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472

"It is you, isn't it? Come on, Nan. It's time.

Don't you hear the bells?"

[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.]

  • Ask what's going on.
473

Nan asks what's going on.

Lorenzo says it's time for Mass. He says that the Padre has called everyone together. The entire extended congregation, and everyone from in town.

That he says there is danger on the horizon, and that this may be the most important sermon he has ever given.

  • Follow him, but be on guard.
  • Tell him what Padre's favorite verse is.
  • Go with him and attend mass.
  • Go to Mass. Observe other attendees.
  • We're not gonna get there and then it turns out everyone we've met so far shows up, are we?
    Because I think that's about the time I throw up my hands and go "WELP"
    Just lay down in front of Padre and let come what may.
  • Ask him what the sermon's about
  • Go to mass. I don't see anything productive being done at this point without following along because it's already been established that Lorenzo knows nothing and is determined to stick around with the Padre. Best see what's going on.
    Plus it'll be our first look at him in the past, won't it?
474

Nan asks what the sermon will be about. Lorenzo says he doesn't know. But it feels like this is it.

What he's been waiting for all this time. Maybe why he came here in the first place.

God works in mysterious ways.

  • Make a note of any and all exits.
  • Wait, what are you wearing, Nan?
    Tell him you are fairly sure that Padre is planning to purify everyone by fire.
  • Ask him if he's heard of the bible verse from earlier? "The lord kills and makes alive, he bringeth down to hell and he bringeth back again"
  • "Never assume an act is of Gods will alone. There are other wills in the world that try to mimic his word, and lead them astray. A Shepard is not God over his sheep, for he himself can still and be lead astray, and his flock with him."
  • Attend Mass with Lorenzo, and stick close to him. While you're at it, try to convey your unease to him. He probably won't listen to any outright warnings, but if he recognizes that you feel worried about something it might help pit him on his guard.
    I wonder if that will matter, though. Think we can change any of these events, fellas?
  • Well,there's two ways to look at it.
    A. We try to break time, render it asunder and recast it in our image. Or rather, we try to fix things and hope it doesn't break more things, which is certainly plausible. This seems inevitable, though, if people are allowed to go home to their respective time periods.
    B. We observe, disturb nothing, and learn all we can to apply in the present, as much of a present as we have anyways.
    Personally, I want to see if we can find anything that we can identify as existing in the present (if we haint already, it's been awhile...). We might be able to make a small change to that, to see if they past can be altered, so we could be more prepared next time we come, if there is a next time.
  • through the darkness of future past, the magician longs to see. one chants out between two worlds:
    fire
  • Uh, don't attend Mass? Father Lorenzo is going to kill everyone in the building and set it on fire? God is a motherfucking badass who is on the edge of plunging everyone into a hellish nightmare just because he feels like it? Why is no one saying run the fuck away?
475

It's cold, he says. It's getting colder every day.

Nan warns Lorenzo to be careful, that things may not be as they seem.

He says he understands. Part of him wants to leave now. But he can't. Not yet.

He remarks that you're always showing up out of nowhere. Always watching him. He says it's you, Nan. It always has been.

  • yes.
    for the love of god.
  • Say that, to be honest, you would be relieved if you never saw him again after tonight.
  • Oh crap oh crap oh crap
    Raising a panic will be counterproductive, and it would be useful to see what exactly the Padre has in store, but boy, i do NOT want to go in there.
    Ask Lorenzo what exactly he means by that.
  • you are surrounded by people who look oddly identical, with a guy who seems to have been brainwashed and are dressed like a nun.
    RUN FOR YOUR GODDAMN LIFE!
  • Warn Lorenzo to make sure that the doors to the Chapel do not close under any circumstance. If he seems unsure about this, just look at him and say, "Please."
  • Lorenzo's talking about us for once? Huh. He makes it sound like you've been appearing to him for quite a while. Maybe he thinks you're his guardian angel or something. If you can get a word in edgewise, try to ask who--or what--he thinks you are.
  • Conjecture:
    Furnace beneath the Chapel built by the father. The Father is cold perpetually. Chapel eventually burns down. The Father is going to set the entire place on fire with everyone inside it. To warm himself. To eliminate the vermin.
    The "Beast" is all of the souls of the collected townspeople (non-congregation) who failed to escape in the panic?
  • i mean, just the name. i don't ever wanna go there.
  • Okay, I think we *have* to go in. But please, at least sit next to the door. Wedge it, anything. This is going to be bad times.
    Ask Lorenzo what he means.
  • Tell Lorenzo that it doesn't have to go like this, that he could leave and live a fuller and more helpful life elsewhere.
    [if he says anything along the lines of "but I will stay", smile weakly in spite of yourself and quietly say "I know you will.]
  • Ask what he means by that. Be on-guard to run if you need to.
  • the time for discusion and rational arguments seems to have passed, knee him in the crotch to incapasitete him, throw him over a shoulder and run like hell, if that isnt a option, grab a rock and smash the fathers head in.
    your walking towards your potential doom (while dressed as a nun) this is no time to be subtle, if they grab you fight as dirty as possible, but dont go into that church!
  • You think this might be thing in the Padre's journal where he burns everyone alive?
    Maybe you shouldn't go to mass after all....
    Ask Lorenzo the date to confirm?
  • Tell Lorenzo he's being overdramatic in this case. No disrespect, but rarely are men touched directly by God these days, that waned out in the middle ages, I mean really, he didn't really interact with pretty much anyone after that, JC was his magnum opus in the Christian faith I believe and then poof not much after that. You take responsibility for your own salvation, God will not have a part in it.
    JC's teachings often asked for people to command themselves to do good, and he would do good to follow his suspicions and try to protect some of the congregation.
    But tell him that your just someone trapped in the mission from the future, it got converted into a hotel or inn and it's because of the padre it happened for some reason, and he's killed at least two trapped beings there. Maybe let's just out the whole truth here.
  • Grab onto his hand and don't let go.
  • You think Lorenzo is implying we were sent by God? We should outright say that we're not an angel, or a demon for that matter. If he asks, we should just say... that we don't know why we're here. We're just trying to fix things.
  • I think you might be right about him thinking we're an angel or something, and that sounds link a good course of action.Do this for emphasis; to make it clear you're coming to him for support, where he would expect the other way around. Convey your fear Nan, make him know that you don't 'think' there is something very wrong here, you KNOW there is something VERY wrong here. Something bigger than the Father Valesco, but not of this world. There may very well be the influence of the Devil afoot. Even if it not be the Devil, or those fallen to his will, whatever this is, it CANNOT be of God's will.
    And I can't tell you how important it is that you make it clear it CANNOT be of God's will. Even if he doesn't believe you now, you NEED to sow that seed of doubt. We NEED him know. We NEED his help.
  • Freak out and faint.
  • Shine a flashlight on Lorenzo.
  • Nun Nan is a cute Nan.
    "All rise and baaaaaaaask in the light and glory of our Lord."
    --------
    Since Lorenzo may be thinking that Nan is a literial God-send...
    Command: Ask Lorenzo what today's date is. IF today is the day where The Padre burns everyone, then tell Lorenzo that he is right: you ARE watching him. You feel that he is in terrible danger today. You see visions of fire. Try to make it seem like you're getting visions RATHER than telling him flat-out that you're from the future.
  • Second this. All of it, not just the fact that nun Nan is cute Nan.
    Although she is.
  • "we've met before, haven't we?"
476

Nan asks Lorenzo: What do you mean by that?

He says you've been watching him. And every few weeks, appearing to him. Somehow you're the answer to all this. He's come to look forward to these brief visits. You're here now. Something's going to happen today, isn't it?

Nan nods. Visions of fire. Father Velasco. Suffering. She asks him not to go. This can't be God's way.

Lorenzo stops, and the procession around them does too. He turns to Nan. He speaks softly. He says he has this strange feeling that this is the last time. Like he'll never see you again.

He places his hands around hers. Please, Nan. Please listen to me.

477

Don't be afraid.

  • Be afraid, Nan.
  • don't be afraid, Nan
  • WAKE UP
  • Don't panic nan
  • Be sort of afraid.
    And run!
  • be really afraid.
  • Hug him close so he can speak quietly to you.
  • Yes Nan, don't be afraid, for fear is the mind killer.
  • Well, now we know which of them died. Namely the entire congregation.
  • Is it time for a freak out? I think it is time for a freak out.
  • More like a conFLAGRATION am I right?
    Well, like so often with NanQuest, I am just completely up in wtf-ville, so I'll go with the time-tested strategy of hug note read Lorenzo.
  • Yeah, don't be afraid, but still, get the fuck out there.
  • Don't be afraid
  • Be conflicted. Attempt to not be afraid. And, if you can, tell him that even if he won't see you again, he will hear from you again.
  • Scoot your hooves as you never have before.
  • DON'T BE AFRAID.
    No, seriously. These fellas don't look hostile. I honestly think they're trying to communicate or something.
    If you've got a flashlight, shine it on them. Maybe it'll trigger another vision. Otherwise just sit still and stay calm. Try talking to him or, better yet, just be quiet. Listen. See if *they* try to tell *you* something.
  • This got 2spooky 2 fast. Listen to what he has to say.
  • Don't be afraid
  • As soon as it's over, I think we should find Anderson and ask the everloving shit out of him - that is, what exactly he knows about the church's history? Was there any fire? Seeing that he knew about the spanish mission, maybe he'd knew something else...
    As for now - keep your distance, and beware. Maybe these 'things' want to attack nan, or maybe they want to tell something. Or maybe the vision is at it's end, and we'll find ourselves back in the hotel.
  • Hug Lorenzo.
  • ? Nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope nope.
    I have no sane idea what to do right now.
    So I vote: freeze with panic.
  • Don't be afraid.
  • Hug Lorenzo.
  • Schlick furiously!
  • Don't be afraid at the gravity of the situation.
    In fact, be so unafraid of gravity that you can fucking fly.
  • Don't run, don't panic. Overcome your fear. Hug Lorenzo, or at least squeeze his hands. Lorenzo is one of the good guys.
  • seriously don't be afraid
    Lorenzo seems cool and he's probably always been a creepy dark thing even when you're having visions
    so just wait and see if he actually plans to hurt you
  • Remember what he said about not being afraid, remember that the Priest is here and where you were before, Focus on remembering that the Shadows might be his victims....but also be aware that this 'might' be a trick, but if it isn't, then it adds up.
  • Don't be afraid. Stay and watch what happens. At first sign of trouble, try to leave, calmly.
  • What does twin peaks have to do with anything?
  • Do not be afraid and whatever you do do not panic
  • Don't move, but be prepared to defend yourself.
    Try to ask Lorenzo something, anything that comes to mind.
  • Attempt to remain calm. These are probably the same people you've been speaking to. They just look different (or maybe they've ALWAYS looked like this?).
  • Pray? O_O I don't even know!
  • Also, while I'm here - guys. Lorenzo is totally the Pilgrim. Why is no one realizing this yet?! The Padre does something that transforms him and I think we're about to see just what it is. So, yeah, actually - Nan, you should run as fast as your hooves can carry you.
  • You are like two threads late.
  • Seriously, check the discussion thread, we concluded that (and a fuckload more) ages ago
  • KEEP CALM AND LOOK STRAIGHT AT HIM. Do not make a step back or show fear, that'll insult him.
  • lornz pls
    Ask him what's going on
  • Okay, as I am seeing what is in front of you, turn around. For all I know, they are a distraction, and the real threat is sneaking behind you.
    Turn around now. Then groin kick the way out.
  • Keep calm and call batman.
    Mostly the first part though.
  • Looks like you're having another one of those visions, Nan! Man, being a semi-prophet sure is tough on your mental health!
    In all seriousness, I have no idea what she should make of this vision.
  • That's it! Nan is a prophet, not a time traveller! In the time of Spanish colonial missions. She only thinks she's an electrician in modern times, because she's such a good prophet that her visions of the future have beguiled even her!
  • Doubtful, and running under that assumption could be dangerous. Because Lorenzo acts as if when Nan is in the future (or as you would say, having /visions/ of it) she is completely gone from the mission.
    Again, running under this assumption could be incredibly dangerous to Nan once she's back at the hotel because that's when shit gets real and there aren't takebacks.
    For now I say to keep calm and hope things change back to normal soon so you can figure out more of what's up.
  • Be reasonable startled, and calmly run like hell away.
  • Stay calm. It is natural to be startled, but try to remain calm.
    This isn't the first time we've gotten advice to not be afraid. Perhaps we should do our best to try to heed it.
  • Do you really need to panic here?
    I mean, you should have gotten used to this already... it's not like this is the first time something like this is happening... well, probably even the first time where the black ghosts are kind of friendly.
  • POKE HIM IN THE EYES. NOTHING CAN COME WRONG OF THIS.
  • WORST ENDING EVER
  • Make sure you have something to defend yourself with, but don't freak out yet. It could just be some wacky vision.
  • Run.
  • Get a grip on yourself and reality. Rub your eyes and wake up.
  • Actually this could go either way.
  • Maybe he just wants a hug y'know?
  • This is it friends.
    FIGHT or Flight.
    Mind you, the FIGHT need not be violent, and it need not be fought alone. These Husks of things long dead and past, they are victims too.
    The Enemy of my Enemy is my Friend.
    Alternatively, kick the shit out of it.
    Or run, and try to give yourself more time to figure this out.
    I really, REALLY don't think thats the right path though.
    Weaver, we await your judgement.
  • Well, he seems like the friendliest creepy thing we've seen. I think that means we shouldn't be afraid.
  • The enemy of my enemy may or may not be a berserk murder-zombie.
    I don't think we should immediately flee, but we should definitely avoid getting within arm's reach of him.
  • Maybe a naive idea but can you actually communicate with the shadow creatures? I mean yeah they're spooky but as far as I remember they don't seem exactly hostile, aside from the padre, pilgrim, and beast. Keep your guard up, but don't run or attack without good reason
  • Fear is dumb.
  • So is plutonium, miss Pauline.
478

Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.

479

"Nan."

Pablo is here. Nan is being carried along. Underfoot, black stone, ash and dust.

480

Pablo says he doesn't know what happened back there. He thinks Nan saved his life.

He apologizes for carrying her away in her state, but it was too dangerous in that room, and he couldn't just leave her.

  • Calm yourself, stand up, dust yourself off if you need to, thank him, and ask where the hell he's been and what he's been doing.
    Seriously, now's the time for some answers.
  • We are seeing the hotel's true nature I think. Ask him if he sees the burnt rubble and stuff.
  • I think we are in the mission / old church. You know the one that burned down.
  • Ask him where we're going.
  • Ask him if he saw those...things behind him when they met up, and you pulled him in.
  • ask him what he saw behind us before, and Nan should tell him what she saw behind him. just to make sure were all on the same base as to who is being followed by burned, dark, corpse-like things of indeterminate alliances.
    then she should ask him what he saw/what happened after she passed out to see if he gained any extra knowledge or insight (if he also got a vision/time-travel/reenactment depending on theory's) while we were passed out.
    Then ask about our current location and what he has been doing before.
  • This, in a timely manner, while getting a move on.
  • while walking back to a safe location perhaps?
  • Indeed.
  • Thank Pablo, but don't forget to ask about Anna or the totem or how he got here among other things.
    While trying to find somewhere safe of course.
  • This is probably just paranoia. . . But the doorway on the right, not far right, has a blacked-out area that could fit the Padre's hat. I say sit still another time. Run through the north door! Not left, I don't trust left.
  • Backing this, while also requesting a quick GTFO to a safer location.
    Asking about Anna/the Totem might be a better idea when others are around.
  • Take Pablo and find the others.
481

Nan asks where they are. Pablo says this is the second floor.

Nan hasn't been on the second floor before, has she? It's dark here. Rubble and ruin. Not much worth staying for, he says.

Pablo says they need to get somewhere less open before they settle everything that's happened, and asks Nan where they should go now. He's not sure if the safehouse is truly safe anymore.

Where to?

  • First thing's first: find the elevator. If we can't even use that, we won't be able to get anywhere anyway.
  • Aren't there stairs too?
    Wait, that gives me an idea. Use the elevator as the safehouse.
  • i say back to the safehouse; even if it's no longer a place of refuge, you should see if anyone is there, and if they're all right.
  • You should still talk to Pablo about finding the others. And ask him about the totem that is apparently his.
  • So if there's nothing of worth here...
    ...why was he here?
    But this line of questioning can wait, as can the matter of Anna and the totem. I also vote for the safehouse, if for no other reason than being reasonably sure that the others might be there.
  • Check out the safehouse anyway. Fully safe or not, it's the best place to find other people.
  • Do you have anything in your inventory which lights up?
  • Is the Anasazi Lounge on the second floor? We still have the key to it, and a locked door is better than no door.
  • The safehouse may not be safe, but then again, nor is anywhere else in this building. Going there at least let's us check up on the others, and we could talk to Pablo in the elevator?
    HOWEVER we could also go to the Anasazi Lounge since we have a key and because it'll probably be really difficult to get to the second floor again.
    One or the other, I can't really decide.
  • I say we investigate the Anasazi lounge. One, who knows when we'll get another opportunity to be on the second floor, and two, if it's really not truly safe anywhere then what can it hurt to be slightly more unsafe here for now?
  • Check out the Anasazi lounge. We have a key after all.
  • When Nan and Anna met, Anna originally said they were going to the second floor, and then states that Nan must have misheard her when they reach the third floor to go to the safehouse. Perhaps Anna was hiding something about the second floor?
  • Why not ask Pablo about Anna, by the way? No one else has mentioned her at all since that little quantum leap thing you did for her.
  • I bet the Anasazi Lounge has something to do with Anna. Maybe you should check it out?
  • Check out the safehouse and see if anyone's in it.
  • Lets go to Anasazi Lounge. The safehouse is not that safe. Does Pablo have the axe/hammer . . . Weapon?
  • Ask Pablo why he thinks the safehouse isn't safe
482

Nan considers heading to the Anasazi lounge. Pablo says he believes the lounge is somewhere here on the second floor. He recalls passing it as some point, but found it locked. Though she still has the key, Nan decides they should head to the safehouse first. Even if it's not safe, it's the safest place they know, and the most likely place for the others to head to regroup, given how scattered they are now.

Pablo and Nan arrive at the SECOND FLOOR STAIRWELL.

  • Ask Pablo if he's ever gone down these things. If yes, then I suppose it may as well be safe enough to descend. We could also poke at it with the pipe.
  • Take SECOND FLOOR STAIRWELL to THIRD FLOOR.
  • Suddenly, BAM! Switchblade Santiago out of nowhere.
  • In all seriousness the only obvious option at this point is to go back to the safe room. Depending on how long it will take to get there, perhaps Nan and Pablo can discuss a few things such as the deal with Anna and the strange totem thing.
  • We have the key, but what is in Nan's/Pablo's inventory. Nan's should use her showtune powers to see the true path and go to the Anasazi lounge. Not that unsafe safehouse.
  • Climb the stairs to the third floor, look around, then go back down and pick up the pace headed back to the safe house. Ask him to tell you if/when you pass by the way to the lounge, assuming it's not on the way.
  • What happened to the elevator?
  • Walk and talk. You two have some catching up to do.
  • I told you bro. I told you about stairs.
  • Third floor.
  • for some reason I don't think the safehouse is a good idea either... If we aren't trusting each other any more, for all we know, the others could be fakes now too...
  • Also, if PABLO is telling us that the safehouse isn't safe... it probably isn't safe.
    Let's instead go to... Pablo's room?
  • FORWARD YOU MAGNIFICENT BASTARDS!
  • YES QUITE. Go to Pablo's room and.. thoroughly examine him for anything unusual. Thoroughly. Very very thoroughly. Without clothes.
483

Pablo and Nan ascend to the THIRD FLOOR STAIRWELL, on the way back to the SAFEHOUSE in room 313.

What happened back there, Nan asks. Pablo is quiet for a moment. He looks back at Nan with a forlorn expression. "Anna's dead, isn't she?"

  • Yes. Pilgrim got her.
  • Catch up with Pablo.
  • Let him down gently, Nan.
  • Ask him how he knows, then tell him what you saw.
  • Backing this. I'm still not 100% convinced he's in the clear.
  • These two, combined. It's important to keep learning as much as we can, but we mustn't forget that we're getting our info from *people*, not databanks. They can't always just spew forth whatever info we ask for: They have wants and needs that must be addressed. Emotions that must be considered.
    Pablo is obviously upset about this. As badly as we need his info, we ought to first tend to him as a person and help him accept Ana's death in a healthy way.
  • Tell him you don't know for sure. You can't trust what you see here.
    It's a good idea to stay as positive as possible right now -- grim as things are.
  • Pablo knows about Nan's visions into the past. Tell him about the most recent vision.
  • yep lol
  • Gonna have to agree we this. Tread lightly, something's off.
  • Ask him why he thinks she must be before volunteering any information. Knowing why he assumes that will help us know what other freaky stuff the hotel is trying to do to everyone's minds.
  • Well, time's kind of wonky around here, so it's possible that she's still alive in some congruent timeline, but... yeah.
    Last time we saw her she was missing most of her face.
    So probably dead.
  • Carefully Nan needs to turn to him and say
    "ANNA IS DEEEEEEEEAD! SHES DEEEEEEEEAD AND NOT COMING BAAAAAAAAAAACK! SHE DIED HORRIBLLLLLLY"

  • "EVERYONE YOU LOVE IS DYIIIIING"
  • Give him the bad news in the form of a showtune.
  • Hug Pablo.
  • Welp, Batman has spoken.
  • I thought the last time we saw Ana, we were helping her repair an elevator or something in another time line.
    It is entirely possible that our mission is to repair everyone's time line and prevent them from making the mistakes that lead them to the hotel in the first place. Some of the parties here have hinted at guilt, after all...
484

Why do you say that? Nan asks.

Pablo throws himself against the wall, nearly choking. Then it's true. He blurts it all out, on the verge of tears. They were in shifts that night. Anderson and Kim first. Then him and Anna. They were woken up on time. Anderson and Kim went to sleep. Everything was fine for a few hours.

Then they heard voices in the corridor. Whispering at first. It sounded like something calling. They went out to look, but couldn't find anything. They went as far as the elevator. Anna wanted to go on. She said that's where the voices were coming from. But Pablo didn't. He wanted to head back. He turned around to lead her, but then he heard the chime. The doors closed. Anna was inside. Then the lights went out.

He came back to the room. Tried to get help. But everyone was gone. It was just you, Nan. And he couldn't wake you. It was like you were in some sort of coma.

485

Then there was a scream.

Good God, that scream.

He ran out into the hotel to try and find someone, anyone. He tried to follow the elevator down via the stairs. But he got lost in the darkness.

And now she's dead. That.. thing must have got her. He says he's sorry. Pablo says this is his fault. It's his fault Anna is dead. He did this.

God forgive him. He's so sorry.

  • Tell Pablo about your vision, where you saw yourself killed and strung up on the wall. Tell him because he needs to know that what you see here is not always (or ever) what it seems. What you saw may have been Anna getting killed. But you saw Kim get killed, and then she was fine later.
    Tell Paulo not to blame himself. He turned around. He tried to help. He only looked away for a second. Whatever closed the door between him and Anna, that is who is at fault. She might be dead, but he is no murderer.
  • What, it's not his fault. Lack of action is NOT fault. She's the one the left the room, and left her post. He came back to check up on us in case we were in danger.
    Ask him if he'd blame himself if, instead of Anna dying, someone from the saferoom got killed when both of them left instead. Honestly, what control did he really have of the situation.
    I kinda want to tell him about the dream
    I just think we should get things straight now. And ask maybe what his whole past deal is. No bullshitting around, no blame, no hate. No need to hide it or anything. You're not Anderson. You're not a cop.
  • It's not his fault. Reassure him and make sure he knows that he's blameless in this.
    Talk about when he first saw you, reminisce about old times to calm him down.
  • I know we joke about it all the time but, really, this guy needs a hug. :(
    Hug Pablo. Try to find something comforting to say, too.
  • hug pablo
    forgive pablo
  • Hold on, probably not the best time, but I'm have a massive case of deja vu here. Tell him that you remember having a dream, or fuck if you know what it is at this point, where you said something very similar and made nearly the same face, acting just the same. (negelct to mention the blood) If that was one of visions you've been having, this moment might not have been preventable, and by extension neither would that person's death (we don't KNOW it was Anna), therefore it is in no way his fault, but an inevitability. (might not be sound reasoning, but it might calm him down.)
  • Tell him that God will forgive him. It's alright.
  • Normally, I'd advise against such brash displays of affection, but I have the distinct feeling that that vision thing was sent to us by something that doesn't wish us to cooperate.
    He does seem really broken up. It COULD be all an act, but I doubt killing Nan right now would do him any good.
    So yes. Go for a hug.
  • Hug him.
  • what "thing"?
  • HUG TO PREVENT HIS INEVITABLE PSYCHOTIC BREAKDOWN
  • eat his face
    COMPLETE THE CIRCLE
  • Softly offer to...I don't know, do something friendly
  • Oh man if he is this torn up about Ana, who he probably doesn't know very well, gotta wonder how he'll react to the death of someone he's actually attached to, like Nan maybe? Nothing like he'll react in the dream, right...?
    Ah fuck it, let's just hug the poor guy.
  • Hugs are in order
  • It's not his fault, he's not to blame, if in God's plan he made the Devil so much stronger than a man.
    But seriously, he didn't kill Anna. He did what he could, it's a shitty situation for all of them, and he tried his hardest to save her, but in the end the hotel and the things that lurk its corridors got to her. Nobody could stop them on their own. He did what he could. He can't blame himself. For fuck's sake, hug him.
  • When Anna was found dead, the pilgrim was there, and she wasn't in the elevator. When we saw her in the weird dream with the screwdriver, she was working on it.
    Is this like Kim? Was she lured there, perhaps? Is she not actually dead? We must ask Pablo if he saw anyone else: Kim, Anderson, Santiago...even the things here.
486

What "thing", Pablo? That thing. That thing with the skeleton face. That horrible thing. It shouldn't be here. It doesn't deserve to live.

It's his fault.

Nan tries to console Pablo with physical contact, but as she reaches to touch him he pulls away. No! You'll only get hurt, Nan. They're dead. They're dead because of him. He did this. Her life was in his hands. He'll have to answer for this.

487

He must answer for his sins.

  • Cue the lights going out. :/
    Take a step back and try to calm him down with words alone. Touching him is gonna get you nowhere.
  • NEVER MIND. RUN LIKE HELL FROM THAT THING AND DRAG PABLO WITH YOU.
  • What sins Pablo? Besides Anna, what sins for god's sake?
    Get him the fuck away from the corner.
    If he's not going to tell you, then tell him to shut the fuck up and stop acting like a fucking baby. He wants to make up for his sins, tell him to redeem himself and to stop punish himself. And that he should not fucking go kill himself by shadow monster back there out of some sick desire for punishment, that doesn't help anybody. That's just stupid.
  • Grab Pablo and run like hell.
  • Okay, okay, don't panic. Point to whatever that is behind Pablo.
    Back up slowly, look for viable exits.
    Wield flashlight, shine it on... that.
    Prepare to run.
  • That... would be the Beast.
  • Slap Pablo.
    Dying doesn't solve anything, you crouton! It just means you're dead!
    If you want to make up for something, then help the people who are still alive!
    If you meet Anna again, do you want to tell her you gave up? Give your life meaning!
    NOW IS THE TIME WHEN WE RUN.
  • Seconding slapping him to snap him out of it, and grabbing him and running the heck out of there. If you just grab him he might refuse to run. Tell him you are NOT going to lose him to the darkness, losing Anna was MORE than enough.
  • Thirding slapping Pablo and grabbing him while he's stunned so he won't pull away again.
  • Tell him to answer by helping save the others, then drag him away.
  • Well, this... explains a lot.
    Short of getting him to stop thinking this, I'm pretty sure he just got the Hotel's attention.
  • This has actually happened before, when we hit Pablo with our lead pipe, he began to apologize and tear up and the shadow monsters appeared behind him.
    Just saying if we absolutely can't get him away, bring him to his senses, etc. then we can use the "flashlight method" again, since it worked last time.
  • Oh crap, you're right! What if Pablo is teh demons?!
  • No it's okay, remember those things are frie-
    oh hey teeth on forehead
    yeah that's beast TO THE SAFEROOM
  • Yell at him. NO. He isn't responsible. Anna thought she deserved to die, so she did! The hotel knows when you're ready to die, and sends someone to collect you. Now he's doing it too, and you won't be able to save him from the Beast! Tell him to snap out of it!
  • Pablo must live at all cost. He will act irrational and may go all suicidal and give himself to the beast. Get between Pablo and the beast. No suicide today, and tell the beast he cannot have your boy friend.
  • Here we go again! GRAB HIS WRIST AND RUNNNN! Ask him to guide you to where the lounge is. If he resists in any way don't hesitate to punch him as hard as you can and drag him if you have to.
  • Seconding a slap to wake up Pablo. Sometimes you have to be rough.
  • calmly and serenely tell Pablo to...oh my fucking God...RUN NAN RUN!!!!!!
  • Grab Pablo, move. If you refuses to let you grab him, just run. Tell him to run as well, if he won't let you grab him. Movement is necessary. Priority one: don't be here right now. Priority 2: make other people safe as well.
  • Pablo is fixated on himself right now. He's convinced he needs to pay for his own sins, for how he failed to protect Anna, so much so that he can't see the obvious parallel.
    He failed to protect Anna, to convince her to turn from a path that led to death and damnation. Don't let Nan fail in her duty to do the same for him. He will have to answer for what he's done, but there is still a chance for absolution and forgiveness. The Lord is loving.
  • We can't defeat the beast, go without us catching it. Pablo called it by talking about sin, maybe we can get it to go away
    Ask him if he wants to confess and redeem himself.
    Several points looking back at past memories
    * Padre left when Pablo said he was not afraid to die - perhaps he can only attack if someone is feeling fear, or represent fear. Padre also is a shepherd to his flock - he seems to appear when we interact with the burned shadow things.
    * Pablo might be responsible or feels he is reponsible for summoning the Pilgrim or enraging it - if it subsequently attacked Alan and Anna, that would match up with his guilt and talking about 'they'.
    * The Beast seems associated with sin, maybe we have to absolve Pablo for it to disappear. Anderson thinks you should just keep running from it and never stop - running from your sins?
    * The dream Nan had about the paintings could point to 2 dead at that point (Nan and Alan), so perhaps when we were sent back in time, in fact a copy was created which we followed, and the Pilgrim got the original, explaining Pablo's guilt/
    * We need to show Pablo his totem and ask him about it
  • Tell him that everyone meets the judgement correct to them in time, and that seeking it out is pointless. He needs to live for those who have died, and keep on living to protect those who are still alive. He needs to keep himself together so that everything can work out.
    No one can do this alone. You need to work together, to redeem yourselves.
    Maybe make an excuse, get you both away calmly? Unless it moves. Then run.
  • Take the Santiago route! It's worked for him, right?
  • Ok, I'm gonna void my choice of 'grab him and run' untill further notice (by which I mean further threat) in favor of these. If wanting death to come really will bring it upon you, then Pablo is done for. Goddamnit, I, for one, am not letting that happen! We are not losing Pablo too! EVERYONE! Pablo needs us now more anyone ever need Nan's help! We need to brainstorm, and figure out exactly why he would even consider death a reasonable response to his actions, and refute that specificly. Refuting his opinion in general may spell his doom. If we do not, this may be the end of Pablo. Come on people, let's think!
  • Don't go in the Saferoom! It's a dead end and we would have no where else to go if the Beast got inside!
    Out the window! If it's in here, it's not in the courtyard! And Grab Pablo, he may be calling it some how, but now's not the time to leave others to their deaths.
  • if you're in the woods with a friend, and the two of you get chased by a bear, you don't have to be faster than the bear; you just have to be faster than your friend.
  • Ignore the beast.
    Tell Pablo that he has saved your life three times and Henry's life once. That no matter what guilt he has, whatever he thinks of himself, what he's done or hasn't done, that is the truth.
    Then say that you want to help him, show the totem and say there's things you've wanted to ask him about, but they can wait. If he has sins, real or imaginary, then he can confess them and be absolved.
  • Grab Pablos hand and run. Fast. Tell him if he wants redemption he should at least help the rest of the people trapped in the hotel, getting himself killed wont help anybody.
  • I think Pablo has to stop this downer mood he has. It may be just me, but I think ramblings like those are what attract these creatures.
    Don't tell Pablo that though, or he'll probably try to get himself killed on purpose.
  • Obviously the "I need to atone" is what summons this thing and is why people die.
    Weaver said we had the ability to stop Anne from dying.
    We need to convince Pablo RIGHT NOW that he just saved our life, and we NEED him if we're going to survive. He knows about the past, maybe different things, and we can all work together, and SAVE EVERYONE.
  • KISS THE MAN AND TELL HIM THAT YOU NEED HIM.
    THAT YOU NEED HIM TO STOP AND JUST BE BY YOUR SIDE. THIS MAY BE AN ACT OF DESPERATION BUT WE NEED TO SNAP HIM OUT OF THIS. AND WHEN HE IS PROPERLY SANE RUN LIKE HELL.
  • And then hot, desperate, terrified makeouts.
  • I'M TIRED OF LURKING SO I SHALL CONTRIBOOT
    Stand infront the Beast and yell you are not afraid
  • Stand firm don't move an inch, if fear is wants it's not gonna get it from Nan damnit!
    Pablo! You knew her! You know she's not stupid enough to let something like that happen to her! You know that can only mean sne wanted to die! Remember her! How different she was acting! Something happened to her! Something other than you! You didn't do anything! Even if you went with her ,you would just be dead too! I put a put a piece of rebar through that thing's skull! *stomp your foot* There was nothing you could do! But there is something you can do now! We need you Pablo!
    I NEED YOU PABLO! *(optional) kiss him or punch him*
  • Tell him that he has nothing to atone for! It wasn't his fault, it was Anna's for wandering off alone in the first place! Hell, tell him that it was OUR fault, whatever it takes to snap him out of this.
  • (As an aside, please keep posts like this to the discussion thread.)
488

Nan slaps Pablo in the face, grabs his hand, and runs to flee down the hall.

She yells back to him, frantic. It wasn't your fault. We'll work it all out later, but right now, we need to GO, and we need you alive. If you die now, you'll only make it worse for everyone.

Nan looks back. The enormous black shape is pursuing close, drawing darkness with it.

  • 313 is the safehouse. Shove him in there then lure the Beast away.
489

"GET DOWN!"

  • Do not get shot.
  • BE INSPIRED BY "ANDERSON FUCK YEA" AND CHARGE THE FUCKER AND PUNCH HIS SHIT OUT
  • Pretty obvious.
    Get down.
  • HIT THE DECK
    GET DOWN
    YOU KNOW
    ALL THAT NONSENSE
  • GRAB PABLO and then get down
    make sure he gets down too
  • Yeah, definitely wouldn't want to make that mistake now. Make sure neither you nor Pabs get shot, in other words TAKE HIM DOWN WITH YOU.
  • How much do you think a simple pistol will hurt the Beast? It doesn't.
    But this isn't just a gun with an iron bullet in it. It carries within it Anderson's indomitable will, the utter lack of regret in all the things he has done through his life, the antithesis to everything the Beast and its ilk represent. He is the last to ever fall to their siren song of remorse, of absolution.
    He has no regrets.
    That gun is going to pack a huge fucking punch. Throw both yourself and Pablo down to make sure you're not caught within its range.
  • Beautiful.
    Nan: Dodge roll, and bring Pablo down with you.
  • Dive, Nan-sub, DIVE!!!
  • nooooo! Its not gona work! just get da faq outa dur!!
  • Why would you shoot a terrible amorphous black mass?
    Clearly he has turned on us and is gunning for Pedr- I mean Pablo.
  • Try and pull Pablo out of it's grip and get down.
  • Perform a Slo-Mo dodge of the bullet a la Max Payne.
  • Get down and PULL PABLO WITH YOU
    We don't know who Anderson is aiming for, ladies and gents! Remember he was pretty displeased with Pablo the last time he was brought up.
    Best be safe and yank him down with you.
  • I'm not convinced a few bullets will stop the beast -- quickly swerve to the other side of the hall (with Pablo) and keep running.
  • Get down
  • obligatory: http://www.youtube.com/watch?v=h3quTc2-GyM
  • You heard the man, get down, get dirty
    Time to boogie
  • DO A BARREL ROLL!!
  • Pablo down first then you Nan. Protect cry baby Pablo.
  • Yus.
    Maybe go even farther and sling Pablo behind Anderson. Seriously. The darkness seems really intent on taking Pablo right now, and we need to make doubly-sure that he's safe.
    Oh, and keep your trigger finger on that flashlight, just in case a bullet doesn't do the job.
  • Nan! In the name of weaver, don't let go of Pablo! Duck, roll/slide and LIVE!
  • Stay up!
490

Nan grabs Pablo and dives. Blackness swells up, cold breath behind them.

491

Thunder roars.

  • Told ya.
    That bullet held Anderson's will. It's like a thunder.
    Crawl away from the thing, as quickly as you can, with Pablo along with you. It's probably still alive and pissed, but it's not safe to get up yet because Anderson is firing up another.
  • Seconding this. We're in direct line of fire from Anderson, so legging it isn't the best idea, but neither is staying with the (suspected) Beast for dinner.
  • It can bleed. ...huh.
    Anyway, seconding idea to crawl your asses out of their. Fast as you can manage.
  • Shoot it with your steely gun, but you just cant kill the beast.
  • Slip your flashlight out and shine it on the Beast's wound, Nan! Or just the Beast itself, really. Every little bit helps.
    If you manage to make it flinch (or if it's flinching right now. I can't quite tell. :/ ) IMMEDIATELY hoist Pablo back up and make a mad dash for freedom!
  • Hopefully those bullets are made of silver.
  • Keep moving! That shot will slow the beast down, without a doubt, but there's no guarantee that the thing won't keep coming toward you.
  • Drink it's blood and become The Beast!
  • Crawl! Crawl like the wind!
  • Keep going! We're not out of the woods yet!
  • Something just seems off. . .
    I would get out of there.
    Tell 4eyes to open the window (if it's the one Nan used to run and then hide from the pilgrim) then get out on the landing. Don't let Pablo do anything stupid. Have Anderson cover you.
  • You idiots, remember what Santiago said? The Padre, Pilgrim, and Beast are all against each other. The Padre is trying to sacrifice us to the fire, removing us from existence. The Pilgrim is Lorenzo, and he wants us to stay with him forever in death, so he doesn't want the Padre to incinerate us. Therefore, the Beast, opposing both of them, wants to protect us! It's only trying to keep us away from everyone else because it thinks they're threats to us, which makes sense given their respective states of mind. Notice how it showed up almost immediately after Santiago attacked us? It was trying to save us from Pablo too, just now.
  • Oh, okay. So that's why it's chasing after us with bared fangs. Right.
    Anyway, yes, tell Pablo everything is going to be okay and crawl away with him. Possibly kick him in the butt if you have to to get him moving.
  • Get up and get behind Anderson. If he keeps shooting crawl as fast as you can.
  • By that logic, couldn't the beast still be in opposition to both of their goals if it just wants to eat us? Can't burn or preserve in death someone who's been swallowed whole, or not-so-whole. Pretty much it just seems like a race to see who can kill everyone first in their own special way. Safest to assume that's the case for now, since we have no reason to believe otherwise.
  • Well, at any rate, the three avoid each other, so staying close to the wounded Beast, friendly or not, seems to be the best way to avoid the other two. We haven't actually seen the Beast kill anyone, and being heavily injured isn't going to do it any favors. The best course of action right now would be to keep the Beast incapacitated, without killing it. Best case: the Beast can't hurt us, and the others avoid us. Worst case: at least one of the others show up, whereupon we might be able to get them to fight each other instead of us. It's win-win, as long as the Beast doesn't die.
  • CRAWL TO SAFETY
  • Tell Anderson to shoot it in the eyes. If we learned anything from video games is that things with large eyes don't like having things in them.
  • Is that a quote? May I have the original source?
  • Just because the monsters are against each other, does not mean that that any of them are for Nan and co. We know that the Pilgrim has a specific reason for wanting the gang dead (though we may not fully understand it yet). Padre, the Pilgrim and the Beast might all be competing for the opportunity to kill the guests in the hotel.
    My advice is to try to stay away from all three of them.
  • Though physical attack might slow the Beast, I have a feeling that such an unearthly creature would not be able to be taken down by brute force. Going with the hypothesis that the Beast is some sort of twisted mass of souls that the Father burned, I can think of two things that might provoke some sort of reaction:
    1) Shout "For the love of god!" Padre might have recited his mantra as he burned his victims (remember, not!Kim said it a couple of times when she was pulling Nan into the furnace).
    2) Brandish fire at it. If the Beast is residue of the people in the furnace, it might still fear fire.
    If these do provoke a reaction, there is a chance that it might only make the Beast angrier, rather than scare it away.
    That being said, I would suggest lighting a fire. If it makes the Beast angrier, it at least has something to distract it for a moment (putting out the flame). Last I checked, Nan still had matches in her inventory.
  • Assuming Nan and Pablo make it back into the safe room, I suggest taking out that journal, and reading through it.
  • Oddly enough... I feel like shouting "Run, for the love of god!" will work. Nobody will think it's strange if nothing happens, but it might provoke a reaction.
    Hopefully a good reaction.
  • do we really want to risk making it angrier?
    but we did just shoot the thing, so go ahead and make fire if you have more than enough time.
  • If Nan and Pablo don't somehow magic their way out of the Beast's path, they're gone anyway. Might as well try somehting different; I still think it's the safest bet.
  • Unless by some wierd coincidence(in MY nanquest?), The beasts scream or the gun, described as thunder:
    "Entry number 104
    May the 24th
    Very cold now. Even the sun does
    little to dispel this chill. Thunder
    roars almost nightly.
    Very cold now.
    May the light of God warm us. ..."
    In the journal. I dunno, but I think this is relevant...
  • /questdis/ is thataway:
  • ...Sorry. Noticed it after I posted.
    Anyway, I don't mind giving the best a couple more shots while we run away...
492

Nan scrambles to her feet with Pablo in tow, heading for the safehouse. Kim holds the door for them.

Behind them, the great black figure crashes heavily to the floor, collapsing in the shadows. Heavy, ragged breath fills the air, echoing and rattling through the hall.

Anderson steps past them with a purposeful stride, pistol held at arm's length.

  • Might not want to get too close, Anderson. D:
  • I am honestly not sure if he should kill it. We don't know what it really is.
  • "anderson wait, the monsters, they all stay away from each other, if it lives, the it might keep the others away"
  • Caution Anderson against killing it. The Padre looks like the villain here, everything else seems to be a victim of his, twisted in some way. It's likely they also oppose him.
  • Question it?
  • I second that; question it.
    Who are you?
    What are you trying to do/why are you trying to kill us?
    Where did you come from?
  • Push Pablo in, push Kim in, grab Anderson and pull him in then question everything. Also I don't think this thing can talk, but if so ask it what it is.
  • Get everybody in the safe room.
    Tell Anderson to come along, it's incapacitated, don't waste the bullets.
    Sort things out once everyone's in the room.
  • HOLD IT!HOLD EVERYTHING!
    Something is very fucking wrong here. In the past, Anderson told us that the only thing one could do if they ran into the beast is run, and to keep running.
    If it can be stopped by the bullets in his gun, why hasn't he already done so?
    Either that's not actually the beast or...
    That's not really Anderson.
  • The beast isn't shadows... its smoke. And where there is smoke there is fire. I have a feeling if he gets too close he is going to get burned.
  • "Anderson, this place feeds on Sins, do you really want to feed it more" or something to that effect.
  • Remember when Pablo said that the safehouse wasn't safe anymore? He doesn't really have a reason to think so, but then again, he might know more than he is letting on.
    Perhaps this is another trap, like the one with Kim in the furnace. Especially since Anderson seems to be acting out of character here (though I suppose that could also be because he wasn't expecting to actually hurt it, just buy time).
    Either way, don't go into the safehouse just yet.
  • Agreeing with this.
    I don't want to raise suspicion among the group, but we should definitely make sure that Anderson knows what he's doing.
  • Nothing to see here, let Anderson take care of the Beasy
  • I think we should kill it, you guys.
  • I agree, this doesn't add up, should we try stopping Mr.Anderson?
  • Somethings wrong. Don't let Anderson kill the beast would be my automatic response.
    Mostly because we can't see his face right now. And I'm really not sure its Anderson.
    Push Pablo forward towards Kim. Try to reason with Anderson, or if there's not time just try to drag him with you.
    Also maybe flashlight on Anderson, rather than Beast.
    I don't know, something just seems wrong here.
  • Shine your flashlight on the wounded Beast before Anderson can shoot it! Your flashlight reveals things and banishes illusion and falsehood.
    ...oooh. Like shining a light on shadows. Neat!
  • I'm going to regret this.
    For once, in the entire quest, I suggest you shine your flashlight on the shadows.
  • My vote is for not killing the beast before knowing what it is.
    Pull Anderson as you try to get away. Be ready to escape with Pablo if it winds up not being Anderson after all.
  • Don't kill this thing. Use your flashlight. Just do it.
  • I suggest we kill it, nothing in this god-forsaken place has done anything besides try to kill us, and if we get the chance to stun, or better yet, kill one of the many threats to our lives, all the better!
  • Keep Anderson from killing the Beast. Flashlight it.
  • Drag Pablo to the Saferoom. I get the odd feeling trying to kill the Beast will not end well. Try and get Anderson to stop and come with us before he gets himself killed.
    "Anderson, we NEED to GO."
  • Stop the mass speculation. No reason to think you can tame or in any other way control the Beast. Best we might be able to do is let Anderson kill it. Even that's iffy, but damnit if he won't try.
  • I have a pretty good feeling we're honestly fucked no matter what we try; kind of a recurring thing to be honest
  • DO NOT let Anderson kill the Beast.
    It's the biggest enigma we've got right now, mass speculation aside, since we already know the history and motivations behind the other two.
    We need to shed some light on the situation. Get that flashlight on it.
  • Push Pablo towards Kim and into the room. Brandish flashlight or lit match at Anderson and Beast while asking what they are trying to accomplish.
  • If we straight-up kill the Beast we loose a first-hand source of information, which we really need in order to figure out how to escape.
  • I vote against trying to interfere with whatever Anderson is doing. He is distrustful and it would be very bad if he came to believe Nan is working against him. Every current enemy in the hotel can be reliably evaded, but Anderson has a gun and the trust of the group.
  • Anderson, how many bullets do you have? Do not waste any on something that is no longer a threat to us.
  • Ask Anderson what he's going to do. If he acts aggressive/negative, shine a light on the monster.
  • Tell Anderson, "Remember, always double-tap!"
  • Take care of Pablo and 4-eyes. Get to window and tell action man to get a move on.
493

Pablo reaches the door with Nan's assistance and Kim helps drag him inside. Anderson cocks his gun.

Nan takes a step and tells him not to kill the thing.

He asks why. He says this is our best chance. Maybe our only chance. Can't you see what this thing is? It's a monster. It's not like taking a prisoner for interrogation.

  • Tell him that you all look like monsters in the right light. This might just be a really big dog or something. How can we be sure it deserves to die?
    He just needs to wait a minute, you'll try shining the flashlight on it. See if you can find out something. He should still keep his gun trained on it, of course, because it definitely IS dangerous.
  • He's wasting bullets. We don't know what that thing is, we don't know if it kills for sure, or what it wants. All we can think about is what we assume. Save the bullets for the Padre and Pilgrim. They're the real threats so far, this is just a large mass, you're gonna need a bigger gun to rightfully kill it.
  • Flashlight! Also there's a cross on your door. SAFEHOUSE ISN'T SAFE
    Pablo is probably already dead.
    OK ok ok.
    ...
    KIM???????
  • Guys just let him try to kill it. If that works then holy shit the things can be killed, big morale boost right there. If not, then we can try to interogate or learn.
  • The safehouse has always had the cross on the door.
    In any case arguing with Anderson isn't going to get us anywhere, let's check up on Pablo and Kim.
  • If the beast is supposed to be a collection of souls or something, then wouldn't the worst idea be to harm it? If anything, it could be the remainder of what good is left in the hotel. Sure, it might be confused/corrupted temporarily, attacking the closest thing with the largest source of powerful moral (or whatever Nan has), but it still houses who knows how many spirits, wishing only to pass over to the other side. "Killing" the beast can only be bad; that would trap or destroy the souls, leaving the hotel in unending turmoil.
    Or something like that...flashlight the thing...after you take care of Anderson. Tell him that useless violence is never the answer or something. I second the "your bullets are more valuable in someone else" thing to tell him, otherwise, I got nothin
  • "let's question the monster and ask what it wants!"
    IT WANTS TO KILL YOU ALL
    FUCKIN' SHOOT IT ALREADY
  • Tell him you don't need to interrogate it to interrogate it, shining light on the shadows gives you visions. This is one of the Big Three, it might hold a key to destroying the other two or getting out.
    Also there's a cross on the door to the safehouse, the cross is a symbol of the Padre. We can't stay here anymore.
  • Flashlight it. Even if it knocks us unconscious, the others will drag it in, and we really need the info on the beast. The others backstories are pretty established.
    For all we know killing a monster turns you into one of them.
  • he makes a good point, let him take the shoot
  • I say let him take the shot.
    And tell him that, just so he knows where to shoot, you'll shine a light on the beast for him. Don't want to waste ammo, right?
  • How many bullets do you have, Anderson? Are you positive that shooting a wounded creature that you aren't even sure you can kill at all is the best expenditure of a very limited resource?
    And a second question: Have the uninvited things ever actually hurt anyone? As far as I know, its only ever been one of the big three, and the beast might just be a really huge uninvited. Caution is advised. Extermination is not.
  • "Anderson, when you say this thing is, "Not a prisoner... etc." we know there is some part of your past where you may have mishandled a person during such an interrogation or failed to transport a prisoner resulting in their death. I know you feel guilty about that and that is the reason why we are all here, all of us killed someone and this hotel is our punishment. Anna failed to properly repair an elevator and probably caused an accident and the hotel got her.
    This... "thing" was coming for Pablo. Pablo is blaming himself for Anna's death and probably has some dark history himself. You've already blown this thing's brains out, it isn't going anywhere and if it does, it means we have not wasted a bullet by letting it go. It emits a darkness and in the darkness I've seen people for what they are, we are all monsters in some way."
    In all honesty I would be thoroughly entertained if we convince him to back off and he gets skewered for his mercy. Because if he gets skewered then we know for certain that the hotel is a force of malevolence than justice and can behave appropriately later.
  • Tell him that not all is what it seems. That thing my be one more victim of the hotel. Give the Gandalf speech about not knowing the part somthing has to play, be it ill or not, is to be seen. Let it go. . . Just let it go.
  • Let Anderson keep his gun aimed at the Beast and proceed to question it on its motives and shine a match at it.
494

Nan won't tell Anderson not to fire, but she wants a moment first, at the least.

Anderson says this is not a human being. It is a creature. You can't talk to it. It doesn't speak. It doesn't think. He appreciates that she won't try to stop him. Kim would have.

He'll let Nan shine her flashlight if she wants, but he's going to count to ten, and then put two bullets in its brain. And if it so much as flinches under the light, he's going to put two bullets in its brain.

Nan says things are not always as they seem here. Anderson says things are exactly as they seem.

495

"Ain't you a little old to be afraid of shadows? You ought to know by now.

There's nothing there in the dark that wasn't there in the light."

  • Son of a...
    Shine your flashlight on *both* the beast and Anderson. At the same time, of course. They're already lined up for you.
  • This.
  • yeah, but there might be something there in the light that isn't in the dark. Or do you not yet grasp that physics does not work the same way here? We currently live in the world of 'Hotel Gives-No-Shits', adjacent to magical-fairlyland asylum for the criminally insane. There is at least ONE thing going on here that is fundamentally evil, and it is probably not going to die just by shooting it, so we should probably get some experience solving our problems in other ways whenever possible so we don't freeze up when it doesn't work. You want to waste ammo on a wounded beast that might not even be able to hurt us anymore, fine. It IS your ammo. But tell me, anderson, has the number of uninvited things changed at all since you got here? I know you've killed some of them, but has it actually changed anything? Because there still seem to be a lot of them, and I'm betting there are more monsters than you have bullets right now, and if you are hell-bent on killing that thing you might want to use a more re-usable weapon.
    ((I'm probably going to stop commenting on the ammo thing now. I'm not sure drawing attention to it in the same way we drew attention to his cigar is a good idea, I just think reminding him that its a limited resource would be a good way to snap him out of it, if that is what we actually want to do. after all, stopping him from doing this might be just as much a pitfall and letting him kill the damn thing. Or it might have no bearing at all outside of how he feels about nan.))
  • Anderson, you need a bigger gun for god's sake. Don't waste a fucking bullet on an animalistic enemy, go for a smart threat. We don't have an array of bullets that we can just use to kill every spook in here.
    And tell him to stop reading penny dreadfuls, that's gotta be a line straight from 'em. So goddamn dramatic I fucking swear he's not a cop but a stage actor.
  • no anderson
    YOU ARE THE DEMONS
    Shine flashlight on Anderson too.
  • Shine the flashlight on it but at least catch anderson in the beam as well.
  • Flashlight both of them
  • gonna regret this later for sure, but it's time to use the flashlight
496

Anderson begins counting. "One." Nan sweeps the flashlight onto him.

Nothing seems to happen.

497

Nan sweeps the flashlight's beam over the dark shape, and once more the world goes white around her.

  • Gosh, Nan... I thought we learned by now...?
    Well, brace yourself and remember to say "hello" to Lorenzo.
  • When we meet Lorenzo, I vote we go cruisin' in a Benz-o.
  • Get ready to run.
  • beat the Padre outta shape
  • Idea: We can influence the past through the flashlight, right? We might be able to pacify Lorenzo or the Beast in the past, before they become hostile to us. It would give us a powerful ally in the present. Particularly Lorenzo, since we already know him pretty well. Don't run from him when we show up, no matter what he looks like. We'll definitely need the Pilgrim's help to beat the Padre in the present, and the key to that is to help him in the past.
  • with Halloween coming up there oughtta be a nice update sooner or later. Finally updated on this.
    Toodles, Weaver.
498

Nan is awakened by church bells.

  • Get up and look out the window.
  • Are you back in the Mission? See if you can find your way to the church - it sounded like something important was about to happen.
  • There may be something significant about the bells. Haven't they been the first thing she noticed every time she "time travels" to here?
    Nan: find source of bells.
  • Get up and look through the window. See if there's a clock or anything around.
  • Go out and follow the congregation. Try to find the padre.
  • Nan: Get up and look through the left window!
  • Inspect strange cross-shaped slots.
  • Y'know, if we live through this, after it's all over, maybe Nan should make a point to go to church more.
    Or less.
    I'm pretty sure it should be one of the two.
  • Nan awakes to find herself as No. XV, Xann.
  • step 1: find bell
    step 2: Ring bell a bunch of times
    step 3: get million Nan's
    step 4: ask them for spoilers
    step 5: ???
    step 6: PROPHET! (like a religious prophet, because you know whats gonna happen)
  • Get out of bed and CAUTIOUSLY look out the nearby window.
    You never know what's going to happen.

  • Look around, and then go eat taco bell.
  • Look around first, make sure there are no immediate priorities sitting in the room with us. If it's all clear, check the window. And above all, DON'T PANIC, no matter what we see or hear.
    It's imperative we positively affect the past if we want to maintain a fighting chance in the present.
  • examine room and look out windows
  • You appear to be in a monk's/nun's cell. Get out of bed and pray the appropriate hour like a good Religious. Unless you've overslept, that should be "Prime" or "Terce".
    http://en.wikipedia.org/wiki/Religious_(Catholicism)
    http://en.wikipedia.org/wiki/Liturgy_of_the_Hours#Canonical_hours
499

Nan looks out the window. Beyond, there is a familiar TERRA COTTA COURTYARD.

  • Examine the room, then try to find an exit. Be on guard for anything that might happen...
  • Do you notice any distinctive smells, like fire or burnt flesh? If so, follow your nose.
  • I say you climb out the window. You'll never know what might be behind a door.
  • Climb out the window and try ringing that bell.
  • The bell is significant. Climb out the window and investigate it.
  • Well first before you jump out there at least take a good look around the room you are in right now. We don't want to miss anything.
  • this is a suggestion for the future
    the next time we meet up with Kim, we should ask her what the future is like
  • Shouldn't we...er...look for a door first? I mean, unless you're just dead-set on suicide... :/
  • Yes. Use the door. Jeez.
  • Inspect the room. Is there anything in it?
  • Dem Quads
    OT: Try to walk through gate.
  • Examine the room
  • Fine, go through the door. Find out if Mass is still going on and try to take a peek.
  • Look around the room. Why not.
  • The door is clearly EVIL don't TRUST IT!!!
    I just figure window seemed like a good idea because it would take us DIRECTLY to the bell, whereas the door would take us directly to the unknown. But I'm curious to see what happens either way.
  • Try looking under the bed, maybe something cool is there
  • Doors = distractions and people intercepting us.
    The window leads directly to where we want to go.
    We have limited time. Take the window.
  • Take the window. Be careful, don't fall and hurt yourself. Head towards where Padre's (office?) is. Let's figure out what he's planning, and see if we can stop it. Or at least take him out. Nan can always impale him with her horns.
  • I don't think we can change the past. We haven't been able to do alter anything in our past encounters, and I don't think that that's about to change.
    These are visions; Nan's not really there. I vote we check out the room then head out the door or wherever it seems Nan will come in contact with more people and be able to learn more about the past.
500

Nan climbs out the window and enters the TERRA COTTA COURTYARD. She approaches a young nun, who is ringing the bell.

The nun scoffs at Nan and shakes her head, asking her what she's doing out and about without being properly dressed.

  • Ummm... say you didn't think you had the time. You need to check something. Ask if Padre has summoned the entire town on this day.
    Look out the gate- are people coming? There might be another you in that crowd, if so.
  • You're not a Nun. You're a Nan, that's completely different. Get your facts straight, old maid.
    And you're dressed like this because you're a foreigner. You don't even belong here, you just kinda strolled in here with Lorenzo and have been visiting him every once in a while. So, there.
    Resist urge to pet the adorable Nun.
  • Make her feel guilty. You just got here from a distant land and yo were so eager to make the journey that you forgot to bring proper clothes.
    Ask why she's ringing the bell. If it's for Mass, ask if she'd kindly lead you to the sanctuary since you don't know your way around.
  • We changed Kim's past on the elevator.
  • Is Nan cold. If she is not ask to see if the nun is cold. Call the nun Mag, no I don't have a reason for that, but you have to call her somthing. If its not cold get everybody out before the cold comes or if not. . . Well I don't know it might be usefully. . . Somehow.
  • Seconding calling her a random name, it's better than outright asking for it. Maybe she'll correct Nan.
  • KILL EVERYONE!
  • Silently hope she doesn't have a third eye in her forehead from some unrelated adventure...
  • I think that was Anna, but your point stands.
  • Say simply that you fell asleep and now you've lost track of the time. What specifically is she ringing the bells for..?
501

Nan says she lost track of time and asks Mag why she is ringing the bells.

The nun shakes her head and clicks her tongue disapprovingly. Sister Nancy, surely you're not trying to shirk your duties again. You're not out here looking for that young pilgrim are you? You're shameless. She's seen the way you watch him.

She ought to be careful, Mag says. She is sworn to chastity and devotion to the Lord. She shouldn't be looking after that young man like she were some schoolgirl.

Even if he IS awfully cute.

  • Ask her what she means by watching him. How often has she seen you do that? I thought we've only spoken to him a few times.
  • "Nevermind then, there are more important things to discuss.
    I came across some of Padre's notes. He wrote of having grown to resent his flock, and expressed... disturbing desires. I fear he may be straying from the path.
    Would you help me make sure he doesn't falter?"
  • She seems to think you're someone else. I don't suppose your family has lived near this location for a long time?
  • This is the first time we even met! And you're name in Nan, not Nancy, jeese.
  • This. We can blame our cluelessness on shock.
  • We're still allowed to mother him, Sister. For are we not all God's children?
  • i'm for playing along. "THAT'S NOT MY NAME AND I DON'T KNOW WHAT YOU'RE TALKING ABOUT" is likely to be met with incredulity or worse. and any doubts expressed about the padre will probably be dismissed out of hand. perhaps it's best taken up with the man himself. i vote to ask where you can find the good father.
  • You think he's cute now, you should see him without flesh lol I vote you play along as well seeing as its your best bet for information. Ask her questions about the Padre, if he's been acting strangely lately
  • Seconding this. Chock your tardiness up to shock and worry.
  • Ask where Father Velasco is
  • DAMMIT, GODDAMMIT, I KNEW IT, I KNEW IT!
    NAN WAS A NUN IN A PAST LIFE, MOTHERFUCKER, THAT'S WHY SHE'S BEEN BROUGHT TO THE HOTEL, TO FINISH HER NUN-LY DUTIES SHE COULDN'T TAKE CARE OF WHEN SHE WAS A NUN!
    AND I GODDAMN KNEW LORENZO WAS THE PILGRIM HOT DIGGITY DAMN!
    ASK HER WHAT TIME IT IS, THEN ASK WHERE THE FATHER IS!
  • Wait a second, how do we know the nun's name is Mag?
  • No fucking shit, this was established ages ago.
  • There's a theory someone else had that Nan lived (future). Her showing up out of nowhere doesn't necessarily mean she's teleporting. Nan referred to the Sister by name, which suggests she knows who she is and exactly what is going on.
    Rather than having to ask for the date, does Nan already know what day it is? Does she feel like she's dreaming or like she's awake?
  • Just go along with whatever the nun says for the moment. At least a habit would make a good disguise - you'd blend right in and cause less commotion.
  • *There's a theory someone else had that Nan lived in the past and saw visions of the hotel (future).
  • A goat like you shouldn't take that crap from her.
  • Say you weren't looking at Lorenzo "like that", you feel like you recognize him from somewhere, but can't remember quite where. Ask Mag what she knows about him and where he got that scar. (Then ask where he can be found)
    If Mag gets suspicious, just say you had a "spell" and you're feeling better now, but you're still a little disoriented and talking about what's going on at the church/mission helps.
    If Mag's willing to answer more questions ask a) if there is a horse around and how to find him./her (that skull had to come from somewhere) and b)where the Padre is.
  • Ask the date.
    If it's May 15th (which I think it is), Don't worry about finding the Padre. He'll find you. If I counted correctly, and the Padre was a man of routine and wrote in his journal every day, then journal entry 466 ("NAN - I wont let you leave") was written today. Proceed with caution and ask questions now because we might not have a chance later.
    (If it isn't May 15th I would guess that we will eventually visit on that date during some future flashback)
  • I have a feeling there may be indigenous corpses buried under the hotel...
    I thought that this would make a good joke but it might work? or not?
  • Huh question carefully. Also...chances of three way desire triangle on Nan with Lorenzo/the Padre? Maybe they are both seeing her as a sign, unless Padre is pulling a Frollo.
    At the very least, there's something really significant about her seeing this nun stuff. It makes me wonder if that necklace will pop up again soon. Hell maybe Henry or Pablo was the Padre in a past life xD. Ooor Pablo was a native hence the statue...wonder if Mag is going to pop up more later.
    Also ask for the date maybe?
  • Oh right also is anyone else thinking these visions are getting a bit out of order? Maybe we would have gotten this one if we had shined the light on the beast in the chapel...
502

Of course Nan knows Sister Maggie's name. They've only been sharing quarters together for the whole year.

Nan shakes off the cobwebs a bit and dismisses her confusion. She tells Mag that she should know better than to suspect Nan of lusty interests. She just had matters to discuss with the pilgrim. Mag nods with a knowing smile and elbows Nan.

503

Joking aside, Sister Maggie says Nan should probably get properly dressed before morning Mass. If the Father were to see her walking around in pants...

Nan asks where the Padre is, anyway, and Mag says she last saw him in the tower over the Chapel.

504

Finally, on a whim, Nan asks if the natives had a burial ground here before the Mission was built.

Mag recoils at first, at what she describes as a horrible thought, but then stops to ponder. She tells Nan that there was no cemetery, but she does seem to recall that Father Bowerman, the priest before Velasco, who was present for the founding of the Mission, had mentioned some kind of old foundation they had used to help construction. It was before Nan's time here, of course. But if she wants to know more, Father Velasco might have some documents on it in his study, if he'll permit it. Of course, Mag says, given how well you get on with the Natives, maybe you could just ask one of them about the history of the area.

  • ...how long have you been a nun, Nan? What did you do before you came here?
    Let's go throw on a habit, then ask one of the churchgoers about the foundation, if there's one around. If not, don't wait around; go to the study. Last time we saw the Padre around here we immediately got thrown back into the hotel, so avoiding him should buy us some time.
  • ah yes, good old father bowerman. whatever happened to that guy, anyway?
  • Is Maggie a mouse?
  • Well get gussied up and go speak to natives. Save the Padre for a last ditch effort in case nothing good turns up among people who are actually not terrifying.
  • Agreed. Nun it up and go look for natives, preferably past Pablo, if he's here. I have no doubt he'd tell us what we need to know.
    in b4 he was apologizing for something that will eventually happen in these flashbacks instead of something that happened in the hotel
  • This, but ask for the date too still. Also I have to wonder if this is an authentic flashback or if the hotel is messing with us.
    Another thing to ponder at random: The Pilgrim and Padre are at odds with one another, but The Pilgrim has been shown definitely stating that he wants to kill/cause harm to Nan, which is presumably to foil whatever the Padre wants.
    I wonder what the Padre's relationship to this past nun/Lorenzo is then (besides the obvious sacrifice option)
    This also appears to be the first time Nan's mind is actually getting memory fogged, discounting the vision/thing with Henry and her.
    Oh, and Maggie appears to be a rabbit, based on the ears.

  • I think Father is gonna be angry with or without nun suit . So go speak with the natives
505

According to Sister Maggie, Father Bowerman passed peacefully in his sleep one summer night. He was old and lived a happy and full life serving the church.

As Nan prepares to leave for her room and habit, Sister Maggie stops her. Her tone is softened.

Sister Nancy, before you go, please tell me You know me well enough that though I would never give in to sin and vice, I care deeply for Franc- for Father Velasco. I know that he is in need of us and of our support now more than ever. But my mother has taken ill and may pass, and I should like to be there for her. Sister Nancy, she pleads for advice, What should I do?

  • Tell her that helping stabilize Velasco may be the most important thing she could ever do.
  • Family is important to god, and she should be at her bedside.
  • You'll handle Velasco.Just go and help your mother while you have the chance, this could be the last time you see her.
    Not to be a debbie downer or anything.
  • Above all, family is the most important thing. Please, go to your mother for your sake as well as hers.
  • GO - but keep in touch.
    (a paper trail might be useful to us in the future)
  • Actually, before you go, ask about Lorenzo.
  • Tell her you will personally take care of Father and she can visit her mother
  • Nan: Tell her to go to her mother
  • Cue "evil" jumpscare transition right about...
  • Anyone get the feeling this is about to happen again?
  • Go to your mother. The roads are full of dangers for a woman alone. Tell her this and that she should take Lorenzo with her to remove temptations from your path and gard herself. Nan can take care of the father. Kill two birds with one stone.
  • Possibly this, though I feel we won't be altering the timeline that easily.
    Try asking her what she feels like she should do, or even better, ask her to discuss it with Velesco when you go to question him instead. After all, safety in numbers.
  • Now it's stuck in my head
    http://www.youtube.com/watch?v=qXnT3LFTc-s
  • she seems to be on something more than speaking terms with him. maybe it would be better to ask her to stay? if she knows him that well, she could be a useful asset if we're actually trying to change the past here. then again, if she stays, she might just end up dead with everyone else....
506

Nan advises Sister Maggie to be with her mother.

She thanks Nan quietly and nods her head. She has her responsibilities to the church and to God, but she must also honor her responsibilities to her mother. She will leave and return when she is able.

Father Velasco will surely understand her situation, but he will no doubt eagerly await her return.

Thank you, Nan. Your advice has been valuable to me.

507

"Thank you."

  • "Uh. You're welcome."
  • What's, uh. What's that mark over the sister's left eye? And why did it appear after we made a decision on what she should do?
    Oh lawd I hope something bad didn't just happen.
  • Eyebrow. Also, I think we just saved her by changing her fate.
  • Souls Absolved : 1.
  • Not much else you can do with someone who's not there...
    Back to looking for natives to talk to?
  • I dunno if that's an eyebrow. It isn't there in the prior image, and it's peculiarly placed for one. Here's hoping.
  • I think this vision may be wrapping up...but if it hasn't (or if it starts off in the same place next time) we should definitely consult the natives!
  • I bet we just condemned her, instead.
  • Well hey, if this flashback thing is wrapping up, at least it is ending in light and not in darkness like it usually is. Perhaps we did something right this time?
  • It would be hilarious if it turned out the entire Beast was just this one nun.
  • Yes. Hilarious.
    Nan: Open Eyes.
  • Just caught up on all this. You guys finally made the right decision and saved someone (note the light rather than the darkness. Light = good).
    Remember! Pilgrim is not bad, Pilgrim is GOOD. But Pilgrim is trapped because Nun-Nan allowed him to be BURNED ALIVE IN THE CHURCH!!
    Take Pilgrim's advice. Don't be afraid!
    If we aren't leaving this past-time sequence, GO FIND PADRE'S STUDY!! There will likely be proof of his insanity there for you to persuade Lorenzo not to allow himself to be burned to death. Like...maybe...his journal??
  • Cool, just like silent hill. Testing your good intentions and seeing into your heart.
  • Posts moved to discussion thread. Use the discussion thread for discussion.

  • It makes sense, in a really warped way.
508

In a rush of darkness, Nan can feel herself being spirited away from the courtyard, and memories seem to emerge from shadow, only to dip again into the blackness.

509

Nan finds herself in the SECOND FLOOR HALLWAY, in front of Room 211.

There is muffled crying coming from inside.

  • Knock on the door, and say it's Nan, then ask who's in there.
  • Does the crying sound like a guy or a girl? Because if it's a boy there's a good chance it's Pablo.
  • Peek through the keyhole.
  • don't knock first. break it down if necessary. be ready to fight.
  • Walk in like the boss who totally owns this place. Ready your COMFORT ARMS.
    Kim is probably sad and alone.
  • ummm
    wasn't the entire second floor entirely burned/ruined, or at least partially?
    we should take a look around before anything else
  • Attempt entry. If locked, knock on door.
  • Knock on the door. Say "Housekeeping" and knock again. If no response, come in anyways.
  • Try to enter to the room. If you can't, knock and ask who is in there, and if they're alright.
  • DEFINITELY peer through the keyhole before you make yourself known. Then if you do not feel threatened by what you see, call out to whoever is crying and ask what is the matter.
  • Rush in and screw caution. Oh,

  • Slam the door open and enter
  • GUYS THIS. Remember the 2nd floor is a burning wreck, so this is most likely a vision or illusion.
  • Yeah take a look around first.
    Then, don't burst in, at least knock, before entering.
    It's inevitable were gonna try going in considering all of these commands, but let's at least do a little something before we do so hmm?
  • Open the door
    but if it's scary close it quickly and count to ten

510

Nan looks through the keyhole.

  • Well, fuck.
    Time for action.
    Barge in!
  • Kick the door in screaming "HEEEEEEERE'S NANNY".
  • Get in there and save Pablo's family from Pablo!
  • Looks like Kim and a tiny Lorenzo in there.
    Well what are you doing, equip an item in your inventory and barge in!
  • i'm sure it's fine.
  • Aw crap get in there and stop him!
  • HEADBUTT TO DOOR
    SAVE THE KIDS NAN
  • Open the door if you can. Don't jump to conclusions the person with the axe my not be the at fault (though he most likely is). For example it could be a hostage situation. Yell "freeze it's the police" when you go in.
  • Barge in and be distracting, but not close enough to be axed immediately. Try to assess the situation as best as you can.
  • Knock on the door.
  • Don't barge in! Results could be bad, and people could get hurt/killed. Try knocking on the door instead. Most likely, everyone will stop what they're doing.
  • wheres johnny
    oh there he is
  • Whistle showtunes in a creepy manner outside the door.
  • can you move your head some so you can see in at an angle and see the face of the guy with the axe? That could make all the difference.
  • Knocking on the door is the smartest idea here. This situation looks... delicate.
  • Oh my god my suggestion was picked
    Throw open door! Preferably yelling "WHAT THE HELL, PABLO"
  • Knock on the door. Don't pretend to be the police or anyone else.
  • I think the guy holding the axe is not in a talkative mood , I insist
    SLAM THE DOOR OPEN AND ENTER
  • It seems that we did best when we really tried to play along with the role; so here is my suggestion:
    - Knock on the door and say "HOUSEKEEPING" (after all, Nan is a repair-person)
    - While you knock on the door please, TAKE A LOOK AROUND. There's nothing to loose by doing that, and it may help give the unfolding situation some context.
  • This seems like the most not-terrible option.
    When there's a madman in a room carrying a better weapon than you and who is likely stronger than you, you do not simply barge in. You have to get the upper hand or you're fucked.
  • this
  • I am this person.I wish to change my vote to towards this person.

  • This, minus the what the hell Pablo. Since this most likely a vision anyhow, we won't lose anything but a chance to potentially interfere with the murder of minors in the past...or making a terrible misunderstanding more terrible. But hey, greater risks, greater rewards.
    Here's hoping that we don't get zoned back to the burned out husk of a room right as we take action.
511

Nan kicks down the door to Room 211.

512

Nan's family turns to face her. Her children, Little Holley and June are crying. Her husband is brandishing an axe.

  • i... what
  • ... Tell the girls to get behind you, Nan.
  • i
    wh
    No. Fuck it. Just walk out. Don't even bother.
  • Make sure they're okay.
  • Nut shot your husband to disable the threat to your children, take the axe from him, and demand an explanation. Nothing else but this.
  • ... Whatever. Rolling with it.
    YELL AT HUSBAND. WHAT THE FUCK ARE YOU DOING I WILL TACKLE YOU TO THE GROUND AND MAKE YOU EAT CARPET.
  • "Could someone PLEASE tell me what is going on? I've had an absolutely terrible day at work down in the factory and seeing my husband brandish an axe to my crying children, for whatever reason there is, sure confuses me."
  • wat
    Walk out.
    Slowly close the door.
    Don't break eye contact.
  • Yell "STOP", full lungs. Demand explanation.
  • ask husband what's going on, motion kids over to you
    make mental note to later investigate what appears to be a picture of the terra cotta courtyard on the back wall
    optional: tell Holley she is your favorite child
  • Nan's family is rabbits?
    Um... Well the husband looks upset also, not like he's about to kill them. Ask husband what he's doing with that axe, and what is going on?
  • you talk-so-much dolts. there is a time for asking dopey questions and there is a time for
    maybe focus on making sure he can't hurt anyone before you start politely requesting explanations. if you have to kill the man to save the kids, do not hesitate. at the very least get his weapon away from him. like, now.
  • J-
    Just get out of there, I don't even
  • Regret marrying this idiot and scold him for scaring the children.
  • It's going to be so embarrassing when it turns out he's just telling a spooky ghost story.
  • After all WHAT COULD POSSIBLY GO WRONG. I mean besides you getting another mind screw thing and sent back to the burned out hotel husk.
    Or it turning out that you just incapacitated Henry/Pablo/Captain Anderson while he's getting ready to shoot the monster...Or we get an axe to Nan's head.
    Also remember the room #211, it might be relevant later.
  • Get the weapon away from him. Seriously, this is no time for talking.
  • Yeah defiantly get the weapon from him.
  • i.. think the husband is trying to protect the kids from something. maybe from you.
  • Seconded, the husband looks scared rather than aggressive. Only try to advance towards him if he starts making a move first.
  • Apologize for smashing the door and you were worried for there safety. But keep a close eye on the guy with the axe.
  • Ask for an explanation and step in front of your kids. Protect them!
  • SAVE THE CHILDRENS
    THIS IS PRIORITY NUMBER 1
  • Tell your husband this is no way to entertain the kids.
    Also tell June she's your favorite. Hell, both of them are better than that blind bitch that you sent off to blind camp at the Glen.
  • Speak calmly but with authority. Tell your children to get back from the axe. Before your husband can get angry or start with denials, immediately ask him what he is doing with that axe. Specifically, why is he holding such a dangerous object near your little girls. That is dangerous. Also, ask why they are are so upset.
  • get his axe off his hands, push him away from the kids and ask him what the fuck is he doing.

  • Let's go on a limb and say that maybe Kim's right and we all died at one point.
    Be very careful, Nan, and address this situation calmly. Ask what's going on, and if anything goes wrong, use the lamp there as a weapon.
  • Seconding this.
    Also, I'm getting the feeling that maybe Nan isn't just one person. Assuming that the repair-goat Nan we met at the beginning is the "true" Nan, I think that these visions she's been having are from past lives. Nan was a nun, and a mother, and is now a repair-goat. The other people we've been meeting probably have something similar going on if that's the case, but I don't really have much evidence for that yet. Let's see how this goes.
  • See, I think she's actually remembering other peoples memories, learning what happened to the others.
    Also, Nan ascertain what the FUCK is going on

  • also
  • Dafuuuuuuuq Nan. I didn't know you were a married woman! After all these times I've supported you with Santiago! D:<
    ...oddly though, the husband looks kinda malnourished, maybe he's trying to eat the kids.
  • Check your finger for a ring and ask your husband (also, what's his name? - try to find out) to a) kindly put down the ax, and, b) what the immediate danger is.
513

Nan bursts into the room and confronts her husband. She calmly but firmly instructs her children to come to her and step away, but her husband stands between them and stops them.

He says the girls shouldn't move a fucking inch. And he says he's not giving them up. He knows what's going on. He says he knows you're all against him. That you always have been. Laughing behind his back.

But he says Nan is a stupid bitch if she thinks she'll have the last laugh. Not this time.

  • axes only work if they can get a swing going, get in close and grab the handle closer to the head.
  • diplomacize first
    remember Weaver said these are social puzzles
    tell the husband that is not true, you would never laugh at him behind his back, you love him
    ask him what exactly is going on here, why does he have the axe, surely not to protect himself against Nan with her girlish figure
    if it look like he's not going to calm his shit, then make a grab the axe
  • Point out that he's been putting on weight.
  • what's in your inventory?
  • Do you think the kids have been laughing at you? They're kids.
    If you want to swing an axe around, you can do it at us.
    If you have something to say, you can say it to Nan.
    Nan will never laugh at you.
    But if you try to hurt those children, we will end you.
  • "Let the girls go, take me instead"
  • Ladies and gents, we have a paranoid and potentially delusional man on the edge. First, tell him that alright, if he is angry with her, then they should talk. Use this as an excuse to tell the girls to go to the bathroom so you two can chat privately. If he tries to stop them, he will have to turn around. Bringing back the axe in particular will take him a moment, especially while turning. You are more nimble and can grab it first, at least buying the girls enough time to hide in the restroom or to run past to the front door.
    Hopefully we can talk him down so that it doesn't come to that.
    After telling the girls to go to the bathroom, try to immediately get your husband's attention back on you. You need him focused on you and not the girls. Ask him where he has gotten the idea that you are laughing at him. It simply is not true. You married him because you feel nothing but love and respect for him. Remember how wonderful it was, when you were courting, when you finally said your vows? Remember how happy you have been?
    A key factor is that we do not bring up the girls' opinions towards their father. That will only direct his attention towards them and it will risk their lives. We need him focused on Nan, as she is the only one with a way to run. Luring him out of the room can give the girls a chance to run if it comes to that. The alternative is clocking him over the head with a lamp if necessary, but I would bank more on being more nimble than him. Hopefully he isn't so far gone that he can't be talked down.
  • I'm lost
    Tell him you had to do (whatever Nan did) it for everyone's sake . You are sorry though, it hadn't to go this way
  • I wholeheartedly second this. He still doesn't seem like he really means to hurt the kids unless you try to take them from him. So stay calm and don't make him feel threatened.
    Also, can we get a real quick mental check of what's in our inventory right now? Maybe we have something to calm him down?
  • It may be risky, but it could give the girls a chance to flee without provoking him. Be gentle about it though. Don't make it seem like you're taking the girls away from him forever, or that'll make him think that his "everyone against him" theory is more plausable. Even though these scenarios could be illusions, it may still have an impact on the Hotel. (Maybe it'll change the state of room 211 when the scene is over?) Therefore, handling this scene delicately could turn out to be pretty important.
  • Tackle him and grab the axe away.
  • Laugh in his fucking face
  • He's only got one hand on the axe. Rush him before he can wield it properly.
  • STAN
    STANNYBOY
    I'M COMING
    hit that dude on his head with the lamp
  • I forget what our current inventory is.
    Just call him an immoral douschebag and club or slice him with the item with the greatest damage output in your inventory or that's easily reachable very quickly.
    Now, this may be where he tries attacking you and you weapons meet in a stalemate until one of you overpowers the other. This is when you kick 'em in the balls.
  • This.
    This this this. These threads are all about being wise, not being an action hero. That's for our partners to handle.
  • If we're going for diplomacy, this is how we should go about it.
  • There's nothing to be diplomatic about here. He's ready to act, and we must act faster.
  • I advise you read the /questdis/ thread here: http://tgchan.org/kusaba/questdis/res/4297.html#63838
    Also, "this!" is still a bad post.
  • Hurl the lap to your left at him and shout for the children to flee. Confront him if he gives chase, if not, then flee with them.
  • Don't waste any more time. He can't wield that shit with one hand, rush this motherfucker down and most importantly, try to put some distance between him and the kids.
  • Maybe this sounds silly, but try flashing the flashlight in his face to blind him, or throw a cloth or something like that over his head. I think that either blinding him or making sure he can't see would make it easier for everyone to escape.
  • Charging him probably isn't a good idea. Keep edging towards the dresser, keeping him focused on you. When you get there throw the lamp in his face.
    Hopefully you'll catch him offguard and knock him out, even if he defends his face you'll still be able to rush in and take him
  • Alright, so given the available information, TAKE THAT FUCKER DOWN.
    Do anything to make sure the kids don't get hurt, even if it means risking your own life.
  • do you have any weapons in your inventory
    if not, try and knock him out with the lamp while avoiding the kids
  • Guys guys. We're forgetting the most obvious solution. AIM FOR HIS BALLS. It's a cheap move but it might give us the chance to take the axe away while he's making sure his nads are intact.
  • making sure the children are safe is more important than calming him down at the moment.
    ask him what makes him think that? why would you be married to him if that was true? if all the questions just end up irritating him, then his anger will be focused on you rather than the kids and you'll be able to lure him out of the room and away from the girls.
    oh and take the lamp, you might need to use it
  • Charge right the fuck in there and grab that axe and get it away from him.
  • toss lamp into man, miss and hit mirror, que new transportation.
    but in all seriousness, throw LAMP at AXE-MAN then KICK him in the JUBBLIES while he is dodging/blocking.
  • Hmm.. yup. We be trippin'.
    That painting isn't there anymore. Or wasn't. How good is your self-convincing-fu?
  • Agreed I think, time to be a diplomancer!
    Also hum a show tune if you think that will help.
  • angry dude's got an axe cursing at nan in front of two small kids and you wanna be diplomatic
    nah dude
    nah
    knock him out if you want to be merciful but this is clearly no time to try and talk things out. if these suggestions keep pushing the no action route we're never gonna get anywhere [and i'd bet those two kids'll get hurt if we stall any more]
  • does nan know why he's acting like this?
  • Okay, While rushing Axeman, Yell at the kids to go to the bathroom. That'll get them out of the fight and they hopefully won't have to see any gore. While I kinda think he's in a position to block you if you go for the balls, I do endorse cheap shots.. We want to knock him off balance and take that axe away from him so we can use it to knock the crazy out of his head. Again, preferably with the kids not watching.
  • The one instance in which we seemed to have any measure of success (probably) was when we told Sister Mags to leave. I believe that we should do the same here; see if you can convince the husband to let the kids step outside the hotel while the parents talk it out.
  • Because Weaver wanted him to. Weaver also wants action. We'd better give him action if we don't want slaughtered children.
    Let's analyse this situation.
    The children are crying, scared, and Nan's 'husband' refuses to let them go.
    He has an axe.
    Clearly he doesn't show much care to the children when he's threatening them.
    To his insane eyes, they're simply property.
    This seems more like a competition -- or personal revenge -- to him, rather than a fight to protect his children.
    Diplomacy doesn't seem to be the way to go. Equip flashlight as weapon. Charge in and aim for the head.
  • For the record, I wasn't suggesting Nan doesn't fight. I was suggesting a way for the kids to get away first. That's why I tacked this bit at the end: "be it talking or fighting." (I know you may not be referring to me. I just wanted to get that out of the way before I get misunderstood by others.)
    I just want to make sure the kids don't get caught in the crossfire before the fight starts. Nan ending up traumatized is something we should avoid since the creatures of the Hotel detect guilt. I mean, sure an axe has two hands, but the husband is much closer to the kids. He doesn't care about the kids, so what's to stop him from taking one as a meat shield the moment Nan tries to make a move?
    As for what Nan should do to counter, maybe a quick tackle/headbutt to the gut would do the trick. An axe requires two hands and an overhead swing is slow. By the time he realizes he should have used his fists first, it may be too late for him. Use those rock-hard horns, Nan!
  • Nan, you're a goat. You're a goat and you have horns. Just headbutt him in the chin and settle this quickly and efficiently.
    Also when the hell did you ever have a husband and kids? Are you sure this isn't an illusion of some sort?
  • AIM FOR HIS BALLS
  • Tell him that he is right and that you and him need to talk. Tell him that your sorry and you need to make it up to him. Tell him that it needs to be just you and him. Offer to move closer and switch places with the kids as they will only make it harder to talk. Ask if he still loves you and say that your sorry (a second time) and be ready to stop an axe o' death.
  • "We can still talk about this. It doesn't have to go this way."
  • I've got the feeling that if a charge happens, we'll just end up falling through a hole in the now suddenly charred room floor.
  • You still have your flashlight? Chuck it at his head.
  • After looking at the discussion thread, I'll withdraw the suggestion for diplomacy and shall switch over to the angry mama bear camp. Take the lamp, throw it at his head while shouting at the girls to flee. This should make it difficult for him to focus his attention on either dodging, stopping the girls, or being angry with Nan. If we're lucky, this will slow him down enough to take a lamp to the face and disorient him, or at least make him focus a few precious seconds dodging the lamp and reassessing his options. Either way, we should have a few precious seconds to allow us to get in a savage attack to the genitals so that while that fucker is reeling so you can yank the axe away.
    Heck, let's go all out with protective motherly rage and adrenaline, and while we're turning his outie into an innie with our feet, let's scream something snappy like, "GET AWAY FROM MY DAUGHTERS, YOU PRICK!"
  • Walk away.
    Let them die.
    There's nothing you can do.
    I think it's a trap. Don't bite.
  • the girls are probably gonna turn into eldritch abominations the minute we try to touch them....
  • Beat your husband with your flashlight and your horns if need be, but DO NOT touch that lamp.
    Destroying any source of light is a bad, bad idea.
  • Rush at him and go for a kick in the knee , It worked for Santiago
    just don't get your head chopped off in the proccess
  • HE IS THREATENING YOUR KIDS
    KILL HIM
  • Those circles on the ceiling appear to be lights. If the power goes out for whatever reason, the lamp will be gone too.
    I say make use of what we have and bash his stupid face in. Make sure to call him fat and laugh.
  • Tell your husband that Bowerman wants us apart and that he's just playing straight into his hands.
  • Ammendum to my vote: use that as a distraction while yo slowly reach for something to throw at him before beating him to death like a rabid animal.
  • So, is someone actually not loosing the overview? It's kind of random between
    -kill him
    -flee
    -try to persuade him.
    I just hope this will result in her getting confused right now...
    I'm for provoking him to attack you and loose his grip on the children, so they can flee while you two fight... some basic stuff like "then come at me directly" or something like this. Anything you can use to counter a blow? otherwise close-combat and quick-moves are preferable as swinging needs a little space and time.
  • He's actually got a decent plan here.
  • *I meant "I hope this WON'T result in her getting confused"
    also, yes that was me despite different IDs...
  • In light of some of the recent posts I'd like to amend my suggestion. First, try to get the husband to agree to let the children wait outside the hotel while the adults talk. If that does not work, engage the husband in physical combat (use caution, maybe throw something) while yelling "Girls, get out of the hotel!"
  • ...And in light of what Weaver just posted on the discussion thread, I'm changing my suggestion once more. Nan's in new clothes, so I doubt she has access to inventory (it also indicates this is a vision). Make very brief eye contact with the older child to try to communicate that things will be ok. Then grab for the ax, not to take it, but enough to keep the husband from swinging it. While you are close, headbutt the husband in the stomach/groin area. Most importantly, as you are attacking, yell to the children "GET OUT OF THE HOTEL".
    (really sorry)
  • Well shit, I'm stupid. In that case...
    Everytime we're in a different time period or something, Our inventory changes to who knows what. I personally think we don't have a lead pipe on us or anything she could use to fight. Maybe she does. I would like a inventory check.
    If what we have isn't anything good, or we just don't have time to check, grab the lamp next to us before proceeding to fight. It's decent sized, it's blunt, it's better than out fists at least.
  • There is no part of using the lamp as a weapon that is a good idea.
    Perform a very quick inventory check and use whatever we happen to be carrying and/or our horns.
514

Nan says it doesn't have to go down this way. That it could still be different. He laughs. You'd like that, wouldn't you? Well this time it's not going your way. This time he's in charge.

Nan says fine. You caught her. She laughs. She laughs right at him. It's no wonder he's clutching at the kids instead of coming at her directly. This is about her. She's the one he wants. And he can't even face up to that?

He doesn't seem to like that.

515

Nan hurls the lamp at his face, taking the brief moment of distraction to ensure her children are safe.

516

Nan yells at her children to run. Don't stop running until you've left this place behind.

As they run out of the room, Nan charges her husband. He's bleeding, and full of rage.

  • Kick him in the jimmy!
  • Elbow him in the face!
  • get the axe.
  • Knock him down, get the axe.
  • Wrench that axe away from the psycho while he's distracted by the blinding pain, and while you're at it make sure there's nothing around that he can counter-attack with. If you see something, make sure you get to it first! Try cornering him into the bathroom if you can.
  • Leave and close the door.
  • Back away and see what happens. Now the kids are safe see if you can save your husband from himself.
  • gouge his eyes out
    .. or kick him in the groin
  • initiate mama bear mode and incapacitate him, get the axe away
  • Grab the axe then kick him in the crotch/ throw him over your shoulder, either should get him to drop it.
    once he has, run from the room slamming the door and wedging it shut with the axe, then call the police.
  • NOT IN THE LEG! NOT IN THE ARM! NOT IN THE FACE!
    BOOM ! NUTSHOT ! SQUISH!
  • Don't fight fair. Don't be nice, or kind. Be mean. Be cruel. Fight dirty. Take every advantage, every weakness, and use it against him. Bite him. Claw his eyes. Steal his axe. Pull his hair. Knee his groin. Attack the parts that are easily wounded, and then the parts that are already wounded, and then the parts he can't guard. Don't ever stop fighting. Don't ever let up. Don't give him time to think, or or fight, or breath. Think about what you're fighting for, and why you have to win, why you have to win, and never, ever stop.
  • With the kids safe and glass in his eyes, beat him up to the point where he'll be too worn out and damaged to fight back. Do NOT kill him.
    Since you are charging, go for either a quick cross against the jaw or headbutt his gut. Don't give him a chance to get the axe again.
    Finally, watch out if he goes even more crazy and decides to use the lamp shards on his face as a weapon.
  • Well that escalated quickly. Wonder when we're going to get the scare shock reality snap back?
  • RIP AND TEAR RIP AND TEAR
    by which I mean get the ace away from him and break his hands. And then tear him apart if it seems appropriate (it usually is)
  • Run after your daughters to make sure they are okay and don't get lost while trying to close the door on your husband's face before he can see clearly again.
  • get the axe away from him. To disable him, a kick in the groin will suffice for a moment, then break a rib or four. Have you ever tried doing anything that requires you to breathe with a broken rib? It really fucking hurts and is difficult to do. He won't be able to give chase, while you run and find SOMEONE to help you.
  • Simultaneously grab axe away while punching, kicking, or headbutting him in the groin. Raise the axe, prepared to strike if he makes any moves and demand answers. Now.
    (It's using violence AND negotiating!)
  • Take Axe. Tell him you're still willing to work it out. If not, threaten him you'l MAKE him talk it out. We're better than that, but he doesn't need to know. We need answers, we always need answers.
  • No. Fuck no. No more talking.Incapacitate him if you are able, if you cannot reasonably do that, you will have to kill him.
  • Grab the axe, follow the kids out, and slam the door in the guy's face!
  • He's in a blind, murderous rage and you people want to talk to him still? She already tried that, and it failed. I think negotiation time is over.
517

As Holley and June flee out the door, Nan lunges at her husband just in time to grab for the axe.

They struggle. Nan fights dirty. She gets violent. She turns the pain of the abuse she's suffered back on her tormentor.

Her husband, unable to grab the axe back, is pushed back over to the bed. His powerful hands find Nan's throat and he begins to strangle her as she attacks him.

  • Kick in crotch
    Put your thumbs in his eyeballs.
  • Uhoh, this is going to get bad. I'd vote for
    I feel like killing him will end badly, considering the overall themes we've been seeing in this story.
    I wonder if this flashback/forward is really Nan, or her taking the place of someone else who was in the room. Well that or the hotel is just fucking with her again!
  • The lamp came back from the death, it shall judge those who are good and bad
    Smash the axe in his face, I mean the butt side of the axe
  • Use sharp end of axe on husband.
  • possibly made a bad decision here, as it seems like the picture of the courtyard has changed to show fire...
    Definatley avoid killing him, drag him to the door if you can, try and scream for help.
  • Strangle the bastard
  • I could be wrong but I think that's blood from the fight, not fire on the paintingtry to get away from him. I would say knock him out but seeing as he's already got his hands around your throat...
  • Blunt end. Smack him in the head with the flat or back of the axe head.
  • What we need is to get him to let go, to disable, but not kill, our opponent. Aim for the inner elbows with the axe blade. We don't have the strength to hack them off, but those are delicate areas and will cause him a great amount of pain. It will be unlikely that he can keep strangling Nan's throat if his arms hurt too much to use. Injured arms will also make it difficult for him to attempt any other form of attack. Also, attacking the genitals is also an excellent distraction, and that can be done with the knee or the foot, thus keeping the hands free to wield the axe. Once he is disabled, then Nan can run without fear of him chasing her, or worse, taking a cue from what she did earlier and throwing something at her while her back is turned.
  • If we decide to kill him, I suggest Nan screams "YOU'RE GOING TO DIE HERE YOU FUCK" while she kills him.
    It will be cathartic for her and shit.
    Oh, and attack the weak points, groin eyes neck etc
  • Use the hand not on the axe single out one finger and snap it. If you are going to blackout before then use the axe. Try not to kill the abusive @#%&*%.
  • Suggestion: beat him, ideally until he stops strangling you.
  • Use the second lamp-- I mean, go for the eyes!
  • I told you violence wasn't the answer, now look what you've done!!
    Use the BLUNT side of the axe to knock him unconscious!
  • Neither was yapping at the psychopath.
    Smack that motherfucker with the blunt end of the axe until he's out and run for it.
  • I go with using the second lamp, but only once you break away.
    Meantime, try and get his hands off your throat.
  • Beat him senseless, but make absolutely sure not to kill him. We still don't know his motives, or what he thinks is going on.
    He's most likely being manipulated by the Hotel, and every person dead is still a loss for us.
518

Nan bludgeons her husband repeatedly with the axe handle.

She breaks his nose. When that fails to loosen his choking grasp, she breaks his jaw.

Finally he goes limp under her.

519

Some part of her wants to take his life. It takes all her willpower to stop there, but she does.

Still. He won't hurt anyone. Not ever again.

  • Well done!
    Might want to go and make sure your children are okay.
520

There's another torrent of shadows around Nan.

521

  • Anyway.
    That cloaked figure doesn't look too inviting. Be careful, and try to determine who's that person.
  • Hello. . . father?
    Dun dun dun!
  • cautiously say hello
  • wouldnt it be ironic if helping these people and peacfully/nonleathely resolving the conflicts is somehow making the situation at the hotel worse.
    anyway, rember who you are right now, then address the figure before you.
  • Barring that, let's get some Nan thoughts/observations about the area she is in and what she was doing. Oh and maybe also the DARK FOREBODING CLOAKED FIGURE.
  • Nan: status report, before we tell you to do something stupid. who are you, what are you, where are you, who is that, why are you wearing a cloak? answer any of these you can.
  • Approach silently
522

Nan finds herself in a stone chamber high above a cliff, which overlooks a gray and gloomy sea.

She approaches the dark figure, standing by the great fire.

"Child." The hooded figure turns slightly, staring out to the horizon. "Do you hear it? Thunder from across the sea. We have done well. The dawn is almost upon us."

  • "Good, because the weather doesn't look too fine right now... but always the darkest before dawn, I guess?"
    "Remind me what we were doing again?"
  • "Yes "
    "Certainly we did "
    " (( anything to fill the conversation )) "
    Let him continue his speech otherwise
  • Tell him you tried your best. You think you're getting a hang of it, now.
  • Ask for a name. Be sure to apologize for the awkwardness of it and explain that you're a bit disoriented. Don't want to insult him/her, yanno. And try to get a look at his/her face while you're at it.
  • "Pero yo no oigo nada, padre..."
  • WHAT ARE WE DOING AGAIN?
  • get closer.
  • dammit Cultist Nan, stop killing everyone.
  • Hell why not.
    Walk up behind him and say "yes it is almost here, but there's one more thing need to bring the light".
    Then push the hooded person into the fire.
    Hahahahahahahahahahahahahakakakahahaha. . .Ha
  • Ask the child if he is content with his path.
  • why is thunder good? it usually means a storm is brewing.
  • Um... Not much to go on here. (in color now!) Ask about the thunder? I dunno.
  • Yes, continue the conversation, but don't contribute anything to it. Let them speak, they sound like they've got something to say.
523

Nan gets closer and tells the cloaked figure she doesn't quite know what he's talking about.

The man turns, a solemn expression on his scarred and unfamiliar face. "Coming to this place. Building our home of light here. Preparing for the dawn. They don't understand. Not the way I do. It had to be here. It's perfect.

It's getting colder every day. No one else feels it. But even in the summer sun, my skin freezes."

The fire crackles in the great stone basin. He stares into it, lost in thought.

"Are you afraid, child?"

  • No.
    ...is that Lorenzo?

  • Perhaps you're ill? I understand your conviction to this cause of your and its supposed greatness, but it couldn't hurt to contact a doctor. Come on, for me? Little ol' Sister Nan?
  • Hello, Padre.
  • "No, Father Velasco. Not afraid, but...confused. It seems to me that I appeared here mere seconds ago, and I know not how or why. This whole affair confuses me. Speak to me, Father. Help me understand."
  • "...are you?"
  • Srsly tho. Say "Yes, Francis. You're frightening me. You've changed, and I'm fairly certain it isn't for the better." Give him a hug. "Let's go back to the way things were."
    Possibly, "Back when you weren't a psychotic potato-sack monster."
  • Also, "Who are you trying to save, Francis? Lost souls, as you were called, or yourself?"
    This is our chance to get inside the Padre's head.
  • I like this one.
  • Tell him his plan won't work as he means , You have seen it in visions. His soul will be damned for such abomination
  • I am somewhat tempted to just shove him off the cliff here and now, but I doubt that would actually put an end to him.
  • "I'm not frightened for myself father.... But for them. What will the coming dawn bring for them?"
    Being afraid is bad, but I think this may help the sympathy game? We gotta do something to help the natives or whatever. Man I dunno.
  • Oh, if this is Padre, then... say that you are afraid for him.
  • Belief that one has reached perfection is often the sign of a delusional mind.
  • If no one else feels it, isn't it possible that you're the one who's wrong?
  • "I am not afraid."
  • "Sure man, whatever"
  • It's you who should be afraid, Frank.
    Considering that nasty scar of yours, it looks almost like someone broke a lamp on your face and then repeatedly hit you with an ax handle till they broke your nose.
  • Also...HI FATHER HOW ARE YOU. YOU SEEM ALOT LESS BAG HEADED TODAY. Also also...what was Nan helping with?
  • ...I wonder if past Nan threw him into the fire instead of the expected him throwing Nan into the fire, and ended up starting all this.
    A bit like Ruby and Stiches :D
  • "I am indeed afraid but it is not without merit. No good will come of this, however pure your intentions. I have... been having visions. Terrible, terrible visions of pain and slaughter. Surely that is not what you intend to happen."
  • oh god Padre is the only one of them that actually had a light in his room. Padre is on the light's side, the friendly rats live in the darkness of the walls.
    That's why the light upsets the hotel, we're shining light in the faces of burned spirits.
    Burn him before he kills everyone else!
  • The main theme, as reiterated by many characters, is not being afraid of the dark. Nan isn't afraid.
524

Nan says she is unafraid. "That is good. There are worse things than dying."

But she is confused. She has foreseen terrible things. Wholesale slaughter. Surely that is not what he intends. "It is what I intend with every fiber of my being. I can see that path as clear as day."

If you do this, she tells him, your soul could be forfeit. "And that is why I need your help. As an outsider who has come to live among us, your role is the most important of all. When the time is at last right, just before the breaking of dawn, I can reveal the part you have yet to play."

Nan shakes her head. Father Velasco, what's happened to you?

525

A look of quiet concern crosses the man's face.

526

"...Who do you think I am?"

  • Sorry, we've never seen the Father's face. This shit gets confusing. Where'd you get the other scars Lorenzo? And you haven't been eating well at all! Look at your cheeks! You're barely recognizable. Let's make you some nice warm soup.
  • "Just a name from my Dreams, they have been relentless as of late" or something like that, we need to pretend that the name mismatch was due to tiredness.
  • Say that.
  • Go existential on him
    "Of course I do, but do you?"
  • Alright, this guy is clearly psycho already and seems to have a specific ritual in mind which we almost certainly don't want completed.
    Slowly walk closer to him while talking, then kick the bastard off the cliff in mid-sentence.
  • Man I really screwed that up and it's no longer funny
    Just quietly answer "sorry"
  • Tell Lorenzo you are sorry, also apporach to him as you are talking to push him off the ledge
  • "You are Father Bowerman of course".
  • "Bob" say it sarcastically
  • "...I'm not sure. I'm not sure of anything anymore, truth be told. I don't know who you are, I don't know who *I* am, I don't even know *where* I am. A mission, a hotel, my house...I can't even be sure of what's real."
    Sigh in exasperation/resignation.
    [Dim stagelights]
  • Grin goatishly and say "I dunno, who are you?"
  • I know it's a bit of a shot in the dark since we don't know what Father Velasco looks like, but it could be worth a shot.
    I'm not so sure about pushing him off the cliff or into the fire. What if that's what leads him to having a bag face in the first place? It could be possible that Lorenzo inherits the title of The Padre from Father Velasco...
    Then again, what if it's supposed to happen? If this is really Nan's ancestor and she's in danger, then present Nan may cease to exist. Argh, it's all so confusing! To push or not to push... it'd take only one good shove... but what if it...
  • It could cause the hotel, but really, any course of action could potentially cause the hotel. McCultist has outright said he conpletely intends disaster, so breaking his plan will almost certainly be a good thing if we can manage to do so. Unless this is some sort of convoluted trick, McCultist also seems to think that we will help him with his ritual and has already given us a specific parameter (waiting until dawn) which we can break away from by acting now.
    In short, shoving him will quite possibly end badly, but waiting will also quite possibly end badly and seems to be closer to what the madman intends.
  • If this is really Nan's ancestor and she's in danger, then present Nan may cease to exist.
    That makes no sense. If Nan were to stop existing, she would not be able to make herself stop existing. It's a Time Paradox and thus impossible. If this guy IS Nan's ancestor, she can't possibly kill him. Something will stop her. Unless he's already fathered her of course.
    Likewise, if this really is the past, then we can do nothing about the hotel being created. The hotel MUST exists, since Nan has BEEN there. THerefore, whatever action she takes will be the one that either causes or allows the hotel to become the fucked-up place we know and love today.
    So I guess let's just talk to this grisly chap.
  • Yeah, Im pretty sure that our hooded friend here is Lorenzo. His face may be shaped differently, but he may not be taking care of himself like he should, as for clothing, the hood matches, they both have those little nub things on the side.
    Common topic matches too:
    "It's cold, he says.
    It's getting colder every day." (from the earlier vision)
    "It's getting colder every day. No one else feels it. But even in the summer sun, my skin freezes." {just recently in this vision)
    This last panel, a red flag's been thrown for him, he's wondering what is up and could attack. Verbally or physically, I do not know though.
    Nan, be careful with your next few lines, this could be a crucial point for you.
  • This could be true, but...I wonder if this is even the same part of the timeline as Lorenzo. I'm getting a history repeats itself vibe.
    Anyhow, I deleted my early post because on thinking about it I think that:
    Is a good idea. I think we need to put the foot down and catch him off guard!
    ...Also FREAK OUT ENOUGH IS ENOUGH should still totally be an option!
  • Say that you have been getting visions and they are somewhat disorienting. Ask him to help you orient yourself in this reality (i.e. a quick summary of who he is and what's going on).
    Hopefully, the truth in these questions will convince him to help her. Also, are we just assuming the cloaked person is a man or does this person have a distinctly masculine voice or face that can actually verify this?
  • If things begin to get hairy, push him into the fire.
  • Not the fire. Fire is in the domain of whatever is causing this. Gravity, not so much.
  • Man, that beast contained a LOT of people. This guy is probably NO ONE we know from previously (this guy is another person forming the beast). I dunno what to do here though... Try to brush off you calling him a weird name, say you were just a little confused because you had a strange dream, and to nevermind it. Continue to try to glean information from this person. Check inventory.
  • Tell him you called him friend and try to leave it at that.
  • All right, I'm just going to come out and straight up ask it even if the man is obviously insane.
    What about "Thou shall not kill"? Seriously. Come on, we're all good Christians here, we don't kill. Big ten rules bro. Give us your big justification for defying that rule, go ahead, come up with a good argument big skullface boy. I'm waiting.
527

Nan says she is confused, and may have used the wrong name. "My name is unimportant. It is my deeds that will be remembered." Nan isn't exactly a devout practitioner, but doesn't the Bible say 'thou shalt not kill'? "I'm afraid I don't know that story."

All right, she says. Then who are you?

"I am the not the first. I am not the last. I face the darkness. I walk in death. I welcome it. And in death I will find salvation.

I am he who wears the crown. I am he who sparks the cleansing flame. I am the herald of the dawn.

I am the lightbringer."

  • If he's the one who caused all this, and if he's standing next to a deadly void , and if we can try to push him off, We might do something good
    Get closer to him , saying that you will help him in his intentions, but push him off when you get the chance
  • Ask him to explain how death can be his salvation. If he doesn't need a particular kind of death then killing him will likely be counterproductive.
  • Okay, so his name is Lucy.
  • I'm for mindless violence as much as the next guy, but maybe we shouldn't kick this guy off a cliff yet. See what his plan is, then do the exact opposite of what he needs. who knows, maybe the plan involves his death?
  • So we just went from zero to batshit.
    Nan, it is your destiny (probably -- actually likely not). I think we need to stop this guy before he murders the entire congregation, village, etc.
    Which are your people. Kind of.
  • Tell him if he is the Light Bringer than you are the Night Surgeon.
  • Tell him that you are a lightbringer too. After all, that's your job as an electrician and you've never tired of pointing your flashlight wherever you could at the hotel.
  • I vote we push him off the edge.
  • "And who am I?"
  • "Who am I? What role do I play?"
  • Oh shit this guy is definitely Satan. I know it probably won't work, but push him off the cliff. If nothing else, it might tell us something about what we're dealing with.
  • Be careful, folks. We should keep in mind that even Lucifer was once an angel.
  • I'm not sure how comfortable I am with killing this guy unless we know he's planning on slaughtering people. He might be planning on sacrificing animals.
  • I...really fucking hate this guy. I hate characters like these, the're always full of shit and just listening to the same tripe coming out of their holier-than-thou mouths makes me sick. Tell this dude he's full of crap and he should shove his metaphysical ying-yang. He knows were.
  • Okay, this is going to sound weird, but maybe you should try putting out the fire with your cloak.
    If light is evil, and darkness is good, then putting out the fire will bring darkness into this area, thereby swallowing you and the Padre.
    He's evil, that's a given, but maybe darkness in this case is the answer. You know, to help snuff out his light? Shoving him into the fire, or pushing him off the cliff might trigger teleportation to another, and then the next time you see him might be near end game-breaking dawn.
    Therefore, try putting out the fire with your cloak. If that does not work, try kicking the wood pile into the ocean to trigger darkness.
    Once the fire is out, and darkness swarms, maybe you can continue helping burned spirits like before, and eventually, leave the hotel as yourself.
    Mainly, try suffocating the fire with your cloak. And do it suddenly without talking; or ask him something to turn his back, and then snuff it. Either way, reiterating one more time, put out that fire and summon the darkness.
  • Darkness, once our greatest enemy, is now the enemy of our enemy, but is the enemy of our enemy our friend? Now is the time to find out. Put out that fire.
  • pretty sure we gave it away earlier but by any chance do you still have the cross pendant necklace on you
  • "Want to know how I got these scars?"
    Ok umm so . . . I don't like him tell him you'll find your own way to bring light and that you'll see his dawn set.
  • Hmmm this could work but...
    I'm definitely getting the vibe that murder is not going to end well in these scenarios. He seems to see embracing darkness (death) and bringing light/salvation (cleansing fire BURNING PEOPLE) as his two main goals. I think using darkness against him then would also backfire.
  • I know Weaver said that we should be less hesitant about taking action, but I think this situation merits a bit more consideration. His most recent response seems to imply that he is not a mortal being and even if he is mortal, he does not fear death, making threats of violence ans murder entirely moot. Additionally, he's giving us information. Let him keep talking, but the moment things get weird, or he comes closer to Nan, we need to take action. Our one bargaining chip is that he needs Nan's help. When things get weird, Nan should withhold her aid until he reveals his plan. Then we foil it (mwahahahaha)!
    Then again, I get the impression that all he needs from Nan is her life (or maybe her soul).
  • Also, if there's something shiny around, try to see your reflection. If we are traveling through people who lived in the past, it might give us a visual.
  • SATANSATANSATAN!
    Okay. There is only one thing to do.
    "The power of christ compels you!"
    Or something. I dunno.
  • I don't like this guy and can't tell if he's good or bad. Shove him off the cliff, lol....
  • Guys he's not Satan, everything points he is but it could also mean he was good and turned 'bad' .
    Changing my suggestion , apologize and tell him what should you do to help him. If anything fails, push him off the ledge lol
  • Guys
    Guys listen
    l-
    Listen guys
    IF he's Satan (and that's a big If, look at those capital letters) we should steal and wreck his shit big time.
    Like, if we kill satan do we get his powers? That's how it works right?
  • Apollo, Prometheus, or Satan?
  • Good question.
    Try making bird sounds.
  • ask him if he wants to make a bet for the souls of the hotel
    if you can save them he has to fuck off
    first to 5 souls wins
    If it IS the devil he won't be able to resist a bet. If he's mortal then, well...we'll go from there
  • Ask if he would like to play a game, jigsaw style.
  • I'm pretty sure this is Lorenzo. He's just starting to become "The Pilgrim". Compare what he just said to what The Pilgrim said, especially about dawn coming and salvation in death.
    But just in case...Break out your fiddle, Nan. Put the fear 'a Chucky D. in 'em!