Petscop 2 is the second video uploaded to the Petscop account. It was uploaded on April 1st, 2017.
Petscop 2 opens in the same spot that the previous video ended at. There is no movement on-screen until 0:15, at which point the hatched door opens, accompanied by a musical tone. The video cuts to black briefly until Paul returns, explaining that he left the room and came back to find the door open. Paul enters the door, after which a loading screen plays with what appears to be a set of darkened bedroom furniture.
The screen fades from black, revealing a staircase leading to an underground cellar with a rattling machine, some wall decorations on the right, and pieces scattered across the room. Paul enters the room to the left which is a hallway that leads to another room with a ringing phone. Paul picks up the phone, causing a text box to pop up, saying “Care has left the room.” To Paul’s immediate right, a note on the wall indicates three characters associated with the letters A, B, and NLM, respectively.
Paul then heads left again and is taken to a walkway. Heading towards the camera does not lead anywhere, but heading away from the camera leads Paul to a picture of a home. Further down the walkway, interacting with a picture of a brick building causes a musical score to play. Further still, Paul interacts with another picture of a windmill.
Paul then heads right and comes across a street that intersects with the walkway. For a brief moment, a blue car can be seen and heard passing through. Investigating the road only nets Paul more pieces.
Past the road, Paul comes across two entrances. He enters the one north of the camera. A loading screen plays, and a darkened staircase leading to an entrance can be seen before the loading screen ends. The screen fades from black, revealing a yard with several pieces, two ambiguous structures with faces, and a rock. Interacting with the structure on the left reveals a text box that says:
1998 – 1995
Mike was a gift.”Paul remarks matter-of-factly with “That’s a dead kid. Yep.” Entering into the shack’s left entrance, there are some gardening tools, and a box of crayons on a shelf. Most notably, however, there is a large daisy growing out of a hole in the ground. Paul begins picking the daisy’s petals, causing the screen to flash red slightly after every other petal pulled. Paul stops when all but three petals are pulled, leaving the shack and entering into the right entrance.
On a tall pedestal, a long-haired figure is weeping into their hands. There is nothing else in this room. Paul re-enters the left entrance and removes all of the remaining petals. Unceremoniously, the stem descends into the floor. Re-entering the right entrance, the pedestal has descended and the figure appears to melt into itself over and over. It is also non-interactive, as Paul clips through it several times.
Back in the yard, Paul finds a narrow hallway to the right of the shack. The hallway branches to the left and right, and Paul chooses left. Down this path, a window and another door can be seen. In the window, two shapes appear to interact, with one being inserted into the other. The door leads to a room with several potted plants and numerous drawings on the walls. The drawings are all of the same bizarre shape, consisting of a flat base, round center, and pointed tip. All of the drawings are colored purple or blue.
On the far-right side of this room, another area can be seen. The shape in the drawings appears in the center of this area, this time coloured brick red. Interacting with this object causes a window to pop up, allowing Paul to input a question. He asks “What?” to which the object responds “I don’t know”. North of this room, a windmill spinning clockwise can be seen in the distance. The object urges Paul to “Keep watiching the windmill”. Two scores play, but nothing else of note occurs.
Paul retraces his steps after watching the windmill for two minutes. On the way back to the forked path, Paul appears to address a specific person(s), telling them that he will keep them updated on his progress. “But also, uh, when you come home next month, and uh, hopefully you’re feeling a little more enthusiastic about that now. We can investigate this together, and maybe you’ll find stuff that I can’t find here.”
Down the right path, Paul finds two paths heading north. One is a dead end, while the other leads to a mirrored room. According to the text on the floor, this is the Quitter’s room. It appears to be a bedroom, with a working clock and a poster in the far-right corner.
Approaching the mirror causes another character to appear. This character is identical to the player character, except that the head is a black and white drawing of a girl. This other character (assumed to be the titular “Quitter”) follows Paul’s movements. That is, until Paul walks behind the bookcase, after which a musical tone plays and the Quitter’s movements become desynched from Paul’s. However, the Quitter does not follow Paul’s movements exactly albeit delayed, but appears to merely imitate them. After a brief period of time, their movements resynch.
The video cuts to black until Paul comes back, noting that the tone played at the beginning of the video was the same tone. He then asks for the opinion of the unspecified “You” on this occurrence. Investigating the paper on the wall reveals the message “Do you remember being born? _______” spelled backwards. Back to the hallway, Paul heads right again and north. This takes him back to the open field through the backside of another hatched door.
[Six tones play]
Paul: Hey, so, the door opened on its own. I was just in the other room for a couple of minutes, and I came back and the door was open. And I checked the recording, 'cause I was recording, and the door just opens on its own; I didn't do anything.
Paul: So, I'll take it, right? So I'm gonna show you what's in here now. I haven't seen it yet, so, this could be interesting.
[Paul begins exploring underground area]
Paul: Is that a phone?
[Paul interacts with phone]
"Care left the room."
Paul: What is this?
[Paul looks at poster]
Paul: A, B, NLM. Uh... K? Nothin'.
[Paul looks at house picture]
[Paul looks at school picture]
[Ominous sound plays]
[Paul looks at windmill picture]
Paul: This just keeps goin'. Uh, yeah? K.
Paul: Hm. Sorry for not talking very much. I'm a little bewildered if you wanna know the truth. This is a little more than I was expecting to see.
[Paul interacts with grave]
1988 – 1995
Mike was a gift.
Paul: That's a dead kid. Yep. Yep. K.
[Paul plucks 13 petals]
Paul: Wait. OK.
[Paul plucks remaining 3 petals]
Paul: K. Uh, wait. I dunno. So, when I first came down here I thought I was just gonna see, like, one room. Like something, but not this. Can I go in here? I can!
[Paul interacts with Tool]
[Paul asks "What?"]
Tool: I don't know
Paul: I don't know... ok.
Tool: Keep watching the windmill
Paul: Uh... uh... heh.
[Cut a couple minutes ahead]
Paul: Alright, so it's been like two minutes. And when those sounds were playing, there was nothing happening as far as I could tell, and nothing has happened since. So, I'm just gonna keep going. There's already been stuff that I could dig a little deeper into, and I'm gonna do that, and keep you updated.
Paul: But also, when you come home next month, and hopefully you're feeling a little bit more enthusiastic about that now, we can investigate this together, and maybe you'll find stuff that I can't find here.
[Six tones play]
Paul: What the fuck? Wait a second. What was that just now? Can I get that to happen again? Wait... uh...
Paul: Hey, sorry, I had to look at that for a moment, in the video. I was a little nervous. The tones, I think those were the same tones that you might have heard in the beginning. I'm gonna put in the beginning the part where the door opened. And, also, the way the guy on the other side was moving, for a moment: I'm gonna ask for your comment later on that. So, I was looking around here. So, this...
[Paul looks at poster]
Do you remember being born?
Paul: ...is backwards, it says, "Do you remember being born?" And, this just says, "Quitter's Room". So, interestingly I'm on the reverse side here. Uh, yeah. OK, so, moving on.
Paul: Mm. And I'm back up here again. This again. Well, OK, I'm not gonna do that right now. Alright, so I'm gonna stop this now actually.
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