S3 E11: When Life Catches Up

Michelle Kelly:

A sunny day in Nova cannot last for long, and as the sky begins to darken to an impending storm, our detectives arrive at a craft store called Neon Star to uncover the origin of the crystal-filled paint that ruined the gallery during the night of Gilded Birds. The assumed culprit? Gattersole. The surprise culprit? The proprietor, Ora Mills! A fight ensues as the Faceless bear down on the shop, but Mama Amoretta and Jo easily take care of the intruders.

Questioning them further about the Faceless, it becomes clear that there are cult-flight activities brewing. JJ chases Ora into a back alley, where she watches the sister she thought was long dead, April August, commit murder.

Kenzie Tartaglione (Game Master):

Directly after the fight at the Neon Star, you visit the clinic, hoping slightly that Antonio is not there. But against your luck, he is that evening. He treats your cut, insisting despite a nurse being fully capable of doing so. And then, while he can't necessarily keep you at the clinic, it's not a hospital after all, people check in and out against orders all the time, he does keep you for a couple days. You all know it's less about the injury than it is about you never giving yourself time to rest.

You do learn that they've created a separate room for individuals who have fallen into a comatose state affected by crystals and runes. They've already reached capacity. Families are starting to have to keep their family members at home with no medical care, though Antonio reveals that he doesn't think there is any medical cure for what is happening. Not a single individual status has changed since they've arrived.

And after your stay at the clinic, you settle with JJ the paperwork of the case, Roslyn not taking any time, full of gratitude and muttering a promise about next year's event, and paying you. The paint that you bought from Neon Star would be of great interest to Professor Marlowe, who has had some interesting theories along with Arthur about creating uses for crystals that have yet to be invented. So when you sent him these samples, do you ask anything specific of them or just for their findings.

Danielle

Halen:

Amoretta’s probably going to ask for their finding. Just flat out findings, like that's just good information to have. But also how this could be synthesized to affect one's memory, how this might be synthesized to affect one's facial features, if at all, and also how this could be used as a drug, and what would happen if you used this as a drug.

Kenzie (GM):

Upon sending this to him, just a little while later, you get a response that aren't yet findings, but it is a promise that you will hear the results of the testing that they do on it when they feel that they have a significantly appropriate scientific answer for you.

It is not lost on JJ or Jo, whenever they come back to the office in these few weeks after the Neon Star that the Neon Star debacle had reignited mama's passion in the search for her husband. The cork board that had been stored in the closet is back out in full view, full of papers and pictures and string to connect facts to facts or in Jo's mind, wants to wishes. But not a single new piece of information about the Faceless has appeared on the board. Because in Mama's search in the local library, Yarrow scouring of her history books, and Veliko's discussions with those in the underground, the Faceless had not existed before. They don't have a history. But with Veliko's information, you find out that more people have started to see these masks. There's agreement that they're seen mostly running through the dark, staying hidden. A few people have suggested that they think orders made are by this group, but they don't have certainty. Veliko is certain, despite lack of physical evidence and based off of learning from the night at Neon Star, that the uptick in demand for these new yellow crystals are coming from one place, the Faceless.

But days after days of researching, asking all the wrong questions before you reach the right ones, Mama finds one thing. One thing in a newspaper from about 84 years ago. Everywhere and anywhere. A quote from an unnamed rebel from an unnamed rebel group during protests about the opening of a Cogfell mine Cogfell is a familiar enough name by just being in the city of Nova and Cypher. Cogfell is a company in charge of drilling operations in the mines and the surrounding areas outside of Nova. They provide the city with much of the raw materials for construction, continued innovation, and to be cut down and implemented in the technology that the city is covered with.

The main concern here, apparently, was that this new mine would be too close to this city, it would impact infrastructure, and the working conditions in other mines were already hazardous and not being fixed, and a new one would just add to that.

But those two, those three words, everywhere and anywhere, nowhere else in any of your research.

Danielle:

I think with that, Amoretta's gonna tack up that newspaper article. And then also anything related to those mines. Because that is now the only place that she - it's a physical location. And that is huge to Amoretta. She has not gotten a physical location since this happened. And so she has somewhere she can actually go now.

Kenzie (GM):

And as this month of research, trying to find connections between everything you've learned so far, finally there is new information on that corkboard.

The door opens, Boomie runs to it, circling, doing little figure eights around Zion's legs as he tries to walk into the office and not trip over the cat. He's carrying some evening takeout from Comida del Corazon for you both. And he walks past looking at you, seeing that your head is kind of down in your work, drops off some takeout for his mother. And as he comes back out, he puts his forearms up on the countertop that is kind of the entryway reception desk and leans forward.

Kenzie (Zion):

Hey.

Atlas Mathews (June July August):

Oh my god.

Atlas:

And she'll start.

Atlas (JJ):

I -

Kenzie (Zion):

I walked in the whole office.

Atlas (JJ):

See, I knew you were in here. I didn't realize you had come back. Out here. And I... Well, because I started thinking. Because you walked in here and I started thinking and I was thinking about... And I...

Kenzie (GM):

He leans forward and kisses your cheek in the middle of your rant.

Atlas:

And I think she'll like smile and then take a deep breath.

Atlas (JJ):

I need you to listen for one minute and not interrupt me in the sweet way that you do because if I get flustered, it's what has to happen. I -

Atlas:

And she'll take a deep breath and almost like she'll stand up, almost pushing him back.

Atlas (JJ):

I am JJ August and I don't know how to be, but you love JJ August and I love Zion and I want to know how to be JJ August so that we can do that. And I don't want to run. And I don't want to lie, and I don't want to come up with any more stupid fake names because I get stressed out and scared and I'm running from the fucking enforcers for some reason because right now it seems like it's the only thing I can do. (Sighs) ‘Cause I’m not trying to run from you. I never was. But that's the problem when you don't know how to be who you are. You end up running from everybody anyway.

So thank you for the kiss.

Atlas:

And I think all of the, she stood up, stomped a foot and suddenly their eyes go back down and like plays with some of the papers on their desk.

Kenzie (GM):

Zion during this speech has pushed himself up off the countertop and as you finish he walks around to the couch, falls on it and he crosses his legs and he puts his arms on the back of it and just spreads out and Boomie jumps up and he brings a hand down and just slowly starts stroking the cat. Watches you for a few extra seconds after you’ve finished.

Kenzie (Zion):

Well… it's a good thing I'm fast then.

Atlas (JJ):

Oh my god, I said I love you.

Kenzie (GM):

You lift your head up with that realization of what you've said and you see this broad smile on Zion's face.

We’ll say that he gets a string on you.

Atlas:

Can I clear two feelings?

Kenzie (GM):

I think a love confession is worth two feelings.

You have a bit of downtime after you finish this paperwork with Mama and time to concentrate on some things in history that has come up with you in these last few months. JJ, you spent a lot of time with Jack, a lot of time, a lot closer to the Roses than most people get. You almost signed your ticket until you changed your mind at the last second.

So you have quote unquote friends there that you haven't seen in a while. You know the places they gather. Heck, you know a couple of safe houses around Cypher. All information that you most likely shouldn't know. All information that should have made them force you to join their ranks. And it was never clear why they didn't.

You could find people you wanted to at the Circus. You have before. You've met people. You've watched deals being made in the dark corner booths. It's possible. Are you willing to go there to see what you find or are you looking for something more specific? Like you want to go someplace you know a certain person will be.

Atlas:

I think I'm going to start at the circus and if not I'm gonna go try to find Jack.

Kenzie (GM):

You arrive at the Circus, a place you've been, but a place that out of the three of you, Jo frequents more often. And you see as you walk in past the bouncer that the place is not as busy as it can be. There are a few people sitting at the bar, there's one booth taken, but you hear cheers from the back room where they often have burlesque shows.

As you walk in, you do notice that Jo is here and she is in the back booth, but she looks a little more preoccupied than something you'd want to get in the middle of.

Atlas:

Is she being preoccupied by Jack?

Kenzie (GM):

No.

Atlas:

I’ll top at the bar and I'll like order one of Jo's drinks to like be delivered to the table and then I'll go back to the burlesque show.

Kenzie (GM):

You pull back the curtains that lead into the showroom and you see that there is a crowd, some sitting, some standing, and that there are decked out in these gorgeous costumes, performers on stage. This doesn't seem like a solo burlesque show. It seems more where there are multiple people performing in what seems to be a staged act. And none of the faces of any of these dancers look like anybody you have seen who usually works the Circus. As in, this is like an act that was brought in. There's another bar back here. It's smaller. There's only like four bar stools. But I think on one of those bar stools, you do not see Jack, but you do see a vaguely familiar face of somebody else that you suppose is a Rose that you think you remember from your time in that space. They have a drink in their hand, they're kind of turned around back to the bar leaning and watching the show.

Atlas:

How old do they seem?

Kenzie (GM):

Probably late 20s.

Atlas:

Can I tell along the lines of what they're drinking?

Kenzie (GM):

Can't tell exactly what the liquor is. It is brown liquor and it's on the rocks. It is almost empty.

Atlas:

I'll walk up to the bar. I'll be like,

Atlas (JJ):

I’ll have two of...

Atlas:

And then… (sniffs).

Kenzie (GM):

You get this smell of like sugary dark rum and as you do that the individual looks over at you almost like they're gonna like yell at you to put their drink down.

Kenzie (Velvet Rose):

JJ?

Atlas (JJ):

You never could forget a face.

Kenzie (GM):

This individual's name is Ray. They use they/he pronouns. They've got like a bushy frizzy hair in a shirt in like black vest without a jacket.

Atlas (JJ):

It's good to see you, Ray.

Kenzie (Ray):

Okay.

Atlas (JJ):

It's not good to see me. I'm shocked.

Kenzie (Ray):

It's not good or bad, I guess. I'm surprised to see you, I think.

Atlas (JJ):

Surprised? I come here all the time!

Kenzie (Ray):

Yeah, sorry it’s just -

Atlas (JJ):

I'm surprised to see you because I come here all the time and I don't see you.

Kenzie (Ray):

That would make sense. Came for the show.

Atlas (JJ):

Oh! Do you know someone who's performing?

Atlas:

And I think at that, JJ will like swing around and like take the posture that Rey had when she first came over.

Kenzie (GM):

He points to an individual who's like the third from the right.

Kenzie (Ray):

An old friend. Said I'd come in, support ‘em. So I'm here.

Atlas (JJ):

You're a good friend.

Kenzie (Ray):

I get out when I can.

Atlas (JJ):

Speaking of… going out, how's business?

Kenzie (GM):

There’s a curl of a lip and it sticks, but it's not friendly.

Kenzie (Ray):

JJ, you can't be asking those questions.

Atlas (JJ):

I don't know what you're talking about. I could be asking about your mother's sewing business. I haven't been up there recently.

Kenzie (Ray):

Were you? Were you asking about my mother's sewing business?

Atlas (JJ):

You want me to pretend that I was so that this conversation can continue?

Atlas:

And I think she's going to like reach into her pocket and like pull out a stack of money.

Kenzie (Ray):

JJ, you can't do this.

Kenzie (GM):

And they start to get up.

Atlas (JJ):

I will make this so worth your while. I have three questions. Tell me where to meet you. It doesn't have to be here. However, this is the only place we can go with rules against retaliation.

Kenzie (GM):

You watch him scan the room.

Kenzie (Ray):

I came here alone, make it quick.

Atlas (JJ):

Have the Roses been involved with anything involving porcelain masks?

Kenzie (Ray):

That shit's not us.

Atlas (JJ):

That shit? What do know about what's been happening with porcelain masks?

Kenzie (Ray):

We've seen them around, but they're like ghosts. If there were a new gang coming in, that'll be a problem, but they haven't been trying anything on our turf, so...

Atlas (JJ):

You're leaving 'em alone.

Kenzie (Ray):

For now.

Atlas (JJ):

Have you seen -

Atlas:

And then JJ will give a description of April, August.

Atlas (JJ):

- a person that looks like that anywhere in the city?

Kenzie (GM):

There’s a look of sympathy that crosses their futures for a minute.

Kenzie (Ray):

I'm really sorry, JJ, I haven't.

Atlas (JJ):

Thank you.

Atlas:

And JJ will put money on the bar under their glass, but it's not for the drinks that JJ ordered.

Atlas (JJ):

I have a question that's not business, but -

Kenzie (Ray):

I prefer that. Let me hear it.

Atlas (JJ):

You might not believe me. Where's Jack?

Kenzie (Ray):

She hasn't been around.

Atlas (JJ):

I know. It's like I'm a dog that had fleas. Once they're gone, you don't forget the itch. And I know that Jack's missing.

Kenzie (Ray):

That's the wildest way to describe Jack.

Atlas (JJ):

Jack is a flea. Very annoying and hard to get rid of.

Kenzie (Ray):

Damn, well don't let her catch you saying that.

Atlas (JJ):

I'd like to see what she would do if she did.

Kenzie (Ray):

Listen, I truly haven't seen her around so I can only advise you to try The Copper Keg.

Kenzie (GM):

And you know The Copper Keg. About twenty years ago, before your time with them, the Roses took over an old town haunt called The Copper Keg deep in The Bridge. It's widely known who owns it and so a lot of the clientele it used to have no longer frequent the place. The enforcers are paid a mighty fine sum to ignore its existence, and the fact that the back door is swinging wide at any time of day with a handful of people bringing in a handful of unknown things is not lost on those who live in these parts.

Kenzie (Ray):

If she's hanging out with the Roses, that's where she'd be, but I really haven't seen her around for a bit.

Atlas (JJ):

You said hanging around, is she not still with?

Kenzie (Ray):

I feel like - no, no, no. If people leave leave the Roses, if people are disappeared, we know about it. Jack’s just made herself scarce.

Atlas (JJ):

Fair enough. Ah, and I lied. I do have one last business question, but it's to put you in more business. Do you know where I could get something cut with crystals?

Atlas:

And JJ will like lean in as if like telling a sordid joke to ask this question.

Kenzie (Ray):

I didn't think that was your jam.

Atlas (JJ):

Times change, people do too.

Kenzie (Ray):

Are you looking for something cut with crystals or are you looking for what I think you're looking for?

Atlas (JJ):

As you can tell, have the ability to pay, so if you're about to put me onto something new...

Kenzie (Ray):

That's what I'm wondering if that's what you're looking for.

Atlas:

And JJ will smile as if she knows what this person is talking about.

Kenzie (GM):

Do roll me the mask.

Atlas:

That is a five and a three and a one.

Kenzie (GM):

So that’s a nine.

Atlas:

Let's go with the lie you have chosen is unexpectedly perfect creating a new opportunity.

Kenzie (Ray):

If you go to The Copper Keg, Ivan can hook you up. And let me know about it. Otherwise, I'll get you something. But, JJ, this stuff is... Be fucking careful.

Atlas:

And JJ will like, lean back, try to finish the drink and is trying so hard to look cool.

Kenzie (GM):

Just straight rum, scalding your throats, heat rushing through your veins with this taste of the liquor.

Atlas:

She bites her tongue.

Atlas (JJ):

You know how to order it. But you know me.

Atlas:

And almost as if caught off guard by the alcohol.

Atlas (JJ):

I never fuck around carefully. That's no, that's not. Thanks, Ray.

Atlas:

And puts another like puts a bill down to pay for their drinks. Puts another bill down with the ones that Ray had taken.

Kenzie (GM):

You go out to the front of the bar outside of the burlesque show part of it, and there's like a big bowl of peanuts and you can get a glass of water. And you can also avoid looking at the just absolutely horrific makeout session happening in the back of the bar.

Atlas:

And then I'm make my way.

Kenzie (GM):

You again, you know the Copperkeg. It was the bar that you most frequented with Jack while she was trying to become a Velvet Rose. So you know where it is. You can make your way through the neighborhoods till you get deep under the shadows of the bridge. And you find it, it's like a very nice bar front. Glass windows that are like fogged up from the heat inside versus the cool air outside. You see lettering across the windows that reads The Copper Keg in this beautiful cursive writing. You push open the door, the inside is all brown and brass, still as cozy as it once was, though twenty more years of wear and tear. Some of the booths are ripped, the tarnish off some of the brass. But the music is loud to drown out conversation, and the liquor flows freely from a bartender who is dressed up like she should be working at a cocktail bar Nova. But keeping up appearances has always been important to the Roses.

When you walk in, you're just accosted with dozen different conversations happening in this space. What catches your eyes are two people at the bar. It's like you're just running in to your old crew. Sybil and Jessa sit at the bar who seem to be a little bit more in their cups than Ray was this evening, talking a lot louder than necessary. And you see the bartender just slide two more drinks across the bar to him. A quick scan of the front, you don't see Jack.

Atlas:

I think JJ will start by just going to the bar and trying to hear. I'm going to try to just overhear at first.

Kenzie (GM):

Unfortunately, it is nothing of any consequence. They are slurring their words at this point and almost like two girls in a bathroom at a club, just like amping each other up, wingman-ing each other when there's nobody around that they're actually trying to get with.

Atlas (JJ):

Oh my god, no way. Sybil? Do not tell me that's Jessa. Oh my god!

April (Sybil):

(squeals)

Kenzie (GM):

So Sybil squeals and Jessa turns in the chair and goes,

Kenzie (Jessa):

You’re fucking right, it's me.

Atlas (JJ):

Oh my god, they haven't sent you up the river yet, are you kidding me? How are you both?

Kenzie (Jessa):

Wonderful and how are you? It's been so long!

Atlas (JJ):

Better now that I'm here? I haven't come here in forever because you know-

Kenzie (Jessa):

Wait, wait, wait.

Kenzie (GM):

And like grabs onto your shoulders and starts like looking on your shoulders and your neck where a lot of the roses get their tattoos.

Kenzie (Jessa):

Ugh, it’s fine we just thought maybe you would change your minds. Join our fun little group.

Atlas (JJ):

Actually, that's kind of why I'm here. Not to join yet but -

Kenzie (Sybil):

Don’t get our hopes up, JJ!

Atlas (JJ):

I'm sorry, I'm sorry, but a certain someone hasn't been around in a while and I'm seeing if maybe the coast is clear.

Kenzie (Sybil):

A certain someone is mopey.

Atlas (JJ):

No! About who? I mean, I could say what, but let's be honest, when it comes to Jack, it's-

Kenzie (Jessa):

Jack has been gloom and doom all the time. Forever. It's nothing new.

Atlas (JJ):

That's true, but doom and gloom in the way that Jack normally is so that means that she's coming back or -

Kenzie (Velvet Rose):

Hey JJ.

Kenzie (GM):

And you turn around and there is this like perfect hourglass figure, like six five, built man who has like - their skin is like cheetah printed up the arms. And you don't know if it's tattoos or their actual skin. And he just crosses his arms over his chest.

Atlas (JJ):

Oh, I thought I heard my name. That's so weird. I was just having a conversation with somebody.

Atlas:

But she'll spin the

Kenzie (GM):

And you see the wild visage of Ivan.

Atlas (JJ):

I was actually just talking about you with an old friend. I was gonna come find you. I'm very excited to catch up. What were you gonna say? Cause you have a face like you were gonna say something? And before I say my next thing, I wanna make sure that you get to say what you need to say.

Kenzie (Ivan):

I'm surprised you're showing your face here.

Atlas (JJ):

There are plenty of beautiful people in this bar. I think that's really unfair.

Kenzie (GM):

Looks around you and looks at the girls.

Kenzie (Ivan):

You just let her in to hang out?

Kenzie (Sybil):

Ivan please, it's not that big of a deal.

Kenzie (Ivan):

I guess you never have been careful. What do you need from me?

Atlas (JJ):

From you, need something different than what I need from them.

Kenzie (Ivan):

Well, we're all together this evening, so what do need from them?

Atlas (JJ):

Alright, I guess I can spill a little. We're talking about a certain someone that is the reason I stopped coming around altogether anyway. And if they're gone...

Kenzie (Ivan):

Yeah, you spend more than five minutes in this bar and she'll be dragging you out by your lobe so, you know, just give it a sec

Atlas (JJ):

That's the thing. I'm here. No one's bitten yet.

Kenzie (Ivan):

Patience.

Atlas (JJ):

I was never good at that.

Atlas:

And she'll lean in.

Atlas (JJ):

But if you would listen before you interrupt a conversation you'd know that if a certain someone is going to be all doom and gloom and stop showing her face then mayhaps I would reconsider my allegiances to certain places but if you're so certain she's about to turn up, guess that conversation might be down the drain. However our other conversation is less about me being an associate and more of me being a customer. So wherever you need me to be to make that transaction happen, I'm happy to go.

Kenzie (GM):

Looks around.

Kenzie (Ivan):

Right here's fine.

Atlas (JJ):

Very well. I was speaking with Ray and I was told you are the person to ask. I'm looking for not your run of the mill good time. And I'm talking crystal type.

Kenzie (Ivan):

Ray's gotta fuckin' shut their mouth. Yeah. Since when are you into that?

Atlas (JJ):

Well, I'm into other things and I was talking to about those other things, but Ray seemed to think, well, I was warned that it wasn't for everybody, but I'm not just everybody.

Kenzie (Ivan):

Listen, if you want to bring this on yourself, I can't stop you.

Atlas (JJ):

Ooh, Ray was light on the details. What am I bringing on myself?

Kenzie (Ivan):

It's not good. No one here fucking takes it. They won't touch it. I can get it for you.

Atlas:

JJ will give a shit eating grin trying to get Ivan to say more.

Kenzie (Ivan):

I haven't taken it. No one here will fucking touch it because it'll screw up your fucking life. That's what'll happen. But if you still want it, it's gonna be 500 otezas.

Atlas (JJ):

Done.

Atlas:

What has happened off screen is that JJ has sold her apartment for this endeavor.

Kenzie (Ivan):

Put it on the counter.

Atlas (JJ):

I like to do my transactions in one piece. I'm also looking for some information.

Kenzie (Ivan):

Put it on the counter.

Atlas:

I think she'll pull out the stack of money and count out 750 otezas and put it on the counter and then pocket it and she does not have a lot left.

Kenzie (GM):

You watch Ivan look over at the bartender and they nod at each other and she just stares at the money on the counter and Ivan pulls open the side of his jacket and reaches in and pulls out a like blue drawstring pouch.

Kenzie (Ivan):

Here. That is only 500 otezas worth, so you decide right now to take that extra money off the fucking counter.

Atlas (JJ):

I need to know what you know about April August.

Kenzie (Ivan):

Who?

Atlas:

JJ will take the extra money off the counter, tuck the bag into her pocket.

Atlas (JJ):

I know you don't like me. If you want to know why I'm here for this, if you hear anything about April August I need to know.

Kenzie (Ivan):

I don't care why you want it, just don't come back crying about it when it fucks you up.

Kenzie (GM):

And he walks past you to take a seat on the opposite side of Sybil. And as you kind of go to take the money and put it away, an arm rips you to the side and drags you through the bar, around it, and down a back hallway. And you are pressed into a wall as a familiar smell overwhelms you. And there's Jack. An arm against the wall above your head.

Kenzie (Jack):

JJ, what the hell are you doing here?

Atlas (JJ):

It didn't used to be this hard to get your attention.

Kenzie (Jack):

This was a fucking ploy for my attention? JJ, you turn them down. You can't just show up on their turf and start asking questions.

Atlas (JJ):

I wasn't asking questions, I was actually a paying customer of this establishment

Kenzie (Jack):

Buying fucking drugs?

Atlas (JJ):

No.

Kenzie (Jack):

Lie to my face.

Atlas (JJ):

Well, if we're both going to be doing it, why not?

Kenzie (Jack):

What the fuck am I lying about?

Atlas (JJ):

I don’t know, but it sounded good in my head. Where have you been? It's not any of my business and I don't actually care, but you left and the last thing I heard was someone fucking you up. And not in the way that sometimes I have to overhear when we were both staying at that fucking office and… not the time.

Kenzie (Jack):

JJ, no one fucked me up. It is not safe for you to be here. You were safe. I made sure that they didn’t -

Kenzie (GM):

She looks down at the floor.

Kenzie (Jack):

You didn't want this.

Atlas (JJ):

I didn't want to be part of the Roses.

Kenzie (Jack):

Exactly. You wanted fucking out.

Atlas:

I think when Jack says exactly, JJ shoulders kind of fall.

Atlas (JJ):

I wanted out of the roses. So I'm sorry that when it sounded like you got hurt, and then suddenly I didn't see you around, I got nervous. Because I wanted out of the Roses and I wanted it for the same reasons I got - fuck you, I got scared.

Kenzie (Jack):

Coming back was a mistake.

Atlas (JJ):

Coming back now was a mistake. Thank you for making sure they didn't do anything to me. I'm glad that you're alive.

Kenzie (Jack):

God fucking open your eyes JJ

Atlas (JJ):

Blink blink.

Kenzie (Jack):

I didn't follow you when you left. They weren't gonna let you go, okay?

Atlas (JJ):

I had made peace with that. I knew what I was doing by leaving and-

Kenzie (Jack):

Oh my fucking god. It was me. I couldn't fucking follow you, okay?

Kenzie (GM):

She pushes away from the wall.

Kenzie (Jack):

I was their assurance that you keep your mouth shut. I would join. I would do whatever they asked of me. And if you didn't keep your mouth shut, it was on me. So you turn him back up here, just put a target on both of our backs, which is why I fucking left the second time.

Atlas (JJ):

Jack, I can't say I'm sorry ‘cause that doesn’t…

Kenzie (Jack):

I wanted to be a rose, but I didn't want to be the one that would have to fucking shoot you in the back.

Atlas (JJ):

You wanted to be a Rose, but not the way I made you be.

Kenzie (Jack):

You can't come here because the next time you come back here, they're gonna make me do it.

Atlas (JJ):

Understood.

Kenzie (Jack):

And I won't.

Atlas:

And I think JJ, whose eyes had been on the floor this entire conversation, looks up.

Atlas (JJ):

Sorry doesn't mean shit, and you and I both know it. But the JJ that you made that sacrifice for, wasn't worth it. The JJ today, I'm gonna be. You won't see me again if you don't want to.

Kenzie (GM):

There is conflicting behind her eyes. She opens her mouth to say something and she stops.

Kenzie (Jack):

Good.

Atlas:

JJ will nod.

Atlas (JJ):

Do you want me to tell Jo that you're okay?

Kenzie (Jack):

No, probably already knows I'm fine. We kinda had a - she knew I was leaving.

Atlas (JJ):

I'm sorry about that. As much as I'm a complainer, I liked knowing you were okay.

Kenzie (Jack):

I know that it all felt like fun and games at first, but you know, it's my life now, so I don't really got any choice.

Atlas (JJ):

I knew there wasn't gonna be a winner in the fun and the games, which is why I left, but I do hope you know I didn't. I'm not here right now for... Fuck, you're the only person that would get it anyway. I found my sister, and then she ran away again, and it was like two days ago.

Kenzie (GM):

Jack straightens.

Atlas (JJ):

I wouldn't have come here.

Atlas:

And I think JJ, possibly for the first time, is like near tears.

Atlas (JJ):

I understand you're upset at me coming here and god, that confession, I have been a real asshole to you, but I never would have set foot near this place if it hadn't been important.

Kenzie (Jack):

I don't know whether to say sorry that your sister's not dead or sorry that she ran away again.

Atlas (JJ):

I feel very similarly (laughs)

Atlas:

Wipe at tears that are half fallen.

Kenzie (Jack):

But if she even tries to come this way, I won't let her.

Atlas (JJ):

Maybe send a note, if you can. Leave it at Izzy's if you can't get near the office again. They tell me everything anyway.

Kenzie (Jack):

Okay, I'll figure something out if I need to.

Atlas (JJ):

You're a better person than I gave you credit for, Jack.

Kenzie (Jack):

Hey, well, don't get mushy on me now.

Kenzie (GM):

As you kind of walk past her, you feel her reach out and grab the last little bit of your fingertips as you walk away, but she doesn't turn around to look at you.

Atlas:

I’ll look down at her hand, but not all the way.

Kenzie (GM):

And she lets it fall.

Atlas:

I’m gonna exit the bar, hopefully without speaking another word.

Kenzie (GM):

As you exit the bar and begin to walk your way down cobblestone streets, you begin to feel a sprinkle happening. Nothing crazy, just a few dots of wetness across your cheeks shining in the rare street lamp that works along these old roads. You know your way back. Easy enough. But you're not far from the Copper Keg when it's faint, but you do hear it. Footsteps. They're not too slow, they're not too fast, but they're coming from the way you just came from.

Atlas:

Is there a place for me to duck into like an alley or a-?

Kenzie (GM):

Yeah, there are some like alleys between buildings that you could quickly duck in and go down.

Atlas:

Yeah, I think I'm gonna try to find an alley with like a large dumpster or something that I can kinda go down the alley and then like behind it.

Kenzie (GM):

As you dart down, go behind a dumpster, try to peer around, you see silhouetted in this backlight, this figure in a long jacket and a bowler hat. But you can't see their face because they're silhouetted from behind, just like a dark shadow. They stop and they're looking.

Atlas:

I'll hold my breath.

Kenzie (GM):

And then after a couple seconds they begin walking down it.

Atlas:

JJ is going to take the drugs that they just bought and tuck it into their bra.And then take off a shoe and hold it up and step out from behind the dumpster.

Kenzie (GM):

As soon as you come into their line of sight. They throw up their hands in surrender.

Atlas (JJ):

Ah! What are you? Who are you? I'm armed!

Kenzie (Unknown Voice):

Ah, yeah, um…

Kenzie (GM):

And you see as the individual steps closer to you, smooth green skin, whatever hair, if any, covered by this magenta bowler hat, and the movement of her arms into surrender, pull back the black trench coat, and you can see the hilt of a sword on her hip, but she's not touching it.

Kenzie (Serena Gunn):

Serena Gunn, P.I. I mean, you know harm.

Atlas (JJ):

You're a P.I. named Gunn?

Kenzie (Serena):

You know, sometimes there's just some unfortunate coincidences.

Atlas (JJ):

That's really cool. That's a good one. I gotta talk to, ‘cause so mom actually, no, wait!

Kenzie (Serena):

I'm not trying to hurt you. I was hired to find you. I was following you, hoping to see where you stay. That's all. That was the job. I'm not trying to get either of us into any trouble.

Atlas (JJ):

Telling people I don't know where I stay seems like trouble for me.

Kenzie (Serena):

I wasn't gonna ask, I was just gonna follow and find out. But I've deduced that you aren't staying anywhere as of now.

Atlas (JJ):

It's a good thing you're a P.I., Serena Gunn. Who hired you to follow me?

Kenzie (GM):

She takes a moment to consider. You know, being a private detective, you don't give out the information on your clients. Just not a thing that's done and you can see her making a decision on whether to break that client trust.

Atlas:

Can she tell I'm holding a shoe?

Kenzie (GM):

You are holding some bludgeoning weapon in your hand in the dark. She puts her hands down, but like far away from her sides, she's not going for a weapon.

Kenzie (Serena):

I, um... I have a sister too, I get it. The ups and downs. Seemingly irreconcilable differences. Your sister, May, has just been worried about you.

Atlas:

At the mention of a sister, JJ like almost pulls the shoe back farther. And then at the mention of May, despite the fact that she just pulled the shoe back farther, their shoulders fall in disappointment.

Kenzie (Serena):

She wants to talk. She wanted to know where you live so she could send you a message, that’s it.

Atlas (JJ):

Oh, um…

Atlas:

And JJ will lean against the wall, not the one behind the dumpster, the other side, and put her shoe back on. So it is now obvious to Serena.

Kenzie (Serena):

You okay?

Atlas (JJ):

Oh, yeah, I'm just putting my shoe back on. Here.

Atlas:

And then JJ will take out like a notepad and write down the office phone number.

Atlas (JJ):

You don't have to tell her that you talked to me, but you can give her this. She can... I'm the one that answers the phones, so.

Kenzie (Serena):

This is all I need. Apparently she tried before reaching out to a friend of yours, but he wasn't helpful.

Atlas (JJ):

He rarely is.

Kenzie (Serena):

I'm sorry to have scared you. I was just getting a little desperate to find answers before the downpour. That's on me.

Atlas (JJ):

Completely under - honestly understandable. Been in your situation before, I get it. I'm sure you understand dark street, late at night.

Kenzie (Serena):

No, I understand. All good. All good. Give her a call or I'll make sure she calls you. Just pick up that phone. She was... Well, she'll tell you.

Atlas (JJ):

Serena Gunn, where's your office?

Kenzie (Serena):

It's near the bridge on the Nova side.

Atlas (JJ):

Good to know. If you ever need a case solved and you happen to not want to solve it.

Atlas:

And JJ will reach into her other pocket and pull out a business card, it's hand like made.

Kenzie (GM):

She takes it from you and she looks at it and she goes,

Kenzie (Serena):

Oh, would have been great information to have known that you were a detective. Would have made this a whole lot easier. I could have just called your office.

Atlas:

It has the same phone number as the piece of paper that JJ wrote on.

Kenzie (Serena):

Well, I guess the lesson here is to ask your client more questions before you just go launching yourself onto the streets. Thank you.

Atlas (JJ):

I love to help anytime.

Kenzie (GM):

She dips the little brim of the bowler hat and says,

Kenzie (Serena):

Have a good night.

Atlas (JJ):

You too, get home before the rain.

Kenzie (Serena):

You as well.

Kenzie (GM):

And she slides out of the alleyway back down the street and JJ just kind of stands there next to a dumpster after a night of having some wildly whiplash conversations.

Atlas:

I think as JJ stands in that alley, it, as most alleys do, looks very similar to the last place that she now has really seen April. And now May has been brought up again and just kind of has... did you ever have a moment where you suddenly just like look around and you just realize exactly where you are, exactly what the smell is? You can hear what's going on and you're just like guess I gotta keep going after this. So she'll look up, put a hand out to feel the rain, lazily kick the dumpster, and then head back to the office.

Kenzie (GM):

Keys fidget in your apartment door.

Kenzie (One Night Stand):

Shit.

Kenzie (GM):

Claudia, Chloe, Claire. It was definitely a C, but that's about as far as you get. Eventually the key slips into the lock and you twist the door open, foot immediately crunching on something. It's dark. It's hard to see, but there's something on the floor in front of the door as if it had been slipped right underneath.

April Consalo (Joanna Gilmore):

Shit, sorry, I...

April:

And Jo just kicks it out of the way.

Kenzie (One Night Stand):

You're fine.

Kenzie (GM):

And the girl slips through the door and shuts it behind her.

April (Jo):

Right, it's a little bit of a mess. I hope you don't mind.

Kenzie (One Night Stand):

I didn't get the impression that I was going to be spending too much time here.

April (Jo):

You know, you're right. The bedroom is much cleaner.

Kenzie (One Night Stand):

Well…

Kenzie (GM):

And she puts her hand out.

Kenzie (One Night Stand):

Take me there.

April:

Jo takes her hand and kind of like gives it a tug so that she kind of like falls into Jo's chest and then scoops her up, throws her over her shoulder and takes her into the bedroom.

Kenzie (GM):

What time do you wake up the next morning?

April:

Jo is staring up at the ceiling after the events of the night, Claire, Chloe, whomever, resting on her shoulder. And she very carefully extricates herself and gently lays the woman's head on her pillow, stares at her for a beat, and then gets up as quietly as she can and goes into the kind of common open area of her apartment, shutting the door quietly behind her. She does make some semblance of cleaning up. She's been spending a lot of late nights tinkering, drawing, writing letters, never sending them. As she picks up some papers off the floor to throw them away, she notices the object that she'd kicked out of the way earlier.

Kenzie (GM):

The light in this area is a little bit more dim than it usually is. One of the light bulbs has burnt out. But you pick up an envelope of no particular value. There's no address, nothing of that sort. The only thing written across the front in a delicate cursive script is a name. Your name. Joanna.

April:

The funny thing about Jo is that she always introduces herself as Joanna, but nobody ever calls her it. So when she sees Joanna written across the envelope, her stomach flips. She sits in one of her chairs, slaps the envelope down, pulls a bottle from where it's already resting on the table, and takes a few good sips before she rips open the envelope.

Kenzie (GM):

You were preparing yourself for maybe something with more length than the short few sentences written on this piece of paper inside. But it says,

Kenzie (Greta Gilmore):

My darling, your lack of correspondence has pained me greatly. I've missed you, truly. And so, it seems only right to inform you that I've come to Nova. For the next month, I'll be residing at the Rosewater, suite 8C. You are more than welcome anytime. Your loving mother.

April:

Jo very carefully places the letter down on the table. She's already flipped it over, made sure that there's no postscript. And just stares at the handwriting. Her mother was always writing. Scripts, poems, to-do lists, endless letters and postcards. It's so familiar, it's almost as if she can feel her mother in the room with her. She carefully picks it up again. Folds it. Puts it inside of a pocket and then goes back into the bedroom.

As the woman stirs, she says,

April (Jo):

Sorry. Are you awake?

Kenzie (One Night Stand):

(Sniffles) Oh I’m sorry, I didn't mean to fall asleep. You should’ve woken me.

April (Jo):

No. It's- it's fine, I- I- I just, I have somewhere to go in the morning.

Kenzie (One Night Stand):

Of course, um…

Kenzie (GM):

She pushes herself up, kind of rolls over off one side and begins to put her underthings back on.

April:

Jo watches her and this sort of gnawing feeling creeps up from her stomach. And she pushes it down as she approaches her and gently tilts her chin up to face Jo.

Kenzie (GM):

An eyebrow raises.

April (Jo):

I mean, I don't have to leave until morning and it is still quite dark out, so perhaps you'd like to stay a little longer?

Kenzie (One Night Stand):

Well, perhaps you'd like to unclip my bra again now?

April (Jo):

Happily.

April:

And they roll back into bed.

Kenzie (GM):

You wake up the next morning, this woman whose name you still do not know does not need much pushing to leave your apartment.

And the day breaks gray. But at least there's no rain. Clouds cover the sky, slight chill to the air. As you make your way to the Rosewater, takes you bit of time, but not too long on your bike, going through the streets of Cypher up onto the Bridge into Nova.

And as you pull up to the entrance and you step off, taking your helmet off and holding it under your arm, the rose water just from the outside reminds you of the places your mother took you when you were young. Extravagant, expensive, somewhat egregious to the eye. As you walk in the double glass gold gilded doors, you're immediately welcomed by a man in tails who also has a tail.

Kenzie (Doorman):

It is lovely to welcome you to the Rosewater, Joanna Gilmore. Your mother is awaiting your presence. Follow me.

April:

Jo examines the room, the tall ceilings, the way that there's no echo. Something that Jo noticed when she was young was the way that these rooms would be so grand and yet surround you with this almost oppressive absorption of sound. You could speak and not be heard if you didn't speak up. She notices her boots leave mud tracks in the plush carpets. And there's a small child inside of her that's humiliated by it.

Kenzie (GM):

You follow, and he leads you to a lift, steps inside with you, and rides to the eighth floor. Steps off with you, directs you to Suite C, and knocks with a white gloved hand. The doors opened. Cleora, a woman now in her early 40s who has been your mother's assistant since you were a child. The man gives a small bow and retreats back to the lift.

Kenzie (Cleora):

Well, you might as well come in.

April (Jo):

Lovely to see you too.

Kenzie (GM):

You enter into a gorgeous living room. It's the size of your apartment. There is a grand piano in the corner and a fireplace on the wall. Floor to ceiling windows open the apartment up to the larger city glittering and the morning dew and twinkling with neon signs.

Kenzie (Cleora):

Your mother is waiting in her private sitting room right this way.

Kenzie (GM):

She takes you down a hallway. You're surprised there's not a staircase. You pass an in full working order kitchen, though it's spotless and doesn't seem to have been used. You pass a bathroom with a tub the size of which could fit three people. You pass a half closed door through which you can see a room in a state of clutter, bits and bobs trinkets the edge of a workbench with a couple tools almost falling off. And at the end of the hall, Cleora pushes open another set of double doors. These ones wooden, the inlaid glass covered by white curtains, and into a smaller sitting room. Couches, plush curtains, a table, a completely stocked bar cart, windows, once again letting in dreary, foggy light, and a tall, thin woman standing looking out a window, dressed in what you can tell is a luxurious robe.

April (Jo):

Morning.

Kenzie (Greta):

Ah! Joanna.

Kenzie (GM):

And she turns.

Kenzie (Greta):

You can leave us, Cleora.

Kenzie (Cleora):

Very well.

Kenzie (GM):

And the doors are slowly shut behind you. She reaches her hands out.

Kenzie (Greta):

My darling, come here, come here.

Kenzie (GM):

She holds them out.

April (Jo):

I don't really do physical affection this early in the morning.

Kenzie (Greta):

(scoffs) Not even when it's been so long.

April (Jo):

It's not really my fault, is that.

Kenzie (GM):

She… frowns at you.

Kenzie (Greta):

Well, maybe join me in a glass of Amoretto. I find it soothing this time of day.

April (Jo):

Perfect. Yes, thank you, I will.

Kenzie (GM):

And she goes over to the bar cart and takes out these beautifully crystal glasses, fills them with a reddish brown liquid and hands one over to you and holds it out as if to do a little cheers.

April:

Jo obliges.

Kenzie (Greta):

To finally being reunited.

April (Jo):

It is good to see you, Mother.

Kenzie (Greta):

Well, you do look…

Kenzie (GM):

She looks you up and down.

Kenzie (Greta):

Older than the last time I saw you?

April (Jo):

You don’t.

Kenzie (Greta):

Well, I do have to keep up my appearances.

April (Jo):

That's true. No one is really paying attention to my face except for myself, exactly as I like it.

Kenzie (Greta):

Well, sit, sit.

Kenzie (GM):

She just gestures to one of the many small cushion seats.

April:

Jo sits on the floor on the plush carpet and leans back against like a little ottoman, puts her elbow up with the glass on the back of the ottoman.

April (Jo):

So why exactly did you cross the ocean to get here?

Kenzie (GM):

She just elegantly sits herself in a chair not leaning back, perfect posture holding her glass with her elbow resting against the armrest.

Kenzie (Greta):

It is my first time in Nova. There's quite a bit to do. But mainly, the event of the year I would say, is the premiere of Silent Vice.

Kenzie (GM):

And she looks at you as if you should know what she's talking about.

April (Jo):

And that is...

Kenzie (Greta):

Come on, Joanna. You can't still be as unobserving. Posters of my name and face have been plastered across the city for weeks if not months and you're pretending not to know?

April (Jo):

Mother, I’m not sure if any of my letters were actually read or if you just sort of display them but I don't live here. I don't live in Nova. I wouldn't have seen.

April:

Jo has seen them though. On one of her outings for one of the cases she noticed, of course, her mother's name in the particular font that she puts in all of her contracts. Greta Gilmore.

Kenzie (Greta):

Oh, well, I shouldn't be surprised. If it doesn't involve Joanna. Joanna doesn't care.

April (Jo):

Right-o.

Kenzie (Greta):

Joanna, I don't think you should blame me for the fact that we haven't seen each other in so long.

April (Jo):

And why shouldn't I?

Kenzie (Greta):

I'm not the one who decided to move a continent away.

April (Jo):

Well don't you have boats and various other things at your disposal.

Kenzie (Greta):

Yes, because it's not expensive at all to boat across the ocean.

April (Jo):

Expensive has never stopped you from doing anything. Except seeing me.

Kenzie (Greta):

Darling, I'm very busy. My time is stretched between so many different things. I'm here now, aren't I?

April (Jo):

That you are. Just for the premiere?

Kenzie (Greta):

Of course not. I sent a message to you. I didn't have to be here for the premiere.

April:

And Jo downs her whole glass and kind of tosses it onto the carpet. It's so plush that it doesn't break at all. just like absorbs again, the sound of the fall. It's almost like it didn't happen.

Kenzie (GM):

It’s a tiny little trickle of liquid seeps out of the cup onto it.

April (Jo):

Well, aren't I so lucky that you did?

Kenzie (Greta):

I was going to extend an invitation to you but I'm not sure if you seem to care.

April (Jo):

To the premiere?

Kenzie (Greta):

Indeed.

April (Jo):

And when is it?

Kenzie (Greta):

It’s next week, the end.

April (Jo):

Well, I might be busy. Work has been absorbing recently.

April:

Work has not ben absorbing recently. As they are between cases. Jo has mostly been going to the circus, taking women home, rinsed and repeating for the past few weeks.

April (Jo):

But I shall see if I can squeeze it in.

Kenzie (Greta):

Darling, I need an answer, need to secure a ticket.

April:

Jo rolls her eyes and considers.

April (Jo):

Do I get to bring a date?

Kenzie (GM):

A look of... disgust is too intense of a word, but a look of slight disdain with the tension in her jaw.

Kenzie (Greta):

It would not be enough to just spend it with me?

April (Jo):

Will you not have a date? Some arm candy ten years your junior.

Kenzie (Greta):

No, I shall not. I did not come here with someone like that.

April (Jo):

You’re really here alone?

Kenzie (Greta):

Not here alone, but I'm not here with a beau.

April:

For the first time, Jo kind of like really makes eye contact with her mother. Her mother has always had very intense eye contact in the way that lots of actors do. They're very particular and unafraid of holding your gaze for long, uncomfortable stretches of time. Greta's eyes were often called violet by the papers, so blue they were. And Jo can't help but feel a childish impulse of… will I ever be as beautiful as her?

April (Jo):

Well, I suppose I (clears throat) I suppose it would be improper for you to go alone.

Kenzie (Greta):

Wonderful!

Kenzie (GM):

And she stands up and she goes over to the door and she opens it and she raises her voice down the hallway.

Kenzie (Greta):

Cleora make sure we get Joanna a ticket for next Friday!

April (Jo):

Is there a dress code that I must follow?

Kenzie (Greta):

Black tie, dear, but I can fix something up for you.

April (Jo):

No skirts, please.

Kenzie (Greta):

I know you well enough.

April (Jo):

I suppose you do.

Kenzie (Greta):

Jo -

Kenzie (GM):

And the door shuts.

Kenzie (Greta):

Your wardrobe has never disappointed me.

April:

She looks down at like these black satiny trousers, her favorite boots, covered in mud, yes, but also in silver filigree buckles, all of this sort of studs, and a lovely silk shirt in a rich blue. All of her rings and jewels. She even tried to do her hair. It was just ducking her head under the sink and then running her fingers through it and trying to make it dry correctly. But she attempted and she does feel a small rush of pride when her mom says that.

April (Jo):

Well, thank you. One of the things I got from you, I suppose.

Kenzie (GM):

She walks across the room bare feet over the window looking out.

Kenzie (Greta):

Hmm. Haven't been here long enough to make a decision about it yet, but from up here it doesn't seem so bad.

April (Jo):

It is.

Kenzie (Greta):

Bad?

April (Jo):

Quite.

Kenzie (Greta):

Then why do you live here? Not here, whatever.

April (Jo):

Because I can be useful. I can make it slightly less so.

Kenzie (Greta):

Joanna, you could have been useful at home. There's so many things for you to do.

April (Jo):

I was never useful there.

Kenzie (Greta):

That girl was not your fault, whatever you think.

April:

Jo swallows hard.

April (Jo):

We don't know that, actually.

Kenzie (Greta):

Well… darling, nothing else has been proven. Can't think yourself guilty for not proving so. So you're not. Quite frankly, running away makes you look more of it than staying would have.

April (Jo):

I'm not afraid of looking guilty, I'm afraid of being guilty. But... You never really understood anything of what I was feeling at that time, so I won't bother explaining the differences to you.

Kenzie (Greta):

You always thought so. It was assumed. You closed yourself off. You wouldn't tell me anything. So how was I supposed to know?

April (Jo):

When would I have told you?

Kenzie (Greta):

Well Joanna, when you mope around like you do, I don't know.

April (Jo):

What I have told you after rehearsals or before your dates or while you're getting ready for events or while you're writing or planning or directing, should I have come into any of your meetings? No? I've always been all right on my own. I'm doing all right here. I have a purpose. I'm helping people. My being here is justified. It was never that way there. At home.

Kenzie (Greta):

Happy that you're making something of yourself here then.

April:

Jo has always found the reactions that her mother pulls out of her irritating. Because just as her mother can misunderstand her into deep frustration, bordering on rage, so can one question pull a sadness out of her that is deeply unexpected. And so she lies.

April (Jo):

Yes. Very happy here. You know where I live, well I suppose -

Kenzie (Greta):

I pay for it dear. I could get you something much better.

April (Jo):

I thought Cleora dealt with that.

Kenzie (Greta):

Well, Cleora does respond to me so...

April (Jo):

Well if you don't want to, I could figure something else out.

Kenzie (Greta):

I’ll pay for your living situation, Joanna, that's not what I mean. I'm simply offering to get you something better if you'd so like.

April (Jo):

I don't want anything better, I like where I am.

Kenzie (Greta):

Well, have it your way then.

April (Jo):

Is that all? Did you just want to extend your invitation?

Kenzie (Greta):

Of course, I wanted to invite you to the premiere. I wanted spend an evening with my daughter.

April (Jo):

Well, you've done so, so perhaps I could get on with my day?

Kenzie (Greta):

Oh, of course dear.

April (Jo):

Right.

Kenzie (Greta):

Do what you must.

April (Jo):

Thank you for the...

April:

She picks up her glass and writes it.

Kenzie (Greta):

Just leave it there, we'll get it later.

April (Jo):

I... Sorry, I just, I have other engagements, so...

Kenzie (Greta):

You've been making a life here. I would think nothing less. I will send your wardrobe for next week to your apartment.

April (Jo):

Perfect.

Kenzie (Greta):

And Jo.

April (Jo):

Yes, Mother.

Kenzie (GM):

She looks over her shoulder, doesn’t turn fully to you from the window.

Kenzie (Greta):

Don’t be late.

April:

Jo just nods and kind of explodes out of the room, hardly able to bear another second.

Kenzie (GM):

You vaguely notice in this state that the door you had passed that seemed to be another room the door is now shut you can hear music from inside but cleo or like meets you halfway down the hallway and begins to usher you out

April (Jo):

Thank you, Cleora. It's good to see you, genuinely.

Kenzie (Cleora):

You don't have to lie to me, dear.

April (Jo):

I won’t then. Thanks for that.

Kenzie (Cleora):

I shall have your outfit sent.

April (Jo):

Perfect. I shall see you then.

Kenzie (Cleora):

Good day.

April (Jo):

Good day.

April:

And Jo leaves, still tracking mud through the carpet.

[ad break starts]

Kenzie:

Pardon the interruption, but here’s another show we think you’d like.

Tatiana Gefter (Tessa Whitlock):

My name’s Tessa. Tessa Whitlock. Really, I’m fine.

Mike LeBeau (Nate Sutter):

You’re a terrible liar, you know that right?

Dorian Scott (Austin Frazier):

You are a threat. You aren’t one of us and you know it.

Tatiana (Tessa):

I don’t remember anything.

Mike (Nate):

It was you! It was all your fault!

Tatiana (Tessa):

I’m not alone.

Lucas Martinez (Killian Walker):

Look can you just tell me what the hell is going on?

Tatiana (Tessa):

There’s something wrong here.

[robotic sounds]

Tatiana (Tessa):

You hear me? I’m leaving. I’m not playing this game anymore.

Michael Blundell (Dean Sutter):

You should tell them.

Addie Nofal (Anisha Amin):

Tessa, you need to get out of there.

Tatiana (Tessa):

I’m done.

No.

Angie Min (Jenny Park):

I don’t even know myself Tessa.

No.

Crystal Storm (Sandra Mclain):

(Sighs) Look after her.

Angie (Jenny):

All I know is that I am here.




Dylan Griggs (John-Michael Cassidy):

You’re all right now, I’ve got ya.

Mike (Nate):

Help! Help us please, Anisha!

Tatiana (Tessa):

(Gasps)

Soul Operator will return January 13th, 2025, wherever you listen to podcasts.

Kenzie:

You can find the links to this show in the description box below.

[ad break ends]

Kenzie (GM):

As the matriarch you have individuals that have certain specialties that can help you, and using those specialties builds up needs. So during this time, Mama Amoretta takes a few evenings to visit each of her children separately to try to bring down their needs and meet their needs. You approach the apartment that Yarrow lives in. It's on Rookfell Street, more on the outskirts of Cypher than directly under the Bridge, which means when there is sun, it's one of the places that gets extra light. You've been here before, though more often than not, your children come to you. It's late afternoon, the light gray of the cloudy sky starting to darken. And as you approach the apartment building through the open wrought iron gate supported by a brick fence that rounds the property, you hear,

Kenzie (Yarrow):

I’m sorry, I'm so late.

Kenzie (GM):

And down the sidewalk just turning in behind you is your daughter. She's a little bit out of breath, face flushed from the chill and the exertion of trying to catch up to you.

Kenzie (Yarrow):

I didn't expect coffee with Jo to be two in the afternoon, but that's Jo for you, I suppose.

Danielle (Mama Amoretta):

It was just coffee?

Kenzie (Yarrow):

Yes. Just coffee.

Danielle (Mama Amoretta):

Uh-huh. Okay.

Kenzie (Yarrow):

Tea for me.

Danielle (Mama Amoretta):

Right, well, glad to see-

Danielle:

And she’ll just pull her daughter into a hug.

Kenzie (GM):

She's a little frazzled. And she rummages through a pocket in her skirt and pulls out a key, letting you into the building and taking the grocery bags from you. You take the lift up to the sixth floor and it opens upon a hall, dimly lit by lanterns on the walls. The green carpet and an offensive wallpaper paves your way to Yarrow’s apartment. The space is smaller than you remember. Every inch of it is used. Dark browns and greens, not to match the hallway outside, just a coincidence. Greenery springs to life between the shelves of books, across the countertops, hanging from the ceiling in front of the only two windows in the place.

Danielle:

So I think Yarrow is the kind of person that likes something that's really traditional, so it would've been something that was like a meal that was passed down for a few generations, like from her mother's grandmother all the way down to Amoretta. And so kind of passing that on to Yarrow as well. Knowing how much she really, really loves tradition and kind of teaching her. Like, you know, like maybe there's like a cultural story behind the food a little bit and kind of telling like a little tale with the food as well. And so just passing down that kind of recipe and also, you know, having a nice filling meal at the same time. Because she recognizes she used to make this a lot when they were growing up and she recognizes that she didn't necessarily take the time to teach her kids these recipes. And she especially with the disappearance of her husband, she's not going to be around forever and so she wants to make sure that they have things that they can pass down to their kids eventually if they choose to have any or things to at least remember the family by.

Kenzie (GM):

As you begin to like unpack the bags and set them out on the small kitchen space counters that she has, she goes around the space lighting candles, slicking on a lamp or two, lifting the arm of the record player and putting on a song that triggers a memory. Years ago, when you were much younger, your babies really babies. A late night at Dmitri’s office, an open bottle of whiskey and the man you loved humming a tune in your ear as you swayed around the room and a realization that you may be missing some of his possessions from your home. But Yarrow, once she sets up the space, comes over and sits on a chair across from you and listens as you teach her how to make this dish and talking to you about her day, asking about yours, until she brings up coffee again.

Danielle (Mama Amoretta):

So, what exactly happened over coffee?

Kenzie (Yarrow):

Nothing that doesn't usually happen over coffee.

Danielle (Mama Amoretta):

Uh-huh.

Kenzie (Yarrow):

She's not doing well, Mama.

Danielle (Mama Amoretta):

How do you mean?

Kenzie (Yarrow):

She’s scattered. She's staying out late, waking up late. I didn't know her well before, so I can't be sure of what's changed. But I don’t know, she seems frantic, obsessed and somehow at the same time apathetic.

Danielle:

Mama being like, that just kind of sounds like her. But she’s like,

Danielle (Mama Amoretta):

Uh-huh. And is there something concerning about that spaciness, perhaps?

Kenzie (Yarrow):

I guess you know her better than I do but I don't know, seems like she puts on a face more than she doesn’t.

Danielle (Mama Amoretta):

I mean she does, but Jo is, from my understanding and I haven’t known Jo obviously all her life, but from my understanding, Jo’s the kind of person that likes to keep her feelings to herself and if she wants to talk about it, she will. But attempting to make her open up is... well, it usually tends to... hurt more than help. So you gotta just be patient with someone like her. And just come from a place of understanding. In that sense, she's always a little scattery. Most inventor types are, you know?

Kenzie (Yarrow):

Sure. If dark circles are dark enough, Mama, no amount of makeup can fully mask them. I give her credit for the attempt, but...

Danielle:

Mama say nothing and take a sip of her drink. Like she's not guilty of dark circles under her eyes.

Kenzie (GM):

The record player scratches in the background and Yarrow gets up and goes and changes it and she comes back over and sits down and says,

Kenzie (Yarrow):

Well if you're not concerned I'll just make sure she keeps showing up. I like talking to her anyway.

Danielle (Mama Amoretta):

Well I’ll check in on her, but that doesn't guarantee that she'll tell me what's wrong if anything's wrong. And you know I can't exactly help someone out who isn't willing to get help.

Kenzie (Yarrow):

I know.

Danielle (Mama Amoretta):

I appreciate you caring. That's real sweet of you. Just be careful with Jo. You don't wanna... Jo's a nice girl. And if you can handle someone who has a lot of love for a lot of people...

Kenzie (GM):

Yarrow blushes.

Kenzie (Yarrow):

Mama i do not want to talk about that with you

Danielle (Mama Amoretta):

Mm-hmm. Right. Well.

Kenzie (Yarrow):

I don't think that is what this is.

Danielle (Mama Amoretta):

Sure, but you've never exactly expressed curiosity about her before, so sorry for my assumptions.

Kenzie (Yarrow):

Well because she wasn't my friend before, mother!

Danielle (Mama Amoretta):

Oh, you’re friends now?

Danielle:

She’s not sarcastic about that, she's genuinely excited and interested being like, oh you're friends?

Kenzie (Yarrow):

We've been getting coffee a few times, yes!

Danielle (Mama Amoretta):

Well that's news to me. I didn't know it was a few times.

Kenzie (Yarrow):

Sorry, that I didn't call you as soon as I made a new friend. I'm a grown woman.

Danielle (Mama Amoretta):

I know but I just like being excited about your life. Geez, sue me. Your asking your investigative mother to not be nosy about your personal life. I feel like that's on you.

Kenzie (Yarrow):

Well, it's been a long time since we've done this, so maybe I've just forgotten a little bit how it is.

Danielle:

And she'll just chuckle and pull her daughter in for a hug and, you know, smush her face and give her a kiss. Both in like, a form of affection, but also knowing she is purposely exasperating her child just a little bit.

Kenzie (GM):

And you guys sit down for a lovely meal and Yarrow lets you know about some books she's read, research she's doing, nothing new that she hasn't already updated you about when it comes to the work you're kind of working on together. And mostly she seems to try to steer the conversation away from work this evening.

Danielle:

I think Amoretta, just in the conversations of her daughter explaining her own projects and things she's interested in, she's just so taken aback and so amazed by how intelligent she is and just how much knowledge she has in a world that Amoretta could never even really touch. And she is always so appreciative that even though she's so old, someone so young can teach her so much. So I think just just that whole expression of wonder and gratitude and just being like, “I'm so proud of my baby.”

Kenzie (GM):

I’ll say you can bring Yarrow’s needs back down to zero.

And maybe a week, week and a half later is the night that you have planned with Zion. And as you make your way up the stairs in his apartment building to his door, you knock, the door opens.

Kenzie (Unknown Voice):

Hey, Mama A, how's it going?

Kenzie (GM):

And opening the doors, not your son, but his roommate, Fabe, a kid who like your kids grew up in the Bridge, knew its ins and outs. You were never quite sure what this kid did, and you had your sneaking suspicions - bringing them up with Zion got you nowhere - that she was never up to any good. A further sneaking suspicion, despite having never seen it, that there was a rose ink somewhere on her body. She wore a contraption on her arm, wrapped around her elbow in old wrinkled leather with two straps caressing her forearm and thin metal spindles gliding over the back of her left hand, ending in metal fingertips over each finger. An accident when she was younger, an explosion in a factory near their old rail station, had left her without feeling. The way it shimmered with magenta light gave away the presence of crystals.

Kenzie (Fabe):

He’s in the shower, but come on in.

Danielle (Mama Amoretta):

Hey, Fabe, how you been? How you been?

Kenzie (Fabe):

I'm doing good, I'm doing good.

Kenzie (GM):

And shuts the door behind you. The apartment is bigger than that of your daughter's, having a full-sized kitchen and a decent living room, three doors along the walls, two bedrooms and a bathroom, the middle of which you can hear the sounds of a shower running. The furnishings are minimal. A couch, a table, the walls fairly bare, some cracks, some stains from use. The amount of time either Zion or Fabe spend at home was clearly rare, while your daughter had made a home, a space in which she felt comfortable living and working.

Kenzie (Fabe):

Well, let me take those from you. Let me take those from you.

Kenzie (GM):

And grabs the bags out of your hands.

Danielle (Mama Amoretta):

Aw, thank you baby.

Danielle:

And she'll just hand off the groceries, uh, and help unpack. And she'll just go,

Danielle (Mama Amoretta):

You want me to fix you a drink or something?

Kenzie (Fabe):

You know what? That would be great!

Danielle:

Amoretta probably knows based off of what Zion has likely told her what the roommate's favorite drink is, even if the roommate has never fucking told Amoretta this.

Kenzie (GM):

You make the drink and Fave takes a sip and goes.

Kenzie (Fabe):

God, I love that.

Danielle (Mama Amoretta):

Well, glad you enjoy it. So, anything interesting been happening in your life so far?

Kenzie (Fabe):

Nothing too crazy, just the usual. Business. Trying to make some money. Gotta pay for this place, you know.

Danielle (Mama Amoretta):

How much are you're paying for this place again. Did you contact the landlord about getting some of the cracks fixed, mold can grow in there, and that ain't good?

Kenzie (Fabe):

Yeah, they don't really care, so...

Danielle:

And Mama just has that look of, I don't like that.

Kenzie (Fabe):

You can't go talking to our landlord!

Danielle (Mama Amoretta):

And why not?

Kenzie (Fabe):

You can't do it!

Danielle (Mama Amoretta):

Why not?

Kenzie (Fabe):

Because if a mom calls, then they'll think that we are up to the task!

Danielle (Mama Amoretta):

Well, you know what? I'll just do a little investigation here and there and have some city citations fly in. They won't know it's me.

Kenzie (Fabe):

Alright, well, I'm not gonna say no to a little help, but... Don't tell Zion, I told you that. He'll be so mad.

Danielle (Mama Amoretta):

He doesn't need to know.

Kenzie (Fabe):

Great, just between us then

Kenzie (GM):

The bathroom door opens and steam rolls out and Zion appears in the living room, black towel wrapped around his waist, his eyes go wide when he sees you.

Kenzie (Zion):

Ah shit. I lost track of time.

Kenzie (GM):

Fabe takes another drink and says,

Kenzie (Fabe):

You were in there for like 45 minutes.

Danielle (Mama Amoretta):

That's alright, baby. Just go get dressed.

Kenzie (Zion):

I'll be right out.

Kenzie (GM):

And scurries into his room. And Fabe looks over at you and goes,

Kenzie (Fabe):

Kids, am I right?

Danielle (Mama Amoretta):

Ain’t you one yourself?

Kenzie (Fabe):

Well, you got me there I guess.

Kenzie (GM):

And goes down and flops onto the couch.

Danielle:

I feel like Zion is the kind of person who, even though he cooks so much at. Comida del Corazon, that Amoretta wants to - and also for the roommate, they get leftovers for a few days. So it's gonna be one of those dishes where it's kind of like a slow-cooked meat that you can just use for a bunch of different stuff like burritos and paquitos and all that stuff, and then having all those ingredients so that they can mix it up how they want for the next couple of days.

Kenzie (GM):

When Zion returns in a soft Henley and slacks, he doesn't waste a moment entering the kitchen and helping you prepare.

Danielle:

She’ll give him a big old hug now that he's fully dressed and out of the shower. Just without verbally saying it, but very much a squeeze of, am so happy to see you.

Kenzie (Zion):

Sorry, I made you wait a little bit. just lost track of time.

Danielle (Mama Amoretta):

Well, I mean, I don't mind at all.

Kenzie (Zion):

Well, I do, and I apologize.

Danielle (Mama Amoretta):

As long as you ain't dead (chuckles).

Kenzie (Zion):

Well, we got a long way to go til that, I think.

Danielle (Mama Amoretta):

Fair. I mean, I would hope so. I'd hope so.

Kenzie (Zion):

Mama, the most dangerous things I get into are a little brawl here or there. I'll be fine.

Danielle (Mama Amoretta):

I know. I know. Can’t fault me for worrying..

Kenzie (Zion):

Anyways, now the most danger I'm gonna get into is… well, I think you know.

Danielle:

She’s going to have a big old grin on her face.

Kenzie (Zion):

Somebody’s gotta follow that one into danger.

Danielle (Mama Amoretta):

Well, I'm sure glad it's you, but don't go killing yourself over it now. I don't want to see either of you buried in the ground before me, okay?

Kenzie (Zion):

I'll make that promise.

Danielle (Mama Amoretta):

Good, good. So, I can’t say I told you so but I definitely told you.

Kenzie (Zion):

I think you might’ve earned that.

Danielle (Mama Amoretta):

Listen, you know, with your Aunt Gwen and my brother, I said it. You know, I got a real good predictor.

Kenzie (Zion):

When you're younger, you don't get it, and so I didn't see it for a long time. I had no idea what you were talking about. And it's scary, Mama, it's scary. JJ was my best friend and you know…

Danielle (Mama Amoretta):

I mean, they still are your best friend.

Kenzie (Zion):

Yeah, but if she had said no, might not have been.

Danielle:

Amoretta rolls her eyes because she knows JJ well enough to know that that would have never been the fucking answer. She'd have been like, please. Like JJ would have said no.

Kenzie (Zion):

Well, we'll see how goes. Still early.

Danielle (Mama Amoretta):

Not trying to be nosy, I know you two are adults, but if y'all need a helping hand...

Kenzie (Zion):

Mama, what does that mean?

Danielle (Mama Amoretta):

I mean just in you need advice or something in case you go through troubles or whatever. Y'all.

Kenzie (GM):

Fabe at this moment stands up from the couch and says,

Kenzie (Fabe):

You know what? I'm gonna leave you two. I have some shit to take care of.

Kenzie (GM):

And walks out the front door. Doesn't grab a jacket, doesn't grab anything else. Just walks out the front door.

Danielle (Mama Amoretta):

Forgot their keys so you might wanna let them in when they realize they get locked out later.

Kenzie (Zion):

Yeah. Well we’ll see if they come back tonight. They're always up to something. something or else.

Danielle (Mama Amoretta):

Well, you know. Just make sure they don't go dragging back some of their work in the front door.

Kenzie (Zion):

Oh, we've had conversations about that.

Danielle (Mama Amoretta):

Good, great, great but yeah, no, just in case y'all have any issues communicating or something. Source of wisdom right here.

Kenzie (Zion):

I appreciate that, but Mama, think you've taught me enough. I'm not the communicating problem.

Danielle (Mama Amoretta):

You aren’t.

Kenzie (Zion):

No.

Danielle (Mama Amoretta):

Yeah. You aren’t

Kenzie (Zion):

No, I'm not.

Kenzie (GM):

As you see just this bright smile that isn't rare on Zion at all but just seems more solidified, seems more real. You finish the evening making food, eating food, laughing. He is so well-mannered around you at least. And Fabe does not return this evening letting you catch up with your son for a little bit.

Danielle:

And embarrass him some more about his relationship.

Kenzie (GM):

One evening Mama Amoretta has spoken an invitation that didn't sound optional. And so it wasn't too late. Could be later. Had been later. You all together turn a corner. The light on the street gleaming through the windows of Comida del Corazon, a beacon to you all.

A bell dings as you push open the door. A smattering of chairs and tables clutter the room, wooden tops newly polished. A couple booths are crammed against the wall on one side. A radio crackles somewhere in the kitchen, mixing with the light music playing in the dining room.

Kenzie (Ernesto):

Ay, Mama, it's been too long.

Kenzie (GM):

Ernesto, a longtime friend of mama's and the owner of Comida del Corazon, eyes you all and makes the decision to not comment on anyone's appearance in any way. You aren't the only ones in here. There are two other tables, one a couple closely bent over the table and a family with two young children.

Kenzie (Ernesto):

Here, here.

Kenzie (GM):

He beckons you over to the booth that you always sit in when you come to the restaurant. Closer to the back, closer to the kitchen. Lucia, his daughter and a waitress, brings over menus, places them on the table without so much as a hello and walks away. He doesn't comment on it and reaches behind the nearby bar, grabbing some glasses and popping the cork of a bottle of wine, setting it down.

Kenzie (Ernesto):

Or something stronger if you'd like.

Atlas (JJ):

Not rum.

Danielle (Mama Amoretta):

I think the wine will do just fine unless Jo your fixing for something a little stronger.

April (Jo):

I’ll take whatever you've got.

Kenzie (Ernesto):

Wine it is! Take your time. I’ll be back.

Kenzie (GM):

And then strides across the restaurant to turn his charm onto other tables.

Danielle (Mama Amoretta):

Thank you Ernesto.

Danielle:

Amoretta will call out politely.

Kenzie (GM):

I think that throughout this time since the last case that this might be the first time that you are together for at least for like a meal or something not paperwork work related.

Danielle:

Amoretta will pour everyone a glass of wine and just kinda start it with small talk of,

Danielle (Mama Amoretta):

So, how y’all been? Whatcha been up to?

Atlas (JJ):

Mama, I have something I need to tell you.

Danielle (Mama Amoretta):

Okay, that's a concerning way to start off, but proceed.

Atlas (JJ):

Zion and I are dating.

Danielle:

Amoretta just smirks and takes a sip her wine and sets down the class.

Danielle (Mama Amoretta):

JJ, I run a private investigation company, what makes you think I didn’t already know that?

Kenzie (GM):

Out of the window in the kitchen, you hear,

Kenzie (Zion):

Yeah, JJ, she definitely already knew that.

Atlas:

And JJ's gonna reach into her pocket and pull out like cue cards.

Atlas (JJ):

I was practicing.

Kenzie (Zion):

Sorry.

Atlas (JJ):

Jo pretend - Everyone stop talking! Jo, I have something to tell you.

April (Jo):

Oh, sorry, yes. Um (clears throat). Okay.

April:

Jo puts a menu to cover her face when JJ starts and then she slams it down dramatically and is like,

April (Jo):

What is it?

Atlas (JJ):

Finally, someone who gets what I'm going for here. Zion and I are dating.

April (Jo):

(Gasps)

April:

Jo slams her glass down on the table and goes,

April (Jo):

Well, that is something I would have never expected.

Atlas (JJ):

Thank you.

April (Jo):

Thank you for your confidence. Cheers also. Congratulations to the happy couple.

Atlas (JJ):

I believed the cheers.

Danielle (Mama Amoretta):

Although, I kinda do wanna take a look at those little note cards you got. That's very sweet that you were prepared so much.

April (Jo):

Yeah, quite, actually, I would love to see what you're assuming -

Atlas (JJ):

They’re to read for… there’s doodles.

April (Jo):

-the arguments…

Atlas (JJ):

There’s actually several scenarios that I went through, one of which did involve a bottle of wine, but the bottle of wine was being shattered over the table, but it didn't happen. So, really…

Atlas:

And then JJ is going to like tear up the car and like put them in her pocket.

Danielle:

Amoretta’s gently gonna grab JJ's hand and just go,

Danielle (Mama Amoretta):

JJ, makes you think I haven't been trying to set y'all up for years?

Atlas (JJ):

Oh, no, I was the one breaking the bottle of wine.

Danielle (Mama Amoretta):

Why would you be breaking the bottle?

Atlas (JJ):

Someone broke into, we had to defend, it-

Danielle (Mama Amoretta):

That is one wild -

Atlas (JJ):

If you plan for the worst case scenario, anything better than that is, like, great!

Danielle (Mama Amoretta):

You know, maybe you could become a writer someday or something. You've got a real active imagination.

April (Jo):

It would suit you.

Atlas (JJ):

I’m nothing if not practical. don't think anyone would ever... Um, so what has everyone else been doing?

April (Jo):

You know, the usual, just tinkering… um, reading.

Atlas (JJ):

Tinkering's an odd name, I didn't realize -

April (Jo):

JJ, I know where you live. I've just sort of been looking at old sketches and doodles and, you know, messing around with them and thinking about, you know, just, you know, thinking about all the things that from last month and, you know, keeping busy.

Atlas (JJ):

I don't know if this is a good time for this.

April (Jo):

Probably not, but go ahead.

Atlas (JJ):

I saw some people that I used to know and got a lead on our case!

April (Jo):

We don't have a case.

Atlas (JJ):

Well, it's not our case case, but you know how there's been weird stuff happening and that the kid a couple months back.

April (Jo):

Right, yes.

Atlas (JJ):

And then there's crystals and shit that there's not supposed to be crystals in.

April (Jo):

Right.

Atlas (JJ):

I got some shit that there's not supposed to be crystals in.

Kenzie (GM):

At this moment Lucia appears at the edge of the table looking at a pad.

Kenzie (Lucia):

What can I get for you?

Atlas (JJ):

Chicken tenders.

April (Jo):

Hi.

Kenzie (Lucia):

Hi. Anything to eat?

Atlas (JJ):

And fries.

Kenzie (Lucia):

JJ for the last time these are for children.

Atlas (JJ):

I'm getting them to go. For a child. And you can’t prove otherwise.

Kenzie (Lucia):

Anything for you, mama?

Danielle (Mama Amoretta):

I'll just get my usual.

Kenzie (Lucia):

Of course.

April (Jo):

Enchiladas I suppose.

Kenzie (Lucia):

Great, I'll have those right out for you.

Kenzie (GM):

She turns around.

April (Jo):

What? I -

Danielle (Mama Amoretta):

I mean, if your dad's working you too hard, you can always ask for a day off.

April (Jo):

She was quite chilly, was she not?

Danielle (Mama Amoretta):

She's normally much friendlier, yeah.

April:

Jo kind of like peers through - is there like a window into the kitchen or like?

Kenzie (GM):

You see that she rips off the paper and puts it on the little hook in front of the cooks and then disappears through the swinging door back into the kitchen.

Atlas (JJ):

It was weird. I get the chicken tenders every time and every time they say that but she said it mean this time.

April (Jo):

Yeah, it wasn't... Actually, you know what?

April:

Jo grabs the bottle from the middle of the table and takes a few glugs and then,

April (Jo):

I will be right back, actually.

April:

And Jo stands up and goes into the kitchen. This isn't the first time that she's done this. There have been a few drunk nights where she decided that she was going to come up with new recipes or make their kitchen more efficient, but this time she's just looking for Lucia.

Kenzie (GM):

Lucia is resting against one of the metal tabletops in the back, just watching the cooks arms crossed. And when the door swings open, she looks at you and rolls her eyes and heads for the back door. You walk out, Lucia is like upper back against the brick wall, head against it. And the door shuts. And she doesn't say anything.

April (Jo):

Pretty cold out.

Kenzie (Lucia):

I guess.

April (Jo):

Did I do something? Did JJ do something?

Kenzie (Lucia):

JJ ordering off the kids meal, yeah, that's something.

April (Jo):

Yeah, yeah, she really insists on doing that, doesn't she?

Kenzie (Lucia):

Well, you followed me for some reason.

April (Jo):

Are you mad at me?

Kenzie (Lucia):

We're about to find out.

April (Jo):

Oh, what am I guilty of this time?

Kenzie (Lucia):

(sighs) Nothing yet.

April (Jo):

Yet.

Kenzie (Lucia):

Mm-hmm.

April (Jo):

Am I so predictable that you're getting angry with me in advance of something that I'm going to do?

Kenzie (Lucia):

Yeah.

April (Jo):

Right, so... Would you like to enlighten me as to what I am supposedly going to do with my free will and all that?

Kenzie (Lucia):

I haven't seen you or heard from you in months.

April (Jo):

I've been preoccupied.

Kenzie (Lucia):

And I'm expecting, seeing as you followed me back here, that you're gonna ask me for something.

April (Jo):

I was wondering if you had anything new.

Kenzie (Lucia):

What the hell is this, Jo? I know we hooked up, but I thought that was for fun. I thought we were friends.

April (Jo):

We are friends, aren't we?

Kenzie (Lucia):

Yeah, feels a lot like I'm being used.

Kenzie (GM):

She puts her hands on her hips. Jo, you've never met Lucia's mother. You don't know what she was like, but Lucia definitely did not get this fierce intensity from her father.

April (Jo):

Look, Lucia, I deeply enjoy our times together, and you'll just have to believe me that I wish they occurred more frequently. But I also am not asking you this for my own sake. It's for research purposes. I don't want you to think I'm taking advantage of you. I'm not trying to. I just don't have as many connections as other people may have.

Kenzie (Lucia):

What are you looking for?

April (Jo):

I only heard its name briefly mentioned… absium? I believe it's a newer drug. It has crystals in it, I believe.

Kenzie (Lucia):

Yes. I know of it. I stay away from it.

April (Jo):

Why?

Kenzie (Lucia):

You don't want to get involved in that crowd. They're not kind.

April (Jo):

Well, drug dealers, usually. Not to the most hospitable people, although I haven't met a few that were... I understand, okay? I can take care of myself.

Kenzie (Lucia):

If you're willing to get yourself killed over something so stupid, then suit yourself, but I won't be a part of it.

April (Jo):

I'm just buying. If you're not selling, that's fine. I still like you either way. In case that wasn't clear. We're still friends.

Kenzie (Lucia):

Sure we are. You've got a lot of people in this city that care about you, Jo. That you don't seem to give a rat's ass about. So I'm sorry I can't help you, but that's because I still care about you. And someone has to look out for you. But you don't seem to look out for yourself. But I'm exhausted trying to get you to listen to reason. Go find it elsewhere. And don't come to me again for this shit.

April:

Jo’s smile that she's been maintaining this whole time kind of drops and with a curt nod she like turns to leave and then thinks better of it and approaches her a little more closely.

April (Jo):

You may care for me but you don't know me at all.

Kenzie (Lucia):

You never gave me a chance.

April (Jo):

Whoever you're caring for is not me. So don't grieve the loss of a relationship that we never had. Anyone in this town that does care for me, it's not about me, is it? People look for lost things to give their affection to and I allow them to do that. But don't stand there and act like you know what I'm going through or what I should do with my life. What's taking care of myself. I am taking care of myself. I have a purpose. And if you won't help me, I forgive you. I will not be holding it against you, but don't hold this against me either.

April:

And then she leaves.

Danielle:

I think this is the only person that mama feels like she can talk about this with because she knows how everyone else in her life feels about the Dmitri thing. I think Amoretta would have revealed.

Danielle (Mama Amoretta):

So, you know that I the cork board up again. And I don't know if you noticed, but I was able to put something new up recently.

Atlas (JJ):

The mines!

Danielle (Mama Amoretta):

Yeah.

Atlas:

JJ looks at the board religiously. Especially now.

Danielle (Mama Amoretta):

I was thinking, considering we're not having a case at the moment and we're still waiting on some data to come back, it wouldn't hurt. Maybe go check this place out? See what we can find there.

Atlas (JJ):

I was hoping that you would suggest it or I was hoping that you would ask that I would go with you because I assume that you were going to go check it out but I really wanted to go also because I think you know why.

Danielle (Mama Amoretta):

Yeah, and you know, I'd appreciate maybe if you don't share this with Zion, he doesn’t… It's a difficult topic, you know, for all of us to talk about.

Atlas (JJ):

They don't get it. And I get that.

Danielle (Mama Amoretta):

They have their own conclusions and I got mine. I'd like to think I'm right.

Atlas (JJ):

They don't know what it's like to lose the person you know better than anyone else does. And everyone says they know what happened, and you know it didn't.

Danielle (Mama Amoretta):

Yeah, I hope they never do. They've already lost too much. So, I don't want to stir up wounds that they feel are old.

Atlas (JJ):

Sometimes you gotta re-break a bone to make it heal, right?

Danielle (Mama Amoretta):

Well, I ain't a doctor. Unfortunately, that's more of my brother's specialty, and I'm better at breaking bones than setting them right. Let's just try and keep it quiet for now. I'd rather not make too much of a fuss about it. Good, because I also don't want anyone trying to stop me either.

Atlas (JJ):

My lips are sealed.

Danielle (Mama Amoretta):

Good ‘cause I also don’t want anyone trying to stop me either

Atlas:

JJ looks over Momma's shoulder and sees Jo coming and goes,

Atlas (JJ):

Speaking of breaking bones!

April:

Jo sits down at the table, very sullen, and just pours herself the largest, like you know how a glass of wine is actually like only a little bit in a glass? She just like fills the glass, drinks about half of it in one go, and then says,

April (Jo):

I’ve broken, I think 10 bones in my lifetime, but they always heal very quickly.

Atlas (JJ):

I thought- I saw you kick someone's head in like-

April (Jo):

I was referring to my own bones.

Atlas (JJ):

Oh, that makes more sense.

April (Jo):

I’ve lost count of the bones that I've broken on in other people's bodies.

Danielle (Mama Amoretta):

Yeah, it's a bit hard to keep track, especially when you do business like this.

Atlas (JJ):

Yeah! Mmm, broken bones.

April (Jo):

JJ, have you ever broken a bone?

Atlas (JJ):

Of someone else's?

April (Jo):

Your own! I don't think that it's normal to assume that it's somebody else's bone.

Atlas (JJ):

I don't know if I've broken anyone else's. I've broken mine on cases. A time or two.

April (Jo):

That's true. But we always heal stronger, don't we?

Danielle (Mama Amoretta):

Well, at your age, certainly.

Atlas (JJ):

Speaking of healing, or not healing, I got something that has crystals in it. And it's not supposed to have crystals in it, and it was expensive. I might have sold my apartment.

Danielle (Mama Amoretta):

You what?

Atlas (JJ):

More importantly, I have drugs with crystals in them.

April (Jo):

Really?

Atlas (JJ):

Yes! Not right now. I thought about it and then I was like, I feel like this is not the venue to bring them to.

April (Jo):

No, well, not on your person, like at the moment.

Atlas (JJ):

No, they are under so -

Danielle (Mama Amoretta):

Might be goo to send that over to Professor. See what samples we can get on it.

Atlas (JJ):

Do we trust him?

April (Jo):

I mean, I could take the samples. I've been tinkering around with the stuff anyway, and I could see maybe how they fit into what I've been building.

Danielle (Mama Amoretta):

I might send some over to my brother too. He might be able to reverse engineer some kind of cure.

Atlas (JJ):

It was like 500 ortezas for like one bag so…

April (Jo):

Good god.

Atlas (JJ):

I sold my apartment.

April (Jo):

Honestly, good for you. Because it was a shithole.

Atlas (JJ):

It was very clean. Except for the fridge.

Kenzie (Zion):

Alright now what are we calling the shithole?

Kenzie (GM):

And walking up is Zion with three plates.

Kenzie (Zion):

JJ. Here you go. Jo.

April (Jo):

Zion have you ever seen the inside of JJ's apartment? Ex-apartment.

Kenzie (Zion):

I had, I was unaware that it was no longer her apartment.

April (Jo):

Yeah, is it because you guys are moving in together?

Atlas (JJ):

No.

Kenzie (Zion):

We're what?

April (Jo):

Well, I'm sorry, you get this big announcement at dinner that you two are together even though it was quite obvious and now JJ is saying that she sold her apartment and I don't know, just put a few things together.

Kenzie (Zion):

I didn’t know the apartment was being sold how would I have made the choice to move in?

April (Jo):

Well, aren't you in a relationship? You don't discuss things with each other. I'm sorry for assuming.

April:

Jo grins, loving the seeds of confusion that she has already sown in the happy couple.

Kenzie (Zion):

Where are you living?

Danielle (Mama Amoretta):

Y'all, it's pretty obvious JJ's gonna be staying in the office.

Atlas (JJ):

First of all, I didn't know that it was obvious we were dating. Second of all, I didn't know it was obvious I was gonna stay in the... I did, I did. It is obvious.

Kenzie (Zion):

Alright, I have to get back to the kitchen.

Atlas (JJ):

Is this an extra chicken tender?

Kenzie (Zion):

Don't change the subject! We're gonna be talking about this later.

Atlas (JJ):

Oh, no, I have to see you later.

April (Jo):

Alright, alright, enough. Go to the kitchen.

Kenzie (Zion):

Don’t give me that face, i’m at work. Uh, bye!

Kenzie (GM):

And walks back into the kitchen.

Atlas:

JJ will do like an exaggerated like lean as he like walks into the kitchen.

April (Jo):

Oh my god, this is, I'm actually nauseous now, so I'm not going to look at you for the next two minutes at least, because your face is making me not want to eat this food, and I really need it right now.

Danielle:

Amoretta just looks like she's seeing pure fucking joy.

Kenzie (GM):

Spends the next half an hour eating your food, chatting, razzing one another. And once you're getting close to the end of your meal, you hear a screech of chair legs across the floor as Ernesto pulls the chair up, turns it around, sits on it backwards, crosses his arms over the top of it.

Kenzie (Ernesto):

You enjoy your meal?

Danielle (Mama Amoretta):

Good as always Ernesto.

Atlas (JJ):

Delicious.

Kenzie (Ernesto):

Good to know. Well, I do apologize for the interruption, and I apologize for bringing business into your evening of enjoyment. But I have favor to ask of you.

Danielle (Mama Amoretta):

What's going on?

Kenzie (Ernesto):

I have a friend, Rafi. They have a daughter, Mercy. She went missing two days ago, and they want you to help find her.

Kenzie: This series stars Kenzie Tartaglione as the Game Master, Atlas Matthews as JJ August,

Danielle

Halen as Mama Amoretta, and April Consolo as Joanna Gilmore, with Michelle Kelly performing our episode recaps. You can help us out by listening and sharing, rating and reviewing, or coming over to our Discord. Also, you can join our Patreon to get access to our episode talkbacks and more. Thanks for listening.