Loading... please wait


Santiago has run off, taking the lantern with him, leaving Nan in the darkness of the third floor hall, just outside the Sunset Room.

The heavy, ragged breathing and shuffling footsteps have gone quiet. All that remains is silence, and the placeless echo of Nan's vision of the TERRA COTTA COURTYARD.

[use left-right cursor keys to turn pages, or click on the arrows at the top and bottom of each page. Spacebar to toggle audience suggestions.]

  • Feel around for the wall so you can reorientate yourself in case you need to run.
    Preferably with the flailing oh god there are monsters everywhere run run what are you waiting for oh god damnit run goat run
  • This is going to be asked in a second anyway, so check your pockets/inventory
  • Oh my goodness yes.
    Find a wall, TAKE A MOMENT TO ORIENT YOURSELF. No point running away from where we want to go. Move quickly to the elevator door and SLAM THAT CALL BUTTON AS HARD AS YOU CAN JESUS.
  • Try to find a wall, then follow it.
    Try not to make too much noise, lest you alert the Beast.

Nan stands up and begins feeling along the wall. She rechecks her inventory, to find: BALLPOINT PEN PHILLIPS HEAD SCREWDRIVER MAGNIFYING GLASS And a CHECK for services rendered at the Fun Family Arcade.

It appears her CROSS PENDANT is still missing.

  • Im thinking you should ready the screwdriver, since its the closest thing you have to a weapon.
  • Continue walking along the wall.
    EQUIP SCREWDRIVER in case of hostiles.

Nan continues along the wall, and finds something that feels like a button.

  • Push butan
    Receive scary
  • Don't push button yet. Feel AROUND the button. Is there a rectangular plate around it, like an elevator button? Metal? Plastic?
  • Check to see what kind of button it is. THEN recieve scary. :D

Nan presses the button. The elevator doors open.

Kim screams, then sighs in relief, lowering her taser. It's just Nan, after all.

  • Hug them both in relief.
  • hug Kim
    Fist bump Anderson
    Tell them about Anne
  • Tell them what happened after you fell asleep.
  • Wait, we might want to make sure it's actually them before we go clinging on to them. You never know in this place.
  • Head in elevator
    Hug everyone
    Tell everyone Anna got mauled
  • Hugs all around! Then ask what the hell happened. Where they went, if they know Anna's dead, so on.
  • You know what, take that rug on the floor. You'll never know when you'll need something with which to beat a fire out with, throw over a barbed wire fence, or to distract a monster with.

Nan steps into the elevator and delivers the grim news about Anna's fate. Evidently Anderson and Kim were not aware, and Kim gasps in tragic realization.

Anderson seems angry. He says this is why they slept in shifts. Who was Anna staying up with?

  • Oh, no. It was Pablo. Have you guys seen him?
  • God damn it Pablo...
    Ask them what went on with them since you last saw them. Did they wake up together or did they have to find each other? And grab that rug. It's yours by blood right.

Pablo. Pablo had the shift with Anna.

After they woke up Anna and Pablo for their shift, they took a short nap, then headed out to look for Santiago.

Kim groans. That means Pablo could be dead too.

Anderson says that's definitely one possibility.

  • So the two of them left the safehouse together and this is the first they've heard that things have gone wrong? How long has it been, for them?
  • Also take the rug.
  • Ask what the hell is going on. How did we suddenly wind up somewhere else? Is this whole place in some kind of space-time fractal?
  • I love talking about space-time shenanigans as much as anyone else, but unless we're professional physicists in that area, we should focus on surviving the weird space-time hotel of horror then understanding it.
    Close the fucking doors and let's get to another floor.
  • suddenly I'm a lot less sure about pabalo...

Nan asks if anyone understands what's going on, and how she suddenly wound up somewhere else. Kim asks where exactly it was she wound up.

The lights come back on with a quiet hum.

  • What's is place look like?
    I don't think we should mention Santiago.
    I still think we should take the rug.
  • Dangit Nan get off that rug. Take the ruuuug.
    We had a weird nightmare. Pablo was in it. We woke up, then say the Pilgrim, then met Santiago. Now we're here. Ask what THEY did in the intervening time.
  • Hang on, why exactly did they go out to look for Santiago? Methinks it's time everyone had a bit of a sitdown to discuss exactly what's been going on since our little side trip.
  • Vaguely describe your dream. Both of them, why not.
  • Get the dickens back in the elevator and back to the saferoom already. Stop standing around yammering in places where the lights crap out randomly and the Things go.
  • Let's see if we can at least fine Anna's body again. I'm not actually sure if it's worse if we can or not.
  • I get the feeling that if we go looking for the dead, we won't like what we end up finding. Anyway, Anna didn't have anything important on her, so no reason to wander around without purpose.

Nan explains her dreams, which brought her to a strange place where she saw Pablo, then to the TERRA COTTA COURTYARD. Kim's face seems to darken at the discussion of Pablo's behavior, but comforts Nan. It was just a dream, after all. Anderson says nothing.

Nan explains her ordeal after waking up, how she was chased and led around. Kim asks what part of that constitutes a "space-time" oddity, if she just moved around.

Finally, Nan suggests they take the elevator back to the safe room. Anderson replies that the safe room is on the third floor. Where they already are. He studies Nan quietly, then asks if she's sure she's all right.

  • We're alright, Anderson. Just more than a little unsettled. Ask where Henry is. Let's just get back to the safe room and take a deep breath, okay?
  • Don't let yourselves get lulled into a false sense of security just because the lights are on. Those things can go out at any time. Warn them about the Pilgrim.
    Also, ask Anderson if in his time there was any trace of a former spanish monastery around the Hotel. Maybe it was only torn completely down right before construction on the hotel began.
  • Admit you have little knowledge of where you are or what's been going on. You've been asleep, after all. Did they FIND anything during their search for Santiago?
  • Be advised, I think Anderson doesn't trust us.
  • I think he thinks we're getting a tad hysterical. He's from around the early 20th century, he probably think all dames melt in the face of danger.
    Ask Anderson what happened to Henry and why they decided to leave poor Nan alone in the saferoom ;_;
  • yay nanquest, dont give up weaver =3
    is there any indicative you really are on the 3rd floor? door number maybe?
    well, we should head to saferoom anyway.
  • NANQUEST YES!!111!111!11one11!!1one!!eleven
    Apologize and say you weren't aware because you were too busy being blindly running away from the Pilgrim and other various monsters.
    Whoops. :(
  • ...yeah, we didn't really move around due to the 'dreams' this time did we? Did you tell them about getting sent into the burning room?

Nan considers her situation. Perhaps she's a little confused. She was being chased by the Pilgrim, she must have just gotten turned around.

Anna was here, she's sure of it. But now the hallway's empty.

Nan asks if there used to be a Spanish Mission here. Anderson says there was. When he was a boy, its ruins were here. Burnt to the ground some time ago. Cleared out years later, in preparation for the hotel.

  • We'd better not stand around here too long. Let's head back to the saferoom.
  • Ask why it got burnt down, on the way to the room.
  • nothin we dont already know, besides the burning down bit. Time to either head back to saferoom or check the floor for our friends.
  • Return to the safehouse.
  • Ask Kim if anything cool or notable has happened since 2009 for possible minor small talk.
  • Point out where Anna died. Lament that you didn't grab her hat for evidence.
    Also: Survival requires understanding. Lets research the FUCK out of this place.
  • Become obsessively possessive about your possessions.
    Write your name on all the tags.
  • The door to 311 is slightly aja-*shot*
    When stating the area where Anna died note aloud the fact that there is no blood on the walls.

Nan asks why it was burnt down. Anderson says he doesn't know. It happened before he was born.

Nan returns to the SAFE ROOM.

  • If I had to guess, I'd say Pablo's been obsessing a bit.
  • What's with the lines on the wall? Those weren't there before, were they?
    Move the bed, see what's behind it.
  • Okay, so now Pablo is a Prime Suspect.
    We STILL need to find a way out of this dang hotel, though.
    In the meanwhile, examine the wording.
  • Possible credence to Anna's idea?
    Quick, check the tub! Hopefully Pablo isn't in there (maybe he saw what happened?)
  • Check for unwanted visitors.
  • Thank you, mysterious failure. Your words mean so much when people are dying and going missing.
    Nan: Go to the mirror. See if your mirror self is there. If she is, then drag her out and beat her until answers come out.
    Other than that, ask if anybody has ideas on what to do next.
    If not, then go to the front door and try to open it but do NOT step through. We need to see what the others see when it's open. If you encounter yourself or one of the others, grab them and take them with you. If it's Anna, then kiss her and make her promise not to die on you again.
  • Just as an aside, ask Anderson when he was born. It might ne nice to just know how old we all are (of course, if you want to leave it ambiguous then by all means ignore the shit out this. I've already contributed to a Weaver-quest today, and in doing so, my life is a tiny bit more complete)
  • Hug Anderson
    Read note
  • Ask when the note showed up. No hugging
  • Study the markings on the wall. Are those scratches clawmarks?

There doesn't appear to be any more to the note. The markings on the room haven't changed from the last time -- faint ashy trails leading up the walls.

Nan checks the bathroom, but it's empty. No one else is here.

  • Check the mirror!
  • Check mirror.
    Failing any strange activity, Return to Kim and Anderson and ask what they have been doing and what is their next move.
  • Make sure bedroom door is closed and locked. I assume so, but it wasn't mentioned.
    Okay, let's inventory our situation. We're missing Pablo, Anna's dead, Santiago's batshit crazy. Where's Henry again?
  • Henry's been missing ever since Nan woke up to Anna being mutilated by Pilgrim.
    Should we go find him? It's not like there's anything better to do.
  • On one hand, I think that we can't afford to lose anyone else. On the other hand, our rescue missions haven't exactly gone swimmingly so far. But I'm not sure what else we can do at this point. And there's clearly a connection between Nan and Henry, since they've been sharing dreams and have similar (the same?) pendant.
  • Yeah, the more I think about it, the more I think we need to do a Pablo/Henry rescue mission. Mostly a Henry rescue mission, because based on the scrawled message and Nan's dream(?) of Pablo's whole "I'm sorry baby I won't kill you this time" episode, I've got a bad feeling about Pablo.
  • Check mirror, if nothing happens then organize a search party of some kind. Make sure that the search party consists of everyone too, the last thing we need is to split up and have more people to find later.
  • Oh crap... you're right. These rooms don't have phones, do they? We need to find a way to communicate with people in some manner.
    ... then again, didn't we first meet him on the 1st floor? Maybe when everyone got separated, he wandered back there. It'd at least be familiar.
  • check mirror, assuming we dont get warped to some parallel version of ourselves in the process; consult anderson on plan of action.
  • If we're going to stage a rescue, we're going to need a few things:
    1) A plan. This not only includes where we're going to look for Henry (and maybe Pablo), but also what we will do if we're split up and proper procedure for sticking together when the lights die.
    2) Weapons. Nan lost the Rebar sword already. Looks like Kim has a taser, Anderson has his gun, but Nan's defenseless currently. The broken glass from the mirror could possibly be cobbled into a makeshift spear if we take down the shower rod or break some wood off the bed, if we can find some tape or something to bind them together.
    3) Contingency plan on what to do if Santiago shows up acting psycho. Frankly, I'm inclined to say that Santiago is going to be more of a liability than he's worth. I know Nan isn't the "kill in cold blood" type, but this burgeoning attempt at a friendship at him seems like a poor idea. He can't be trusted, and I sincerely doubt he can be redeemed. No more handing him our limbs without having a backup plan for self-defense.
  • I'd like us to readdress this point, too. Why were the two of them out looking for Santiago?
  • One more alternate option and then I'll stop spamming the thread: there's still the "4:66" mystery. My immediate instinct is that's a room number. I know the hotel only has three floors, but I think the number's there for a reason. Is there a way onto the roof?
  • has a point. Try to remove the curtain-rod-thingie. It's probably hollow and light, but it's better than a screwdriver.
    Them return to the room and move the bed to see where the ash trails stem from.
    And don't look in the mirror, seriously. The last thing we need is another paranormal event that takes us on yet another flashback/dream.Please try to leave comments only concerning our current situation. 4:66 theories go to the discussion thread.
  • It seems so far whenever we encounter a paranormal event, it is nan's insofar violent response to these events which trigger a flashback/dream/timetravel experience. So long as we dont do anything rash and Nan applies herself passively to such events, we should be fine.
  • Up the walls? Look at the ceiling.
  • To clarify, I wasn't just bringing up the whole "4:66" thing simply for theoretical purposes. I bring it up now, specifically, because we're currently at a "what general goal should we pursue" point. As an alternative to a rescue mission, we could attempt to find a 4th floor (hey, this place isn't exactly full of Euclidean geometry) or roof and try to figure out if that's where we're supposed to be going. So it wasn't meant to be a "let's bring up every haywire theory" mention of 4:66, but rather a "Hey, instead of a rescue mission, here's another idea" mention.
    That said, I still think finding Henry is probably the better priority. My guess is we'll run into Pablo and be unhappy with what we find.
  • Check inside the toilet tank. Maybe someone hid something useful in there.What's wrong with a screwdriver as a weapon? Hobos and crackheads and the like use them all the time.
  • Using the screwdriver would require getting uncomfortably close to things. It'd work as a backup, but I doubt we'd last long with it as our primary weapon of choice.
    Where'd the totem go? Guess it disappeared when we did our sleep-traveling. Nan needs to start duct-taping her equipment to herself or something.
  • Take down the SHOWER CURTAIN and use it as a makeshift CLUB.
  • Seconding taking the SHOWER CURTAIN ROD. Even if it can't be used as a club, I'm sure it'll have some use.
    If you can't remove it, ask Anderson to help.
  • One: take the curtain rod. You could use it as a weapon or combine it with a shard of mirror.
    Two: take a shard of mirror. Be careful when holding it!
    three: Take the rings on the curtain rod. Maybe you could wear them as bracelets.
    four: Look behing you and wave at your reflection.
  • pffftt
    then we'd just be arming our evil mirror self with weapons
  • Tie some kind of cloth around one of your eyes. Then when it goes dark you can switch the cloth over to your other eye for INSTANT NIGHT-VISION.
  • Step 5: cannibalize all wooden furniture in the room then combine wood to form ARMOR OF ARMOIRE. This thing can stop a missle!
  • Seconding Termina's suggestion. I [his?] order.
  • Sorry to double post but I didn't mean to use red text like that. I'm kinda new to the posting thing, and didn't know it by default said suggestion at the top. Feel free to delete this if you wish but please don't ban me or anything.
  • I'm a girl.
    And don't worry about the red text.
  • ask anderson for his watch, change the time to 6 minute past 5 (4:66), see if that does anything
  • He probably won't agree to that, and the whole 4:66 thing is probably just a "spooky Weaver effect".
  • Floor 4. Hall 6. Room 6.
    Are we already on the top floor?

Nan looks at herself in the mirror.

  • Become overwhelmed with inexplicable urge to smash the rest of the mirror
  • There is someone behind you. GO FOR THE LEGS.
  • Okay, maybe get a drink from the faucet, calm your nerves?
  • Iiiiit's... probably just the broken mirror making things look all weird but uhhh, look behind you.
  • Return to the main room. Ask Kim and Anderson if they've found any leads on a way to escape yet.

Nan turns around, but no one is behind her.

  • Step away, turn around to face mirror.
  • Oh that was just the shattered mirror shards giving a weird reflection, everything is completely fine.
    Let's get moving, and try looking in some other rooms maybe.
  • Turn back around, reach into the mirror, pull that damn mirror-clone out, and beat it until answers leak out.

Nan touches her head. There is a dull pain there.

    Throw something at that mirror! Again!
  • Find the shards of the mirror and put them back in.
  • AAAA!
    Get away from the mirror.
    It is not safe. The bathroom is not a safe place.
    Reality is breaking down again. Get back to the others!

Nan decides to exit the SAFEHOUSE BATHROOM.


Nan re-enters the THIRD FLOOR SAFEHOUSE.

  • Check if the dull pain is still there when the mirror is out of sight.
  • Tell Kim and Anderson to avoid the bathroom, seeing as the mirror is a portal to Hell and can warp your very being.
  • Well, so much for the SAFE HOUSE.
    In any case there's nobody here. And since the building appears to be well-lit again, you should go look elsewhere.
  • Announce to the group to never fuck with mirrors ever again.
  • Well... where can we go now? We could check out the rooms on the first floor that people used to be in. Or we could ask if either of them have any keys to any other rooms.

Nan warns the others to be careful around the mirrors. She still feels a dull pain in her forehead.

Anderson asks if they all plan on just sitting here until they die. Kim says they have enough food and water here to last them for a while, and the room seems safe so far, so it might be best to just wait for rescue.

  • Given that Anderson has been waiting her since the turn of the century I somehow doubt that's a plan likely to pay off.
  • That obviously isn't happening.
    What we need to do is try to get to the roof. Perhaps from there we can find a way down, or maybe encounter more impossible reality-bending shit.
  • Tell Kim the room is not safe and that looking for a better safe room would be prudent.Good thinking. Ask them about keys to get options. it might also be wise to check the front entrance once more, since weird items tend to pop up there. Could be useful.
  • Suggest that because of the supernatural nature of this hotel, rescue may be impossible. You ultimately will need to find a way to quell the evil that is holding you captive in order to escape.
  • I think rescue is ever going to COME.
    I mean how do we know anyone else can even get IN? What if the Hotel is as good at keeping things out as it is at keeping them in?
    And who's to say that if someone came, THEY wouldn't be trapped too?
    No. We have to find a way out.
    We WILL find a way out.
    But first we have to figure out what in the fuck is going ON.
  • Rescue ain't comin' if nobody notices you're gone missing in a hotel that defies all laws of time and space.
  • Point out that rescue is something like 120 years late by the time Kim arrived, and even if anybody had a clue that anybody was trapped in this building they sure as heck wouldn't be equipped to get you out of here.
    Suggest that everybody march down to the front desk and demand to see the manager.
    Also, next time you see Pilgrim ask him what happened to him, and to this place.
  • Ask Anderson if he has an idea. Anything at all, we don't really have any direction beyond basically exploring the hotel. We could look for the others I suppose but then what?

Nan says rescue is not coming. Nothing here seems certain, but that's about as sure as she can be about anything.

Nan asks if anyone has keys. Most of the rooms appear locked or barred. Kim says she has a key to something called the Anasazi Lounge. She found it in her room, when she first got here. Nan can have it -- Kim doesn't even know where the Lounge is.

  • It's exploring time! Grab some potentially useful objects and run off for adventure!
  • Welp, off to find the Anasazi Lounge I guess.
  • Should we drag the others along for this?
    I think it would be best to have Anderson and Kim find a safe place.
    Nan can take care of herself.
    So yes, let's go find the Anasazi Lounge!
  • Check the assorted bottles.
  • Oh yay adventure.
  • Rip mirror-Nan out of the mirror and beat her until she starts bleeding answers.
  • I think we need to stop splitting up. It seems to lead to "bad things".
    Also, wasn't there a lounge or some kind of dining room where we fought and the room was on fire before we met ourselves?
  • Make sure Mirror Nan isn't following you, then get the gang together and head to the Lounge, we might find another key or a survivor there.

Nan takes the ANASAZI LOUNGE KEY from Kim.

Kim says Nan can go, but she's staying here where she's been safe for the past several days. Besides, she still has no idea where the lounge is.

Anderson says he doesn't want to leave either of them alone, but clearly he'll have to choose who to stay with.

  • He should stick with Kim, since they need to make sure the safe room stays safe.
    Also, go grab mirror-Nan and beat answers out of her. This is the most rational course of action.
  • Tell Kim that this place was only safe because it had people here. If a monster barges in here she'd be cornered.
    If Kim's not going to budge, have Anderson stay here. Then it'll qualify for being slightly safe. But advise that no place is really safe, probably better to be on the move with just three people.
  • Leave Anderson with Kim, they both have weapons to defend themselves in case the Safe Room turns out to be...well, not so safe.
    Also, check the mirror. We need to make sure our mirror self doesn't come out and kill them after we leave them.
  • Anderson, stay with Kim.
    Nan, grab a light source and advance.
  • Make out with mirror Nan.
  • Leave the mirror be. It being cracked isn't safe for us. If we find a whole one, maybe we can mess with it.
    Tell him he can stay here.
  • I still think we should advice them to find a new safe room. Maybe one which has a less dangerous bathroom mirror.
  • And then we end up all alone again. Yay!
    Obtain new weapon.
  • Appeal to Kim's knowledge of horror movies.
    Don't split up the team.

Nan decides to head out on her own, as Kim seems set on staying here. Anderson offers her a LEAD PIPE as a weapon.

Scrounging through the drawers, she recovers a FLASHLIGHT.

  • Alright, that'll do nicely. Thank him, and let's move.
  • Take the pipe and flashlight.
    Turn on the flashlight and head on out.
  • Then let's set off!
    I guess the most logical place for a lounge to be is the first floor.
  • If no help is coming, they should all head out and try to find an exit together. Watch each others' backs, and above all leave no one behind. No one should be alone in this place.

Nan takes the items and steps out into the THIRD FLOOR HALLWAY.

Where to?

  • Let's run this shit into the ground (floor).
  • might as well head to the ground floor reception desk, see if any new loot popped up or any notes from the 'management'
  • What's with that cross on the door?
  • Have we visited the second floor yet? Or the third? Well, whichever one we aren't on currently, and isn't the ground floor, we should go check out. Also perhaps... check if there's a basement button on the elevator.
  • Remember what Santy said? The hotel goes dark when they start to get angry. When you go against the hotel's wishes. It will do what it can to stop you.
    ... I guess we keep going until the lights go off.
    And then, whatever we were doing then... we keep doing it.
  • Second floor.
    Also, can you craft the screwdriver and lead pipe together to form the IMPROVISED WARHAMMER?

Nan heads for the Elevator. Perhaps the ANASAZI LOUNGE is on the second floor.

  • Head to the elevator. Also, if she does go to the elevator, she should use her REPAIR SKILLS to know that most elevator door's close door buttons are actually placebos, and test it to see if it does anything. If it is indeed a placebo button,look for the stairs(if there are any/are assessable). It is too dangerous to take the elevator if she can't close it quickly in an emergency.
  • I disagree with the second floor, I say we check out the ground floor first.
    Also, do we have any idea where stairs are? I'm not sure about trusting the elevator.

The lights at the end of the hall have gone out.

  • Down the stairs.
  • Check to make sure this Padre is legit, THEN haul ass downstairs if he is.
  • Actually, yes, this is better. Run downstairs ASAP.
  • Oh, hi Padre. Stand there for a moment. Ask him what he wants. If he moves to attack then RUN down the stairs. Fuck the elevator, it'll take too long if we're being chased.
  • Check room 312
  • The probably-locked room that is closer to the darkness-shrouded figure? That... seems like a bad idea.
  • If the stairs aren't right there, scramble into the elevator hit the second floor button then the close door button. Then pray it not a placebo button.
  • Point the flashlight at the darkness. Look at the Padre and see what he is doing. Is he doing anything, Nan? If he makes a move for you, run for the stairs.
  • If it starts making a move, call out to Anderson and Kim to black the door as you run.
  • How the hell did I mess up that much? a is nowhere near o.

Nan shines her FLASHLIGHT. The result is not entirely as expected.

  • Go touch it. ouo
  • No, do not touch the darkness creeping from its very being and RUN DOWN THE STAIRS NOW GO GO GO GO GO GOGOGOGO.
  • oh my gooooood, RUN.
  • Ohhshit nvm. oAo For a sec I thought someone propped a dummy up in the hall, but yeah HAUL ASS FROM THE TOO REAL PADRE.
  • Say hi.
  • We are not properly armed to fight padre, but if he just stands there then say hi. If not, RUN! RUN LIKE THE WIND!
  • Search the cabinet under the bathroom sink, the drawers in the main room, and underneath the bed. You never know where useful items might be hidden--there could even be all-powerful DUCT TAPE for combining items with the SHOWER CURTAIN ROD to increase their effective length.
  • If he's not moving then say hello.
    Otherwise run like hell.
  • Read the Lead Pipe
    Hug Padre
    I mean run. Run down the stairs do it now.
  • Say hello. AS LONG AS HE STAYS IN THE DARKNESS. Also, turn your flashlight off, you don't want to irritate him.
  • Turn it off.
  • This
    Also repeating that we should call to Kim and Anderson to barricade the door, while we run..
  • Try to speak to him. If he advances towards us or seems as though he is going to hurt us, walk away slowly.

Nan hesitates, and attempts to greet the Padre.


  • NOW can we RUN LIKE HELL?
  • Menacingly strike wall with lead pipe in the same fashion that it did
  • Okay yeah fuck this.
    To the elevator!
  • Run away shouting whatever catholic prayers you can remember. That should get us a dramatic scene where somebody (Maybe Anna's animate corpse?) is like 'He can't help you here' or something.

Nan's modes of exit are quickly narrowed.



Something appears to be blocking the stairs.


  • Dual wield your pipe and screwdriver.
    Time to throw down with the Padre.
  • We have no choice- run to the elevator.
  • Time to throw down indeed. Two hands on the bar if you want even a chance at parrying his attacks. Remember, hitting him is not as important as DON'T GET HIT.
  • Time to resort to the old standby...
    Freak out at the gravity of the situation.
    Then get to the elevator
  • ? Pic related.
    The elevator is your only choice. Run.

Darkness covers the hall as the lights go out one by one. Nan glances to the elevator, considering her options.

One light is left on.

  • Better get to that light.
  • Go towards the light, Nan! Go towards the light!!
  • You. Light. Now.
  • I think it's time to say hi to our buddy Santiago again! Go to that light. Lights are pretty cool.
  • Don't panic. The hotel responds to fear and panic. Treat Padre like a predator, keep your eyes on him and back slowly towards the light. Don't run.
  • B T dubs, wikip says that "the word Anasází is Navajo for "Ancient Ones" or "Ancient Enemy"."
    Thought that might be worth considering.
  • To the light! Go!
  • To the elevator. The hotel is trying to guide us to the light, so lets not listen.
  • I agree, don't panic. Running will only incite him to run. WALK backwards into the light.
  • Last time we did something the hotel didn't like (breaking the mirror/clock) everything just got fucked up
    It's probably best to head for the light now, ask questions later
  • I'm pretty sure the light is coming from the elevator. Go to it, but calmly (though still quickly) and keep your eyes on Padre. Santiago may be on to something about not being afraid. Treat your enemy with respect but do not give him your fear.
    I like the idea of repeating a Catholic prayer, as well, if you know one. Most people at least have "Our Father Who Art in Heaven" ingrained if nothing else. I'd suggest you do it in Spanish or the original Latin, but I'm guessing you don't know it.
  • stand tall and stand firm. demand to know how to get out of here.

Nan backs away slowly.

The Padre begins to run.

  • Go on then and run.
  • FFFFFFFFFFFF go faster.
  • Rush to the elevator and hit the ground floor button, then ready your pipe. If he gets there in time to stop the elevator from leaving then your goal is going to be getting that poker away from him as otherwise your chances against him are dicey at best.
  • Sprint into the light!
  • On second thought, sprint to the elevator.
  • Welp, balls up boys
  • Hug the Padre! Appeal to his inner humanity! This is obviously the correct option, and will result in love and puppies for all.

Nan flees to the elevator.


  • Damn these elevator doors! CLOSE!

Nan slams the button for the GROUND FLOOR.


  • Wave hello at the Centre of Time and Space.
  • Wonderful. First the Padre, now we're trapped in a moving elevator with THIS FUCKER.
    Try to communicate carefully, I suppose. By waving, yes.
  • Oh hai there anomaly/demon/cool something. Amigo o enemigo?
  • Poke the Spacial Anomaly with your Lead Pipe.
  • This hole, it was made for you. Dare you enter? Or will you continue to fear the unknown?

On the wall of the elevator is a figure vaguely resembling a person. It is marked directly on the surface, and its texture is worn, aged, unevenly speckled.

Whether it's been painted or otherwise imprinted is not clear.

  • Touch it with your lead pipe.
  • Is the elevator moving?
    If so, refrain from touching this thing.
  • Poke it.
  • Poke the hell out of it with your pipe.
  • Yes, test it with the lead pipe. If the lead pipe goes through... I advise you enter. The Lounge may have come to us.
  • Poke it with your pipe.

The elevator begins to move, descending slowly.

Nan pokes the strange mark with her LEAD PIPE, but it's just like poking the wall.

The elevator stalls for a second, then continues downward.

  • Ask it a name.
    It would appear this... is the elevator -- or perhaps its attendant.
  • ... let's leave it alone for now. smashing it would probably result in EMERGENCY STOP
  • Huh.
    How odd. The hotel corridors are probably completely dark by now. No sense in leaving the elevator like that.
    So I guess we can kill time with this thing...
    And also find out if it's going to kill us.
    Does the shape resemble anyone Nan knows?
  • Elevator, huh?
    Say 'hi' to ANNA
    Or what's left of her.
  • Oh.
    Oh shit.
  • Touch it with your hand.
  • Dont touch it at all.
  • Yeah don't.
  • If it's not bothering you, then don't touch it. If it STARTS getting violent or something, well, that's what the pipe is for.
  • Whistle some showtunes awkwardly.
  • Best not to mess with it, just wait until we reach our destination and get ready in case the imprint decides to attack.
  • "... Anna? Is that you?"
  • Seconded; Anna?

Nan says hello, but there is no response of any kind. She says Anna's name, but still, there is no response.

The elevator passes the SECOND FLOOR without incident, and chimes once.

  • Aww
    So, all for leaving creepy wall painting alone and going to greet the bright and cheery world oh Hotel Hell?
  • Hit the ground floor button again.
  • Don't turn your back on it. Keep looking at it. The moment you give it a chance, it's going to grow arms and reach for you.
  • Use SCREWDRIVER to attempt to scrape off a sample of the... thing.
    Failing that, examine it closely with the MAGNIFYING GLASS.
  • Don't fuck with it until we're at the ground floor, at least. Looking at it with the magnifying glass would be cool tho!

Nan waits until the elevator reaches the ground floor. It chimes once. The doors open. The lights appear to be on out in the hall.

The marking is dark, its texture aged and mottled. On closer inspection, it almost seems to be a mottled burn mark.

  • Don't go in the hole. That hole could be made for you or another resident and we all know what happens at the end of The Enigma of Amigara Fault.
  • there aren't many things in this place that are GOOD for us, so i really think we should just leave this thing alone, cataloging it in the 'things we don't know enough about' file.
  • Exeunt elevator.
  • CAREFULLY leave the elevator, maybe just take a look around first before just stepping out into god knows what
  • Try to break off a hunk of it and put it in your pocket.
  • No dummy
    Touching anything in this place with malicious intent is gonna fuck something up most likely
    We could TRY to put a finger to the marking thingy though...
  • Nah, you're just being paranoid.
    Peel off some of the wall and add it to the inventory.

  • TOUCH IT, you know you want to
  • Remember the last time we ran into silhouettes?
    Yeah, they came off the wall and tried to eat us.
    So no leave it alone.

Nan reaches forward and tries to chip off a piece of the dark mark on the wall.

Something doesn't feel quite right.

  • Touch it.
  • Huh.
    Again, exeunt elevator.
  • Okay Nan you've fiddled with the mark, now leave it alone before something worse happens

Nan is...


  • Whoa what.
    We're at the top of the elevator shaft?
    Ask Anna what she's doing.
  • Anna! You're not dead! ... unless this is one of those weird, post-mortum soul things. Are you dead? Are you going to warn us about something?! It's going to be really vague, isn't it?
  • Something is happening. Don't interfere. Watch.
  • Shout out to her.