0:00

You

0:30

You

0:53

Testing testing Whoa,

0:55

you think so da

0:57

Chen La I think that's right Whoa,

1:01

hmm. I Don't

1:04

know I have received

1:06

the money Whoa, you think

1:08

so. No, I'm not sure I have

1:10

to check that later This

1:14

is the personal audio

1:16

journal of Barnet

1:18

Baska I I Have

1:23

had a breakthrough it

1:25

seems with tracking

1:27

down the information

1:30

relevant to the The

1:33

family history such as it is

1:36

Unfortunately, I've been conscripted

1:40

into going on this expedition

1:43

to look at penguins or whatever

1:45

Whatever

1:47

they said, I can't remember Oh Crispin

1:52

Mumbles on the telephone and it's almost impossible

1:54

to understand what he's saying half the time But

1:56

apparently I have to get on some ship and go to some

1:59

of

1:59

Apparently

2:02

there was some sort of attempt.

2:06

I haven't got time to do the reading, but

2:09

I suppose I can pad it out with interviews.

2:12

They said it's quite a large crew, so

2:15

surely it'll be someone interesting. Oh,

2:20

come on, the worst time. And

2:25

of course I'm going to

2:27

have to entrust my cassettes

2:29

to who

2:32

I suppose Richard

2:35

and Pamela, they can be trusted, can't they? They

2:38

don't speak Chinese, so... Oh dear,

2:42

god. Oh,

2:44

it's like oxygen all over again. Why

2:48

have I got into this space? Why?

2:50

Why? And yet, I also

2:54

have got out. But

2:56

they always find a screw to turn.

3:01

Here's this curiosity, this unceasing

3:06

curiosity. It's

3:10

what your father made as well. I

3:13

can't let that happen. I

3:15

can't let people get

3:18

the advantage over me. I

3:21

can't let it become some Achilles heel that the

3:25

Chinese can be

3:28

very determined when they want

3:31

something. Oxford

3:34

and now the BBC. I

3:39

don't know what they expect me to find for

3:41

them at the BBC, but there

3:43

we go. I don't

3:45

quite understand how I'm supposed to... I

3:50

don't know. Promote

3:53

some kind of communist agenda on

3:55

some documentary

3:57

piece about penguins. Maybe

4:02

they want me to

4:05

spy from the ship, or... What

4:10

if the ship itself is about some

4:12

ulterior business? Oh,

4:15

what are you doing, Barney, or getting yourself involved

4:17

in things that... That

4:21

antique show's good. There

4:23

was no... there was

4:25

no... What

4:28

is the word? There's

4:31

nothing else going on. It was just

4:33

people and their

4:35

antiques. I like that.

4:39

That was

4:39

a good program. And

4:42

people weren't happy to talk. So

4:46

few people are happy to talk nowadays. You

4:48

put a microphone in their face and they get very nervous.

4:53

Bother. I

5:00

can't do it. I can't remember. It's been so

5:02

long. God!

5:05

What are you going to do, Barney? What are

5:07

you going to do if they send someone? Maybe

5:10

this ship will be a good idea after all. Maybe

5:14

some distraction from the family tree is

5:16

a good idea. After

5:19

all, no one ever got into trouble

5:21

looking into penguins.

5:24

Penguins?

5:32

Albino penguins? I've never

5:34

heard of albino penguins.

5:38

I wish I could remember the name of this place we're going

5:40

to. Oh... Is

5:44

it even on the map?

6:04

The Apocalypse Players

6:06

Present Trail

6:09

of the Lothesome Slime A

6:12

Second Edition Call of Cthulhu

6:14

Scenario by Marcus L.

6:17

Rowland Adapted for

6:19

7th Edition by Joseph Chance

6:22

Starring Dominic Allen

6:25

as Barney Basker, the

6:27

documentary maker I am now meeting

6:29

a man who is named after a ship, or

6:31

possibly a ship named after him, the

6:34

Alesia Gonzalez I am not entirely

6:36

sure where this man has come from or

6:38

what he represents He is a corpulent,

6:41

naked man wearing a piece Dan

6:44

Wheeler as Johnny McCutcheon, the

6:46

ornithologist

7:29

Another a

7:45

a

8:00

I put my foot down. Mr Crow! Mr

8:03

Crow! Don't worry. Hang on.

8:06

Hang on. My seatbelt's very rickety. Aye. I'm

8:09

feeling a bit nervous. It's all

8:11

right. I'd say it's a seventeen of all... Have you done

8:14

this before? No. And

8:17

Joseph Chance, as your keeper

8:20

of the arcane law.

9:00

Thank you.

9:28

Office of Geology

9:31

and Land Survey. Yes,

9:33

this is Mr. Tal over Baines. I'd

9:36

like to be put through to the, uh, Foxwood

9:38

office. Thank you.

9:42

That's one nine four one. Thank

9:46

you. This

9:52

golden blend is made to a unique recipe.

9:55

Store cold. Eat fresh. That's

9:58

why I always choose bunions. because they're

10:00

the best. I'm

10:05

making a report. Buonaseris is last

10:07

stopped before I put Stanley. Rothman

10:10

was followed into town, having been

10:12

observed in making contact with traditional

10:15

practitioners as expected. Targets...

10:18

Basker... Crow... and

10:21

McCutcheon... all check

10:23

out so far. Basker seems

10:25

to know nothing about his great-grandfather. As

10:29

for Crow, he never remains classified

10:31

at my level. McCutcheon seems

10:33

to be the most forthcoming regarding his family.

10:36

He's a tough nut to crack. So far they've

10:38

shown no signs of being in league with Rothman. Rothman

10:41

himself has kept quiet, focused.

10:45

I believe he is attempting to make some

10:48

form of ritual observation on approach

10:50

to the island. I've

10:53

received instruction not to intervene, and

10:55

I will obey those instructions. I

10:59

await further confirmation from Foxwood as to

11:01

my extraction, but I otherwise ask

11:04

no further questions.

11:06

This is Shakespeare signing off. Basker...

11:09

Basker... Basker... Basker...

11:11

Basker...

11:18

McCutcheon, you've actually come around

11:20

incredibly quickly. You

11:22

find yourself acting in this manner, and

11:25

you see this creature sinking

11:28

into the shoreline water and moving

11:30

around towards where you know the cave is. You

11:32

sort of come to your senses. The social

11:34

hack is destroyed. Crow is firing

11:37

away at this thing with his gun now empty, enraged,

11:41

and just throws it down. He's

11:43

swinging the rifle down, but he's stopped, and

11:46

he's sort of looking around, and

11:50

he starts to yell something. You're not too sure

11:52

what he's yelling. Basker

11:55

is sort of standing, having

11:58

a conversation with him. the thin air

12:01

and then he reaches out his hand and then

12:05

he just crumples to his knees

12:07

and then he looks around at you as if he doesn't

12:10

understand what's been happening.

12:13

If he's coming up out of

12:15

the surface of the madness. Help

12:17

me.

12:19

And as Basquiat says that you feel this flooding

12:22

rush above you from the lake

12:24

and you're dimly conscious that the thing

12:26

has left and is moving

12:29

in the water. The thing that was on the shore has

12:31

left and is moving in the water now it's impossibly

12:34

fast. It's moving around the

12:36

caves that you saw on

12:38

the map and

12:40

you wondered if that was what Rothman was

12:42

rushing towards. It's

12:45

on the beach on the southeastern corner of Griffin

12:47

Island and

12:49

just as you're thinking that there's this rushing sound and the

12:52

help me that is then echoed with

12:54

another voice in your mind and you

12:56

hear an even more dreadful,

12:58

help us.

13:02

And you don't turn to look because

13:04

you know not to do that now but

13:06

you hear this flooding mass

13:09

and this speed behind

13:11

you coming down the slope

13:14

behind you. Something's coming

13:16

down from the lake, another one.

13:19

And just as you're thinking you might be able to master your senses

13:22

enough to run or possibly something

13:24

more final and active

13:27

removal. You see

13:29

Basquiat off to your right, sinking to

13:31

his knees and then you see Crow

13:33

who's digging frantically in the dirt already. He's

13:36

on the ground on his knees already and he's doing something

13:38

strange with a pendant or necklace but his head

13:40

seems to sort of just drop. And

13:44

you hear from a moment you hear the rustle of

13:46

leaves and totally impossibly that

13:49

the rustle of a

13:52

tree in full leaf shaking in a very pleasant

13:54

breeze perhaps back in England on

13:56

a sunny afternoon and then

13:58

you sink to the ground. your knees and

14:01

from there into a complete and

14:03

all-encompassing darkness. And

14:06

we cut over to Giro and Cook.

14:12

The two of you get out of the helicopter, arm

14:14

to the teeth, and you go into the cave

14:16

and there's dripping water and you are deeper

14:18

in and you see thick sludge

14:20

slime. Give me a dexterity

14:23

check, both of you. I

14:25

have the shotgun out by the way. Yeah,

14:27

for close quarters, right. Yes

14:29

on the decks. 55 on 70. Bad

14:33

fail. Cookie, cookie slips

14:35

into it, goes right up to his hip. It's really

14:38

thick and deep and you can see one of these

14:40

bits and you realise they're little bits of

14:42

bone.

14:43

Little bits of bone of penguins and

14:45

maybe other things. The fuck

14:48

is this? And you sort of scrabble

14:50

back out but you've been really touched by it. Can you

14:52

give me a power roll? Yes.

14:59

The other one is in the lake, at

15:02

the top.

15:04

The one outside is just, that's

15:06

just the Guardian. The

15:08

one in the lake is, that's the one in charge. One in the lake.

15:12

You find yourself frantically getting

15:15

the slime off your leg but you feel like you're connected

15:17

somehow in that moment. Wait,

15:20

what am I doing here? What are we doing? What are we

15:22

doing? What are we doing? I don't know, we're

15:24

trying to stay alive. What are you

15:27

doing? Why are you talking like this? We should get back in

15:29

the helicopter. Because the two of you while

15:31

you're there. But then what? Then

15:33

what? The thing's bigger than the fucking ship. We've got

15:35

flashlight of course. While you're there, could you give

15:37

me a spot hidden?

15:39

Both of us? Yeah,

15:41

both of you. Standard. Wow.

15:44

Success. Success. So

15:46

you see a weird semi-circle

15:49

of where the slime stops right at the far

15:51

end by a rock fall.

15:54

It stops. Suddenly the slime stops. As

15:57

if whatever has been in here never goes in that court

15:59

like it did. There's no slime in it at

16:01

all. I will. Let's go

16:03

over there. It's a safe bit. It's a safe bit.

16:07

So you scramble over and forgive

16:09

me, Chance, because I'm going to stay with those two. You use the

16:11

rifle butts or the shotgun butts

16:13

to pull back one of the sequence

16:16

of rocks. Could you give me

16:18

each of you a strength check? Mm-hmm.

16:20

Zero-three,

16:24

so that is an extreme success.

16:27

It's too hard work for Cookie.

16:29

You get rid of some of the smaller bits but then... Yes.

16:32

Zero really leavers out this big one, if

16:34

you put on that expression. And

16:37

it leads around, a passageway leads

16:39

around in this cool air to

16:41

behind a large rock. Will

16:44

you go in?

16:46

Yes. Fuck it,

16:48

yes. You see a strange

16:51

doorway in front of which

16:53

is a chest, a sea chest.

16:59

The massive doorway has odd

17:02

carvings on, glyphs and

17:04

strange signs, sigils, shapes

17:07

like barrels, which seem to have multiple

17:09

limbs and odd fingers

17:12

with cups on. It's

17:14

almost as if they're sort of living vegetables carved.

17:17

There's an echo of the Egyptian,

17:19

could you give me a sanity check? That is

17:24

a fail, 83. Only

17:29

one sanity loss for you, Zero.

17:32

It's just the enormity of the fact that somebody built

17:34

something, it's thousands of years old,

17:37

and it's beautifully carved, far

17:40

superior to anything that could be by

17:42

Patagonians or tribespeople

17:45

from the South Americans who

17:48

would have been in the Nomad. What is

17:50

this? Get out my... What is this

17:52

place? My video camera and I stopped filming

17:54

this, and I'm also charging up the flash on my

17:56

camera. You hear this weird sound

17:59

behind you. Slapping,

18:01

slapping, gushing sound. But

18:10

this is the safe place, it don't come in here, right? It

18:13

doesn't come in here. Looking around. Yes,

18:16

you look around, studying the dark, the

18:18

beam of your flashlight, cutting a brilliant

18:21

path of light across the carvings. Your

18:24

eyes are adjusting as you can hear outside,

18:26

back down this passageway of boulders.

18:29

There's something shifting, something changing.

18:33

There's a pushing in of fluid, and

18:36

you're pretty sure that there's a mass approaching.

18:39

We cut to, of course, a secondary

18:42

boat. Now

18:46

run out of gas with Edwin

18:48

Crow, Barney Basker and the

18:50

unconscious McCutcher. And an Argentinian

18:53

aircraft

18:53

flies over.

18:57

And Basker, just your

18:59

eyes open as you see this. They're

19:02

on to us, we need to hide. Don't

19:05

let them see us. If

19:09

it's fair to say, I don't remember

19:11

much about what happened probably, until

19:13

we found the secondary boat. I

19:16

do have a sort of lucid moment of

19:20

crawling on the floor with my emptied

19:22

gun, using it as a sort of spade.

19:25

I don't really know what I was doing, probably

19:27

mimicking the efforts of the others. But

19:29

I remember cracking open my necklace and sprinkling

19:32

the seeds onto the earth, saying to my

19:34

grandfather, every

19:36

continent now, every continent

19:39

has a key.

19:40

And that's just

19:42

something in my own head. And

19:45

then the Owlman fans next to you are nuts. Yeah,

19:48

well of course we all know the seeds of the ash

19:50

tree are called keys, and

19:53

it is through keys that other worlds are revealed. And

19:56

then I say, tell that Owlman to sit down

19:58

or the plane's going to see us. Yeah,

20:01

you're quite right. Sit down. That was all back

20:03

on the shore. Quite in the cheap seats. Yeah,

20:06

yeah. So the sound of that engine...

20:09

...weaves the sonic boom. Weaves.

20:13

Weaves this pale grey sky.

20:16

It's Boba Fett's slave one. It's

20:18

Boba Fett's slave one. As if we've learned anything from the

20:20

Argent. Weave.

20:26

As if we've

20:28

learned anything from the Falklands War. Or

20:31

as some people like to call it, the distraction to

20:33

stop labour from gaining

20:35

the right force of government that

20:38

they should have had. David Hare. I was

20:40

a third New Yorkian but I couldn't possibly come. The

20:42

absence of war,

20:43

as the play The Absence of War possibly

20:45

suggests. But that's another story and

20:47

indeed another drama for another time.

20:50

Salaria. We here

20:52

at the BBC of course have no allegiance. Tell

20:56

us, Johnny McCutcheon. Yeah,

20:59

possibly turn that to you, O'Barnie Basko. Tell that to

21:01

Thatcher. Well, actually, Johnny McCutcheon

21:03

is unconscious. What appears to be unconscious

21:05

is Basko and Crowe. I

21:09

think you've fully come to your sane senses

21:11

of what's left of them. Perhaps shaking, perhaps.

21:14

Fucking hell. I don't know, maybe there is a sort of remnant

21:17

repetitive movement. Maybe you still feel like

21:19

the shotgun is still in your hands, which by the way it isn't. I'm

21:21

fucked because I'm going hand over wristy. There

21:23

is that memory of the Ash Key for

21:27

you, Crowe, and your hands are

21:29

dirty. They're dirt of

21:31

the soil under your fingernails.

21:34

Fuck. But the

21:37

thing that really draws both of your attentions as

21:39

the boat rocks up and down

21:41

is that there's a tiger at the other end of the boat.

21:44

What the fuck? Oh no, no, that's another story

21:46

as luck. There's a very

21:48

large fat. Apparently,

21:52

only wearing a dressing gown, individual

21:55

man, person, is that they're so

21:58

obese. It's hard to say.

21:59

Well I see this as well. Oh

22:02

yeah, the two of you see this figure is at the other end

22:04

of the boat. And

22:06

I recognise them. Oh yes, you recognise

22:09

them. In fact I'm sort of imagining that you

22:11

were looking to the back but actually of course the three

22:13

of you are at the back by the engine.

22:15

Yeah, yeah that would make sense. And

22:18

they're up at the bow of the lifeboat, the

22:20

secondary boat. What the fuck? And

22:22

there's this sort of golden patterned,

22:26

almost Japanese print.

22:27

It's

22:30

like for a minute you'd think you see it's got cranes on.

22:33

And then you realise actually they could just

22:35

be stains. Oh dear. Rather

22:37

than actual prints. Egg yolk. Oh

22:40

dear. Oh, egg yolk. But there's

22:42

this sort of robe around this corpulent.

22:45

Nowhere these penguins fucking went. Egg yolk.

22:48

I think my initial reaction is definitely like I've sort

22:51

of, my hands are going wrist over

22:53

wrist like I'm still pumping the shotgun. I have

22:55

to clasp one of them. And I sort of

22:57

clasp it to it. It's like Tom Hanks in Saving

22:59

Private Ryan, you know. And I sort of shuffle

23:01

backwards and I try and with my

23:03

other hand I try and pull

23:06

basket with me or pull perigrimp.

23:08

Not perigrimp, sorry. Oh my god.

23:10

Oh, poor McCutcher. You

23:13

know, like in a sort of shielding motion. I'm just,

23:16

I feel like I'm coming to him like, who the fuck are you? Well,

23:19

I think I'm, I stand up on

23:22

two feet and forgetting I'm on a boat and

23:24

it pitches probably easy

23:27

and I have to steady myself on the side of the boat as I

23:29

step forward to the guy.

23:32

The thing. And

23:35

I say, you, you were in my

23:37

dream.

23:38

You are some, some,

23:43

visitation.

23:46

And I turn back and I go, crows, you see, you see,

23:48

you see, you see that. I see him. I

23:51

see him. He ain't no dream. I'm

23:53

not crazy. I'm not crazy. I'm

23:55

not crazy. You, you tell me, tell me what are you?

23:58

How did you get here?

23:59

How did you get on this boat? What

24:03

you haven't quite seen is their face yet,

24:06

but you've got this sort of slightly shifted

24:08

mass of hair at the back.

24:11

You know how the back line of the hair isn't straight

24:13

and knows at an angle, which suggests

24:15

peace, suggests too bad, suggests fake.

24:19

But the rolls

24:22

of flesh at the back, it's

24:25

very apocalypse now. Busker, it's

24:27

a manatee. This is played by very late

24:29

Brando,

24:29

possibly

24:32

reanimated Brando. Dugong Brando.

24:34

Reinflated Brando. Reinflated Brando.

24:37

The head sort of turns and you

24:39

hear this guttural voice,

24:42

it's almost like it's clearing seawater

24:45

for a moment. Fuck. And

24:48

then it goes, oh, see,

24:51

Mr. Busker, it is

24:54

I. And then he

24:56

turns. And it is adopting

25:00

a lordly, masculine appearance, voice.

25:04

There's something startling about the darkness

25:06

of his eyes. Fuck's

25:08

sake. And he says, I am

25:10

Alicia Gonzalez. And

25:13

takes a step forward. Oh, fuck

25:15

that. Meanwhile, back in the

25:17

cave, Cook, Jiro, you

25:20

really want to be able to get.

25:27

Fuck.

25:56

No, I got the shotgun aimed

25:58

at the door though. So there's something

26:00

kind of behind you in the corner.

26:03

No. No. No. No.

26:07

No. Don't know how. Yes. Yes.

26:11

Yes. Yes. Maybe

26:13

there's a few eyes. Maybe there's a few eyes. Yeah.

26:17

Oh. Mm-hmm. And it's

26:23

come in, and you are pretty sure

26:25

it's gone up to the very line of

26:27

that semicircle, and it sort of held

26:29

there. That's right. You son

26:31

of a bitch. You're standing back, huh? Okay.

26:33

All right. Now

26:35

we'll just live in

26:36

here from now on. We will stay here. We

26:39

will. This

26:42

is our house now. The chest. Shall

26:45

we? What? I guess. How

26:49

are we going to make things worse? Maybe

26:51

by opening a chest. Well,

26:54

I don't. I look at the... I'm going to examine the chest

26:56

more closely. Yeah. I don't know about

26:58

you, but I didn't bring much food or water with

27:00

me. No, no. We won't be here long.

27:03

We will not be here for long. Got

27:05

to look for any sign of where Rockman went. I

27:08

don't know what the rest of this is, but maybe a doctor or biologist

27:10

is going to know. So... The chest is

27:12

old and it's locked, but it looks old and weather-worn.

27:15

It's been in the cold

27:17

and the damp for a very long time. So

27:19

it's... You'd say maybe several

27:21

hundred years. Okay. Okay. He's

27:24

still brandishing the shotgun. Just if he sees

27:27

even a hint that it's coming over that threshold,

27:30

he's firing. I'm doing

27:32

a spot hidden on the chest, you know, like

27:34

just really examining what this weird thing is. You

27:37

know, I've read books.

27:41

Yeah, an extreme success. You

27:44

see the weak point and you jam

27:48

your pen knife. Right?

27:51

Lucky Swiss knife. You're a lucky

27:53

Swiss knife and you pop

27:55

the clasp and that gives you enough

27:57

to really work at some of the wood. a

28:00

minute you're smashing

28:02

that thing open, you open the chest and

28:05

you see two swords crossed

28:08

with strange, one has a strange

28:10

wavy blade and the other has

28:13

an odd crossbar of many spikes

28:16

and there are fish carved on

28:18

the blade of that one. They

28:21

appear to be ornamental and

28:23

there is a book underneath them which

28:26

appears to be made of a certain kind of skin, possibly

28:31

some kind of whale or shark

28:34

skin, not sure. Let's draw

28:36

closer to the book.

28:39

Yeah, I think you reach out a hand

28:41

that you notice your hand is shaking

28:44

which suggests that maybe you're beginning to feel the

28:46

effects of that shock which you've

28:48

experienced before and

28:51

you feel that weird distancing from

28:53

yourself that combat has taught you. It's

28:55

almost as if you're looking at yourself from outside of yourself.

28:58

While Giroux, your hands are

29:01

gripping onto the gun with a desperate tightness.

29:03

It's almost as if you might run out

29:06

of there and try and draw this

29:08

thing away if you don't hold on as

29:10

tight as you can to the idea that being

29:13

in this cave area is a

29:15

much better plan. It's

29:18

a better plan to look closer and to dig deeper but

29:21

the stock of the gun reminds, the

29:23

stock of the gun begins to remind you of the joystick

29:26

of the helicopter and

29:28

you just wish that you could run anywhere

29:31

and risk anything in that moment but you, I

29:33

think you master yourself. As

29:35

we cut over to our lifeboat and

29:37

Baska and Crow are stood confronting

29:40

the strange figure in a yellow robe with birds

29:43

or stains on it, this once

29:46

elegant dressing robe. Actually

29:48

first of all I

29:51

feel like the instinct was as you came

29:53

back away from the invisible shotgun, can

29:55

I get a luck check from you, yeah absolutely

29:58

Crow. because I think your hand

30:01

goes back to where your combat knife was on

30:03

your belt. Yes. And there's a chance

30:05

you still have it. There's a chance. Here

30:07

we go. Snowballs

30:10

chance now. Oh

30:13

shit, I failed. That's a 54. That

30:16

is unfortunately a fail. Yeah,

30:19

yeah, yeah. Okay, so yeah, it goes back

30:21

and the knife is important to you, right? Oh yeah.

30:24

I mean, it was like a practical

30:26

thing. It's a tool, but it's the one I've kept longest

30:29

and it's got a history. And I envisage

30:31

it between two seaweed covered rocks

30:34

back on that beach. Yeah. And

30:36

I look at my hands covered in this black dirt, this

30:38

muck and I think, fuck sake,

30:40

Kevin. How have you let that

30:42

go?

30:43

It's like when I lost my top cat toy when

30:45

I was a kid. Fuck

30:47

thank. No, is that down on

30:49

me or is it not? Oh.

30:51

It's okay, it's on the air. It depends on the area. Actually,

30:53

it'd be fine. So many top cats. So many

30:55

top cats. So essentially you feel

30:57

this nudity, the nakedness and

31:00

it's not there. I go for it and

31:02

I, I need to want

31:04

to have the gun, I don't have the knife, I've got nothing

31:06

except

31:07

my mitts. I think because you failed

31:09

that, I will have to give you that you look back and you sort of bump

31:11

into the engine and you know those kind of outboard

31:13

motors that have the lever out?

31:16

The lever is attached by a bolt, so technically

31:19

you could sort of work it and then maybe wrench

31:21

it free if you felt like this. But that is the

31:23

only, there are no wars that you can see. Not

31:26

even a. So. There

31:28

might be a looser olek up on the right,

31:30

but you're not sure. I think

31:32

because we're both clearly seeing this block,

31:35

there's a part of me that's like, well, I'm not going to lose

31:37

my shit just yet.

31:38

I know there's worse in the thing. That's what's important to you neither.

31:40

Right. After all that work with the armoury. Yeah,

31:42

thank you. It's all gone. I

31:45

appreciate the options. You've

31:47

got a couple of improvised weapons maybe. And

31:50

you'll regret giving me that. And an unconscious. Unconscious

31:52

figure of. Of. Of.

31:55

Of. Of. What

31:57

were you going to do back in the year? I

32:00

say,

32:03

how do you know my name?

32:08

Oh, you told me. On the beach.

32:11

Did I?

32:12

Oh, yes. Your mind

32:14

told me. Who are you working for? When

32:17

you took my hand and

32:19

he reaches his hand out and you get that weird

32:22

flashback, not flashback, but a sensation of when

32:24

he reached his hand out over the table and

32:26

it just elongated. As

32:29

you say, who are you working for? This weird

32:31

smile goes across your face and

32:34

you see the kind of irregularity of his face.

32:36

It's okay. It's not too wide. The smile isn't too

32:39

wide.

32:40

But the teeth, some are too long. Really

32:43

too long. But not too incisive.

32:45

It's not as simple as some kind of vampiric. The

32:48

sea is too choppy in this lifeboat. I

32:52

can't keep my stomach. Pretend

32:59

you're still filming. It'll help you. I

33:01

can calm your stomachs.

33:03

Your friend is

33:07

not quite with us yet. You're alive.

33:10

McCatchan, are you alive? Oh, I'll

33:12

check. Oh, yes. And as you go down

33:14

to him, there's a sort of groan. I think I slap

33:17

him. I think I do slap him. Yeah. Yeah,

33:19

fair. And

33:21

as you slap him, we cut back to the cave,

33:24

just as Danny Cook's trembling hand

33:26

picks up the book. And Cook,

33:29

you see there's also underneath the book

33:32

a round disc that

33:36

you recognize immediately matches the runes

33:38

on the door.

33:44

I mean, I have a little

33:46

bit of a cult. I have a lower cult skill. I

33:48

might as well see it. Roll it. No,

33:50

no, don't. Mercifully, whatever. I

33:54

have a tiny occult skill. I'll try.

33:57

Certainly not.

33:59

So you don't know what

34:02

any of this means. You

34:04

know, actually, I've rolled a 14 and it's

34:06

a five. I'm going to

34:09

spend nine luck to

34:11

make that a success on my very low occult.

34:14

Nice. So this

34:16

book, if you're going to examine

34:18

it, is definitely

34:20

made of a substance, a

34:23

skin that is not human skin, but

34:25

has odd similarities to it, but with

34:28

a fish-like quality. You

34:30

have heard of fish cults. It

34:32

is not a locked book. So as

34:34

you glance at it, let's say, you

34:37

see the name Gagon

34:39

that you recognize

34:42

as an unusual fish

34:44

cult that you'd heard rumors about.

34:47

The other two items you're not sure, with the past,

34:50

they appear to be richly significant blades. Well,

34:55

you know, if I don't need to spend four

34:57

more luck to turn that into an extreme success,

35:00

so that's what I have. Fine. Fine.

35:03

You're fairly sure they're used within

35:05

rituals, probably for spell craft. And

35:09

the book itself, you've also, you've been

35:11

that the book is written in a mixture of languages, Middle English.

35:15

It's handwritten, and it

35:17

includes references

35:20

to the cult that Hoskins

35:22

and Hamilton were part of. The

35:26

cult of Gagon, all of which takes several

35:28

minutes. And in those minutes, you hear unsettling

35:31

sounds from the main chamber of the cave just

35:33

beyond the rock hall. And you

35:35

perhaps begin to wonder if there are whispers

35:38

in amongst those strange, sloughing,

35:41

flopping sounds. But

35:43

we will cut away for now

35:46

to the fate of... McCutcheon.

35:58

Some McCutcheon. Light

36:03

creases through, there's a bit of a,

36:06

yeah, okay, there's another

36:08

roar. You heard a distant

36:10

roar from in the darkness,

36:13

and now light has kind of gone through your eyes

36:15

in two heavy slits, and you open them

36:18

and you are standing on an immense

36:20

vista of blank

36:23

snow. It

36:26

stretches and stretches and it is night time.

36:30

There's creaking under the ice,

36:34

and you realise that you're on a frozen

36:36

sea. And

36:39

ahead are

36:40

golden,

36:44

embedded in the ice, golden ships

36:47

from different eras, and

36:51

you can feel your mind reaching out to them. Do

36:54

you want to know more about the ships? Yes.

36:58

You can feel this sense of another

37:00

place and a voice saying your

37:02

name, which you think could be someone you know.

37:06

No, I want to see the ships.

37:08

So you move forward

37:10

rapidly, incredibly fast through the

37:13

air. You're not even sure if you're using your legs,

37:15

but you were definitely stood there as a person stands, and

37:19

you see this name. First up, Unity Canto.

37:22

It's a trawler ship, sort of 1960s, maybe.

37:25

It's quite

37:27

a wrecked old ship

37:30

in terms of too much use, and it's

37:33

sort of leaning to one side. It's all golden and

37:35

glittering and beautiful.

37:38

And then

37:40

the next one is much older. It's like a beautiful

37:42

yacht,

37:43

so maybe turn of the century, 19th century into

37:45

20th century.

37:46

And

37:49

you see the name, Aletia Gonzalez, written

37:52

on the back of it. And then past

37:55

that you see this

37:57

Russian ship. You

38:00

know it's rushing because you

38:02

can see the writing is in the

38:04

Cyrillic.

38:05

And you're about to get the name

38:08

when you feel this incredible

38:10

kind of smash across your face. And

38:13

everything breaks to pieces. You hear the ice groan

38:16

and you get pulled back into

38:18

the waking world. And you know

38:20

that it's real because you suddenly feel incredibly sick.

38:24

And you, I think maybe at that

38:27

point a gull flies over.

38:30

And you

38:32

realise you're on the bottom of a boat. And you

38:34

become instantly aware that there's this very large,

38:37

strangely dressed man off to your right. And

38:40

you're two companions who were going

38:42

mad on the beach with

38:43

you.

38:44

But we have to return to the whispers in the cave as

38:47

they finally become a clear request. The

38:50

two of you, Cook, Euro, are straining to understand

38:52

this book. I think, Cook, you've given it your best shot.

38:54

But you're still nervously watching

38:57

that passage through the rubble while Pascal

38:59

Giro, you're remembering strange

39:01

stories your grandfather told you about the East

39:03

Coast. And how some folks

39:05

kept to the old ways on those shoreline

39:08

churches, making strange

39:11

offerings to pagan traditions.

39:14

Your mind's reeling to see some of the horrid

39:16

practices held on these pages. And the

39:19

implication is this chest, this

39:21

treasure chest, and this whole situation

39:24

is just a small part of a great

39:26

map of

39:27

these holy places, as

39:31

these cults would believe them to be. Obviously

39:33

this is potentially mind-shattering for

39:35

you. So I'm going to need a Santiro.

39:39

But that is a hard success. Okay.

39:43

You pass and lose only one sand

39:45

for the revelation of this inter-network

39:48

of a true religious practice

39:50

of worship of these dreadful, sea-going

39:53

creatures, these deep

39:56

ones. And you feel the

39:58

old compulsion to take a risk.

39:59

with the noise that you've just gained, but

40:02

there's no involuntary action. Indeed, you're

40:04

just about holding on to precious sanity when you

40:06

hear a dreadful voice

40:08

rise from the whispers beyond the rock

40:11

wall.

40:12

You hear, Help me. And

40:14

you're pretty sure it's from the creature outside, the

40:18

weird black behemoth plasticity.

40:23

You feel tendrils of inquiry,

40:25

psychic inquiry around your forehead.

40:27

What will you do? You feel dangerously exposed.

40:30

We have, uh, have we taken these items

40:32

now and taken them? Got the board. And the weird

40:35

disk. You've got the items, you've got the weird disk,

40:37

which seems to match. I would

40:39

hold up the disk. Does it go back?

40:43

The disk could fit into the door. What

40:47

do you think? I don't know. If it isn't coming in now,

40:49

then I don't want to change nothing. Yeah.

40:52

Yeah, you're right. When you feel tendrils

40:55

of psychic inquiry

40:57

around your foreheads, as

40:59

if seeking entrance to your heads, nobody

41:02

on next

41:05

to the disc, um, a five cup

41:07

like indentations in the

41:09

door, which you could at a stretch,

41:12

put your hand into. And you

41:14

noticed that the barrel like shaped creatures

41:16

with weird slim lines

41:20

coming out of them have cup

41:22

like appendages at the end of some of their

41:24

tentacles. But do you think cookie?

41:29

I think, I think we do something or

41:31

we just die of hunger and thirst

41:33

here. If that thing doesn't break through

41:35

before and there's no way back to

41:37

the helicopter, we've got to get past the thing.

41:40

You'd have to get past

41:45

it.

41:46

Maybe there's something about it in this book. Give

41:50

me the light. Give me the light.

41:52

And I, and I opened the book and

41:55

I'm now trying to scan through the book

41:57

to see if there's anything.

41:59

mentions not

42:02

being in any way knowledgeable about the occult

42:04

but having a very good library use. Give

42:06

me a library use role and Giro

42:08

you hear a wet flopping

42:11

sound of something being slid

42:15

towards the entrance.

42:17

A hard success. 30

42:19

on 60. The

42:21

book contains a number of spells. Bells.

42:26

4. One of which is command guardian in

42:28

middle English. Fuck. Another

42:32

one of which is speak with

42:37

the old one. Giro

42:41

you realise that the long

42:46

youthful figure

42:48

of

42:49

your shipmate

42:52

Rosa has just been sloughed

42:55

out of this creature and dropped

42:58

in front of the entrance to the cave

43:02

place. Okay. And you hear in

43:05

your mind you hear I'm willing

43:08

to trade. Help

43:13

me. He's

43:20

awake. He's awake. Storm

43:23

Petros. Storm

43:25

Petros. Get back. Get back. I'll try

43:27

and drag him back. I'm soon confused

43:30

by. Yeah. There's a storm

43:32

coming. Who has a name on the boat? There's

43:34

a storm here. What's the name? What's

43:37

the name? Could I get a spot hidden? Baska

43:40

and Crow. I'm

43:42

afraid you're out of it a bit. Of course.

43:48

That's a fail on my

43:50

part. You

43:53

do see another another three

43:55

or four petrels. Storm

43:57

Petros flying. I

44:00

don't know. Well, it's hard

44:02

to say from where the glow of the light

44:04

of the sun is probably westwards. That is

44:07

an extreme success. Oh,

44:11

sick. Seven on a 60. Okay,

44:15

so, Crow, you're

44:17

just very much focused on this guy and he takes a step towards

44:19

you. And you feel the boat does move. It

44:22

moves slightly oddly, almost as if

44:25

there's a sort of oddness about his weight.

44:27

You can't explain, but as a fighting man...

44:31

Well, actually, do you know what basket you'd notice as well?

44:33

Because if you were boxing with me... Yeah, yeah. I

44:35

think you... because of that excellent spot hidden, you

44:37

pick up on this as well. Was it an excellent? Yeah,

44:39

it was an excellent, right? So you... the two of you

44:41

spot this, instantly. He steps

44:44

forward and the boat really moves.

44:46

But he doesn't look that big. Oh.

44:49

And it feels very odd. And you can

44:51

tell that he's being tentative about moving, almost

44:54

like a... someone who's sort of

44:56

judging their footwork. And

44:59

maybe that's the key as to why you look so carefully,

45:01

basket. But that's when you see a... is

45:06

crouched down, clearly looking absolutely

45:08

terrified. You just catch one part of his eye as

45:11

then the body sort of interposes of... Alicia

45:14

Gonzalez... imposes

45:16

himself in front of you, blocking the entire view

45:18

of the prowl, the bows

45:20

of the ship. I love it. SHPU

45:25

Smith networks

45:35

THE THima

46:11

We might have a long journey, I don't

46:14

know who the fuck you think you are coming

46:16

with

46:25

us

46:28

though. You know this prick? He's

46:33

not normal, he came to me, you came to me in a dream.

46:36

You came to me in a dream. See,

46:38

he's not normal, his fucking hair's

46:41

a little bit lost in his foot ways too much. Partly

46:44

a dream, partly a different

46:48

kind of reality, yes. What

46:51

do you mean a different kind of reality? There

46:53

are ways in which my

46:55

people can be

46:58

in three places at one time.

47:01

Mr. McCouch in here, that

47:03

is your name. You were just

47:05

in two places, yes. You

47:08

saw

47:09

our old inspirations.

47:12

Yeah, I saw something.

47:20

If I had known I would have taken one of

47:23

your little names, but

47:25

I and my brothers,

47:29

we thought go with the thing

47:31

that is the big thing. And

47:34

so we saw their name and understood

47:37

their name and thought

47:39

we could be the unity

47:41

cantal. And

47:47

the Yaroslava before us, a promise

47:52

of what we might yet taste, fuel

47:54

for our service, if you will, your

47:58

crew of the epsilon.

47:59

on Pyaneer. He is

48:02

not the first given over to the dreaming

48:04

god, you see. That was

48:06

one of the ships.

48:09

Ah, seems we. What

48:11

do you mean we? We took their name. What are you talking about?

48:14

They could not come with me. They are

48:16

bound. They must protect

48:19

the chest. You Argentine.

48:22

Is this about the conflict?

48:24

He is not Argentine. He is something else.

48:27

Listen to me. You are rich

48:30

and then I start patting myself down to see if I have got

48:32

any recording of him on me. Listen,

48:35

I am protesting. No, but remember

48:37

what my action is. I am catching crows' actions. Right?

48:41

No, I protested that war with

48:43

me.

48:44

I believe it. That is why we are so often heinous.

48:47

I believe it, mate. Likewise. That is why I left the military.

48:49

Me neither. You have got no... You

48:52

have got to fight with me. I was trying to do something

48:55

else. But that does not mean he does not have a fight with us. Now,

48:57

you need to tell us who the fuck you are. As

49:00

he says that, and just as you are about to give up,

49:02

in your back pocket you find a dictaphone.

49:05

But it is not yours. And you realise it

49:07

is Rosa Thomas Dalton's dictaphone. This is more

49:09

important. Which somehow

49:12

you must have picked it up on the beach

49:14

because you must have dropped it as you have taken. Because

49:17

you do not remember how, but you find it as this

49:19

small, compact... It is more. Obviously

49:22

in the 1980s it

49:22

is about 8 or 9 inches long. I

49:26

press record and I say, You

49:28

say you have competed in

49:30

three places at once. We

49:33

will see. So...

49:36

This is... This

49:38

is me going out on a limb. I

49:41

will

49:41

say. Do you know

49:43

where or

49:45

what happened to

49:47

Wallace Barney

49:49

Basker?

49:52

His head tilts.

49:55

And it gets to the

49:57

anger where you hear it click and

49:59

then it's... Carries on oh The

50:04

toupee starts slips like me and he

50:06

looks at you and his eyes

50:08

do something very strange where They

50:12

split the pupils split

50:14

into two suddenly and then they multiply

50:17

like tadpoles And

50:24

then they go And

50:26

then they go back into sort of one moving

50:29

as if there's a motility in there a

50:32

flood of plastic forms inside

50:34

eyes eye and

50:36

he says Yes

50:42

You have been touched by the elder

50:45

things the gods I Just

50:48

tried to find what happened to my great-grandfather And

50:51

he starts looking at all three of you and he just got his eyes

50:53

moved from one to the other to the

50:55

next and he goes

50:58

Can it be true This

51:01

is a message This

51:03

is a gift

51:05

We have been blessed

51:10

You are here to serve me of course

51:14

The elder gods

51:17

have rewarded us

51:19

Being held captive so long

51:23

We have everything we need we

51:25

have provisions and he turns the points to Ahmed

51:28

Patel and we have Soldiers

51:31

and points of Crow and we have

51:33

visionaries and he points at

51:35

McCutcheon and and

51:37

you realize He's left a

51:39

hand pointing at Crow and now another

51:42

hand is pointing McCutcheon but his left hand is

51:44

coming up And suddenly

51:46

he's suddenly got three arms and he points

51:49

he's asked early and he says and we

51:52

have the mouth

51:53

of the world

51:56

My brothers

51:59

We are

51:59

I shall leave you, Lord

52:02

of this earth, my... No,

52:05

no, no, no, no, no. I'm

52:07

here to entertain, educate, and inform...

52:10

Inform? The

52:12

ring, the ring... Lord, I'm

52:14

here...

52:32

I can't believe you're here. For

52:38

fuck's sake, get back to Argentine slime. I

52:40

mean, since we're in multiple realities,

52:42

I mean... It's kind of perfect, and

52:44

I think it's like, you are distracted in

52:46

that moment, and what brings you to is that he

52:48

goes, no, no, no, you are a king.

52:51

And that left arm that was extra,

52:54

he

52:55

reaches out towards you, and you hear this

52:58

flood of flushing,

53:00

as he fails and comes into the toilet going

53:02

off at once. And

53:05

all this flood of bones start coming out of his

53:07

hair, and all penguins belong, and feathers,

53:10

and he starts... literally

53:13

ejaculating this stuff all over

53:15

you, and it's sort of flooding all over

53:17

you. And you're done with the badger, and it's

53:20

sort of climbing up around you, but it's clapping

53:22

and it's sort of going over you, and the feathers are sort of... You

53:24

can feel them kind of becoming like this pulpit.

53:28

Fucking hell. You can

53:30

react to this, even though obviously everybody

53:32

does owe me a Santi Rolla. I mean,

53:34

yeah, I was going to say Santi Rolla. But you've

53:36

been through this blast process, and you

53:39

have this one physical reaction, mental reaction

53:41

moment before,

53:42

although it's hitting you, you're not entirely consumed

53:44

by it. I think I start trying to...

53:51

So you can... like an osprey

53:53

in an oil spill. Which

53:56

one are you trying to do more of? Do you think you're trying to avoid it, or do

53:58

you think you're trying to...

53:59

and wrench I mean I guess one is more of a sort of strength

54:02

thing and one is more of a sort of dexterity thing I don't know

54:04

they're both physical. Oh good

54:06

question. No I think I'm I think I'm

54:08

I

54:10

think I'm trying to pull them off

54:12

me because I think it's a strange

54:14

thing to be asking. So probably more strength.

54:16

Sure.

54:18

It would be a very good

54:20

choice in this context. It

54:23

would be a good choice if I had to go with any

54:25

good. If I was strong? If

54:28

I was strong I would have a good choice.

54:31

Hang on. I

54:35

am not strong. It

54:36

has a veil. No. I'm

54:40

going to push it. You

54:43

get the sense by the way that he is surprised

54:45

or the substance

54:48

is surprised that you are so vehement.

54:51

He was expecting you to accept this I think. Possibly

54:54

be very delighted. Yeah.

54:57

Yeah.

54:58

Well maybe King of the Birds. He's trying to make you King

55:00

of the Birds. Yeah maybe that maybe

55:02

that's yeah.

55:06

Maybe that realization comes over me.

55:08

Maybe maybe you

55:11

could push it with something else. Exactly. Maybe

55:14

maybe I try and pull them out and

55:17

I can't because I think it's stuck to me. It's

55:19

like I've been tired. Well they keep moving.

55:23

But I grasp and I try to pull them and it's like

55:25

they're in bed. So I try something else instead.

55:27

I start flapping to

55:29

try and shake them off. And

55:32

then I slap my arms. I don't know what

55:34

you want me to roll for that. How

55:38

well. So

55:38

you were imitating a penguin earlier.

55:41

Yeah. Now I think you're imitating the former. Now

55:44

you're going for the or maybe the storm

55:46

petrol.

55:48

So I think this is anything

55:50

to do with your ornithology. If you

55:52

if you because it's about doing this as well

55:55

as you possibly. It's not about acting. It's about truth. Oh

55:58

hang on. No acting is about truth.

55:59

You need to use your acting to do it. I don't know if you're acting

56:02

for a moment. You can swim all the way. You can use your water.

56:04

You've got biology. I've got a natural world.

56:06

A natural world. A natural world. Would

56:10

you like to go into a natural world? Definitely. I

56:12

mean it's specific, isn't it? My natural world. Very

56:14

specific. Um. A

56:17

couple of years of studying.

56:19

Um, I mean,

56:21

you know, famously I roll badly.

56:24

I roll a 74.

56:27

My natural world is 75. Oh,

56:29

mate. Wow. I don't

56:31

know what way. Um.

56:33

For a minute you feel

56:35

like it's really working. All this stuff

56:37

is, it's just, it's coming off. It's

56:39

coming off. And then you realize

56:42

what's actually happening is you're lifting

56:44

it.

56:47

And as you lift off the deck, the lifeboat,

56:50

we cut away to our cave team again. Then

56:52

the desperate throes of bargaining for the body, or

56:54

maybe even the life of Rosa Thomas

56:56

Dalton. This weird,

56:58

plastic, sentient horror is offering

57:01

some kind of abhorrent trade, it seems.

57:04

Trade what? Set.

57:06

Us. Free.

57:11

I don't think that would be so

57:13

good for anybody but you.

57:16

Help me.

57:18

Wait,

57:20

wait, wait, wait, wait, wait. This can't be happening. This

57:22

can't be happening. This is madness. Because

57:25

you roll sanity to two of you.

57:27

Yep. That

57:31

is 30. Yeah,

57:33

that's even with reduced sanity made it. I think you

57:36

instinctively, Giro, if it's right with you, you grab

57:38

the slick, wet body of Rosa.

57:42

She's breathing shallowly. And you

57:44

drag her back in to the

57:46

corridor, as it were, that you're in. This sort of hidden behind

57:49

this massive rock and this rock crawl. Yeah.

57:52

Cook. I look

57:54

at where we're checking her. Is she okay? Is

57:57

she alive? She said she's breathing. She's breathing.

58:00

Dude, you hear what they said? They said they want

58:02

to trade, they want to be free. Yeah, yeah,

58:04

yeah, no, no, no, nothing, nothing

58:06

like that. No. No. What

58:08

even is it? What even is it? We can't

58:11

let it free whatever the fuck it is. No,

58:13

no, wait. Like I said, it's not going to be good

58:15

for anybody. Pascal, Pascal, listen to me.

58:18

We're having what happened to everyone on the boat. But

58:21

they were talking about it. Ergot poisoning. It's

58:23

like hallucinations and it's driving us mad.

58:26

I was hallucinating the same fucking thing. All

58:28

right, good point, good point. Okay,

58:33

okay. All right.

58:36

Look,

58:37

maybe you're right. I think if

58:39

we do anything with this door

58:41

or the disk or whatnot,

58:44

maybe we set it free. So maybe we don't do nothing,

58:46

huh? No, let's get her up. Let's get her

58:48

conscious. Let's get her breathing. She

58:52

might know more about this. I'll

58:54

try first aid. First aid on Rosa.

58:57

Yeah, give us the first aid. Can I open

59:00

that regard? Yeah,

59:02

I'll give you a bonus. You tell him what to not

59:04

do. I

59:08

did very well on my own. I got 0.9 out

59:10

of 33. You're

59:14

impressed watching. Pascal, maybe you learn a thing. Yeah,

59:16

it's hard success. Do

59:18

I need an extreme success? No,

59:21

hard's excellent. You hear this sharp... Oh,

59:24

and she starts vomiting up bits of this

59:27

slime. Jesus Christ. Dalton,

59:30

can you hear me? What does it want? What

59:32

is it?

59:35

Oh, my God. Oh, my God.

59:38

Oh, my God.

59:43

It spoke to me.

59:45

It spoke to me. It

59:48

was in my mind.

59:50

They weren't helping me. Oh,

59:52

it was horrible. They were slaves

59:55

trapped.

59:57

I don't know. It was inside my mind. All

59:59

I could... to do to

1:00:01

stay to be, I was

1:00:03

counting the feathers, over and

1:00:05

over just to stay, just over and over,

1:00:09

feather after feather, all

1:00:11

those penguins, it

1:00:14

ate them, just so hungry,

1:00:17

trapped so long.

1:00:20

And her eyes are,

1:00:24

they are alive with something,

1:00:27

she's seen something. Don't

1:00:29

tell me you're not looking so good, you'll be alright

1:00:32

love. I don't know, it's okay,

1:00:34

alright, we will er, er,

1:00:37

shit. Yeah, and you both see her eyes

1:00:39

frantically moving over the bas-relief

1:00:41

carvings, carved onto the door,

1:00:44

and you don't need a psychology role to realise that that

1:00:46

gleam in her eye, although it's unsettling

1:00:48

and seemingly slightly plastic,

1:00:50

perhaps, in the way it catches the light

1:00:53

from your torch beam, that inspiration

1:00:55

seems to suggest that there's a deeper understanding,

1:00:58

you can tell that she's beginning to be. This

1:01:02

trip's not so much of a jolly anymore,

1:01:04

eh? God, I've got to ask,

1:01:06

you don't have to use this, as he

1:01:09

er, sort of picks up this. Yes,

1:01:11

er, yes, I'll be alright. You see Rose's

1:01:13

eyes focus on the carvings, and she seems

1:01:15

to take command of herself in that second.

1:01:19

I think, er, and

1:01:22

I may be wrong, erm, but I think this

1:01:24

is some kind of record, erm, of survivors

1:01:27

of, erm, of an

1:01:29

ancient civilisation. Erm,

1:01:34

I can't work out why they depict themselves

1:01:36

so,

1:01:36

so strangely, erm, but

1:01:39

it seems that they had to bind, er,

1:01:42

these things.

1:01:44

These servant creatures below and

1:01:46

in the rock, they were all desperate, er,

1:01:48

the rulers and the servants,

1:01:50

from, from what I,

1:01:52

er, from, from, from, from what I,

1:01:54

I, I, I saw inside

1:01:57

that erm, thing.

1:01:59

that...

1:02:02

anyway, this doorway,

1:02:04

this door seems

1:02:06

to lead to somewhere of power

1:02:09

for the rulers, for the people

1:02:11

who built this.

1:02:13

It was sacred, I think, which

1:02:16

is why those black monstrosities

1:02:21

can't bear them.

1:02:23

It's either sacred power or

1:02:25

maybe literal, I don't know.

1:02:27

Rosa

1:02:30

places her hand onto the door

1:02:33

and she slumps to her knees and she sort of

1:02:35

shakes in that moment. She bodily

1:02:37

shakes all over. It's obviously costing

1:02:39

her an enormous amount of focus like this. And

1:02:42

all of that composure that she seemed to

1:02:44

find earlier just now vanishes. And

1:02:47

her other hand, the hand not touching the door, covers

1:02:50

her face. It's almost like a claw. And in

1:02:52

that moment you all feel, or you both

1:02:54

feel, those tendrils of invisible

1:02:56

inquiry. And they're pushing your

1:02:58

minds harder and harder, trying to find access,

1:03:01

you're sure of it. And it takes all of your

1:03:03

mental fortitude to withstand it. And

1:03:06

then, quite suddenly, that pressure is

1:03:08

gone. Almost as if some intelligence

1:03:11

has been distracted and pulled

1:03:14

away to focus on another task,

1:03:17

possibly giving you one last

1:03:20

hope of being able to withstand

1:03:22

any more of these psychic attacks.

1:03:27

So she staggers up. She

1:03:30

took a ground soldier and goes,

1:03:34

free slaves,

1:03:37

those slaves, they

1:03:39

just want

1:03:40

to be free. And she

1:03:43

looks at you in horror and then she looks at the door

1:03:46

and she says,

1:03:48

we mustn't do that. And

1:03:50

she sticks her fingers into the

1:03:53

indentations and just

1:03:55

looks at you pleadingly. We've

1:03:56

got to get out of here.

1:03:59

Wait, wait, we go through the door?

1:04:02

But won't this free it?

1:04:03

No.

1:04:05

It doesn't free them.

1:04:08

Come on then. OK. Come on then. OK

1:04:10

then. OK, let's get the guns

1:04:13

out. So you've got the disc, right?

1:04:15

We've got the disc, the swords. Oh, yes, I think.

1:04:18

I've got the disc, OK. Yeah. Because

1:04:20

I've got my hands full with a shotgun, and then I was saving

1:04:23

her. So yeah, I've, all right,

1:04:25

again, he's just like waving the shotgun, making

1:04:27

sure that this thing doesn't cross the line.

1:04:30

Do it. Do what she said. Get the disc in there.

1:04:32

OK, let's do it. I don't know what's going

1:04:35

on. So you

1:04:37

insert the disc, and it begins to turn on its

1:04:39

own. You can feel it turning out of your hand, and it just

1:04:41

starts to revolve around. And

1:04:44

she starts to smile and goes, they

1:04:47

made it.

1:04:48

They fear this place. They

1:04:50

made them.

1:04:52

I think they may be

1:04:54

made of. And then she takes her fingers

1:04:56

out, and she just collapses onto

1:04:59

you, Cook, basically. And

1:05:02

these two doors swing in with

1:05:05

a weird sound of ancient

1:05:07

machinery, both smooth and grating.

1:05:12

And a weird, circular-looking chamber

1:05:14

is revealing itself, an ancient border

1:05:17

where you get the sense no living thing

1:05:19

has been for possibly thousands and

1:05:22

thousands of years. The sound

1:05:24

of the doors is otherworldly as they move

1:05:26

open, as if powered by something you can barely

1:05:28

begin to understand. And the shapes and

1:05:31

geometry within are equally alien and

1:05:33

strange.

1:05:34

And we have to cut away, of course, to

1:05:36

our secondary ship before we find what lies within

1:05:39

such a chamber. But Crow, Basker,

1:05:42

you're witnessing this bizarre transformation

1:05:44

as McCutcheon.

1:05:46

You were being doused in a spewed-out

1:05:48

mass of bones and feathers. You were

1:05:50

battling with the stuff. And

1:05:53

for a minute, you feel like it's really working.

1:05:55

And all this stuff is coming off.

1:05:58

It's coming off. And then you realize, what's happening?

1:05:59

What's actually happening is

1:06:01

you're lifting,

1:06:03

because it seems to be getting the right idea and

1:06:05

it's just going there with you. So it's sort of floating

1:06:09

astonishingly, so slightly outside of your body

1:06:11

and you're pushing up and you start

1:06:13

to lift off and there's this tentacular

1:06:15

connection to this weird,

1:06:17

obese, and I say Gonzales,

1:06:20

without paying it for once. And

1:06:23

you lift off like a kind of weird navigational

1:06:25

balloon for about, only

1:06:28

for about six foot. Yeah, Basco, grab

1:06:30

him.

1:06:31

Well, actually, you're up by

1:06:33

Basco's shoulder as a result, because he's freakishly

1:06:35

tall.

1:06:36

But simultaneous

1:06:38

to that, we had

1:06:41

crows on the highest dexterity. And

1:06:43

I just passed my sander sea. Oh,

1:06:46

you rolled a sand roll, yeah, yeah. I haven't done

1:06:48

that yet. Oh, yeah. You

1:06:51

can do that first off next, Dan,

1:06:53

for McCutcheon. But do I...

1:06:56

Sorry. Greatly, I think, possibly,

1:06:59

crow with that moment of going, he has to move. So

1:07:01

it's great that you pass your sand. Might

1:07:03

as well lose one, I'm sure. Well,

1:07:06

in a minute, him, I will become academic.

1:07:08

Right. Well,

1:07:12

I mean, do I see what's happening

1:07:14

to McCutcheon? I

1:07:16

see these bones and this fluid,

1:07:19

this mass, sort of projection. This guy

1:07:21

moved very, very quickly. Yeah. It's

1:07:23

only because there's a surprise. You think he's

1:07:25

as quick as you. You're pretty sure.

1:07:28

And he's a big fucker. Come

1:07:30

here. Well, I immediately go back to what

1:07:32

you gave me the option of before.

1:07:35

And I want to reach around and try and wrench

1:07:38

the arm off the engine.

1:07:40

Oh, yeah. Yeah, yeah. I fucking got

1:07:42

it. Yeah. So that would be a quick

1:07:44

strength. I'll take it. Pull that sucker

1:07:47

free.

1:07:49

64 and a 70. Perfect.

1:07:53

You pull that off, wrench it off. Yeah. I'll

1:07:56

give you the action as well. No

1:07:58

gods or kings, you bastard.

1:07:59

This will show Thatcher. No, God's

1:08:02

a fool. Beautiful. Drive it

1:08:04

down into his eye socket. You leap

1:08:06

for him. Perfect. Okay.

1:08:08

Give me a fighting brawl. Here

1:08:11

we go.

1:08:12

Throw it all kicks off.

1:08:15

I can tell you now, he's not going to try and dodge. That

1:08:17

is a 19 on a 45. So...

1:08:20

Ooh, that's a hard. Is that a hard?

1:08:23

Yeah, no, it is a hard. Not

1:08:26

an extreme. Oh,

1:08:30

interesting. I feel like I might be ripped in half. I've

1:08:33

rolled very badly. So I

1:08:35

think you do... You

1:08:37

sink it into his face. Yeah.

1:08:40

And as it makes contact you go, Oh,

1:08:42

that's not good. Because clearly his

1:08:44

face doesn't respond in the way that a normal person

1:08:46

faces. I've seen faces in my time

1:08:48

and this one's not right yet. You've seen faces

1:08:51

and you've... Unfortunately, I think you've stuck things into

1:08:53

people's faces. I have. Not proud of it.

1:08:56

That's not often. But once or twice. Yeah.

1:08:59

I'm Western Superman. Not in your time in the army. I can't say

1:09:01

it. It's a lack of space. I'm so sorry.

1:09:04

I'm not a Western Superman. Sorry, that's you, isn't it? Sorry,

1:09:06

sorry for my intubation.

1:09:07

But I... Yeah. What

1:09:10

is it? Is it like... Because usually,

1:09:12

obviously, when you drive something into someone's face, it's like

1:09:15

punching someone for the first time. You're suddenly aware

1:09:17

of how solid their head is. Because this sort

1:09:19

of flips over everything and you're just

1:09:21

aware of this bone beneath

1:09:23

them. Which is the opposite of what an action film makes it look

1:09:25

like. Is it solid like that? Or

1:09:28

is it the opposite?

1:09:30

It's like the densest tapioca. Oh, fuck.

1:09:34

It's like the frog spawn eyes. Yeah, yeah, yeah.

1:09:37

The bubble tea of a head. But

1:09:42

stuff oozes out. Like white translucent

1:09:46

liquids sort of ooze out. Christ. It's

1:09:48

not. It's a deadite.

1:09:51

This is not a... What are they

1:09:53

called? Not an Android. An Android.

1:09:56

It's a real person. It's a bit of a...

1:09:59

I think you're pretty sure.

1:09:59

this moment it's not a person. But

1:10:02

you hear this, the mouth goes open and it

1:10:04

does freeze a bit like a robotic form and goes,

1:10:07

ahhhhhh. Ian Holm, just...

1:10:10

Yeah, Ian Holm, look. And

1:10:13

there is a sort of glitching, and there's a bit of... And

1:10:15

the fingers start to sort of break

1:10:17

on the hands and sort of whip out. Oh Christ.

1:10:20

Elongating. Yeah. Into

1:10:23

much more tentacular appendages, which

1:10:26

leads to Basker.

1:10:27

Christ. Um,

1:10:30

well I think I'd probably do try and grab

1:10:32

hold of McCutcheon's

1:10:34

legs

1:10:36

as he sails past me.

1:10:38

Perfect. I

1:10:41

think it's actually not a fumble, I think,

1:10:43

is all I need, really.

1:10:46

Don't need to even pass. And

1:10:49

be interested to see with that lovely rocking boat, that rocking

1:10:52

boat that you mentioned.

1:10:55

Well I failed, that was a 53 on a 30. So

1:10:59

you grab hold, but you were a bit sleepy on the... And

1:11:01

then the boat is bottom, the secondary boat is a

1:11:03

bit wet on the bottom, so you can feel it's... You've

1:11:06

had some bad experiences standing up on boats, back

1:11:08

on the Epsilon Pioneer. So I think

1:11:10

that you've got hold of him, and

1:11:12

I think you can either do something

1:11:14

else, and that values me, you're kind of over there, and I think, once

1:11:17

you've got hold of him, what else do you want to do? Do you want

1:11:19

to...

1:11:19

You've got that fixed phone still, of course. Yeah.

1:11:23

Special ability, hold on to

1:11:25

Dick's phone at all costs. I shout it

1:11:27

to my cutcheon and go, what's happening, what do we do?

1:11:30

And before you both have to roll your fancy rolls,

1:11:33

my cutcheon, what do you say?

1:11:35

We... we... Mine's 98,

1:11:43

that's a fumble. That's a fumble.

1:11:46

That is beautiful. Mine

1:11:48

is... Hang on, where's my sanity? He

1:11:52

turned the gun upon himself. He

1:11:54

turned the Dick's phone upon himself.

1:11:59

turn the dick the phone on to himself. Hahahaha

1:12:05

Click. I have miraculously

1:12:08

Let me just check What

1:12:11

do you think Miss Basko? Well I'm not sure Miss Basko.

1:12:14

I have miraculously rolled a 13. Fucking

1:12:16

hell. That's a success. I mean,

1:12:18

okay, no ambiguity with either. After

1:12:21

all. Don, just to keep us kosher.

1:12:24

Let's find out what that's. Give me

1:12:27

a D10. Well,

1:12:29

on a fumble I take the maximum, don't I? Well,

1:12:31

yeah, I mean let's make that. It's

1:12:34

D3 sound loss, so 3 is

1:12:36

the full account. Because

1:12:39

you're already indefinitely insane anyway, so. Oh,

1:12:41

I see. I always do even.

1:12:43

That's a 4. 4. Paranoia.

1:12:47

Paranoia. I

1:12:49

will roll for D10 rounds. Perfect. And you

1:12:52

hear this, there's this there's this frustrating

1:12:54

sound. As these tentacular,

1:12:57

fevered

1:12:59

bone-filled limbs, sort of tendrils, not limbs,

1:13:01

not sort of tendrils, sort of reach to your hands

1:13:05

from the cutchins legs. He's

1:13:08

looking more and more like a bird. He

1:13:11

feels incredibly light, hollow bones and

1:13:13

light. And they

1:13:16

sort of go to your, but you suddenly see

1:13:18

one has a mouth, and it goes Do you lay low

1:13:20

now? Could you roll your Cantonese

1:13:22

for me?

1:13:24

With a bonus die, because it's

1:13:26

so opposite to the fact that you had a suspicion.

1:13:28

Who are you working for? I don't need a bonus die,

1:13:31

I've rolled a 7 on that. That's, um. Yes,

1:13:34

man. 7. Wow. That's

1:13:36

a hard success. So that, you're

1:13:39

pretty sure that means you're pretty sure

1:13:41

that this

1:13:41

thing just said what you were going to do

1:13:46

in Cantonese. And

1:13:49

then you realise there are eyes and mouths in

1:13:51

all of these little tendrils. And they're all

1:13:54

Chinese.

1:13:56

And they're all informing. It

1:13:59

must be a sort of Chinese.

1:13:59

Chinese super weapon? Ah, yes, I see.

1:14:02

It was easier with the Soviets. You clumsy oaf! You

1:14:04

clumsy oaf! You got me kicked out! You nearly blew

1:14:06

everything, blew my cover. I knew I shouldn't have trusted you. I should have

1:14:08

insisted. I should have written to the maestas and

1:14:10

I want a different contact because you were sloppy,

1:14:13

you got sloppy. You got sloppy, didn't you? And

1:14:16

now you've got six mouths and too many eyes. You

1:14:18

feel yourself as this is being said and you suddenly

1:14:20

realize that you're lifting off

1:14:25

the boat as well and he's

1:14:27

lifting you off,

1:14:29

but

1:14:29

this sort of umbilical is reducing the size

1:14:32

of the Edisir González, who is also sort of slowing you

1:14:34

down.

1:14:38

So beginning to sort of blubber is beginning

1:14:40

to sort of sink into

1:14:43

the

1:14:45

boat so that now it's

1:14:46

sweeping

1:14:57

over your feet and then there is a sort of wet sploosh

1:14:59

of sort of liquids that

1:15:02

floods the boat and but fills it almost

1:15:04

immediately to a depth of about

1:15:06

a foot. But there's

1:15:10

this form of this character with

1:15:13

this Edisir González who claims to be and the

1:15:15

road begins to dissolve into it

1:15:18

and you sort of see this pallid, weird

1:15:21

bits of chunks of hair are on it

1:15:24

but other chunks that should have hair don't

1:15:26

have it like there's multiple genitals that

1:15:28

sort of float of multiple sexes.

1:15:31

Oh, fuck it up. Seven

1:15:34

of the sexes.

1:15:35

Did he?

1:15:40

It's the 1980s. That's when

1:15:42

wash. Oh, it's like a fucking psorrhog

1:15:44

video made by a Chinese bot-bot.

1:15:48

The umbilicus

1:15:50

holds.

1:15:53

And what do you like to hear?

1:15:56

Yeah.

1:15:59

and Patel dashes forward

1:16:02

to the white plastic

1:16:07

hump that is above the

1:16:09

line of the weird

1:16:12

creatures glutinous mass

1:16:16

and he pops it open and he pulls

1:16:18

out this flare gun and

1:16:21

he's shaking and he's naked

1:16:23

and he goes there's one in every secondary

1:16:26

boat and he fires the flare

1:16:28

gun at the umbilicus and

1:16:31

I shout to mccutcheon and go what does he mean by a

1:16:33

secondary boat does he mean a lifeboat and

1:16:37

then you think he's in on it of course he's

1:16:39

probably working with pakistan you think you think that

1:16:41

he might be a spy as well yeah

1:16:44

I point and I scream down I go your

1:16:46

counter espionage aren't you you're working

1:16:49

am I six am I six is it and

1:16:51

his hand he's saying his hand weavers

1:16:53

and it's like he's gonna fire at you and then he's

1:16:55

gonna fire at crow and then he's gonna fire at mccutcheon

1:16:59

and you're all some of you probably one of you

1:17:01

is definitely thinking please kill me now go on

1:17:03

use the flare summon your western paymasters

1:17:07

but he rolls in 11 on his 25 handgun

1:17:13

oh my god hard success and he hits

1:17:15

the the umbilical line

1:17:18

and this bright pink flare

1:17:21

smacks into it and splits it yes

1:17:25

and the two of you

1:17:27

fly up in the air shit god

1:17:29

yeah it's

1:17:34

up to you

1:17:36

what you want to do but I think you

1:17:38

are now the king of the birds

1:17:41

I keep flapping as

1:17:43

I realized it

1:17:45

I realized it

1:17:47

I thought he was throwing penguin bones and

1:17:49

penguin feathers at me but the way these

1:17:51

wings extend from me he's regurgitating

1:17:53

he was feeding you I know I realized

1:17:56

I'm not I'm a I'm a southern royal albatross

1:17:59

oh yeah

1:17:59

I think you're a cryptid now mate you're the

1:18:02

birdman of South America Basket

1:18:06

you're holding onto his legs. I forget thin

1:18:08

and yellow But at what point do you want to the

1:18:10

says he's lifting up and he's saying

1:18:12

something about being

1:18:14

The birdman of South America.

1:18:16

I'll contrast. I mean is that what he's saying? I feel like that's

1:18:19

what he's saying Is that what McCutcheon's doing?

1:18:21

I don't

1:18:23

think I'm speaking. I don't think I'm speaking. I think I'm just

1:18:25

fitting.

1:18:27

I feel incredibly

1:18:30

powerful you feel so light and strong Maybe

1:18:34

I've got a scar but I

1:18:36

beat these wings and I think

1:18:38

Albatross can be safe

1:18:41

for years. I think I'll

1:18:43

never have to see another human except the

1:18:45

one holding onto your legs Well,

1:18:48

let's see how long you can hold on and

1:18:51

I keep beating my wings This is going

1:18:53

up and up You

1:18:56

hear this awful scream from the boat

1:18:59

the Gonzales creature that the

1:19:02

toupee drops and

1:19:05

it sort of turns over and

1:19:07

It just hasn't a name written inside

1:19:09

it Talvasson

1:19:12

toupee it just sort of drops onto

1:19:14

the Onto this mass of

1:19:16

gelatinous flesh you were the captain you're

1:19:19

meant to go down with a ship Well

1:19:22

Possibly Talvasson was consumed and the

1:19:24

toupee was taken. Well. Yeah

1:19:26

unless he was like this already Yeah,

1:19:29

but you don't get the impression that this was Talvasson

1:19:43

And basket use Duke try and

1:19:45

hold on

1:19:46

Strength

1:19:48

Strength rule No

1:19:52

unless you want to try and kick him off no

1:19:55

I've rolled a one a

1:19:58

one It's me any

1:19:59

now McCutcheon. We've got

1:20:02

to get this tape to the BBC.

1:20:07

And Crow and the

1:20:09

shivering figure of Patel

1:20:11

see the two of them weirdly

1:20:14

sort of weaving their way with this plastic

1:20:16

mass now encasing and I think

1:20:18

also it's beginning to sort of wrap itself

1:20:21

around your legs as well to support

1:20:23

you with that extreme role.

1:20:26

A lot of it is clearly still on McCutcheon

1:20:28

and it's beginning to just go up and

1:20:30

up and up into the grey. To

1:20:33

me what does it look like to Crow and to Patel

1:20:35

as we're watching them get past. I mean I

1:20:37

know how it feels for him. It

1:20:39

looks like the birdman of South America

1:20:42

is flying away and

1:20:44

that last umbilical burns down and

1:20:46

the tendrils burn back and this gelatinous

1:20:48

mass sort of finds the eye of where

1:20:51

that loose rolic was and it just sort

1:20:53

of starts to slide into the

1:20:55

sea.

1:20:58

My boots are full of

1:21:00

tapioca and my two mates have fucked

1:21:02

off up to Skyward. The

1:21:05

two of you are left there and Patel

1:21:07

just shivering and he

1:21:10

sort of looks at you. There's a small first

1:21:12

aid kit

1:21:13

in there again.

1:21:23

Here, Patel,

1:21:25

take my jacket and I get the first aid

1:21:28

kit out but my eyes are just on this weird

1:21:30

duo flying up into the sky

1:21:32

and I just say

1:21:35

the Owlman rides again. God bless

1:21:38

you gentlemen.

1:23:59

you prioritizes ever which

1:24:02

is created the weirdest me so scripted

1:24:06

the flying birdman of south america

1:24:08

he's actually a

1:24:10

gift about loving a treadmill

1:24:13

guitar playing west

1:24:15

country guys own opponents as buddhism

1:24:17

of had worse and

1:24:20

i say in this is

1:24:22

undoubtedly the last recording of

1:24:26

barney julius basket and

1:24:29

descendant

1:24:30

of wanna spani basket

1:24:32

who went missing in

1:24:36

along the pacific coast i

1:24:39

find myself somewhere else the

1:24:41

argentinian cast

1:24:43

fitting then that this

1:24:45

is the place i disappear i

1:24:48

can tell you now there are things

1:24:51

strange in this world strange

1:24:55

and terrible do

1:24:57

not come looking for me

1:25:01

and if you find this you

1:25:03

will now you

1:25:05

know how strange these things

1:25:07

can be

1:25:09

and then i for stop or

1:25:11

like go

1:25:18

owning maybe

1:25:21

maybe maybe we don't find out what the

1:25:23

damage was maybe we see

1:25:25

the body draw fun as is dropping

1:25:27

as the freeze frame thought

1:25:30

to tell look

1:25:34

through which has away again though

1:25:36

for a final moment

1:25:38

with cook zero and the now

1:25:40

incapacity to figure of rosa thomas dogs

1:25:43

as they approach this forgotten corner

1:25:45

of the earth covering an ancient

1:25:48

secret beneath griffin island and

1:25:50

you can see head into this green leaves

1:25:53

chamber and as an old stuff

1:25:55

soon in the middle and to blankets

1:25:59

Maybe it looks like machines? The

1:26:03

statue itself seems to be a kind of...

1:26:05

...building of some sort.

1:26:08

But it also echoes the shape of the

1:26:10

barrel-like creatures that Rosa was talking

1:26:12

about. On those carvings,

1:26:15

on the door. And

1:26:17

looking at it for too long really makes your eyes

1:26:19

hurt. It's...sing.

1:26:22

Something weird about the combination of

1:26:24

geometric shapes and blocks

1:26:27

that also echo as they all

1:26:30

cohere together into this suggestion

1:26:33

of...a version of one of these

1:26:36

creatures, one of these first elder

1:26:38

things.

1:26:40

But then to your horror, you realize the

1:26:42

psychic tendrils are being joined by

1:26:44

actual black-seeking tendicles.

1:26:48

Plastic...inquiry

1:26:50

with eyes and mouths in shifting

1:26:52

and forming, rolling over each other.

1:26:56

They're desperate things. They're tentative. And

1:26:59

they're clearly in their own way, cautiously

1:27:01

seeking out the door. And

1:27:03

you, you're certain of that. To

1:27:06

them, you suddenly realize to them, this place is so forbidden.

1:27:10

And yet, they're like

1:27:13

blind...desperate things. Just

1:27:16

seeking and seeking, reaching for you,

1:27:18

trying to find you. And then you can feel

1:27:20

the doors beginning to close again already. And you

1:27:23

can hear this wailing sound

1:27:25

and sense of anger. And

1:27:28

these tendrils are about to really approach

1:27:31

all of your head. And could you

1:27:33

both give me power checks? Power.

1:27:37

Oddly enough, power is his best step.

1:27:40

He's on the mind. Success.

1:27:44

Gotcha. 53 on 75. And

1:27:47

you managed to withstand it just long enough. Really

1:27:50

helped the doors close. And

1:27:52

you feel for a moment you've exchanged one prison

1:27:54

for

1:27:55

another. But in

1:27:57

that moment...

1:27:59

You realize the two of you

1:28:02

and Rosa have survived. And

1:28:05

you look at these machines

1:28:09

and dispatch you. And

1:28:12

you realize it has buttons

1:28:15

and levers. And

1:28:18

in your experimentation with them, as

1:28:20

starvation begins to threaten,

1:28:24

you press the glue

1:28:26

sphere like a sapphire. And

1:28:31

the statue begins to glow and shimmer

1:28:35

and then dissipate into a ball of light. And

1:28:38

then it begins to be a circle and you can see the

1:28:40

mountains. You can see

1:28:42

snow,

1:28:42

the mountains,

1:28:44

and a way out. And

1:28:47

the three of you have a

1:28:49

choice. You can stay there

1:28:52

and wait.

1:28:53

Try and time your run, escape the shoggoth.

1:28:58

Or you could go into the mountains, deeper

1:29:01

into the madness.

1:29:04

I'm gonna run. Rosa's

1:29:08

gonna run with you, I think. Sounds

1:29:10

good to me. And

1:29:12

you stagger through what can only be described

1:29:14

as a portal. Though

1:29:16

your minds, they're already pushed to their

1:29:18

limits. I don't think you try

1:29:20

too hard to comprehend how such a circle

1:29:23

of light could let you travel from that

1:29:25

subterranean outpost

1:29:28

beneath an Antarctic island to

1:29:30

this freezing, stretching

1:29:32

landscape. And

1:29:34

it's a landscape that lies before ragged, reaching

1:29:37

mountains. Snow

1:29:40

sweeps up the black flanks, the sharp pinnacles,

1:29:43

and spindrift lifts

1:29:45

off the jagged peaks above you. You

1:29:48

look around you at an impossible

1:29:50

wilderness. Even as this

1:29:52

disk of light that's just behind you that

1:29:55

you've traveled through begins to close, drawing

1:29:57

into itself, on itself, until it's

1:29:59

gone. a single white light only

1:30:02

a few inches across and

1:30:04

then that too is gone. And

1:30:07

for a dreadful moment all

1:30:10

you can see is snow

1:30:12

and rock and this white, white

1:30:16

grey sky mocking you

1:30:18

with a vastness hinting at

1:30:20

the infinite nature of all things.

1:30:24

And that's when, keen eyed

1:30:26

as ever, Giro, you spot a stone marker.

1:30:30

It is odd glyphs carved into

1:30:32

it, almost hinting at the suggestion of a shape

1:30:34

of a door, maybe it's in the distance, it's

1:30:36

on the wall of the peak

1:30:37

before you.

1:30:40

Exhausted, terrified,

1:30:42

we see three

1:30:45

figures walking towards

1:30:47

it, gambling all their

1:30:49

hopes for survival on this single sign

1:30:51

of an eldritch civilization long since

1:30:54

dead amidst these dread

1:30:56

peaks reaching skywards. And

1:31:00

perhaps you're simply glad to have left

1:31:02

behind the horrors of Griffin

1:31:04

Island and the trail

1:31:06

of the loathsome slime.

1:31:10

Tell

1:32:24

me, tell me, how

1:32:26

much you were, you fucking

1:32:27

liar? Where are they? Where

1:32:29

are the swords? Where are they? Where's

1:32:32

the fucking gold? Where's the goddamn priceless treasure? You promised

1:32:34

me. Where is it? Where is it? No!

1:32:37

No! This

1:32:40

can't have been for nothing. Those

1:32:43

fuckers. Just your own cook.

1:32:46

Oh, that Oxford bitch. Fuck,

1:32:49

fuck, fuck, fuck. You know you really shouldn't

1:32:51

be so unkind about them as Thomas Dalton. She

1:32:54

was a very smart lady. Smarter

1:32:57

than you, Raphne. Ah,

1:33:01

Chief Engineer to Oliver Baines. I

1:33:04

might have known.

1:33:07

Was it you who followed me in Buenos Aires, too? I

1:33:10

was told by my paymasters to give you a long leash.

1:33:13

You were better at realizing I was following you back

1:33:16

then. But I guess all

1:33:19

of this distracted you today. Why

1:33:23

not try and stop me?

1:33:25

Isn't it what you people are supposed to do?

1:33:28

What people might they be? Don't

1:33:30

be stupid. Who doesn't see

1:33:32

you? My aunt told me all about

1:33:34

people like you. What

1:33:36

do you call yourselves these days? The

1:33:39

Circle of the fucking Golden Oak? The

1:33:42

Church of the Stars, bloody prismatic?

1:33:46

They prefer a Delta Green these days. Easy

1:33:48

now. I

1:33:50

don't want you making any sudden moves with that colorful

1:33:53

knife of yours.

1:33:55

What are you going to do? Shoot me.

1:33:58

You'd have done that.

1:33:59

already if you were going to

1:34:02

maybe

1:34:03

maybe not

1:34:04

maybe I just want to talk then I'll

1:34:06

shoot you oh

1:34:10

I see

1:34:11

you wanted this lot too didn't you

1:34:14

you wanted what was in the chest just like I did I

1:34:17

saw it mate I'd both been beaten to

1:34:20

it that fucking Canadian

1:34:22

pricks your own and the photographer they're

1:34:25

taking it with your friend Rosa who almost

1:34:27

left her

1:34:29

so I suppose we both lose I

1:34:31

see

1:34:32

that does make things a little more complicated

1:34:35

a

1:34:38

lot of trouble you've gone to for little on me

1:34:41

don't you flatter yourself

1:34:43

we had other targets on board the epsilon

1:34:45

pioneer oh

1:34:47

is that right believe

1:34:50

it or not we have files on basket crow and

1:34:52

macutcheon these things

1:34:54

seem to work like that certain

1:34:57

families get drawn into these matters as

1:35:00

you yourself know and

1:35:03

in truth so do I

1:35:07

oh is that right it's

1:35:09

all in the family is it you

1:35:12

what I want to know is how did you avoid

1:35:14

the guardians he just waved your american

1:35:16

possible atom or something yeah

1:35:19

something like that

1:35:21

it was locked mostly

1:35:23

and a few tricks up my sleeve I

1:35:26

can't say the same for the rest of the epsilon crew though

1:35:29

I still have a towel and sing

1:35:32

running but everyone else well

1:35:36

they didn't make it you know I really felt

1:35:38

crow and the others would bring you back I

1:35:41

guess neither of us saw the playbook involving

1:35:43

those things though the guardians

1:35:45

is that what you call them them

1:35:48

being out on the shore changed everything seeing

1:35:50

these caves the damage makes

1:35:53

sense to me now must have been you Brits with your

1:35:55

little Argentine war firing ship

1:35:57

to air miss the targets

1:35:59

Hit the cliffs

1:36:02

Release these guardians of yours Why

1:36:06

wouldn't they? These

1:36:09

things why wouldn't they just leave?

1:36:12

No simple as that They're bound

1:36:16

servants of our enemies turned servants

1:36:18

of ourselves But

1:36:20

I can feel one of them is stronger than the others the

1:36:22

leader he's been sitting there Dreaming

1:36:25

of escape that one can take the form

1:36:27

of a man, you know And he's getting

1:36:29

better at it all the time. I can feel that All

1:36:32

he needs is the right person all people to lead

1:36:35

him out. Keep your hands where I can see them

1:36:37

you sick

1:36:37

cultist fucker

1:36:43

But you're right

1:36:45

I feel it too

1:36:47

him

1:36:48

the leader

1:36:50

He tried to use Basker didn't he and the others

1:36:54

I don't think that worked for him

1:36:58

But if I know you Rothman you already

1:37:00

have a way off this island

1:37:02

You fix that back in 76

1:37:04

Is it a secondary boat a

1:37:07

cave on the eastern side? Maybe a

1:37:10

secondary what life

1:37:13

Yeah, I might have

1:37:16

Assuming the storms haven't smashed it

1:37:18

It's amazing how easy it is to make a secondary

1:37:21

boat disappear in a storm

1:37:24

Especially with a captain like wall cliff

1:37:27

too interested in his memoirs You're

1:37:30

resourceful Rothman. I'll give you that I'm

1:37:33

even impressed well You

1:37:36

take me to this boat of yours and I might put in a good

1:37:39

word with you with my bosses They

1:37:41

really like resourceful people. I Bet

1:37:45

they fucking do It's

1:37:47

not just a job to you Americans, isn't it? It's

1:37:50

a dirty one, but someone's got to do it You

1:37:54

have no idea no idea

1:37:57

what you're getting yourselves into You

1:38:00

have no clue. Dagon.

1:38:04

Hydra. The

1:38:06

world serpent is yawning wide

1:38:08

and you're playing spies and soldiers.

1:38:12

Oh, this is so far beyond your fucking

1:38:14

ken, mate. That

1:38:17

may be so rotten, but I'm

1:38:19

the one holding the gun. And

1:38:21

the one with an ace up its sleeve. Now

1:38:24

why don't you play nice and lead on? There's

1:38:28

plenty more moves left in the game

1:38:29

yet.

1:39:57

You