2/2

Played: August 24, 2020.

Tuesday, March 27, 1972. Afternoon. Jocasta wraps on her debrief of the situation with Keiner at the de Young. Marshall can’t stick around too long because he has a chartered flight later to bring him to Los Angeles for the 45th Annual Academy Awards, so he pitches his idea for next steps. First, Roger and Jocasta go to Keiner’s house — a two-bedroom mid-century bungalow for which Sophie has obtained the address — black bag him and bring him to the Barn. Second, Mitch goes to the de Young and lights Beth-El on fire with his mind. Third, Archie contacts Granite Peak to obtain the technical support (glyphs, etc.) that the team will need to disrupt the Ikenga block party. Marshall offers to drop Mitch off at the de Young on his way to the airport. Mitch takes him up on the offer. They do some coke on the car ride there.

At the de Young, Mitch follows the signs to the Keiner exhibit and arrives at a pair of galleries in the Asian Arts wing. The smaller of the two galleries contains many of Keiner’s surrealist-religious paintings from the mid ‘60s onward. These are mostly similar in style to the Ikenga album artwork, though without the obvious History B references. The larger gallery contains Beth-El, which immediately registers on Mitch’s radar as throbbing with History B energy. It might, in fact, be one of the strongest History B-tainted objects Mitch has encountered since his days in Los Angeles. Probing further, Mitch determines that Beth-El functions as a gateway, but not one that is open all the time. Right now, it is closed. In order to “open,” it needs to be activated. But the sheer amount of ontological radiation emanating from the box interferes with Mitch’s ability to parse more details. He can’t discern how to “activate” it. Plus he’s getting a headache.

Mitch walks around the perimeter of the gallery, eyeing the box and the calculating his options. Beth-El is illuminated in a special way — long fluorescent lightbulb-tubes arranged around the outside-wall of the box. These project light through the interior canvasses, which gives the inside of the box the stained glass effect Jocasta observed. Mitch figures the lightbulbs are his best bet for lighting this thing on fire in a non-suspicious way, so he focuses his attention on one of the bulbs. It sparks, and bursts. A moment later, Mitch hears a woman say to her friend, “Do you smell smoke?” Seconds after that, flames climb up one of the canvas-walls. A klaxon blares, over which a polite but firm voice tells everyone to stay calm and evacuate in an orderly fashion. Mitch slips into the crowd unnoticed. He glances back over his shoulder as he goes, squints a bit, and finds that Beth-El has stopped radiating History B energy. Once outside, he hops on a payphone and calls in his report to Livermore.

At Livermore, Archie gets word from Granite Peak that they are dispatching a sonic disruption device to URIEL along with an agent — or “tech liaison” — to both operate the device and assist in disrupting the Mansa block party. The liaison will arrive the next day in order to give URIEL time to get them up to speed and to integrate them into the team. Jocasta and Roger, meanwhile, put together their plan to abduct Keiner. They decide they will drive to his house in an unmarked van that afternoon, dressed in generic “repair person” uniforms, to scout out the scene. They pack up two ikoter rifles, several restraints, and some heavy tranquilizers. When they arrive, they find that Keiner is not home: the windows are all dark, there is no car in the driveway, and the mail is still in the mailbox. They take this opportunity to break in through the back door.

Inside, they split up: Roger takes one bedroom and Jocasta takes the other. Jocasta’s room turns out to be Keiner’s studio. He doesn’t seem to be working on anything at the moment, but she locates some pencil sketches that resemble the Ikenga album art — probably early drafts of what would ultimately be the finished product. Jocasta flips through the sketches. Part way through, she finds herself looking at several half-formed Anunnaki glyphs. They have no effect on her, either because they are not finished or because they were incorrectly drawn. Either way, Jocasta quickly determines that none of the glyphs appeared on the copy of the Ikenga album that URIEL obtained. She also concludes that these are not glyphs with which she is familiar. That means they are either mis-drawn or are special in some other way. Sophie would probably know more, she thinks.

Roger searches Keiner’s actual bedroom. He finds a fair quantity of marijuana and a locked strongbox. He is also surprised to find a good deal of high quality shortwave radio equipment on a small desk opposite the bed. Examining this equipment, Roger concludes that Keiner’s a spy. The gear is too good for any other explanation; a hobbyist, even one attempting to listen to European stations, would not have access to (or the need for) this kind of stuff. His hunch is confirmed when he cracks open the strongbox and finds a set of one-time pads. Roger heads over to the closet. Opening it, he raises an eyebrow: hanging inside are a pair of karate gi, a black belt, and a few martial arts competition medals.

Jocasta and Roger meet back up and explore the rest of the house. They find no weapons, no evidence of any other visitors or residents besides Keiner himself. His personal library is sizable and tilted toward occult studies. In particular, he owns a lot of comparative religion stuff and works on medieval to eighteenth-century Islamic magic. Several books are written in Arabic; the rest are in German. They also find what appear to be some personal correspondence, which is also — oddly — written in Arabic. Roger flips through some of the books to see where they originated. With only one or two exceptions, they all seem to be personal property (that is, not checked out from a local library). Roger asks Jocasta, “What now?” Jocasta says they should pack all this stuff into the van. Roger asks if he should make it look like a burglary. Jocasta says that’s not necessary. As soon as Keiner arrives, she says, “he’s going to be one of the things that’s gone.” Roger points out the karate gear and asks if she’s sure about that. Jocasta: “Yes. Absolutely.” Roger clocks her clenching her fist as she says this.

They pack up the van and wait. Hours go by. Around 9:30 pm, they hear a car pull into the driveway. Jocasta and Roger take positions near the front door, with ikoters trained. Keiner opens the door and finds two ski-masked people with science fiction ray guns pointing at him. Jocasta misses with her shot, but Roger hits: Keiner is blasted with neurolinguistic “white noise,” staggers back, reeling … before immediately (and surprisingly) recovering. He lunges for Jocasta, who drops into a ready stance. “Good boy,” she smirks, “let’s do it.”

They grapple, exchanging kicks and blows in a flurry of finely-honed martial arts techniques. Jocasta manages to snap a right-hook across his jaw, staggering him. She follows this up with a head butt, smashing his nose as she does. Keiner manages to stay up, however, and dives forward, attempting to tackle her to the ground. Jocasta lowers her center of gravity, catches him in a judo hold, and — using his own momentum against him — hurls into him a wall. The drywall cracks, plaster everywhere, and Keiner collapses to the floor unconscious. Roger quickly administers chloroform to keep him down. They pack him into the van and take off for the Barn.

Upon arriving, Roger and Jocasta secure Keiner in an interrogation room and wait for him to come around. Once he does, he demands to know where he is, insisting that he is in the United States on an authorized visa. Neither Roger nor Jocasta say a word. Between the two of them, Jocasta volunteers to “sit on him” for the rest of the night until Marshall and Archie can get to the site in the morning for the interrogation. Roger heads home for some shuteye. Jocasta pops a Modafinil.

Wednesday, March 28, 1973. Archie and Marshall arrive in separate transport, Marshall having just landed from his whirlwind trip to the Oscars. He’s greeted by Roger at the gate, still in his velvet tuxedo, collar undone, jacket rumpled, clearly wired to hell on coke and champagne. As they walk toward the interrogation site, Roger clears his throat:

Roger: (to Marshall) Do you want him to see your face and your … outfit?

Marshall: No no no. We’re not gonna — uh, you know, there’s a lot of things we don’t know right now. We don’t want to bring all our resources to bear yet. I mean, there’s a lot we need to hash out. So who’s there with him right now?

Roger: Jocasta’s with him.

Marshall: OK. Roger, could you go get Jocasta? Bring her here and take her place.

Roger: Sure. OK.

They enter the observation room on the other side of the one-way mirror facing into Keiner’s “cell.” Roger heads inside, and taps Jocasta on the shoulder. They swap places.

Marshall: So, Jocasta —

Jocasta: How were the Oscars?

Marshall: — they were great. He’s seen you before, right?

Jocasta: He’s seen me before, but he didn’t see me tonight.

Marshall: OK. So I think our first round of this is: we’re going to send you in unmasked to start getting a lay of the land from him. And we’ll have Archie and I in the other room on the headset to hear how it goes.

Jocasta: Why … uh, what’s the … what’s the thinking here? Exactly?

Marshall: (talking very fast) Well, the thinking is we have to sort of destabilize what he’s expecting. It sounds like he knows that he has been caught by some force bigger than himself. Maybe he’s just an East German spy and he thinks the Company has him. Maybe he’s more in tune than that. Either way he’s probably somewhat suspecting that the girl he met earlier is involved in this in some way. So we might as well confirm that suspicion on his part, give him sort of a base foundation to work with. We can use that to establish trust.

Jocasta: Alright, that's fair. Am I playing good cop here?

Marshall: Take it on instinct! You know, just sort of like, work with what you have. Just ad lib a little bit. Kind of work with his vibes.

Archie: We’re all agreed that we, you know … we’re not going to torture this fellow, right?

Marshall: (feigned astonishment) We’re the United States of America! We don’t torture.

Jocasta: I do have a mild concern that, if he leaves here, I’m not sure I want him to know what I look like.

Marshall: (putting an arm around Jocasta’s shoulder, walking her away from Archie, and whispering) He's not leaving here. You don’t have to worry about that.

Jocasta: Right. Again, that’s fair. That’s fair. I just needed someone to say that.

Marshall: No, it’s cool. So you go on in there. We’ll be in the other room. We’ll have Roger in there with you. Just as muscle. Archie and I will be on the other end of the mic.

At the URIEL offices, Sophie sits alone at her desk, reviewing various trade papers and music journals for more information relevant to the Mansa probe. Mitch arrives and Sophie greets him. “I'm glad you're here,” she says. “If you could stick around for another hour or so, the folks from Granite Peak are inbound from SFO, so if you wouldn't mind just kind of hanging out and, uh, I'm going to try to raise Mr. Ransom and Dr. Redgrave on the car radio just to let them know they’re heading here.” Mitch says sure. About an hour later, someone knocks at the door. On the other side are two people. The first is a middle-aged woman, reminiscent in a way of Sheila Ostrander and Lynn Schroeder, dressed conservatively with a … white labcoat over her “regular” clothes. Accompanying her is a child. A girl. A young girl, about six years old, with roughly-cut blond hair, darkly dressed in a sort of gender-ambiguous way (black t-shirt, gray kids’ slacks, flats with no laces).

The older woman extends a hand. “My name is Dr. Haynes. I’ve brought the device that was requested as well as Charley here, who will be helping you out with deploying it.” Sophie pauses a moment and then says, “Sure, Dr. Haynes. Charley, was it?” Charley responds with a monotone, “Yes.” Sophie invites them in and introduces Mitch. Mitch does not say anything. He is extremely taken aback by this development, and obviously quite uncomfortable. Dr. Haynes explains that the device and “Agent Helix” have been assigned to URIEL for this mission. Once it is completed, both will be returned to Granite Peak. Sophie narrows her eyes and says, “Agent … Helix?” Dr. Haynes says, yes, “Agent Helix — she has been trained in the complete SANDMAN regimen.” Mitch furrows his brow and attempts to reads Dr. Haynes’ and Charley’s auras.

Returning to the Barn, Roger and Jocasta enter Keiner’s room, Roger wearing an earpiece with a connection to the observation room in case he needs to relay information between the two sides. Jocasta takes a seat.

Keiner: So. Who am I talking to here? And what do you want?

Jocasta: I hope you’ll respect me enough to know that I’m not going to answer the first question.

Keiner: Alright. Then what do you want?

Jocasta: (placing his sketchbook on the table and flips it open to a few of the half-formed Anunnaki glyphs; she lights a cigarette and points to a few of them with it) Let's talk about these.

Keiner: (in a dreamy, sing-song-y voice) Why didn’t you just … why didn’t you just let the House of God take you where it wanted yesterday?

Jocasta: Where’s the House of God taken you?

Keiner: It has taken me places you cannot even dream of. And not just me. Many cute young things walked my way before you came into my life. They've all seen the other world.

Jocasta: Hm. I’m sure you’re hoping that even more people will get to see that other side when the concert happens?

Keiner: Oh! You know about Mansa. They are not the only cuckoos out there. Do you know how many people look at my art? How many young American teenagers stare into it? Do you know that nothing is going to stop this? And why would you want to?

Jocasta: Well, maybe we don’t. Maybe we want to help you.

Keiner: I don't believe that. I have an inkling of who you are. That first question I asked? I think I know.

Jocasta: Well that's fair. So, if you know who we are, you know that you're going to answer our questions one way or another.

Keiner: Of course. You know all the techniques. But for some reason you don’t give proper thanks to those who taught them to you.

Jocasta: And where did you learn these little designs? Doesn’t look like you fully mastered them yet.

Keiner: (scoffing) I don’t think you’re one to judge my artistic ability.

Jocasta: Oh, my mistake.

Keiner: It's just that these shapes don't look the same to our eyes as they do to theirs. They're difficult to write.

Jocasta: Oh, yes. I’m sure. I mean, what looks like an amateur effort to me I’m sure would work on a lot of other people. After all, your installation didn’t affect me either but I don’t know, maybe you need to check in with whoever you’ve been learning from.

On the other side of the one-way mirror, Archie and Marshall exchange barbs:

Rob: Archie's looking Marshall over, asks: "So it looks like you had an early flight back?"

Brant: Once they're alone, he'll light a cigarette. "Yeah, yeah, a few of us — we were all coming back this way, so we, uh, took the same jet up," looks at his watch, "landed at 5 am. Anyway then we had the drive out here — I don't know why we couldn't do this at the wharf — so yeah I'm a little tired, why do you ask, Archie?" A bit suspicious sounding, Marshall knows a passive-aggressive question when he hears one.

Rob: "If you're not up for this, or you need to head home, rest up a bit, you know that's AOK."

Brant: Deep inhale of the cigarette, "My man, I spent 8 years in 'Nam asking fuckers who didn't even speak English questions on less than no sleep you think I can't handle one Hollywood party? Anyway, this'll work, you'll see."

Rob: "That's all very well, but I don't know that Jocasta is trained for, ah, this sort of thing."

Brant: "Shh! Shh! She has him talking. Are we recording this? See I told you, she could. Germans can't resist California girls."

Rob: Archie's pacing nervously but letting this play out.

At the URIEL offices, Mitch peers into the auras of those around him. He is unable to pick up any aura on Charley. He discerns that the woman, Dr. Haynes, is in her late 30s or early 40s, in fine health, but emotionally she is consumed by fear. Pure fear. And that fear is directed at the child, Charley. As he stands there staring, Dr. Haynes kneels down next to Charley and says:

Now, we’ve gotten you ready for this day. It’s time for you to graduate. It’s time for you to be outside the academy. And it’s time for you to help the Project, OK? You’re not going to have anybody standing around you. You’re not going to have anyone pressing on you, telling you where to go. You’re going to help these nice folks out for the next few days and then you’ll come back to the academy. We’ll talk a little bit about whether this field trip went well for you, OK?

Charley asks: “Can I have my headphones?” Dr. Haynes nods and says yes, they’re right there in her bag. Sophie sort of balks and asks where Charley will sleep while she’s here. Dr. Haynes suggests that they use the guest quarters. Sophie stammers, “Right, well, I know, but … she’s, she’s …” Dr. Haynes cuts her off: “What I am telling you is that Charley here is perfectly capable of taking care of herself. She has a super-genius IQ. She’s self-sufficient. As long as she has a place to sleep and a place to work, she will be fine.” Sophie asks Charley what she means by “a place to work, like a lab?” Charley responds, again in monotone: “If you have one.” Sophie sighs, a bit exasperated, and says she will get to work setting Charley up. “It’ll take a little while, but I’ll get working on that, OK?” Charley responds, seemingly bored: “OK.” Dr. Haynes looks at Sophie quizzingly and says, “You know we have a protocol for this?” Sophie rolls her eyes: “I know that but this is a very new program and you’ve kind of sprung things on us.” As all this transpires, Mitch just stares on, absolutely aghast at the situation.

Dr. Haynes leaves. Sophie turns to Charley and asks if she wants to … watch some television? Mitch pipes up: “Do you want some breakfast?” Charley says sure. Sophie says, “I’ll go,” and races off for the commissary, leaving Mitch alone with Charley.

At the Barn, Jocasta spends some time playing into Keiner’s ego and insecurities before leaning forward and saying: “Look, Sebastian. I know that you've just been hoodwinked by somebody else. The quality of this work is just … I believe you, that you weren't in charge, that this isn't all your idea. So if you tell me now, we can go easy on you. Because believe me: the people back there? They don't understand you like I do.” She then abruptly gets up and leaves the room.

Brant: Once they're all in the room, Marshall will be effusive with Jocasta, give her a big hug and a namaste bow.

Bill: Roger keeps mostly quiet. He pulls out his bowie knife.

Rob: "That went very well, Jo. How are you doing?"

Leonard: "I'm all right. This one's a real piece of shit, he's getting off on the power trip — but he also doesn't know as much as he's letting on. He's protecting someone, keeping someone out of the picture, and that someone has as much or more to do with this as he does. Also, Moore and his people … I think they're pawns. They're being manipulated, or at least they don't know as much about what they're doing than Keiner. I think he found them."

Brant: "Far out! Yes, exactly what I was thinking. Jo, how good are you at hypnotism?"

Bill: Roger mutters something like, "oh, sure, white guy in charge, band just ignorant savages..."

Leonard: "I had some basic hypnotism training in the Guard, and I've tried to keep in practice. I'd say good, but not great."

Brant: "OK! Great. Roger could you run out to my car and grab my bag?"

Bill: "Sure."

Leonard: She glances quickly at Roger and says, "Would you rather they were in on it completely? You want them to be as guilty as this asshole? And Marshall, go get your own bag."

Bill: "No point in messing up the artiste." Roger goes.

Brant: "I told you she could do it, Archie! Ha! Hot damn, haha!"

When Roger returns, Marshall prepares a syringe of sodium thiopental and a dropper with LSD. He then hands it off to Roger with a knowing nod. Roger narrows his eyes: “So glad to be your hands, doctor.” Marshall, smirking: “Well, they are a doctor’s hands.” Entering the room, Roger lays out the tool of Keiner’s torture in dramatic fashion. He picks up one of Keiner’s sketches and, drawing his bowie knife from his belt, cuts it in half, allowing the two pieces to fall to the ground. He then injects the syringe into Keiner’s arm and drops the LSD into his eyes. Roger leans against the wall as the drugs take hold. Keiner, muttering and shaking his head: “I'm gonna miss the concert. I’m gonna miss the concert. They won't be able to do it without me. They'll mess it up. You have to let me go. I have to go. Please.” Over Roger’s earpiece, he hears Archie tell him to ask Keiner what is going to happen at the concert. Roger conveys the question. Keiner slurs, his German accent getting stronger: “Do you like da funk music?” Roger nods. “Do you like da Mansa?” Roger says, sure.

Keiner: Then you have to make … you have to make sure the tapestry gets unrolled. When the first song starts. You have to make sure of it! Don’t let my work got to waste!

Here, Roger grabs another sketch and slices through it with his knife. Keiner begs him to stop.

Roger: So you’ve got a tapestry?

Keiner: They have it. The band has it. They are going to roll it out at the show. The tapestry is my … that painting. I spent so long on the other side to make it look accurate. To make it look like the world we want this world to be.

Roger: What “we,” white man?

Keiner: Me. Me and the band. Mansa.

Roger: If they really knew what you were trying to do, they wouldn’t be —

Keiner: I haven’t — the band has never been to the other side, understand? But they know what it’s like. They want to help.

Over the radio, Marshall tells Roger to ask how he first made it to the “other side” himself. Roger conveys the question.

Brant: "Hmmm, DMT?"

Rob: "Hmmm, Stasi? Communists! I knew it!"

Brant: Marshall is sweating a bit now. He takes off his tuxedo jacket.

Rob: Now it's Archie's turn to feel triumphant (and proud of Roger).

Keiner: It never lasts very long … about the length of a DMT trip. Five, ten minutes. You make your way through the curtain of undulating geometry and on the other side is their world.

Roger: Who do you meet on that side?

Keiner: All sorts of wonderful angels.

Roger: You still talk to the angels on your radio?

Keiner: (scoffing) That’s just to talk to the Stasi. That’s not … that’s nothing to do with this. This is my real work.

Roger: Where do you get the DMT from? Who’s your supplier, man?

Keiner: You don’t need the drugs to make it to the other side. But it helps. There are labs in the Soviet Union and Czechoslovakia … they make chemicals that make it easier to make contact. The drugs in your country are pretty bad.

Marshall orders Jocasta to go back in and show him the number pads. She does, tossing them on the table in front of him. “I have to report in! I’m doing other work here, you understand? Trying to foment …” he stammers, but Marshall can tell that he’s breaking apart. The drugs are making him confused, and while he’s trying to be honest, he can’t hold onto a single train of thought. Plainly, he is serving two masters: Warsaw Pact intelligence and the Red Kings. “I have other purposes here,” Keiner continues, “Propaganda purposes. Recruitment purposes. All I really want is to help the oppressed people of this country rise up. Your people!” He says this in dramatic fashion, nodding toward Roger. Roger sneers: “Oh, don’t get into that with me. You don’t want us to rise up. You just want us to be fodder. I’ve heard this 100 times before. You don’t know who I am. You never will. You rat commie bastard.” Keiner starts to freak out, eyes darting around, sweating, stammering. The trip has gone bad.

Bill: As Roger and Jo were "wrapping up" at the end of the "night", once everyone's cleared out, Roger would add a quick, "Hey, Jo, about Marshall's bag — thanks for noticing. Don't worry, I'll let you know if it's worth pushing them."

Archie summons Roger and Jocasta back into the observation room. The team discusses what to do. Archie says he’s not surprised to find that the Communists are behind this. Jocasta says that Keiner is obviously a patsy for the Anunnaki, and shows the team the half-finished glyphs she took from Keiner’s bungalow. After some discussion, the team determines that the best course of action is to call Granite Peak and have them send a team to retrieve Keiner for further interrogation. Archie and Marshall evaluate Keiner’s glyphs and conclude that they were intended to create a different brain-state in whoever views them. Not as powerful as a “standard” glyph — they do not trigger pleasure like the elation glyph, etc. — but they are adjacent to that. Marshall suggests that they seem calculated to induce a hallucinatory state, making the mind more suggestive or receptive to further manipulation, rather than triggering a specific reaction. Before calling a wrap, Archie raises the issue of the infrasonic device that Granite Peak is dispatching to Livermore for use in disrupting the Mansa concert. Roger volunteers to Renshaw some skills relevant to operating such a high-tech thing. Sophie can supervise that.

At Livermore, Mitch tries again to read Charley’s aura. No dice. He simply can’t. He’s starting to get freaked out. But he tries again! This time, he is dimly able to make out a color fluctuating around Charley. A color he’s never seen before: a deep chakra purple. After staring at her for a while, Mitch asks, sort of awkwardly, “So, uh, what grade are you in?”

Charley: Yeah. I liked school.

Mitch: Cool cool. Yeah. I liked school too. Um, yeah. So, are you done?

Charley: Yeah. They said that I was finished.

Mitch: Yeah, yeah. Yeah, sure. That sounds like … that sounds right. Um. You got headphones? Are you listening to something? The Archies? The Monkees?

Charley: Well, sometimes it’s just the programming that they have for me to listen to. But sometimes I listen to my own music.

Mitch: You’re a musician?

Charley: No. Sometimes I look into the music that I like.

Mitch: Oh. I’m not — OK, what music is that?

Charley: Have you heard of Kraftwerk?

Sophie returns from the commissary with several boxes of cereal. She, Mitch, and Charley sit down to eat. Mitch keeps trying to read Charley’s aura, staring at her in a totally not-creepy way while munching on his Frosted Flakes. Eventually, he succeeds: her aura is strong, quite strong, a deep charka purple and her emotional state is … happy? She is happy. A moment later, Archie and Roger walk in. Mitch immediately steers them into a side room.

Mitch: OK so there’s something that you should know. There’s a child now. They — they brought a child? Like, a little girl.

Archie: (delighted) Charley?! Did they bring Charley?!

Mitch: (utterly baffled) You know Charley?!

Roger: Wait, who is this?

Mitch: She’s like, yea tall (he sticks his hand out about 4 feet off the floor) and … with … with headphones?

Roger: She’s not yours?

Mitch: She’s Archie’s! Apparently! Archie! How do you know her?!

Archie pushes past Mitch and approaches Charley. “Charley! It’s so good to see you again! I don’t know if you remember me. My name is Archie. You helped us at the racetrack?” Charley greets Archie with a fairly chipper “Hi!” and says that yes, she remembers.

Archie: How are you doing? I've been thinking a lot about you since since we — since you helped us out. How are you?

Charley: I’ve been fine. It’s nice to see you again. And I’m really glad to be part of this mission. I didn’t know that you were going to be a part of it.

Archie: (looking at the infrasonic device she brought) And look at this! This is really something. Is this yours?

Charley: Well, uh, it’s not mine. But I know how to make it work.

Archie: You’re going to show us how to use it. That’s fantastic. That’s wonderful. I’m so glad you’re here. I’m so glad you’re here helping us out, Charley. Did they … are you hungry? Do you need anything to eat?

Without saying anything, Charley reaches in and hugs Archie around the waist. Archie gets a little choked up and returns the hug. While standing there, he makes eye contact with Sophie and says, sotto voce, “Where is she staying?” Sophie, in tears, says, “We’re going to get a room set up for her. And a little lab for her to work in.” She dabs her eye with a tissue and then excuses herself. Archie extricates himself from Charley and kneels down. He says to her, “Well, we have a room at our house,” referring to the literal room of his deceased son. From the doorway, Roger and Mitch exchange looks.