Episode 4.7 - Connection

Summary

The Road of Shadows

Podcast: The Road of Shadows
Host: Mark R. Healy
Episode: 4.7 – Connection
Date: September 2, 2025

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Episode Overview

Set in 1984, this episode sees Daniel Knox and Amber delving further into the mystery of the Shadows and the disappearance of Christina Evans in the remote town of Oakwood. Their investigation uncovers cryptic diary entries and pushes them to question the boundaries between reality and manipulation—while a chilling realization dawns about the true nature of their connection with the Shadows.

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Key Discussion Points & Insights

1. Christina’s Diary: The First Clues

[02:06–07:22]

• Daniel and Amber speak with Grace, Christina’s mother, after discovering her diary among Christina’s belongings.
• The diary transitions from ordinary entries to disturbing scribbles and repeated phrases: “Hear the voice,” “Follow the voice,” “Heed the voice.”
  • Amber (03:51): “The last few pages are scribbles and sketches. And there are messages scrawled here. See? Hear the voice. And then here. Follow the voice. And... yeah. Heed the voice.”
• Drawings in the diary—a bridge, woods, a house surrounded by statues, and a man’s face—are explored for potential meaning.
• Grace, jaded but supportive, doesn’t recognize the house (“Not a chance. We don't have anything like that around here.” [05:25]) or the man drawn (“No, I don't know him.” [05:59]) and warns them:
  • Grace (08:02): “Maybe you should just leave. Get out while you still can.”
• Amber vows to return the diary, promising Grace they’ll handle it delicately.

2. Investigating the Car Dealership ("J")

[09:06–15:19]

• Daniel and Amber, undercover as genealogy experts from “DTFS” (Death To Fucking Shadows, as Amber jokes [13:04]), question Steve at Oakwood Motors about Christina’s employment and a man named “Jay.”
• Steve initially denies knowing Christina but finds her in payroll records as a short-term secretary, suggesting possible memory loss or manipulation amongst the townsfolk.
  • Daniel (15:24): “And we found another example of memory loss. There's no way Steve should have forgotten Christina in just a couple of years.”
• No connections are found to “Jay” or the man from the diary sketch, nor are any relevant faces seen among employee photos.
• Amber concludes Oakwood may be deeply affected:
  • Amber (15:31): “Does that mean the shadow has gotten to everyone? Has this whole damn town lost its mind?”

3. Library Sleuthing & Symbolic Meaning

[18:36–26:13]

• Daniel and Amber sift through newspapers, local publications, and microfilms seeking evidence of the mysterious house from the diary.
• The lack of concrete leads on “Greystone”—a term recurring in Christina’s notes—leaves them to consider symbolic interpretations.
• They theorize the diary’s sketches (bridge, woods, house, man) might chart Christina’s psychological journey:
  • Amber (24:04): “And then the woods. Not just a place of mystery and danger, but a whole new world in which she became enveloped. A place where she slowly but surely began to lose herself.”
• Daniel posits the house could be a metaphor for the shadow’s influence, or possibly even its lair made tangible only to its victims.

4. The Revelation: Psychic Connections

[26:13–27:09]

• Daniel links Amber’s own psychic connection to the Shadows (especially Dragisa, whose presence haunts her dreams) with Christina’s descent.
• He suggests this linkage could work both ways; that Amber might connect back, providing a possible method to uncover (or even confront) the Shadow at the root of Oakwood’s rot:
  • Daniel (27:09): “I'm saying that if it's somehow possible, if we can find a way, then the key to this whole thing isn't inside all of these books and the newspaper articles like we thought. It's right there in your head.”

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Notable Quotes & Memorable Moments

• Grace’s resigned warning:
  “Maybe you should just leave. Get out while you still can.” (Grace, [08:02])

• Amber, on their mission:
  “We came here to destroy it, Grace. This sickness that's infected this town all these years. We intend to take it down.” (Amber, [08:09])

• On the potential metaphorical meaning of the diary drawings:
  “A bridge can be many things. A way to get over an obstacle, a method for creating a connection between two places.” (Amber, [23:19])

• Daniel’s key insight:
  “The key to this whole thing isn't inside all of these books and the newspaper articles like we thought. It's right there in your head.” (Daniel, [27:09])

• Amber cracking under the tension, showing empathy for Christina:
  “The bastard got deep in there, that's for sure.” (Amber, [25:38])

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Important Segment Timestamps

• [02:06] – Daniel and Amber begin examining Christina’s diary with Grace.
• [05:08] – Discussion of sketches and the mysterious “house.”
• [07:34] – Grace expresses her suspicions about Oakwood’s darkness.
• [09:06] – Daniel and Amber visit Oakwood Motors, probe Steve for leads.
• [13:04] – Amber jokingly reveals what “DTFS” means.
• [15:19] – Daniel and Amber assess evidence of memory manipulation.
• [18:36] – They continue research in the local library.
• [23:19] – Symbolic analysis of diary imagery intensifies.
• [26:13] – Daniel realizes Amber’s psychic connection might be the key.
• [27:09] – The episode’s culminating theory connects everything back to Amber’s mind.

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Tone & Style

The episode’s tone blends noir-style paranoia and investigative intensity with vulnerable moments of hope and empathy. The dialogue maintains a tense, urgent energy but is punctuated by personal warmth—especially between Daniel and Amber—and the resigned sorrow of supporting character Grace. The narrative leans into surreal, psychological horror as reality and illusion blur.

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Summary

In this gripping and atmospheric installment, Daniel and Amber dig into a woman’s disappearance, closely examining the cryptic contents of Christina’s diary, enduring hostile small-town resistance, and questioning the very nature of perception and connection. With clues that blur the lines between symbolism and reality, and the townsfolk seemingly under a collective amnesia, they confront the possibility that the only way to solve the mystery might be through the psychic bond Amber shares with the Shadows themselves. The haunting realization closes the episode: the only way forward is inward—into the minds of both hunter and hunted.

Transcript

[Steve]

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[Amber]

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[Grace]

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[Amber]

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[Daniel]

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[Grace]

Ah, here they are. Are you two done already?

[Amber]

Hey, Grace. Yeah, we're done. Thanks for letting us look through the bedroom. We appreciate it.

[Grace]

You find what you're looking for?

[Daniel]

Maybe. Would it be possible to ask you a few more questions? Do you have the time?

[Grace]

Sure. Take a seat. What's on your mind?

[Amber]

We found this in one of the drawers in Christina's room. Have you seen it before?

[Grace]

Oh, her diary. Yeah, sure, I've seen it. Christina wasn't exactly regular with her entries, as far as I recall. That is, it was more of an. Well, I guess you could call an outlet for when something was bothering her. She'd write down a few words and get things off her chest. And after that, she'd always feel better.

[Amber]

Did she share the diary with you?

[Grace]

I'd poke my nose in now and again if I saw her using it. She wasn't particularly secretive about what was in there. But if you're asking whether I've read it cover to cover, no, I haven't.

[Daniel]

Not even after she went missing.

[Grace]

I flicked through it, sure. But there were no messages or clues that I could see. Did you find something?

[Amber]

We don't know yet. Maybe. That's why we wanted to ask you about a few things.

[Grace]

Shoot. What have you got?

[Amber]

Okay, so we read through some of these diary entries like you, hoping to find something that might explain why Christina disappeared so mysteriously. The first handful of entries are pretty standard, the kind of thing you'd find in any young woman's journal. But then closer to the back, things turn a little strange.

[Grace]

Strange how?

[Amber]

After a while, the entries just stop. The last few pages are scribbles and sketches. And there are messages scrawled here. See? Hear the voice. And then here. Follow the voice. And. Yeah. Heed the voice.

[Daniel]

Do you have any idea what that could mean? Did you hear her say those words out loud?

[Grace]

No. Never. I saw the writing when I flicked through the diary, but I just assumed they were lyrics to a song or something like that.

[Amber]

I'm. I'm not sure they are.

[Grace]

So what are they, then?

[Amber]

We think this might have been a reflection of Christina's state of mind. Something was happening to her.

[Grace]

Do you think my girl was crazy?

[Daniel]

We're not saying that. Not at all. But we think someone might have been manipulating her somehow, messing with her psychologically.

[Grace]

But who would do that? And why?

[Amber]

That's what we're trying to figure out. There are some sketches here. See this, the bridge. And this one, the woods.

[Grace]

How are these relevant? They're just drawings.

[Amber]

We think they might tie into her disappearance somehow. And this one. A house surrounded by statues. Do you know it?

[Grace]

This? No. Never seen it before in my life.

[Daniel]

Think, Grace. Is there anywhere in Oakwood that looks like this?

[Grace]

In Oakwood? Not a chance. We don't have anything like that around here.

[Amber]

Are you sure?

[Grace]

I've lived here a long time, and I'm telling you, I've never seen anything that even comes close.

[Amber]

Okay. What about this? See this man?

[Grace]

Yeah, I see him.

[Amber]

Does he look familiar?

[Grace]

This is just a doodle in the back of a diary. You two are really clutching the straws here, aren't you?

[Daniel]

That's not an answer.

[Grace]

No, I don't know him.

[Amber]

Take a closer look. Could this be someone who worked at the car dealership? Christina writes about a man named Jay. Or maybe it could be some other man she knew, a relative or a friend.

[Grace]

If you're asking about her father, I can tell you that he's been out of the picture a long time. Left town before she was Born, actually. Bastard never even bothered to come back and meet his own daughter.

[Amber]

So this. This isn't her dad?

[Grace]

Not even close.

[Daniel]

Grace, if you can.

[Grace]

Listen, Daniel, Amber. You two seem like nice folk, you really do. And I'm grateful that you would take an interest in Chrissy's situation. But I'm not sure you're gonna get anywhere with this. Picking apart these old sketches and scribbles. This is all just fragments of Chrissy's imagination. The bridge, the house, the man. None of it really fits.

[Amber]

We think it does.

[Grace]

Well, I admire your tenacity.

[Daniel]

Do you mind if we borrow the diary for a while? We'd like to make copies of some of these pages for our investigation.

[Grace]

Sure. Take it. But just make sure you get it back to me before you leave. The things up in that bedroom. They. They're all I have left of her.

[Amber]

We'll get it back to you, Grace. I promise.

[Grace]

There's something out there, isn't there? Something in this town that's wrong.

[Amber]

Yes, we believe there is.

[Grace]

Do you know what it is?

[Daniel]

We have a pretty good idea. But we don't know where to find it.

[Amber]

It's old.

[Grace]

Old as the trees. Old as the hills.

[Daniel]

Yeah, it is.

[Grace]

Maybe you should just leave. Get out while you still can.

[Amber]

We came here to destroy it, Grace. This sickness that's infected this town all these years. We intend to take it down.

[Grace]

Is that even possible?

[Amber]

One way or another, we're going to find out. Then when we're done, maybe Oakwood can finally begin to heal.

[Daniel]

Are you sure about this, Amber? Really want to start here?

[Amber]

I figure it can't hurt. And even though it's a long shot, it won't take up much of our time. Hey, maybe we'll get lucky.

[Daniel]

They're probably going to be suspicious if we just turn up and start asking questions out of the blue.

[Amber]

I've got an idea. Leave the talking to me.

[Daniel]

Hey there.

[Steve]

Welcome to Oakwood Motors. How you doing this morning?

[Amber]

Hi there. How are you?

[Steve]

Well, much better now that you fine people have wandered into my showroom. What can I help you with today? Looking to upgrade the family sedan, maybe a new station wagon? We've got a brand spanking new model, just rolled in here last week. And let me tell you, this one has got all the bells and whistles.

[Amber]

Actually, we're here to ask about one of your former employees, if that's okay.

[Steve]

Uh, come again?

[Amber]

We need to ask a few questions about Christina Evans. Do you have a few moments?

[Steve]

Hang on a second here. What's this all about?

[Amber]

Oh, we're from a company called dtfs. There's just a small matter we need to take care of.

[Steve]

You're from the what now?

[Amber]

Dtfs. We specialize in genealogy. Family trees. Lineages, family histories, that kind of thing. Inheritances, too. We've worked on some big estates in our time.

[Steve]

Oh, there's money involved?

[Amber]

There certainly could be. Steve. Is that your name?

[Steve]

That's what it says on my name tag.

[Amber]

Steve, I don't want to waste your time. I can see you're a busy man. Why don't we just get this over and done with?

[Steve]

You want to talk about an inheritance of a former employee? I'm not sure I can help you, if that's what you came for.

[Amber]

Oh, no, no, no, no. We don't want your money, Steve. Although I bet you have plenty of it. Am I right?

[Steve]

Well, I do all right.

[Amber]

I bet you do. You seem like the kind of guy who has his shit together.

[Steve]

Uh, yeah, I. I guess I. What is it you want again?

[Amber]

Oh, we just need some information about Christina Evans. We're led to believe she worked here a couple years ago.

[Steve]

What do you need to know specifically?

[Amber]

We just need to verify some details, some employment history for a client of ours.

[Steve]

This all sounds pretty official. And look, I'm sorry if you find this insulting, but the two of you don't look too official to me. More like tourists.

[Amber]

Oh, you mean our clothing? Well, we do a lot of walking in this job, cover a lot of miles. And sometimes we have to hike through God knows what. Swamps, forests, you name it. You know how it is in these backwater towns.

[Steve]

Uh, yeah.

[Amber]

Back in the office, you'll find us wearing power suits and shoulder pads the whole nine yards. But out here, well, when in Rome, as they say.

[Steve]

What was the name again of the employee?

[Amber]

Christina Evans.

[Steve]

Doesn't ring a bell. Sure you've got the right place?

[Amber]

That's what her records indicate. Oakwood Motors. It was a couple of years back, though. Have you worked here long?

[Steve]

Almost 10 years.

[Amber]

And you don't remember Christina?

[Steve]

Can't say I do. Maybe there was a mistake somewhere.

[Amber]

Is there someone else here who might have known her?

[Steve]

I really don't think so. Well, there are customers out there on the lot, so I really should.

[Amber]

Is it possible for us to check your employee records?

[Steve]

I don't think so.

[Amber]

Just two minutes of your time, Steve, then we'll be gone. You'll never hear from us again.

[Steve]

Well, if it'll make you happy. But I really don't think you'll Find anything?

[Amber]

At least we'll know one way or the other, right?

[Steve]

Yeah, I guess. Follow me.

[Daniel]

Wow, you can really crank out the bullshit when you need to.

[Amber]

No, just a bit of role playing. Nothing to it.

[Daniel]

What the hell is dtfs?

[Amber]

I made that up on the spot. It stands for Death to Fucking Shadows.

[Daniel]

Actually, I kind of like that.

[Amber]

Well, I figured it was appropriate. I mean, that is our business, right?

[Daniel]

Damn right.

[Steve]

When did you say this was?

[Amber]

Back in 1981, maybe early 1982.

[Steve]

And it was Christina Evans. Okay, we have payroll records here, but I'm telling you, this is a waste of time. I'd remember if we had.

[Amber]

Oh. What is it?

[Steve]

Well, I'll be damned. There it is. Christina Evans worked as a secretary.

[Amber]

By the looks, that sounds right.

[Steve]

Maybe she didn't work here long. That must be it. Otherwise I would have remembered.

[Amber]

Is there any more information in her personnel file?

[Steve]

There's not much here but a few pay slips. We don't keep a lot of records, to be honest. For salesmen, we keep track of the important stuff. Units sold, bonuses and a bunch of other metrics. But for secretaries, not so much.

[Amber]

Maybe there's someone else around the office who might have known her better. Do you think we could ask around?

[Daniel]

Do you have someone working here whose name starts with the letter J?

[Steve]

The letter J? Well, what in the fuck does that have to do with anything?

[Amber]

It's mentioned in the inheritance.

[Steve]

And sorry, but we're very busy here at Oakwood Motors. I've got customers waiting, and I've already wasted enough time on this. I'm sorry, but I can't help you further. And neither can anyone else who works here.

[Amber]

Are you sure? If we could have just a couple more minutes.

[Steve]

No, that's final.

[Amber]

Well, if that's the way you feel.

[Steve]

I do. Now, if you'll please head toward the exit, I'd appreciate it.

[Amber]

Sure. Thanks for your help, Steve.

[Daniel]

Well, not exactly what we were hoping for.

[Amber]

Well, at least we verified Christina worked here.

[Daniel]

And we found another example of memory loss. There's no way Steve should have forgotten Christina in just a couple of years.

[Amber]

Does that mean the shadow has gotten to everyone? Has this whole damn town lost its mind?

[Daniel]

I can't say for sure whether it's everyone, but it's more than a few.

[Amber]

Did you see the photo wall at the back of the office? The one with all the grinning mugshots of the salesman?

[Daniel]

Yeah, I saw it.

[Amber]

Did you see anyone there whose face might have matched the sketch in Christina's diary?

[Daniel]

No, not even close.

[Amber]

Me either.

[Daniel]

So that means the guy in the sketch doesn't work here at Oakwood Motors. None of the names started with J either.

[Amber]

It could be a former employee.

[Daniel]

Should we try to catch more of these salesmen to ask some questions?

[Amber]

I don't know about you, but I have a low tolerance for car salesmen. Can I suggest somewhere else to do our research?

[Daniel]

Yeah, sure. And I bet I can guess what you're going to say.

[Grace]

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[Amber]

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[Steve]

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[Grace]

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[Amber]

Epglis.Lily.Com or call 1-800-lilyrx or 1-800-545-5979.

[Daniel]

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[Steve]

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[Daniel]

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[Steve]

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[Daniel]

Okay, here's the last stack. I think we finally reached the bottom of the pile.

[Amber]

Great. Thanks. You take the top half and I'll grab the rest.

[Daniel]

Can't wait.

[Amber]

You okay? Daniel? Is something the matter?

[Daniel]

Look, you know I love kicking back in the library as much as you do, but I'm starting to wonder if maybe this isn't the best use of our time.

[Amber]

Hey, if you want to take a break, that's okay.

[Daniel]

We're getting closer to the end. We might as well keep pushing on the end.

[Amber]

Oh, no, no, no. We're just getting started here. There are still other resources we can go through. The microfilm collection, for a start.

[Daniel]

I thought you said you went through that already.

[Amber]

I've been through a lot of the local stuff, sure, but not everything. And then after that, there's more publications from around the state.

[Daniel]

Why are you looking at those?

[Amber]

Just being thorough.

[Daniel]

But we're searching for photos of the house, right?

[Amber]

Yeah.

[Daniel]

So why would a publication from the other side of the state feature a photo of a random house from Oakwood?

[Amber]

I don't know if I would call this just a random house. Take a look. It's big, elaborate, distinctive. Especially with all of these statues around it.

[Daniel]

Yeah, so what?

[Amber]

Maybe there's history attached to this place. Maybe, I don't know, someone famous lived in it or something.

[Daniel]

Sounds like a long shot.

[Amber]

Well, at the very least, let's finish going through these local publications. Who knows? Maybe there was an auction at some point. Or a feature story. With the fancy statues and the strange architecture, this place could have even been historically significant at one point.

[Daniel]

Well, one thing's for sure. This mansion isn't located within the township. Something as distinctive as this, we would have seen it by now.

[Amber]

Yeah, I agree with you there. It has to be somewhere remote, like Susan Blake's farmhouse was. It was situated in the countryside outside of Blackridge, remember?

[Daniel]

But we've already checked the highway for miles around Oakwood. It's not here.

[Amber]

So it has to be somewhere even more remote.

[Daniel]

What about that word that keeps popping up in the diary? Greystone. Did we ever find any references to that?

[Amber]

No, nothing. There are no streets called Greystone, no people with that surname.

[Daniel]

Could it be a reference to another town?

[Amber]

Not that I could find.

[Daniel]

Let's Go back to the diary again.

[Amber]

Okay, so Christina's sketches, right? The bridge, then the woods, then the house. This could be a sequence, like waypoints on a journey.

[Daniel]

That would suggest the house is somewhere in the woods. Maybe somewhere deep where no one goes.

[Amber]

Well, there must be a way to get to it. A road or a laneway. It has to have an address.

[Daniel]

There is one other possibility.

[Amber]

Yep. I think I already know what you're gonna say.

[Daniel]

That the house doesn't even exist, that it never existed, it was just a figment of Christina's imagination.

[Amber]

I mean, the bridge is a real location, and she drew that.

[Daniel]

So what?

[Amber]

Those three drawings. The bridge, the woods, the house, and the man's face. I'm certain they're connected. They're grouped together in their own section of the diary, and they're all drawn in the same style.

[Daniel]

That doesn't prove the house is real. What if it's symbolic in some way, rather than a real place made of bricks and mortar?

[Amber]

Symbolic?

[Daniel]

Yeah, like maybe it symbolized a destination or a place in her mind. Something daunting or intimidating that she was concerned about.

[Amber]

Hmm. I don't know, Daniel. I just have a feeling about this one. I think it's out there somewhere. For real.

[Daniel]

I wonder.

[Amber]

About what?

[Daniel]

What if the house itself isn't real, but the image is real?

[Amber]

Uh, I'm not following you.

[Daniel]

Maybe the sketch that Christina drew is based on a painting or a photograph. A piece of art that belongs to the Shadow.

[Amber]

Shadows don't really go for artworks, though. We know that from past experiences with Schilling and Susan Blake.

[Daniel]

It could still be relevant somehow.

[Amber]

If that's the case, we'd have almost no chance of finding it. We'd have to look at every wall inside every building in the whole damn town.

[Daniel]

Yeah, that would take forever. Assuming we could somehow figure out how to gain access to all those places.

[Amber]

I understand where you're going with this, though. By that reasoning, the house could even be an illustration in a book.

[Daniel]

See, now you're just coming up with excuses to spend more time searching through the library.

[Amber]

There's nothing wrong with that.

[Daniel]

The symbolism side of things has got me thinking, though. It's possible we're just taking the wrong approach here. Maybe we need to understand how these pieces all fit together first, rather than just systematically going through every single resource in the library.

[Amber]

I'm open to suggestions.

[Daniel]

Is there a deeper meaning to these images? The bridge, for example. What could that signify?

[Amber]

Well, a bridge can be many things. A way to get over an obstacle, a Method for creating a connection between two places.

[Daniel]

Do you think that's it? Could the bridge be a symbol of Christina forming a link with the shadow?

[Amber]

That could certainly be a part of it.

[Daniel]

What about the woods, then? What does that symbolize?

[Amber]

That's a tough one. The idea of a forest has represented a lot of things in literature over the years. Exploration and danger, mystery, being lost. Yeah, that too.

[Daniel]

So if we correlate these images with Christina's state of mind as she was being drawn in by the shadow. First we have the bridge, a connection between the two.

[Amber]

And then the woods. Not just a place of mystery and danger, but a whole new world in which she became enveloped. A place where she slowly but surely began to lose herself.

[Daniel]

And then the house. What could that mean?

[Amber]

Well, a house would normally symbolize safety and security, family, comfort. But that clearly wasn't the case here.

[Daniel]

What if the house is just a representation of the shadow itself? Something grand and gothic, intoxicating, lavish and.

[Amber]

Luxurious, but at the same time, intimidating, daunting.

[Daniel]

Right.

[Amber]

I guess it all fits. The connection. The feeling of slowly becoming lost. And at the center of it all, a creature of immense power. All encompassing.

[Daniel]

The last sketch is the man's face.

[Amber]

The shadow finally revealing itself once it had taken over her mind.

[Daniel]

If it's true that these sketches are symbolic, then as far as I can tell, we're wasting our time here. The entries in Christina's diary are worthless. They're just a reflection of the fact that she was slowly but surely losing her mind.

[Amber]

But on the other hand, if they're not symbolic, if they in fact have some basis in reality, they could be the key to everything. These could have been instructions from the shadow, telling Christina how to find him, step by step.

[Daniel]

Either way, I feel sorry for her. I can't imagine what it must have been like to have some parasite burrowing inside her mind and slowly eating away everything that made her who she was.

[Amber]

The bastard got deep in there, that's for sure. How far do you think the shadow can reach out to people? Does it have to be within a certain proximity?

[Daniel]

If we knew that, it sure would narrow down our search area. For all we know, the shadows could have the ability to reach out from the other side of the world.

[Amber]

Yeah, well, in my situation with Dragisa, I don't get the impression she's close. It feels like she's reaching out from hundreds of miles away.

[Daniel]

Hey, that's it. I can't believe we didn't think of it before. The answer has been staring us in the face. This whole time?

[Amber]

It has, yeah. Do you want to fill me in?

[Daniel]

We already know that you have a connection to them. Drugisa has been visiting you in your dreams.

[Amber]

And sometimes in broad daylight when I'm standing in the kitchen.

[Daniel]

There's a link between you. Shadow to Nostromo. What if that connection also runs in reverse?

[Amber]

Nostrama to Shadow.

[Daniel]

Exactly.

[Amber]

So you're saying what, that I somehow connect with them through my mind, right? Enter their dreams or something?

[Daniel]

I don't know exactly how, but yeah, I guess so.

[Amber]

Daniel, I have no clue how to do that.

[Daniel]

Have you ever tried?

[Amber]

I.

[Daniel]

It might be possible. I mean, why not?

[Amber]

You think I can just close my eyes and click my fingers and poof, problem solved?

[Daniel]

It won't be as easy as that, no.

[Amber]

So what then?

[Daniel]

I'm saying that if it's somehow possible, if we can find a way, then the key to this whole thing isn't inside all of these books and the newspaper articles like we thought. It's right there in your head. The Road of Shadows is created by Mark R. Healy. Want to hear more stories just like this one? Head over to Patreon to hear other audio productions by Mark R. Healy. There you'll also find lots of bonus content, free stuff and ad free episodes that you can hear a week early. All of that and more is available now at patreon.com beyondtheduck. You can also hear more at the roadofshadows.com the Road of Shadows Season 4 stars Hamish Plagemark, Marta Da Silva, Liz Morey, Joseph Tweedau, Chloe Elmore, Larry o', Blander, Sian Luxford, Cameron Alexis, Thomas Barker and Alejandro Pedrosa. The Road of Shadows is a beyond the Dark production.

[Amber]

The fable and folly network where fiction producers flourish.

[Daniel]

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