Mayday Plays - Doomed to Repeat, Ep. 37 - "The Horror of Innsmouth" | Delta Green

Episode Date: August 15, 2025

The end is near. With Kennedy dead and Innsmouth in chaos, Arthur Clarke flees through the shadows with Ruth, a local nurse whose kindness may be their only lifeline. Meanwhile, Cora, Freddie, and Dr. Rooke uncover a chance at escape in the form of Brian Burnham. But the mob is closing in. Escape may be possible... if they survive long enough. Fate has other plans. Innsmouth isn’t done with them yet. In this episode, we continue our playthrough of the scenario “Escape From Innsmouth” by Kevin A. Ross and others, and published by Chaosium. TRIGGER AND CONTENT WARNINGS: Language, Madness, Gore, Body Horror, Violence, Spirituality, Death, PTSD. Published by arrangement with the Delta Green Partnership. The intellectual property known as Delta Green is a trademark and copyright owned by the Delta Green Partnership, who has licensed its use here. The contents of this podcast are © Mayday Roleplay, excepting those elements that are components of the Delta Green intellectual property. CAST OF CHARACTERS • Lev (they/them) - Cora Loquillo (she/they) • Amanda (she/her) - Arthur Clark (he/him) • Caleb (he/him) - Kennedy Newell (he/him) • Eli (any/all) - Dr. Theodore Rooke (he/him) • Zakiya (she/they) - Freddie Thurman (she/they) • Sergio (he/him) - The Handler MUSIC & SOUND EFFECTS • Post Sound Supervision: Sergio Crego, Eli Hauschel • Mixed: Eli Hauschel • Original Music: Aaron A. Pabst • Soundstripe (soundstripe.com) • Epidemic Sound (epidemicsound.com/) • Soundly (getsoundly.com/) DELTA GREEN LINKS • Delta Green (http://deltagreen.com/) MAYDAY ROLEPLAY LINKS • Join Our Newsletter (https://tr.ee/We5xVbEvUK) • Patreon (https://www.patreon.com/maydayrp) • Ko-Fi (https://ko-fi.com/maydayrp) • Mayday website (https://www.maydayroleplay.com/) • Youtube (https://www.youtube.com/@Maydayrp)

Doomed to Repeat is a Delta Green actual play podcast with violent themes and adult language. Listener discretion is advised. Hello and welcome to episode 37 of Doomed to Repeat. I'm Sergio, your handler. If you love what we do here, please be sure to like and subscribe and leave a comment where you can. It really helps us get noticed by new listeners. And if you want to enjoy all of our content completely ad-free, then consider joining our Patreon at patreon.com forward slash.

May Day RP, where you can not only get ad-free episodes, but tons of behind-the-screen content, including one-on-one sessions, bloopers, character stickers, exclusive art and posters, discounts to merchandise, access to our private discord, and who can forget, exclusive access to Black Project Gaming's run of God's Teeth. This episode, we continue our playthrough of Escape from Insmith by Kevin A. Ross and others and published by Chaosium. Now, let's get back to the show. It's past midnight and Innsmouth, and you are all running out of time. Last session, the group split up after a tense encounter with a shrieking local, Ma Babson,

who outed your location to the townsfolk. Freddie, Cora, and Dr. Rook, you headed toward the jail, while Kennedy and Mr. Clark, you made it for the local flop house. At the jail, Freddy's group discovered Brian Burnham, missing since the start of your investigation, locked behind bars. You freed him, but not quietly. The town was roused to your location, and you fled with him to the town grocer where his personal vehicle awaits. Meanwhile, Kennedy and Clark, you met a kind young nurse named Ruth Billingham. Though the poorhouse had no working phone she offered to take you to her home to use hers. From there, you contacted headquarters and a vehicle was promised, waiting on the outskirts of town. Ruth revealed that

she once knew Brian intimately, and you decided that it was important to find the others. But you were spotted almost immediately, and a mob gave chase. We ended last session with tragedy. Kennedy shot in the back of the head. A brutal, suddenly. loss. The death of your ally is horrifying. I'm going to ask Arthur and Ruth to make sanity tests. 10, thank God. That sounds like a success. I'm going to say that you're going to lose one point of sanity. The problem is, is that Ruth failed miserably. She critically failed her sanity check. She stops in her tracks and sees his body collapse and begins to scream at the top of her lungs. No! I'm going to drag her. I'm going to try to jerk her, drag her with me. I'm going to

ask for a strength times five roll to see that if you can drag her and maintain a pace from this mob. Oh, God. That is a fail, an 87. It takes a while to drag her, but you do start to get going, but the mob is right behind you. Let's cut away. Freddie, Dr. Rook, and Cora, you're with Brian, and you start making your way to cross, and you can see that there is a bridge, and all that is dividing you is a street that passes in front of you. and you stop to kind of survey and that's when you see that coming down the street a mob of people, but they're not

holding torches, they're holding those lanterns, they're wearing those dark sea green robes and almost like priests or in some kind of religious fashion, they are moving down the street in your direction but it appears that if they follow the street

they're going to go down towards the harbor. Let them pass. Yeah. Yeah. We just got to get out of here. Stay together in the shadow. Stay quiet. About 20 of these individuals pass you.

Some of them lumbering in strange inhuman ways. As they pass, the leader in the front carries these large, two-foot-long, conical, meaning cylindrical, clay tablets. The moonlight illuminates that there are these runes, maybe not too dissimilar from the ruins that you saw down in the sea caves. And it appears that this group is moving towards the water. They pass you, and you suspect that in another minute, they'll be far enough that you could probably make your getaway.

But that's when you hear coming from a different street, a different mob, and they stop the group, just barely with an eye shot of you if you decided to run. And you can suspect that the ones from the jail are warning these folks that they don't have Brian. You have moments to act before this group does something. We got to go. We got to go. says, if we basically just run in the next five minutes, we'll get to my car. Okay, go. I

start pushing the three of them forward and start running. The doctor, you still have the camera and the photos? Yeah, it's all that sling around my back. Please make athletics checks. Fail, the 92. 35, under 50. 19 under 30. The four of you

dart out from the shadows, but as you get to the bridge, you check back and you can see that the cultists have stopped and immediately noticed you, and there is now at least a dozen of them chasing after you while the others seem to break off for some reason in other directions. Can I try to sense what the other ones that are breaking off are doing?

Yes, you can. Make a power times five roll. 71. That's a success. Your intuition tells you that they probably know how to get to you faster, but they're sending some folks on foot to cover ground. They're splitting up. They're going to get to us faster. I don't know. I don't know which way they're going, but it'll be faster. We just got to get to the car. They're going to head us off, though. That's why they split up. You... I'm going to get to the car, and I'm going to bring the car around. Freddy?

It's going to work. Trust me. You just keep an eye on him, however you're doing that. Okay. I won't be able to tell you. It's okay. I'm going to take the lead. You can just stay a little bit behind. If they cut us off, I can run through him with the car. something, but I'll come towards you. Okay, so the doctor and I will hide and wait for you? Yeah, and if I don't show up, then run to the poor house. I'll be a distraction. Freddy.

It's not going to happen. It's just good to have a backup plan. Hurry. Of course. Anyone that is not chasing with Freddie, I'm going to say that Brian is probably running with you to the grocery store. The other two of you, if you're tempting to hide, I'm going to need some kind of stealth roll. Can I use my last role of like sensing where they were to try and intuit the most,

like the place that they're least likely to look on this stretch of road? I will allow this, but it's going to be at a cost. I think that you're going to need to subtract some willpower for continuously using this. That makes total sense. 71 again. Roll a D6 and you'll reduce that much willpower. There's a cost for sure. I only rolled one though. The trouble is getting across the bridge, which I'll say that you guys do. You return to that similar square where there was the grocery store, there was the cafe, there was the Gilman House Hotel. None of the buildings here appear abandoned, but you could certainly enter any of the ones with the lights off or the lights on. At the moment, it looks like the Gilman House Hotel lights are on, but there is a office building, and there is also what appears to be like a seafood factory slash.

store. It's called Billingham Seafood. You can see it on the front. Wait in the office buildings for them. That seems most unconnected to everything, right? Yeah. Yeah. Yeah. Before I take off, can I get the location of the keys from Brian? As you're running, Brian says, yeah, I hit him in the office. Just look under the desk. There's a little crest there that I hid them under. Okay, good. Be safe. Don't die. I already takes off. Both of you dart into the grocery.

store, while the other two dart into the office building. You were able to find the place. I do need either a dexterity times five or stealth roll from the two of you to completely hide yourself. That's a fail with a 57. Success with a 28. Let's cut back. Arthur, you turn a corner dragging this small girl with you, screaming and crying at the

horror that she witnessed. the man that she had just met a few minutes earlier dead in the street, you turn and you are now down a kind of main thoroughfare. You can see that there are many abandoned warehouses to your right, and on your left is the remaining residential district, and you are running now towards the water, and as you are running, you can see that the group, the familiar faces of Cora and Dr. Rook and Freddie

and some young man running across the bridge, And you see that they are two bridges away and you are one bridge away, meaning there is a bridge close to you that you could make a beeline down and possibly cut off and meet them on that other side of town. I say that that's probably a better option. You begin to make the turn.

What is your alertness? 52. I think with a 52, it's obvious enough that this bridge isn't used very often. In fact, you'd say it's probably not safe. There are clearly missing pieces of it. As you are running, you realize this, though. So I'm going to need an athletics check from you

to make it across this bridge without any issues. Oh, you finally hit the gym. 18 passed. As you step off of the remains of the bridge, a piece of it breaks off and falls into the water. And beneath it is this kind of raging waterfall. You're not exactly in the downtown area that the others are, but you know that you can make your way there.

With all of that said, the mob behind you has followed you. And I'll say that they stop on the other side of that bridge and they see the remaining parties that are crossing the other bridge and they begin heading that direction. So for now, it's you and Ruth, who is still a mess. Now that you're in a part of town that you're not familiar with, you're either going to have to navigate or search your way to the grocery store. I would like to search. I have a search of 50 and I have rolled a 55.

It's not that you can't find your way. You're an intelligent person and you suspect that it won't take you long. The problem is Ruth. Ruth is a mess and she's making a lot of noise and lights are turning on in homes. And there are people who see you. Not everyone's coming out, but you are lost in what appears to be a, a poorer side of town, another residential district, and you haven't yet found the grocery store.

We're still a chance we can find Brian, but I need your help to get to him. Do you understand? You need just take a couple of deep breaths, okay? I just... Okay, stop breathing now. Just think of Brian, but I need you to get it together. She points a trembling hand down what appears to be Bates Street.

She kind of points in a easterly direction. down that road. All right. I don't know if this is mean, but let's hippity hoppity down this road. Let's go. And I'm just going to run. And I'll give her like a sharp tug,

but I am going to start pulling myself ahead more. Freddie and Brian make it into the grocery store. You look in the place that Brian explained. And sure enough, there is a set of keys there, which you grab. I'll say that you can get to the back door where you see Brian swing open the door, you know, popping the top. It's a convertible. He's opening up so that way people can easily get in

and we'll say that that is your turn. Cool. Cora and Dr. Rook, you are sitting in silence and you can slowly hear the mob making their way, the screaming, the yelling. I'm trying to stay silent as much as possible. Yeah, I think I'm just trying to keep an ear out for when the car comes by

because we haven't seen any other cars. So I'm just waiting to hear a car sound. that's coming near. The door of the office opens and some kind of disfigured person is silhouetted in the light and they begin to shuffle into the office. He is able to notice

the bulky body of Dr. Rook kind of hidden behind something and he just points in your direction and begins to squeal to notify the others. We'll come back to you in a moment. Arthur, you can give me either another navigate or search roll.

I'll do another search. Oh, my God. I got a 45, but I passed at a 50. You're able to see the grocery store, but you're not yet able to get there. As you are realizing, oh, that's the grocery store, I can get there. You see turning around a corner, a car.

It's maybe three or four blocks away, but you suspect it's going to get in maybe two or three rounds to the grocery store. And it seems to be full of Insmouth citizens as it kind of screeches around the corner and is now making its way up the street. Oh, no. Okay. Freddie, you are at the top of the initiative.

I turn the car on. Is it feasible to turn the car on without the lights immediately coming on? Or is this too early? If you don't want it to turn on, I'm going to ask for a luck roll. Okay. I can do that. It's a 50 flat.

The lights do not turn on when the car turns on, but you hear the roar of the engine. Now, are you pushing Brian out of the seat and driving? Yeah, I think I just scoot him over. Yeah. No problem. He does so as you've rescued him, and he just wants to get the hell out of town. Yeah, the car's going to start going very, very fast back towards where Freddie believes the two Korra and Roe car. You peel out of the parking spot and out onto the street.

Let's go with Dr. Rook and Cora. This man has spotted you. Okay. If there's a way I can leave the bag, I'm going to leave the bag with Cora. But if I've been spotted and he's yelling at me, my first instinct is to run. As you run out the front door and pass this one, they kind of sidestep you as you run past them. And as you run outside, you are met with about a dozen individuals who are, I'll say, about 30 feet away from you. some of them looking into the other homes,

but many of them beginning to turn and notice you. Yeah, I'm just going to like, turn on, like, slide out of this way and then go down the street and away from the mob. Okay, Cora, what are you doing? Is the person following Dr. Rook? They are following in the sense that as they are pointing and screaming at them, they continue to do so as they run past them. So they're still kind of in the middle of the room,

pointing and screaming in the direction that Dr. Rook is running. Cora's fight or flight response manifests as freeze, and she just kind of crunches down under this desk and covers her mouth and tries not to make any noise and is going to wait until that person is out of the doorway and it's been quiet, or it hasn't seemed like anyone's come by in a minute to start trying to find the bag. Eventually, that individual does start making their way towards the exit. Arthur, as you see the vehicle starting to come out, you recognize Freddy and you want to get into it.

Yes, sir. So you throw a screaming Ruth into the vehicle, and you leap in as well. As you do so, and the car's beginning to turn, Brian does a double take and says, Ruth? And she kind of stops sobbing and looks up at him and says, Brian? I'm going to bust my way in between and say, don't you ever forget that I delivered on my promise. Freddie, back at the top of the initiative, you see a crowd of about a dozen people

in the center of the town square and past them is Dr. Rook coming out of an office building. What are you doing with this vehicle? I'd like to proceed with great speed, please. Are you attempting to ram any of these people? If there's not an alleyway or like a dead end on the other side of these people,

I'm going to try to go around. Okay, give me a drive roll, and because of the challenge, I think it's only fair that I ask for this role to be made at minus 20%. You've got obstacles in your way. It's an 83.

No. You push forward, and though you are trying to maneuver around these folks, very quickly, everyone that you pass notices you, and their wet,

webbed hands begin grabbing and clasping at the vehicle. You know, every once in a while, some of them close enough, Their hand smacks you in the face as you are trying to drive around them. The vehicle does manage to hit one of them as they turn, and you completely drive over them, but in the process, their bulbous body gets you kind of stuck,

and the vehicle does take some damage. There is some steam shooting out of the front of it. It is still working. You can hear the engine roaring, but you are now kind of caught with this obstacle underneath you, and the mass of them, along with many more still crossing the bridge, are beginning to close in on you. Dr. Rook, you see a path.

Sure, I'll get in the car. I'm going to ask for a dodge or a strength times five roll as those that you pass notice you and try to grab you. Strength is better than my dodge. But that doesn't matter. It's an 84. You are able to break past a few of them, but just as you're able to get to the car door, one of them grabs you,

and then another grabs your other arm, and you are now restrained by two of them. Unhand me! As you are feet away from the car. Cora and Arthur, it's both your round who wants to go first? Okay. I actually, since I'm in the car, I'm going to just leap out, close your mouths.

None of them have their mouths closed. They're all braving heavily through these sharp, pointy teeth. You've basically fire into this man's chest and it is loud and it is powerful and sure enough they go flying backwards and

land on the ground and the entire group is now you know kind of spooked and terrified at the sound of this shotgun. When that one gets away does is it enough for rook to get out? No there are two holding on to him. Cora inside

the building you can hear the vehicle, you can hear the shotgun blast, your allies are close, what do you do? I want to grab the bag where Rook left it and have it slung over my shoulder and then Cora, who has been silently leaking tears for the past, I don't know, however long

we've been running for our lives, takes like one deep, steadying breath and sprints for the car. Again, the problem is that there are you know, a dozen and growing individuals here that would be willing to stop you. So I'm going to ask for at least one role to try and evade someone grappling you. Can I help myself by propping my mopstick with a knife on it under my arm, tucks it up under her shoulder, and just starts sprinting with it?

All right. 34 under 50. You tuck it up your shoulder. And you go racing out. You're too scared to even use it. You just have it out. But you run out, and sure enough, one or two of them reach out to grab you, but you're just quick enough that you're able to get to the car and hop in.

Some of these folks need to have a turn. I'm going to say at least six of them try to pull you out of the vehicles. I'm going to say the first two are going to go for Freddie, since the top is popped. Unless you choose to dodge. One of them is going to grab your hands and keep you from being able to maneuver the vehicle. Okay. No, that's okay. Two are going to run up and try to strike with these kinds of rudimentary weapons that they have.

Brooms like Cora and other kind of household devices. We're going to try to break one over your head. Arthur, two of them are going to make their attacks. One of them is going to crack a heavy rake over your head, and you can feel the warm blood kind of trickling down the top of your head, Arthur, as two of them have engaged you in combat, one of them still holding on to Dr. Rook. With the final two are going to try to pull Cora out.

I'm going to say one of them is going to try to pull Cora, and one of them is going to try to pull Brian. But Cora, give me an opposed strength times five roll, or dodge roll, to avoid being pulled out of the vehicle. times five, here we go. 40 flat. That is better than they're 39. Oh, get out.

So you're able to shove them off. Let's see if Brian is as successful. The Insmouth Citizen rolls a 17, and Brian rolls a 14, which means that they are pulled out of the vehicle screaming. No, no, Ruth! In the next round, there will be a dozen more individuals crossing that bridge, and making it to the car, Freddie, you have to either shake this person off

or just gun it and hope for the best. I want to go backwards and then charge forward really hard, but I don't, and I can use the gas pedals and the brakes just fine. Your drive roll is going to be at a minus 20 as for the first couple of seconds, somebody is holding your hand,

and if you fail, you could potentially crash the vehicle into a building or something. Okay. Okay, I got to use a matching set because that's crazy. I'm going to use much match to us. Okay, 26. Okay, 26. With a success, you're able to maneuver in a circle around individuals that are walking towards you, no damage to the vehicle.

However, the man holding you, his scaly flesh, he looks like a blowfish. He's just kind of breathing heavily in your direction with no neck. He rolled the 26 as well. So he manages to hang on to you as you begin. So you kind of squeal around and start heading in the direction you want to go away from town, but he's still hanging on, his feet kind of dragging as you begin to pick up speed. However, Arthur, you are left behind in the moment unless in the next turn you try to make an attempt to get back in the car. After Freddie will say Dr. Rook, Rook, you are being held.

Yes, I would like to try to break this and at least try to run away from the car. crowd if I can't get into the car. So you're going to make an athletics check. Athletics or a strength times five roll against them. Fail with a 70. You're actually able to pull your hand out for a moment, but someone else next to you that you didn't see

just kind of tackles you to the ground. No. Arthur, you see there are individuals around you that are kind of trying to size you up as you have an empty shotgun, and you see, the vehicle squealing behind you, you think you've got enough movement and action to jump in if you try. It's too late. I don't think I can, so I'm going to, I'm going to just shake my head and just apologize, but I'm going to run back towards the Jeep.

I'm going to ask you to make another sanity check for abandoning your ally. And Dr. Rook, I'll ask a sanity check for you as well, as things are turning quite grim for you. I pass, yeah. It's a fail with another 70. Roll a D4, and you're going to lose one Arthur. but roll a D4, Eli. That's three points of sanity. Okay, you're going to lose that much sanity as you watch Arthur kind of lock eyes with you,

lock eyes with the crowd, and decide to run for it. They run over to the vehicle and leap inside it as it finishes its peel and begins moving away. Don't leave me. Don't leave me behind with the fish people. Don't do it. That's what Brian is screaming as well. Cora

Is there still someone holding on to Freddy? Yes I'm going to take my broom handle spear and I'm going to just shove it in their face point fucking blank Go ahead and make the attack It will be a melee weapons attack I only have a 30 in this so

I fail with a 68 Though you're trying to stab at him Every time you kind of get up Freddy has to make a sharp turn to avoid someone or something and you're just not able to make that strike land. The vehicle continues and finally gets to the next intersection, just as the other vehicle that Arthur saw coming

is careening down the street. Freddie, I need a drive roll from you to avoid getting hit by this vehicle. However, because this guy is still latched on to you, it's got to be at minus 20%. Okay, okay. It's a 53. Over 30. Oh, no.

All of you see the road ahead of you, leading to the countryside. And maybe for a moment you can see the headlights of the vehicle that's supposed to be waiting for you. But this car comes out of nowhere, and it clips the back of the car. Everyone begins to spin. The vehicle is smashed into the back, and all of your heads whip to the side as you begin to spin. Then the vehicle lurches and flips. And everything goes black. You all are in darkness.

Slowly you begin to feel your breath and your senses. You slowly come to consciousness and realize that something sticky is in your eyes. Your heads are pounding and your feet and arms are unable to move. Arthur, Dr. Rook, and Freddie, your hands are tight. to a metal pipe running over you. Your feet are bound. There is no sign of Cora anywhere. I'm going to say that the three of you

have suffered at least one point of damage from the car crash. I'm going to look around to see where they've taken us. You are inside some kind of facility, some kind of warehouse, surrounded by large wooden boxes and heavy pieces of machinery. You look up and the only bit of light is

the windows above which have long been broken and blown out. You look back down and it starts to hit you, the space stinks of rot and decay. And you look around, you can see that the space is filthy. There are these small blobs of black tar on the floor and the walls. Then you hear them, this snickering and this laughing. The men who have tied you up are three. All of them barely dressed, some in just overalls, some in torn canvas pants, destitute almost as if they're homeless, their hair messy and greasy as if never combed.

With them is this old mutt, this dog. One of them who looks to be the oldest, looks to be a kind of adult, maybe in his 50s, walks over to you and in the moonlight reveals his face, malformed, chunky, nose upturned. He walks up to you, Freddy, and he crouches down as you are basically on your knees. He kind of stops laughing and says, now what in the hell possessed you three with a bright idea to come trouble us in our little town? It's fishing season. The two boys behind him start to giggle, and he looks back at them, and he starts to laugh

at you, and then he just back hands you as hard as it seems he can. Get your fins off her, you freak. He stands up and walks over to you, Clark, and kind of bends down. So you got the balls around here, huh? I made me tiny, but I am very... Get me out of these chains, and I can show you more. Oh, I'll get you out of the chain, sure soon enough. Don't you worry about that.

If you don't want to see her hurt again, why don't you tell me who sent you? Should we tell them that the U.S. government is looking into them? There is a pause from him, and he turns back and he says, Scott, go tell the marshes, we got government folk on our hands. And the young boy kind of wide-eyed looks, grabs his dog, and they both run out of the building. How much they know? Enough for us to come investigate this town. Which includes you.

What do you think? He clocks you across the face as hard as you can. Another point of damage, Clark. Sorry, my face hurt your hand. And he walks over to Dr. Rook. Look is like looking away, just trying to avoid the situation. He's like trembling, just like. He goes to reach for you and he passes you.

and grab something out of your bag, the canister of photos. And he says, is this what you came into town to make sure you left with? I don't know what you're talking about. Those are canisters from something prior to this. This is not in any way should it perform something we took while we were here. I don't even have photo gear with me. He kicks you in the stomach. Another point of damage to you, Dr. Rook.

Okay, that's enough of this. What are we even doing here? Say when it's enough of this, all right? Well, it'd be real terrible if I opened this up, wouldn't it? It'd be real terrible if you went ahead and destroyed government property when, you know, they could be possibly surrounding the town as we speak. But do you? Are they surrounding the town?

Yeah, yeah, they were supposed to rendezvous with us at some point, and we've most likely missed the window. I don't know what time it is. It's late. Whether you believe it or not, what I can tell, You tell you. There's one thing they don't like is spending unnecessary money. What makes you think that they're not already here?

You talk a lot, and he opens the canister, begins dumping out what appears to be half of the footage. You know that you split it between Cora and Dr. Rook, and you know that it's as good as exposed. He smugly kicks it over to a large break in the wooden slats of the floor of this warehouse. It's a black pit that's about six feet away. If you're surrounded, we better make sure we get rid of the evidence, huh? It kind of just kicks it in. And as the film tumbles inside, it crashes into some water somewhere at the bottom of it.

And then he says, Mike, give him it a whistle. And Mike comes over and he's got this whistle around his neck. The two of them are standing over you and the older man begins to blow into this. What clearly becomes a dog whistle, you can only bear. barely hear some kind of sound from it. And then the entire warehouse begins to rumble. And out of the black hole is this sound. It sounds like a goat being bled out.

And this wet, greenish, gray flesh begins to emerge out of the hole. White veins clearly surrounding it. And almost like a curious animal begins weaving one single appendage towards you. you. Clark, it seems like it's taken an interest in the sound of your voice, and it moves in your direction. And this big wet pseudopod lands on your neck. You feel it running up the back of your head, and as you do, you hear the sizzling of your hair. You're going to take another three points of damage as you can feel it burning you, consuming you. I'm going to say all three of you need to make sanity checks. Sure.

Failed with a 45. Failed with the 73. I'm okay. I am going to project, though. Yeah, I'm going to project. Oh, four. One. Clark, you're going to still lose one point of sanity as this thing is eating you alive.

Things are getting beyond scary. Brick is sobbing at this point because they remember everything they read in the books. All of it's compounding into this one moment. They think they're going to die. And they're just sobbing. Okay, fine. You want to be fucking weird and disgusting? At least don't make it boring. What is all this for? You have this big nasty ass ink-looking motherfucker. What comes after that? Oh, this is... We've already got what we need from you. This is just for fun. We're feeding our little pet here. And he gestures towards the thing. And when you look at the pseudopod, two eyes begin to emerge out of it. And it's looking at the two of you sizing you up.

Without your kid, too, I see the resemblance. At least let me fight. All right, Doc, Doc, hey, stop crying. Just for a second. Just for a quick second. I just, I need you to, I know, I need you to look around. I need you to see if you can find anything. This isn't my, it's your thing, Doc, please.

Success with the 32. There are many exits and entrances. The trouble is getting your hands. hands and your legs free, and you look down the pipe and you do see that there is a joint five feet away from you. And you could try pushing yourself in that direction. Are the men armed with a knife or armed with something? The younger man seems to have a pocket knife on their hip. And the father has like a baseball bat that I think is currently at his feet. I'll kind of just like tell Freddie they have a knife or we the pipes they we can move I don't

that's it okay you got the pipes I can distract them enough to what you want you want that closer we can get that closer okay okay uh I'm already extremely weak just from the car crash and all this most likely Clark's not going to make it so and he's aware of it so with whatever strength he can do He's going to fucking knee, like, kick out his knee and just take out that guy's knee as best as he can. So that baseball bat or knife can just at least knock over to them. 17. I'll take it. Although you are panicking from the pain

and the fact that this thing is consuming you, you sweep your tight-up legs underneath you and hit him in the ankles. You hear one of them kind of, you know, bend in an uncomfortable way and he cries out and he falls on his ass. He's now completely on his back, and his son is now looking at him in surprise. Sergio, I'm going to take that moment to rush through the door, viewing from the window. Slide it open, take that Thompson machine gun I've had ready.

And I want to aim immediately at the pseudopod, and then just sort of full auto burst across whoever I can get in the blaze. I have a 26, which is definitely under my firearm. You have a 20% lethality. Make that roll. Okay, so I failed. the lethality, but they take, it's an eight and a seven, so 15 points of damage. The boy turns around and, like, it's kind of frozen, unsure what to do, and you just unload into him. You see in the moonlight the silhouette of his blood splurting into the air as he flies backwards and falls, and then you adjust the aim just enough to start shooting at the

large tentacle of the pseudopod. These holes begin boring into it as you are firing and this blackish blood is pouring out of it. And you hear this rumble from beneath the warehouse as the entire place shakes as this thing reacts. And it doesn't let go of Clark. It just detaches a portion of itself from Clark and begins kind of waving in the air wildly. Do I see the dad that's on the ground?

Is he within like leg distance of me? Yes. I want to try to leverage myself with my hands and bring down my heel into his chest. Go ahead and make an unarmed strike. It's only fair that it has to be at minus 20 percent, though. Come on, baby. That's a success with a 19. All of his air suddenly expels as you slam your hard boots onto his stomach, his solar plex.

And you can tell he's probably going to be stunned for a moment. I think the only thing I can do is flee or submit to the response. So I think I'm just going to try to run if I can. Why don't you give me either a strength times five roll or something else that you think is appropriate to try to basically yank your hands out of the straps? Actually, my strength is, my strength times five is a larger pull. I'll do that.

Sorry. It's a fail anyway, 71. You're pulling on your hands, screaming, doing everything you can to escape. I'm going to say you're going to take a point of damage from the manic pulling of your hands. Yeah, it's bad. It's like a fish out of water.

Just flop it around in a panic and sweating. Clark is full of panic, just trying to break the leather straps, holding him to the pipe. I got a 99. This enormous pseudopod has risen itself up again. It swings over, it wraps itself, reconnects itself with the bit that is on Arthur Clark

and just pulls him. yanks him off. You hear the tear of his flesh as his hands are left up on the pipe and he disappears into the darkness of the well. You hear the munching of bones and the crunching of flesh

as this thing goes to town. I'm going to ask you all to make another sanity check as you've just witnessed an ally get defeated. That wound was good. That's 12. Wow, that's a critical success with an 11. I've failed. Those of you this succeed, you're not going to lose any sanity.

If you fail, roll a D4. Denial here. Utter denial. Just went swimming. I got a three. The Insmouth father, who has been in here with you, scrambles to his feet, and I think sees that the biggest threat is this stranger that came into the room. So he's going to rush over to you, and he's going to,

work on trying to get that gun out of your hands. Let's do an opposed athletics check. I have a 39 under 70. Okay, that's higher than his 32. I'm like pushing them back. You're managing to keep the gun in your hands as he's trying to pull it out of that. I don't know.

I just would like to get out of my predicament in any way, shape, or form. Yeah, if you want to try again, to use a strength role to free yourself. Yes, finally. Success with a 51 out of 55. The leather straps have been loosened just enough that you just pull yourself out and tumble from the ground.

Your feet are still bound, but you are basically free of the straps. That's what I'm trying to do. I'm trying to get over to Freddie so that the next available moment I can be is to help them either get their legs undone or help them finally get their arms undone. Is he still struggling for the gun?

Yes, I wouldn't say that he has it grappled, but he is kind of, you feel like you could push him off and do something. Yeah, I'd love to, like, you know, get a swift kick and turn the Thompson on him and just unload up the front of his chest. I have a success with a 53 under 70. Brol the lethality, see what happens. No, but he takes 14 points of damage. The man is just so close, and you are doused with tiny little droplets of blood all over you.

as you fire into him, and when the gun is empty, click, click, click, you look up and through the red mist, you see this man, his eyes, bleeding, nose, mouth, ears, and he just topples over to the side. Courtesy of the Treasury Department, and I toss the machine gun to the floor. Caleb, can you describe what they immediately see? What does this person look like? You are looking at the most cookie-cutter government agent that has ever existed in a three-piece powder gray suit and striped black and white tie that's fitted very high on an Oxford tie. He had black, short-cropped hair that has been pomated back, completely clean-shaven, very angular string bean-looking motherfucker with a tombs. and machine gun. His suit has been ripped in four different places.

His shirt is untucked from the belt. It looks like he's taken a bad wound on the bottom of his right ankle. And his left arm has a big chunk missing from the bicep. And I run over and I try and get the nearest person free from the pipe. Freddy's the last person tied up. See, he was, like, at their ankles sobbing, trying to get. And we'll undo, Freddie. You know and you hear the sound of flesh being consumed just below the surface of this space. Arthur, they, um, he's, um... I think we should all get out of here, gang.

Okay, I, I grab, uh, I grab the doctor. Is there any chance that Arthur left, like a pocket watch or those cute little glasses? You do see his bloody glasses on the ground. I take those. And I think I'm going to lead them out the way that I came in and try and look for the, like, safest place around this building as I've been scouting it out. Maybe I had a place in mind, but maybe I'm just looking for the best place. Caleb, your character can absolutely find a quiet place.

in the shadows where you can have a moment to speak. It's a pleasure to meet both of you. My name is Agent Lucas Mackey with the Treasury Department. I was brought in here as an investigator to find out exactly what's been going on down here in Smith. And I've got to tell you, I think there's something fishy about this place. I'm going to give you the brass tacks here. We're in a dangerous situation.

I think you saw that with your friend and your friend. and your friend that passed away earlier in the street I was able to see you and your party and exactly what happened you were going after the Brian boy I was doing the same I got way late in the city a few days ago I came in on my investigation

hoping to find some evidence to the same thing that we've all witnessed within this place and to bring it back to our good old government but you all got to Brian before I could and everything that happened to your people happened I'm very sorry for your loss and I'm sorry for Arthur

he was a good man despite his reputation with the Bureau we have a unique opportunity here we can leave I was hoping for another witness to corroborate everything that I've learned here and now that I have the two of you it's time to go

it's time to call Uncle Sam make our way out of here and hope to God that they carpet bomb this damn place We don't have photos anymore Photos? We needed to bring photos back They threw ours You had photographic evidence

Of these finned fellows I mean fuck the photos We need Cora before we go We need to get her I don't know where she is But she can't be far from these fish fuckers That we just saw Your other friend

That they took from the wreckage Yeah There's a reason why they separated you all I have to tell you that your friend Is most likely past unless you believe those photos really did capture a photo that could not be discouraged. I think our word is the best we have. I think we need to leave this place.

We have photos of the fish fuckers or whatever they're called. We don't know that Kora stuck. I just, we need to see, to be sure, and if it doesn't work out, then we'll leave. But we're not just going to abandon them. We're going to check. Okay? Lucas? Do you, you both feel this way, this strongly?

Uh, if we had the evidence that would, would be the more logical thing, if... I'm telling you now, the evidence between the three of us now is alone to tell this story. And if your photos truly exist, there's an opportunity for Uncle Sam to come back with more people and find them themselves. There's no time. We, they do exist. If we come back, it'll take weeks or days. Either way, more time. than we have. If we come back, we'll have the opportunity to come back. If you go after your friend, from everything that I've seen, there'll be one of them before the day's out, and so will you.

I mean, Freddy, he's talking just a little bit of sense. I understand your friend is down there. I've lost friends too. That's part of the service, though. It's what we sign up for. Think of how many people will lose on this coast, If we don't tell this story, there will be plenty more chorus if we don't make it out of here alive. That's impossible.

What would your friend want you to do? Would your friend honestly want you to go gallivanting down to the bottom of the ocean to save her? No. Well, then I think you have your answer, friend. Me too. Doc, you go. What? What about you?

Like I said, I'm going to go try and get Cora. That's suicide, Freddy. Maybe. But we were just almost swallowed by black jello, so we're living in borrowed time. Do you have any next of kin? My dad. Is there anything you'd like me to relay to your father? Sorry.

And there's a shit ton of booze and money under my bed, like a lot. Maybe don't say shit because he's a reverend, but, you know, I'll know what to do with it. I understand. I want you to know, I know why you're doing this. Friendship is very important, even to us. But I can't follow. So myself and the doctor will make our leave. And your story, your story will be told. I think, Rook, right before I depart with Lucas, I'm going to go up to Freddie and just embrace them awkwardly, but they're going to whisper to them and they're going to say, if you can bring back the evidence, bring back the evidence, go back to the point of the fisherman village that we used, we were there, if anything, hearsay is hearsay, but physical evidence. matters, too. Of course.

And if we can at least bring that back and complete the mission that way, try. I'll try. I hope you find her. And then dog is going to ring their hands and then walk head out with Lucas. Doctor, are you a gambling man?

No, can't say that I am. Well, what do you place our odds at? Chance. I like them. Let's make our way. And the party splits. Freddie, you head east towards the ocean. You're not far from it.

The warehouse that you came out of was just by the docks. Rook and Mackey, you make your way into town looking for a way out. Do you want to try to find a car and get out of here? Yeah. One of you or both of you give me a search roll. That is a success with a 66. I'll take that critical success from Dr. Rook. Rook, you're able to find a small garage with a car

and you just instinctively look under the flap of the visor and there are a set of keys. Oh, thank God. Yeah, I just put it in, shakily into the engine and just try to start it. Well, that's a sign of religion if I've ever seen one. Cora, your head is pounding and as your eyes open, you see you are in a dimly lit place, a place lit by fire, torches on the wall.

It smells wet and salty in here, as if you're close to the ocean. But instead of hearing the ocean, you hear the murmurs and the gurgles of individuals talking. You come to and you look and you see that you are sitting on a kind of stone slab in the middle of this subterranean space, stone walls, and in front of you is three enormous statues, all of them depicting these amphibian-like crustacean-like, what can only be assumed as gods, as they tower ten feet to the ceiling above you. And beneath these three figures is a group of maybe 10 individuals and you can tell that

off to the side is a woman crying and you recognize it as Ruth the girl that you were with just moments ago trying to escape with Brian her boyfriend and she's just kind of softly crying to herself in the corner It's okay Ruth

we're alive, you're okay She doesn't respond to you and it grabs the attention of the individuals who kind of stop their chatter and look in your direction and as they approach, you realize they have to be citizens of Innsmith, but they're all so far gone. They are not human anymore. Many of them look like walking toads. You recognize immediately that many of them are wearing the strange white gold tiaras that you saw in the museum, the bracelets that

wouldn't fit normal human hands. And one of them who was dressed a little bit more regally than the rest in a fine coat and it comes over and begins to sniff you and you hear it say, ah, a child of Rathila. You have come far, child,

but you are welcome amongst family. You know, I'm going to Thank you.