Shownotes
The Agents find what they have been looking for -- and what has been looking for them.
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Transcripts
Hello?
Speaker B:What time is it?
Speaker A:Who is it?
Speaker B:I. I don't know.
Speaker A:Situation green. I do not forget. Sorry, love, I have to take. Shields. Bennett, about 25 minutes ago, you departed your motel.
You've been on the road heading toward the coordinates that you picked out of what you recovered while at the Smokey Ridge barbecue joint.
You're heading towards the Razorback Slaughterhouse, by all accounts, and every bit of digging you've been able to do, it's another abandoned but smaller facility. It's situated in a very rural area outside of the town itself. Looks like it's surrounded by some wooded tracts as well as some ranch lands.
It's well off the beaten path. You didn't spare a moment once you extracted this information.
Instead, you gathered all of your equipment, took stock of what you have and what you don't have, jumped in the car, hit the road. A light drizzle began about halfway through your journey. Turned into a bit of a downpour.
Right now, there's no music playing in the vehicle, just the rhythmic sound of water beating against the windows and the windshield. And no one's said anything yet. It's been a weighty silence in the vehicle.
You have about maybe 30, 40 minutes left on the GPS to get to the point where you can break from one of the main roads and venture into what looks like another country area. Unpaved thoroughfares, until you find yourself at your destination. Do Shields Bennett or Tiberius Felix. Do you. Do you speak during this journey?
Speaker C:You know, we lost Paris a long time ago. That. That wasn't him. That. That wasn't Paris. Paris is long gone.
Speaker D:Sure thing, Bud.
Speaker B:I didn't know him long, but he would have done the same. I feel like he would have done the same. He would have understood. Did you see what happened to his arms?
Speaker E:I'm concerned with the lack of the use of the word badassery in describing this, so if y'all could please work that more into the description. I appreciate it.
Speaker D:The less I think about that, I think the better off I am.
Speaker C:That was in Paris. That. That. That was in Paris.
Speaker B:I trust that you would know better.
Speaker D:Look, Bud, was. Was that you stealing my gun, stealing my grenades? Or was that somebody else?
Speaker C:No, that was me. I just wasn't in the best state of mind.
Speaker D:So is it safe to say maybe he's not been in the best state of mind?
Speaker C:You could tell whatever you want to yourself. I know what I know.
Speaker D:All's I'm trying to say, Bud, is we could all look at each other funny, but we've got a job to do. We'll figure the rest out later, okay?
Speaker B:Stay the course. That sounds like what we need to focus on for now.
Speaker D:Exactly.
Speaker B:I agree. Shields.
Speaker C:Sure thing. I just want to get the fuck out of here.
Speaker A:The downpour turns to more of a rhythmic pelting large fat droplets loud against the top of the car. As you finally reach the point where you divert from one of the main highways. It doesn't take you long.
You're driving along several overgrown green pastures.
But you do spot, even in the dark under the drifting rain clouds above, that the moon barely shines through, you do spot a small abandoned slaughterhouse standing out from its surroundings. It has a metal roof and walls that are mostly intact despite being obviously neglected.
You can see as you continue to drive towards it, that the entrance door.
Speaker D:Is broken and there's no cars around it.
Speaker A:There are no cars around it. In fact, I also mentioned that the area is quite overgrown. It looks like a dilapidated building, quite abandoned.
Speaker D:Oh fuck.
Speaker C:Does the driveway up to it look like at least it's been used or is it fully grown up?
Speaker A:It's fully grown over. But as you get closer and closer in the darkness, you can see that some of the high tall grass has been recently battened down by tire tread.
Speaker D:Okay, look, we might be heading into the same situation that we just came out of, so let's keep it as quiet as we can for as long as we can. Tiberius, do you have a gun of your own?
Speaker C:I don't even have my own clothes, man.
Speaker D:Well, forgive me if I don't lend you mine. I do have an earpiece for you, so you can stay in contact in case we get split up. And he fishes into his boot and pulls out a knife.
And he hands it to Tiberius with the handle facing Tiberius.
Speaker C:I feel safer already. He takes it, puts it in his belt loop. Like not his belt loop, but I'm assuming he's wearing a belt. Slide it between the belt and the pant.
Speaker A:Yeah, no problem. You've got a knife. So how far away do you park the vehicle? Do you drive right up to the building, down the driveway?
Do you stay a little ways back in some of the tall grass and some of the overgrown pastureland? What's our approach like?
Speaker D:Once I think Shields sees the building from the road we're on, I think he'd cut the lights and proceed forward without using lights. So using the parking brake when needed and come to a slow stop probably 50 yards from the building.
Speaker A:Got it. Are you going to turn off the Engine. Mm. Okay. And I assume you three disembark, correct?
Speaker C:Yes, yes, yes.
Speaker A:Shields. What equipment are you bringing with you?
Speaker D:His handgun in the chest holster. And his. He has had the long rifle next to him in the driver's seat this whole time. He's not taking his eyes off it.
With Tiberius around, he'll have his a flashbang and a tear gas as well.
Speaker A:Bennett, what are you bringing with you?
Speaker B:I was going to say a handgun as well. And a flashlight. Would I have any like small medical kit maybe just like a small first aid?
Speaker A:Like there's one in the car.
Speaker B:I think I probably want to have that on me.
Speaker A:Okay. Let's say you got a little sachet that you can wear on your back that you go ahead and pack that into.
And Tiberius, you've got a knife, some loud clothing. Anything else?
Speaker C:Yeah, I'm just gonna keep that knife directly in shield's back until I need it.
Speaker A:Yeah. Holster that guy.
Speaker C:No, no. That's all I got.
Speaker D:I should have expected this.
Speaker A:The rain does continue to fall around you as you three tread up through the high grass towards this building. When you get closer, you can see through the entrance door. There's remnants of a counter and a shop area.
You can see that ceiling tiles, they lay in disarray, hanging down haphazardly. From the roof. You can see that animal droppings also clutter the corners. There are various debris piles littered across the floor.
You do see that there is a door behind the counter.
Speaker D:Shields will get Tiberius attention with his hands and point to the door and gesture with his rifle and he's ready to clear the room. As Tiberius opens it, Tiberius will pull.
Speaker C:The knife out, have it ready in his hand, walk over, put his back against the wall and reach over and open the door.
Speaker A:You open the door and Shields moves through quickly, silently. The main floor. Here it's cooled by a gentle breeze coming in through a nearby broken window.
You can hear the rain pelting through it, splattering against the dirty floor. Somewhere beyond it you hear insects softly chirping.
Speaker D:Normal insects.
Speaker A:In the center of this large abandoned area, you see an unconscious man. He's in a spot that is conspicuously clean of dirt, trash and debris. His hands are resting tranquilly across his abdomen.
He's dressed in what looks like comfortable clothing. Casual T shirt, some pajama bottoms, slippers. You don't recognize him.
There's a blade of light that shines from under a nearby large double metal door. There's a stained label on it that says meat cooler.
Across from that and beyond the man in the center of this abandoned area is another crumpled form of a human being. This is much less arranged or posed perhaps like the man in the middle of the room.
Looks like someone has fallen down from some great height and landed in an awkward crumple. But your heart lurches in your chest because you see, you see Frankfurt.
Speaker D:Nicholas Shields will lower his rifle upon realizing it's Frankfurt and raise his hand up and cover his mouth with a finger. And then points down at Frankfurt.
Speaker A:Felix, you can turn in to look. And so can you Bennett.
Speaker C:Tiberius will repeat the gesture, but pointing towards the unknown man. With a lot of concern on his face like hey, don't wild.
Speaker B:Bennett just intuitively takes steps forward towards the man to help him recognize him as Frankfurt.
Speaker A:So you're moving towards the man in the center?
Speaker B:Yes.
Speaker D:Shields would gesture to stop.
Speaker C:Do either of you have like obvious like restraints on you, like on a belt or anything like that?
Speaker D:Not obvious I would say now okay.
Speaker C:I'll gesture like you would see someone gesture handcuffs and then point at the unknown man.
Speaker D:So at this point Shields is gonna very quietly whisper. Let's not have a repeat of before. Let's not touch anyone who's asleep.
Speaker A:Okay?
Speaker C:Tiberius will nod.
Speaker B:Okay. Bennett nods.
Speaker D:At this point, Nicholas Shields gestures at the meat cooler and begins with his rifle raised, quietly making his way towards that.
Speaker A:You're now standing in front of the two metal doors that look like they swing inwards.
Speaker D:Is the light coming out from under that those doors? Is it red?
Speaker A:No, it looks like fluorescent. Okay, maybe you got a greenish hue to it.
Speaker C:I just want to note here, Tiberius is not going to walk to the cooler door. He's going to kneel next to the unknown man ready to slit his throat, stab him in the heart.
Whatever he feels like would be the most convenient thing at the time.
Speaker A:Yeah, you go ahead and brandish the knife and get it close to what looks like a vital on the man's body. He sleeps peacefully, might be middle aged, looks like he's of Hispanic or Latin American origin.
Thinning grayish black hair again, never seen him before.
Speaker D:Now Shields, when he gets to the meat cooler he's gonna turn and look for Tiberius. Seeing Tiberius so near the other man, he gives him this pleading look like Tiberius, please I need your help over here.
Speaker C:Tiberius nods in the negative and gives him kind of a shoe hand motion. And then he points two fingers to his eyes, two fingers down.
Speaker A:Bennett, what are you doing?
Speaker B:Bennett places her hand on Tiberius shoulder and then turns to move towards child to follow him. Shields, I'm coming with you.
Speaker A:Okay. You walk across the abandoned floor towards where Shields is posted up in front of this meat cooler.
You're now standing next to him, your gun in your hand.
Speaker D:Bennett, you're gonna open the door. I'm gonna clear the room.
Speaker B:Count of three, count of three, two, one.
Speaker A:The metal doors swings swing easily in. They reveal a large room built like a corridor. It takes both of your eyes more than a moment to adjust.
There are several portable work lights in here that blaze brightly from the corners of the room. Their halogen light bounces off partially rusted metallic walls.
As you squint and try to clear this room, you immediately see that there are two giant chest freezers that have been positioned along the left wall. A butcher's table and an industrial sink that rests along the back.
There are butcher's knives, a vacuum sealer, plastic packaging material that placed on top of the table. And behind the appliances, you see a thick cord of duct tape, extension cables that run out of the room.
Through a hole in the far wall below your feet, a thin layer of dust coats what is a diamond patterned steel floor. Footprints can be seen moving among the various portions of the room.
You see geometric patterns have been painstakingly and maybe beautifully carved into the steel flooring. And the grooves themselves been filled with a reddish powdery substance that scuffs as you move across it.
In the center of the room and the rather boggling patterns is a modern dining room table. You see a golden candelabra has been placed at the center of it, its candles unlit, but obviously well used.
At the head of the table is a sleek dining chair, throne like. And placed in front of that setting is a single mason jar. Under the jar is a manila envelope.
Speaker D:Shields makes his way to the dining room table.
Speaker A:Bennett, do you stay outside of the room?
Speaker B:I'll step into the room just to keep my eyes out. Sort of situational awareness as he moves in further.
Speaker C:And what's your armor class again? Just kidding.
Speaker A:Zero.
Speaker D:Shields makes his way to that manila folder. He's going to carefully lower his rifle and flip open the manila folder.
Speaker A:Yeah, you pick up the mason jar. It's rather, rather heavy. You can see now that you're close to it that it's filled with some sort of paste. It's brownish, yellowish.
You don't recognize it. You move that to the side and you take the manila envelope, you open it up. On the front is a single page of paper.
Someone's written the phrase who are you? In neat handwriting. Behind that, well, there are what look like dozens of photographs.
Some taken from security footage, some obviously taken from cctv, others from what looks like police body cam footage. But they are very clear pictures from multiple angles of u Shields, Bennett, Felix at various places in and around Arkansas.
The final few photographs are pictures of Frankfurt. And there is a post it on the top one and it just says in the same neat handwriting, I do not forget. My goddess does not forget.
If you continue to follow, be prepared for where we take you.
Speaker C:Chris, in this time I do want to, as they walk into the room, move over to where Frankfurt is and kind of assessed his condition.
Speaker A:Yeah. You take a look at him again. It looks like he fell from some great height in this awkward crumple. You can see that his arms are bound with shoelaces.
Looks like he has deep cuts down his forearms vertically starting at his hands. His clothing is covered in this brackish fluid. It's dry now in most places, but damp in others. The smell from him is that of must.
That cellar you were in only a few minutes hours ago. And his face is smudged with dirt and other immensely. He looks haggard, beaten pale, but he's breathing.
Speaker C:I will move back to the unknown man.
Speaker A:You kneel again beside the unknown man, brandishing your knife. Bennet Shields, roll your sanity, please. This is from unnatural. Would either of you like to project any potential loss?
Speaker B:No, I think at this point, I have to.
Speaker A:Why is that?
Speaker B:Well, we've had a lot of sanity rolls recently.
Speaker A:Well, keep in mind, each time you project, you roll a 1D4 to pay willpower. You only have 5 willpower right now, so if you were to roll a 4, you would have a nervous breakdown. So just judge carefully, I mean.
Speaker B:All right. Nope. Nick's. Nick's. That idea.
Speaker A:You both look over this and realize that someone's been following your every move, even before things became so well apparent to local law enforcement, maybe federal law enforcement as well. Whoever's been watching you, has been watching you since you came to the state.
They've been watching Felix and Frankfurt since they arrived at Arkansas Nuclear 1. It's honestly boggling to see how many ingles and cameras whoever this is has access to.
Speaker D:Shields closes the folder and folds it in half and then in quarter and stuffs it in his jacket inner pocket.
Speaker A:Mm.
Speaker B:How do you make sense of this? Do you think it's like a mole? I mean, there's only so many people that know what we're doing here.
Speaker D:Something for later. And Shields shuffles, raising his rifle again. And Begins scouring the room, looking, making sure that he hasn't missed anything.
And with the goal of eventually checking out that bundle of wires where that's going.
Speaker A:It's going outside of the building through the back. There were two chest freezers. There's a butcher's table. There's lots of implements and appliances there. There was the mason jar that you moved.
There's of course the table, the candelabra upon it. There's the engravings. In the steel floor are these very strange diamond esque engravings that seem to center on this table.
And of course there's the thornlike chair.
Speaker D:So everything that is an appliance that has a cord is going out that hole in the wall, correct?
Speaker A:That is correct.
Speaker D:Okay, shields is gonna open up the freezers.
Speaker A:So inside the freezers are vacuum seals, plastic packages of meat. Obviously they've been packaged for consumption because you can see there's pre seasoning here, herbs, spices, sauces, marinades.
Yeah, looks like all sorts of cuts and parts of carcasses. Do you have forensics, medicine or surgery?
Speaker D:No.
Speaker A:You do have survival it looks like. Go ahead and roll that. Minus 20% please.
Speaker D:Fail 81 of 30.
Speaker A:You're not sure what game this is.
Speaker D:It's delta green.
Speaker A:Dude, I was waiting, waiting for somebody.
Speaker D:And both freezers are the exact same kind of inventory, is that correct?
Speaker A:Yeah, that's what it looks like. There are smaller packages. You're again not quite sure. Maybe cows.
Speaker D:Yeah, out of character. It's obviously human, but let's keep on keeping on cows.
Speaker A:Cows are calf's brain and liver in this one. So a lot of organ meat over here.
Speaker D:Okay.
Speaker A:Bennett, are you checking this out?
Speaker B:No, actually Bennett's going to take a deeper look at those carvings.
Speaker A:Yeah. You bend down and look at the steel floor and again you can see this sort of red waxy paste that's been apply to fill in the engravings here.
Speaker B:So I'm going to take pictures of the engravings and see if there's anything that I can sort of scoop some of that red powder to be tested.
Speaker A:Yeah, I'll let you use some accoutrements from their first aid kit to grab a little bit, a little sample of it. Do you have any chemistry?
Speaker B:I do not.
Speaker A:Yeah, you're not sure what it is. As you scoop it into this small plastic bag, you both hear the rain pick up again and it seems to be coming in waves now.
Deep kind of low timbred waves. And you both roll alertness and It'll be a minus 20% please. Success.
Speaker D:42 is 60.
Speaker B:Critical success, 22 out of 7.
Speaker A:Nice, Bennett.
As you're looking and scooping up this reddish material, your eyes notice that there are newly made long rope like tracks in the dust ending closest to Shield's. Where his back is turned away from these new tracks. And he's looking in the second chest freezer and shields.
The hair raises on the back of your neck. The sound of this rain hitting against the outside of the building. You realize it's something else. Like the shuddering of something behind you.
It's not the rain.
Speaker D:Shields is gonna spin in place and make his way, I guess so he's facing the freezer, so he's gonna spin around and make his way sideways, away from whatever was giving them. That feeling that something's behind him.
Speaker A:Roll a dodge, please.
Speaker D:Fuck. Failure. 83 of 50.
Speaker B:Bennett's gonna sidestep, following along those new rope like tracks that she found.
Speaker A:Those lead right to Shields, who just dodged. They go away from you in the dining table, across a bit of this steel floor, straight to Shield. Does that make sense?
Speaker B:Yes.
Speaker A:All right. Okay. We're trying another combat carousel here.
Speaker D:Oh boy. Some kind of noodle beast.
Speaker B:Looks like Medusa.
Speaker D:Forbidden Ramen full of noodles.
Speaker A:Okay.
Speaker B:Not okay.
Speaker A:Not at all. Okay. I passed.
Speaker B:Oh boy. I'd be like, what would Michael do?
Speaker D:Become the mission.
Speaker E:It's the slow clap you're hearing right now, by the way. Real slow.
Speaker A:All right, let's see what you got on you here. No armor, just a chest rig.
You feel something grabbing on to the nape of your neck, the top of your collarbone, a place underneath your armpit and several places on your abdomen. Grabbing and pulling suddenly with a very painful and piercing tug as your skin is forcefully ripped away from your flesh.
Speaker D:Ow. Ow, ow, ow.
Speaker B:Olive.
Speaker A:This is just shields.
Speaker B:Just kidding.
Speaker A:You were moving quickly away from the feeling of being stalked by something. Feeling this kind of shuddering in the air behind you. But it stopped you in mid dodge, pulling you by your flesh.
And you hear what sounds like a horrific loud slurping noise from several spots in the room close to you and something towering over you. You look and you stare into nothing. There's nothing there. But when you look down, something begins to appear before you.
It's like you're watching the internal nervous system of a great multi armed being slowly turn red.
You realize there are long limbs attached to you that are separating, sucking upon your body, filling up some greater bulk that's slowly becoming visible above your face. With your own blood. Roll your sanity.
Speaker D:My kingdom for a knife.
Speaker C:Right now, it sounds pretty romantic to me.
Speaker E:Buy me dinner first.
Speaker A:Would you, like, pick me up with.
Speaker C:Your big, strong red arms?
Speaker D:To protect any potential loss in this particular situation, yes. We're gonna project.
Speaker A:Okay, so 1D4.
Speaker E:The shield's the new Ryan. Is that what's happening here?
Speaker A:You're the new Ryan, dude.
Speaker E:Oh, no.
Speaker A:Throwing spells out.
Speaker E:Hey, man, I've kept myself away from any intimate relations with other dimensional beings.
Speaker A:The fuck are you talking about? Look at your arms.
Speaker E:Oh. Oh, man. I'd like to think that I have, at least.
Speaker A:All right, all right. So you're gonna lose one willpower. That'll bring you down to five. Thanks for doing that. And which Bond is going to take a hit?
Speaker D:I think Tanis again.
Speaker A:Cool.
So he's gonna go down to eight and keep him checked so we can remember if you survived to address that during your next home scene, by the way, you've hit your breaking point. Go ahead and roll your sanity again.
Speaker D:Okay.
Speaker A:All right. Go ahead and roll a 1D6 for me. Actually, I'll let you choose. There are four options. Fight, flee, faint.
And a new one we're going to introduce tonight.
Speaker C:Piss.
Speaker A:Piss. Yeah, sort of.
Speaker E:Piss. Piss. Piss.
Speaker A:Fine. This is something I think I saw somebody share.
Speaker D:Yeah.
Speaker A:Where they added this fourth one where you become enamored and raptured with what is the source of your terror and worship it, hoping to be spared. I'll give you. I usually choose for y'all because we do Veiled.
But in this situation, Shields, since you did pass your alertness, I'll let you choose how he responds in this moment of absolute horror as he is exsanguinated by an invisible being who slowly reveals itself before his eyes.
Speaker D:Okay, Just. I want a clear idea of the room and what it looks like right now.
So from my understanding, or from my understanding, is anything between him and the exit, is he backed into a corner?
Speaker A:Yes. The slowly revealing bulk of this massive, tentacled creature.
Speaker D:Okay. Yeah. I think he would feel like he has no other option but to fight.
Speaker A:Okay, so what that means is I will be taking control of Shields for his turns as he tries to destroy the thing right in front of him until it is gone. Okay, great. We are at a point now where Bennett and or Shields can basically do, like, a yell or a scream in terror.
How would you respond, Bennett, as you slowly saw, see this thing begin to reveal itself in the air above shield's form, which is now pendulously held close to this thing as it drains him of his bodily fl. Roll your sanity.
Speaker B:Appropriate.
Speaker C:I mean, if you just yelled out, now this is what I call podracing. You wouldn't have to roll that, you know.
Speaker A:Would you like to project any potential loss?
Speaker B:No.
Speaker A:Alrighty. You have basically a split second to yell or scream in terror.
What do you think Bennett would do as she sees this thing revealing itself by taking in the blood and fluids of your partner?
Speaker C:Jesus.
Speaker B:Ben is going to yell, Shields.
Speaker A:Got it. Shields. You have a moment to. Well, I guess I got your guy now.
Speaker D:Yeah.
Speaker A:You scream in rage and bring your gun to bear. All right. We're top of the round. Starting with Felix. Felix, you hold your knife over this man's throat. He continues to sleep peacefully.
And then you hear Bennett's scream from the meat cooler. She screams for Shields.
Speaker C:Once Tiberius hears that scream, Felix will drive the knife into the person's heart.
Speaker A:Got it? Go ahead and roll your sanity. Would you like to project any potential loss?
Speaker C:Absolutely not. Let's go.
Speaker A:All right.
Speaker C:Tiberius is getting a little twisted.
Speaker B:A little? I'm glad Bennett didn't see that there'd be some concern.
Speaker C:Yeah, I'm glad too actually.
Speaker A:You slam this down into his heart. He doesn't make a sound really. But you hear the death rattle in his throat. As his head falls to the side.
One of his hands twitches and also falls next to him. The blood wells up quickly. It's very, very dark red. It almost spurts out a bit across your hands and just begins to well up.
Ba bump, bum, bum, bum, bum. It's only a few beats. You can't believe it. Before it stops. He's dead.
Speaker C:Tiberius will start muttering. You're Felix. Your Felix. You're Felix.
Speaker E:Ridge against machine reference. Out of fucking left field there. I will. I'll be quiet again till Paris makes.
Speaker C:I mean, I'll take it. That was great.
Speaker A:Bennett, it is your turn.
Speaker B:Okay. This is gonna come out of left field, but I would like to try to.
Okay, so we're seeing like tentacles, is that accurate, that are wrapped around shields.
Speaker A:Yes. He's almost being held aloft a bit. He tried to jump out of the way but was caught in midair.
He struggled for a moment until this thing started separating upon his body. You can hear this thick, disgusting slurping sound coming from several straws at once.
And then you realize it's these limbs attached to this being that's becoming visible before your eyes. Filling its strange intangible form with blood.
Speaker B:So my natural reaction is that I want to jump at this tentacle and like canines are going In. I'm trying to use those teeth and just rip it off of them with my mouth.
Speaker A:Okay, Amelia Bennett, you have a gun, but you're gonna jump on it and try to rip it up like a feral child.
Speaker E:You heard what she said. Let's go.
Speaker B:The gun didn't work for me last time. I just like, see multiple arms.
Speaker C:This would be a great time to reveal that you are in fact a werewolf. Which would be awesome.
Speaker E:What game are we playing again?
Speaker B:I mean, I'm picking up what you're throwing down, but that was just my first thought, so I figured I'd go with it.
Speaker A:Okay. If Bennett is going to go Pharaoh on it, I'm not gonna stop you.
Speaker B:Roll your unarmed success 34 out of 40.
Speaker C:Hell yeah.
Speaker A:What are you doing with your gun while you go full Wolverine?
Speaker B:I'm just. I'm still strapped. I didn't even touch my gun. I didn't even think of it.
Speaker A:Unfortunately, we did have your gun out as you were supporting shields as he was clearing the room. It was out. You opened the door. Are you seeing you didn't have it out?
Speaker B:No.
Speaker A:Okay, you're going to jump at this thing, going full feral and your gun just clatters to the ground. As you focus on grabbing onto one of these barely visible tentacles on a thing that is absolutely alien and drives terror into your very being.
And you find purchase even though you can't see what you're touching. There's this thick, rubbery feeling in the air and it quivers and shudders under your weight as you jump upon it. There are.
God, there must be dozens of these limbs still not visible to your eye.
And you roll sanity again, realizing you're amongst this crowd and forest of all of these separating strange snake like tendrils that are searching, searching for you. Searching to relieve you of your bodily fluids. Would you like to potentially project any loss?
Speaker B:Yes.
Speaker A:All right. It's a 1D4.
Speaker D:You're about to lose a lot of red. Red Kruvy.
Speaker B:Oh boy.
Speaker C:Kind of fed up the Chris not I killed this innocent man. Obviously now, but it could have been him. It could have been. You know.
Speaker D:Totally.
Speaker B:I'm in a projecting against my boyfriend. I was trying to hold off so hard on that one. What?
Speaker D:You had a boyfriend? This is.
Speaker E:Shields just gives up.
Speaker D:Yeah.
Speaker A:All right. That brings you down to 2 willpower. Because you lost 3. I believe that causes a nervous breakdown. Let's take a look.
Speaker E:She's already having a nervous breakdown.
Speaker B:Yes, absolutely.
Speaker D:We are all breaking down nervously.
Speaker C:Felix is fine.
Speaker E:Just Murdering people. That's all.
Speaker C:Feeling peachy.
Speaker B:Come on. I have a boyfriend. But I just jumped onto this alien creature.
Speaker A:We get it.
Speaker D:You have a boyfriend.
Speaker A:You're so cool. So at 2 willpower, your agent has a temporary emotional collapse. Realizing that you're in this absolute mass of alien fauna. Flora you're not sure.
Just hundreds of snakes, partially invisible, filling up with blood from your partner. You start screaming and screaming and screaming. Your eyes nearly rolling back in your head. You scream and you scream. I appreciate that.
Don't have to look for fully.
Speaker B:How close is the gun that I dropped?
Speaker A:You are in the middle of emotional breakdown because you just went down to two willpower. So you don't need to worry about that right now.
Speaker B:There's no logical thinking. Got it. Everything's emotional. Ended up. Well.
Speaker A:All right. Let's have some fun.
Speaker B:Oh no.
Speaker C:I don't like it when Chris has fun.
Speaker E:A lot of rolls. Too many rolls. Too many rolls.
Speaker A:All right. And then. And I guess I'll roll for you, Bennett. Oh, not good. Not good. Shields continues to scream.
Bellow with rage as he watches his lifeblood flow out of him from multiple parts of his body. Giving form to this monstrous mass of waving tentacles. Snakes separating mouths. You hear kind of a whistling in the air. In this shuddering.
The shuttering you heard before. As this bulk, this bulk begins to move with greater purpose. You go ahead and flip the carbine to full auto and let it rip. The report is staggering.
In this small meat cooler corridor. It's so loud. But you don't let up. You fill this thing point blank with everything that the magazine holds.
Bullets fly through it, fly past it, fly over it. You hear ricochets in this metal corridor. It doesn't stop you. Your trigger finger remains depressed. All right. Let's see what happens.
Some of the tentacles and snake like heads rip off of your body like hungry but pained leeches. You hear a very strange whistling sound. It sounds pained but alerted. It's very disconcerting to you both. Right, that's your turn. Shields.
Dozens of searching leech like tendrils begin probing all over your body. Bennett. Nipping at you. Grabbing chunks of flesh as they go. You scream and scream and scream. We're back to Tiberius.
Speaker E:Now hold on, man. Frankfurt's gonna wake up at some point, right? Maybe. Who knows?
Speaker A:I'm rolling for you every time.
Speaker E:It's all right.
Speaker B:Can I just.
Speaker E:I'll get my beauty sleep.
Speaker A:What's up?
Speaker B:I guess I could wait for it. But how long does my emotional collapse last?
Speaker A:I'll roll for it. Okay, but this would just be your second round coming up. Suffering from it, so definitely more than this.
Speaker B:Okay.
Speaker A:All right, Felix, you are hearing all sorts of screaming and rage and a long report of an automatic weapon. What would you like to do?
Speaker C:I will kind of observe a little bit. This person I just stabbed, Obviously. You said they look very dead now.
Speaker A:Yeah, the heart didn't beat, but more than a few times after you plunged the dagger into his heart directly.
Speaker C:All right, I'm going to shuffle over to Paris and shake him violently.
Speaker A:Okay. Okay.
Speaker E:Oh, now we're friends. Oh, I see how it is. Okay, you need something?
Speaker C:Oh, we're not friends.
Speaker A:Hey, bug.
Speaker D:Wake the fuck up. I need you.
Speaker A:All right, one second. I'm gonna roll again for him. Yeah, look at that. I need to give you some of this.
Speaker E:My two hit points.
Speaker C:Ready?
Speaker E:Fuck some shit up.
Speaker A:Yeah, you're ready.
Believe it or not, your eyes open, Paris just tumbled through some mindscape, some unlimited probability door into what appears to be a very dark, decrepit, abandoned space. Your heart sinks, thinking that it's the same cellar that you were trapped in. But as you come to, you realize you're being shaken.
Quite violently, actually.
Rise, come into focus and they meet those eyes, haggard, weary, suspicious and tired eyes of Felix, who is grasping your shoulders, shaking you back and forth.
Speaker E:Let's go. That looks good.
Speaker A:I'm sorry, what is he actually saying?
Speaker C:Chris? Can I say something like one little phrase to him? Save Bennett.
Speaker E:All right, so Paris. Paris has had a good. A good couple. Couple minutes here of fun times. Let me think about this. What does he get mentally? He's next to death.
He's got no willpower left, no health, no health left. He is just double checking. He is completely immune and adapted to violence and helplessness.
And he's been burning power like it's nothing to rip the fabric of space time. So I'm gonna go and say Paras is doing just fine. He's feeling good.
Speaker C:Sounds great.
Speaker A:Yeah, makes sense.
Speaker E:Sounds like he's had a great time. Does Paris have his sickles? The sickles with him. I pretend they're his. Now, do those make it?
Speaker A:As you're being shaken, you notice that both of your mutilated hands grasping onto the two sickles. You don't remember having them both. You laid them both down in your ritual menagerie, but here they are.
Speaker E:So I'm going to check my awareness. Am all I aware of right now is that Tiberius is shaking me. Or do I hear anything else happening? Or that's it right now.
Speaker A:That is correct. You also begin to hear screams and battle music. Tiberius, you do notice as he sort of unpins himself from the awkward position he was in.
He's holding two very wicked looking sharp implements. They look like farmer's sickles.
Speaker C:Oh shit. Tiberius will kind of shuffle back on his butt and hands and butt and just point towards the door and say again save Bennett.
Speaker E:Tiberius. Is that Felix? Paris looks off to the side. What the fuck is happening? Gets to his feet and looks back at Tiberius like Tiberius. What? Where are we?
Speaker C:Tiberius is frantically looking for that knife that he dropped while he scrambled over to Paris.
Speaker A:Perfect. It is now Bennett's turn. You are screaming and you continue to scream, your voice becoming a hoarse rasp.
You try your best to push yourself out of this mass of flailing anemone like tissue that you are now being pulled into against your will. More and more of it becomes visible to your eye as you realize that some of these nipping tentacles might be taken from you.
Blood in order to give itself color. So it's visible but it's certainly taking its fill from Staff Sergeant Nicholas Shields. I'll roll for you.
Speaker B:Thank you. Fingers are crossed.
Speaker A:All right. As you continue to struggle screaming, your voice coming hoarser and hoarser, you sink deeper into the thing's mass as if it's quicksand.
Speaker D:I'm up Shields.
Speaker A:You continue to bellow. Bellow.
Speaker D:Like that.
Speaker A:Nah, it's deeper. I'm not going to more manly.
Speaker D:I'm not going to bottom out my microphone.
Speaker A:They need to take some testosterone to match Shield's actual voice. You fumble across your chest rig as these grasping snake like tentacles filled with ringed teeth. Claws rip at your body.
Suck the blood from various points. Grabbing another magazine. I have to roll for it. You eject the other and slam this one in. Hitting it with the heel of your hand.
You point it directly into the ever more visible and absolutely mind boggling mass of strange snake like tentacles in front of you.
Speaker C:Eric, remind me you took that feat extra blood. So whenever anything drinks your blood, you got plenty of blood left. Yes.
Speaker D:It's the extra blood feat. It's basically my body is just stuff. Double full.
Speaker C:Double full. Okay.
Speaker D:Yeah. Double full.
Speaker C:Yeah Chris, take note of that.
Speaker A:I've taken note. Okay. It continues to grow more and more visible. Its size is very large. It rises to the roof of this metal room.
Speaker D:And it's not the only thing rising right now.
Speaker A:It has an innumerable amount of tentacles. Wrong with more becoming visible by the minute.
Speaker D:Well I Hate this.
Speaker A:Tiberius, you are moving through the dirt, crawling around, looking for that knife. Roll your luck.
Speaker C:98 out of 50. Failure. That's my first failure in a while.
Speaker A:Yeah, I know.
Speaker C:All my fails are knife based.
Speaker A:You don't see it. Your hands are slick with blood. There's dirt, trash everywhere. The screams. The screams in the other room. They're. They're desperate.
They're full of horror. We can't find the knife. What would you like to do?
Speaker C:I will give up.
Speaker D:Sing. Sing the frozen song.
Speaker C:I'm Mr. Ice miser. I'm Mr. Snow. Da da da.
Speaker D:That's not the one. Nope, nope.
Speaker C:I will give up on the knife. Run over to Paris, grab him by the shirt and kind of pull him as I run towards the cooler.
Speaker A:Paris, what are you doing? As he tries to drag you towards the meat cooler, the screams and uncertainty.
Speaker E:At this point, Paris is going to sprint towards the screams. I think he's had enough time to realize something awful, terrible is happening in the other room. So he's going to be sprinting towards him.
Speaker A:You both are now in the entryway to the meat cooler, looking past these now open, swinging metal doors. The scene in front of you is one of terror. As this cluster of rapidly filling snakes filling with the blood of shields.
And now Bennett becomes more and more tangible before your eyes. It barely makes a sound. You just hear this thick slurping that you realize is coming from so many mouths that are latched onto your colleagues.
You see Shields pale, shakily putting another magazine into his rifle. You see Bennett flailing and screaming hoarsely as she's drawn deeper and deeper inside this writhing mass. And you both roll your sanities.
Speaker C:That's funny. I had my cursor right over sanity for some guess that I had about this.
Speaker A:Would either of you like to project?
Speaker C:No, sir.
Speaker E:At this point, I feel like it's a cruel joke for you to ask me that. Because you know that I can't. I have no one left to project to.
Speaker A:Brings me great pleasure to do so, though. That was from a natural, in case y'all didn't realize.
Speaker E:Dope.
Speaker A:Okay, that's your turn. All right, Bennett. Let's see how you do. Oh, look at that.
Speaker C:Question mark, question mark, question mark, question mark.
Speaker E:None of us can look at that.
Speaker A:You get your wits about you. You're utterly exhausted.
You're being drawn deeper and deeper into this writhing mass as it gets purchased on your body and begins slurping from your blood, filling more and more of these tentacles, turning them bright red with Your arterial vigor. What would you like to do with your turn?
Speaker B:Despite being caught up in this, is there any ability for me to reach back for the gun that I dropped when I previously leapt forward?
Speaker A:I don't think so. I'm trying to think how that would work.
Since now you're in a mass of anemones, I'll have you do a search -40% to see if you can spot it from within this. It's not going to be easy.
Speaker B:Well, how about this? If I still have.
Is there, like, potentially in that first aid kit that's on my person, anything like a small knife that I could grab out of there to start cutting?
Speaker C:Scissors.
Speaker A:Let's see here. You were looking. You got a plastic bag out of it earlier to get a sample. I assume you put it back in your sachet, which would be on me, but yeah.
You start reaching back into your sachet, trying to grab onto the zippers to undo it, to try to get this thing out of the sachet so you can try to get some scissors out of it.
As these things latch onto your arms, your fingers, your hands, and begin sucking blood out of every part of your body, I'll give you a free unarmed to try to break free.
Speaker B:96 out of 40.
Speaker A:Yeah. You feel yourself, basically, as you even try to grab these sachets. This thing is so much stronger than you.
Each one of these tendrils has the strength of a very large boa constrictor and begins to pry your hands down so it can attach more mouths to your arms and take out more of your blood.
Speaker C:Remember to mark it. You might survive.
Speaker B:Bennett is just going to kind of scream out, shields. I'm sorry.
Speaker A:Speaking of which, shield's turn.
Speaker D:Me too.
Speaker C:The extra blood is really feeling it. It's actually hurting you.
Speaker A:You don't really miss with a gun, do you?
Speaker D:No, not often.
Speaker C:Whoa.
Speaker E:Those are some intense question marks.
Speaker A:Never rolled that before.
Speaker B:Is this a yay for us?
Speaker D:Probably not.
Speaker C:He rolled up high is for us.
Speaker B:Or is it just fun for him?
Speaker E:Just fun for him.
Speaker C:Now you get it Small.
Speaker A:This game is again. You let loose with this rifle. The whole magazine just lurches forth through the barrel into this thing as you.
Instead of focusing on one small area, you begin using it. Almost like a cutting swath. Back and forth, back and forth, digging through its center.
You watch pieces of these flailing tentacles fall to the ground, blood oozing out of them. Your blood, Bennett's blood. Again and again, back and forth.
You start gritting your teeth, bellowing Nonsense again as the rifle begins to click, click, click. Almost immediately the mouths let go of shields. They throw Bennett to the ground.
The whole mass begins moving away from both of you to the back of this corridor towards the area where the cords are bundled up and going through a hole in the wall. You hear a thick shuddering noise. Slurping does continue as from some of the mouths. It does seem to be sucking more blood into its center mass.
Felix, you've seen this whole spectacle as you ran through with Paras at the sentry way. Your eyes are wide. What do you do?
Speaker C:Tiberius will look for anything in the room he can use as a weapon.
Speaker A:Yeah, over near where the thing is going, there's a lot of up appliances like butcher's appliances. That's really far away and near the thing, so probably not an option. Go ahead and roll your search.
Speaker C:59 out of 81.
Speaker A:You do see a pistol on the ground next to a out of place dining room table. Sitting there on a engraved steel floor that is decorated with red wax.
Speaker C:All right.
Speaker A:You could rush towards it and pick it up probably in this small period of time.
Speaker C:I will do that. And if I can knock over the table at the same time, I would love that.
Speaker A:That's too heavy. It's too heavy. It's a really heavy antique dining room table.
Speaker C:Then I will slam into it and go.
Speaker A:Oof. Perfect. You rush over, almost crawling on all fours to grab this gun as quickly as you can.
Paris, you've witnessed this entire scene, this chronology of events.
You've been here for such a small sliver of it, this impossible being that's already fading before your eyes as it runs away from Shields and Bennett, who have been cruelly and violently deposited on the ground. What do you do?
Speaker E:Well, he's going to use his leap action to close the ground and then frenzy attack this. Wait, this is not.
Speaker A:I'll. Just kidding.
Speaker D:Sorry.
Speaker C:Not yet.
Speaker E:Bad joke. Bad joke. He is going to sprint at the creature. If I'm able to get there at attack, he will.
Otherwise he's just going to try to close the ground as fast as possible.
Speaker A:Yeah. You run as fast as you can after it, nearly slipping on pieces of it that are scattered all across ground.
You see, Shield's barrel of his rifle is smoking and he's breathing heavily, his eyes wide as he fumbles for another magazine on his chest. Rig, you run past him. Bennett's on the ground. She's almost in a fetal position, shaking. She looks at you and watches you run by.
All right, you're now next to this thing as it seems to be retreating to the end of this small corridor. Bennet, you look up, there's large bite marks ringed all over your arms. Probably parts of your chest and legs. You're bleeding.
The thing is let go of you, puts you on the ground and is moving away towards the end of the room.
Speaker B:And where is. How far is Jills from me and how far is Tiberius from me?
Speaker A:You could reach out and touch Shields because you were both basically inside of this thing's bulk only moments ago. Tiberius ran behind you and picked up your gun. He's near the dining room table. He's like within maybe two or three meters of you.
But you're not super focused on him right now. You're more facing towards Shields and the running form of Frankfort as he chases this thing that retreats from you.
Speaker B:I want to try to step up and help Shields.
Speaker A:You stagger to your feet. You look down at Shields who You've never seen him look like this. He looks absolutely berserk. His eyes are wide. Sweat drenches his face.
He's very, very pale. You can see that he's been bitten maybe two dozen times. It looks like he's got tons of circular tooth mark bites all over his revealed flesh.
And he's bleeding. Bleeding from other parts of his body as well. Filling his clothes with blood. And he looks up at you shaking.
Speaker C:So the tentacles are like lampreys. Ugh. Gross. It's so gross.
Speaker B:Can I just start tearing, ripping at my shirt to sort of pull it apart to wrap around him and try to stop the bleeding?
Speaker A:Okay. So we're gonna try a first date. No problem. I will have you roll that now. Go ahead.
Speaker B:Not nice. Strong as suit. Ooh. Critical failure. 44 out of 10.
Speaker A:Not a good time for critical failure. I'll tell you that much.
Speaker E:Is a good time.
Speaker A:When you trying to close the door on three mushroom creatures.
Speaker D:That's always fun for climbing up the.
Speaker E:Side of a building.
Speaker C:Still the hardest boss we fought.
Speaker A:That building was pretty epic.
Speaker E:Fuck that building.
Speaker B:There's a lot of people in there.
Speaker A:Go ahead and roll one. D4. Pray for a low roll one. All right.
Speaker B:Let me check first aid.
Speaker A:Yes, definitely check it. Shields. She staggers towards you and begins trying to help you with some of your injuries.
Speaker D:Tries to cut away my shirt and stabs me with the scissors.
Speaker A:Whatever she does, it ends up causing you great pain as she grabs onto your arm. You're kind of rigid still. You're enraged. It is your turn. She's attempting to do something first aid wise.
But you're both kind of fighting one another. And it rips open one of the. These clusters of bites and blood splatters against the floor. You groan in pain. Go ahead and roll your sanity again.
Shields.
Speaker B:I'm so sorry.
Speaker A:Yeah. At this point, you're in a position where you have taken out the object of your terror. You think it has been completely neutralized.
And now you're dealing with just incredible pain and what is obviously a lot of blood loss. Is there anything basically short that you would like to do with the rest of your turn?
Speaker D:So I have control back?
Speaker A:Yes. For the rest of this turn? Just a little bit.
Speaker D:Just a touch of control. So I've taken out the object of my fury.
Speaker A:You believe. Okay, don't you?
Speaker B:Kiss me.
Speaker D:What?
Speaker B:Now's not the time.
Speaker D:You have a boyfriend?
Speaker A:Yeah. She would never.
Speaker C:And you made it pretty obvious.
Speaker A:He'S.
Speaker D:Gonna eject the clip and put in another and stand just waiting for any kind of twitching motion.
Speaker A:Yep. Yeah. You focus on getting that thing reloaded.
You watch as the remaining tentacles as more and more fall off, flopping around on the ground and turning invisible again. As the blood drains from it or drains from them.
It begins forcing its way through somehow the gap between the back wall hole and the thick extension cord bundle. There's not much clearance there, maybe 2 or 3 inches around the thick cord bundle.
But it begins moving through as if it has just no real structure to it. As if it can flatten itself out like a cockroach, tendril by tendril and force its way.
This is happening at a rapid pace to the point where almost a third of its body is through by the time Felix picks up the gun and points it. What would you like to do, Felix?
Speaker C:I would like to pull the trigger towards the monster.
Speaker A:Go ahead and roll your firearms, please.
Speaker C:I do have that skill somewhere.
Speaker A:And it's a minus 20, I should say.
Speaker C:Oh, man. I shouldn't have said anything. So I rolled a one, but minus 20.
Speaker A:Roll your. Roll your damage, dude.
Speaker E:You still got it. Dude, That's.
Speaker C:I don't. I don't. It's once again not my weapon, so I only shoot other people's guns.
Speaker A:Holy.
Speaker E:Did you really roll one? Am I really looking. Looking at that right now? Is that. What is that?
Speaker A:Yeah.
Speaker E:Good God. It's so clutch.
Speaker C:I don't. I can't play any other character.
Speaker E:I think spirits of all the bird watchers past come in and guide your hand.
Speaker C:Give me your energy. I'm gonna spear bomb right now.
Speaker A:All right. It's a 1d10 for your damage and two big two. But it's doubled turns to a four. Yay.
Speaker C:Nice.
Speaker A:You go ahead and take aim and you fire. Picking this gun up quickly in sort of a clumsy motion, but enough to get that round off this turn. And it rips through what's visible.
That's forcing itself through in great plastic like gouts through this tiny aperture. And you see blood explode all over the side of the far wall.
Some of the tentacles begin shuddering again soundlessly, except for this slurping that suddenly ceases. They fall limp. You watch as the blood drains out of them out of the open lamprey like mouths pooling on the floor.
The whole thing begins to turn colorless and then invisible again.
Speaker D:Paris.
Speaker A:Combat's over. But is there anything you like to do as you're now in front of this thing?
A bullet whizzing past your ear and exploding a huge portion of it onto the wall. It shudders and begins to disappear before your eyes as blood drains out of it.
Speaker E:He is going to still, almost wildly, clumsily hack at it with the sickles just swinging at what he can see, what he can't see.
Speaker A:You're slicing through something like butter. You can feel it. And it brings you great pleasure. Even though the deep mutilations in your arm causes you great pain with every swing.
Whenever you meet resistance, you're enjoying this. Things slop and fall off, splatter against the floor. You can't even see them.
You're hacking at this thing until the sickles start to ricochet against part of the butcher's table or the back wall. You don't want to dull the things, but you feel like you've made a nice tidy pile of bite sized chunks back here as Shields and Bennett watch you.
We are out of combat.
Anybody can step in as they watch Paris kind of twirl about with these sharp silver sickles against what is now an invisible bulk surrounded by the blood of Shields and Bennett splattered against the floor, walls and roof.
Speaker C:Felix will place the gun on the table in front of him and Tiberius will start vomiting on the floor.
Speaker A:You wretch. Turning away from the others.
Speaker D:Paris. Wind it. When did you get here, bud? What the. I think I need medical attention.
And he unslings his rifle and sets it on the table and begins administering to his own wounds.
Speaker A:You take a look at how many bites you have, most of them clustered in, well, vital spots on your body. You've lost blood. You can see it in the Pallor of your skin.
You're not sure how much you can do, but you look at what materials you have, it's going to be a -40%. Because you don't really have anything that can help you here.
Speaker D:I don't have any skill that can overcome that.
Speaker C:Do you still have those scissors inside of you? You use those?
Speaker D:Okay, well, he's gonna begin tearing his shirt and trying to cover each spot that's been injured.
Speaker A:Yeah, as you remove more shirt, you find more bites. It's a losing battle. You need actual bandages, gauze, some sort of equipment, first aid related.
Speaker D:God, I need help. Someone. And he's like he's been tearing at his shirt and just realizing that he has no idea how to help himself.
And he kind of just stops and looks around pleadingly.
Speaker E:Frankfurt's just standing there, kind of panting, wild eyed, taking in the surroundings, trying to understand where he is and what's happening.
Speaker C:Felix will look up, clean the edges of his mouth and walk over to Shields. Kind of assess his situation, which I assume his assessment is he looks really bad. He will search in his pocket for his cell phone.
Speaker A:So I'm afraid you destroyed that the last time you called Carter. Right.
Speaker C:Now, my phone. His phone.
Speaker A:Oh, his phone. Got it. Yeah, gotcha.
Speaker C:This time I remembered if I had a phone or not.
Speaker A:Nice. So you start searching for Shields, phone, shields. Are you cool with that?
Speaker D:No, I'd swat him away.
Speaker C:Your phone. Give me your phone.
Speaker D:The fuck you need my phone for?
Speaker C:Call hq, a cleanup crew, get you fixed up.
Speaker D:We don't have a cleanup crew out here.
Speaker C:We can get it.
Speaker D:You know, nothing.
Speaker C:Suit yourself. And he'll walk over to look for Bennett.
Speaker A:Yeah, she was trying to administer to shields and stopped when she realized she was doing more harm than good. So she's right next to you.
Speaker C:I'll look at Bennett. Are you. Are you alright?
Speaker B:I tried. I tried to help.
Speaker A:I can't.
Speaker B:I can't do anything right now. Are you okay? Bennett kind of looks down at herself to assess what's happened to her as well.
Speaker C:Let's get you back to the car.
Speaker A:You two leave the room. And Bennett, you walk by the now bloody corpse of the man that was sleeping peacefully here in the center of the main floor.
It looks like perhaps the creature somehow exsanguinated him as well. There's blood welling now. Well, not welling, but blood obviously welled from his chest and great gouts.
At one point his body is surrounded by a pool of his blood.
Speaker D:It's probably fine.
Speaker B:What?
Speaker E:Somehow what Happened.
Speaker C:We just got to clear this area.
Speaker A:You continue to take her out of the building while Shields Frankfurt are still inside the meat cooler. Frankfurt, tired, wild eyed, haggard, mutilated, looks up at you. Shields.
Speaker E:What? What the fuck just happened?
Speaker D:I could ask you the same thing, bud. Let's just get the fuck out of here. And Shields picks up his rifle again.
And on his way out, he notices that mason jar and he said, he picks it up and says, you think this is important?
Speaker E:Paris comes over and kind of, I assume we're both in pretty bad shape, so he kind of helps. Helps him and helps each other get themselves out of the room. And then responds, probably, let's bring it with us.
Speaker D:The fuck happened to you, man?
Speaker E:Let's. I.
Speaker D:You can tell me later. Fuck it, let's just.
Speaker E:Yeah, I think you had it right. Let's get the fuck out of here.
Speaker A:You both follow Felix and Bennet out past the corpse of the man who was dreaming peacefully only moments before. Again, you assume that the creature must have done this.
Frankfurt, you didn't even notice him before you were being so violently shaken and then pushed towards the front of the cooler. Now you see this man's corpse. You're confused. Who the hell is this?
Speaker E:Uh, what?
Speaker A:You don't have to say anything. It's all good. But what's this, guys too tired to worry about it? You supporting Shields and him supporting you.
You leave the slaughterhouse with some great effort. All four of you are now in the vehicle.
Shields, you don't think there's any more blood that can leave your body, but all your wounds need tending, that's for sure. Who knows what diseases that thing carries? I assume Felix is driving.
Before you peel out and leave, is there anything you want to do at the slaughterhouse?
Speaker B:Gotta let it burn.
Speaker D:Yeah, it's time to burn it down.
Speaker C:Yeah, I would like to find any kind of fuel source to start any size amount of fire to burn this place down.
Speaker A:Yeah, I'll let you roll. Intelligence plus 20 can.
Speaker E:Paris watches. Does he see what he's trying to do? If he does, he will help success.
Speaker A:Felix, you let everyone know that you're gonna go find out where those cords went to. Cause you're gonna burn the place down.
Speaker E:You're gonna take this place down to the foundation. Huh?
Speaker C:You said finish the job, let's finish the job.
Speaker E:Yeah, let's. Let's get this done. Paris. Frankfurt pulls himself up, moves to assist with some effort.
Speaker A:Again. Paris, you're not in great shape. You two follow the cords to a cluster of large batteries attached to a makeshift set of solar panels.
Looks like this has been powering the small amount of equipment in the me cool. Paris, roll your demolitions plus 20.
Speaker E:Happily. I feel like I'm going full circle with this. Let's see here. Oh, fuck me.
Speaker A:Not great.
Speaker E:Well, I'm very, very injured and in very bad shape, let's be fair. Mentally and physically.
Speaker A:That's true.
Speaker E:Yeah. That's a failure.
Speaker A:Yeah. So you're not exactly sure how to rig any bombs with what's here.
You don't really know how to level the place, but parts of it are flammable and with some work and maybe using the butcher shop tools, you could pry the casings of these batteries. You know, get some toxic materials kind of laid out there.
Might want to see if there's any good thick gloves in the butcher shop as well, but, yeah, you could. You could really open these guys up and find some flammable material inside. If that's your aim. Gonna take a while.
Speaker E:How much time do you think we got, Tiberius?
Speaker C:There ain't nobody coming out here.
Speaker E:Yeah, I'm worried about Shields. He seems like he's.
Speaker C:He said he's fine.
Speaker E:All right. I mean, I can get this. I can get this done. If you want to. If you want to get him to.
Speaker C:Help, we'll leave together.
Speaker A:All right, Both of you spend the next couple of hours prying these casings apart on the main floor of the slaughterhouse. Check in with Shields and Bennett. Let them know what you're doing. Bennett, do you want to help at all?
Speaker B:Yes.
Speaker A:Bennett's gonna help with the extra pair of hands. It does. Does go a bit quicker. All three of you take this extremely toxic material.
Spread it around as best you can without splashing it on yourselves, until both Felix and Frankfurt feel like it's looking like it's ready to be lit up. All three of you are standing right now outside of the slaughterhouse looking in.
As this material begins to alight, thick, viscous clouds of toxic smoke begin billowing through the broken windows. The open, broken entrance. And you three instinctively back up as the blaze becomes larger, more out of control.
Is there anything you would like to say?
Speaker E:Scorched fucking earth, man. This is the job.
Speaker C:Felix will just start walking towards the car.
Speaker B:This is not how I met. Imagine our evening going. Bennett turns around and follows Felix to the car.
Speaker E:Yeah, but there's a little bit of beauty to it, right?
Speaker B:Come on, Paris.
Speaker E:Yeah, all right. Paris starts stumbling back towards the car.
Speaker A:The ride back into civilization this time is silent. No one wants to speak. No one wants to say anything about what you just saw.
Experienced someone, some mind behind a criminal conspiracy to inflict some drug onto a population, then perhaps kidnapped them for some reason, some horrible reason that you encountered in that slaughterhouse. That person well knew of your investigation. But you feel. You feel like there's no returning to this particular activity.
At least not here in Arkansas. Suppliers destroyed, distributors destroyed. The place that all those victims ended up is destroyed.
And all of his workers seem to be at the throats of other criminal elements across the state. This will have to be enough.