Mayday Plays - Doomed to Repeat, Ep. 40 Part 1 - "The Fifth Floor" | Delta Green

Episode Date: October 10, 2025

The Haley-thing has struck an unholy alliance with Nancy, continuing their hunt for Mia within the locked-down hospital. To stop the creature that was once their closest ally, the Agents of Perennial hatch a desperate plan. Warp, Hyde, and Dr. Thornbill attempt to slip past the monster to study a sample of its blue blood under the microscope, searching for a weakness. Meanwhile, Merit and Kit race to the fifth floor to confront the mysterious VIP, whose cooperation may determine not only Perennial’s survival, but the future of the Program itself. This is Part 1 of our finale. Part 2 is available now on Patreon at the $5 Repeater level, where you’ll also unlock access to Black Site: Cicada—a vault of five years of Mayday content, from one-shots and short campaigns to our earlier shows. Patrons also gain exclusive access to Black Project Gaming’s terrifying run of God’s Teeth. 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) - Agent Tuck (she/they) • Amanda (she/her) - Agent Boomer (she/her) • Caleb (he/him) - Agent Merit (he/him) • Eli (any/all) - Agent Hyde (she/her) • Zakiya (she/they) - Agent Warp (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)

Doom to Repeat is a Delta Green actual play podcast with violent themes and adult language. Listener discretion is advised. Hello and welcome to episode 40, the final session of Doom to Repeat. I'm Sergio, your handler. I'm Lev and I play Agent Tuck. I'm Amanda Dominic and I am Agent Boomer. I'm Caleb James Miller and I play Agent Merritt. I'm Eli and I'm playing Agent Hyde.

I'm Sekiah and I play Agent Warp. At last, we've reached the end. despite our show's title. What I'll remember most are those hours spent together playing Delta Green with May Day, the thrill of planning a session, the shock when a twist landed, and the moments when the players surprised me with their choices that I never saw coming. This show set the bar for us, and we're proud of how far we've come since that very first session. Doom to repeat was always meant to feel contemporary, to imagine where

Delta Green might go next. If there's a theme to be plucked after nearly five years, I think it's this. While we may be doomed to repeat ourselves, we are not doomed to fail. Even in the darkest moments, people, like the agents of Perennial, can still choose to do good. This isn't the end of horror gaming for Mayday. All through October and beyond, expect Patreon exclusive content, like a Delta Green one-shot, by me with guests, including Ross Payton of RPPR, and a new Dead Drop featuring Vince, and also special guest Tom Rayleigh from Into the Darkness.

Even more is coming in November, so if you enjoyed our take on Delta Green, you'll want to stick around. And remember, this episode is only part one of our ending. Part two is available right now for patrons at the $5 tier end up, alongside our arc four. debrief and hours of behind-the-screen content from this and all of our other shows. You can join us at patreon.com forward slash maydayrp, where memberships are currently 40% off. Thank you for walking this dark road with us. We couldn't have done it without you, whether through your patronage, your kind comments, discord and YouTube messages, and podcast reviews. They not only help others find us, but remind us how much this game meant to

you. A special thanks to Eli, our sound engineer, whose tireless work defined the style and tone of this show. And to my fellow players, Lev, Zach, Amanda, and Caleb, thank you for catching lightning in a bottle with me. We started as total strangers, but together created something unforgettable. I look forward to what's next for Mayday, but for now, let's finish the story. You know, I'm going to be able to be. It is a lot of it. October 3rd, early in the day, let's say around 10.30 a.m. Agents Kit and Merit, you have snuck away

to continue up the stairwell to get to the fifth floor, where Mia and a VIP can be found. Meanwhile, agents warp, Hyde, and Dr. Thornbill, the three of you creep up to the third floor door, and you know, on the other side, distracted by its lunch, is the Haley thing. If you can only manage to get past it, you'll be able to access the lab where a possible weakness can be found to defeat it. Her. The Haley thing. I don't think trying to convince her directly is a good idea. Absolutely not. There's got to be some sort of noise we can make, something to distract her.

As you're looking in through the glass, you can see that about 10, 15 feet away from the door, there is a dead soldier. and like Kit said, there is a grenade on their person. Flash bang them. I can get it if you cover me. Sure. Yeah, you run for it, and if they turn around, I can at least pop off a couple shots and get you behind this door beforehand

and see if that's enough. Yeah, good. And more goes for the flash grenade. Thorneville is going to head towards the labs, which are clearly in the opposite direction of the monster. And then hides got their gun and they have it pointed at tuck. And if anybody steps on something, they're going to immediately fire. So you're going to have a plus 20% to your next attack hide as you are taking the turn to aim.

Warp, I'm going to ask you to make a stealth role. Okay. That's Dex, yes? No, it is a skill called stealth. That bodes well. These are something you got a skill in stealth. If you would like to use your decks, I'd like you to explain to me

how you use your dexterity over your stealth. Because my stealth is 10% for the record. So I'd like to say Warp's character sheet has said, seen and not heard as a dex descriptor the entire time. So I think Warp is going to be using her

just general quiet nerdiness. to tiptoe around and hope that the whooshing of denim and other hippie fabrics and her scent will be unalarming to what is left of tuck. Warp, you have spent your whole life trying not to be the center of attention and you use those abilities to the best that you can in this moment. Give me a deck times five roll. Let me know if you succeed.

Bless. Warp takes a deep breath and is herself. Excellent, excellent. This is 63. Success of the 63. You clutch your bag holding the Frice files, and you just begin kind of heel, toe, heel, toe, walking as slowly as you can. The floor isn't littered with bodies,

so it's not like you're constantly having to step over things. It's just when you get close to the body, you reach down, and you pull off this grenade off the belt. You have it in your hand. It doesn't look like a normal grenade. It's kind of a large cylinder. It looks more like something like a, you know, gas or some kind of flashbang. Hyde, you're watching her do this.

She picks it up. The whole time you hear this kind of constant chewing and almost kind of a low, guttural moaning sound coming from this thing. In a way, it's kind of sad, the way that it's kind of always almost making like whale-like noises. Warp is keeping her head down. trying not to look at that image, but is also trying not to cry and just keeps walking backwards. Give me one more stealth roll

since you took the risk, excuse me, a decks times five roll. Success within 11. That's a critical. You retrace your steps back to hide, and then I assume the two of you start following Thornbill. Yes. As you are stepping towards Thornbill,

you see that there's the laboratory doors that are currently open. The Haley thing stops what it's doing and kind of moves its head up as if it's hearing or smelling something and then it begins to grab at the ceiling and tear down everything that is above it and before your eyes you watch

start to climb to the next floor. Yeah, I think I forgot the breathe in that second but as soon as Tuck starts mulling their way to the next floor and their actions are more louder than them they'll take that exhale and then just start shoving, we're going, we're going out. But they're going to keep, like, they're not going to ever turn their back towards the direction of tuck with their gun held. And they're going to walk backwards just in case, just to keep eyes on their flank as we head towards the lab.

Yeah, sure. You finally make it to the lab doors. You go through. Thornbill is waiting for you. She slams her fist on a button that closes the doors behind you. you to hear almost a kind of a hermetic seal and she immediately turns around there is a plethora of equipment

and she says give me the vial Yeah, we're immediately hands it to Thornbill. What do you need? Whatever you need, I'm second pair of hands. Here, we'll actually move faster if we split this up and she finds a little vial and she pours about half of it

into that vial and then hands it to you and she says, I'm going to find the UV light you start working on the acids and the other things Gotcha. And starts being in her element. Haley, you have been watching as this thing, this person, has kind of taken over control of your body. It feels like your mind is crowded. There's another person shoving you against the base of your skull.

You can't see them, but you can sense them there. And they are at the same time ravenous and terrified and enraged. Any sign of any living thing throws them into a rage and they have to kill. And you're watching this thing eat with your mouth, humans, people, what was once people. Give me a sanity check as you have lost control of your faculties. And yet you can still feel everything. It's a 23, a success with a 23. Okay.

I still say you're going to roll a, you're going to lose one sanity for sure. For sure. What's going through Tuck's head? as she watches this, unable to do anything about it? I think there's a certain amount of tuck that's been kind of behind a barrier since the plane, and it's kind of like the barriers lowered a little bit

because the other person, the thing that's raging, has kind of like cracked and seeped into it, and they only have this tiny little pocket of their own mind left to just watch in horror and kind of remember all that they said on the plane and just I think in the in the same way that the thing that is a part of them now is raging and scared and alone tuck also feels scared and alone but instead of rage it's just disappointment and sadness and a desire to to like rewind time or or they're trying to claw their

way back but the the pressure to the base of their own skull that isn't even theirs anymore is impossible. As you disassociate, you stop seeing what the Haley thing sees and your mind wanders and you go somewhere else. You're outside. In an instant, you can see

the sun and you can feel its heat and you hear the sound of people laughing and children screaming and music playing. You're outside. You're in a field. You're in some kind of military encampment. You're surrounded by military personnel and their families.

It's a barbecue. It's that same dream that you've had before, but you're tuck. You look down, your body is normal. You are once again yourself restored. I think I start looking for whoever that woman is. I think her name's Yule. I think that's the only thing I know.

That's like this place is familiar and Yulee is the only thing I know. So I think I go looking for her. Make a search role. 28 success You know that you need to find this person You've seen this person You were this person in your dreams at one point So you know they're here

And you start looking And you start to realize The person that you felt in your dreams Was not a woman, it was a man And so you shift your focus to finding a man A man named Julie And sure enough, alone on a bench Kind of viewing the barbecue from a distance

is a single solitary man, his shoulders slumped, kind of staring longingly at the event. I'll go over to him and sit down next to him. Is it okay if I sit here? As you sit, you realize he's not enjoying himself. He almost seems kind of panicked, like he's a lost child and doesn't know where his mommy is.

He's a full-grown adult, but he's kind of cowering on the seat. You even notice now as you sit that he's kind of shaking, and he acknowledges that you're there, but he doesn't even say anything. He just goes back to staring at the party intently. Are you looking for someone? Maybe I can help.

Isabella and Malcolm, I need to find Isabella and Malcolm. Okay. Well, what do they look like? Isabella, she's my wife. She's beautiful. She's everything to me. I have a wife like that. That comment gets him to kind of look over at you and acknowledge you, and you see animalistic, like, fear in his eyes. Like he's had a breaking point and is now just kind of shivering on the bench,

completely in opposite of what's going on at this barbecue, all the joy in merriment. He looks back out. I have to find Isabella and Malcolm. They live at 190999-Pulaski Street. I have to get there. I have to find. them. Okay. Did they come with you? Did they come to this with you? This is a party. There's families around. Maybe, maybe they came with you. Maybe. Maybe. What color, what color shirt was

Malcolm wearing? How old is he? Malcolm, he's, he's eight. He's wearing a, a striped shirt, a white and blue striped shirt. That's a good, that's a good look. Should we, do you want to look around the party before we leave? They might be here. They might be looking for you. Who are you? I'm Haley. Who are you? I'm Daniel. I'm Daniel Yuley.

Marine Corps. FBI. It's nice to meet you. What are the FBI doing here? I got invited by, and they'll just kind of like jerk their thumb over their shoulder, hoping that in his kind of panic state, he won't be too detail-oriented on who and why and how, if I say I was invited. We'll come back to you in a moment. Agent Merritt, Agent Kit, you begin rising up the staircase, heading towards the top floor.

You make it to the fourth floor, and the staircase stops. I'm going to, oh, was it, I'll go first. You cover my, you cover the rear. I got you. I'll cover you. You got to say, Kit kind of do the cross, even though that. Are you religious? Hell no.

But it can't hurt to ask. I'm just going to say, that's a remarkable thing in a place like this. And then Kit's going to go ahead, go first, weapon drawn, and start walking with purpose, but scanning the whole time. And Merritt's going to measure up right against the right shoulder of Kit. And basically, when Kit goes right, he goes left. When Kit goes left, he goes right. What do we see? Well, you basically see a long hallway, but you can't quite see the way the door is positioned much farther down the hallway.

But it's, you know, now that it's the top floor, there's really not much up. here. You see on the plaque next to you, it says records. How long have you been doing this? Long enough to know, not to ask too many questions or to look into the things I've seen. Hmm. I wish I had taken that advice. How long have you? Too long. I think this is my last day. I'm going to head towards the door, any kind of indication of the record room or anything like that,

just to clear the floor. You open the door and you see that there's a records room. There's an office space. where you can see a countertop where people probably come and go to get records. But what interests you is what's on the opposite end of the hallway. There appears to be an elevator, and guarding that elevator are about four armed personnel. When they see you, they immediately raise their guns and begin screaming, Stop what you doing? Who are you? What's going on? I'm going to put my raise it up, be like, Agent Kit.

Who the fuck is that? Who the fuck is that? Who the fuck are you? Not you, him. I'm Agent Merritt. I'm with the program. I'm in charge of the asset that you have. Or at least I was. I know how to deal with her.

At least this half of it. Have you seen what the hell is making all this ruckus? Yes, it's coming this way now. Oh, fuck. It's imperative that we get to speak with the VIP upstairs, as well as the asset. Because Kid is with you, there isn't a lot of pushback. All right, let's get in the elevator. Let's go.

And they pull out a key card that they have, press it against it. It opens. and it's kind of like a large utility elevator and the six of you step in. Closes and begins to rise up. Only goes up one floor as it dings and opens. You see that there is a single large room. There is various bits of medical equipment,

some medical beds, but the main focus is at the opposite end of the room. There is a large space that has, has been covered by plastic, plastic sheeting that goes from the ceiling to the ground and kind of wraps around into a square against the wall. Inside that plastic sheeting is Mia, unconscious on a gurney, and a tall man wearing a black tank top or a blank, a black t-shirt and kind of black cargo pants, big black boots. As you all step in, there are other security officers in here. here, another two of them, and they immediately begin conversing with each other and asking

Kit questions, what's going on? What are we expecting? Have you seen the other teams? Kit's going to give a very detailed report, even show the text of the description of the entity, so they can be like size, what it's coming. It is moving very fast, and it is actually not traveling. It's traveling through the building. So we need to secure now and go. We've got an Evac coming. There's a helicopter. It's going to be here in any minute. We're just waiting for that.

Any minute, it needs to be here now. So I strongly suggest, like, we, was it? We're trying to unlock the building, so unless you have another backup. There is no backup. We're all that's left. Are you taking the asset on the helicopter with you? That's a plane. That's certain death if you are putting the VIP in the same place.

There's no way Haley is going to allow you to leave in that helicopter, and I've seen that thing jump. It's maybe a floor below us now, unless you're leaving in the next. few milliseconds, there's no way that she's going to let you. It'd be much more to your benefit if we were to eliminate the obstacle, not to retreat. Well, let me go communicate that. One second, and one of them that seems to be in charge kind of breaks off, heads over to the plastic sheeting, lifts it up, goes inside, and begins kind of conversing with this person who still has his back to you, arms folded across, staring

get mea. I'm going to turn to Kit and go, is that really him? That's the one I'm assigned to watch with my life with you. Listen, Kit, they're going to try and do a lot of things in the next few minutes with that little girl. And I understand that you came here not for her, but I can't let what they want to happen to her happen. And I'm just saying that what they really want is in the back of her neck, not in her body. Do you have a family? A kid's going to look at Mia. I have an 11-year-old girl. Divorced. So maybe you have an awareness what it's like to lose the innocence, or at least what it would feel like to watch someone like that lose their innocence. That little girl in there,

she's been that age for a really long time. How long? decades not to be the asshole but are you sure she's human kit if i could be uniquely intimate with you in this which might be our both our final moments i've found that the question on whether something is human

or not doesn't actually get you any answers you want i'll tell you this she is a loved one i would never ask if your 11 year old was human i would only ask if you loved her and if you want to try everything that you absolutely could to get her back. That thing that... I'm sorry, your friend.

She's the... Is she the... It nods towards me as... Is that her kid? Her sister. You know how we all have something that brought us to this room? Something that started to stay on that route.

She's hers. Then if that's the case, then it's going to probably be in our best interest. I hate to say, us to put your friend down. I'm okay with that if it means that we save her. Kid's going to actually kind of like scrunch in kind of like you're kind of trapping them in a way where they don't want to commit verbally to saying, but they're going to kind of wince and look at the kid back and then just, I promise that I, I, I, I, I, I, I, I can say this, I understand, and I will help as much as I can possibly help.

That's all I can ask. Thank you. I was going to say I was going to extend my hand out to Merritt to be like formal. Oh, absolutely, yeah. Back on the third floor, the three of you are working on finding what is Tuck's weakness. Agent Warb, do you have anything in science? What kind of science? I have a little in chemistry.

I think chemistry is pretty good if you want to try to have a role in that. Okay. Baby, let's go. Oh, that is a fail with an 83. You are fumbling through these instruments, trying to find out what the weaknesses of this stuff. You immediately go to the most corrosive acids you can find. You glove up. You take them and you start dripping little dots of acid onto this organic material.

It kind of consumes it and nothing happens. happens to it. You try poisons and other things that might affect it seems completely unaffected. Shit. Meanwhile, Thornbill grabs some kind of device, flips it on, and it seems to emit UV light. It brings it close to its dish. And sure enough, she goes, oh my God, oh my God, watch. And as you kind of go over to watch what they're doing, you see the blue stuff begin to kind of fizzle and pop and dry up until it becomes just kind of this dull, dry disk of blue. Kind of like a little mass, an eighth of its original size, as it seems almost like all of the moisture kind of evaporates out of it. All right, you guys were right.

Sunlight weakens it. But there's, you still have your vial, there's still got to be something else. Yeah, can I, can I try to roll anthropology on all of the freaky, Delta green occult shit that Warp has encountered. Is there any way that that might help? Like, when we were at Cicada, the little that I got a glimpse of? What is your unnatural score? Ten.

I think you can combine anthropology and the unnatural for this role, if you want to combine the two. Oh, yes. Oh, yes. Incredible. That is a success with a 58. You know, a part of you realize is you're not a biologist. You're barely a chemist. You really aren't the person that's supposed to be doing these experiments, but you're thinking about your experience and what you have access to. And you have access to the stories, the myths, the legends that you've read before,

and the little bit of experience you have with the unnatural. And then it just kind of hits you. Fire. Fire. Anything? We can weaken it with fire. We can trap it in fire. We could probably kill it with fire.

We have to know for sure. Hold on. Do you still have your sample? Yes. Yeah. Immediately Warp goes to the hood in the corner of the lab and puts a little on a sample and tries to prove her experiment.

Yeah, you find like a Bunsen burner or something like that, ignite it and immediately bring the subject over to it. It actually almost starts to writhe as if it's a living thing trying to get away from the flame. But sure enough, it turns to ash kind of in a gradient pattern across its entire body before it ends up being

a little piece of charcoal within seconds. Yeah. That all happens in like Warp's eye, but she also realizes that she might have to watch her friend literally burn into ash and just stares at the results. I think that warrants a sanity check.

Understanding the totality. of what this means. That's a two, baby. Whoa. That is a success, and I'll say that you won't lose any sanity. How are you able to kind of push this to the back of your mind? This is not the first time Warp has had to imagine or seen people be burned to death. You know what you have to do.

You know what your options are. What do you do? Do you communicate this to merit? Yeah, yeah. With the walkie-talkie warp whispers, if you have to fight, Tuck, it's got to be with fire. Fire? Yes, and we tried it in the lab,

and the blood sample went to ashes, so it's final. Okay, okay, fire, perfect. We just made it to the fifth floor. We're up. We're with the VIP. and Mia's here. Okay. So, let's...

I think our plan is still meet up at the bottom floor, get those shutters open a week in her, and then we come at her with every explosive we can find in this place. We need something incendiary, something we can light this whole place up with if we need to. Can I ask hide, warp, and merit to make demolition's roles? Demolition. Can we do something different?

Or an intelligence. And Kit, yeah, if you have something in demolitions, you can roll demolitions. I do. I'm going to trust my intelligence. I was in the military. There's bombs involved. I got a 15 under 70 for intelligence. Sergio, success with a 13.

Success with the 72. Success with the 24. Yeah. And I'll say over the walkies, you guys kind of put your heads together about what your options are. One of the most obvious is that you are in a. hospital full of expensive, powerful equipment, but something as simple as a gas line leak and a microwave full of metal tools will probably do the job as well. Okay.

Look at my guy for it. Is it okay, and I'm not trying to just mitigate that I would have a lighter, like just a cigarette lighter? Sure. I'll say that that's, you know, within reason that you might have that. So I'm thinking we can still go down to the bottom to the security. We can still hit the shutters. It'll stun Haley enough that then we can act

But before we open those shutters We need to make sure that we have explosives So I'm thinking two teams again One of us needs to be on the lookout for the shutter controls And the others need to gather enough fucking Explosives to take Haley before she can take on Marriage you and Kit are also aware That this top floor, this fifth floor

There are zero windows here But they were all the down from the fourth down to the first. Okay. How many oxygen tanks are in this room, Sergio? I'll say that there's probably like four attached to some machines. Possible. Is it, if they're attached to machines, like, can they be rolled?

Or is it like, do we have to unhook them to actually transport them? You have to take them apart, but it's something that you can do, yes. Is there like a wheelchair we could stack them in or something like that so that we could easily roll them somewhere? Or gurney. There is definitely gurneys. So we can make a little bed. for the oxygen tanks, roll that down a hallway and hope something sparks.

If we cover it with the sheet, your friend might think it's her sister. So we could actually even use that as like a red herring, jaws that sucker from afar if we want to. I got to say that's haunting, worrying that that's your first thought, but I'm so impressed. I love that idea. Warp comes up over the comms. If we need something that has me as, I don't know, scent or something, that reminds Tuck of that.

We have that. What do you have? Is there like, when we were in the plane, I was coloring with Mia, is there a chance that I have those, like, in the Frice files, there's like little girl doodles? Yeah. Also, I'll have the doctor or one of the other females, but if we even take or change, sorry, put a new sheet or dressing on the child,

we can use that. Maybe that scent on top of it can add to it. And I'll look to Mary, I'll be like, and we'll make sure no one, obviously, with your consent. Got it. Okay. It's very clear that everyone here is on high alert, and you hear the other agents closer to the elevator,

say, we can't just sit here. We're sitting ducks. We need to send a team down there to stop this thing before it gets up, and they're kind of discussing it amongst themselves. Mary, you're closer to their talking. You get the sense that they want to go down with you. I guess now we've just got to convince the director to allow us to have Mia and not get on this helicopter or get on it alone.

I'll do the talking. And then I'm just going to go straight to the director. Sir? There is a soldier there that kind of keeps you from getting much closer. The gentleman on the other side of the plastic sheeting, staring at the girl that you know is Mia, kind of turns his head towards you and you see that there's this enormous

scar that kind of runs down the length of his face and another one on his neck and a deeper one on his chest as if something has raked across him. He's got a thick handlebar mustache and he wears these kind of round spectacles. He's a soldier,

but the glasses give him a certain level of authority. And he kind of just gives you a cold stare and says nothing. Sir, the entity that is on our way to this location right now is very, is more lethal and dangerous than initially anticipated. We have a game plan, but it is going to require that you do not go on that helicopter, or at least this

child does not go on this helicopter. You're telling me there's a dangerous thing coming after me and I shouldn't board the helicopter? No, you can if you want to, but it's going to, as for what it's described, it will easily take it down. I suggest let it think you left, and we can go ahead, get it down, get you guys down to the ground level, open the shutters, because it is weak to light, and we can blast that thing to hell. When my evac arrives, I am heading towards it, and I am taking the girl. You can try with that thing if that thing is still alive, sir. I will try.

I can't guarantee you your safety. He looks past you at one of the soldiers. How much longer the agent is fumbling around with a phone? He says, it's in route, a couple minutes. Sir, you know this, that a couple minutes is all. If it takes less than two minutes to drown, you know it's going to take even less for that thing to get here and even short. Well, then good thing I brought you. He pushes past you, opening the plastic sheeting and walking, and he goes over to a small wheelchair and brings it back over to Mia.

He starts working on putting her into that wheelchair and the other soldiers that have been protecting him. Four of them go in and the director says, go with them, all of you. Make sure this thing, hold this thing for as long as possible. Sir, permission to speak? Agent Merritt, right? Correct. Go ahead.

I'd like to inform you that I don't think that you have enough men going downstairs to provide you enough to get to the helicopter. And in the same respect, getting into the helicopter, unless it can reach heights of maybe 100 feet in a few seconds, milliseconds, I don't think that you have enough of an escape plan. You have no windows in this room to subdue it when it inevitably gets up here in the next few seconds, minutes, and then, in addition, you have no way of stopping it when it removes the rotors from your helicopters and severs you from your spine. It's not going

to stop until it has what you're about to put into that wheelchair. But you don't have to lose here. There's another way out. I'd like to offer it to you. You know my name. I'm sure you've read my file. I'm sure you have an understanding that I have your best interests at heart as far as every action I've taken. I fell on the sword before. I'm willing to do it again. I can give you a way out, sir. Agent Tuck, give me a either psychotherapy or persuade role

as you talk to Daniel Yuley. Try to convince him that you can help. That's a success with a 49. You're talking him down off a cliff, a cliff of rage and fear and animal-like instincts, and Daniel Yuley kind of returns to himself and he begins talking about his wife and his son and that he loves them and that they live together in this home

and he wants to return to them and his thoughts are preoccupied with returning to them. And you begin leading him through the barbecue. As you get closer to everyone, you're looking at faces and you realize like a dream, not all of them have the details that make them real. Some of them are like, you know, watercolors, ephemeral, difficult to pinpoint who they are. You know that you need to lead Yuley through here and only he will truly know who these people are.

If you want him to find his wife and his son, I'm going to ask you to make a search role or an alertness role at minus 20%. I'll do alertness. That's a nine. You lead Yuley through the crowd. And as you lead him through, the dream-like space continues to kind of sort of unravel. The details in the trees goes away, the detail in the sky. People aren't eating hot dogs so much as kind of brown things. It's all become kind of oil painting.

I think Tuck is offering details about their wife and their home in turn as a way of reciprocity and just like trying to bring the energy to like a more central point rather than like this scattered kind of reaching frantic thing that he's been. And you talking him through, keeping him focused, he kind of becomes your eyes for you. And he's scanning the space. And finally you come to a small kind of sandbox where there is a blurry woman and a blurry boy,

but Yuley seems to recognize them. His eyes light up. He smiles and he rushes over to them. And he begins to hug her and he brings the boy close. And as they do, all three of them turn into a kind of mesh of color. And your focus blurs, your vision blurs. And suddenly you return to the horror of what is your real life, your actual self. And you feel whole.

You can feel yourself and you can interact with yourself. It's still as horrible and deformed as it was moments ago, but you have control. There's a moment of despair for this, like, this thing that he gets to, like, reach for and become a part of that Tuck is never going to, never going to see. But the, like, gratitude to be in control of themselves again kind of doesn't even it out in any way, but banks that for later. and they kind of roll their new huge shoulders and stand up a little straighter. You are on another floor. More bodies strewn around you.

This time it looks like a few patients and doctors. And on the opposite side of the room in the shadows with their arms crossed is Nancy. And she says, one more floor. You can have her back. Do I get the sense that if I go through the ceiling again, she can come through the ceiling with me, or is she going to have to take a different route than I am?

She seems to have been taking her own route regardless. She could follow you, but... I've been climbing through the walls this entire time. Why stop now? Tuck is going to give her like a once-over and then boot up through the ceiling again. Team Lab. What are you guys doing? I'm trying to use as many clearly,

flammable things as possible and start, like, putting them into smaller packages, just sort of making things that could be thrown or lit and thrown. I definitely think you can find isopropil alcohol bottles. Some hand sanitizer, just some hand sanitizer. Yeah, you can find flammable things. I mean, judging by tuck size, it's going to have to be a pretty sizable boom. I mean, throwing like a little Molotov at her will not be fun, but I don't think they'll die from that.

immediately. What's Thornbill doing? Thornbill has finished experimenting, and at this point, they're kind of following your lead. I think while Warp is trying to find chemicals and Hyde is like looking through any cabinets or anything like that, I don't know anything about chemicals, so I'm just pulling bottles and containers out, but I'll go up next to Thornbill and I'll give them a look for a second, and then I'm going to ask them, are you good? I'm good as I can be for this situation. I mean, I think we've got a pretty good idea of how to stop this thing,

but I think it also means burning down this building. Probably. I mean, the structural damage Tuck's already doing would probably suggest that anyways. But listen, I know what's kind of like state here for you in general. but I really, I really need to ask you to help us out here, and especially when it comes to Mia. I mean, you have to get me to her, and at this point, that thing is above us. How are you going to get me to her? I mean, if Merritt and Kit do their job, Mia would be coming to us, but I need to know,

I need to know for certain that you're not going to go against. that for your own progress. Give me access to the kid without the director. And yeah, maybe. I need a little bit more than a yeah, maybe, Dylanville. If this makes us even, then yes, I will do that. Sure. It makes us even. I don't know if this helps, but I wasn't part of whatever project Tuck was a part of

this whole thing. This is not me. It doesn't really matter, does it? Whether or not you were a part of it or not, what matters is what we do now and try our best to do right by this kid. If we can't save Tuck, then we got to at least save Mia. And that's what matters. Somebody's got to be saved here at the end of this. That's why we do what we do, right? That's what we try to do.

Well, should somebody follow Merritt's lead and go down to the security? I mean, I think I could ask them, start working on the opening the windows. I mean, yeah, I mean, if we've collected anything, everything that we can to make a boom here, then we can start doing that and maybe get ahead of the game. So once Merritt and Kit come down, we're ready to rock. All right. Lead the way. All right. I'll look back at Warp. Warp, do we have everything? Do we have enough boom juice for this thing? Warp is taking all of the yarn that they have spun since perennial was formed and is dousing it in acetone

and any other extra like four and above flammable chemical and is just putting them into different things that like gallons that can be thrown. Yes. Dr. Thornbill comes over and like sees what you're doing warp and she says you've got a lot of paper in that bag too and she points to the Frice files. Yes, but this is different. How's this different?

This is mine. The yarn can burn. Everything else can burn. This has to stay with me. You've got a lot of flammable stuff, but it's not going to remain flammable for long, so we better hope that this gets positioned in a place that it's going to burn it for a long time. We can do that. We can do that.

If anything, maybe we could actually, I mean, I had crocheting plants, but we can make sort of a trap, like a web, something for them to stumble into or wrap them around and then set up. that on fire and it's enough of a distraction for something that can blow up. Especially if we can get something to catch on fire, like the walls, the ceiling, the, the stuff around them, that as long as we keep the fire going, that's what's important. Or if there's enough here where we can maybe bring some part of the structure down on tuck and at least pin them, then we can get the shades up and let the shade do the rest.

I'll let you be the genius who figures how to do that. All I know is that the, Every floor has a gas line, and there's bound to be something that can set it off. We can just stay by there. That'll get things started long enough. If gas is leaking and a match is lit, it's going to go off, and it's going to be a big boom. And if you're anywhere near it, you're going to end up like tuck. Look, we won't know until we get down there and find a strategic point for it. So we can talk theory, or we can go and go down there and see what we got to work with. You break out of the lab, you head back to the staircase, and you head downstairs.

Merritt and Kit, the two of you are arguing, trying to convince the director to listen to you. I'm going to ask one of you to make a persuade role, and you will have plus 20%. I have a 57 under 70, which is a success with that extra 20. Jesus. So my indication is that the only way he's going to survive, is if he lets us have the girl. And so if he wants to survive, he comes with us, with Mia.

What's your plan to use the girl as bait or something? Something like that. Did you ever see the movie Jaws? Yes, I have. And then when she gets caught by this thing, I'm out of my asset. It doesn't want to harm her. It wants to save her.

That's why all your men are dying. This is a knight that's come to save the princess, not anything else. She wants what's best for Mia. And so if you can bargain enough that she doesn't think that Mia's being hurt, we can distract her long enough to put her down. I'm done listening to you. If you think it's coming for her, then I'm staying here,

and everyone is staying here, and we're holding our ground. And then while it's distracted, and everything's going to shit as I know it will be, I'm going with her up to the helipad. Do you understand its weaknesses? No. Do you? I do. Absolutely. And without me, you'll die. So you can listen to me, and maybe you'll have a better chance of living. Or you cannot, and you'll die. Let me tell you, when I had my first assignment for this operation, our job was to burn a place to the ground. And they didn't listen to me, and I lost half of my throat, and I nearly never spoke again. But I was right. Had we just incinerated the place, we would have been fine. The longest history in my file is that if someone

to just listen to me earlier, we'd all be okay. So I'm offering you an opportunity. Listen to me now and have a chance at living. Or go to that helicopter and know that I was right as you die. I'm going to count your success as the man is listening to you. He's granting you that much. I cannot budge on this man letting this girl out of his sight and he turns to you. you and he says, if you have to burn this building to the ground, then fucking do it. But I'm not leaving here without her. Then come with us. We need to get off this level. It has no windows. We can't weaken it. You need to get down to the first. They'll blow the windows open. We take any amount of explosives

we have and we throw it at her. That sounds like it's your job. My escape is literally a floor above me. Fine. Kit looks like we have something to do then. Hold up. What I'd like to do before everything pops off is I would like to find is there any like, well, there's no window so there's no curtain rods in this place, right? But is there like a...

There's like medical curtain rods, you know, that can like, you know, section off spaces. I want to see if I can take one off and break it in half to the best of my ability if that's possible. I want to see if I can make a torch out of the items in this place. wrapping bed sheets around some sort of rod and then seeing if that rod can hold flame and then seeing if I can wield that like a torch.

And then I'd want to work with Kit to arrange the gurney with the oxygen tanks on and tie them in with some sort of medical cord to the best of our ability so they don't go rolling around off of the bed. I want to get Kit a torch and then I want to arrange as much explosive material as I have in this area. and I'll tell the other agents that they need to have a priority of getting flame, open flame onto the monster as soon as possible. I'm also going to try and see if there's a gas line in this section of the floor. Go ahead and give me a search roll for that. I have a 26 under 50, a success. There is a gas line that is connected inside the wall.

You can tell that it goes over to some machinery nearby. and yes, you probably have to hack open the wall, but you can tell that there's probably a gas line here. I'll say there's probably some kind of medical indication, you know, like a warning symbol. Okay, I'm going to call over Kit. Kit, do you think you could throw an elbow into this thing and get the gas line exposed

and then we'll stand on the other side of the room? Yeah, yeah. Okay. Okay. Let me... I'm just, like, may... Could there be like one of those, like emergency break in case, like for gaslight, like that, like an axe? and I can just start going ahead and using that too. For that, I'll ask for a luck roll.

Ah, 78, not happening. No, no axe in sight. But are you going to start working on breaking open that wall? Yeah, but I'm going to have to do that with something that has at least maybe like the blunt end of like a rifle butt or something because. It's going to take some time, but I think you can hack at it. I don't think I need to ask for a roll. Earlier, Merritt, you asked to start making some torches. I think you can do that with the beds and the bed sheets.

I think you can definitely put something together. We'll say that there's, you know, sanitizing alcohol and things like that that you can use as a something to start the fire. I have two more things, if you'd allow me. One, I'd like to pass by the director of the VIP, whoever this is, right? As I'm crossing away from the gas line and I'm sort of wrapping the bed sheet around the torch itself, but I do just casually say it looks like we're almost about ready for when it comes in. What's your plan for Nancy, though? And then I'll just keep walking to the other

side of the room, and I'm going to pick up the walkie, and I'm going to call Warp. Hey, Warp? Yep. Listen, come in. He's not budging up here on the fifth floor, and there's no windows on this floor, so there's a new plan. You guys keep going with the security. We're going to try and blow the foundation out from the fifth floor and hope that Haley falls into the fourth. The director's staying with the child and not leaving. So there's at least that, but excuse me, the VIP. But there's no budging on him allowing me to come down from this floor. So just be aware. Okay. We have explosives as well. Would you like us to leave them somewhere for you? I think that you should get as close to the fifth as possible, because I don't see how this isn't going to go down between four and five.

Okay, then I relay that to Thornbill and hide. The director's not budging on Mia. They're going to try to start it from the fifth floor and hope that it drops to the fourth. So one of us should be in the security room, and the rest of us should be heading towards the fourth floor. Then you should go down to the security warp. Okay. who keeps the walkie? How do I know that you're still alive?

You keep the walkie. I'll put a hand on warp. You're just going to have to trust that things are going to work out, but it's the safest thing for you to do. We've lost two people in two days. That is a 200% increase of team loss in a single day.

Statistically speaking, half of us, one of half of us should be gone. But statistically, as much as you are a junior security guard, you should go man the security station then and wait for, wait for us to come back down. Okay. I suppose you would be my superior officer. That's how that would work.

Technically by rank. Okay. I will see you after this. Don't make me start with a new team. Hide, please. I'd never leave you behind, okay? Stay out of sight. Stay close to the walkie.

It's going to work out. Okay. Morp starts to. leave all of the weird incendiary shit that she made. But before she goes, she hugs Hyde. Hyde will give them a hug back. Since they're probably shorter, they'll wrap a hand around the back of their head and give them a tight squeeze.

And Warp Ghost starts to head towards the security room. Let's go to the fourth floor. See if we can set this up somewhere idealistically or at least be around near enough to be, in some kind of support. Okay, we're doing this. Holy shit, here we go. Yeah, back of the field, Doc.

Welcome back. Let's go. And the two of you begin heading up. Really, the only way is the staircase. So each of you have big armfuls full of accelerant, and you start making your way up. Haley, you finish burrowing out of the next hole that you've created. You look around, you're in a smaller space.

it's clear that you're much higher and across this long hallway is an elevator door and there standing in the shadows is Nancy. She puts a finger to her lips and turns and begins muscling open the elevator door

revealing an empty space, a shaft. In this moment as Nancy opens the elevator shaft, Tuck is going to make an attempt to seem like she's more interested in working together than she previously has. And come closer, as if they're going to use the shaft to go up. She opens the elevator shaft, her back to you, holds it open.

She can hear you kind of heavily thudding towards her. she looks up the shaft herself and then looks back at you and kind of takes a small step back to allow you to push your head through and look up and sure enough you can see about a floor up the bottom of a elevator. Tuck is going to retract and kind of stretch their muscles like they're preparing for the climb and for like burrowing through maybe metal. And then I'd like to grab Nancy and throw her down

the shaft. She wants you to trust her and she wants you to work with her. So I think that she would be not necessarily caught off guard, but she would, you would certainly have a slight advantage over her. I'm going to ask that we make some opposed athletics rolls. Let's just, let's just see what happens. That's a success with an 81. She rolls a 53, but that's not as high.

as your unarmed combat role to strike out and grab her. What does this look like as you grab them? Tuck's been, how does like a variety of postures when Nancy has been involved? And I think all of the ease that they have made an attempt to make clear to Nancy disappears in an instant. And it is just like a snake striking out with this massive, needy right hand,

a bear claw of a hand, just grabbing, just like a round, the front of her chest and up close to her throat and picking her up and just, for lack of a better word, like spiking her down the shaft. I'm going to count her dexterity success. She begins to speak. Wait, wait, wait. And you just throw her down the shaft. You see her body slam into one wall and then you hear the of nails screeching down into the darkness. I'm booking for my sister, because I know, I know if she's, if she's stopping herself, she's vindictive as, I think she's going to be vindictive as fuck. And if I, I need to get there first.

She's more vindictive than you imagine. As you begin to move into the elevator shaft, leaping, your body, kind of adapting to the space and random appendages coming out and grabbing onto the walls, as you begin climbing, you hear, if you ever want Ruhi alive that you leave me alive she's somewhere that only I know and you'll never get her back if I die

There's a gutteral scream that echoes up the shaft of immediate rage and terror we'll let you decide what you want to do next Merritt and Kit, you both hear a terrifying, guttural, monstrous scream coming from the elevator shaft. The other agents begin cocking their guns. You're going to see Agent Kik, Kit, just so you know, like gulp a little bit, like, that, that terrified them a little bit.

Yeah. Let's get the gurney as close to the elevator shaft doors as possible. Whatever it comes up, the second that we have a shot on it, second that we show flesh, fire for the oxygen tanks. Trying not to hit the gas line yet, that'll be our last shot if everything goes to hell. We just wanted to go back down the shaft.

Is there an emergency staircase out of here? Is the elevator the only way out of the fifth floor? The elevator is not the only way out. You can tell that there is a back door that says emergency exit. It's got the big, do not open this bar that if you press it, the alarms will go off. But that seems to be the only other way out.

Do we think there would be a fire escape from the roof access? Possibly, yeah. Okay. It's reasonable to assume that. That's the corner I'm going to back up into and just prime my pistol against the oxygen tanks by the start of the door and try and get everybody to just huddle into that corner against that door. As you come to that corner, the director is there,

and he's stoic and cold, and he's watching everything. This time, he's got Mia kind of over his shoulder. She's still unconscious. And when you look over, you can see the indentation in her neck. And then you're distracted by what he says. You get me out of here. I'll get you back in the FBI, Merit. I'll get you whatever you want.

Whatever I want? Within reason. The girl on your back. Take the thing in the back of her neck. Leave with that. That's all you want. That's the only thing that you need. You can put it in somebody else.

I don't want the FBI. You took me out of it. They treated me like shit. They got rid of me. Just like you will. I just want the girl in the back. You can take the thing out of the neck. We can go our separate ways.

You can live. Maybe Nancy will let you live here. He looks at the girl, looks at her neck. Nancy's not letting me live if she gets anywhere near me. If I turn her normal, I have nothing. I have nothing to protect myself from March. I've been looking for leverage and this is it. The leverage is in her neck.

Put it into the next idiot, ready to die for you. Hell, find someone that looks a lot like me when I started. I'm sure they'll take it. You're the director of this place. You run the show. Why would you ever need a little girl for that? You can make a persuade role, but I think it has to be at minus 20%,

because this is the biggest thing. This is the reason why the director has come across the country. Okay. We have a 28% under 30 with that minus 20. You guys saved all your good role for this last session. He looks at the girl. He looks at you, Merritt.

How fast can we make this happen? And he slams the girl down back onto the gurney, her head facing down, her neck exposed. Fast as you need. Is there a doctor in the room? No. Okay. Kit?

I don't know if this counts, but I do have a 30% in first aid. I've got about the same. One of you could gain plus 20% to that role because you're both working together to understand the little that you do about the human anatomy to cut this out. A failure will not necessarily

completely fail, it's just going to hurt the girl more than you were hoping to. Before any of you decide who's going to roll, Agent Tuck, Haley, are you going after Nancy or are you getting through that elevator? The Haley thing,

hearing that she's somewhere. I don't know where. I'm going to... Well, the first thing you're going to do is you're going to make a sanity check for helplessness. Let's do that. 29. Success somehow. Also, you lose one sanity. Makes sense. That's my wife. I think upon hearing that, tuck, well, can I see her down there? You see the glowing of her eyes in the darkness.

I'm going to let her see me look at her and then let her see me see me. me choose to go up instead of jumping down on her. There is a metal elevator above you that is blocking you from getting through. Is there a way that I can push it higher, I guess? Like push it into the blocks up above it? Yeah, just give me a strength roll. This is, again, a 20 now, so I can only fail if I double zero it 50. Using your rage, you just grab the underside of the elevator and begin pulling it up.

The brake system failing, sparks flying as you just jam it up into the recesses, the attic portion of the elevator, and all that's left in front of you are the metal doors that let you into the next level. I'll use a couple tentacles and pry it open and then swing my way through and drop the elevator, whatever happens happens when the elevator falls, I guess. Agent Merritt and Kit you hear the screeching of the elevator the two doors shudder and rumble

and then stop and then explode open metal shrapnel kind of tearing open the door and emerging is in full vision of you the most horrifying thing you've ever seen tuck mutated

her body destroyed and reformed into this horrifying thing, this beast, and you can see a little bit of Tuck's face still visible on her left-hand side, but the rest of her body is forever changed. I'm going to say that Tuck, you used your action to come inside the room. We're going to move to hide. You are with Thornbill. You are next in the initiative, and you make it to the fourth floor.

You see down at the end of the hallway the ruptured elevator shaft and the trail of blood that leads up and into it. I'll cautiously approach the elevator just to see the state of it or what's really going on with that. But there is no other way up to the fifth floor except through that elevator, right? Go ahead and make an alertness roll. That is a success with an 18. You poke your gun through the elevator shaft and you look up just as, as you see the massive shape of the Haley thing tearing through and into the fifth floor. The elevator is so smashed that it is stuck up into the attic area of the elevator shaft.

Your success grants you the ability to notice that something is scuttling up to you from down below. Oh, fuck. Then I'm going to take a step back and whenever comes out of the elevator, I am going to pop off on it. Sure enough, leaping out of the elevator is Nancy. I'm going to say that they are going to try and attack you. Go ahead and you make your attack against them. That's a success with my firearms with a 35. Out of the darkness, they leap like an animal, like a rabid dog towards you,

and you just begin firing at them. That's six points of damage. She goes to claw at you, but you stumble to the ground and just miss these enormous 10-inch-long claws. She tumbles to the ground having taken the hits and is immediately now getting up and scrambling back towards the elevator shaft as if to get the hell away from you. Yeah, I mean, if I can scramble back to my feet

so that I can reposition my gun and just continue to stand my ground against it, that's what I want to do. Thornbill is going to go ahead and try firing at them. God damn, they roll a four. they fire and you know mostly hit the wall but they manage to nick them in the leg oh yeah cool is it going up the elevator or is it going back down the elevator it's still in the hallway with you and it's in the middle of scrambling back towards the elevator shaft as if to get away from you like a scared dog warp we'll say that you have already reached the first floor

and you are in front of the security office i'm going in you burst open the doors and there's two security officers there what's going on up there it's a lot of noise if if you want to be some of the only people to make it out of here today, you'll let me be in here and do what I need to do? Thank you. Well, what do you need to do? Is there a way to open the windows instantly? What opens the windows? Well, I mean, we have to reset the system, but yeah, that'll open the windows. Okay, okay, then on my word, get ready to open the windows. Who are you exactly? What authority do you have here? I'm a junior security officer, and I need to open the windows. Please, we don't have time for this. Do you have anything in Persuade? Yes, I do. I need you to

make a persuade check. Come on, baby girl. Okay, 27. And that's a success? Yes, under 40. They take your panic seriously, and they immediately start typing on the computer, getting ready to shut it down. Okay, just as far as we need to go and then wait for my signal.

Agent Kit and Agent Merritt, you both have the same Dex score, so one of you is welcome to go. Kit, I think it should be you, and like, I'll forego my turn to give you the 20%. Okay. I'm gonna, yeah, kids gonna go ahead and like see that and be like, oh no, we're gonna do this. It's like a 50, 50 chance. Yeah, you got literally 50% chance. We got this, guys. 33, 33, that's a 33, 33. I dropped this. Focus right. I dropped the focus right. Oh, shit. Let's go, baby.

Near you is a small table full of. tools and one of them is a scalpel. You grab it and you run over to the girl just as the elevator doors begin to explode open and the other agents begin firing at this Haley thing as it roars in defiance. You run over to Mia's neck, lay it down and you just follow that crystal, putting just enough pressure to split the skin, barely enough that you see a kind of emerald green stone of some kind that is about as long as your index finger. I'm going to not grab it with my fingers, like that scalpel, and just gently, like, put a little pressure, just like quickly and efficiently, just go very smoothly in, like, operation

just to get it out. The director opens his hands. Drop it right in there. He closes his hands. Agent Tuck, you've got a bunch of agents firing at you. You can sense Mia is across the room. you recognize merit. I'm going to start throwing dudes behind me who are in my way.

I'm going to skirt the agents I know, but I'm going after the ones, the four that are on me right now. I'm just making a beeline for my sister. I think that there are enough opposing agents in this room that you will have to spend a turn basically fighting them off, but it's like swatting at flies. It's not that difficult.

And by the end of this round, there are another six body, on the ground, having been smashed against walls and thrown into the ceiling. And you realize that all this left is a stranger, Merritt, Kit, who is also a stranger, and Mia. That's all this left up here. Can I just say the last thing I do is I want to look down at Merit and make eye contact and take a sidestep. Like, I'm not trying to go through you. You know what I want.

If you let me, that's all I want. I don't, I think, I think Tuck is trying to project, I don't want to fight you. Agent Hyde, it is your turn. I actually have the flashbang with me, because, because, uh, work gave me all of the incendiary, uh, stuff. Um, I, I want to you, I want to, I want to use the flashbang, um, to try to get it either into the, into the elevator or at least right underneath Nancy. So it explodes and hopefully will, like, wound down. and discombobulate her at the same time just to continue to slow her down.

At this point, I don't want her to be a variable of getting up to the top floor. Okay, you need to make an athletics role to successfully throw this and have it land where you want. Hell yeah. That's a success with a 26. You throw it at Nancy, and it rolls and stops

and kind of hits the hinge of the door. She looks down at it and leaps just as it flashes, explodes. I think that you would have enough awareness to turn away from it. And you know that you can't just start firing after a flashbang. You've got to turn away and completely disconnect from it in order to not be affected by it. And I'll say that you do and Nancy fails or Nancy is affected by it. She basically disappears into the shaft, screaming, howling like a beast

and just disappears down into the dark. Fuck yeah. Now what? We need to try to provide support to Merit. We have to get out of here, Hyde. This place is about to blow. We can't leave Merit behind. I believe air support was being called.

Maybe he can go with them. How do you know that? How do you know that that Merit's going to be able to make it? I don't know anything, but I know that we can't help him. No, I mean, Hyde's strong, but Hyde's not stupid. And knows that they probably can't climb up this thing. I don't know. Hyde is going to, like, kick something and get frustrated over it.

is just can't leave him behind. Warp, the security guards feel like they have gotten to the point that they're ready to reset the system. What are we waiting for? We're waiting for for tuck to fall, the big, the big thing. Once they fall to the fourth floor, reset the system. Okay, let us know when that happens. I mean, are we going to hear it? Hopefully you should see it, but you might, we might feel it.

Merritt and Kit, the two of you are staring at a creature that barely fits. in the space, it is mere feet away from you. Doesn't seem like it's about to attack. You can see Tuck's one eye, weeping a kind of tear. Mia is to your either left or right on the gurney. Just saying, aging kid's going to start putting their hands up, like show of like no harm, like just back up. I am going to very slowly go to pick her up and cradle her in my arms.

You know, legs over left and neck over right. Careful to not touch too close to the spot I just performed surgery on, or at least Kit did. I'm going to start taking very slow patient steps back to that emergency door and looking to Kit, just so Kit knows too, and I'm going to make eye contact with the Haley that made eye contact with me. And I'll say, if my friend is in there, like to talk to her. Just imagine that we're on a bench on a park somewhere, and you called me because you were scared. I want that friend sitting on that bench with me to know that I helped her, that I fixed her, Haley, that the thing that was hurting her, I took away.

I tried to take away yours. I tried so hard to save you, just like I tried to save everybody. And I'm sorry I couldn't take you with us, Haley, but I am taking her with us. I'm going to take her somewhere safe. back to Rue away and you're gonna stay here because if she goes with you they'll just keep coming

during this Tuck's normal left hand has been reaching out just to like hold her little arm or her hair any part of her that Tuck can reach

and at the mention of Rue she's gonna shake her head and kind of look over her shoulder at the at the shaft that's open and then look at the director. With him?

And I look to the VIP. And I nod. And I look over my shoulder, and I'm going to try and mush my face into a different, any kind of different shape trying to get him to know that it's Nancy. What do you mean? You got to speak to me.

Your voice, you've got your voice, right? Uh-huh. And there's just this, like, mournful kind of, like, and I mush my face and I try and make a different voice. I try and anything different that I can shift and just like trade something, anything. I think the memory of the bench and being scared has kind of kicked the megalomania off into a corner just enough. I am, I'm staying closer to, Merritt, then I am, like, possibly the director, because I could see, like, that would be the safest point, but I have backed off.

And even though I backed off, I am within very close of my weapon that I will, if they attack, I will fire at the gas to push him away, if need be. On the director's turn, he runs for the exit. So now the only people left in the room are Tuck, Mia, Merritt, and Kit. She's right there. Oh, Serge, can I roll to fight the megalomania? I think it means that you need to make a sanity check and on a success, you're able to suppress the megalomania long enough to understand and make your own decision.

Okay, okay, okay. We got it? I rolled a four. Oh, my God. like get so low, like a, like a, like a wolf trying to show some submission, get so low and puts their like twisted excuse of a mouth right on Mia's, mea's hand where it's hanging off of merit and does just like a perverted final little kiss on her hand and strut. strokes, they're still human left hand.

They're not going to touch her with anything that's not them. And strokes the hair out of her face. Haley, I think it's time. It nods to Merritt and points back at the shaft and points after the director and makes claws. Just trying to get across one last time that Nancy is coming. And I think I gesture to my. ring finger and I just shake my head and kind of move my shoulders like I don't know and you know I'll find her if I can and then I back up toward toward where Nancy was coming through and I think

Tuck's last act as herself is to trust her team to get her sister out and to get her wife's to safety kit let's go for the door yep on him and then kit's just going to open the door wait for a merit to go through with the kid. I'm going to step through the door and give Haley one last look, nod to her. Doug just keeps nodding and isn't looking at him anymore and is just looking at Mia. And then head up as soon as I can. Then I'm just going to follow right after, and they ran to the shaft. I didn't get him.

I didn't get them. All of you follow the director out and up. You are immediately outside. You go up a pair of metallic steps that take you. to a helicopter pad, just as you see a helicopter landing large enough for about six people to fit inside. The door slides open, thanks to the director, and he clamors in. I'm going to motion for Merritt and me to go with, uh, I'll be like, is, is there a fire escape? There is a fire escape that, yes, that does seem to lead down the entire one side of the building.

I think Merritt takes that. As Kit looks back to see if Merritt is coming along, Merritt looks to you and says I can't thank you enough say hello to your daughter for me and he takes off for the fire escape Kit is like I won't lie, hesitates for a second kind of looks and then kind of nods

and just like just sounds good luck oh and then Merritt I'm going to toss you my utility belt that has stuff and also I'm going to hand you my rifle I'm not going to need this but you might yeah he straps the belt and the rifle around his shoulder and then

It picks back up under Mia's legs and just bolts for that fire escape before Nancy can get up here. Hyde, when you have an idea about something you'd like to do, just chime in. At this point, since I can't get to Merritt, I have to trust that Merritt's going to follow through with what he said he was going to do. So I think I'm going to take the whatever incendiary bottles that warp made, maybe place them or smash them right in front of the elevator and set them on. on fire and then get, have Thorneville and I make an X-ville to the, to the stairs and to head down. It is stunning how quickly it catches fire and how much of the hallway begins to catch on fire. You're having a hard time breathing as you make your way back to the staircase. Haley, as you turn back towards the elevator shaft, you hear and leaping out of it is Nancy trying to race past you.

make a dexterity times five roll. 74, under 80. She leaps out of the elevator shaft, manages to land and jumps in the air as if to surpass you, but one of your appendages grabs her and slams her back down to the ground. She has her action,

and she is going to attack you in retaliation for this. Can I see these two dinosaurs fighting on the security cameras? I'll say yes. You're going to take, take seven damage as she begins just kind of clawing at the appendage that is attached to you. Blue blood squirting in every direction. If she's trying to claw out of the appendage, I think I'm just trying to put as much of my

body weight on her as I can. I don't want her going up. I don't know where Merritt and Mia have gone. I don't want her anywhere near. So I'm just trying to basically shove her head into the ground and keep her there. She's screaming the whole time. If I die, she dies. There's whatever is left of Tuck is still just trusting the team.

I think it's just like flashes of like all the times that Merritt's had her back, all the times that Hyde's had her back, all the times that warp, Boomer, feeling like the weight of Boomer being gone. It's just like trying to keep them in the forefront and knowing that they'll do what they to. Mary, what is your intention going down those stairs? His main objective is just to get Mia safe. So he's trying to get as close to the security level on Level 1 with Warp as possible. But as he's going down, that fire escape, he's going to take out that radio, and he's going to radio into Warp and say, I'm clear from level 5. She's down

on 4 with Nancy. It's all starting. We need to get this building going, but I have Mia. We're safe. I'm going to get out of here. You guys should, too, as soon as we light this fucker up. I'm going. Okay, there's a fire by the elevator on the first floor, too. They shouldn't be able to get past that, but we're ready for you. Where's hide? I don't know.

They went to set the fire. They should be on their way back, but I don't know. They don't have a walkie, and I can't see them. See, if there's an intercom system on the security system, maybe you could flood their level. Let them know that we're coming back down to one. Let's let these two fuckers fighting and burn the rest. I'm sick of this. Orph, let's call it.

Can I see if there's a PA system on the first floor? We'll say that you have access to a PA system. Go ahead. Okay. Hi, they're fighting on the fourth floor. We should go. I can't return the PA system, but Thornbill and I are in coffin down the stairwells, probably at the third floor and going down.

Haley, your body is starting to cover the ghoul. They pull out from behind. them a gun with their last bit of time before you completely engulf them, they fire a single shot at the gurney that is covered in things. She succeeds with a 30

and there is a massive explosion. Merritt, warp, hide. You all feel the entire building shake. Anyone who is outside, I'll say merit, just as you're beginning to go down into like the second floor to go back inside and go further

out, you look up and you see the fifth floor just explodes out, and you feel the rumble of the top floor kind of collapsing onto the other, just as the helicopter takes off, the floor above it gives way and collapses as well. And here is where we will bring part one of our doomed to repeat climax to a close. If you want to listen to Part 2, it is available right now, and you can find out what happens to the surviving agents of Perennial by subscribing to our Patreon at the $5 tier at patreon.com forward slash Mayday RP. There you'll find not just part 2, but tons of behind-the-screen content for Doom to Repeat, including deleted sound bites, a cast debrief where we discuss this final arc, exclusive artwork, and more. We hope to see you there.

Thank you.