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Nan is with Anna in the HOTEL ELEVATOR. The elevator is rising. The destination is the third floor.

Nan is trying to catch her breath. Anna asks her if she is all right.

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  • Say no, and laugh maniacally.
    Then say you're just kidding.
  • Freak out at the gravity defying of the elevator.
  • not really. too much crazy shit.
  • Be calm and collected (haha yeah right) while you tell her what's been happening to you.
  • Shake Anna like a ragdoll and scream "HOW IN THE NINE HELLS COULD I BE ALL RIGHT?!"
  • Say no. You are pretty not okay. But not injured... yet.
    Then compare notes on what has happened to each of you so we can try and figure out what the FUCK.
  • Convey your state of health by freaking out at the gravity of the situation.

Nan asks if the safe room is on the third or second floor. Anna says it is on the third floor and she must be confused from her ordeal.

Nan tries to stay collected, but after what she's been through, she's shaking and scared. Anna places a hand reassuringly on her shoulder and tells her she will feel better once she meets everyone.

  • tell her you have seen yourself 5 minutes ago
  • Ask who "everyone" is.
  • Everyone? Who else is there?
  • Ask Anna what her job is. Is she a taxi driver? Try to calm down and form a rapport with her.
  • Also that. We're pretty sure we just did some weird time travel thing where we chased ourselves down a corridor.
  • ask about Pablo, and El Padre
    for comfort
  • to comfort yourself

Nan tries to strike up conversation with Anna -- what she does for a living, for instance. Anna says she is an elevator operator. Nan asks who "everyone" is and Anna says it would be better if she met them in person.


Anna checks the hall in both directions, and it appears well-lit and empty. She asks Nan to come along.

  • Follow uncomfortably closely.
    Don't step on the rug.
  • Ask her how long she's been in the hotel.
  • Check under the rug for IED's or traps.
  • ask if 4:66 mean anything for her
  • Let's move along. Inventory check?
  • Get the fuck out of the elevator before it falls and stand so close to Anna that you are both uncomfortable.
  • ask how'd she get here


Nan asks a few nervous questions, but Anna doesn't know of any significance behind "4:66". She also says she has spent one night here in the hotel. So this would be her second day here.

Nan and Anna arrive at ROOM 313. A cross is scrawled on the door. Anna knocks three times and identifies herself, saying she's arrived with a guest and needs to be let in.

  • So they are warded off by crosses?
  • Ask if she came from the same town as us... perhaps the hotel travels or something?
  • be a rugrat
    check under the rug
  • Examine the whatever-the-heck-that-is on the pedestal. Some kind of crazy vase?
  • ask about the cross on the door
  • Inspect that weird tiki-looking thing on the table.
    Also follow her in.
  • Don't be a tool, look presentable!
    oh and ask what's up with the rosaries/crosses

Nan asks if the cross on the door wards off the... things. Anna says she doesn't think so herself, but every little bit helps, right?

Nan inspects the strange wooden carving by the door, and Anna heads inside, beckoning Nan to follow.

  • follow in quick
  • Examine totem device. Failing anything interesting, ask Anna about totem device.
  • Nevermind. ENTER ROOM!
  • Don't hang about; you'll miss the lesbian orgy.
  • Forget the totem, you don't want to be out there alone. You have some meeting to do.
  • GUYS NO the totem might be related to the harpoon fetus from RQ
    Inspect that shit anyway then follow Anna Capcom beat-em-up style
  • take totem
    go in
    in that order
  • Leave the totem where it is, I think it's just part of the hotel's ambiance.
  • Evil Tiki Idol.

Nan follows Anna into ROOM 313. Here there are three other people. Anna goes around introducing them to Nan, from left to right: A stocky middle aged man in a worn brown hat named Anderson. Henry -- who Nan recognizes. And lastly, a young woman in glasses that Anna introduces as Kim.

The room is dirty and the painting on the back wall is torn apart, but this place seems to be stocked with a few provisions, cans of food and bottles of water.

  • Totem Pole shall become the new Water Cooler. It shall always watch. It shall always plan. It shall always be.
  • Are you wearing the pendant? You should wear the pendant.
  • Introduce yourself, then ask how they all got here.
  • Close the door after you.
  • wait, isn't Henry going to be downstair in like 5 minute in te future?
  • What? How in the hell did Henry get up here when he was unconscious downstairs just a bit ago? Is this one of those world warp things again. HENRY STOP EXISTING IN SO MANY DIFFERENT STATES! GEEZE!
    What a troll, Henry.
  • I guess asking about how they came to be here would be a start.

Henry runs up to Nan and hugs her tightly. He shakes a little, saying he was so worried about her after she disappeared earlier, and he's so glad to see she's okay. This place isn't safe.

  • calm Henry down a bit then inspect scrach on the ceilling
  • Ask Henry what he's doing here. And if he has any plans on going downstairs in the near future.
  • NO KIDDING. Anyways, hug Henry back, and then ask what in the crazy hell is going on.
  • Hold Henry tightly so that he cannot get away and is forced into a state of quantum superposition.
    Use your thighs.
  • ask him the obvious of how the hell he got here. also check ceiling
  • 1. Step away from mysterious crack on the ceiling
    2. HUG TOM
    I mean Henry
  • ask henry to prove he is the real henry. ask how they got food the last time.
  • also this
  • Anyone have a link to the other 3 parts of this?
  • the wiki page has one
  • http://quest.lv/wiki/NanQuest
    here you go
  • Ask everyone what their occupation is, so you know a bit more about them and what they are capable of.
  • Why am I suddenly reminded of Maniac Mansion?
  • Is Henry really your boyfriend? I am freaking out about this.
  • Ask what happened to him after you smashed the mirror. Also, ask if he remembers anything about you two living together.
    Notice the crack on the ceiling.

Nan introduces herself and Henry says now that everyone's here, they might as well go over some information.

Anna interjects and says there's still one more person around here somewhere, but he went out against advisement -- sort of a strange fellow. She didn't get his name. Nan appends that Pablo is still out there somewhere, but after giving Anna his description, she says the person in question must not have been Pablo.

Anna seems as eager for answers as anyone, and begins by introducing herself: She's been here for one night. She came here to respond to an ad about a job available as an elevator operator in the hotel, but found herself trapped after coming inside. Nan tells her story: She's an electrician who came here to fix an outlet, and after that couldn't leave. Henry explains that he is a businessman who was traveling and had to stop here for the night. He had barely unpacked when he ran into Nan and came to realize their situation. He's been here about as long as Nan. Kim speaks calmly, telling her tale. She is a college student from a nearby town that Nan recognizes, who was passing through on her way home. She stopped at the hotel in the night and was likewise trapped. She's been trapped here an entire week. Anderson says he is an ex-US Marshall. He came to stay at the hotel just to see it, since it just recently went up. But he ran into the same troubles. He's been here for two weeks.

  • You have let go of Henry. This course of action is inadvisable.
    Also, try to spin tales out of Anderson since two weeks must have given him some insight to any broken logic the place may follow.
  • He knows CQC then, right?
  • Since Anderson's been here the longest (he's been here the longest, right?) ask him about the monsters and how he manages to get food and water.
  • Two weeks? How much food is in this place? Does stuff just keep appearing, probably I mean look at at all these weird monsters.
  • Check tiny hook near ceiling. Ask everyone about Padre. Ask every one WHAT THE FUCK! Ask everyone for room. Breath Heavily. Hug self. Vomit. Ask. Sob. Hold head.
  • Ask for a general description of the guy that went out alone.
    Describe your encounter with the guy in that burning room.
  • That was Pablo we got food with though. Henry just changed in front of us then turned into a monster after we smashed the mirror.
  • Okay, NOW freak out at the gravity of the situation. Again.
  • Anyone else notice that hook?
    What would a ceiling hook be doing in the corner of the ceiling?

Nan and Anna are both full of questions. Together they ask if anyone knows what's going on, but are met only with silence. It seems the whole of the situation is still out of grasp.

Nan asks what Anderson knows -- where he's been getting food, how he's been staying alive. He responds simply, and his voice is gravelly: He's been going to the janitor's closet and the kitchen to get food and water when necessary. Somehow they haven't run out yet. He stays in the light and doesn't let his guard down. That's how he's still alive -- because he's not about to die here, in this place. Not without even knowing what it is.

There is a long silence. Kim speaks almost in a whisper and suggests that perhaps he is already dead. Perhaps they all are, and this is hell. Or heaven. At this point, she asks, would they even know the difference?

  • Well, we're not gonna find out what's going on here by sitting around doing nothing.
    Which rooms did everyone get assigned? Could be a pattern.
  • ...Slap Kim. "Pull yourself togeather, man!" Pose as team, because shit has to be real?
  • Oh God, Kim's the downer. Time to put her on the list of bitches to slap.
    Also maybe ask if you can get a physical description of the guy who disappeared.
  • no this is not lost
  • Anderson why did you say that you are so going to die now.
  • Think, Nan! How do we get out of here?
  • Being dead or not does not change our course of action. Ask for a description of the lost member of their crew and ask them what rooms they've checked if any, see if you can form a rough map of the hotel so you can try and do a sweep of it to find Pablo and the other guy. All of you going together while holding hands, of course.
  • Is Alan the guy that went away? I wish we had a description. I just read part 3 again. I know Pablo said he got carved by the pilgrim but still...
    Maybe the name might trigger. Also does Anderson sound like Keith Davids? I hope he sounds like Keith Davids. He probably sounds like Kieth Davids.
  • Ask if they've noticed anything strange going on with the lighting. This should concern you both as an electrician, and also when you tell them that the lights have been going out unpredictably ever since you got here. Staying in the light just doesn't seem like a viable option here...

Nan steps up and tells Kim not to be such a downer, but Kim insists she's serious.

She asks Nan to think about it: What's the last thing she remembers, before she came here?

  • Reassure Kim that if any of you were dead, you would most likely remember the whole "dying" part.
    Ask Henry if he knows anything about 4:66 or any other mysteriously recurring numbers.
  • We went and fixed the power at the arcade.
  • waking up, then going to an arcade then going to the hotel
  • eating a pizza.
  • Hum a show tune.
  • We woke up, took a shower, got dressed, fixed the power at an arcade, ate pizza, and came to this paradoxical hotel.
    Ask her what SHE remembers.
  • We fixed a broken fusebox for a local Arcade. Ate some pizza. Came here. Couldn't leave.
  • ? KIM
    oh and ask Anna if this place has some sort of map/fire escape route/etc. She works here, doesn't she?

Nan says that before she came here, she went to the arcade, fixed some electric wiring, then came here and had pizza.

Kim insists Nan consider her story. How was she eating the pizza? Is that the last thing that happened while coming here? Could she have choked?

  • Well I GUESS we were riding the bike while eating the pizza but it's not that hard, c'mon.
  • Yes, clearly we choked and this is Pizza Hell.
  • SHIT.
    We could have electrocuted ourselves trying to fix the fuse box.
  • Wait what about the time we woke up and Henry was our boyfriend and then we ended up here? What was that all about?
  • Preeetty much. I mean, Nan may be kindof a slacker, but we'd like to think she'd remember an event like that. If not distinctly, at least a recollection of bad things!
    Also, if we were dead, I'm pretty sure we wouldn't get hungry.
    Anyway, until proven otherwise, we should operate under the idea that we're alive. And if you ARE dead, then you're at least going to try to get out of here and to someplace nicer. Because this sucks, and we're not going to stay here if we can possibly help it.
    We've got nothing to lose by trying, right?
    This hotel is simply the place for holding the Source. The light in all of us. Padre is the smoke monster. Nan is Jack. Anna is Kate. Anderson is Locke. UP IS DOWN. FORWARD IS BACKWARD! JACOB IS LOOKING FOR AN ISLAND REPLACEMENT AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.
  • While riding our bike. Probably not the smartest move in the book, come to think of it.
    Acknowledge that -is- possible that a life-terminating event could have occurred, but you think you would remember being electrocuted or being hit by a car!
  • ? I see kim in this picture. am i the only one
  • no, or we would remember. so either we are working under the pretense that this whole "day" we've been dead, in which case it doesnt matter because theres nothing we can do about that now, not that it affects anything of our current situation. Or that we somehow died without us remembering and are here, which also makes the whole thing moot. It doesnt matter if we are dead or not.

Nan explains that on consideration, she was eating the pizza while riding her bike. She checked the work order briefly.

Kim suddenly points. She announces that must be it. She was riding her bike down a busy street, while eating pizza AND reading. It would only have taken a split second of distraction and she could have been struck by an automobile.

Nan is about to insist that she would remember such a thing when Anderson speaks up. He says there's another problem with Nan's story: This town doesn't have an arcade.

Nan's memory feels hazy. Surely she would have remembered an incident like that? But then... she's starting to have trouble keeping things clear. She remembers Henry, somehow, but... was it even real?

  • Ask her if being dead would change anything. You would still be stuck with the same problem and the only way to go would still be forward. This is a situation where there needs to alot of focus on the now and how to solve problems in the now.
    Get some more info from Anderson as well. Ask him how many others he has met here. If any of them are still alive, how they died if they're not alive. Information that might help all of you to stay alive for a bit longer.
    And you should probably mention the funky time that's at work here, and that they shouldn't be too surprised if they run into another version of themselves.
  • Ask everyone what year it is.
  • Ask if the town USED to have an arcade.
  • Punch Kim in snout to establish dominance.
  • Note: The arcade had just opened when we went to fix the power.
  • Wait how are we all telling time in here? I mean, we can't see the outside and something seems to be wrong with most of the clocks we find.
    The Arcade had a "Now Open" sign, it's highly possible that it had opened during the two weeks he's been trapped here.
  • Wait, do this instead.
  • Also ask them what town they were in when they entered the hotel.
  • the arcade just open, he's has been here for 2 week it is posible he does'nt know that ther was one
    The arcade was brand new, and he's been in here for two weeks.
    Oh, and ask what year it is, too. Freak out if you get different answers.
  • Tell Kim to stuff it. Tell Anderson he's awesome but we're top dog here. Go check the bathroom for mirrors and demons.
  • Actually, ask if the others have fuzzy memories like that.
    Kim's theory is interesting and all, but it wouldn't hold water if someone else was in a circumstance that normally wouldn't lead to them dying. It might just be coincidence.
    Of course, if -everyone- have very clear "something bad could have happened" scenarios, that's at least a bit suspicious... all the same, it doesn't mean her theory holds water.
    One thing, are we even talking about the same town here?
  • Okay, Kim. Dead people see, they just kind of lie there and decompose. They don't walk around, get trapped in strange hotels or give each other big warmhearted hugs. Whatever happened to land you in this situation, you're all clearly not dead. In a puzzlebox world, a bizarre twilight zonesque half reality, sure. Whether you were transported to this mystical land of really bad wiring by getting hit by a bus or by walking through the hotel lobby doors is irrelevant. You can't prove the past so why worry about it? Either way we're busting you out of this hotel and off this planet so you can hide out on the moon and have like a million babies.
    Seriously Nan, grab Kim and push her hand up to your heart. She needs to feel your heart beating.

So far everyone has described coming from the same town in their stories.

Kim interrupts Anderson and corrects him, saying there IS an arcade. She's been going there for years. Anderson replies that if there was a penny arcade in town he'd know.

A very sickly feeling crawls up from Nan's stomach. She turns and asks very slowly what year everyone thinks this is.


There's a long pause as everyone seems to wonder if Nan is serious. Anna finally speaks up with a shrug.

She says it's 1936. ...Isn't it?

  • ohshi-
  • told ya
  • ...somebody call The Doctor.
    There's Timey-Wimey going on.
  • Arcades? In 1936? Call her out on her bullshit.
  • ... No. No it is not.
  • It is 2009? Yes no? I forgot.
  • Hehehehehehehehehehehe
  • Thought it seemed out of date with elevator operators.
    Point out to them that this building takes time and makes it to the house's bitch. Time gets all sorts of fucked up inside this place. Probably because of some sort of mystical mumbo jumbo sciency stuff. But hey, maybe you get lucky and the next one trapped here that survives for long enough to join up with you is a theoretical quantum physicist. That should clear things up and make them more confusing than ever before.

  • She didn't say anything about arcades. And penny arcades were prevalent in the 1930s up to the 1950s.
    Elevator operator in 1936 is easily plausible.
    Get everyone's year of origin, and tell them yours.
  • ? you called me?
  • And then the space-time continuum cracked in several pieces and everyone had some time cake.
    But seriously, ask them all what year are they from before you pass out.
  • That makes sense.
    Either ask if this arcade has Street Fighter 2, or just ask for the year everyone can last remember.
    EVERYONE. Including Nan if she can recall.
  • Also ask if anyone has a clock, or knows the correct time.
  • i'm not sure there IS a correct time here...
  • If there isn't, that's a good enough excuse to set one. Most ALARM CLOCKs have that feature, right? :)
  • They're from different years, but it doesn't mean they're from different timezones.
    They all seem to be from the same town after all.
  • The time is . . . 4:66.
  • yall fucked.

Nan asks everyone what year it was when they came here. She starts by saying she arrived in December of 2009. Kim appends by saying they should also list the last thing they remember prior to all this weirdness starting.

Anna says the year is 1936. May. She went into the hotel but no one was around, so she used the elevator to get a feel for it. It started making strange noises, then the lights went out, and when they came on she felt like something was chasing her, so she fled. Kim nods quietly and mutters something about the elevator to herself.

Anderson says the year is 1912, late July. The hotel was still partially under construction when he arrived, after several years of going up. He passed by some carpenters and laborers, all working busily as he entered the hotel. As soon as he stepped inside, he knew something was wrong. Kim asks if anyone was on scaffolding where he passed, and Anderson says yes.

Henry says it is June of 1946. As he said, he was out on business when he stopped here. No one was at the front desk and he was exhausted, so he grabbed a key and took a room. He drew a bath, relaxed in it, and just as he closed his eyes he heard someone in his room -- Nan. Kim asks if he was tired enough to fall asleep. Henry shrugs.

Kim nods again and wraps up with herself: 2016. August. The last thing she remembers is tripping over the threshold while coming inside. She says hit her head pretty bad. Worse than she thought, maybe.

  • Oh god, NOW we're fucked.
  • Point at Kim and say "I saw you, at the arcade, with your sibling. You were younger though. Hi, again, if you can remember back that far."
    Draw upon any knowledge of science-fiction shows you may have to come up with a plausible description of the current situation. Technobabble is a plus.
  • Anna entered the hotel, and nobody was around? She was already trapped by then of course. Kim's theory has yet to apply to her. I guess we could ask her what happened before she entered.
  • Ask Henry what he did after he saw you in his room.
    And ask Kim if she remembers seeing a female electrician goat on the opening of the arcade.
  • Tell Kim that you think you saw her in the arcade in '09. Did she... ever see you?
  • Anderson is the only person who ever saw anybody in the hotel.
  • Let's think:
    What does an electrician, an ex-US Marshal, a businessman, a college student and an elevator operator have in common?
    Wait... what does Kim study?
  • +1. Anna and Henry arrived at the hotel first. Unless there's something about the hotel itself that "traps ghosts" whether they arrive before or after death, they don't fit Kim's neat little theory.
  • Also an excellent point. When Anderson says he "knew something was wrong", does he mean he had a foreboding, or was it more blatant?
  • Yeah, but if we had died while riding our bike... we'd have died outside the hotel, whereas everyone else would have died inside. This invalidates your argument, Kim. If it were just everyone who died in town that ended up here, the place would be a lot more full.
    Anyway, stop being depressing Kim!
  • Nan seems to be the only one who was actually called to the Hotel, rather than happening inside by chance. Perhaps she has some purpose there beyond the others.
    Ask the others if they've experienced any sort of blackouts or weird memory stuff.
  • No, there's the elevator guy too. Apparently something resembling management exists, at least from the outside.
  • Kim may have hit her head and died, whereas Henry could have drowned in the bathtub, if that's the tangent we're going off of.
    Would having Pablo's side of this be any use? If so, we should probably find him.
  • Grill Kim on her origins and occupation.
  • I propose: The Hotel attracts people via event, and feeds upon their fear. It feeds them, keeps them alive, kills those less nourishing, and barely lets the others live.
    Each person is brought here by events that seem normal to them. Commonplace. Thus they have no defence against the consumption.
    You're all being digested.
  • Alan, ask who he was or that if they know him.
  • ?
  • Even if that's a good theory, it still doesn't explain why they are from different years.
    Hold on...
    Anderson seems to be the oldest, and he comes from 1912
    Then Anna, who seems a little younger, from 1936
    Henry, even younger from 1946
    Then Nan, from 2009
    Finally Kim, the youngest from 2016
    Is there a connection here?!
  • The house is developing a thing for young girls.
    Next it will go after your children!
  • I mean hotel.

Nan grills Kim on a few more details: Why would the hotel have already been empty then? Why would they have come here, especially in Nan's case, where she would have "died" outside the hotel? What happened to the people who SHOULD be here?

Kim shrugs under Nan's barrage of questions and calmly explains that she doesn't have all the answers -- in a place like this, who could? -- but she's doing her best to piece it together. It doesn't seem logical or rational, but nothing about this hotel does. They may as well be in hell right now.

Nan asks if she or anyone else has seen Pablo or any other guests. Henry says he ran into Pablo briefly, but didn't get his story.

  • Well if we ARE dead then what is there to be afraid of? Let's get out there and face our fears. Travel in a group is safer yes?
  • It's simple. It slows the aging of its occupants. Now, the fact that the ages match up with when they were taken implies that the house does NOT exist outside of time, but alongside it. It appears briefly, taking a person with it each time. Perhaps it's discovered that younger people are in fact easier to frighten, and is thus moving towards them as targets, as well as women, for whatever reason.
    There's two guys, here, and three young ladies.
    Dear god, it's trying to breed food while you're in it.
  • Okay, so we're from different periods of time. We may or may not be dead, and we may or not be in hell. So what? This place sucks. Lets get our asses out of here. Unless no one else has any ideas, we should go find Pablo just to complete the orgy.
    I mean group.
    Maybe find more info on this Alan dude.
  • That still doesn't explain who telephoned Nan and asked for her services in fixing the wiring of this hotel. I don't think this is an unsolvable mystery. You all came from different times, but you are all here now. There's got to be something you can do about it... some meaning to it all. Time is of the essence, now!
  • Ran into Pablo briefly? Wtf does that mean? Ask him where he saw Pablo, and if anyone else noticed that fire earlier. Also ask whats up with the cross and the wooden totem thing outside the door.
  • Perhaps when people die here they are 'conscripted' to help get more people? Eh.
  • Do you have anything with words written on it?
    Try to read it.
  • First things first. We need to check everyone's inventory. We need some light source to use as a weapon, food and water, and we need to find out what does 4:66 means.
  • You know if Henry is from the 1940's you'd think he'd be more bashful rather than playful when you caught him earlier. Ask if he was a lot more open minded then most of the other people of his time.


Nan tells everyone to wake the fuck up. She was just chased by a horrible monster from a burning room into a visage of herself, so if anyone should be having a total fucking meltdown right now, it's her. But she's too damn preoccupied with getting out to worry about what the hell is going on with the years or whether or not they're dead. All that matters right now is that they're here, and they need to not be here. The only way that'll happen is if they all work together.

Nan asks if anyone knows where Pablo or the other guest absent are.


Anderson takes a small puff from his cigar and nods quietly by the wall. He says he saw Pablo the first time about a week and a half ago. He seems a little suspicious, but what doesn't in this god-forsaken place? He says the other man is named Santiago. He doesn't seem to want to stick with the group though, but he'll probably be out on the second floor. That's where he said he was going. He also saw Alan, who was later found carved to pieces by the Pilgrim.

Oh, he says, he knows the Pilgrim. And the Padre. And the Beast. Doesn't know much about them, but he's seen them. Knows they're not on the same side. Stay far away. If you see the Beast, he tells Nan, just run. Just run, and don't stop.

  • ? The Beast and his armies shall rise from the pit to make war against God.
    Apologies. I meant, inquire about the Beast.
  • ? Nanquest Survival Guide
  • oh god why did I lol
  • fuckin' lol'd
  • I think it's the Fourth floor, 66th room.
  • OH LOL.
  • ? Alan was carved by the Pilgrim
  • Damnit Yattermang, this is serious!
  • Inform Anderson that smoking is unhealthy since the 1950's when it was discovered the shit rots your lungs. Or not and give him a thumbs up for being such a cool bro.
    Inventory check , find lights and maybe rations if we have to suddenly duck in a room for a night or longer
  • This. Now.
    Splitting up means certain death. so DON'T.
  • ask anderson what he knows about the beast, little as it may be, then ask what happened to henry after nan threw the lamp.
  • splitting up means you'll get split up
    into pieces.
  • Damn straight, we gang up on the Padre in a good old fashioned beatdown.
  • That guy was engulfed in fire but he just put on his 'this is me giving a fuck' face; lets not.
    Try to find a way to save Pablo. He was nice enough to save your goat hind, it's only fair you return the favor.
  • Well, just for now let's check what we have:
    scape plans? Anderson must know how things work around here if he's been here for two weeks.
  • Not so much as "death" just "annoying time fuckery".
  • Bring up the subject of the Beast. It apparently rests in the courtyard, the only OUTDOOR location to be reached. In all likelihood THAT is the way out. We will have to figure out a way around it eventually...
  • Assign buddies, two groups of two and one group of three. These people should and will NOT leave each other's sight. Divvy up any weapons, things possibly used as weapons (broom handles, etc), and food equally among these groups.
    Set up a watch for when you guys sleep, two awake at a time, to ensure no danger. That's if you guys sleep.
    I nominate Anderson as leader of the group, he was a US Marshal and would be of the most help.
    Check any phones you have.
  • Do we have day and night cycles? Most of the baddies avoid the light, so if it's day then maybe it's safe to go out into the courtyard; just don't get lost in a hedge maze during sundown nonononono.
  • Anderson doesn't seem the leader type, plus he's probably only out to save his own skin
  • Tell them about the creepy 4:66 thing, and how it may mean a certain room in the hotel. Its the only lead we have at the moment.
  • Hey Nan if this place is all messed up with time and you seem to have seen yourself, it's pretty clear that was just a near-future you. So if it happens again, you'll know what to do, and what not to do, because you already did, and didn't.
  • Ow, my brain.
  • now think of what would've happened had future Nan talked to past Nan about present Nan's condition.
  • And wearing a Sombrero from 24 hours into the future.
    If no one gets that I am dissapoint you have no taste in good webcomics. Also fits this whole spanish theme anyway. HOLY SHIT WE NEED TO GET A SOMBERO
  • Wait where did you get these dates from? I can't find it.
  • Oh apparently I missed some stuff in the middle. Ignore me!
  • Out of morbid curiosity, what does the Beast look like?
    And why has the painting in this room been torn out?
  • Nan and Kim are closest in age, and may have come from the same town.
    If Nan DID die, there may have been a newspaper article about it. We did, it seems, see Kim in the arcade.
    Nan: Ask Kim if she remembers hearing about a goat-electrician being struck by a car the day the arcade opened. Or even if she didn't pay attention to the news then, if she remembers her parents becoming more restrictive about bicycling, more insistent on wearing a helmet, etc.
    Should we tell them about how we're going to find Henry in 10 to 20 minutes, and the weird time-travel crap we just experienced?
  • well, point here is that there is no true free will...
    unless there is.
    If there is, we can change the past, and the future based on our actions in this 4th dimensional hotel.
    It also means the only way to take out the monsters is to face them against each other...
    weapons are of no use.
    Welcome to silent hotel.
  • no, next time nan sees herself she needs to double team with herself. 2 nans are better then 1.
  • I suspect creating a temporal paradox, ESPECIALLY in a weaver-story, is bad idea. I almost think the reason Padre chose not to attack Nan and Pablo in the hallway was to *avoid* risking a paradox..
    /Why he would wish to avoid that, I don't know.
  • Let's keep questioning the others, especially Andersen, about practical concerns: what escape routes have been tried, what kind of stuff (like busting defenseless alarm clocks) will attract unwanted attention, whether there was anything unusual about the hotel from outside.
    Also, how has the cross on the door not repaired itself, like the vase a few chapters ago? Maybe we could start systematically breaking stuff in order to tell where we are in the hotel's timeline.
  • Ask Henry what he meant when he said Nan 'disappeared'. When was the last time he saw her? What happened since then?
  • Uhh... do you guys remember when Nan tried to open the window only to find out it was blocked with bricks?
    Could that mean that when that happened, the hotel was still under construction?? Like if Nan went through a time loop or something?
  • As far as we know, the encounter with Padre in the the fiery kitchen (it was a kitchen, right?) could be a moment from the future, like our choices up to that point would cause that encounter to happen.
    As long as we have some sort of way of knowing what bad events are in the past, and what are in the future, we can be sure not to alter the past ones to avoid nasty time paradoxes, and plan ways to avoid the the future ones.
    This is all assuming we'll have another blackout and end up in some random spot in time.
  • Actually I had started to consider that: It DID have to be 'elsewhere/when', since normally NOTHING is on the other side of the double-doors.
    I do think if we ever realize we CAN create a paradox and Padre is present, that it would be interesting to threaten to do so and see how he reacts.
  • Please make all relevant discussion in the Discussion thread, please.
  • I know OP hasn't drawn anything here for a few hours, but I'm going to suggest an idea anyway since this is still on the front page.
    Ask politely to check what everyone's inventories are for clues about the hotel. In return have Nan say what she has discovered such as the alarm clock and the cross to establish trust and to keep everyone in the loop.
  • Find heavy shit.
    Put it on the end of something long.
    Tear this motherfucker the fuck down.
    Fire and steel and gravity.
    Raze the Hell Hotel to the ground.
    And if anyone or anything gives you shit, bring them the crushing and the heat.
  • Ask Anderson how he made a pack of cigarettes last 2 weeks, or ask him how many he has on him, maybe we can get a smoke?

Nan begins to formulate a plan of action. She restates that no matter what the nature of this place -- whether they're dead or alive -- none of that matters. This place is clearly not good and they need to get out now.

Nan asks Anderson what he knows about this place. He's been here the longest, he must have some insight.

He takes a puff and begins. The Hotel was built only recently, at least for him, he says. The spot of land it was built on has been open for a long time. Before that, when he was a kid, he remembers the remnants of a Spanish Mission, but it was gone long before. As for the place itself, it's hard to understand. Everything seems to be moving around and changing. It's hard to rely on anything. He says he's tried the doors and windows enough times to know they don't open, except to lead somewhere you probably don't want to be. But never out. The courtyard at the center of the hotel has some windows opening to it but he's never tried crossing over into it, because that's where the Beast lives. A huge animal, as black as night, feral and vicious. Cold and unthinking. It comes into the Hotel sometimes -- he's seen it twice inside now, he says. He states again light seems to be their only true defense from the three primary threats here. He's stockpiled some food here from the kitchen and janitor's closet, and they have little in the way of defense. Anna has a kitchen knife, Kim has a taser she brought here, Henry has a club made from a chair leg, and Anderson himself carries a revolver with a few shots remaining. As for Nan's inquiry about items, he says that he has a few, and no offense intended to the little lady, but he feels more comfortable holding onto them himself than giving them to a stranger.


Nan asks Anderson how he managed to make his cigars last 2 weeks. He pauses a moment, glancing down at his hand.

After a moment, he replies that he doesn't know. [animated]

  • uuuuuuuuuuuh.
  • Maybe its time to quit smoking.
  • Well I guess you're going cold turkey now huh?
  • Stomp that fucking thing!
  • This....this is actually better than the metal gear Nan reference I was going for.
  • We all know if we stomp it out, something bad is gonna happen.
    Shine some light on that fucker.
  • Don't be a pussy, smoke the squiggly fucker. Light it up again so it knows its place.

Anderson crushes the cigar in his hand. Kim and Anna seem a bit shaken by the development.

The ex-Marshall asks what everyone's plans are for the rest of the night. His pocketwatch is still keeping time, and accordingly, it's getting late. They might want to consider sleep, as unappealing a prospect as it always is.

  • Anderson has now reached levels of Gar
    I say we actually keep this guy alive
    Before we decide who sleeps with who, ask Anderson for the time
  • Ask Kim to be your bunk buddy. I mean, safety in numbers right? Have to make sure you're close to someone, even in sleep.
  • Does anyone know anything about the old spanish mission? Even if it's just stupid horror stories or silly gossip or whatnot.
  • You should store that shit in your STOMACH
  • Well she is a goat.
  • Uhm, should we set a watch while others sleep? Don't want something sneaking up on us.

Anderson checks his watch. He says it's 11:55 at night.

His watch has been running consistently. He says even if the time here is strange, he's still running on the same schedule either way.

Nan raises a point: If they're going to be sleeping, should they take shifts?

Kim says it's not going to matter much, and as long as the lights are on she's been able to sleep just fine for the week that she's been here. But if it would make Nan feel better, she's willing to lose a little sleep.

  • Taking shifts is a good idea. Let Kim take first watch, then rotate to others.
  • Wait....we have not checked if the bathroom if safe. If his cigar was...that...then what else could have slipped by?
  • Before you decide shifts, do a sweep of the room to make sure there are no large cracks or holes or anything were baddies can slip in.
    As for Shifts:
    Nan, Anna, Anderson
    Kim, Henry
  • Why is that painting/frame behind you cracked?

Nan quickly considers the bathroom, and Anderson volunteers to check. He examines it for a moment, then calls an all-clear.

Kim agrees with Nan's decision -- she'll take first shift. She's not good at waking up but many late nights at college have made her adept at staying up.

Henry volunteers for the following shift.

  • Put off volunteering as long as you can. The more sleep you can get before the crazy shit starts up, again, the better.
  • Where the fuck did that lamp come from? And the dresser on the right! That wasn't there before!
  • And where did Anna go?!
  • This, I assumed that she was just being omitted due to camera angle, but NO she's GONE
    If a monster pop up USE YOUR HORNS, NAN

Nan glances around for a second.

...has anyone seen Anna?

  • Peek out of the door. Also, look around for a missing dresser; it'll probably be easier to find than Anna.

The door to the hall is ajar.

  • There's no way she lived that long by being that stupid.
  • Check Tiki Idol for stray Annas.
  • - so check the hall
  • Block the door with the other dresser!
  • Well go look outside and see where she went!
  • Nan, swing open the door at full force
    everyone else at once and pose dramatically
  • You should totally spread out and look for her!
  • Poke your head out and call for Anna. Failing that, ask anyone if they saw Anna duck out of the room.
    Open the door and steep away to the side
  • There seems to be light coming out of the crack of the door. Maybe it is safe to check out with a friend.
    Ask for a portible light source from the other three, then carefuly check outside the door with a friend.
  • It's pretty clear to me that you should all split up and search for her, you'll cover more ground that way. Anderson can take the courtyard. Kim can search the corridors, Nan and Henry will secure the bedroom.
  • Peek out into the hallway and call out for her. Lets hope she's not doing anything terminally stupid.
  • Look for her, but don't go beyond the doorway. Not without Anderson or someone like that.
  • From the descriptions it's sounding more like Limbo than Hell.
    Anyway, have somebody hold on to, then call out of the slightly ajar door for Anna. If she shows up, great. let her in and close the door. If they see a monster, they are already holding the door and can close it if need be.
  • CAUTIOUSLY peer out the door, leaving it slightly ajar, never leave the room, and call out for Anna.
  • Ask whether it's normal for Anna to just go out on her own. She came to get Nan alone, so maybe this isn't a bis deal.
  • Check outside the door, holding a weapon in case there's a beast. Call out *softly* to Anna. Have another person hold onto your clothes and the door or something, in case you get grabbed.
  • Throw a small object out of the door to make sure it's safe, then peek outside for Anna.
  • Make sure there's nothing terrifying out there, and, if there is, and it sees you, scream in terror and tell everyone to start kicking ass.
  • I know mirrors are a little unreliable, but maybe that's just hotel mirrors. Ask Kim if she has a compact mirror, or if anyone has something small or reflective like that. It's time to rig together makeshift inspection mirrors for seeing around corners and outside slightly ajar doors.
  • And risk Mirror Henry raping everybo-
  • Yeah, but if it's a makeup mirror, Mirror Henry might only be able to fit his wang through.
    So at first Nan was like this. D:
    Then she was like this. :3c
  • Why not just grab the mirror in the bathroom?
  • Nope, that's still a door.
  • haw!
  • Maybe she noticed some shit going on when everyone was being loud with numbers.
    Or the fact that kim is from the fucking future.
  • Since you have light, peek out at first, not too close so your head doesnt do any shadow business. if empty, call for the runaway there. listen quietly. if no responce from anything, open the door a bit to secure hallway lights. as a group, form the defence position around the door and call down both sides. if no answer, wait for her. If you leave to the hallway, life is not garenteed.
  • ? Just dont do anything stupid.
    I thought there was an update...
  • Same :(
  • It seemed like a cliffhanger last post, so I forsee a new thread being made.
  • well yeah considering time/number of posts since last update, it's always like this

Nan cautions the others to stay close, in case there's danger, then leans out the door to peer into the hall.

But there's no sign of Anna.

  • Wait, is 311 ajar?
    Also, take the Totem.
  • to clarify, no, it is not
  • Is 311 ajar? [No, it's a door. [Shut up.]] Or is it just a little wierd shadow?
    ...and WTF is up with that thing on the table? It looks even more creepy at this angle.
  • I see. Grab Totem anyways, and consult the others about a possible Search and Rescue.
  • What about the other direction?
  • Anna is going to tattle on them to Padre. She is the enemy.
    Everyone split up and destroy the traitor if you find her.
    This is a perfect plan and no one should argue.

Nan takes the DECORATIVE TOTEM and returns to the room. She tells the others that there's no sign of Anna and asks what the plans are for a rescue party.

Kim immediately speaks up and is opposed to the idea. She explains that Anna may be new, but she knows the risks and shouldn't go wandering off on her own. If they follow after her, they're risking their own lives. Anderson speculates that it may not be safe, but he wouldn't feel right about leaving her behind. He thinks a rescue party is a good idea. Henry agrees. He says he's willing to go if Nan is.

    We aren't going to find a way to escape hiding in a hotel room anyways. Arm yourselves with anti-darkness devices! Flashlights, lanterns, torches (the burny kind, not the British flashlights), whatever!
  • No one gets left alone. If Kim stays so does Henry, we'll take Anderson along.
  • Search party is go.
    If Kim doesn't want to go, she can stay behind and do her own thing.
    everyone else, gather light sources, bludgeoning equipment, and nerves of steel.
    Also should we designate a leader? Or would that cause unnecessary squabbling?
  • I like this plan, let's do this.
  • Give the totem a good shake and scowl at it intently for a few seconds before continuing.

All right, Nan says. If they have to split up, Kim and Henry can stay, Anderson will come along.

Henry asks if he can come along instead. He says he and Nan are in this together, and he wants to go with her. Kim agrees, saying she would feel safer with Anderson around anyway.

She quietly adds that it makes sense to stay behind, because if something happens to the room, their only safe area, they'll all be in trouble.

Anderson says he's fine with either decision, but they should make it quickly. Every second they waste debating is another second Anna is out there on her own.

  • Go with Henry.
    That way you can make out with him if you find her body and need... uh... comforting.
  • Fine whatever, but he better not get us killed just because he's distracted staring at your ass.
  • Yeah sure.
  • we can get hugs from Henry. Anderson probably doesn't do hugs.
    Henry is obviously superior.
    also in the event that we need to cannibalize our partner, Henry looks easier to overpower.

Kim lends Henry her TASER and Anderson lends Nan an old-fashioned OIL LANTERN.

From the collective supply Nan also takes a piece of rebar which has been ground and filed on one side to make a REBAR SWORD. It's still primarily a blunt weapon but it'll have a bit more punch.

They step out into the hall and Anderson says he'll be watching the door in case they need to re-enter in a hurry. And good luck.

Nan and Henry step out into the hall. The way to the right just leads to a dead end. The left leads down the hall and around the corner, where Nan came from. There is also a window on the wall opposite the door, and a stairwell leading down near the corner.

  • Check the stairs, I guess.
  • Aww man, that means we don't get any character development or a deeper understanding of Anderson in the interest of furthering the romance path...
    Well that probably just means Anderson lives longer then. I guess this plan is all right, then we can tell Henry about the whole past ordeal and tell him he's going to be knocked unconscious later, likely when they have to split paths because they most certainly will.
  • So just what is that totem supposed to be a totem of, anyway
  • I feel as though that lantern is going to be thrown and light a room on fire. Possibly the diner.
    Let's... peek around the corner to see if anything's there, then go down the stairs.
  • Carefully investigate stairs.
  • Check out the elevator. And consider trying out the rebar sword on that totem thingy. Might yield intersting results.
  • I don't think the oil lamb is going to be any protection. The Padre was on fire and ok with that. Maybe only elecrical light hurts the creatures.
    You should check the doors on your right, while heading towards the elevator and the stairs.
  • 4:66 = Room 466?
    Just a thought...
  • Or maybe it's the symbolic thing of fire harnessed to bring light and electricity doing the same that wards them.
  • This. Check the doors to see if she might be in one of the other rooms in that hallway before looking further.
  • Considering the Padre stood in a light, I don't think he's affected by it like the normal creatures.
    If anything, it's just a ward. Seeing him just means what was said earlier: run like hell.
  • Go down the hall and examine room 311
  • If only i had a speck of drawing talent.
  • This, obviously.
    Doors ajar don't just happen. Although as far as I know, generally doors ajar don't happen via demons.
    This is an unusual hotel...
  • For the second time, the door to 311 is not ajar.
  • I agree with this person. We should check out that room.
  • Check the elevators. Examine the oil lantern on the way to learn how to operate it the quickest way possible.
    Anna was out of the safe room operating the elevator before, maybe she's checking the other floors for survivors. After all, that's how Anna found Nan.
  • I don't trust Henry. Not one bit.
  • I trust Henry completely.
    But I also trusted evil dead grampa in the quest Tiffany the Necromancer, so obviously you're right.
  • We could grab chalk or whatever and leave messages on the walls for Anna and Team Survivors. That way if we miss her, she'll at least know where we went and that we are looking for her~
  • mmmmm, I dunno. Seems to me we should wait for that, help get the group together. If there actually exists such a room, and if there's something in it, we aren't exactly equipped to go investigate at the moment.Checking the elevator, on the other hand, sounds like an excellent idea.
  • Remember, Henry is from 1946. Maybe we should tell him how a taser works.
  • Good call. Is it the cattle-prod type of taser? Or one of the little dart-shooting ones? He would probably 'get' the former more quickly, but the latter would be more useful.
  • I seccond this idea, smart in case power goes out again before we run into her
  • I doubt it, what kind of hotel has 12 rooms on first floor but 66 on the fourth? still, all the more reason to check it out if it actually exists

The taser is a simple short-range type, and Henry says he already knows how to use it. It seems simple enough.

Nan recommends heading for the corner and checking the hall down where the elevator is, then trying the stairs, if there's nothing there. Henry agrees, and together they walk in silence, slowly.

Henry speaks up after a few moments. He asks Nan somewhat hesitantly if they've ever met before. Like... before the hotel. He normally never forgets a face, but his memory feels strangely hazy here. And yet, there's something so familar about her.

  • "Well, we had a thing apparently, but I can't be sure if it was real or a product of this place."
  • With all this crap about mixed up time? Tell him yeah, later on you'll probably meet him yesterday.
  • Not really sure, for one thing we remember waking up twice today, once alone, and the second time with you.

Nan responds she has memories of him, but they're so strange... as though she can't tell whether they're real or just a product of this place. It's weird, but --

Nan and Henry peer down the darkened corner of the hotel hallway.

  • Observe quietly for a moment. We don't know who the fourth party is yet.
  • Yell out:
    "Excuse me! Do you have the time and date?"
  • She's standing in the light, so she should be fine... right?
  • See if you can observe who the second party is.
  • Oh jaysis. She's standing in the light, but we can't see her features.

Nan stays back to observe a moment, but Henry suddenly rushes forward, yelling Anna's name. The figure by the elevator does not respond to Henry's call.

  • oh god oh god behind you OH GOD
  • Tell him to be careful goddamn-
  • Henry! Don't be so rash, ma-NAN TURN AROUND AND FIRE YOUR TASER RIGHT NOW.
  • No don't lose contact with Henry! jump forward and grab him, THEN look behind!
    And be ready to run!
  • I don't see anything behind anyone.
    Continue on your way.
  • Turn around and shine your lanternlight at it or block its hand with the rebar! NOW! And yell for Henry to stay back!
  • All over-reacting.This man has it right.
  • We are going to die. :C
    They need to act fast, but stay clear in the head.
    Also, unless I missed something, has anyone else thought of the possibility that even parts of the hotel itself are from different times? They may run in to some... incomplete parts or parts from 2150. o_o;

A clawed hand comes from behind and clamps tightly over Nan's mouth, dragging her roughly into the darkened stairwell. She drops the lantern on the floor by the landing, but it does not break.

A hoarse, scratchy voice whispers breathily in her ear. Something very sharp glints in the darkness, less than an inch from Nan's face. The voice says that if she does not stay quiet, she will get her little throat slit wide open before she can get out two words.

The figure in the dark pauses for a moment, as if waiting for Nan's reaction.

  • I like to make it a policy to listen to people who can quite easily end my own life at a whim.
  • If Henry can get away with this without getting Nan killed, pick up the light and shine it in her last known direction.
  • Henry is an indirect character!
  • Nod slighly, surpressing the urge to freak out, vomit, and scream.
  • Hold tightly to the rebar and wait for an opening. You'll want to smash their hand to get that knife away from you.
  • Dangit, I forgot about that.
    Oh well, it was worth a shot.
  • Nod. No sense in being RUDE to the suspected horrible abomination. Sometimes they're people too.
  • We do still have the rebar, right? We could probably go for the eye, but we are kind of at a disadvantage here. And if our captor just wanted us dead we probably would be.
    So... see if you can slip the rebar into a pocket for now just in case.
  • Relax and nod, while you carefully get a good handle on the rebar. Then jab it into its crotch region as hard as you can. You are not letting one of those things take you, Nan. You are not letting one of those things take you.
  • ThisGuySeemsLegit.png.jpg
    Seriously, I would just calmly nod at him. He has the tempo right now, which means trying to escape needs to wait for a better moment.

Nan nods quietly and she's pulled back suddenly, a bit further into the darkness. The hoarse whispery voice speaks again, closer this time. She can feel hot breath against her ear.

The dry male voice says good. He says he is going to ask a few questions and wants answers and no bullshit, or he will kill her. He wants answers.

Who is she? What is her name? Why is she here? How long has she been here? What does she intend to do here? He says to answer quick and she won't get hurt. All he wants is answers.

He removes his hand slowly but keeps the sharp instrument near her neck. And don't try to scream, he says.

  • Scream.
  • Don't scream. Give direct, quiet, truthful answers.
  • Nan.
    We came to fix an outlet.
    It's probably been less than a day, but it's already getting hard to tell.
    We intend to LEAVE.
  • "Repairwoman. Nan. Came to fix an outlet. Less than a day, maybe. We wanna leave ASAP."
  • Provide answers. He's probably another person that's trapped here, and doesn't trust anyone or anything.

Nan answers obediently. Her name is Nan. She's a repairwoman who was called to fix an outlet. Then she found she couldn't leave. She's been here less than a day, as far as she can tell. And she plans to leave.

There's a long, tense pause, and then a click as the sharp implement is drawn away from Nan's throat. The clawed hands release her slowly. A scratching sound is followed by a sudden flare of light as the figure in the dark lights a match. Nan turns to look.

The strange man quietly introduces himself as Santiago. His hands aren't clawed after all -- he's just ungroomed and his fingernails have grown long. He gives Nan an odd look and asks why she would want to leave. Doesn't she know what this place is?

  • Uh, no? Does he?
  • We are aware of some time dilation and some malevolent entities, one known as the Padre; but other than that, we have no idea what this place is.
  • Does he?
    And ask him what year he entered this place.
  • Tell him you just got here, and all you know is that things have chased you, you have been trapped in burning rooms, time is all screwed up, people have been KILLED for god sake and no matter WHERE this is, you'd be fine with going back to real life and forgetting it forever.
  • ... h... Hell?

As Santiago pockets his switchblade, Nan hesitates, then answers no, she doesn't know what this place is.

Santiago grins broadly and gestures out grandly. He says HE does.

Everyone has a theory on this place. Everyone wants to KNOW, he says. They want to know too much. That won't do them any good.

He says Pablo thinks this place is like a mystery, like a dream. Kim says this place is hell. But Santiago says he knows.

This place is freedom. Out there, there are rules. There are laws. There are morals. People fear God. But in here, there is no right and wrong. And there is no God. There is only us. There is only what we do and what we feel. This is the absolute. This is freedom. This is a world, at long last, of man's design.

Kim and the others think they know so much about the world. But not this place. Maybe Nan thinks she knows too, but she's wrong. She has to forget that and just go with it. Forget about everything you may never be able to know. Forget about if anything you do is anything good, or anything bad. Forget about if what you're doing is what you "should".

This place is the ultimate freedom. So he asks, why would anyone... want to leave?

  • Guess you gotta tell the world about this awesome new philosophy, which regrettably requires you to leave this hotel, and by extension, this nice lunatic's presence, as quickly as possible.
  • Oh great, we've entered Rapture.
  • I dunno maybe because the shadow monsters here want to KILL US?!
    Just walk off. Go find Henry.
  • Compliment his smile. Those are some nice teeth.
  • "I dunno, ultimate freedom seems kinda hazardous."
  • But what about the monsters, the horrors that lurk here?
  • Well... mainly because people are trying to kill us. ... really, everything else might not be so bad if we weren't constantly fearing for our lives. We'd sortof like to live.
    Ask him how he's dealing with that, just for reference? Then continue trying to leave.
  • Ask him how Pablo is.
  • I find this statement extremely funny, thank you kind sir.
  • Okay, crazy man babbling about freedom.
    This is of vital importance. PLEASE TELL ME HE IS STILL WEARING PANTS.
  • You have to talk to him in his terms. Tell him that to turn aside your ultimate freedom is the ultimate CHALLENGE, and you want to be up to it.

Nan responds nervously that as well and good as that may be, it's not worth people trying to kill her.

Oh, asks Santiago, and what's so bad about death?

He leans in closer. He says a girl named Anna arrived the other day. She has an interesting idea about this place. Does Nan know what Anna thinks? She thinks everyone is here for a reason. That this is a prison they've all earned themselves a sentence in, through their own actions. Some horrible thing they've done. Some sin they've committed. They're trapped here only by their own design. That this is their punishment. Maybe Anna wants to be punished, Santiago says through his teeth. Maybe she thinks she deserves it so much, that's what she's waiting for.

Nan scoots back uncomfortably, and Santiago grins, leaning close to her ear. He whispers another question in a hoarse voice. "And what about you, Nan? What's your sin?"

  • Enjoying cheap pizza?
  • You first.
  • Is freaking the fuck out a sin? That seems to happen a lot.
  • You never did anything bad enough to deserve this! ...well, I guess you are kinda lazy.
    Regardless you should make him step off. You've got that rebar. Brandish it!
  • "Long periods of inactivity followed by extended updating sessions? I mean... err... Chewing on wire when fixing something?"
  • ? Well, I guess we were pretty lazy. Sloth, maybe.
  • Be confident Nan. Don't let this creep freak you out. Tell him you ain't got no idea what kind of sin you could've committed to deserve anything like this, so that theory's probably wrong.
    Also, tell him he's about to burn his fingers. Pick up the lantern (there is oil, right?), and ask him if he could light it with his sticks if it isn't lit already.
  • "By your logic, there are no sins here."
  • FFFFfffucking foxes
    This guy is a psycho. Punch him in the face and get the fuck out.
  • Sloth. Ask him what his is.
  • Our sin is not getting the hell out of here ASAP.
  • Uh, okay, crazy guy with sharp teeth and poor hygiene who dragged Nan off into the dark at knife point where monsters are waiting to snatch them first talks about freedom without God/laws/rules/MORALS then goes on about the theory that everyone who comes here is a sinner.
    Either he wants a fellow psycho to join his ranks or he's planning to use his "freedom" on Nan if she gives him an answer he doesn't like. Or he went crazy trying to understand the place and has embraced any idea that seems most convenient. The fingernails hint he's been here a while and this place seems made to drive people insane.
    My vote is to handle the guy carefully, perhaps for Nan say that nothing comes to mind, but she can ask Anna on the subject. Use that as a segue to mention Nan was just on her way to meet Anna and if he could light her lantern before she goes it would really help her out.
  • Masochism?
  • Respond truthfully and ask some questions of your own. Questions like "if this is absolute freedom, then why can't I control it?"
    I think that question is important because if it is absolute freedom, then Santiago might know how to control the hotel. I mean the guy is walking around in the dark without any fear whatsoever. He may know how to be safe in the dark without light and Nan has to find out!
  • "My virtue is humility, what is yours that got you to deserve this place you find so wonderful?"
  • My sin? Heck if I know. This place may be freedom for you, but remember not all people are alike. What may be freedom for one person can be a prison for another. Sorry if I bothered you. I have to go now, and look for someone.
  • Whoa.. wait a sec!
    Didn't Anderson mention our new resident Red?
    Perhaps we should ask him what he believes his is, or why he's not with the others?
  • "I..I don't know yet..." (oh god, please get away from me)
  • "I don't know, I haven't thought about it. Why don't you want to be with the others?"
  • Probably liking pizza and being a bit careless I guess. You haven't ever done anything really bad have you?
  • Obviously you broke the hotel wiring causing an electrical fire that burned everyone alive and now you are experiencing your own personal hell for doing so. Just tell him "I burned this hotel to the ground" and walk away.
  • Avoid the question. Don't play into his little mental case he's got going. Just ask about who he is and where he's from while slowly backing away...
  • ? You never slept with Bill Clinton
  • ? Your sin...
  • Remember folks, there's a discussion thread.
  • They're $10 a piece, fuck you.
  • My sin was not getting trapped in the Metal Glen like you were. Now wake up, Red, it's time for your medication.
  • It's been two days :C
  • Say "not giving people enough hugs". Then hug him.
    He looks like he needs it!

Nan insists she has no idea what her sin is, and that she considers herself a generally okay person. Besides, didn't Santiago just say there are no sins in this place?

Santiago grins even wider and lets out an amused gasp. Evidently he and Nan are on the same page, he says. Anna's theory is baseless. It's only a product of her own desire to be punished. Maybe she should be punished.

Nan glances back at the stairwell door. She tells Santiago politely that it's been nice meeting him but she really should get back to the group. Santiago grabs Nan's arm lightly and asks if she's really going so soon. As long as she's here, wouldn't she rather stay and see the kind of fun truly free people can have in the dark?

  • Turn him down and start walking away, but be ready with the rebar if he grabs onto your arm any tighter.
  • uhhhh act interested and say maybe later fuck i dont know.
  • "...is this one of those rape things?"
  • Break the wrist grab and start running.
  • Say you have some business to take care of and thinking to do.
  • Inquire about this fun, but stipulate that you'd rather see it than be in the dark.

Nan says she's... got to get going at the moment. She has a lot of thinking to do. As she turns, a light flickers into the stairwell from the hall above.

A voice calls out to Nan. Henry's voice. He's asking if she's there.

  • "Yo, Henry! I want you to meet Santiago! He's a total creeper!"
  • Keep your eyes on s- oh great now you're going to look back and something bad will happen
  • Look imploringly at Santiago. He did threaten to kill you if you cried out.
  • I don't know. I'm more interested in how he is still alive without the light. That might be good to know.
    Ask him what does this fun entail?

Nan turns back to Santiago, who has released her arm.

With a fizzling sound he extinguishes his match, leaving only a faint plume of dark smoke hanging in the air. He steps back down the stairwell, disappearing into the darkness.

He says to be patient. He says next time, he'll have some real fun with her.

  • leave, but tell him you'll meet again
  • wink at him, do it.
  • Give him the bird.
    The Double Deuce, even.
  • Nan: Run to thy Henry!
  • Suppress every instinct to run, scream, or vomit, and wave at him with a little nervous smile.
  • Quietly take your leave. No need to egg him on.
  • Say yeah your here. You just judged that the shadowshape was some crazy hotel fuckery that was just going to make this matter a whole lot more confusing and complex so you went the opposite way.
    Totally believable.
  • Wow, he's quite a creepy bastard. You should probably get a shiv.
    Anyway, onwards to the reunification with Henry, mention that Santiago is a total fucking nutcase who can survive in the dark. Come up with a theory that the other creatures around here didn't start out that way, they just went a little crazy and now they're murderous loons in the darkness.

Nan is torn between running away with the sick feeling in her stomach or forcing a wave goodbye, but Santiago has already left. Henry appears in the doorway a moment later, shining his flashlight in.

He seems relieved to see Nan hasn't gone far. Nan says she ran into Santiago and Henry pales a little. She says he seems to be at home in the darkness. Henry says perhaps he found a way to live in the dark safely. From what he heard, Santiago's been here for almost a whole month.

He turns to Anna, who stands quietly beside him. He says she was just waiting by the elevator, staring into it. Anna very quietly explains she thought she heard someone calling her.

  • no more running off by yourself little lady
  • Tell Anna that it's really not safe to run away like that. Especially not since Santiago seems to want to have some "fun" with her. She really should stay with atleast one other person at all times.
    Then get back towards the others.
  • ...maybe we should ask Henry what he remembers happening after we threw the lamp.
  • Alrighty, now we regroup and hit the sack.
  • this. and getting back to the safe room would be nice, too.
  • hug anna
  • also do this, it's been on my mind
  • Aww, you totally missed out on getting raped by Santiago. Oh well, there's always next time.
    This is now RapeQuestv2.0

Nan asks Henry what he remembers after the last time they met, when Nan threw the lamp.

He says the room went pitch black and he didn't have a light source. He called out for her, but she wouldn't answer. He opened the door to the hall hoping to let some light in, but then he remembered the power was still off out there. Before he could close the door, something attacked him in the darkness, and he woke up in the shared room.

Anna follows quietly.

  • Now tell him what happened on our end. I am sure he is curious.
  • go "oh my that must have been frightening" while rubbing his horns.
    or ask anna if anyone found him and brought him back or something
  • Wait.
    What is that he's wearing? Is that the same pendant we have?
  • Both of these seem like exceedingly good ideas.
  • Examine inventory for matching pendant.
  • no, henry's pendant has 5 ends instead of 4, examine anyway

The pendant bears a striking resemblance to Nan's own, but when she checks her pockets, it's gone.

Nan explains her own ordeals, but it's so disjointed, like a dream that's hard to explain. Henry seems to get the gist of it though and says he's just relieved that Nan is all right after all that.

The group returns to the room where Kim and Anderson are waiting. Everyone is glad Anna is back safe.

Anna quietly stares at the floor and says they're not going to get out of here. And maybe they don't deserve to.

  • Tell Anna we heard about her theory... and it doesn't feel right. This place is too WEIRD to just be a punishment. Besides, we didn't do anything to deserve this!
  • Tell Anna that they haven't even TRIED yet. Giving up now is just stupid.
  • Smack Anna on the back of the head and tell her to stop being such a downer. Sitting around and feeling sorry for themselves and like they deserve it won't fucking help. And it's that attitude that makes Santiago want to rape and eat her. So cheer the fuck up.
    Ok Kim and Anderson if anything weird happened while they were out. Oh, and tell Anderson to please shoot Santiago if he sees him.
  • Tell her that out of all the screwed up characters in the world, across MULTIPLE TIME PERIODS no less, none of you could possibly be the most deserving candidates for being stranded in some sort of hotel-based purgatory.
  • Hit Anna to assert dominance
  • "Well, not with that attitude! Maybe you want to stay here forever, but that doesn't mean the rest of us are pansy quitters incapable of earning our freedom!"
  • ask her what her sin is and possibly tell her that giving up when others count on you is even worse
  • Yes, ask Anna what her sin is. It's time for everyone to come clean.
  • If this place is messing with their memories it might be possible that false sin memories are or will be implanted.
  • Along with that, see if there's a link between when everyone first ended up in this place and how long they've been there. That is, if that hasn't been done already.
    It may be one of those "time passes faster on the outside" things.
  • Because if that's how it works, this hotel has been around for a lot longer than they might think.

Nan tells Anna to stop being such a downer. Anna asks how she can possibly be optimistic in a place like this -- or has Nan just not looked around her?

They're trapped here, and Anna can't help but feel there's a reason. Nan asks that if they're all here for a reason, what did Anna do to deserve it?

She's quiet for a moment, then answers that she's not about to say what -- but it's there. She's got her bad thing, and she'd bet that so does everyone else here.

She nods to Anderson as an example. How many times do you think he's fired that gun? Has he killed anyone?

Anderson says of course he has. He's a US Marshall. Sometimes it's part of the job.

  • Tell Anna that if her theory were true, there would be a HELL of a lot more people trapped here than just the...5? 6? of you.
  • Guh..... do you really want to hear everyone's sin confession? Wouldn't it be more prudent to focus on staying positive, finding out everyone's strengths, and figuring out a way to get the Fuck out of this damn hotel? Seriously.
  • Tell Anna she saved your life! And frankly, she's been nothing but kind to you! If she really deserved this, and we mean really, then there would be a whole lot more people who live in the dark like our grinning 'friend'.
  • This place isn't a hell, it seriously lacks in torment. Not much of a limbo either, too much... stuff and weirdness. In the afterlife you shouldn't feel much alive anyways, you wouldn't have hope or be worried about death. You tell Anna she just has her own issues and she needs to get the fuck over them or she WILL make it to the afterlife and probably drag you all with her.

If this is Limbo or Hell, why aren't there more people here? Anna says this isn't Hell, because they're not dead -- they're just being punished. And they put themselves here. There are surely many others, but why they are here, rather than they, is anyone's guess. At the least, they couldn't all fit into one place, could they?

Henry interjects on Anderson's behalf, excusing the Marshall. He says it's sometimes necessary for a lawman to kill if innocent lives are endangered. But upholding the law and murder are two different things. And surely, Anderson's never killed an innocent man.

Anderson scowls and speaks gruffly. He says he's never met an innocent man.

  • oh anderson, you're not helping but we love you anyway.
  • after all he probably sounds like Keith Davids...
    Anyway, regardless of his philosophy of no innocent man existing, I've doubt he's killed in cold blood... unless of course he's witnessed a horrible crime so gruesome he killed the man he thought was responsible immediately. Cops deal with horrible shit all the time and I'm sure Nan's up to snuff on understanding what a police officer's mind might go through witnessing a hurt child or something.
  • Sigh, rub your head, and let them get this drama fest on the road.
  • ... the POINT is, we're sure he's never killed anyone without a good reason. He's a Marshall and that's just part of their job.
    Certainly we've all done things we're not always proud of, but none of it could deserve this. ... and if the rest of the girls insist on romanticizing this as some kind of hell or punishment, then I'd prefer to think of it as a trial. We can get out of here as long as we don't give up. And when we do get out of here, things will be better. Maybe we can make things better. But things will never get better if we don't try. That's what a trial is. It's a bad situation with a light at the end of the tunnel. And we just have to keep reaching towards the light.
  • Get it through her hard head that this place doesn't make sense as a hell, or limbo, or purgatory, in fact it doesn't make any sense at all. You've got creepy beings and time travel as the best leads here. You can more easily find a parallel here or there in books about science fiction or paranormal thrillers. But nothing any of you think is happening actually matters so you should really stop worrying about it and find a way to stay alive and escape.
  • it matter not what we have done, but what we have becomed.
    if you want to suffer forever in your self made hell, be polite enought to not drag anyone with you.
  • Ok, big speech time.
    "Perhaps this is hell, or purgatory, or some equivalent of it for the living. It doesn't matter. Do we have a sin that would hold us here? Well, we don't know. Do we deserve to be here? Again, we don't know.
    One thing we DO know is whatever it takes to get out of here, be in atoning for sins or kicking the ass of every shadow-loving freak in this place, we are GOING to find it and DO it!
    Talking about this is pointless. We don't have enough proof to disprove or prove any theory's yet, and we can't just lay down and die. Let's move forward, find useful things in this house and try to determine the rules of this place. Let's find something to use as weapons against those things. And lets stick together from now on, never splitting into more than two groups at a time because being divided is STUPID!
    You can huddle in dimmed lights and silence until you slip up if the think you 'deserve' it or whatever. Go ahead, give up and die if you don't want to go on. But I will not, cannot stop.
    I'm going to live and see the outside world again, or die giving everything I have to try getting there. If I have some hidden sin then I'll deal with it, in here or out. You don't wallow in your sin, you overcome it.
    So either get beside me or get out of the way, because as long as I have legs I'm moving forward."
  • "Anderson had to kill people as part of his job as a US Marshall.
    I'm sure Henry here fought in the war.
    Anna, I'm guessing, murdered people for cash to survive the great depression."
    Pause to give her a look and a chance to correct you.
    "How about you, Kim? You're a college student. The worst you've done is probably drugs and cheating on homework, unless I'm missing something."
    Give her a look and a chance to answer.
    "As for myself? My only 'sin' is that I sit on work orders until I feel like doing them. I don't even cheat on my taxes. If this is a punishment then it's being given by somebody with no sense of scale."
  • 'Is it really pertinent what sins we may or may not have committed?! I know that I have done nothing to deserve this, and even so, why give up? We should still try to escape if only to avoid being hurt more than we already are. There are monsters out there, horrible things; Santiago too.' Turn to Anna 'I think he might rape on of us, we should try to stay with the men. In any case, sitting around feeling sorry for ourselves is not going to solve anything!'
  • Okay mental note, Anderson is not someone we want to fuck with.
  • Follow this, but instead, ask everyone to state what the "worst" thing they've ever done is -- something they REGRET. We might not be here for a "sin" so much as what we perceive as one.
    (So the question is, what would Nan's regret be?)
  • Smack some nihilistic sense into Anna. Shit doesn't have a reason, no overreaching grand plan it's working along, no fucking divine punishment. Shit just fucking is, and it doesn't even matter. So can she stop fucking around with her own head and being such a defeatist whiney little pussy and get her fucking ass in gear and be helpful instead of somne ditzy little twat that goes off to get killed and worse, drags along someone who wants to help her and gets killed. If she wants to end in then just grab a shiv and go to the bathroom.
  • There are monsters out there, horrible things; Santiago too.' Turn to Anna 'I think he might rape all of us, we should try to travel alone as much as possible making sure to frequently pause with our backs turned to dark corners.'
  • Anna helped Nan in the elevator, so Nan should help her back, not just for her own sake, but because it's the right thing to do. The way Anna's right now, however, she might take Santiago up on his offer, and that needs to be prevented.
    Time for some psychoanalysis.
    If Anna thinks she deserves to be here, then tell her you want to help her get past that and get out of here. Same goes for the others.
    Clearly they're in some sort of unnatural place. Clearly there's something going on here that they don't fully understand, something involving their lives somehow from all the weird dreams and stuff. That doesn't necessarily mean they all explicitely deserve being here, and it doesn't mean there's no way of getting out or making up for whatever it is they're supposed to have done.
    Maybe that's even why they're here together now. Helping each other figure things out and keeping each other sane and living should go a long way at making up for past mistakes. Frankly, shooting for redemption is way better than just sitting on your ass waiting for whatever's to come, always.
    In the event that it ISN'T limbo or whatnot, helping one another to figure a way out of here is just good old common sense.
  • Make the point that they've turned up here over the space of DECADES. If there is a particular reason that they should all be here, it needs to be a hell of a lot more specific than that.
  • He has a gun? Has he tried using it on say, the Padre?
  • What's curious about this is that the hotel's relative time is non-linear. The 1930's was a few days ago, while the future was last week. Whatever this place is, it exists in multiple times.
    Actually, Kim's a college student! Ask her if she ever studied quantum theory or stuff like that. Or in the very least if she's heard anything about the hotel before -- or anyone going missing near it. Nan and Kim are from relative times, so maybe Kim might have heard of something?

Nan asks Anna what sin she could have committed that was so bad she would wind up here. Anna says she hopes Nan will excuse her that she's not exactly itching to share.

Nan is fed up with everyone being a downer! She tells Anna that whether or not they "deserve" to be here doesn't make a difference now. If Anna just wants to sit in the corner and wallow in self-pity that's her choice, but Nan isn't about to give up.

Anna smirks oddly and corrects Nan. She clarifies that she never said she was giving up. If they're here by their own actions, that means they can leave by their own actions, too.

And Anna for one doesn't plan to die in a place like this. She's getting the hell out of here first, and sorting out her absolution later.

  • "oh you"
  • Good.
    Now we resume sleepy-time. We'll need the energy to escape.

There is a knock at the door.

  • A polite knock or "OH GOD WE ARE GOING TO GET RAPED" knock?
  • We're never going to get any sleep at this rate. Defer to the others; they know what the door protocol is better than you.
  • Knock two bits back.
  • Knock five times in rapid succession. If there's a person on the other side, they should reply with two knocks.

Nan decides to defer to the others. Luckily, it seems they are prepared.

Anderson stands by the door and draws an old-fashioned revolver. He gruffly asks who's there, and a moment, later a familiar voice responds.

"It's Pablo!"

  • Okay... Lets see him.
  • It might not be Pablo, ready your weaponry.
  • This.
    Also hide behind Anna :D
  • Open the door a smidge and confirm Pablo's identity.

After a quick nod to the rest of the group, Anderson swings the door open and levels his pistol --

But it's only Pablo, after all. He's understandably surprised by the gun pointed at him and tells Anderson to put it away as he stands in the open doorway.

  • Tell Anderson it's cool.
    Ask Pablo what happened after last time we saw him.
  • Let him in, but keep an eye on him. Never know.
  • Let him in a verify that it's Pablo.
  • Ask Pablo things only Pablo would know.
    Like what kind of can of food they had earlier.
    The mirrors are making me think we need to start an identity check system.

Anderson lets Pablo in and he promptly notices Nan with pleasant surprise.

Pablo says that after she smashed that thing in his room everything went black and when the lights came back on a few seconds later, she was gone. He'd feared the worst, but evidently she's all right. And now she's here with everyone else, to boot. He thought he might not see her again.

  • groovy.
  • explain weird time shit.
  • Glad to have you back, Pablo!
    Now let's get back to sleepy time.
  • Ask HIM what year it is.
  • Give a High Five to Pablo.
    For a change of pace :3
  • What if Pablo pre or post-dates the High Five? :O

Nan raises her hand and Pablo eyes it strangely, but with a quick gesture and a little encouragement they high-five, if a little awkwardly. Pablo smiles.

Nan asks him what year it is.


Pablo gives Nan an even stranger look and after a pause he seems to decide she must be serious. He says it's still 1966, right? Surely they haven't been here THAT long.

  • Pablo... I'm from 2009...
  • Fill him in on the time-fuckery going on up in here.
  • Lets do the time warp again.........
    Explain temporal shenanigans to Pablo
  • Explain to Pablo the disjoint in eras between the people here.
  • Sorry Pablo, at last count it's 2012. Everyone seems to be displaced from their time period in here. Wonder when Santiago's from...

Nan sits Pablo down and informs him of the strange effect this place has on their relative "home" times. Pablo glances around in confusion for a moment, but the others nod to confirm Nan's explanation. He settles down for a minute without saying anything, then asks Nan if people are living on the moon yet, in her time.

Nan says no. Kim says not in her time either.

Pablo seems a little disappointed, but otherwise largely unphased by this revelation.

  • We have LANDED on it though!
  • "But we do have this magnificent system called The Internet..."
  • We don't even have hovercars... or robot servents... or holograms... man the future turned out to be far less cool than we all thought. But at least the internet and nintendo was a nice trade off.
  • Alright.
    We need to come up with some sort of plan if we're gonna get out of here.
    Firstly... lets have everybody work together and draw up a map as best we can.

Nan says they need a plan. They should combine knowledge, maybe work on a map.

Henry agrees. Kim does too, but she says it's far too late to concentrate on things like that. They should start thinking about sleep. Now that there are six of them, they can take 3 shifts of 2 people each. Everyone can get a few hours of sleep.

  • agree, let's get some shut-eye.
  • Back to the first plan. Kim can take first shift, and Henry can take second, and Nan, volunteer for third.
  • Take the second shift with Henry. The others will be in deeper sleep then and you can start putting the moves on him.
  • Nan should kick it with Kim I think. Maybe.... just maybe Kim might remember reading about a nasty bicycle accident around Nan's disappearance.
  • pick the shift with who we wanna talk toooo~
    I'm for kickin it with anna.

Kim says she'll take the first shift. She's not as reliable at getting up early but she can pull late nights no problem. It's part of the college schedule. Nan sympathizes. She's never been much of an early riser and hates interrupted sleep. She sleeps in late on weekends. And weekdays too, usually. Anderson says he's staying up with Kim. She's the youngest and if anyone needs him for backup, she does. Kim doesn't object.

Pablo asks no one in particular who should take the other shifts.

Anna suggests jokingly that they should have mixed shifts, so there's no point where all the girls are asleep, since who knows what trouble the men would get up to. But she apologizes sheepishly after nobody laughs.

  • Laugh at her joke :(
  • But laugh awkwardly.
    Offer to kick it with Henry, so you guys can get to know each other better :3c