https://imgur.com/a/tdQ3mbH
All of these figs have been checked for damage and are in fantastic condition. I can be flexible if you buy a lot of figs at once so please DM me about any that you're interested in. Thanks!!
STAR WARS FIGS:
mace (sw0417) $10
hera (sw0576) $35
R7-A7 (sw0231) $45
clone wars dooku (sw0224) $20 each
inquisitor (sw0622) $45
satele shan (sw0389) SOLD
bib fortuna (sw0404) $25
vader (wrong head) $10
saesee tiin (sw0420) $35
kit fisto (sw0163) SOLD
chrome vader - no cape (sw0218) $350 - cheapest in U.S.
arc trooper (sw0377) SOLD
OG Obi-Wan (sw0135) $13
CW Obi-Wan (sw0449) $8
CW Yoda (sw0219) $4
OG C3po (sw0010) $5
jabba (sw0071) $23
Hoth Leia (sw0113) $5
tan geonosian (sw0381) $6
Prototype Boba (sw0631) $45
silver protocol droid (sw0789) $4
Commander Cody (sw0341) SOLD
paploo (sw0067) $4
OG Qui-Gon (sw0027) $5
boushh Leia (sw0407) $85
pilot Luke (sw0019) $5
Jar Jar (sw0017) $4
OG clone pilot (0118) $4
Brown uniform imperial (sw0623) $8
4x scout troopers: $20
3x stormtroopers: $15
2x shadow troopers: $16
2x sand troopers: $18
DC FIGS:
darkseid (sh152) $30
beast boy (sh198) $10
bane (sh062) $10
robin (sh200) $14
starfire (sh197) $15
dark knight joker (sh133) $80
two face (sh007) $15
grodd (sh147) $20
hawkman (sh154) $10
Dark Knight Batman (Sh132) $40
General Zod (Sh078) $2
MARVEL FIGS:
dr doom (sh052) $30
space iron man (sh229) $53
ronan the accuser (sh126) $48
yellow jacket (sh189) $13
ant-man (sh201) $13
deadpool (sh032) $32
cyclops (sh117) $19
iron spider (sh193) $14
magneto (sh031) $9
nova (sh051) $12
quicksilver (sh180) $50
LORD OF THE RINGS FIGS:
boromir (lor014) $33
haldir (lor020) $32
legolas (lor015) $15
meriadoc brandybuck (lor016) $47
peregrin took (lor012) $36
king theoden (lor021) $62
MISCELLANEOUS FIGS:
eruptorr (pm029) $40
Fangtom (njo049) $25
skales (njo040) $12

Key and explanation of periods where Juggernaut was stronger or weaker than normal

• [50%] Briefly lost half of his power after Black Tom absorbed it
• [X] Was made weaker by Cyttorak after deciding not to do his bidding anymore
• [T] Was made weaker by Cyttorak after he was angered by Juggernaut temporarily becoming Captain Universe
• [Kuurth] Became possessed by one of the Serpent's Asgardian Worthy named Kuurth after picking up his hammer
• [Once and Future] Had his power completely removed by Cyttorak but regained it after taking the place of an alternate universe Cain Marko, though it began to fade
• [Unstoppable] Was given more power by Cyttorak than he had given anyone else

Striking

• Punches through a row of logs - Uncanny X-Men #12
• Punches through a thick ice wall - Uncanny X-Men #12
• Slams the ground hard enough to knock out Cyclops and create sonic waves that cancel out Jean Grey's telekinesis - Uncanny X-Men #32
• Punches through a stone wall - Uncanny X-Men #32
• Creates an earthquake across a valley that causes a cliff to collapse by slamming the ground - Uncanny X-Men #33
• Punches through machinery - Uncanny X-Men #46
• Stuns Hulk with his blows - Hulk #172
• Punches Colossus through a stone wall - Uncanny X-Men #102
• Knocks out Wolverine with a backhand - Uncanny X-Men #102
• Punches the stone floor under Colossus hard enough to shatter it and knock him into the air - Uncanny X-Men #102
• Punches through a metal wall and shatters the granite wall behind it with the shockwave while knocking out Nightcrawler - Uncanny X-Men #103
• Knocks out Spider-Woman with a slap and a punch - Spider-Woman (1978) #37
• Swats a car out of his way and crumples the fender of a semi truck with a punch - Amazing Spider-Man #229
• Punches through and smashes apart a door sheathed in steel - Amazing Spider-Man #229
• Backhands a 3 ton steel ball thrown at him by Spider-Man through a building, causing its side to collapse - Amazing Spider-Man #230
• Warps a pile of steel girders with a punch - Amazing Spider-Man #230
• Punches Spider-Man several times at awkward angles and severely injures him - Amazing Spider-Man #230
• Punches Colossus through a wall and incapacitates him - Uncanny X-Men #183
• Incapacitates the Thing in three hits - Secret Wars II #7
• Backhands Rogue across Edinburgh and through a stone wall - Uncanny X-Men #218
• Punches Captain Britain through hundreds of meters of ground and incapacitates him with two more strikes - Excalibur (1988) #3
• Sends Thor flying through a concrete wall with a backhand - Thor #411
• Incapacitates Doctor Strange with a kick and a punch while weakened - Doctor Strange (1988) #44
• One-shots Ajax, Ulysses, and Hector - The Incredible Hulk: Mayhem at the Mount #1
• Knocks out Professor Hulk after a prolonged fight while not wearing his armor or helmet - Hulk #402
  • Professor Hulk was strong enough to punch through doors capable of withstanding a nuclear blast - Hulk #410
• Levels a building with a punch - Deadpool: The Circle Chase #2
• Fights Venom three times in three days and overwhelms him in the exchange of blows, except for their last encounter - Venom: The Madness #1-3
• Knocks Storm out of the air with a thunderclap - X-Men Premium Edition #1
• Shatters rock and knocks the All New Exiles into the air with a stomp - The All New Exiles (1995) #Infinity
• Punches through a metal water skimmer and knocks out Bishop - Uncanny X-Men #334
• Knocks out Gambit with two fingers - Uncanny X-Men #334
• Punches War Hulk through several cars - Hulk #457
• Punches Post-Crisis Captain Marvel Jr. into the street hard enough to shatter it - Unlimited Access #3
• Punches Thor through a brick wall - Thor (1998) #17
• Embeds Stonecutter's head in machinery with a punch - Juggernaut (1999) #1
• Sends his fellow Exemplar Bedlam flying across a glacier with a backhand - Juggernaut (1999) #1
• Incapacitates his fellow Exemplars Conquest and Carnivore with a couple blows - Juggernaut (1999) #1
• Splinters apart the God Machine and the glacier it was on top of in an exchange of blows with Stonecutter and overpowers him - Juggernaut (1999) #1
• Knocks out Generation X with a thunderclap - Generation X (1994) #61
• Knocks down Cyclops with a thunderclap - Cyclops (2001) #1
• [X] Punches through Iceman's ice barriers - Uncanny X-Men #411
• [X] Levels a house with several punches - Uncanny X-Men #416
• [X] Hits Puck into the ground hard enough to crater it and knock him out - Uncanny X-Men #422
• [X] Punches Sasquatch through a police car - Uncanny X-Men #422
• [X] Shatters the arm of a golem made from the earth with a punch - Uncanny X-Men #422
• [X] Catches a punch from Exiles Mimic in his hand and hurts him with his own punches - Exiles (2001) #28
• [X] Shatters a wall with a punch - Uncanny X-Men #429
• [X] Punches Sasquatch through a house - Uncanny X-Men #433
• [X] Knocks Vindicator through a house - Uncanny X-Men #434
• [X] Punches Guardian through a tree - Uncanny X-Men #434
• [X] Punches Rhino into a concrete wall hard enough to shatter it - Uncanny X-Men #435
• [X] Punches down a metal door - Identity Disc #4
• [X] Breaks a giant Collective Man’s leg with a punch - X-Men (1991) #160
• [X] Knocks out Avalanche and dents his metal helmet with a backhand - X-Men (1991) #162
• [X] Punches the ground to get to someone buried deep underneath it - X-Men (1991) #162-163
• [X] Knocks out Spiral with a punch after being de-aged into a child - Uncanny X-Men #461
• [X] Shatters a thick stone wall with a punch - New Excalibur (2006) #3
• [X] Punches Earth 6141 Iceman into a chunk of ice hard enough to shatter it and knock him out - New Excalibur (2006) #3
• [X] Punches Captain Britain through a wall and drops him to his knees - New Excalibur (2006) #8
• [X] Knocks out Black Knight with a tap to the head - New Excalibur (2006) #9
• [X] Nearly beats another Juggernaut to death - New Excalibur (2006) #15
• [X] Knocks out Earth 6141 Beast in a couple punches - New Excalibur (2006) #20
• [X] Hurts Albion with a punch - New Excalibur (2006) #20
  • Albion and Captain Britain shattered windows across London from the shockwaves of punching each other - New Excalibur (2006) #5
• [X] Causes World War Hulk spit blood with a punch - World War Hulk: X-Men #2
• Punches a force field hard enough to create earthquakes registered at magnitude 4.6 and 8.0 - Hulk #602
• Overwhelms Skaar in an exchange of blows - Hulk #602
• [T] Collapses a large cavern - Thunderbolts #147
• [T] Scatters Veil in her gas form with a thunderclap - Avengers Academy #4
• [T] Shatters a rock wall with a punch - Thunderbolts #149
• [T] Hurts Thor with a punch - Thunderbolts #150
• [T] Pummels King Hyperion into rock hard enough to make him spit blood - Thunderbolts #153
• [T] Nearly beats an immobilized King Hyperion to death - Thunderbolts #153
  • King Hyperion was only briefly knocked out after Exiles Mimic flew into him at half the speed of light - Exiles (2001) #64
• [T] Shatters a large metal door with a strike - Thunderbolts #156
• [Kuurth] Destroys more than half of the Raft island prison with a strike - Fear Itself #2, Thunderbolts #158
• [Kuurth] Knocks away the Thunderbolts and craters the ground with a strike - Thunderbolts #160
• [Kuurth] Punches Moonstone miles away - Thunderbolts #160-161
• [Kuurth] Strikes the ground hard enough to create a massive crater and a tremor registered at magnitude 0.6 - Thunderbolts #160-161
• [Kuurth] Knocks a tank and Humvee into the air with his strikes - Fear Itself: The Home Front #3
• [Kuurth] Levels Salem Missouri with a strike - Fear Itself: The Home Front #3, Fear Itself: Youth In Revolt #3
• [Kuurth] Knocks Rage into the Stratosphere tower hard enough to fracture it - Fear Itself: Youth In Revolt #3
• [Kuurth] Creates shockwaves that destroy a gas station by striking the ground - Uncanny X-Men #540
• [Kuurth] Shatters a highway with a strike - Uncanny X-Men #541
• [Kuurth] Cracks Colossus's skull with a strike after he absorbed the power he had from Cyttorak - Uncanny X-Men #542-543
• [Kuurth] Colossusnaut's bones crumble when he punches him - Uncanny X-Men #543
• Knocks out Ragnarok in several punches with the help of Mister Hyde - Dark Avengers #182
• [Once and Future] Punches Man-Killer through a stone wall - Amazing X-Men (2014) #17
• [Once and Future] Makes Colossus spit blood with his punches and overpowers him - Amazing X-Men (2014) #17
• [Unstoppable] One-shots the Living Monolith - Amazing X-Men (2014) #18
• [Unstoppable] Slams the ground hard enough to create a massive crater - Amazing X-Men (2014) #19
• [Unstoppable] Punches Colossus through a forest and breaks several of his ribs - Amazing X-Men (2014) #19
• [Unstoppable] Punches through the hull of a ship and causes it to start sinking - X-Men: Blue (2017) #1
• [Unstoppable] Knocks Jean Grey and a metal railing into the air with a stomp - X-Men: Blue (2017) #1
• Shatters a block of ice he was encased in with a punch - Iceman (2017) #5
• Slams the ground hard enough to crater it and scatter the Avengers Unity Squad - Uncanny Avengers (2015) #28-29
• Punches through a magic shield created by Brother Voodoo - Uncanny Avengers (2015) #29
• Causes Thor to spit teeth with his punches - Thor (2018) #1
• Splatters a Dark Elf with a punch - Punisher Kill Krew #4
• Punches through some Asgardian creature - Punisher Kill Krew #4
• Works in shifts with the Punisher and Black Knight to break through a massive tunnel that had metal walls dozens of feet thick by punching and cutting them with swords, respectively - Punisher Kill Krew #4
• Punches through the head of a Frost Giant - Punisher Kill Krew #4
• Punches through Magneto's clone Joseph's force field - Uncanny X-Men (2019) #16
• Punches Blockbuster into a subway car hard enough to crumple it - Uncanny X-Men (2019) #18
• Backhands Fabian Cortez through a stone pillar - Uncanny X-Men (2019) #20
• Slams the floor of a building hard enough to knock large pieces of concrete into the air - Juggernaut (2020) #1
• Knocks out Immortal Hulk after a prolonged fight with the help of D-Cel and a gamma radiation siphon - Juggernaut (2020) #1
• Shatters a metal vault door - Juggernaut (2020) #4
• Splatters Primus with a thunderclap - Juggernaut (2020) #4
• Slams the ground hard enough to knock police cars into the air - X-Men Unlimited Infinity Comic #13
• Flattens Deadpool's head with a punch - X-Men Unlimited Infinity Comic #14
• Hurts the Human-Adaptoid with a punch after he turned his body into steel - X-Men Unlimited Infinity Comic #20
  • The Human-Adaptoid had the powers of a hundred superhumans - X-Men Unlimited Infinity Comic #16

Lifting, pushing, pulling, throwing, grip, etc.

• Snaps a steel cable as if it were paper - Uncanny X-Men #12
• Pushes back Cyclops optic blast as though it was a solid thing - Uncanny X-Men #12
• Sweeps the O5 X-Men aside - Uncanny X-Men #12
• Makes handholds in a solid wall of earth - Uncanny X-Men #13
• Severely injures Beast with his grip and disables his leg with a chop - Uncanny X-Men #13
• Rips apart a metal pole and propeller - Uncanny X-Men #13
• Sends a stack of crates flying into Angel hard enough to knock him out - Uncanny X-Men #32
• Rips apart a helicopter piece by piece - Uncanny X-Men #33
• Causes an energizer to explode and create shockwaves that knock out Jean Grey and Cyclops by clogging its air intake - Uncanny X-Men #46
• Shoves part of a chunk of ice encasing him into Iceman hard enough to knock him out - Uncanny X-Men #46
• Rips up part of the ground and throws it into Angel hard enough to knock him out - Uncanny X-Men #46
• Pulls Hulk's head from behind and starts to break his neck, though he overpowers him due to getting angry - Hulk #172
• Hurls Storm's lightning bolt back at her after getting hit by it - Uncanny X-Men #102
• Rips out and throws part of a stone wall - Uncanny X-Men #103
• Tears apart a solid concrete wall reinforced with steel - Spider-Woman (1978) #37
• Grabs Colossus from behind the hull of a ship and pulls him through it - Spider-Woman (1978) #38
• Crushes a solid steel hatch cover - Spider-Woman (1978) #38
• Grabs Spider-Man's arm with one arm while it was behind his back and holds him in place - Amazing Spider-Man #229
• Rips down a wall - Amazing Spider-Man #229
• Shoves a bus out of his way - Amazing Spider-Man #230
• Crumples a steel girder - Amazing Spider-Man #230
• Rips off and lifts the corner of a building - Amazing Spider-Man #230
• Rips out a bar counter and swings it on top of Colossus - Uncanny X-Men #183
• Pulls down a wall and causes a building to collapse - Uncanny X-Men #183
• Lifts a tank by its turret and swings it onto another tank hard enough to wreck both of them - Marvel Team-Up #150
• [50%] Black Tom with half of his power suplexes a building - Marvel Team-Up #150
• [50%] Throws a car into Colossus hard enough to make him drop Spider-Man - Marvel Team-Up #150
• [50%] Starts crushing Rogue with a bear hug - Marvel Team-Up #150
• Throws the Crimson Gem of Cyttorak into orbit - Marvel Team-Up #150
• Throws several cars in quick succession - Uncanny X-Men #218
• Pulls down a building - Uncanny X-Men #218
• Rips apart a concrete wall and tanks - Excalibur (1988) #3
• Throws a car and bus at Thor - Thor #411
• Throws a boxcar into a weakened Thor hard enough to hurt him before lifting another one and ramming it into him - Thor #411
• Shatters an iron rail wrapped around him - Thor #412
• Sends a pile of debris created from two boxcars getting thrown into him flying with a shrug - Thor #412
• Shatters a steel cocoon encasing him - Thor #412
• Rams a stone pillar into Thor hard enough to make him drop his hammer - Thor #429
• Hurts Achilles with his grip - The Incredible Hulk: Mayhem at the Mount #1
  • One of Achilles powers is invulnerability - Hulk #381-382
• Knocks away Professor Hulk, Spider-Man, and Wolverine - The Incredible Hulk: Mayhem at the Mount #1
• Knocks Hercules and Vision into the air by throwing Professor Hulk through them and a couple other Avengers - Hulk #404
• Rips a fire truck in half - Thunderstrike (1993) #2
• Swings a robot dinosaur by the tail into a destroyed one hard enough to wreck it - The All New Exiles (1995) #Infinity
• Sends tanks flying with a swipe of his arm - The All New Exiles (1995) #1
• Holds up a collapsing building - The All New Exiles (1995) #3
• Grapples with Prime and overpowers him - The All New Exiles (1995) #4
  • Prime was strong enough to fly miles underground and unharmed from a nuclear warhead exploding next to him - Prime (1993) #9
• Wrecks a building and flips and throws cars during a rampage - X-Men Unlimited (1993) #13
• Wraps a truck around someone - Juggernaut (1997) #1
• Halts a steamroller and throws it into Beast hard enough to knock him out - Professor Xavier and the X-Men (1995) #14
• Rips up a massive chunk of the street and throws it into a SWAT van hard enough to crumple it - Spider-Man (1990) #84
• Throws a truck through a building while weakened - Uncanny X-Men #361
• Rips off and swings the corner of a building while weakened - Uncanny X-Men #361
• Throws a bus into a building - Thor (1998) #17
• Starts crushing Thor with a bear hug - Thor (1998) #17
• Rips down a metal wall and throws it into his fellow Exemplar Decay hard enough to knock him out - Juggernaut (1999) #1
• Throws Monet/Penance off of him - Generation X (1994) #61
• Grabs onto some rock and keeps himself, Toad, and Mystique from being pulled in by the force of a vacuum - X-Men Forever (2001) #6
• Restrains Hulk - Defenders (2001) #10
• [X] Throws Wolverine from the ground to a plane in the clouds - Uncanny X-Men #412
• [X] Throws rocks through a stone wall - Uncanny X-Men #416
• [X] Rips out a concrete wall - Uncanny X-Men #420
• [X] Swings a tree into Polaris hard enough to knock her out - Uncanny X-Men #426
• [X] Throws a car into Guardian hard enough to knock him through a house - Uncanny X-Men #433
• [X] Tears apart Guardian's armor - Uncanny X-Men #434
• [X] Piledrives Rhino into a concrete floor hard enough to shatter it - Uncanny X-Men #435
• [X] Swings a sign post into someone with the full power of the Juggernaut hard enough to knock them through a building - Uncanny X-Men #436
• [X] Rips off the helmet of someone with the full power of the Juggernaut - Uncanny X-Men #436
• [X] Lifts and tosses a huge metal beam - Uncanny X-Men #442
• [X] Fractures a giant piece of concrete with his grip and pushes it out of his way - Uncanny X-Men #442
• [X] Lifts several tons on an X-Men weight machine, though he struggles while not even at Colossus-level - X-Men (1991) #157
• [X] Pushes a tank onto its back - X-Men (1991) #160
• [X] Tears apart Black Tom - X-Men (1991) #162
• [X] Swings Mammomax through three trees and into the ground hard enough to crater it and knock him out - X-Men (1991) #164
• [X] Lifts and throws Mojo's Exiles using a curtain after being de-aged into a child - Uncanny X-Men #461
• [X] Flexes out of ice that was covering him - New Excalibur (2006) #2-3
• [X] Breaks out of some crystal the Warwolves encased him in that they thought would stop him - New Excalibur (2006) #4-5
• [X] Wraps some metal beams around the Warwolves - New Excalibur (2006) #5
• [X] Lifts a train car - New Excalibur (2006) #6
• [X] Holds onto a metal beam with his fingers while being dragged underground until it snaps in half - New Excalibur (2006) #7
• [X] Overpowers mechanical tendrils that dragged him through a metal beam - New Excalibur (2006) #7
• [X] Swings a dragon-like alien into another alien - New Excalibur (2006) #12
• [X] Throws a bus off of him and into the Wrecker hard enough to knock him out - New Excalibur (2006) #13
• Breaks the neck of his predecessor as the Juggernaut - New Excalibur (2006) #15
• Straightens a steel girder wrapped around Spider-Man to free him - Amazing Spider-Man #628
• Temporarily restrains Captain Universe - Amazing Spider-Man #628
• [T] Pushes a boulder into a large human mutated by the Terrigen Mists to crush them - Thunderbolts #147
• [T] Knocks down and warps a metal door by shoving it - Thunderbolts #147
• [T] Crushes the head of 20 Hand ninja that joined bodies with one arm - Thunderbolts #148-149
• [T] Lifts a few tons on a weight machine - Thunderbolts #150
• [T] Pins down Luke Cage - Thunderbolts #150
• [T] Throws a boulder - Thunderbolts #151
• [Kuurth] Shrugs Colossus off of him - Uncanny X-Men #541
• [Kuurth] Magneto can't stop his hammer after he throws it despite it being made of metal - Uncanny X-Men #541
• [Once and Future] Breaks free of ice covering his legs - Amazing X-Men (2014) #17
• [Unstoppable] Flexes out of ice covering his legs and chest - X-Men: Blue (2017) #1
• Lifts a carousel - Iceman (2017) #5
• Throws a car over his shoulder - Uncanny Avengers (2015) #29
• Rips off an icicle the size of a person and throws it through a Frost Giant - Punisher Kill Krew #3
• Swings an Asgardian dragon by the tail and into the ground hard enough to crater it - Savage Avengers (2019) #14
• Throws a large piece of concrete through Quicksand's neck - Juggernaut (2020) #3
• Pulls the Lizard and Grey Gargoyle off of Spider-Man and tosses them away - Sinister War #4
• Digs a large hole through the ground and a metal roof - Legion Of X (2022) #5

Hello, wanted to get some advice on my upcoming trip, we're moving from Kentucky to Oregon (2000+ m).
We'll be driving our Subaru Outback 2016 because we have pets. I'm looking at those u-haul pods that they ship out to move the majority of our stuff.
The biggest issue I have now is our second car, a Ford Escape 2005. Ideally I'd like to bring it with us, having a second car in Oregon would be best for our needs, but we're looking for a solution that doesn't involve us driving separately for the whole trip.
I was considering renting a car-hauler and towing the Ford behind the Subaru, but I see that it's over the recommended towing capacity. How bad would it be to try this?
Car moving companies are too expensive, wanted to ask if anyone else had experience with this or know of other methods for moving a second car affordably, any private drivers for hire etc.?

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Like I said I signed a lease to move in on the fifth of next month. My lease on my old place expires today (the 31st). Extending it is not an option. I was gonna crash at a friends place for five days rented a U-Haul for that time. Got a call from my new landlord that a plumbing issue arose and it will not be livable till the 26th. So now out like 400 for a U-Haul and have no place to stay. Do I have any legal options here or am I SOL. Live in Tennessee if that helps any.

I was reading through this section of Mason & Dixon and I realized that it would make an absolutely bonkers beginning to a movie. I decided to write it up for fun. I moved things around and retouched certain things as you might with a movie script. I realize this post is thorough proof of my insanity.
---------------------------------------------------------------------------------------------------------------
page 132 near bottom beginning "after all, what's being confin'd upon the Summit of a living Volcano" continuing to 134 "an instance of extra-terrestrial Plantation"
Scene 1 St. Helena circa 1730s: The camera races across a dark ocean at some point past sunset as this section of the text is narrated, ahead a dark shape looms (the island). There is no sound from the wind since the camera is utterly given over to it. Maskelyne and Mason are standing on a ridge outside the astronomy hut, though we cannot see them yet, we can hear their conversation as the camera approaches on the wind from afar. The moment the mysterious void envelopes them "till at length rolling overhead" the camera reaches overhead of Mason and Maskelyne. With Maskelyne looking past the camera in rapture, a terrific rainstorm begins. The scene continues on as they race around the hut shuttering open windows until they both sit down to drink. They discuss St. Helena as essentially an alien planet itself, and St. Helena is portrayed as like so many colonized planets in scifi, a property to be exploited and possessed in a desperate escape from the center..
​
page 134 beginning "One cloudless afternoon.." continuing to 135 "How soon is this that we are talking about?"
Scene 2 Mason and Maskelyne at the dying Orange Grove On St. Helena: Maskelyne ruminates about the end of the world. Visually the shot conveys this imagery "Houses with red Tile roofs preside over small Valleys, the Pasture lying soft as Sheep, -- all, with the volcanic Meadow where the two stand, circl'd by the hellish Cusps of Peaks unnatural, -- frozen in mid-thrust, jagged at every scale". This serves to further clarify that the location is St. Helena. Maskelyne portrays St. Helena as alive and cursed.
​
--- Some segway of Mason wondering how Dixon is doing brings us to Cape Town ---
​
page 154 beginning "I am done with that. I am a Farmer now." continuing to 154 "then enlarg'd the Hole myself"
Scene 3 Cape Town Dixon in the brothel with a former cop: An unhinged former police officer of the dutch slave colony talks about "escaping" what he perceives as colonialism to Dixon as they get drunk. This scene is connected to Scene 4 by slightly compressing things so that Dixon sees Vroom stumble out just as the cop finishes his narrative with "then enlarg'd the hole myself". Dixon drags Vroom out into the early morning.
​
page 155 beginning "Dixon returns to the Vroom residence" continuing to 155 "as likely as the next to hold a chance of ruin"
Scene 4 Cape Town returning to the Vroom residence: Dixon stumbles back into the Vroom house early morning, both disheveled, Vroom clearly very drunk and barely able to stand. Some of the daughters are awake in the house and give them side eye without addressing anything directly, the weight of the atrocity and sin at capetown permeates everything. The camera raises up to the window of one of the girls who is still asleep (maybe Greet?) and enters her dream.
​
page 155 beginning "In their Dreams they ever return to Prisons of Stone" continuing on to 155 "the traditional name, here, for an elder Brother"
Scene 5 The Dream and The Clock: "In their Dreams they ever return to Prisons of Stone, to Gates with Seals 'tis Death to break, the odor of soap and Slops, the Stillness of certain Corridors, the unchallengeable Love of a Tyrant, Yellow Light from unseen Watch-Fires flickering upon the Wall, and unexpectedly, rounding a particular Croner, to the tall Clock from Home, ringing the Quarter-Hour." There is a sequence of shots that roughly conveys the above imagery and ends with the girl rounding a corner to see the Vroom Clock (like a grandfather clock). The girl approaches the clock in rapture as the camera zooms slowly in, the clock "stands deep in the House, in a passageway between the Front and the Back,--- the two Worlds". The ticking becomes louder. The shot ends with her reflection in the glass panel of the clock, the next scene begins with a similar profile shot of her face.
​
page 155 "When Mason and Dixon arriv'd with the Elliot Clock" continuing on to 156 "Go carefully"
Scene 6 Greet Warns Dixon About Clocks: Scene involves Greet and Mason alone in a side room in the Vroom house, this scene could be connected to Scene 5 by suggesting it is a further extension of the dream. Greet warns Mason for his own safety to keep the state secret of his accurate clock from the Dutch and its use to find a method of determining latitude a secret. She may be trying to seduce him but she might also just be using the cover of trying to seduce to genuinely warn him of a danger to his life.
​
page 156 "Down in the Castle" continuing on to end of chapter
Scene 7 Zoom Out On The Ticking Time Bomb Of Cape Town: Narration here is accompanied by scenes that might involve showing interrogations, perhaps a montage showing multiple brutalities all with the camera focused on a clock in the corner, steadily dividing reality into a European colonialism... Scene 6 and Scene 7 could involve visual motifs on clock faces. A file by Dutch police on Mason is maybe shown.
​
--- Some segway of Dixon wondering how Mason is doing brings us back to St. Helena ---
​
page 160 beginning "I was out upon the Cliffs today" continuing to 162 "with all finer Motions lost in that Simplicity"
Scene 8 Back To St. Helena, The Ghost Of Dieter: The ghost story of Dieter is described here, the scene cuts between Maskelyne trying to talk Dieter back from jumping off the sheer cliff and Maskelyne describing it later to Mason. The wind is blowing extremely hard but there is no sound of wind in the shot with Maskelyne and Dieter. The shot begins with Maskelyne seeing Dieter alone facing the sea about to jump, as the scene ends with Maskelyne telling Mason "'We may sail with the Wind... at the same speed, working all its nuances, -- or we may stand still, and feel its full true Course and Speed upon us, with all finer Motions lost in that Simplicity." a shot of Dieter stepping off the cliff before Maskelyne even begins talking to him is shown.
​
page 164 beginning "Once, long before dawn..." continuing to 165 "She nods, her smile not, so far, terrible"
Scene 9 Mason Wakes Up: Scene 8 is framed as a dream/memory Mason just woke up from. Pitchblack, howling wind, absolutely incessant loud banshee wailing that begins to drift almost back from a dissonant tone into "entire orchestral Performances, of musick dstinctly not British,---Viennese, perhaps, Hungarian, even Moorish" (perhaps some Steve Reich style music?). Mason comes awake to this mix of howling and orchestra, the hut practically rattling to pieces from it, his colleague passed out drunk on the other side of the hut underneath a pile of books and telescopes or something. At this point it might be explained by introduced dialogue that Maskelyne will be the future head Royal Astronomer. Propelled by some unknown force Mason wanders out of the hut into the wind. This is on the windward side of an extremely remote rocky, volcanic island with dramatic lava flow cliffs.
Scene 10 Mason walks out into the night: Mason "enters the Wind, picks his way 'cross Boot-slashing Rock up over the ridgeline and down unto the floor of a ruin'd ebony forest, where among fog-wisps and ancient black logging debris polish'd by the Wind, [his dead wife Rebecca] accosts him shiv'ring in his Cloak. The Ocean beats past the tiny accidental island" Mason sees his dead wife, this is made evident in the trailer through context. This scene might also include a flashback as Mason makes eye contact with his dead wife's ghost to the first time Mason sees her, allegedly, during the Octuple Cheese incident... Perhaps the sequence is 1. Mason looks up to see a gap in the clouds where for one moment the full moon passes through, this is a zoomed in telephoto with the moon occupying almost the entire shot 2. we flashback to the Octuple Cheese rolling by in an echo visual of the moon (not really understood by the audience now as anything but an abstract visual shot). 3. THEN mason sees her ghost as he looks down from the sky.
page 172 beginning "He tries teasing her with his earth-bound Despair" to end of chapter
Scene 10 Rebecca's ghost continued: Mason tries to figure out if it is really her by asking her annoying question about the stars that she would hate. She laughs at him for needing a reason for life and though a ghost laughing doesn't translate that well... this is the emotional beat Mason goes from being terrified this is some devilish creature imitating his wife to "knowing" it is really her somehow. Mason and Rebecca reminisce about how she believed the stars were aliens visitors in the sky when Rebecca was alive... Rebecca tells Mason to live life and move on. Rebecca's ghost disappears into the wind.
Scene 11 Next Day: Mason can't sleep the rest of the night, Maskelyne is passed out til basically noon the next day. Time is shown to pass. When Maskelyne wakes he asks if Mason came in at a very early hour in the morning. Mason, not really trusting the slightly insane Maskelyne and shaken from seeing the ghost of his dead wife denies it. Maskelyne says it must have been his soldier friend Dieter in an unhinged way. Perhaps Maskelyne is sitting with the two dueling pistols looking at Mason with a murderous intent, perhaps Maskelyne actually aims a pistol at Mason here. It is clear there is NOBODY else around and that Maskelyne could straight up murder Mason with no real repercussions.
*dissonant orchestral music and wind swell back*
​
page 173 beginning "He runs without delay down to the shingle and begins assembling a Signal-Fire"
Scene 12 Drone Shot Of Mason Careening Down Slope To Shore: orchestral music plays here simultaneously dissonant with a voice singing one of Mason & Dixon's songs, perhaps the song on page 130 "Well Sailor ahoy". Perhaps Mason careening down the slope is mirrored by cuts to the Octuple Cheese careening down a slope, with the moment Mason reaches the shore and lights the signal fire cutting back on the strike of a match to the Octuple Cheese looming about to flatten Mason who is then shoved by an arm (Rebecca's) intruding from outside the frame at the last moment. When the dhow sees the fire and comes into shore the music and wind reaches a crescendo of silence for the moment that the disembodied voice whispers "Break-neck". Maskelyne is seen from the ridge as a sort of alien. The scene ends with the dhow leaving the shore.
​
page 175 beginning of chapter
Scene 13 Zoomed Telephoto Shot Of Castle Rock: This is a short shot, it is mainly there to serve as the gateway between two worlds. The dhow crosses the zoomed telephoto shot, centered right at the moment it passes from the windward side to the leeward side with the volcanic cliffs filling the frame on one side and the sky and sea the other, the music ends here abruptly as the ship crosses back to the land of the living. Mason is shown in a closeup shot on the ship to be oblivious to the approach of this transition and is only made aware of it when a bit of cloth or rope whipping in the wind he was fixating on in a sort of distracted trance suddenly loses its animation and becomes motionless. Mason looks up, the boats crew presently sets lines out to fish and Mason briefly seems to come back to reality.
​
page 175 beginning of chapter
Scene 14 Mason is left at Break-neck: Mason wades from the dow onto the beach, oddly at ease and continues in a "Road-Trance". A series of short shots convey a walk of some distance. Finally Mason finds himself walking along the wall to a building, nobody is around, the sunlight is harsh and austere. He sees the ear museum. Perhaps a shot along the wall of the building that closely suggests a side profile of a head.
​
beginning page 176 "Mason is chargin'd to find set in a low Wall" and page 177 beginning "Naive Mason. First he must endure the [show]", the text of page 175 and 177 explaining the origin of the ear is conveyed in Nick Mournival's "show" (Nick Mournival cast as Danny Devito)
Scene 15 The Entrance To The Ear: A silent physical comedy scene is portrayed here where Mason sees the sign, has some expression on his face of "seriously, shit isn't weird enough today right?" (think Doc in the Inherent Vice movie). The camera shows a shot of the wall centered on the gnomelike entrance to the museum. You see Mason's legs walk into the frame, stop, shift, then Mason stoops down into the shot to look at the door. Mason then gets up and tries to hop up and peek over the wall. An overgrown garden is shown. While this is happening Nick Mournival begins his "show" as a voice over to the scene. This conveys the origin of the ear on (page 175 and page 177) to the audience as an audio over the (technically preceding in the text) physical comedy scene with Mason. Mason is strangely compelled to climb through the gnomedoor down the rabbit hole into the cave. The last shot of Mason from outside perhaps portrays the building as a head protruding from the island, the tunnel then the ear canal (or...?).
Nick Mournival ends his explanation of Jenkin's Ear with the description of Jenkin's governship of St. Helena. Mason through the darkness of the tunnel sees the portrait of Jenkin's revealed by a lit candle (on the bottom of page 177) . A slight re-arrangement of dialogue is done here so this sequence ends with Nick Mournival saying "Think of it as the closest thing you're apt to see to Helen's Face, and for one Pistole 'tis a Bargain" (page 176). Mason replies "Bit steep, isn't it? Where, ehm, are you, by the way... the Echo in here, --"
*Nick Mournival is revealed in a quasi-jumpscare*
​
page 177 beginning "in the straight and increasingly malodorous space where they crouch" continuing to 180 "may you fare better in the life you resume, than ever did I in the one I abandon'd"
Scene 16 The Ear: the scene continues pretty much as it is written from here with the slight change that Nick Mournival directly prompts/threatens Mason to use the Chronoscope. Nick Mournival is established from being dressed extremely finely as some kind of rich CEO (that basically owns this island thousands of miles from any exterior help) that for some terrifying reason is now banished? to live under the earth caretaking for a supernatural ear... This scene is trippy and terrifying with the ear portrayed like a campy horror movie radioactive specimen. Nick Mournival is shown, like Maskelyne to be unhinged and ready to kill Mason.
​
page 180 beginning "Having squirm'd past the last obstacle" continuing to "then Rain, salt from the Leagues of Vacant Ocean"
Scene 17 Mason Stumbles Into The Overgrown Courtyard: Mason stumbles out, Nick Mournival's song shut to silence as the door closes behind him. The camera hangs overhead looking down at the courtyard, Mason stumbles into the center of it, voices from all over the island can be heard as the camera rotates parallel with Mason as he begins "like a Dog, to explore the Walls, proceeding about the stone Perimeter. Bright green Vines with red trumpet-shap'd Flowers brighter indeed than the Day really allows". If the camera did not rotate with Mason, Mason would be proceeding like the hand of a clock from the camera's perspective above. The camera begins to rise over Mason, still looking straight down, the walls of the courtyard impossibly elongating like the tube of a telescope in a Dolly Zoom effect as another rainstorm breaks out echoing the one in the beginning of this movie.
​
page 181 beginning "Are you suggesting there's some other reason for his long Sojurn there" continuing to end of chapter
Scene 18 On The Ship Home To England: It is established that time has passed and that Mason & Dixon are together on a ship back to England. During their conversation Mason stares down into his beer, the camera adopts his point of view looking down into a square beer glass (in a compositional echo of the courtyard shot in Scene 17). The shot shifts to Maskelyne to doing the same thing in his astronomy hut while the dialogue continues on between Mason & Dixon. Maskelyne is again drunk and looks up at the stars seeing double (from being drunk). Here is interjected Mason or Dixon quoting James Bradley's paper to the Royal Society that announced the Abberation Of Light Bradley discovered years earlier on St. Helena (that Maskelyne is in the shadow of) in a fashion like a famous quote not recited to inform but to repeat a well-worn mantra. The scene the continues on to the end of the chapter as written with the promise that Mason & Dixon will go on to survey the U.S. (the rest of the movie :P).
​
​
​
------------------------------------------------------------------------------------------------
Description Of James Bradley's discovery of the aberration of light
> While sailing the Thames, he noticed how a vane atop the mast changed direction as the boat turned, despite the fact that the wind remained blowing in the same direction. Bradley suggested that analogously, the apparent shift in the position observed in the stars was a result of of a combination of the transmission of light at a finite speed from the star and the annual movement of the Earth around the Sun. This is what is known as the aberration of light. The letter from Bradley to Halley referencing this phenomenon was read to the Royal Society in January 1729.
https://adsabs.harvard.edu/full/2010JAHH...13..149B

We have signed a contract with a moving company for $18,000 they said they'd be here the 30th, but at 9:30 pm yesterday they changed it to the 1st. Less than 24 hours after they were supposed to come move us.
At this point we already booked hotels before we could drive down to our new location, but we didn't need to book hotels if we weren't moved yet.
We just want out of the contract but we see no way out, because the contract says pickup is a 1-7 day estimate, same with delivery. At this point we just want out of the contract and rent u-hauls cause we might as well do it ourselves so we can ENSURE that we will be gone, we technically don't even own this house anymore and we are just staying in it.
Is there any way we can avoid paying the full contract? We are fine paying the deposit, (I don't know how much the deposit was)
They guanteee tomorrow, but we were promised two semis and 30th move date.

Official unemployment figures for the Cape Girardeau economy were updated today. Numbers for March have been finalized and preliminary figures for April have now been made available.
March
The unemployment rate increased to 2.5% in March. 121 positions were added, but 233 workers entering the labor force caused the unemployment rate to increase. The overall Nonfarm Payrolls figure did not change significantly. No individual sector saw significant employment changes.
April (preliminary)
The unemployment rate fell to 2.3% in April. 425 positions were added, with only 303 workers entering the labor force causing the unemployment rate decrease. The overall Nonfarm Payrolls figure did not change significantly. No individual sector saw significant employment changes.
^{*CapeGirardeau_Stats is a public service account committed to making /CapeGirardeau a better informed community.}

I know this sounds crazy and my math is gonna be kinda loose, I obviously don't think this is an actual solution, this would never work in reality, vampires like eating people too much and killing each other for this to ever work BUT here me out.
From everything I can find twilight vampires need to feed about twice a month to once a month depending on exertion taking the average just for the math lets say all 8 billion humans are now vampires they now need to feed 1.5 times a month to stay comfortable. They can actually go indefinitely without blood but that would be cruel we want people to be comfortable so 1.5 times a month it is.
8 billion times 1.5 feeds a month times 12 months gives us 144 billion human sized animals or larger that need to be killed a year to feed everyone.
That sounds like a lot however in the U.S.A alone 22.8 billion animals have been killed for food this year and we're only halfway through the year. I'm having a hard time finding world wide stats but if assume the U.S.A will kill about the same number of animals in the second half of the year then that is 45.6 billion animas by the U.S.A alone.
That means the rest of the world needs to only make up 98.6 billion. Given how many animals the U.S.A alone kills I think we can safely assume the rest of the world is already killing that many animals for food a year if not WAY more, so that's pure numbers take care of
Now Obviously not all of those animals are human sized, a large number of those animals will be chickens. HOWEVER I don't think this is that big a problem. Remember humans no longer exist, there are no balanced diets or nutritional or dietary needs to worry about. We can safely take all the resources in the world devoted to raising anything that isn't big enough and convert them to raising animals that are. ALSO farming plants and crops outside of the feed we need for animals is now unnecessary. Humanity likely already has enough farm land to sustain the livestock we are talking about because remember we already kill that many animals a year anyway.
Not needing new farmland means that we no longer cut down 21.8 million acres of rain forest every year saving an unimaginable amount of habitat and allowing those forests to do what they do best and remove carbon from our air.
Speaking of carbon lets talk about how much less of it we would use. A world of vampires would simply have no use for cars on the day to day. Seriously why would you ever drive on a road that constricts you at maybe 80 miles an hour or so when you could run in a straight line from point A to point B at at least 100 miles an hour. You don't get tired and it would be so much faster. add in how much time you would cut out in traffic and I don't see people ever needing cars for day to day use, only to carry goods around. Thats 4.6 TONS of CO2 per car per year gone. people would still need cars to move their stuff but without groceries there's less stuff to move so lets be generous and say we cut out 2.3 tons of CO2 per car per year. that's still insane. This would also make Short haul flights a thing of the past for the same reason. Why go to an airport wait in line waste an entire day just to get somewhere you could have ran to in a few hours? I think long cross country and intercontinental flights would be the only ones left, saving a lot of carbon there too. That's also before you stop to think how much Carbon is spent shipping food around the world, we wouldn't need to do any of that any more. Vampires don't need to heat or cool their houses, they don't need constant running appliances like refrigerators or freezers, no microwaves to heat up food, no ovens and stoves to cook with, The list of little ways that vampires use less resources goes on like that forever. In short I think A world of vampires would Solve Climate Change/global warming and also a lot of most pollution. No food wrappers, water waste.
Vampires don't need healthcare, they cant get sick, don't age or get cancer. Any injuries they may get can simply be healed by venom. All the time money and resources that we as a species have to put towards medicine every day can now be put towards other things. I'm sure you can take all the conclusions ive made here and apply them to countless other industries and problems as well
TLDR We basically already slaughter enough animals to feed the world if everyone was a vampire. They use less resources and would pollute less. Turn everyone into a vampire and save the world I think.

Southern Illinois Southern Illinois @ Northern Iowa Northern Iowa
Game Start Time: 4:30 PM ET
Location: Bill Snyder Stadium, Manhattan, KS
Watch: Missouri Valley Network

Team	Coach(es)	Offense	Defense
Southern Illinois Southern Illinois	hambfcfb	Spread	4-3
Northern Iowa Northern Iowa	lurtcho	Spread	4-3

Southern Illinois Southern Illinois

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
0 yards	16 yards	16 yards	0	0	0/0	1:18	3

Northern Iowa Northern Iowa

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
1 yards	0 yards	1 yards	0	0	0/0	0:04	3

Drive Summary
away for 16 yards in 51 seconds ending in punt

Clock	Quarter	Down	Ball Location	Possession	Playclock	Deadline
5:38	1	2nd & 9	15 Northern Iowa	Northern Iowa	06/01 06:42 PM EST	06/10 10:30 AM EST

Team	Q1	Q2	Q3	Q4	Total
Northern Iowa	0	0	0	0	0
Southern Illinois	0	0	0	0	0

Plays
Waiting on a response from lurtcho to this comment.
^{Admin: Restart Edit Southern Illinois Edit Northern Iowa Rerun play Pause Chew Abandon}

Looking for advice on how to travel to München with a baby and a toddler. This will be the children's first flight and first big trip. I've traveled plenty by myself so am not concerned about travel in general, but I am anxious about an 8h flight with children and wrangling the children plus luggage and a double stroller in route to our destination.
From our east coast U.S. city, we can get direct flights to Frankfurt or Zürich then we want to go directly to München (i.e., not spend time in Frankfurt/Zürich). My priority is ease of travel rather than cost. What is my best option?

1. Fly to Frankfurt and take the train to München
2. Fly to Zürich and take the train to München
3. A flight with connections
4. Travel domestically to JFK where we can get a direct fly to München Done this without the kids and it is NOT worth it.
5. Drive from airport to München We will not be renting a car due to lack of familiarity with German driving customs, the logistics of hauling clunky car seats around during the 90% of the trip where we do not need a car, risk of damage to our seats when checked on the plane, availability/fit/cleanliness of rental car seats, etc.

Thank you!

Company Name	Title	City
AEG Vision	Optician	Alton
Cargill	General Production	California
Cargill	Batcher	California
Cargill	Production Worker	California
Century Casino - Cape Girardeau	Fine Dining Culinary Expert	Cape Girardeau
Century Casino - Caruthersville	Cashier	Caruthersville
Best Buy	Outlet Customer Experience Specialist, Advisor	Chesterfield
Crown Vision Center-Columbia	Optician	Columbia
BOEING	Senior Landing Gear Design Engineer	Cottleville
Ascendion Inc.	Talend Developer	Cottleville
Crown Vision Center-Creve Coeur	Optician	Creve Coeur
Crown Vision Center-Creve Coeur	Practice Manager	Creve Coeur
PrimeTech International	Material Handling Laborer	Grandview
DB Roberts	Field Sales Representative	Grandview
Prairie Farms	Industrial Maintenance Technician - Granite City, IL	Granite City
Imperial Dade	Warehouse Associate	Hazelwood
Innova Solutions	Product Data Mgmt Engineer 3	Hazelwood
Imperial Dade	Warehouse Order Selector, Night Shift	Hazelwood
BOEING	Proprietary Structural Design Engineer	High Ridge
Wm	ServiceNow HRSD Senior Analyst (US Remote)	Independence
Cargill	General Production	Jefferson City
Cargill	Food Processor	Marshall
Cargill	Poultry Processor	Marshall
BOEING	Proprietary Structural Design Engineer	Maryland Heights
Prairie Farms	1. Vacation Relief Plant Worker - O'Fallon (East State Street)	Ofallon

Hey guys, here are some recent job openings in mo. Feel free to comment here or send me a private message if you have any questions, I'm at the community's disposal! If you encounter any problems with any of these job openings please let me know that I will modify the table accordingly. Thanks!

Houston Christian Houston Christian @ Villanova Villanova
Game Start Time: 12:00 PM ET
Location: Cape Fear Country Club, Wilmington, NC
Watch: ESPN2

Team	Coach(es)	Offense	Defense
Houston Christian Houston Christian	snasty728	Spread	4-3
Villanova Villanova	edgerocks2	Pistol	4-4

Houston Christian Houston Christian

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
0 yards	4 yards	4 yards	0	0	0/0	1:03	3

Villanova Villanova

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
5 yards	11 yards	16 yards	0	0	0/0	1:29	3

Drive Summary
away for 4 yards in 34 seconds ending in punt
home for 16 yards in 74 seconds ending in punt

Clock	Quarter	Down	Ball Location	Possession	Playclock	Deadline
4:28	1	2nd & 10	13 Houston Christian	Houston Christian	06/01 10:49 PM EST	06/10 10:03 AM EST

Team	Q1	Q2	Q3	Q4	Total
Villanova	0	0	0	0	0
Houston Christian	0	0	0	0	0

Plays
Waiting on a response from edgerocks2 to this message.
^{Admin: Restart Edit Houston Christian Edit Villanova Rerun play Pause Chew Abandon}

Southeast Missouri Southeast Missouri @ Missouri State Missouri State
Game Start Time: 3:30 PM ET
Location: Americas Center, St. Louis, MO
Watch: ESPN

Team	Coach(es)	Offense	Defense
Southeast Missouri Southeast Missouri	dekam34	Air	5-2
Missouri State Missouri State	creatxrcreator	Flexbone	4-3

Southeast Missouri Southeast Missouri

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
271 yards	18 yards	289 yards	1	1	1/1	12:34	3

Missouri State Missouri State

Total Passing Yards	Total Rushing Yards	Total Yards	Interceptions Lost	Fumbles Lost	Field Goals	Time of Possession	Timeouts
0 yards	313 yards	313 yards	0	2	1/3	15:26	3

Drive Summary
away for -7 yards in 30 seconds ending in punt
home for 36 yards in 116 seconds ending in turnover
away for 0 yards in 15 seconds ending in turnover
home for 12 yards in 142 seconds ending in touchdown
away for 16 yards in 39 seconds ending in punt
home for 39 yards in 114 seconds ending in punt
away for 93 yards in 138 seconds ending in touchdown
home for 34 yards in 97 seconds ending in turnover
away for 45 yards in 43 seconds ending in field_goal
home for 35 yards in 12 seconds ending in end_half
home for 37 yards in 135 seconds ending in miss
away for 77 yards in 204 seconds ending in touchdown
home for 50 yards in 65 seconds ending in touchdown
away for 0 yards in 15 seconds ending in turnover
away for 0 yards in 15 seconds ending in turnover
away for 40 yards in 109 seconds ending in punt
home for 66 yards in 124 seconds ending in field_goal
away for 0 yards in 39 seconds ending in end_half
away for 25 yards in 0 seconds ending in touchdown
home for -4 yards in 0 seconds ending in turnover

Clock	Quarter	Down	Ball Location	Possession	Playclock	Deadline
7:00	5	4th & 14	25 Southeast Missouri	Missouri State	06/01 07:47 PM EST	06/10 10:03 AM EST

Team	Q1	Q2	Q3	Q4	Q5	Total
Missouri State	7	0	0	10	0	17
Southeast Missouri	0	10	7	0	7	24

Plays
Waiting on a response from dekam34 to this comment.

Game complete, Southeast Missouri wins!

^{Admin: Restart Edit Southeast Missouri Edit Missouri State Rerun play Pause Chew Abandon}

Hello new/returning player! Whether you're considering buying or you've just installed it and don't know where to start, there's a good chance you have some questions about the game. I've been playing pretty much since launch, and since the Discord imploded and the in-game tutorial kinda sucks, I figured this would be a good place to put together a comprehensive guide to everything you need to know about Railroads Online. Feel free to scroll through the headings to find what you're looking for!
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Is it worth the money?
Railroads Online is exactly what it says on the tin and exactly what you see in the trailer. There are railroads, they are online, and you do have complete freedom to build your own railroad in a sandbox environment. If that's your cup of tea, try it! Steam's refund policy allows you to refund the game if you have less than 2 hours played and you've owned it for less than 2 weeks, so even if you don't like it when you start, you have a safety net. That said, this game is in early access. And, the regularly-updated branch is a beta to the early access, so it is seriously lacking polish in certain areas. This game is physics-based, and that can take a toll on performance for trains longer than a dozen cars, and the Beta branch reportedly has some people's GPUs on their knees. Updates also regularly introduce bugs, ranging from mildly amusing to make-sure-you-back-up-your-save-file. For some people that sort of thing is understandably not worth $35, while for others it gives the game character. I've gotten close to 10 hours of playtime for every dollar I spent on it, so obviously I'd be inclined to say it's worth it, but everybody's experience will be different.
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Note: The following guide is geared towards the Beta version of the game. This version has the most features, looks the best, and receives regular updates, though there are a number of known performance and stability issues. The majority of it still applies to both versions of the game regardless, though the largest changes have been to track laying.

Getting Started

Warning: Remember, this is Railroads Online. There is no "offline" mode, strictly speaking, but you can drag the "player limit" slider down to 1. If you're going to play with other people, use a password. If you ever forget to, and someone comes in and undoes all of your hard work, you will never forget again. You have been warned!
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Your first railroad
So, you've launched the game! Congratulations! Now what? Well, it's probably good to get yourself oriented first.
The game spawns you in on the spawning platform. The three tracks you've spawned next to are permanent, and they are where new equipment spawns when you purchase it. You are given Betsy, a flatcar, and $2000 for free, and the rest is left up to you.
Before you run any trains, you'll need to build some track to run them on. Take care here, because there is no edit tool; if you build something, the only way to change it is to delete sections and rebuild. Measure twice, cut once, and make it look nice the first time so you don't have to redo it later. Or something.
Press G to bring up the majority of your sandbox tools: Track Construction, Facilities, Locomotives (the shop), Demolish, Rerail, and Logging, plus the Respawn button. I will cover all of these tools in time, but for now, all you need to be familiar with are the Track Construction tab, the Demolish tool, and the Logging tool.
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Track Construction
Track laying in this game has been... fucky... for a long time. It's a LOT better now than it used to be, but I still recommend downloading RROx (Railroads Online Extended) and using the fast sprint cheat when you're building. It will save you hours (not to mention the other features it offers).
First of all, everything in this game except for rolling stock is FREE! Go nuts! Want to triple-track the main? You can! Want to fill the entire southern half of the map with water towers? Your call! Fun first, safety third. Anyway:
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In the Track Construction menu, you will be greeted by a bunch of track options. Feel free to place them wherever to get an idea of what they are.
The first row is, of course, 3 foot narrow-gauge rail. The I, II, and III varieties are identical except for the amount of ballast. I has some, II has a bit more, and III has a lot. On cliff faces, too much ballast can cause ugly clipping, so it's best to use tier I when you can and step it up if it's too short. The game will not let you place a node if the spline is not supported by ground or some other structure at every point.
The default building mode is spline mode. Click once to place the first node, and click somewhere else to place the second node. Boom! You've placed your first track segment. If you click on the ground, it will face whatever direction your UI currently says it's facing, but if you click on another piece of track it will do its best to connect to the other node as smoothly as possible. This can result in some janky turns if you're not careful, so keep that in mind. There are keybinds to rotate the endpoints to face the direction you want them to. Track will not snap to another track unless you see the glowing chain link icon above it. If you don't see it at first, walk around a little, staring at the desired connection point until you trigger the hitbox.
The other building mode is circle mode. It does what it says on the tin– your track will follow a circular arc with the radius you specify. Use smaller segments if you can, because for some reason the angles get weird if you try to do more than 90° in a single segment. In this mode, you can snap to existing track on your first click, but it will not snap to another track for your second click because it only cares about following the circle. This build mode is useful for a number of reasons, not least of which being the ability to see what your maximum turning radius is. A 30 meter radius is the minimum, but on your main line you should aim to stay above 60-100 meters to avoid derailments at high speeds.
Next in the menu: switches. If you know what trains are, you probably know what switches are. In RRO, if a switch is pointing one way, and you come in from the other, it will automatically align with you to let you through, unless A.) you are in a handcart, or B.) it is the 3-way stub switch. Also note that they are not perfect mirror images of each other (not sure how they managed to mess that up but oh well), which may cause problems when creating complex structures like yards.
The 90° crossover piece is your friend when designing parallel tracks. You can chain them together to ensure equal spacing, matching angles, or you can simply use them as placeholder nodes to snap your track to if you need to delete part of it. Two crossover pieces are far enough apart for two trains to pass each other comfortably, so it's handy for smoothing your double-tracks, if you choose to build them. The 45° crossover piece is also good, for when you want a spacer piece that's slightly longer than the 90°, or if you don't want your simple wyes to be a hundred feet across. (Still waiting on that 10° crossover, Astragon.)
Turntables are what you expect them to be. The plain Turntable I is small enough to fit in some tight spaces like yards, but a lot of locomotives will only fit on Turntable II. Turntables have historically been a bit buggy, particularly if you reload a save while something is on it, so be wary.
The bumper is a bumper. 'Nuff said.
Embankments are ballast without the rail. They're nice as decoration around the base of certain structures, or as filler in between the tracks in yards, or as ballast for bumpers and crossovers. You can also access a similar trackless version of the stone wall by using its drop-down menu.
Bridges and stone walls work exactly the same as ballast track: they will not allow you to place a node if the spline is not supported everywhere. However, there is a workaround for this: nodes can be supported by ballast. If you use small enough segments, 3 Ft Rail III can be used to cross gaps using just the previous segment's ballast as support. If you fill the gap with ballast, you can place your bridge on top of it, and then remove the ballast later. You can pretty it up with some stone walls as supports, if you want to.
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And that's everything currently in the Track Construction menu! The Engine Shed and the Coaling Tower also have small pieces of track, but they are kept in the Facilities menu.
Note: You can make it to pretty much every industry in the game with less than a 3% grade. In real life, this is considered pretty steep, but in-game you can get away with even steeper track if you can't be bothered to work out the best path.
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Demolish Tool
The demolish tool is delightfully simple. It deletes things! By default, it only deletes rail, but that can be changed with the drop-down menu. Be very careful using the "All" option-- you could accidentally delete your rolling stock.
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The Logging Tool
The logging tool will probably be your second most-used tool, right after track construction, because everywhere you want to place track, there are trees in the way. You can click almost anywhere on the tree to remove it, and it does this for free, but you might have trouble removing a tree if the bottom two-thirds of it are buried in ballast. If spam-clicking feels tedious, you can hold down the mouse button until the saw finds a part of the trunk that it likes.
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That should be everything you need to know to build your first railway!
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Industries

In Railroads Online, your objective is money. Moneymoneymoneymoneymoneymoney. But u/Embite, I hear you ask, how do I GET money? Well, I'm glad you asked! The answer is industries.
There are 9 industries in RRO, which you can see on the map: the Smelter, the Sawmill, the Logging Camp, the Freight Depot, the Iron Ore Mine, the Oil Field, the Ironworks, the Refinery, and the Coal Mine.
Each industry has inputs and outputs. For example, the Logging Camp has two output platforms: one for logs and one for cordwood. To load a car with the output, simply position your railcar where the crane drops the cargo and click the crane to start loading. For some outputs like the iron mine, there's a chute instead of a crane, but it's the same idea. When you unload a car, the cargo teleports to the side you clicked on, so make sure you're standing on the platform that you want to deliver to.
The inputs and outputs for each industry is listed in the table below.
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Location	Input	Output
Freight Depot	Anything	Nothing
Logging Camp	Nothing	Logs, Cordwood
Sawmill	Logs	Beams, Lumber
Iron Ore Mine	Beams, Lumber	Iron Ore
Smelter	Iron Ore, Cordwood	Raw Iron, Rails
Coal Mine	Beams, Rails	Coal
Ironworks	Lumber, Raw Iron, Coal	Steel Pipes, Tools
Oil Field	Beams, Steel Pipes, Tools	Crude Oil
Refinery	Lumber, Steel Pipes, Crude Oil	Oil Barrel

You should notice a few things:

1. Logging Camp has no inputs. This is where the supply chain of RRO starts. The lumberjacks do all of their work for free, and they will never run out of logs, or cordwood.
2. Freight Depot (the big warehouse near spawn) has no outputs. This is where you can return to sell whatever products you've collected and turn them in for straight cash. You get the same amount of money regardless of which buyer you send cargo to, so it's recommended that you try to deliver to another industry whenever possible, since you get money AND more cargo to sell, rather than just the money. If all you need is money though, the Freight Depot is where to go.
3. There is a clear progression from one industry to the next. I've ordered the table so that once you've connected to one industry in the list, your railroad will have access to all of the cargo needed for the next industry down.

While it's best to try and deliver to new industries whenever possible, sometimes (especially early on) you will simply run out of money for all the new railcars you need to haul the stuff. For the early game, my best suggestion is to run beams from the sawmill straight to the freight depot. Stake flats (which carry beams) are among the cheapest rolling stock, and each carload is worth $72, compared to $60 for a flatcar of logs. You only need 3 beams per car, so it's fast to load and unload. While cordwood is also easy to do, with each carload worth $80, each flat is much more expensive to buy, and each car carries 8 units of cordwood, making the loading time much longer. Plus, many more industries use stake flats than the cordwood flats, so you will be investing in the future of your railroad as you go.
Another way to make money in RRO is via Firewood Depots and Coaling Towers, which brings us to the next available construction tool,
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Facilities
Facilities are buildings you place down yourself to facilitate the management of your railway. At the top of the menu are the Sand House, the Firewood Depot, and the Coaling Tower. They're very self-explanatory: The Sand House contains sand to refill your locomotive's sander, the Firewood Depot is where you restock on firewood, and the Coaling Tower is where you restock on coal. The Sand House is, as far as I can tell, unimplemented as of 5/29/2023, but the others are very important. In RRO, you need to produce the fuel that runs your railroad.
Firewood Depots are easy to stock, not least of all because they spawn in full of firewood, in case you run out in the middle of nowhere. To refill a Firewood Depot that has been exhausted, you simply unload any form of wooden cargo (logs, lumber, beams, or cordwood) onto the side of the platform that doesn't have firewood on it. When designing your yards, it's always smart to make space for a firewood depot, because the platforms are spaced far apart and most locomotives in RRO run on firewood.
Coaling towers do not spawn in stocked with coal, and coal is not available until about half of the map is connected by your railroad, so coal-fired locomotives will be a late-game commodity. Once you have access to them, though, they are restocked in much the same way as firewood depots.
Water towers are also important. Without water, your trains have no steam, so place these wherever they're convenient. They refill slowly on their own.
Engine sheds are purely cosmetic in this game, since the locomotives don't require servicing or shelter. They are, however, available in a variety of nice paint schemes, and a roundhouse is a great way to spruce up any boring-looking switching yards.
The last facility is the Telegraph Office, which is the most convenient structure in the game. Wherever on the map you place one, your map will be updated with a brown box with a T in it. Clicking his box allows you to teleport to any telegraph office from anywhere else in the game, saving you a lot of walking between industries and yards.
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Locomotives (the shop), and Companies
The shop is where you use your hard-earned money to buy locomotives and rolling stock. You can check your funds in-game by pressing P. The "tier" of an item is the level your player needs to be in order to purchase it. Your level increases every time you deliver cargo to an industry. When other players join your game, they can join your company by pressing Tab and clicking "Join Company" next to your name. When they do this, any delivery they make will count as a delivery for you, not them, which increases your money and XP much faster than doing it all alone. Employment is forgotten when the player relogs.
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Rerailing
Rerailing is finicky. Basically, you click "rerail," spam LMB on whatever you're trying to rerail until its name appears in the UI, and then walk around looking at track until it appears where you want it to. You can flip it around with LMB, and then drop it with RMB. Rerailing on switches currently seems to be a little broken.
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Respawning
This option will send you back to the spawn yard if you ever manage to get stuck. It was more useful before telegraph offices were added, and most of the gamebreaking ways to get stuck have been patched, but if you want to use it you simply click and hold until you respawn.
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Trains!!!!!!1!1!!!

Now, with a line of track connecting your spawning yard with the logging camp, you're ready to finally fire up your Porter 0-4-0 and run some trains! In case you're new to operating a steam locomotive, here's a quick rundown of the controls:
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Controls
First, open up the firebox and throw a few logs on the fire. Pick up logs with LMB, look at the firebox until the UI displays its temperature in the top left, and throw with RMB. You can throw logs back onto the pile if you picked up too many (you can hold up to 5 at once). Now you have to wait for the fire to heat up, which then makes the boiler heat up, and then you will finally see the dial on your pressure gauge increase. Once you've got pressure, you can move the locomotive.
The big lever above the firebox is the regulator, aka the throttle. It basically controls how fast your built-up steam enters the cylinder, or in other words, how much power you're sending to the piston, and by extension, the wheels.
The lever coming out of the floor is the reverser (or the Johnson bar), which controls at what point in the cylinder's stroke steam is allowed to enter the chamber. All the way forward means that steam comes in anytime it would push the wheels forward, and all the way back means that steam comes in anytime it would push the wheels backwards. In between, it controls whether the steam flow is constant, or if it comes in short bursts. Or, at least, that's how it works in real life. IRL you can achieve more efficient steam usage by setting the reverser bar near the middle and letting the regulator stay open; however, in RRO, as far as I can tell it simply multiplies the % the regulator is open and the % that the reverser is set and uses that number as the "go amount." So, for all intents and purposes, the reverser is just another regulator (in RRO).
The lever to the right of that is the brake. Betsy (i.e. the Porter 0-4-0) has a mechanical brake, meaning it applies braking force as long as you have it on. In some locomotives, though, the brakes are powered by a steam-powered compressor, which you need to activate yourself via a valve somewhere, or else your brakes will have no effect.
The whistle and the bell do as you expect. There is another handle which opens the cylinder cocks, which as of 5/29/2023 is purely cosmetic, as are the sanders. IRL, cylinder cocks are used to blow condensed water out of the cylinders, and sanders are used for extra traction in slippery conditions.
Finally, most locomotives have lamps that you can turn on and off with LMB, or by using the steam-powered generator, if it has one.
And that's pretty much it! Different locomotives have different features, and levers are often in slightly different places, but they all operate on the same general principles. Locomotives are also often specialized for a particular job. For example, engines like the Eureka are specialized for high speeds with low power, while engines with shorter wheel bases like the D&RGW Class 48 are specialized for sharp turns and yardwork, while the geared locomotives like shays and heislers are specialized for steep tracks in mountainous terrain. You can find a number of resources online to find statistics for each of the different RRO locomotives.
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Coupling
The 3 foot narrow-gauge railway in RRO uses what is called "Link and pin" coupling, which uses, unsurprisingly, links and pins. To couple two cars together, you need enough space to fit a link between them. Press LMB to insert a link in the coupler. Only one car should have a link. Once the link is in place, push the cars together and use RMB to place a pin in both couplers. Et voila! Your train is now longer.
Tender locomotives have unique couplers. First of all, instead of a link, tenders are connected to the cab by a drawbar. Press LMB on the tender, then back up the locomotive and use RMB to hitch it to the drawbar with a pin. For locomotives with cowcatchers, the front is outfitted with a drawbar as well, which can be extended and retracted with LMB. This link is weaker than the usual link-and-pin, so only use this for short, slow trips or yardwork.
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External Tools

While straight-up modding RRO is currently very difficult, there do exist certain external tools to help provide you with a more enjoyable experience with a game that is, at times, excessively grindy.
RROx
RROx, or Railroads Online Extended, is by far the most useful RRO extension I've come across. It offers a real-time minimap (that maps your rail lines for you!), remote control of locomotives, cranes, and switches, unrestricted teleporting, cheats like free money, fast-sprint and flight, as well as optional access to all of these features for other RROx users that join your game. It even provides everything necessary to create a plugin of your own, if you're so inclined.
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Railroad Studio
railroad.studio is a free online save file editor for RRO. With it you can replace trees, rename/repaint locomotives and rolling stock, delete track, cheat in money, etc. Currently the go-to save editor.
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Technical Bits

Just some extra technical bits that are worth knowing:

• A lot of the game's files are stored in your AppData/Local folder under the name arr, a name inherited from the devs' previous game, American Railroads.
• Your save files are stored in %localappdata%\arr\Saved\SaveGames.
• A number of config settings are stored in plaintext .ini files in arSaved/Config/Windows, where you can edit settings like the maximum view distance beyond what is usually allowed. The maximum setting typically allowed is 3, but I've increased this to 10 without any notable performance drop. Nevertheless, edit settings beyond supported values at your own risk. The game needs to be restarted for settings changed in this way to take effect.

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Miscellaneous Tips

• All controls can be rebound in the controls menu.
• You can change your POV with V, and you can lean left and right with R and T.
• If you prefer to drive with the GUI instead of in first person, you may have an easier time finding the button prompt by standing in front of the locomotive rather than inside it.
• Placing a switch, then a 45° on the turnout, and finally another switch so that the straight edge is parallel with your first switch, creates two lanes that are far enough apart to fit the switch's lever on the inside.
• If you back far enough away, track and ballast hitboxes will despawn and let you place things inside of them.
• There is a large, flat plateau northeast of the smelter that is a convenient place for a yard connecting the smelter, iron mine, and coal mine.
• There is a lot of space for a yard just over the hill west of the freight depot.
• The un-deletable track southeast of the spawning track is for the shop.
• The game keeps a list of every tree you've cut down and uses this to load the map, which (allegedly) makes the game take longer to load if you cut more trees than you need to. Use a save file editor like railroad.studio to replace missing trees.
• The walkway on Bridges II is always on your left as you build it.
• You can snap track to turntables if you rotate it to where you want the connection to be.
• Firewood depots only replenish the piles if every pile is missing at least 5 logs.
• If you're strapped for cash, loading a car with logs and then immediately unloading that car to a firewood depot on the other side is fast, easy money. This is pretty cheaty though, so you might as well save yourself some time and just use a save file editor.
• A switch's turnout is about 10 degrees.
• Locomotives don't respond to changes in the controls until a 1-second timer counts down. The timer resets every time you make a change, but letting go (releasing left-click) applies the change immediately.

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That's pretty much everything I've got. I hope that this guide has been of use to you! If I forgot something, got something wrong, or you have an idea for how to improve this guide, feel free to leave it as a comment below. Happy railroading!

Timeline of signing the tentative agreement/what happens if vote it down

• If the tentative agreement is ratified by a majority of members, it will be added to Treasury Board’s agenda for approval because they need to ratify it as well. Treasury Board is also supposed to ratify this agreement at their June 22nd, 2023 meeting. This is important because it’s their last meeting of the summer and the next meeting is in October.
• If it is not ratified, there are 2 options.
  • Option 1: We go back to the bargaining table and try to get a better agreement.
    • Option 1 is highly unlikely because the EC bargaining team has gone through all the motions and they already referred the settlement to arbitration. It’s also highly unlikely that anything new would be added at the bargaining table.
  • Option 2: We go to arbitration.
    • An arbitration was scheduled for June 19, 2023. However, when the public service board heard that there was a tentative agreement, they unilaterally postponed the hearing which means that we will have to reschedule the hearing at a later date to address outstanding issues.
    • They stressed an important thing to keep in mind: the arbitrator will replicate what they think would have happened if the parties had negotiated a tentative agreement and since a tentative agreement has already been negotiated, it’s unlikely would award anything that’s different.

Bargaining Priorities

• They presented the following table which shows the main priorities that were identified by the survey, what we referred to arbitration and what we got in the tentative agreement.
  • Note: They stated that there were way more demands in their opening proposal that are not listed in this table.

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EC Priority (Survey)	EC Priority for Arbitration	What We Got
1. Rates of pay	Appendix A. Rates of pay and duration	Collective agreement over 4 years: Year 1: 3.50%; Year 1: 1.255; Year 2: 3.00%; Year 2: 0.5%; Year 3: 2.00%; Year 3: 0.25%; Year 4: 2.00%
N/A	Appendix A. Market adjustment/pay step	N/A
N/A	Improved appendix D. Penological factor allowance	Improved Penological factor
2. Introduce Telework protection in the collective agreement	New appendix: Telework	LoU: Telework
3. Add family day as a paid holiday	Removed	N/A
4. Provide for the explicit right to disconnect during non-working hours	New: Right to disconnect	LoU: Works-related communication outside of scheduled hours of work (Right to disconnect)
5. Create a new type of leave for mental health days	Removed	N/A
6. Reduce the workweek from 37.5 to 35 hours week without reducing the annual salary	Removed	N/A
7. Expand the right to work compressed work weeks (i.e. 37.5 hours in a four-day work weeks).	Article 28. Hours of work (flexible hours of work)	Article 28 Hours of work and appendix C (flexible hours of work)
8. Reduce the number of years of service between vacation leave increment.	Article 24.02 Vacation leave (increment and recognition of years of service)	Article 24.02 Vacation leave (increment and recognition of years of service)
9. Allow family-related leave to be carried over to future years and increase the number of hours of annual family-related leave	Removed	Improvements to the family-related leave (add circumstances, and increase of hours when seeking legal representative)
10. Convert non-used sick leave into pre-retirement leave	Removed	N/A
11. Convert for greater flexibility to take more than 12 months of Maternity & parental Leave	Removed	New appendix: Review of QPIP and EI benefits and the collective agreement.
12. Late Payments./ Implementation ($50 non-pensionable for payment delayed more than 45 days)		Appendix J: Implementation of the collective agreement: 2005 after 181 days if amount is more than $500

^{Table formatting brought to you by ExcelToReddit}
Length of the agreement

• While CAPE usually prefers to have a shorter term contract, the current trend is for four-year agreements and the bargaining team expected the arbitrator to award a four-year agreement.
• Also, by June 22, 2023, we’ll have already reached the halfway point of this new agreement if it ends up being signed which means that we’ll be returning back to the bargaining team in two years.

Telework provision

• It’s the first time the union will be sitting on a panel to review grievances that have been filed which will allow the union to influence grievance decisions.
• The provision will be on a trial basis that will last for the same amount of time the LOU lasts for. Afterwards, when the next round of bargaining starts, CAPE will be looking at what works and how it can be improved.

Q&A section
Issue of seniority

• CAPE negotiates its workforce adjustment policies with other unions at the National Joint Council. As such, you will not find in the tentative agreement or collective agreement any reference to workforce adjustment.
• PSAC negotiates its workforce adjustment policy through a separate mechanism which is why have an LOU outside of their collective agreement to jointly make representation to the public service commission to consider seniority for a reasonable job offer in addition to litigation under the employment act and the application of the merit principle.

Difference for RCMP members

• RCMP are currently covered by an MOU that specifies what can be negotiated for them via this negotiation (see list below)
  • Check-off dues
  • Days off for union business
  • Salaries
  • Any allowances
  • Salary increases and the 2500 allowance that is pensionable would be applicable to RCMP civilian members

Difference between pay adjustments and wage adjustments

• Answer provided: “None, exactly the same thing except that it’s more money in your pocked because what happens if we go back to the first year of the collective agreement which is 2022, you will be receiving an increase so your pay will be adjust with a 3.5% increase and then we’ll be calculating the 1.25% on top of the 4.50, 1.50* so this basically means that if you’re just adding up the increases, you would be coming up to 12.5 but when you’re adding the compounding effect of doing the calculation this way, you’re basically reaching 13.14% so it’s an optics thing, it’s no more than that, at the end it’s beneficial for you and we can’t promise we’ll always get an increase like that but this is beneficial to you at this point”

Departmental tables for the telework portion

• What are the departmental tables?
  • Is it by department?
    • Yes.
• What sort of level of support or representation does CAPE have at those tables?
  • They stated that they’re starting to think about it but members need to ratify the agreement before we jump into these conclusions.

Other

• The bargaining team came to the conclusion that this is the best we could achieve and are therefore unanimously recommending that members vote in favour of the tentative agreement.
• EC members of the bargaining team weren’t present to answer questions.
• The full tentative agreement and a FAQ will be provided with the voting kit. A “family grit”** will be provided as well.

My comments:

• They mentioned that if you’re getting CAPE’s e-mails through your government e-mail address, to check your junk mail as it’s not uncommon for CAPE e-mails to be filtered out…which is really odd because I’ve been told on several occasions that federal public service unions are not allowed to communicate with members through their government e-mail addresses.
• They did mention that the survey table only included the main priorities. However, given the rows for items that weren't included in the survey, it is odd that they did not list all of the new provisions in the new agreement and provide an explanation as to why they sought to include these provisions as it appears that some of the new provisions were not priorities that resulted from the survey.
• In regards to the decision to not allow members to talk to each other through the live chat, they basically decided that because of a small group of people who are incapable of handling differences of opinion, we all need to be treated like a bunch of children. To be fair though, when you see how some members act when they don’t get their way on Reddit, I don’t fully blame them for making this decision.
• If somebody is asking you what the difference is between pay adjustments and wage adjustments, the default answer should include an explanation of what the difference in meaning is between the two. Assuming that they’re only interested in how they differ in terms of the monetary benefit just leads to people becoming unnecessarily getting pissed off because you didn’t take the time to actually answer their question.
• They pissed people off by spending the bulk of the first 50 minutes of the meeting just re-stating what was previously shared with members in writing and only leaving about 10 minutes for the Q&A section***. They could have avoided this happening by giving short overview of the things I mentioned above and then jumping straight into the Qs and As.

*Her words, not mine.
**Her words were garbled here and this is the best I could make out of what she was saying.
***To be fair, some questions were answered during the presentation though.

I'm driving a U-Haul 10' truck to Manhattan from Westchester but I just found out that 10' truck is a commercial vehicle and there are many restrictions in terms of path I take. Is there an app or web site that allows you to plan a direction with a commercial vehicle? Please advise! Thank you a bunch in advance.

In part 1, we examine some of the dialogue that happens in the first four seasons. By the time we get to season 3, we have in fact eliminated any theories in which Red is not one of Liz's parents, because Red admits to Kirk Liz is indeed his daughter, and not having raised her, it eliminates this is a adoptive or step parent situation, a parental without necessarily meaning biological connection. Red is one of Liz's parents, either Katarina or Raymond Reddington. The same exact spot we continue to spin in season 8, when Townsend tells us as much. He can replicate for Red the effect of losing his family by killing Liz in front of him.
You can read an extended analysis of the link of the Hobson's choice, the suicide speech and Rederina here.
We will examine seasons 5 and leave seasons 6, 7 and 8 for a third part because season 5 is pivotal and the analysis is a long one.
Season 5: Them Damn Bones!
The bones are the cornerstone of everything that follows, for is the foundation that Red is not the Reddington from before 1990 when he disappeared. Remember that we have never been shown a dead Reddington, or even a fresh dug grave. Nachalo gets us to a wounded Reddington in the car, nothing further. It is said by Katarina and Ilya, but we have no visual confirmation.
Red saying he had a prior identity does not solve much, per se, because one thing we know is that the man known to the US Navy as Raymond Reddington, does not seem to exist under that name until the Naval Academy.
Remember that Liz, obsessed with blood relatives, and with the resources of the FBI to find all sorts of records (birth, death, marriages, college, voting, taxes, military records, financial, name change, etc.) is surprised when she thinks Ressler found her paternal grandfather. It seems both our "new" Reddington and the "old" Reddington had a prior identity.
We will spend some time in the bones, for they are pivotal. This season sets up everything that follows.
Let us begin by identifying key moments:

1. Kate dig the bones, tells Red about it, gets Tom to pick them up, and does not add any identification clue to them. Attaches a tag so they are directed to Liz.
2. Tom picks up the bones and decides to find out the identity before giving them to her, getting Nik to help. Nik gets Pete who extracts DNA from a tooth and breaks into CODIS using Liz's id. The bones return an ID, and Garvey is notified of the match.
3. Garvey gets the bones, gets Tom, Pete and Lena, and eventually kills Tom via his goons and leaves Liz in a coma.
4. Red get the bones, but not before Liz manages to find Jennifer by following Garvey. Garvey died, shot by Liz and Dembe.
5. Garvey had given the bones to Jennifer and involves someone who had a grudge with Reddington for an issue in 1989, Sutton Ross. (For this part, think about the logic of it, if the man Ross had the issue with has been dead long enough to be a bag of bones).
6. Jennifer, aided by Ross, shows Liz the bones in a charade. (For this one please remember that Jennifer knew where Liz lived, and yet, that is how she chose to show Liz. As for entrapping Red, Liz would have happily done so, without the theatrics.)

Let us begin by point # 5, which comes in 5.22, because it goes to the crux of the matter. The involvement of Sutton Ross by Ian Garvey. Let us think about this matter carefully:
Ross has a grudge with Reddington, because he believes that in 1989 Reddington had tricked him into stealing bad plans for the Chinese. Garvey helped him faked his death.
Garvey knows the identification of the bones, and by then, so would Ross. Why would Garvey involve Ross to get his revenge, if both men KNOW that the man who tricked Ross has been dead for a very long time?
Raymond Reddington was an officer with the US Navy Counterintelligence, not a traveling vacuum salesman, so the idea that anyone would supplant him without anyone noticing is poppycock.
Therefore, the Reddington who Ross blames for his mishap is the same Reddington who disappeared a year later, in 1990, the so-called, original or real Raymond Reddington.

In the '80s, when a company or a country wanted to steal R&D rather than develop it, Ross and his team stole it for them.
Didn't he steal R&D on a stealth fighter for China?
A defective stealth fighter called the Grayscape Seventeen. The Navy knew Ross was working for China, so they made sure he stole plans for a plane that couldn't fly, and when it crashed, China blamed Ross, turned him over to the feds, who issued an arrest warrant, and Ross disappeared.

"Let's start with this DNA report. For 30 years, I've wanted to be in the same room as Raymond Reddington, the bastard who tricked me into selling the Chinese a dodo bird when they were looking for an eagle. And here we are. So, the DNA report tell me what it means. ... The only guarantee you have is that, if you don't tell me, she will die. Of course, perhaps you don't care about that. Perhaps her life isn't worth your revealing your precious secret for. After all, what is she to you, really? "
Let us re-write this if Ross knows for certain Red is someone other than the man who arrange the Grayscape 17 charade:

Let's start with this DNA report. For 30 years, I've wanted to be in the same room as Raymond Reddington, the bastard who tricked me into selling the Chinese a dodo bird when they were looking for an eagle. And here we are, it turns out he has been dead for a very long time, which I found out when I got the report, and means I will never get any revenge on the perp, and you are an idiot for taking the name of a traitor. So tell me what the report means be cause I am curious to know how Raymond Reddington died?
The only guarantee you have is that, if you don't tell me, she will die. Of course, perhaps you don't care about that. Perhaps her life isn't worth your revealing your precious secret for. After all, what is she to you, really? Because she is not your daughter, because you are not Raymond Reddington, who Jennifer told me was Liz's father.

Was Sutton Ross licking hallucinogenic toads? What possible good may it do to him, other than getting him killed to learn whatever about the report? It supposedly is self explanatory: Reddington is dead and this man is someone else. But clearly, this makes no sense. The fact Sutton was involved is because he too had a grudge against Reddington, like Jennifer and Garvey had.
Clearly this incident dates to the 1980, Ross's 30 years places it in 1989.
Is there something else confirming that Garvey does indeed believe the bones are not of Raymond Reddington? Yes. When Garvey finally learns what is the connection between Red and Liz, this is what he says:
"Reddington's (RED) her father.... Now I get it. Reddington (RED) and your husband (TOM), how they knew each other. Reddington (RED) didn't know you (LIZ) through him (TOM). He knew him (TOM) through you (LIZ)."
Garvey is saying the man who is alive, and the father of Liz and Jennifer is one and the same, not the bones in the bag. That is why he wants the whole truth, because if the secret is that Reddington is an imposter, what else would Garvey want to know?
Let us write it if we believe Red is an impostor and not the same man who fathered Liz:

Reddington's (DEAD MAN IN BAG) her father.... Now I get it. Reddington (DEAD MAN IN BAG) and your husband, how they knew each other. Reddington (DEAD MAN IN BAG) didn't know you through him. He knew him through you.

Consider too what Dembe tells Red:
"Ross wants blood. He (ROSS) thinks you (RED) ruined his life."
"But he (ROSS) thinks you (RED) did, and because of that, he wants to world to know what's inside the duffel. (A SECRET RED DOES NOT WANT OUT)
It does not matter what Red did or did not, if he gave Ross the plans, or facilitated the exchange, or if he was not responsible at all. What matters is what Dembe knows (who is the bag's identity), and what Ross knows (who is in the bag) and wants, which is revenge for the charade on the person he holds responsible, who is the man calling himself Reddington in 1989.
Those lines make no sense whatsoever, for anything other than the bones would not be the original or real Reddington.
Ross wants blood. He thinks you (RED) ruined his life. BUT IF Ross has the bones then Ross knows Red is not the man who tricked him, or sold him, or gave him those blueprints.
But he thinks you (RED) did, and because of that, he wants to world to know what's inside the duffel. (The bones of the man who DID set him up, or at least who Ross thinks did, which begs the question, why on earth would he then think Red ruined his life. At most, he is an idiot for taking that name.
​
Let us move now to point #3, which involves what Garvey says about the bones to Tom and what Red himself discusses with Dembe and Smokey about them, namely, the value of the bones:
"You know, all this time I've given you to think has prompted me to do some thinking of my own. And, uh I got to tell you, I'm stumped. When you consider all the people on the planet who would be interested in the contents of that case and you multiply that number by an even greater number of unspeakable things those people would do to get it, how the hell could it end up in the hands of a little pissant like you?"
and:

RED: We came all this way to find the duffel has been handed from one enemy of mine to another.
DEMBE: And yet, neither chose to make its contents public.
SMOKEY: If what you're looking for is as valuable as you say, why why why why didn't they put it up for auction?
RED: I have no idea.

Exactly what would be lost to Red if the world knew he is NOT Raymond Reddington, but an impostor who much like Gregory Devry, took the name for reasons unknown?
Red's value, his empire, is based on his contacts, decades of being the concierge of crime, of brokering deals, finding information. Who he was is irrelevant. And remember that, for the Rederina lens, knowing he is not Reddington does not equate to knowing he is Katarina. The name Reddington had no intrinsic value, for all Reddington was in 1990 when he disappeared, and then in 1991 was a two bit traitor.
For all Nachalo was trying to sell us different goods, Nachalo's Raymond Reddington had not much value per se. He was an imbecile incapable of suspecting a beautiful Russian woman, one who could move freely in the West without being followed by a cadre of KGB agents so she will not defect, was not a KGB agent herself.
Then let us move to the matter of the identification. Red is certain that whoever has them, will come to him, will be able to identify them, and once done, there is no more questions to be had:

GARVEY: Let's start with the truth.
RED: You have the bones. You already know the truth.
GARVEY: A truth. I want the whole truth.

In season 3 we had learned that Reddington's DNA was not in any DNA identification database.

Who is this guy? - He claims he's Reddington?
Yes, and we can't disprove it with DNA because there's nothing on file from 1990 when Reddington disappeared.

He is identified by fingerprints alone in the pilot of the series.
And yet, in season 5, for the Rederina theory, we are meant to believe that somehow DNA from Raymond Reddington has magically appeared in CODIS, and Ian Garvey, US Marshall attached to Carla and Jennifer Reddington has been advised a match has been made.
We have three options. First, the DNA was a direct match and the plot makes no sense, nothing new there.
Second, the DNA is from Jennifer Reddington. But that is nonsensical, for upon learning that Jennifer's genitor is a skeleton, nobody would think that the man using the name of her legal father is an impostor, but would think instead that her mother was certainly having fun when Reddington was in Russia, and her husband, having found out about the hanky panky, had dispatched the man. A story of sex, betrayal, murder and paternity, but not of identity.
And the third option is that the DNA match was not of Reddington. Valuable bones as proof of death? In this case, it means that the report shown to Liz by Jennifer was a fake. Her little revenge for Garvey's death.
So, to believe that the DNA is indeed Reddington's we have to accept that the creator and writers were too lazy or too stupid to even add a line of how was the DNA added when they had made a point to tell us that it was not there in 2015.
Totally possible, especially in light of season 8B starting with the supremely stupid The Russian Knot, ending in the dumpster fire and the Toxic Fumes, TM by u/Anselmo213, followed by insipid season 9 and filler season 10, still ongoing.
​
Now let us focus on the exhumation of the bones, Kate's motives and actions. The bones is the last step in a long battle in which Kate took Red's money, sent his associates to jail, exposed his part in the Von Hauser death, and got the Apothecary to design a poison that would have suffocated Red slowly. She was doing all this, not to save Liz, whom she believed was past salvation, because she always had chosen Red over the truth, but to save Agnes.
The interesting thing, is that when she digs them, she touches the carved K on a tree with respect, and apologizes to Katarina. If Kate indeed would know Red is Katarina, in what universe does that action make any sense, especially when the bones are supposed to be those of a man she hated, when she has already poisoned Rederina to die slowly of suffocation!
Her attitude would make sense if she believed she had dug the bones of Katarina, thus ending the danger to Liz because with her mother dead, there is no using Liz as bait.
Kate dug the bones, even though she was going to testify. Without as much as a hint of their identity, attached a tag with Liz's name and address, and tasked Tom, never good for following orders, to give them to Liz. Consider Kate may have had one of her people do so without incurring in any mishaps, the choice of Tom seems designed to get him killed, particularly when she took pains to alert Red the bones were out and in route to Liz, and called the person delivering them her ally.
Let us get to the issue of what Dembe and Red discuss, when they go check the suitcase location and find it gone. The night before, unbeknown to Kate who had died earlier, Liz gets a test that proves that Raymond Reddington, from a sample from an old case before he disappeared, was Liz's father. She had confronted Red.
The non-denial that also happened in 4.22 should not be news:

DEMBE: You didn't deny it.
RED: I didn't.
DEMBE: And she thinks that's Kate's secret?

For Rederina and Third Man this is not an issue. He is not her father, because in one case he is her mother, and in the other he is unrelated, although his confession to Kirk, and Townsend's word make this impossible. But let us go to the first time he has denied it, which was in season 1, when Liz asks him directly, and obviously does not believe the answer.
Red had suffocated Sam (possibly at Sam's request to kill him swiftly) after promising the man who had been a father to Liz that Sam will always be her father, something only a biological father has any right to do. Not even a mother can do so, especially considering Sam WAS Liz's father, and especially true in the Rederina case, for Katarina had been responsible for what happened to Reddington, by targeting him, then babbling to the cabal about a fulcrum, then hiding his death and taking his gender and identity.
"You will always be her father, Sam. I can only hope that I can love her and protect her as you have."
Having given this promise on a deathbed to Sam, Red cannot ever say again he is Liz's father. He can say Liz is his daughter, for that shifts the onus to Liz. But Sam is her father.
This line, interpreted from the Rederina standpoint, is especially despicable. She got her father killed, had deceived her husband the child was his, told the cabal's Fitch who Liz's father was, then hid his death, had Ivan steal information from the KGB, so she will have even more enemies, made Liz's father as a traitor, assume the gender and identity, proceeded to abandon Liz, then killed the man who had actually been Liz's only parent, lied to Liz about her mother being dead by suicide, and her father who was a criminal had abandoned her, then directed her life from afar, like a puppet, and then, instead of letting her kill him and be done with it, insist they make up, then she kills him via emotional blackmail.
What right did Rederina have of assuming the man who had been Liz's only parent, that he had no intention of supplanting Sam as a father? WTF?
Then all in relationship to those bones this is what Dembe says:
"Raymond I'm not sure Elizabeth will ever be ready to learn about what you did to Katarina."
For the two theories that are not Rederina, this presents no problem. Red did something TO Katarina. Betrayed her, hurt her some way, kill her, whatever. But the phrasing of it, however, does presents a lot of issues for Rederina.
It implies that gender change was not done willingly, but was a last resort.
It is disquieting, even though we had already established in Cape May that according to the Rederina lens, in the Hobson's choice, Red describes his actions to save Liz and let the woman go as the worst he has done. Now Dembe seems to do the same, by implying the gender change was done unwillingly, yet Nachalo does not seem to have any of it. Katarina describes the "new Reddington" as someone useful, but has no hint of a tremendous sacrifice, the worst thing done.
It disassociates Rederina from Katarina, and implies some wrongdoing in what happened to her "what you did to her".
For the non-Rederina camps, it seems that the bones are somehow related to Katarina. They are something Red did TO her. Considering he later takes the bones to burn at Dom's that seems to be supported. This is supported as well by Kate's actions when she dug her, the carved "K" on the tree, and the loving attention to place them not in a trash bag, but on a suitcase.
Red told also both Liz and Tom that the bones were none of their business, which would certainly be a lie if they were the bones of either parent of Liz.
TO TOM: This is a secret, not a lie.
TO LIZ: I won't tell you something that's none of your business. It was none of Tom's business.
​
Finally we have to examine the role played by Jennifer Reddington AKA Lilly Roth (point #6), who is who briefly shows Liz a report that has Liz believe the bones are those of their father. A report that has not been seen or confirmed by anyone else, for the envelope Tom saw was not the same as the one Liz saw. Possibly a Prop Department's laziness or a clue. Right now who would know?

Red meets with Jennifer

One encounter which is truly remarkable if we want to analyze what Rederina does to the story is the encounter between Red and Jennifer. Red had maintained Jennifer under surveillance, since the bar shootout. She wants answers, and he wants the bones. So they meet. We do not know if she knows the report by then, and she is certainly not afraid of Red at all. She will lead Red to a cementery where her mother is buried as Naomi Hyland, dead the same year the bones were exhumed by Kate, 2017, 2 years prior to this moment.
So Red is telling Jennifer what HE thinks Jennifer wants to know, why was she abandoned.
We will examine this conversation in light of all possible situations, because either the writers were being extremely dishonest, or Jennifer is certainly speaking ambiguously:

RED: Put where the Cabal wouldn't find you.
JENNIFER: Or my father. (implying she may know already Red is not her father because he is an impostor)

but then JENNIFER: "After you left, we went into Witness Protection."
So, Jennifer, just like Kate seems to know both that the man there is her father and know he is an impostor. Dishonest writing especially if an unambiguous answer is never one we are meant to have and they were lying for 10 years saying they knew what the answer was and so would we at the end.

OPTION 1: Let us examine the conversation if we think Jennifer already knows the man talking to her is an impostor and assuming REDERINA:

REDERINA: "In 1990, the KGB and the CIA had almost nothing in common except the mutual determination to hunt down one individual."
That would be KATARINA ROSTOVA, the person talking to Jennifer. Well that is absolutely true for Rederina. Katarina was indeed being chased by both the Americans and the Russians. IN HIS INSTANCE REDERINA IS BEING HONEST with Jennifer
JENNIFER: "You".
THAT WOULD IMPLY THAT JENNIFER KNOWS HE IS KATARINA, for her father was not being chased by neither one.
REDERINA: "Being a fugitive from American law enforcement is a lot easier than being a fugitive from the two most powerful nations on Earth. And anyone close to a target of theirs becomes a target themselves."
So, Rederina is telling Jennifer that he became Reddington because it was easier to evade the FBI than the CIA and the KGB. Seems unusually open, but considering Cape may underr the Rederina interpretation tells us Katarina became Rederina because she had no choice, the Hobson's choice, the hardest thing he had done, equating it to suicide, Rederina is then telling Jennifer that he did all this simply to protect her family, which in this case is simply Liz, not her (Jennifer) or her mother (Carla).
JENNIFER: "Family."
REDERINA: "Especially family."
A confirmation then that with her father dead, Rederina seek to protect Katarina's family, Liz, for Jennifer is nothing to Rederina. Rederina tells Jennifer then all was done to protect Liz. Except for what follows:
REDERINA: "Unless they're abandoned on the side of a road on Christmas Eve."
WAIT. WHAT? Rederina is now telling Jennifer that her father's disappearance was due to his having abandoned HIS family, Jennifer and his wife, Carla, because he wanted to protect them? According to Nachalo he had just taken the fulcrum he had created by himself, taken his love child without so much as a goodbye to his wife, and holed up in that secret location, the family Summer house, to wait for Katarina (the human being telling this line), to show up for both her child and the fulcrum? Carla never said anything about a fire, only that he had never shown up, and they were waiting for him for Christmas? So now Rederina is adding that cruelty to Jennifer who already knows this man in front of him is not her father.
And here is were things get really weird.
JENNIFER: "After you left, we went into Witness Protection."
WTF? Supposedly in this scenario, because of what she says below "Or my father" Jennifer knows the man in from of her is not her father. So why is she then referring to Red as she would her father who LEFT THEM. So, does she knows her father is long dead, or does she not?
REDERINA: Put where the Cabal wouldn't find you.
JENNIFER: Or my father.
Well, if Rederina had not told Fitch who Liz's father was, and that he did have proof against the cabal, proof she failed to find THEN hid the death of Reddington all to make him into a traitor, then to assume his identity to protect Liz, Jennifer and Carla would be mourning the death of a stupid man who could not keep it in his pants, or figure out a Russian woman interested in the sap was not a KGB spy, but supposedly he just said the whole WITSEC was about protecting them from the cabal. WTF? I mean, W.T.F.?
REDERINA: An effective, albeit excruciatingly painful solution.
WHAT? Why would hiding Carla and Jennifer would be excruciating to him? Rederina chose to do all those stupid things supposedly to protect Liz and Carla and Jennifer, So why would all be painful? Especially after all that BS about having no choice in Cape May. How could ANY of this make any sense?
Effective?
You survived, as did your mother, to whom I hope you are now willing to take me.
Well then.
OPTION 2: Jennifer already KNOWS the man talking to her is NOT her father, he is an impostor.
IMPOSTOR RED: "In 1990, the KGB and the CIA had almost nothing in common except the mutual determination to hunt down one individual."
Katarina was indeed being chased by both the Americans and the Russians. So IMPOSTOR RED is being truthful that the origin of this mess is that Katarina was being chased by everyone she had betrayed.
JENNIFER: "You".
Since her father was not chased by anyone NOT the cabal, then she is just mistaken, or she assumes this impostor was just trying to save his own ass.
IMPOSTOR RED: "Being a fugitive from American law enforcement is a lot easier than being a fugitive from the two most powerful nations on Earth.
So, he is telling Jennifer that he became Reddington because it was easier to evade the FBI than it was for the person chased by the CIA and the KGB. Basically because Katarina was being chased, this man assumed the identity of Reddington because it was easier for him to do so than it was for Katarina to evade them, so there MUST be a connection between making Red a criminal, and her hiding which Nachalo told us that inventing a new criminal Reddington was useful, even though the stolen KGB information was the seed, which makes no sense.

IMPOSTOR RED: And anyone close to a target of theirs becomes a target themselves."
JENNIFER: "Family."
IMPOSTOR RED: "Especially family."

But then this is just peachy. So, this charade was done to protect the family of Rostova, basically Liz and Dom, as well as her understanding mother, happily gallivanting since 1991 eating burgers instead of borsch.
BUT here is the weird part:
IMPOSTOR RED: "Unless they're abandoned on the side of a road on Christmas Eve."
THIS IS PURE NONSENSE. Impostor Red is now telling Jennifer that her father's disappearance was due to his having abandoned HIS family, Jennifer and his wife, Carla, because REAL REDDINGTON wanted to protect them?
According to Nachalo REAL REDDINGTON had just taken the fulcrum he had created by himself, taken his love child without so much as a goodbye to his wife, and holed up in that secret location, the family Summer house, to wait for Katarina to show up for both her child and the fulcrum? Carla never said anything about a fire, only that he had never shown up, and they were waiting for him for Christmas? So, basically, Carla, KNOWING her husband was dead, had invented this disappearance story in order to get herself and her child to hiding, being an accomplice with Katarina, who had created the fake evidence, and using it herself to get herself and Jennifer in WITSEC?
And here is were things get really weird.
JENNIFER: "After you left, we went into Witness Protection."
WTF? Supposedly in this scenario, because of what she says below "Or my father" Jennifer knows the man in from of her is not her father. So why is she then referring to Red as she would her father who LEFT THEM. Suppsaoely she knows her father is long dead. Dishonest writing, bad writing or clue?

IMPOSTOR RED: Put where the Cabal wouldn't find you.
JENNIFER: Or my father.

So this whole scheme about Reddington being a traitor was a stratagem concocted by this impostor and Reddington's wife to protect both Carla and Jennifer?

IMPOSTOR RED: An effective, albeit excruciatingly painful solution.
JENNIFER: Effective?
IMPOSTOR RED: You survived, as did your mother, to whom I hope you are now willing to take me.

WTF? Why would an impostor who did not give a rat's ass about Carla or Jennifer give two hoots about being separated from them? Because it cannot be about his becoming Reddington, because apparently he did so willingly because Katarina was being chased by the KGB and the CIA.
It is a massive contradiction which only makes sense at train speed, but which cannot withstand a logical examination, just as the Rederina option was. Nonsense. Poppycock.

OPTION 3: Jennifer thinks she is talking to her father, and Red is acting like he is her father Reddington (term used in a broad manner, not necessarily a genitor).

RED: "In 1990, the KGB and the CIA had almost nothing in common except the mutual determination to hunt down one individual." (that would be Rostova, for Katarina was indeed being chased by both the Americans and the Russians. In here, Red can ONLY be telling Jennifer that Katarina was being chased by both, for we know Reddington was not.)
JENNIFER: "You". (In this case, Jennifer is mistaken, and since we do not see Red's reaction wether he nods or shakes his head in denial, he must have denied non-verbally.)
RED: "Being a fugitive from American law enforcement is a lot easier than being a fugitive from the two most powerful nations on Earth.
Red is telling Jennifer that because it was easier for him to become a fugitive from the FBI than it was for Katarina Rostova to evade the CIA and the KGB.
RED: "And anyone close to a target of theirs becomes a target themselves."
So, here Red is saying that when it came to the KGB and the CIA, they would go after the family. So, any relative of that person, who we know to be Katarina Rostova would be a target.
So far, Red has told Jennifer that in 1990, one person had been chased by the KGB and the CIA, and because that person's family would be in danger, he became a fugitive from the FBI because it was easier for him to evade the FBI than it was for that person, who we know to be Katarina, to evade the CIA and the FBI, to protect HER family.
JENNIFER: "Family."
RED: "Especially family."
So, confirming here that it is done to protect the family of THAT person, chased by the KGB and the CIA. Rostova not Reddington.
RED: "Unless they're abandoned on the side of a road on Christmas Eve."
Now he is saying that the official story of the disappearance of Raymond Reddington, that he disappeared on his way to see her and her mother on Christmas Eve, was done to protect her and her mother, while he had already said that the disappearance of her father was because it was easier to become a criminal chased by the FBI than it was for Rostova and her family to disappear and be safe from the KGB and the CIA.
According to Nachalo Reddington had just taken the fulcrum he had created by himself, taken his love child without so much as a goodbye to his wife, and holed up in that secret location, the family Summer house, to wait for Katarina to show up for both her child and the fulcrum?
Carla never said anything about a fire, only that he had never shown up, and they were waiting for him for Christmas? So, according to what Red is saying here, the disappearance of Reddington was a stunt to protect her family? his family?
JENNIFER: "After you left, we went into Witness Protection."
So, here Jennifer DOES know that Red IS her father who left her, and her mother, and when he did, they went into WITSEC, basically saying her mother testified or provided evidence that warranted her going into WITSEC.
RED: Put where the Cabal wouldn't find you.
Red then says that doing so was to protect Carla and Jennifer, a stunt created to hide them from the cabal. A lie, that her mother was scared of her husband, and an admission to us that the charges of treason were fabricated, which we saw when Carla pretends to be afraid in 2.01.
JENNIFER: Or my father.
Jennifer here then does not know Red is not her father, but it is saying that they were hidden in such a manner than her father could not find them, even if he had wanted to.

RED: An effective, albeit excruciatingly painful solution.
JENNIFER: Effective?
RED: You survived, as did your mother, to whom I hope you are now willing to take me.

He admits here that being separated from his wife and child was a solution that although was painful for him, it served the purpose of keeping both Carla and Jennifer alive. Then the whole thing, his becoming a criminal, based on the evidence given by her mother served the purpose of putting them in WITSEC to hide, because it was easier for him to become a criminal, via the evidence provided by his wife, than it was for Katarina Rostova to evade the KGB and the CIA, to protect HER family, essentially saying that Jennifer IS the family of Katarina Rostova, essentially saying that the woman Jennifer knew as her mother, and we saw as Carla AKA Naomi IS Katarina Rostova, hidden in WITSEC from the KGB, the CIA and the cabal, and kept there because her husband was a criminal at large, and she provided testimony or proof against him, a rouse.
​
<<<<< CONCLUSIONS OF SEASON 5 >>>>>
So here is where we are. The bones as the remains of the "real" Raymond Reddington makes sense so long as we do not examine details, dialogue and motivations. Nachalo makes it even worse. Total nonsense.
Unless the show changed directions, but then why would Bokenkamp, Eisendrath, Reiter , Knauff and the rest with such patent nonsense?
Why write lines that make it impossible that Red is other than Reddington, even, if he is still an impostor, in the sense nobody was born Raymond Reddington?
ROSS TO RED: "Let's start with this DNA report. For 30 years, I've wanted to be in the same room as Raymond Reddington, the bastard who tricked me into selling the Chinese a dodo bird when they were looking for an eagle. And here we are. So, the DNA report tell me what it means."
KATE TO THE BONES: "I'm sorry, Katarina."
NIK TO TOM: "Reddington's her father? I can't say I'm surprised. I'm sad for her. That sucks, but what does this have to do with me? "
RED TO SAM: "You will always be her father, Sam. I can only hope that I can love her and protect her as you have."
SAMAR: "Yes, and we can't disprove it with DNA because there's nothing on file from 1990 when Reddington disappeared."
GARVEY TO LIZ AND JENNIFER: "Reddington's (RED) her father.... Now I get it. Reddington (RED) and your husband (TOM), how they knew each other. Reddington (RED) didn't know you (LIZ) through him (TOM). He knew him (TOM) through you (LIZ)."
GARVEY TO TOM: "You know, all this time I've given you to think has prompted me to do some thinking of my own. And, uh I got to tell you, I'm stumped. When you consider all the people on the planet who would be interested in the contents of that case and you multiply that number by an even greater number of unspeakable things those people would do to get it, how the hell could it end up in the hands of a little pissant like you?"
SMOKEY ABOUT THE BONES: "If what you're looking for is as valuable as you say, why why why why didn't they put it up for auction?"
RED: "You have the bones. You already know the truth."
DEMBE KNOWING ROSS KNOWS THE BONES ID: "Ross wants blood. He thinks you (RED) ruined his life."
DEMBE KNOWING ROSS KNOWS THE BONES ID: "But he thinks you (RED) did, and because of that, he wants to world to know what's inside the duffel."
RED TO JENNIFER: "Being a fugitive from American law enforcement is a lot easier than being a fugitive from the two most powerful nations on Earth. And anyone close to a target of theirs becomes a target themselves.... Especially family. Unless they're abandoned on the side of a road on Christmas Eve...An effective, albeit excruciatingly painful solution.....You survived, as did your mother, to whom I hope you are now willing to take me."
JENNIFER TO RED: "After you left, we went into Witness Protection."
We continue later to seasons 6 to 8.