and you place the harness in front of you. And you sit and you stare openly the porthole, knowing that something is broken, but also not caring in so many ways. You can hear them moaning and agony and pain. Joseph continuing to lament that he can't feel his legs.

[Genevieve]

I can't feel my legs, Annie.

[Vince]

I can't feel my legs as this thing impacts and crashes straight into the earth. You look into the monolith and the last thing you see before the bent metal shoots straight through, concaving into the module itself and cuts you from the crown through to your hips, is the monolith. What are you thinking as you. You see this last thing in front of you?

[Trish]

I have ascended.

[Vince]

Thank you so much for playing, Trish.

[Trish]

Thank you for having me I'm gonna.

[Vince]

Have to ask you to leave my table, Joseph. Damn. Danny. As this module impacts into the ground, you watch as this split of steel, almost like a perfect wedge, just cleaves Stacy right in half. And you hear her body slip. That thwap, thwap falls onto either side of her chair. And you sit there, and all you hear is the crackling of the radio and the dripping of blood. There are two truths in which to speak. Stacy normally would say the first truth, but instead, I will speak the first one. You are very close to the monoliths. A monolith? Danny.

[Josh]

The door to the module opened in the crash. We can easily access the outside side.

[Vince]

Great. Two candles, two truths. Joseph and Danny, you lay broken on this module floor.

[Genevieve]

We've got to get out of here, Danny.

[Vince]

Yeah. Come on.

[Genevieve]

Come on, Danny. My legs are broken. I can't feel them. But just move them and I'll pull myself out. Just move my leg.

[Vince]

Are your arms okay?

[Genevieve]

My arms are okay.

[Josh]

Okay, Grab on. Grab onto me.

[Genevieve]

All right.

[Josh]

And I'm gonna sling him kind of around my back, like piggyback style, so.

[Genevieve]

I can get him as he picks me up.

[Vince]

And you wear him.

[Genevieve]

My legs look like two toothpicks that just.

[Vince]

Clicked out. So compound fractures out. Mm. And you carry him on your back as you inch yourself out. Ribs are broken. It hurts so bad it's agonizing, but you manage to sling him like a Jedi Master, on your back as you crease out through the airlock.

[Josh]

And I'd like to lay him down leaning against the outside of the module so we can get our bearings right.

[Vince]

It's daytime. The light is bright, and the sun is out.

[Genevieve]

And the way he laid me there is that we're laying on the ground, and the sun is behind the monolith, so the shadow is right next to us.

[Vince]

Oh, I would even say that's. I love that. Let's keep that going. It's a big monolith. It makes a big shadow, and as a result, it's light. It's daytime. But the monolith shadow puts you in darkness. High five.

[Josh]

I'd like to lean in, back to the module. Grab the ham radio. We need help. We need anyone who can listen. We're planetside now. Someone should be out there. I want to turn it on. Hello? We escaped the International Space Station. We're downed in some. I don't know where we are, but we're near one of those big. The stone things. Is anyone out there? I don't know. Police, military, Anyone, Ashley, anyone right now would be really nice.

[Genevieve]

Danny, tell him. I can't feel my legs.

[Josh]

We're injured.

[Vince]

We twist through the dials and continue to repeat this phrase over and over. You hear a voice, suddenly crisp and clear, come out through the radio. Danny? Ash?

[Josh]

Ashley? Oh my God.

[Vince]

Is that you? Danny, where are you?

[Josh]

I don't know. I got off the station. Baby, where are you right now? Are you okay?

[Vince]

Go to it.

[Josh]

What?

[Vince]

Danny, just go to it.

[Genevieve]

I'm gonna look at Danny talking right now and I'm gonna realize the radio is completely broken.

[Vince]

It's not even on.

[Genevieve]

It's not even on and he's talking to it.

[Josh]

Baby, what do you mean?

[Vince]

Just.

[Genevieve]

Just.

[Vince]

It's there for you. Just go to it. It's waiting. Is that where you are? Danny, you've been so good. You've done so good. But it's time. It's time to let go now. Just go to it.

[Genevieve]

As the sun tilts, I start to see. The shadow is beginning to move a little bit. And I start trying to drag myself towards the light part of it away from him in the darkness.

[Vince]

At this point you can start to hear and feel ground being displaced under you. And you actually watch in the shadow of the monolith, just something long, tiny tendrils like a giant centipede as something pulls itself out of the dirt. And you see a wide open lamprey style mouth with articulating tentacles pull itself slowly out and it's crawling towards you.

[Genevieve]

Danny. Danny, get out of there.

[Vince]

Danny.

[Genevieve]

It's all right, Danny.

[Vince]

It's time to go.

[Genevieve]

Danny, get out of there.

[Vince]

Okay.

[Genevieve]

It's coming for you, Danny.

[Vince]

Okay, what do you do?

[Josh]

I'm gonna go toward the creature.

[Vince]

You're gonna go towards the creature? What about you, Joseph?

[Genevieve]

I am going to go away from the. Can I roll this one too?

[Vince]

Yeah. It's your hope dice.

[Genevieve]

It's my hope dice. And this is all I hope.

[Vince]

One. One. If you would like to try.

[Genevieve]

Yes. Can I burn this.

[Vince]

Once? Roll it, Danny. As you stand up, dropping the headset from your hand, your wife's voice still in your ears, you can hear the sound. You can hear the calling. The deep resonating voice that is pulled into you. And you walk towards the creature, but it doesn't go to you. It ignores you. It flatly is going for Joseph. No, don't take me. Please, just take me. There's a jealousy in your heart. And you look at it and you stare at it. And you look at him as Joseph. You see this thing grab Its tendrils. One of it lifts through your shoulder, wrapping you up, the other one pulling upon your broken leg. You can't feel it hurts. Oh, God. As it lifts you up and it slowly, head first, puts you inside of its mouth. And with each passing muscle, each movement, it slowly pulls you into its. Its gullet. And, Danny, you watch as this thing is consumed. His man is consumed in front of you. And you can only weep and wish instead it was you that was there. And with that, we end this scene. Josh, thank you so much for playing. You did so well. Thank you.

[Genevieve]

Please leave.

[Vince]

Danny. Danny, you watch. This creature, having taken Joseph into its maw, lifts it down. As it crawls back into the hole. It stands there and it looks at the receding sun as it continues to move into the light. And. And before the light can go back into its tiny little crevice, it finds darkness again by diving back into the rock, leaving you alone. Leaving you here in the shadow of the monolith. You're losing a lot of blood. You are broken as you stare at this thing. And there is no light to guide you because you have nothing. Only the silence and the bright, burning light bristling on top of you. Thank you so much. Vince. Is there anything you want to say? There is. Unfortunately for you, there is death, as you have nothing. No supplies, no water, no nothing. And you do not even have friends anymore around you. But you are alive. And maybe that is worse than death. What is going on in your mind? What is with you right now?

[Josh]

I just. I just want to be with her again. And if she's. If she's with them, if Ashley is with them, then I want to go with them, too.

[Vince]

You do not find them, Dani. They do not come to you. And it is almost a week before you finally feel the last breath of.

[Genevieve]

Your.

[Vince]

Lungs give way and your heart slowly stops to beat. You haven't moved from this spot in the time that it took you to lay down and die, hoping that any moment, anytime, at one point, they would come and take you. Hoping that they come and take you.

[Josh]

I'm sorry, Ashley.

[Vince]

I'm sorry. Vince. Thank you for playing. There's so much I want to say, but I'll save it for the moment. I'm going to have to ask you to leave. I'm so sorry. There is only one thing left to do, and that is listen to the messages of our dearly departed characters. Thank you.

[Trish]

Hi, this is Stacey Martell coming to you from the International Space Station where. Ugh. Who am I?

[Vince]

Even Kidding.

[Trish]

God, the shit we've seen here. I don't even know if anyone's ever going to watch or listen to this. You know, I came up here thinking I could make a difference. I could educate people, maybe even win an award for this one. But with everything that's happened now, it just seems so unimportant. I can usually put a positive spin on anything, but even I can't deny what I've seen. I mean, is this the end of everything? No. No, I can't think like that. It will be just fine. Turn this shit off.

[Josh]

Okay. So I tried collecting my thoughts and rehearsing a bit before doing this, but it all sounded like shit anyway, so I'm just gonna wing it. I don't know how everything up here is gonna go, so I wanted to broadcast this for you if you hear it, and maybe a bit for me. I'm sorry, Ashley. I'm so sorry. I. I tried. I really did.

[Vince]

The.

[Josh]

The comms went out and I couldn't reach you. And I'm not trying to make excuses, but I. Fuck. I don't know. Maybe I could have done more. I just. With how things look like they're going down there. I just hope you're okay. I love you. And I really hope you're okay.

[Stacy]

This is Dr. Genevieve Zane, log entry 134. Morale is as good as it could be. I mean, all things considered. Some power issues are becoming a nuisance. I haven't been sleeping very well. I keep getting those sleep paralysis nightmares where I think something's at the foot of my bed. The microorganisms I've been subjecting to harsh conditions have been behaving as expected up until today. One of the cultures is oddly mutated. I mean, completely unrecognizable overnight. I'm not quite sure what I'm looking at. Just like everything else around me lately. I hope supplies are coming in soon.

[Genevieve]

You know what I think? I think it's all a lie. I think we were told this whole time. The sun shines on us and creates the shadows. That's a lie. We are the shadows. We are the dark trails left behind. And it's up to me and this company to take us into the new light. I arranged for this mission because I wanted to show the world what we're capable of. And hopefully we have the right tools here to do it. I just hope I wasn't too late. When my father, Joshua, left me the money to create tasc, I knew I couldn't let him down. And now it's up to me. Show the world that military defense spending was all worth it. And in the corporate lens, everything's got a price, including life.

[Vince]

I don't have much time. I am being transported by the Ecclesiad vessel Merkava to stand trial for heresy of the highest order. But I will not renounce my work and to my last breath I will speak the truth of this plague ridden world that ours is not a loving God and we are not its favored children. The Heresies of Radulf Bwein Chapter now available throughout the known world Imagine with me as if you were there. Discover Tales Unrolled A new Dungeons and Dragons actual play series set in a small tropical town called Alma that is suddenly plagued by a mysterious curse. Four of the villagers must come together to save their town and the people they love that live there. They will have to face and defeat demons, real and imagined. Otherwise they risk falling victim to the curse. Watch or listen Tales Unrolled Available as a video series on YouTube and as a podcast wherever you listen. I hope that with you maybe we can make sense of this together. On our podcast, Good Bad Billionaire, we.

[Josh]

Explain how the world's billionaires made all their money.

[Vince]

Pop stars and tech titans, founders and filmmakers, inventors and investors.

[Genevieve]

We cover them all.

[Vince]

And for the first time, we're talking about a video game designer. Yep, we're talking about Markus Persson, the Swedish coding king who programmed the world's most successful game, Minecraft, all by himself.

[Genevieve]

He made a billion.

[Vince]

But is he good, bad, or just another billionaire? Find out on Good Bad Billionaire. Listen on the BBC app or wherever you get your podcasts.