TEXT: 1 
   
   
  Alone Against 
  the Tide 
   
  A Solo Adventure for Call of Cthulhu 7th Edition
   
   
   
   
   
   
   
   
   
   
   
  Written by Nicholas Johnson 
   
  
  1 
   
  Credits and Acknowledgements 
   
  While I wrote this adventure entirely on my own, several people helped to make this 
  possible and to inspire me. There’s no way I could possibly list everyone who contributed 
  to my creative process, but there are a few people who were absolutely instrumental to 
  the completion of this project. First and foremost, I would like to thank Chaosium for 
  allowing authors like me to publish our work on the Miskatonic Repository so that we can 
  contribute to this wonderful game and the stories it allows us to tell. I would also like to 
  thank Gavin Inglis for writing “Alone Against The Flames,” which inspired this adventure. 
  Naturally, credit is also due to my illustrious playtesters Xander Korte, Mike and Ivy 
  Stryker, and Drebb. Last but not least, I would like to thank every one of you who said a 
  kind word to me during the creation of this and to everyone who downloads and read this. 
  Your support and appreciation means the world to me, and it motivates me to continue 
  working on things like this. If you wish to see more from me or further show your support, 
  I suggest checking out the links below.
   
  https://draconick.com/ 
  https://twitter.com/DraconickGaming 
  https://www.patreon.com/Draconick 
  http://www.digitalanddice.com/draconicks-den 
  https://www.twitch.tv/drac0n1ck 
  https://www.youtube.com/channel/UCPaFfkWIvm3uZXJ6Oqh6RJA 
  https://discord.gg/ajpksPF 
   
   
   
  Call of Cthulhu is a Trademark of Chaosium Inc. and is used with their permission via the OBS Community Content 
  program.  For more information please visit Chaosium’s website: www.chaosium.com The Miskatonic Repository 
  Logo is used under license.  
   
  [Alone Against the Tide] [©2018] [Nicholas Johnson] 
  
  2 
   
  Introduction 
  This is a solo adventure for the Call of Cthulhu, 7th 
  Edition roleplaying game. You are the main character 
  of this story, and your choices will decide the fate of 
  yourself and others. While most adventures for Call of 
  Cthulhu are designed for multiple players, this story is 
  intended for only a single player. 
  Before you begin play, you will need a set of 
  roleplaying dice, a pencil and eraser, a copy of the Call 
  of Cthulhu Seventh Edition Quick-Start rules and a 
  blank investigator sheet. Both the Quick-Start rules 
  and 
  the 
  investigator 
  sheet 
  are 
  available 
  at 
  www.chaosium.com. While you are encouraged to read 
  the Quick-Start rules and create your investigator prior 
  to starting the adventure, this is not strictly necessary. 
  You may equip your character as you see fit, though you 
  should refrain from bringing any weapons. This 
  adventure is designed to lead you through the basic 
  rules of character creation in Call of Cthulhu as you 
  play. If you’d prefer to simply start right away, a pre-
  generated character is included at the end of this 
  scenario. 
  Our story begins in the 1920’s in the lakeside 
  resort town of Esbury, Massachusetts. When you are 
  ready to begin, go to number 1. 
  1 
  The sun sinks low along the horizon as you board the 
  ferry headed across the lake to Esbury. As you step foot 
  on the boat, the ferryman greets you with a wide smile 
  and a halfhearted wave. He stands by the gangplank as 
  you pass, welcoming the other passengers as he 
  removes his cap to scratch at his balding head. His 
  pudgy figure fills his well-worn suit awkwardly, but he 
  seems a rather pleasant sort. Leaving the man behind 
  you, you take a seat towards the prow, eyes fixed on 
  your destination. 
  Go to 12. 
  2 
  You position yourself close to the men and tune your 
  ears to their conversation. “Between you and me, I 
  heard that most of these items are fakes. Outright 
  hoaxes and counterfeits, most of them. Harris was a 
  doddering old nut. He claimed that his findings 
  predate the earliest known records of Ancient India, 
  but that’s impossible. They’re completely inconsistent 
  with all of the other findings. And besides, there’s a 
  reason why he left the Miskatonic, if you catch my 
  meaning.” The other man nods his approval. “You 
  aren’t wrong. His findings aren’t properly supported by 
  evidence, yet he kept trying to publish his hogwash. I 
  imagine that’s why they had him resign. Still, at least a 
  few of the items might be authentic, so hopefully this 
  won’t be a total waste of time.” The first man shifts his 
  stance and lowers his volume slightly again, to where it 
  is just perceptible. “Maybe. And that monk over there 
  does seem to lend some sort of validity to your claim. If 
  an actual Indian wants them, perhaps something is 
  valuable here.” 
   
  Go to 17. 
  3 
  You take your first steps onto the pier with the rest of 
  the passengers of the ferry, trying to get your land legs 
  once again. The passengers are still chatting casually as 
  they walk off to their destinations. You note one last 
  little flirty wink from the full figured woman as she 
  struts 
  along 
  confidently 
  behind 
  the 
  women 
  accompanying her, and you feel the two dark-suited 
  men push past you at a brisk pace, nudging you out of 
  their way. Lance gives you one last wave and a smile as 
  he begins tending to the old rust-stained boat that is his 
  pride and joy. 
   
  The last light of the sun is fading fast over you, 
  and the fog is growing thick on the water now. The 
  night is still young, but you would rather not be 
  wandering around in the dark and fog of a town you are 
  unfamiliar with. Taking in your surroundings, you see 
  a sizable crowd jockeying for entrance into a lavish, 
  modern-looking building along the lakeside. A folding 
  sign sits out front, illuminated by a lantern. The words 
  “ESTATE SALE TONIGHT” are written in large, bold 
  letters. 
   
  While this seems to be a main attraction, you 
  could also seek out somewhere to stay for the night and 
  set about your work in the morning. 
   
  If you have not done so already, calculate your 
  secondary attributes as per page 8 of the Quick-Start 
  rules. 
   
  To visit to the Estate Sale, go to 15. 
   
  To find somewhere to stay for the night, go to 
  26. 
  4 
  You choose your words carefully before replying, not 
  wanting to give out sensitive information. “I’m working 
  a case here. I’m with the Police Department over in 
  Boston.” The ferryman scratches his head. “Boston, 
  huh? And they sent you all the way out here? I imagine 
  this has to do with Professor Harris’s death, but Officer 
  Powell has that handled I think.” The man shrugs and 
  flashes another smile. “Ah, but I suppose it’s not my 
  place to pry.” He extends his hand to you “I’m Lance 
  
  3 
   
  Sanford, by the way, I think we skipped the 
  introduction.” 
   
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  5 
  You call out to Joshua to explain himself, half expecting 
  that he will simply brush you off. Surprisingly, he turns 
  back to face you and steps towards you. 
   
  As he moves closer to you, you can once again 
  make out his features despite the fog. You can see now 
  that the man is visibly red and his eyes are bloodshot. 
  The man is clearly livid, and his hand launches beneath 
  his coat and produces a Colt M1911 and points it 
  directly at you while speaking in an agitated manner. 
   
  “What the hell is your problem?! I threaten 
  you and you come back for more?! Do you have a death 
  wish?! Leave Amelia alone! I’ve been about this far too 
  long for you to wander into town and ruin this for me!” 
   
  He shoves you back and levels the gun at your 
  face, looking you dead in the eyes with sweat on his 
  brow. He grits his teeth, panting and huffing for a 
  second before holstering the gun and bracing himself 
  against a nearby building. 
   
  “Get the hell out of my sight. If I have to look 
  at that goddam face for one more second I’ll put 
  another hole in it.” 
   
  You see no reason to further provoke the man, 
  and you hurriedly leave him where he was. 
   
  To press on to the Harris house, go to 55. 
   
  If you feel that this investigation is not worth 
  the risk and want to return to the motel, go to 122. 
  6 
  You feel that the information in the journal is essential 
  to your interests, and you cannot help but make a bid. 
  You place your paper with the others and hope that Mr. 
  Warren calls your name when the amounts are 
  compared. 
   
  Make a Credit Rating roll, if you succeed, go 
  to 100. If you fail, go to 14. 
  7 
  With no immediate threat to yourself, you are free to 
  explore the Harris household, though you do so quickly 
  in case someone is to come looking. Glancing about the 
  sitting room you are in, you find it to be a bit of a mess 
  from the earlier scuffle. 
   
  Glancing towards the entrance, you note the 
  foyer, filled with boxes and crates, many of which are 
  covered. You poke your head into the next room and 
  find a kitchen and adjacent dining room, both 
  spotlessly maintained, though sparsely furnished.  
   
  Peeking beneath the fabric in the entryway, 
  you find various furniture and décor, as well as stacks 
  and stacks of books. Many of them are historical texts 
  and reference materials, some of which are written by 
  Professor Harris himself. There is also a large number 
  of general works of science and literature, as befits any 
  well-educated man. 
   
  You place the cover back down, sensing that 
  you will find nothing of value here. You turn your 
  attention to the set of stairs that are positioned 
  opposite to the entrance. You ascend the staircase and 
  see two doors, one on either side of you. The door to 
  your left is slightly ajar, and is no doubt the bedroom. 
  By process of elimination, the door to your right must 
  be the study. The door seems to be locked, and your 
  earlier search of the house did not yield a key. With 
  enough time, you might be able to get the door open, 
  but it would probably be unwise to be at it for long, 
  since it’s entirely possible that Amelia or one of those 
  close to her may return. 
   
  To enter the bedroom, go to 123. 
   
  To enter the study, make a Locksmith roll. 
  If you succeed, go to 108. If you fail, go to 75. You may 
  push this roll (If you fail the initial roll, you may 
  attempt again, but if you fail, there will be greater 
  consequences.) If you fail the pushed roll, go to 87. 
  8 
  You look the idol over. It is made of a sea-green stone 
  and chiseled in the likeness of a water lizard. The 
  sculpture is grotesque and hideous, and the very 
  depiction of the serpentine creature unnerves you. 
  Still, the work is extremely well preserved and 
  unquestionably ancient. 
   
  You feel uncomfortable staring at the alien 
  looking thing for long, and you stow it away under the 
  bed and out of sight. 
   
  Go to 32. 
  9 
  
  4 
   
  You awake in the morning, grateful for the rest. You 
  rise from your bed and take in the modest 
  surroundings that make up your room. The furnishings 
  are sparse, a bad and small dresser, with a cramped 
  and dusty writing desk tucked in the corner. Sitting 
  atop the desk is a plate of eggs with toast, apparently 
  set out for you by the owner of the motel. The walls are 
  plain and unadorned, save for a single window which 
  faces towards the lake. However, this view is currently 
  blocked by the incredibly thick fog, which has taken on 
  a pale green hue. Your vision is obscured entirely, and 
  you cannot see into the depths of that outlandish green 
  mist. 
   
  You also notice your personal belongings 
  placed across the room, exactly as you had left them the 
  night before. 
   
  Go to 106. 
  10 
  You slip silently out of your cell and press low to the 
  ground. Powell is reading over his documents and 
  puffing away contentedly at his cigar, and he doesn’t 
  notice your escape. 
   
  After several tense minutes, you manage to 
  inch your way towards the entrance of the building. 
  You crack the door just enough to escape, and close it 
  behind you as you exit. 
   
  You are now standing amidst the darkness of 
  the fog. You note the last of the sun’s rays illuminating 
  the mist above you, but your vision is largely obscured 
  by the haze and the growing darkness. 
   
  Given your recent escape, it would not be wise 
  to linger here. You weigh your options. You could 
  address the problem head on by returning to the Harris 
  house to look for clues. You might also consider 
  returning to the motel to gather your thoughts. Or you 
  could simply put this all behind you and skip town. It 
  is too late and too foggy for the ferry to be operational, 
  but you know there are smaller side roads that wind 
  around the lake. You’d have to make the journey on 
  foot and in the dark, but an unpleasant option is still an 
  option. 
   
  To investigate the Harris house, go to 147. 
   
  To visit the motel, go to 122. 
   
  To abandon your investigation and leave 
  town, go to 124. 
  11 
  You step out into the greenish mist. You feel it clinging 
  tightly to you as you make your way outdoors and down 
  the short distance to the police station. 
   
  You enter the small brick building with a 
  sense of claustrophobia. The walls here are very close 
  together and space is tight. Crammed into the tiny one-
  room structure was a large desk, several filing cabinets, 
  a few chairs, and a closet-sized holding cell with iron 
  bars in the back of the room. Behind the large desk was 
  Officer Powell, smoking a cigar with his feet propped 
  up. His coat was unbuttoned and his hat lie on top of a 
  stack of papers, next to a battered old revolver. 
   
  He opens one eye at you and frowns, sighing 
  through his cigar as he straightens himself up to look 
  presentable. “If you’re bothering me right now, I’m 
  going to assume this is important. You mention that 
  you would like to see the police report for Professor 
  William Harris’s death, to which he replies with a 
  snort. “You have no business dealing with that, and 
  even if you did, this is my jurisdiction. Shove off and 
  leave me in peace.” 
   
  He does not seem cooperative, but perhaps 
  you could convince him that you have some special 
  circumstance that warrants you looking through his 
  files. 
   
  Make Fast Talk roll, if you succeed, go to 46. 
  If you fail, go to 101. 
  12 
  You settle into you seat with your thin briefcase resting 
  on your lap, and you notice that the rest of the 
  passengers are likewise getting comfortable for the 
  short trip across. Glancing around, you catch sight of 
  the ferryman entering the cabin. As you sit patiently 
  and wait for the engine to come to life, you listen to the 
  sounds of idle chatter around you. You look out across 
  the water and notice a thin fog beginning to form over 
  the surface of the water as the temperature drops with 
  the approach of night. 
  After a few minutes, you hear the engine 
  sputter into action and feel the ferry lurch forward to 
  make its journey. The conversations around you 
  continue on as the ferryman joins you all on deck. You 
  can’t but overhear most of the talk, though it is 
  surprisingly banal. There are almost a dozen 
  passengers on the ferry, and most of them are simply 
  looking to spend their money during the weekend in 
  Esbury to enjoy the various shops and leisure activities 
  of the lakeside town. Many of the passengers seem to 
  come from money, as is common in Esbury. 
  You notice a strange look from one of the 
  women in the group. She has brown hair and eyes, and 
  
  5 
   
  a full figure and she seems to be looking you over, 
  admiring your features. 
  At the top of your investigator sheet, you will 
  find spaces for eight characteristics: Strength (STR), 
  Constitution (CON), Power (POW), Dexterity (DEX), 
  Appearance (APP), Size (SIZ), Intelligence (INT), and 
  Education (Edu). If you have not done so already, use 
  the 
  following 
  values 
  to 
  allocate 
  among 
  your 
  characteristics: 40, 50, 50, 50, 60, 60, 70, 80. When 
  you have chosen which values to associate with each 
  characteristic, write the value in the large square beside 
  each characteristic. In the smaller boxes next to this, 
  write an amount equal to half of the characteristic value 
  and an amount equal to one fifth of the characteristic 
  value. If you need more information about what these 
  characteristics mean, consult page 6 of the Quick-Start 
  rules. 
  When you have done this, go to 80. 
  13 
  Banyu, the Buddhist monk, chats casually with you as 
  you walk through the fog. You both note that the light 
  is beginning to dim through the mists, and this 
  becomes the topic of conversation for a few minutes. “It 
  will be even harder to see soon. I would not like to be 
  about any longer than we must. This fog is most 
  unusual. Is this hue common here?” 
   
  You respond that the greenish color of the 
  mists is highly unusual, and he seems mildly 
  perturbed. “I have seen nothing like it at my temple in 
  India.” 
   
  The conversation continues like this for some 
  time, until finally you arrive at your destination. The 
  place in question is a small house located on the edge 
  of town, near the church. 
   
  Banyu informs you that he has no intention of 
  going inside, as he knows it may result in violence, and 
  he is opposed to physical conflict. He shoots you a 
  quick glance and then goes to stand by the church. 
   
  You try the door and find it unlocked. You 
  have no doubt that the men inside will be armed, so you 
  slip in quietly, hoping to avoid notice. 
   
  Make a Stealth roll. If you succeed, go to 165. 
  If you fail, go to 144. 
   
  Later, you may be prompted to visit Banyu if 
  you know the correct entry. At that time, you may go to 
  215. 
  14 
  You placed a modest bid on the journal, thinking its 
  unremarkable nature would prevent anyone from 
  paying anything resembling a large sum. Clearly, you 
  were mistaken, as another name was called, and a 
  bright eyed and blonde haired youth goes to claim the 
  book for a price that is noticeably more than your offer. 
   
  Go to 81. 
  15 
  You make your way toward the estate sale, pushing into 
  the crowd. Judging by the number of people packing 
  into the dance hall, this seems to be quite the event. 
   
  Most of the people here are well dressed, and 
  there is lots of jewelry and designer clothing to be seen 
  on the guests. You see a broad shouldered man in a 
  policeman’s uniform standing by the door. He has a 
  nightstick at his side and a scarred yet clean-shaven 
  face. His brow is furrowed in a serious expression and 
  he watches the commotion through narrow eyes. 
   
  As you mingle through the crowd of 
  academics and collectors, you notice a few other faces 
  that stand out in the crowd. 
   
  Most immediately, you spot a man in orange 
  flowing robes with dusky skin. He seems more than a 
  little out of place, and has garnered some odd looks 
  from the other guests. 
   
  Glancing around further, you happen to 
  notice the two dark-suited gentlemen from earlier, 
  standing in a corner toward the front of the room 
  talking to young and dark-haired man in a dated yet 
  elegant longcoat. His face has rather sharp features, 
  and he is of a slight build, with a thin wisp of a 
  mustache hanging beneath his nose. 
   
  And most prominently, there is a rather 
  attractive young woman standing on a stage at the front 
  of the room with a bespectacled old man. Long black 
  hair cascades down her shoulders, accentuating her 
  pale features and complementing her black formal 
  dress. Occasionally, she and the older gentleman peek 
  at objects that are beneath white sheets, waiting to be 
  displayed. 
   
  To mingle with the crowd of guests, go to 34. 
   
  To speak to the officer at the back of the room, 
  go to 88. 
   
  To approach the man in orange, go to 102. 
   
  To introduce yourself to the dark-suited men, 
  go to 60. 
   
  To make your way towards the stage and the 
  woman, go to 22. 
  
  6 
   
   
  To leave the hall and go find a place to stay for 
  the night, go to 26. 
  16 
  Your business here is completed. You see the crowd 
  staring covetously at the newly acquired items and you 
  happen to spot Amelia looking smug and satisfied with 
  a leather bag full of cash. Mr. Warren is beginning to 
  clear away the tables and Officer Powell stands by the 
  door and directs people out of the building and into the 
  ever-thickening fog. 
   
  Though some seem content to stay and 
  socialize, you feel that it would be best to bed down for 
  the night. 
   
  Go to 26. 
  17 
  You have begun gathering information in Esbury. 
  Would you like to interact some more? 
   
  You may now select another option from 
  those listed. Do not repeat a choice already selected. 
  Once you have chosen three options (or before, if you 
  are ready to move on,) go to 35. Note that selecting to 
  leave the hall will make you ineligible to make further 
  selections on this list. 
  To mingle with the crowd of guests, go to 34. 
   
  To speak to the officer at the back of the room, 
  go to 88. 
   
  To approach the man in orange, go to 102. 
   
  To introduce yourself to the dark-suited men, 
  go to 60. 
   
  To make your way towards the stage and the 
  woman, go to 22. 
   
  To leave the hall and go find a place to stay for 
  the night, go to 26. 
  18 
  You state that you’re an author working on a new novel 
  that you’ve been researching for some time. You 
  mention how you were planning to consult with 
  Professor Harris here in Esbury about some of the 
  historical background information for your writing. 
   
  The ferryman looks at you quizzically. 
  “Professor Harris? Didn’t you hear? He’s dead. About a 
  week ago. Officer Powell could tell you more. Or his 
  widow, Amelia. She’ll be hosting an estate sale for some 
  of the Professor’s things tonight. Poor thing, she really 
  needs the windfall, especially in a town like Esbury. 
  Might be you could pick up some of his notes for cheap 
  and do the research yourself.” The man shrugs, clearly 
  not wanting to dwell on buying the items of a dead 
  man. He extends his hand in a friendly gesture, trying 
  to change the subject. “I’m Lance Sanford by the way. 
  Pleasure to meet you.” 
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To ask about the widow Amelia, go to 89. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  19 
  Finally, you hear your name called, and your bid for the 
  Altar was found to be highest. You are now saddled 
  with a large and bulky item, easily the size of a 
  traveler’s trunk. Not unmanageable, but definitely 
  more than you’d prefer to lug around. Still, it is 
  surprisingly light considering the amount of gemstones 
  worked into the ancient wood. Naturally, those will 
  make it quite valuable, and the strange painted 
  scrawlings provoke your interest. 
   
  Reduce your Credit Rating by five. Go to 81. 
  20 
  Your instincts get the better of you and you feel 
  compelled to make your escape. You rise from your 
  seat, looking for suitable exits. The only way that does 
  not lead towards the entrance is to go through the 
  kitchen. You don’t know if there’s an exit that way, but 
  you think it’s worth a shot. 
   
  Unfortunately, you never get to take that shot. 
  As you rise and make it into the doorway of the kitchen, 
  Officer Powell bursts into the room, shouting. “Freeze! 
  Police!” You glance over your shoulder and see his 
  revolver leveled at you, and you go stiff. “You’re under 
  arrest for trespassing! You’re going to come with me. 
  Now.” 
   
  He has you dead in his sights, and talking 
  would do you little good as you were already caught 
  trying to flee the scene. You should probably do what 
  he says. On the other hand, you could try to run. The 
  odds don’t look good, staring down the barrel of a gun, 
  but maybe you like your chances better with the gun 
  than with the prison cell. 
   
  To go quietly, go to 65. 
  
  7 
   
   
  To make a run for it, go to 82. 
  21 
  As Joshua towers over you, fists raised in rage, an idea 
  crosses your mind. You pull up both of your feet and 
  drive them up into his chest, kicking him back with full 
  force. And sending him tumbling down the stairs. 
   
  You hear several thumps and thuds as Joshua 
  rolls down the stairs. When he reaches the bottom he 
  is sprawled out and clearly injured. His groans betray 
  his semiconscious state, and you walk over to him 
  confidently and with one final kick, send him over the 
  edge into unconsciousness. 
   
  Amelia is mortified at the sight, and she runs 
  out into the street, fleeing the scene. You quickly search 
  Joshua’s pockets and find his wallet, including his ID, 
  with an address. A search of his other pocket reveals a 
  house key. 
   
  Several options are immediately apparent. 
  You can continue searching the house, leave in pursuit 
  of Amelia, or make your way to Joshua’s home. 
   
  To search the Harris house, go to 179. 
   
  To chase Amelia, go to 136. 
  To search Joshua’s house, go to 151. 
  22 
  You make your way to the stage, navigating the dance 
  hall and around the many guests. Your eyes lock firmly 
  on the woman, and hers rise to meet yours as she looks 
  up from peeking at one of the objects on the stage. She 
  stops what she is doing as you approach. A smile 
  appears on her lips as she notices that she has caught 
  your eye. 
   
  Her left hand rests on her hip as you come to 
  stand at the foot of the stage. The old man behind her 
  continues his inspections, unaware or uncaring that 
  you have come to distract them. The woman leans over 
  the edge of the stage and down to you. You can see her 
  makeup has been painstakingly applied, despite her 
  status as a recent widow. 
   
  You clear your throat as you meet her gaze, 
  and promptly introduce yourself. She extends her hand 
  to you formally. “Well aren’t you a new face in town?” 
  She teases playfully. “We get those quite a bit here. No 
  doubt you plan to bid on some of my late husband’s 
  things. Good for both of us, I say. Just be sure to give a 
  good price for little old me, alright?” She winks slyly at 
  you. 
   
  You realize now would be a good time to get 
  some more information from the woman who might be 
  the most well informed regarding your interests. She 
  certainly seems like the flirty sort, and would probably 
  respond well to the same. 
   
  Make a Charm roll, if you succeed, go to 43. 
  If you fail, go to 57. 
  23 
  You mention the passing of distant colleague in Esbury 
  and how you’ve been sent by Miskatonic to recover his 
  work and bring it back to the university. 
  The man sighs and nods slowly. “You mean 
  Professor Harris. Real shame what happened to him. 
  Always seemed like such a nice man. Officer Powell 
  says they’re still cleaning up the mess at the professor’s 
  place. But some of the more valuable bits will probably 
  be at the estate sale tonight, if you’re really wanting at 
  it.” The man looks down at his hands for a moment, 
  and then back at you as he extends one your way. 
  “Anyway, I’m Lance. Lance Sanford. Pleased to meet 
  you, but I wish it were under better circumstances, eh?” 
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  24 
  You write a reasonable bid for the pair of brick 
  cylinders and place it in the box. Shortly after you do 
  so, Mr. Warren clears the box and begins checking the 
  bids. 
   
  Make Credit Rating roll at Hard difficulty 
  (success only at or below half of value). If you succeed, 
  go to 38. If you go to fail, go to 73. 
  25 
  The man dives at you and you attempt to throw yourself 
  out of his way, but you are not quick enough. The full 
  weight of his body slams down on you as you are 
  thrown out of the doorway and onto the brick of the 
  street. 
   
  You struggle and squirm for a minute before 
  the man chokes you out, and you slip into the black 
  depths of unconsciousness. 
   
  Go to 138. 
  26 
  
  8 
   
  While the estate sale still seems interesting, you would 
  feel more secure with a roof over your head for the 
  night. You pull someone out of the crowd and inquire 
  where you can find a room for the night. You are 
  directed a few blocks into town to find a modestly 
  priced motel a few buildings down from what is 
  apparently the police station. 
  As you enter in out of the cool night air, you 
  are greeted by the warmth of a burning fireplace. The 
  small front room feels stuffy and cramped. The bulk of 
  the space is dominated by the large service counter, 
  behind which sits a wiry looking wisp of a woman. She 
  turns her wide eyes to you and asks your name, and 
  then quotes you a price that’s more than fair. With the 
  transaction complete, you haul your thin briefcase up 
  the stairs, unpack it and settle into your room for the 
  night. 
   
  Go to 9.  
  27 
  The ferryman raises a questioning eyebrow at you. 
  “Professor Harris? I can’t say much really. I didn’t 
  know him all that well, but he seemed like a nice guy. I 
  was sad to hear that he died.” 
   
  You gently press for more information about 
  his death. Lance frowns, but answers your line of 
  inquiry. “Officer Powell says its suicide. I’m inclined to 
  believe him, but Professor Harris seemed happy 
  enough to me. More than content to relax in Esbury 
  like anyone else. In between his studies of course. 
  Ancient Indian history I think it was. I had coffee with 
  the professor a few weeks ago and he talked my ear off 
  about it. I couldn’t understand half of what the man 
  said, but he was quite excited by whatever it was.” 
   
  You exchange a few more pleasantries with 
  Lance before he goes off to finish guiding the boat into 
  port. You pass the time in casual conversation with the 
  other passengers and in observing the scenery. You 
  note the tall pines and the sloping hills on the lakeside 
  towards Esbury. These features and the small town are 
  just visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  28 
  You are well traveled enough to know that the two men 
  are concealing handguns at their waists. What they 
  could possibly need them for is beyond you, but their 
  concealed weapons and shady nature make you think it 
  isn’t good. 
   
  Before you turn to go, you think you catch a 
  glint of metal from beneath the folds of the young 
  man’s coat as well. This man might be likewise armed. 
   
  Go to 17. 
  29 
  The officer seems rather alert and vigilant. It would 
  probably be best not to bother him and let him do his 
  job. He clearly does not need or want your help in any 
  way. 
   
  Go to 17. 
  30 
  The ceremonial robe catches your eye, and you settle 
  on placing a bid. You sign your name on a paper with a 
  realistic price, and put your submission in with the 
  rest. You wait for Mr. Warren to call out the winner of 
  the robe. 
   
  Make a Credit Rating roll, if you succeed, go 
  to 52. If you fail, go to 48. 
  31 
  You nod sympathetically. This woman is clearly 
  uncomfortable talking about her deceased husband, 
  and anyone would want to put that behind them. You 
  pause for a moment trying to frame your next question 
  with a measure of sensitivity. 
   
  You open your mouth to speak, but you are 
  interrupted by a loud knock at the door. Amelia jumps 
  up startled and stands there for a moment in confusion, 
  and the pounding on the door resumes. “Police! Open 
  the door!” Amelia’s face drains white as she goes to the 
  door. 
  Your gut is telling you something is wrong here. You 
  feel uneasy about the officer at the door. You tell 
  yourself that you’re being irrational and on edge, but 
  you have some trouble fighting that feeling. You have a 
  few precious moments to react. 
   
  To ignore your instincts and wait, go to 47. 
   
  To take this chance to hide, make a Stealth 
  roll. If you succeed, go to 98. If you fail, go to 20. 
  32 
  A cursory inspection of your personal belongings reveal 
  that nothing is amiss. All of your possessions are just 
  as you left them. 
  
  9 
   
  While you are here looking things over, you 
  can take this opportunity to more closely scrutinize 
  certain items bought at the estate sale. 
  Alternatively, you may leave and go explore 
  elsewhere if your curiosity is satisfied. 
  After examining each item, you will be 
  redirected to this entry or given the option to proceed 
  as appropriate. If you have none of the items or are 
  done looking over your items, choose to investigate 
  elsewhere. 
  If you bought the Journal from the estate sale 
  and want to look it over, go to 74. 
  If you bought the Clay Cylinders from the 
  estate sale and want to look them over, go to 62. 
  If you bought the Altar from the estate sale 
  and want to look it over, go to 128. 
  If you bought the Idol from the estate sale and 
  want to look it over, go to 8. 
  To go to the police station, go to 11. 
  To go to the ferry, go to 153. 
  33 
  You tell the man that you are a doctor, sent by the 
  coroner to look into the death of Professor Harris. The 
  man nods slowly, mournfully. “Ah, that’s a bad 
  business. I liked the old man. Can’t say I know much 
  about his death though. You’ll want to talk to Officer 
  Powell about that. Or maybe his widow, Amelia. They’ll 
  probably be at that estate sale tonight. Without 
  Professor Harris around, she’ll need the extra windfall 
  if she plans to stay in Esbury. This place ain’t cheap.” 
  The man brushes his hand against his shirt and then 
  extends it to you. “My name’s Lance, by the way. Lance 
  Sanford. Good to meet you, but I wish it was under 
  happier circumstances.” 
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To ask about the widow Amelia, go to 89. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  34 
  Rather than single anyone or anything in particular 
  out, you feel it would be best to use your time to get a 
  general impression of things and speak to multiple 
  people to get their points of view. 
   
  Hearing the talk around the room, you come 
  to understand that most of the people who have 
  gathered here are merely using this as a social 
  gathering. However, there are a fair number of 
  academics and collectors here. Judging by the relative 
  wealth of the townsfolk, you imagine that there will be 
  a fair number of bids being placed on the items. 
   
  While walking amongst the guests, you 
  happen to notice a pair of men conversing in hushed 
  tones. They seem to be trying to avoid being overheard, 
  but a keen ear might be able to catch what is being said. 
   
  Make Listen roll, if you succeed, go to 2. If 
  you fail, go to 44. 
  35 
  The murmuring of the crowd dies down and people 
  begin to crowd around the stage as Amelia and the 
  older gentleman on stage call everyone to attention. 
   
  The widow strides confidently to the front of 
  the stage where the lights are centered. She flashes a 
  broad smile for the crowd and begins to speak. “Good 
  evening everyone! I’m so glad you all could make it 
  tonight. As you all know, my husband recently passed 
  and…well…” At this point, Amelia begins to tear up 
  theatrically on stage, so much so that her makeup 
  begins to smear and she produces a handkerchief to dry 
  her eyes before continuing. “Well…I’m very upset. I 
  miss my poor William very much, and I don’t know 
  what I’ll do without him. And that’s why I’ve brought 
  you all here tonight. I hope you all can find some use 
  for his collection, and I know that he would be happy 
  to see his things go to those who value them highly. I 
  hope that you show this poor widow a kindness by 
  finding something you like. But now, let us begin. I’ll 
  leave the auctioning to Mr. Warren.” 
   
  With her opening statement made, she moves 
  to stage left and allows a bespectacled old man, 
  presumably Mr. Warren, to take center stage. He clears 
  his throat before speaking. “Tonight, we have six very 
  ancient and very valuable items for sale from the estate 
  of Professor William Harris. Though exceedingly 
  strange, I have deemed the items to be authentic to the 
  best of my ability. On each table, I have placed a ballot 
  box next to the item for sale. If you wish to bid on an 
  item, simply write your name and the amount you are 
  willing to pay for it, and then place the slip in the box. 
  The item will be sold to the highest bidder. All of the 
  proceeds will go to the wife of the deceased.” With that, 
  Mr. Warren moves to the gathered items.  
   
  Go to 70. 
  
  10 
   
  36 
  You ask about Officer Powell, and Lance seems to give 
  you a guarded response. “He’s the law in Esbury. 
  Certainly knows what he’s doing, since he handles the 
  town on his own. Truth be told though, he can be a little 
  intimidating. He’s a big man, and not somebody you’d 
  want to find yourself on the wrong side of. I think he 
  gets it from his days in the War. I don’t have cause to 
  talk to him much though.” 
  You exchange a few more pleasantries with 
  Lance before he goes off to finish guiding the boat into 
  port. You pass the time in casual conversation with the 
  other passengers and in observing the scenery. You 
  note the tall pines and the sloping hills on the lakeside 
  towards Esbury. These features and the small town are 
  just visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  37 
  You blurt out a greeting, trying to make the stranger 
  feel welcome. His face contorts into a look of disdain, 
  and the man turns his back on you. You have clearly 
  upset him somehow, and he wants nothing more to do 
  with you. 
   
  Go to 17. 
  38 
  You muster together your patience and wait for Mr. 
  Warren to finish counting out the proposed sums to be 
  paid for the strange clay cylinders. Thankfully, your 
  patience pays off, and you soon find them in your 
  possession. 
   
  Reduce you Credit Rating by five. Go to 81. 
  39 
  You attempt to speak kindly to Amelia, trying to soothe 
  her from the frightening events that had just occurred. 
  Despite your best efforts, she appears inconsolable. 
  Between her sobs, she tries to offer a feeble 
  explanation. “It was Josh…h-he was only trying to h-
  help…” She continues crying, and seems to be lost in 
  her fear. 
  It does not seem that she will be much use to you at the 
  moment. 
   
  To search the premises go to 7. 
   
  To tie up Officer Powell in case he wakes up, 
  go to 68. 
   
  To tie up Amelia, go to 125. 
   
  To simply make good on your 
  escape, go to 111. 
  40 
  You take the hint and decide to leave them be before 
  they get truly angry. You turn back to the crowd and 
  search for another distraction. 
   
  Go to 17. 
  41 
  You choose your words carefully before replying, not 
  wanting to give out sensitive information. “I’m working 
  a case here. I’m with an investigative service in 
  Boston.” The ferryman scratches his head. “Boston, 
  huh? And they sent you all the way out here? I imagine 
  this has to do with Professor Harris’s death, but Officer 
  Powell has that handled I think.” The man shrugs and 
  flashes another smile. “Ah, but I suppose it’s not my 
  place to pry.” He extends his hand to you “I’m Lance 
  Sanford, by the way, I think we skipped the 
  introduction.” 
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  42 
  You ask Lance about himself and he beams a bright big 
  smile you way. “I’ve lived in Esbury for years, since 
  back before all the rich folk found the place and turned 
  it into their little vacation spot. My father owned the 
  ferry to and from the town, and he passed it on to me 
  when he got too old to do it himself anymore. I love it 
  here. I can’t imagine living anywhere else. The lake is 
  so clear and clean. I guess that’s why we get so many 
  visitors here. This place has definitely grown since I 
  was younger. Sometimes I miss the way things were 
  before, but I love Esbury all the same even now. You’ll 
  like it here too.” Lance winks at you. 
  You exchange a few more pleasantries with 
  Lance before he goes off to finish guiding the boat into 
  port. You pass the time in casual conversation with the 
  other passengers and in observing the scenery. You 
  note the tall pines and the sloping hills on the lakeside 
  towards Esbury. These features and the small town are 
  
  11 
   
  just visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  43 
  You take her hand in yours and bring it to your lips, 
  keeping eye contact with her as you do so. She giggles 
  lightly and her smile grows wider as she regards you 
  with interest. “My, aren’t you the charmer? If I weren’t 
  a widow, I’d be thrilled. But I still must mourn my 
  husband, you understand. He was a stuffy old goat and 
  obsessed with his studies. I have no problem selling his 
  things, mind you, but that’s because I need the money, 
  you understand. A girl like me gets used to a certain 
  standard of living, after all. But I can’t very well go 
  tramping after the first suitor who comes to replace 
  him. No matter how fetching.” She winks at you again 
  and rests her hand on your arm and lowers her voice to 
  a whisper. “But perhaps you could join me for a drink 
  later. I have a little bit set aside for good company. I 
  won’t tell if you don’t.” She seals the conversation with 
  a final wink and breaks off her touch, turning back to 
  the stage and the artifacts. 
   
  Go to 17. 
  44 
  You strain your ears trying to overhear the words of the 
  huddled pair, but the noise of the conversations around 
  the room drowns out what is said. 
   
  Go to 17. 
  45 
  You examine the items with a trained eye. The crown 
  and ceremonial robe are obviously authentic, and seem 
  fairly typical of what you would expect. They were in 
  great condition and would certainly fetch a good price, 
  though they were no rarer than any other antiquity. 
  Likewise, Professor Harris’s journal seems like it would 
  be of value to a scholar, though a few delicate cursory 
  page turns show that it contains personal accounts and 
  travelogues as well as historically relevant information. 
  This is likely a good source of information on Professor 
  Harris himself. 
   
  However, the other items present are 
  noticeably different. The altar and clay cylinders bear a 
  similar script, and the signs of wear and aging present 
  on them. Given this, they are unlikely to be 
  fabrications, but they do appear unlike more 
  traditional findings from ancient India. A close 
  inspection of the lizard idol leads you to believe it is 
  likewise verifiably authentic. Though the workmanship 
  is strange and unnatural and clearly unlike anything 
  you’ve seen from ancient India or anywhere else, it 
  does not bear any signs of work from modern tools or 
  styles either. 
   
  Go to 81. 
  46 
  You imply that you know the right sort of people that 
  might ask the wrong sort of questions if you didn’t get 
  access to that report. 
   
  You aren’t certain whether or not he believes 
  you, but you can tell it’s more trouble than he’s willing 
  to risk. With a look of irritation, he thumbs through the 
  stack of papers on his desk before handing you the file 
  you asked after. 
   
  According to the report, Professor Harris’s 
  death is officially a suicide. His death occurred at his 
  home address. He was up late one night in his study, 
  and he stuck a gun into his mouth and painted the 
  room red. His body was found the following afternoon 
  by his wife, Amelia Harris. There was no note left, and 
  no prior criminal history of the deceased, though the 
  gun found was unregistered. Overall, the report is dry 
  and minimalist. All requisite information is present, 
  but only to the barest standard of diligence. 
   
  Satisfied, you hand the file back to the officer, 
  who grumbles and tucks it away before clearing his 
  throat loudly and propping his feet back up. 
   
  You feel that you have been given a cue to 
  leave, and that Officer Powell will not likely be of much 
  further help. 
   
  To go to the Harris household, go to 90. 
   
  To return to the motel, go to 122. 
  47 
  You hear a muffled exchange of words in the other 
  room and within moments Officer Powell emerges into 
  the room with Amelia in tow. Powell’s thick brow knits 
  together in anger, and his voice conveys a serious 
  weight. His eyes bore into you. You glance down and 
  notice his revolver is drawn and aimed at you. “You’re 
  under arrest for trespassing. You’ve no business being 
  here. You’re going to come with me. Now.” 
   
  He doesn’t seem to be in a talking mood. It 
  would be unwise to refuse, given the firearm aimed 
  directly at you. Still, it might be better to take your 
  chances now than to rot in a cell. 
   
  To go quietly, go to 65. 
  
  12 
   
   
  To attempt an escape, make a Fighting 
  (Brawl) roll at Hard difficulty (success only at or 
  below half of value). If you succeed, go to 76. If you fail, 
  go to 82. 
  48 
  It would seem one of the other collectors here wants 
  this particular item more than you. The robe is sold for 
  a higher price than you expected, and to someone other 
  than yourself. 
   
  Go to 81. 
  49 
  You take a step towards Amelia and cock the hammer 
  on the revolver and level it towards her, adopting the 
  angriest expression you can muster. She shrieks and 
  cowers, falling to her knees. 
   
  “Please don’t hurt me! I’ll tell you what ever it 
  is you want! I’m sorry. I never meant for any of this. 
  Joshua sent that policeman after you. He has the law in 
  his pocket. Josh runs the bootlegging in Esbury, and he 
  cuts Powell in on the profits in exchange for looking the 
  other way and helping keep everything secure.” 
   
  She produces a handkerchief and dries her 
  eyes. “Josh protects me. He loves me. He has for quite 
  some time…” 
   
  You press further, inquiring about the nature 
  of their relationship, and how this relates to her 
  husband’s death. She stares back at you blankly and 
  takes a deep breath. “Josh and I have been intimate for 
  a few years. My husband was a good man, when he 
  wasn’t obsessing over his work. But he was sometimes 
  away for so long, and paid so much attention to his 
  books…I have needs. A woman my age shouldn’t be 
  neglected.  I met Josh over the whiskey. He bootlegs for 
  the whole town. One thing led to another and…” She 
  smiles, dabbing at the last of the tears in her eyes. 
   
  “We were happy, even with William around. 
  Recently though, Josh had been insistent that we get 
  him out of the picture so that we could be together. I 
  didn’t like it, but I agreed. I let Josh take care of it. I 
  just wanted it to be behind us and for us to be together. 
  I told him I wanted to sell everything and leave town. 
  Just the two of us. I think that was the first time I saw 
  him angry. He never said why.” 
   
  She looks down at her hands, trying to avoid 
  your gaze. “You don’t have to worry about anything. 
  We’ll leave town just as soon as you can. I suggest you 
  do the same.” She looks at Powell’s unconscious body 
  lying on the floor. 
   
   
  To search the premises go to 7. 
   
  To tie up Officer Powell in case he wakes up, 
  go to 68. 
   
  To tie up Amelia, go to 125. 
   
  To simply make good on your 
  escape, go to 111. 
  50 
  Despite the uneven terrain, you manage to keep your 
  footing. You fly over rock and root as fast as your legs 
  will carry you, and you cover much ground in a short 
  amount of time. 
   
  Unfortunately, this reckless speed at which 
  you are travelling, combined with the fog and cover of 
  night, prevents you from noticing the ground giving 
  way to a cliff edge beneath your feet. As your 
  momentum carries you forward over the edge, you see 
  a tree several feet out from the cliff face. It is too late to 
  stop the fall, but perhaps you can control the landing. 
   
  Make a Jump roll. If you succeed, go to 167. 
  If you fail, go to 232. 
  51 
  You pick a path and head down it, figuring that your 
  odds are equally as good to be right or wrong here. As 
  you continue walking in the mists, you notice the haze 
  becomes even more obscuring, that the light fading and 
  the hint of darkness is compounding the lack of 
  visibility. 
   
  You notice the trail take a winding way at this 
  point, and rises steeply in elevation. You take this as a 
  good sign, since it means you are farther from the shore 
  of the lake. While you are smiling at your good fortune, 
  you fail to spot the muddy patch of ground that causes 
  you to slip and go tumbling towards the edge of a cliff. 
   
  Make a Climb roll. If you succeed, go to 174. 
  If you fail, take 1d6 damage and go to 139. If this 
  damage kills you, you have fallen to your death and this 
  is The End. 
  52 
  The Brahmin’s robe is yours. Mr. Warren spent more 
  than a few minutes looking over the offers, but 
  ultimately, it was your name that he called. You claim 
  your prize and fold it away into your briefcase for 
  safety. 
   
  Reduce your Credit Rating by two. Go to 81. 
  53 
  
  13 
   
  The vase hits you squarely in the chest, shattering on 
  impact. The broken shards fly around you, some 
  cutting into you. You are sent off balance and tumble 
  to the floor for just a moment. 
   
  Seizing this opportunity, Amelia runs out the 
  door as fast as her legs will carry her, calling for help as 
  she does so. 
   
  You could chase after her, or you can take this 
  chance to explore the empty house. The choice is yours. 
   
  To explore the house, go to 7. 
   
  To chase after Amelia, go to 141. 
  54 
  You ask about Professor Harris’s death, and how it 
  came to happen, fearing that you already know the 
  answer to your inquiries. Amelia takes a deep breath 
  before answering “Joshua killed him.” 
   
  You press further, inquiring about the nature 
  of their relationship, and how this relates to her 
  husband’s death. She stares back at you blankly and 
  takes a deep breath. “Josh and I have been intimate for 
  a few years. My husband was a good man, when he 
  wasn’t obsessing over his work. But he was sometimes 
  away for so long, and paid so much attention to his 
  books…I have needs. A woman my age shouldn’t be 
  neglected.  I met Josh over the whiskey. He bootlegs for 
  the whole town. One thing led to another and…” She 
  smiles, looking lost in thought. 
   
  “We were happy, even with William around. 
  Recently though, Josh had been insistent that we get 
  him out of the picture so that we could be together. I 
  didn’t like it, but I agreed. I let Josh take care of it. I 
  just wanted it to be behind us and for us to be together. 
  I told him I wanted to sell everything and leave town. 
  Just the two of us. I think that was the first time I saw 
  him angry. He never said why.” 
   
  She looks down at her hands, trying to avoid 
  your gaze. “You don’t have to worry about anything. 
  We’ll leave town just as soon as you can. I suggest you 
  do the same.” 
   
  She looks at you one last time and frowns. “I 
  may not have loved him especially, but I don’t want to 
  discuss my late husband’s death any further. If you 
  simply must dig into it further, feel free to search my 
  home. I left the door unlocked, so it shouldn’t give you 
  any trouble. Now leave me alone.” She stands and 
  walks over to the altar to pray, kneeling and forgetting 
  your presence. You take your cue to leave. 
   
  To continue on to the Harris house 7. 
   
  To visit the motel, go to 122. 
   
  To abandon your investigation and leave 
  town, go to 158. 
  55 
  Despite Joshua’s urgings, you feel compelled to speak 
  to Amelia yourself. You approach the front of the house 
  and note your surroundings. 
  The exterior of the place hints at the wealth of 
  the occupants, but then again, so do most of the houses 
  in town. Directly across from the building is a small 
  church, and the religious iconography of the building 
  seems to have inspired Harrises in the design of their 
  own home. A bronze cross hangs over the front door, 
  and decorative columns line the outside walls of the 
  two-story house. All in all, the architectural style is 
  somewhat baroque, complete with a pair of carved 
  angels lounging beneath the roof that are just visible 
  through the strange haze. 
   
  You knock on the door and wait in the mist for 
  a few moments, hoping for someone to hear your 
  knocking. Eventually, you are relieved to find the 
  widow Amelia answering the door. She is wearing a 
  bright red dress, which accents her deeply crimson 
  lipstick. She appears to have taken great care of her 
  appearance, and had abandoned the more modest look 
  of the night prior. She flashes you a smile and invites 
  you inside. The house opens into a large foyer, and you 
  see various crates and bundles stacked high along the 
  walls. “Just selling off a few of the more common 
  things. Mind the mess, the porter hasn’t come for it 
  yet.” She takes you by the hand to lead you over the 
  stacks of items, helping you to pick your way through 
  the assembled possessions of the deceased Professor 
  Harris. She takes you into a small drawing room with 
  antique furniture and offers you some coffee. 
   
  After settling in, and exchanging a few well-
  mannered pleasantries, you ask in more detail about 
  the late Professor Harris. 
   
  Amelia sighs theatrically and looks down at 
  her hands. “I can’t imagine what you want to know 
  about William. I found him in his study with the gun 
  still in his mouth. What more could you want to know?” 
   
  Make a Psychology roll, if you succeed, go to 
  126. If you fail, go to 31. 
  56 
  You exchange a few more pleasantries with Lance 
  before he goes off to finish guiding the boat into port. 
  You pass the time in casual conversation with the other 
  passengers and in observing the scenery. You note the 
  tall pines and the sloping hills on the lakeside towards 
  Esbury. These features and the small town are just 
  
  14 
   
  visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  57 
  You manage a smile and stumble through a 
  compliment, and the woman laughs. “Oh my, well 
  aren’t you the nervous sort? Don’t know what to say to 
  a pretty woman like me? That’s quite alright. I wouldn’t 
  have you anyway. You’re welcome to stay for the sale 
  though. I might like you better as a buyer.” She winks 
  and turns around, walking back to her place on the 
  stage. 
   
  Go to 17. 
  58 
  You decide to place a bid on the crown, and affix you 
  name and a suitable price to a slip of paper, which finds 
  its way into the box. You wait patiently for Mr. Warren 
  to announce the highest bidder. 
   
  Make a Credit Rating roll, if you succeed, go 
  to 64. If you fail, go to 94. 
  59 
  Mr. Warren takes his time mulling over the names and 
  figures before calling out the name of a “Dexter James.” 
  One of the dark-suited men from earlier comes forward 
  to claim the altar. 
   
  Go to 81. 
  60 
  You approach the huddled group and introduce 
  yourself to them, stating that you recognize them from 
  the ferry. The two men from earlier appear annoyed at 
  your presence, and are visibly irritated. “Scram man, 
  we don’t know you. You got nothing to do with us.” The 
  third man with them seems likewise bothered, and 
  frowns at your intrusion. 
   
  They certainly make you feel unwelcome. 
  Ignoring you in the hopes that you will leave, the two 
  men in suits turn their backs to you. You see the jacket 
  of their suits shift oddly, as if ill fitting. 
   
  Make a Spot Hidden roll, if succeed, go to 
  28. If you fail, go to 40. 
  61 
  You glance over the items, but you do not have an eye 
  for antiquities. As near as you can tell, everything is as 
  it appears to be and as Mr. Warren claimed. 
   
  Still, as you look over the notebook, you notice 
  that it contains personal accounts as well as academic 
  findings. It would likely be a good source of 
  information regarding Professor Harris. 
   
  Go to 81. 
  62 
  You turn the hardened clay cylinders over in your 
  hands, your eyes falling on the large cracks running 
  through the pair of items. The solid construction of 
  these things has led to the survival of the objects 
  throughout the ages, despite damages to them. 
   
  The next most obvious quality is the strange 
  writing that is plastered across the side of these 
  artifacts. It is quite remarkable in that they do not 
  resemble any language known to you. Unfortunately, 
  you have no way of translating them. 
   
  Go to 32. 
  63 
  “I’m a reporter with the Boston Gazette, some 
  professor died out here recently, and I’m supposed to 
  gather details for the obituary.” The man nods 
  solemnly. “You mean Professor Harris. Real shame 
  what happened to him. Always seemed like such a nice 
  man. Officer Powell says they’re still cleaning up the 
  mess at the professor’s place. Can’t say I know much 
  about his death though. You’ll want to talk to Officer 
  Powell about that. Or maybe his widow, Amelia. They’ll 
  probably be at that estate sale tonight.” The ferryman 
  looks down at his hands and then extends one towards 
  you. “My name’s Lance Sanford, by the way. Let’s just 
  put that grisly business behind us for now and enjoy 
  the water, eh?” 
  To inquire about Professor Harris, go to 27. 
   
  To inquire about Officer Powell, go to 36. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To ask about the widow Amelia, go to 89. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  64 
  
  15 
   
  You pay a considerable sum, but the Indian crown is 
  now yours. You smile with satisfaction as you tuck the 
  ring bronze headpiece within your briefcase. 
   
  Reduce you Credit Rating by two. Go to 81. 
  65 
  The officer is armed and angry, so you decide it is 
  probably best not to resist. You are escorted out of the 
  house at gunpoint and into the sickly green fog. Amelia 
  neither says nor does anything as you pass. She simply 
  stares at you as you go. 
   
  On the street, just outside of the Harris 
  property, you spot Joshua, grinning madly. His eyes 
  meet yours and his smile gets just a bit wider. He put 
  Officer Powell up to this. He’s not even trying to hide 
  it. That still doesn’t explain why, but at least you can 
  know for a certainty that Joshua is not friendly to you, 
  and that he has Powell in his pocket. 
   
  You mull this over as you are marched 
  through the misty streets and taken to the police 
  station. You are ushered into the dim and dingy room, 
  and shoved into a closet-sized cell on the far wall. 
  Officer Powell turns the key in the lock, and you are 
  sealed in the cell. The officer settles into his seat and 
  pays you no further mind, as he begins puffing on a 
  cigar. 
   
  He seems to have no intention of letting you 
  go any time soon. 
   
  To wait the night in the cell, go to 84. 
   
  To attempt an escape, make a Locksmith 
  roll. If you succeed, go to 107. If you fail, go to 84. 
   
  To try to convince him to let you out, make a 
  Fast Talk roll. If you succeed, go to 127. If you fail, go 
  to 84. 
  66 
  The mention of an estate sale grabs your interest and 
  you ask for some more information, and Lance obliges. 
  “Amelia Harris is selling off some of her late husband’s 
  collection. She’s could use the money and doesn’t really 
  have an interest in that ancient Indian stuff that the 
  professor studied. But some folks do. Collectors, 
  academics, that sort of thing. She put the word out for 
  it a few days after her husband died. People have been 
  trickling in for it the past few days. If you’re looking to 
  get your hands on something, it’s going on tonight at 
  the dance hall by the pier.” 
   
  You exchange a few more pleasantries with 
  Lance before he goes off to finish guiding the boat into 
  port. You pass the time in casual conversation with the 
  other passengers and in observing the scenery. You 
  note the tall pines and the sloping hills on the lakeside 
  towards Esbury. These features and the small town are 
  just visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  67 
  Not wanting to take any chances with your freedom, 
  you slip quietly out into the mist. As you step out onto 
  the stone pavement outside, you turn your collar up, 
  hoping it might provide you some semblance of 
  anonymity. You begin walking down the street at a 
  brisk pace, hoping to put some distance between 
  yourself and the Harris house. 
   
  You continue on the path for a short distance 
  when you hear the sound of heavy footsteps approach 
  you. Thanks to the thick fog, you do not think you have 
  been spotted. You quickly duck into a nearby alley to 
  let the traveler pass. The man passes by you at a quick 
  jog, cursing under his breath. You recognize the voice 
  of Joshua, and you feel certain that he is connected to 
  your attempted arrest. 
   
  Still, you realize that you don’t have many 
  options to deal with that right now. With the law after 
  you and this damnable fog keeping you from leaving on 
  the ferry, the best thing you can do is head back to the 
  motel and either lie low there or figure out what your 
  next move is. 
   
  Go to 122. 
  68 
  You consider that the officer is merely unconscious, 
  and not restrained, and that should be remedied before 
  he comes to. You pull down a curtain from the window, 
  letting the sickly green light of the sunlit fog into the 
  room. You take the length of fabric and bind Officer 
  Powell’s hands. It is crude, but it will have to suffice. 
   
  As you are finish securing the knots, Amelia 
  suddenly lunges for a vase sitting next to her and hurls 
  it at you. 
   
  Make a Dodge roll. If you succeed, go to 91. 
  If you fail, take 1d4 damage and go to 53. 
  69 
  Joshua removes the blade from your face, and walks 
  across the room. He lifts the hideous idol from its spot 
  amidst the dusty relics and places it on the floor before 
  
  16 
   
  you as you struggle in vain against the thick ropes that 
  bind you. 
   
  You glance at the grotesque statue, and then 
  fix your gaze on Joshua as you squirm and twist 
  beneath the ropes. He smiles with wicked glee as he 
  places the blade against your flesh once more. The cold 
  metal rests against your throat, and Joshua locks eyes 
  with you. 
   
  His eyes seem to glaze over as speaks, and he 
  begins speaking in strange tongue. “Grah'n y'hah ngnw 
  ronog Bokrug stell'bsna, phlegeth ep throd ron.” He 
  speaks each syllable with a slow and monotonous tone, 
  as if he is focusing on the sound of the words very 
  carefully. 
   
  As the last sound passes his lips, Joshua takes 
  the knife and presses it sharply into your neck. With a 
  single, smooth motion, Joshua slits your throat as you 
  struggle helplessly. 
   
  As you are swiftly bleeding out, your eyes 
  perceive impossible visions. The world before you 
  melts away and you and is replaced by a shining city of 
  marble, onyx, and lustrous gems. You see this 
  magnificent city in all its splendor, sitting next to a 
  placid lake. And then it is gone in an instant. The water 
  rises up to swallow it and from the water rises the 
  serpent of the idol, given life and power. The being eyes 
  you with malicious sentience as the waters rise and 
  consumes you. 
   
  Your story is over. You have been offered up 
  as a sacrifice to one of the Great Old Ones. The End. 
  70 
  Mr. Warren approaches the first table and removes the 
  cloth covering to reveal an odd pair of clay cylinders 
  with strange etchings on their sides. They are small and 
  seem quite fragile, with large cracks running down the 
  sides. 
   
  Mr. Warren proceeds to the next table and 
  likewise uncovers the item in question. This item is 
  significantly larger and more ornate. It appears to be 
  some sort of altar or reliquary, decorated heavily with 
  yellow-green gemstones. However, there was one 
  similarity with the first item, and it was the presence of 
  the strange written characters, though the ones on this 
  altar seemed to have been painted on. 
   
  The old scholar turns to the next item in 
  question and displays it for all to see. A heavily 
  decorated crown of solid bronze, wrought in the image 
  of a Hindu god. 
   
  The next item is certainly the most mundane. 
  A large, thick, leather-bound journal that appeared 
  well worn and beaten, with several loose papers 
  jammed between the pages. Mr. Warren senses the 
  confusion of some of the assembled, and he clarifies 
  that the notebook is the assembled personal works and 
  studies of Professor Harris. 
   
  What follows is a well preserved ceremonial 
  robe of a Brahmin priest. The cloth is a pure white. 
   
  The last item is perhaps the strangest of all. It 
  is a small statue or idol, presumably of one of the 
  infinite many deities of ancient India. It is made from 
  blue-green stone in the shape of a rather grotesque 
  lizard or serpent, and the craftsmanship is crude and 
  gaudy, so much so that it appears fake. 
   
  People begin moving among the items, 
  looking them over and conversing quietly. 
   
  Make either an Appraise or Archeology 
  roll, if you succeed, go to 45. If you fail, go to 61. 
  71 
  “I’m here on pleasure, not business.” You smile at the 
  man and he smiles back. “Like so many others then, 
  eh? Can’t say I blame you, Esbury is a nice little place. 
  Lots to do here on the lake. Boating, fishing, 
  swimming. And there’s some camping to be had on the 
  other side of town. There’s also a nice dance hall close 
  to the pier. But that will be closed for the night, what 
  with that estate sale of Professor Harris’s things going 
  on. That might interest you too, if you have a little extra 
  money you’re looking to spend.” The man pauses for a 
  moment, as if unsure of what to say, then finally 
  extends his hand and smiles warmly. “I’m Lance 
  Sanford, by the way. It’s a pleasure.” 
  To inquire about Professor Harris, go to 27. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  72 
  You recognize the man’s style of dress to be that of a 
  Buddhist monk. You stop yourself from speaking and 
  bow a customary greeting, to which the monk smiles 
  and returns the gesture before speaking in heavily 
  accented, but fluent English. “It is good to see one here 
  with such respect for our customs. I am Banyu.” His 
  expression turns to a frown as he makes a sweeping 
  gesture to the rest of the room. “The rest here seem to 
  only seek to profit from my culture. Selling the items of 
  my ancestors is most shameful.” You respectfully 
  question why he would come such a long way to witness 
  
  17 
   
  such a thing, and he sighs before turning back to you. 
  “I have come with what money my temple can gather 
  so that I might save a certain few of the artifacts. Ones 
  that your Professor Harris stole from my temple in 
  Sarnath when he came to visit some years ago.” The 
  monk seems troubled, and becomes silent. He bows a 
  farewell, and you take the cue to leave. 
   
  Go to 17.  
  73 
  Though you wished to buy the curious clay cylinders, it 
  would appear someone placed a higher bid. You hear 
  Mr. Warren announce the name of an “Arthur Duncan” 
  and see one of the dark suited pair approach to take the 
  item from him. 
   
  Go to 81. 
  74 
  Though you glanced at the notebook during the estate 
  sale, you have not had time to look it over in length 
  until now. 
   
  Looking through the book, you become deeply 
  engrossed and spend the next few hours in study. Your 
  time spent yields valuable information. Professor 
  Harris made several trips to India, starting about 12 
  years ago. During this time, he went to multiple sites to 
  make observations and recover artifacts. His longest 
  and most profitable trip appears to be ten years ago 
  during an excursion to Sarnath, India, where he writes 
  about lifting several items from an active Buddhist 
  shrine. Apparently, Professor Harris had some regret 
  about this theft, but he could not resist having the 
  artifacts for his personal studies. The description of the 
  items that he came across in Sarnath match some of the 
  items at the estate sale last night. The clay cylinders, 
  gemstone altar, and the serpentine idol are all 
  described in detail in the entries related to his trip to 
  Sarnath. 
   
  These items appear again throughout his 
  journal after that. Apparently he has been studying 
  these items the past ten years, and developed 
  something of a fixated obsession with them. The idol 
  was something that initially caught his eye, and the 
  depiction of the great and grotesque water lizard 
  matches no description of any known Hindu deity. 
  Hoping to find clues to this, Professor Harris set about 
  trying to translate the mysterious script on the 
  cylinders and the altar. In doing so, he met with 
  significant difficulty, as the text was only barely 
  recognizable as an archaic dialect of a pre-Sanskrit 
  language. The process was slow and painstaking until 
  about a year ago. 
   
  At this time, Professor Harris writes of having 
  a strange and enlightening dream. He reports walking 
  among the ancient world from whence these items 
  originated. A grand city of marble walls and onyx 
  streets, of bronze gates and marvelous palaces and 
  gardens. He writes of visiting the seventeen tower 
  temples of this ancient city and meeting the bearded 
  gods who dwelled here and sat upon their ivory 
  thrones. In his writing, he calls the strange place 
  Sarnath, despite the sheer impossibility of this. He 
  claims that among the temples he learned the secrets 
  of the ancient writing. 
   
  His next entry goes on to describe the odd 
  cylinders 
  of 
  clay 
  as 
  the 
  “Brick Cylinders 
  of 
  Kadatheron,” though he still had not yet identified the 
  other objects. The next few pages are torn from the 
  journal. 
   
  The entries resume with more mundane 
  matters, though there are still references to the 
  artifacts from time to time. The more recent entries in 
  the journal speak of Professor Harris’s daily studies 
  and living with Amelia. It is clear that he cares about 
  her deeply from the way he writes about her, but he 
  laments that his studies keep him from spending the 
  time with her that he would like. Instead, he has been 
  lavishing her with gifts and money, which she was all 
  too happy to accept. He notes that Amelia had never 
  been happier despite the distance between them. 
   
  The last entry to catch your eye is dated a little 
  over a week ago. Apparently, the pages torn from his 
  journal went missing only recently. Professor Harris 
  expresses deep concern at this as there were no signs of 
  forced entry to his study and only he and Amelia had 
  access to it, though he was sure he had not removed 
  them from the journal himself. 
   
  You finish your reading by glossing over the 
  last week of the Professor’s life, which is rather 
  uneventful and peaceful beyond his continued 
  obsession with the artifacts and his occasional worries 
  about Amelia. 
   
  Go to 32. 
  75 
  Try as you might, you are unable to get the door open. 
  No manner of fiddling with the lock will get it to budge. 
  You even resort to force by attempting to throw your 
  weight against the door. 
   
  With a sigh of resignation, you abandon your 
  task. 
   
  Go to 140. 
  76 
  
  18 
   
  Officer Powell is a large man, and armed. He is 
  experienced in dealing with people resisting arrest, and 
  the scars on his face hint that he has seen his fair of 
  fights. 
   
  Still, you’re not willing to be arrested. It’s 
  dangerous and desperate, but all you need is one good 
  hit. One solid blow to lay him out. 
   
  You tense up and swing, throwing all of your 
  weight into the blow. The gun goes off, blowing a hole 
  in the wall behind you as he reflexively tries to block 
  the blow with his hands. He is not quick enough to stop 
  you. A heavy thump on the side of the head sends 
  crashing to the floor. 
   
  Amelia shrieks in fright and surprise as the 
  lawman collapses. You quickly scoop up his revolver 
  and arm yourself with it. You turn your gaze on her as 
  she cowers in the corner, her face drained of all color. 
   
  With the threat of arrest removed for the 
  moment, you have ample opportunity to continue your 
  investigation. Being suitably armed opens up a few 
  more options as well. 
   
  To solicit information from Amelia at 
  gunpoint, make an Intimidation roll. If you succeed, 
  go to 49. If you fail, go to 99. 
   
  To attempt to calm Amelia down, make a 
  Persuade roll. If you succeed, go to 85. If you fail, go 
  to 39. 
   
  To search the premises go to 7. 
   
  To tie up Officer Powell in case he wakes up, 
  go to 68. 
  To simply make good on your escape, go to 
  111. 
  77 
  You take a knee and begin twisting the combination 
  lock slowly, listening for the sound of the clicks and 
  feeling for the slight stopping of the dial with a 
  successful guess of the number. You repeat this process 
  a few times, and the door of the safe swings open with 
  a barely perceptible creak of metal. 
   
  The contents of the safe are fairly sparse. 
  There are a stack of documents on the bottom. 
  Passports, 
  birth 
  certificates, 
  identification 
  and 
  financial papers. They’re tied to both Amelia and 
  William Harris, so it appears as if this safe hasn’t been 
  opened since his death. There is also a solitary gold bar 
  sitting off to one side. Considering the trouble you went 
  through to get to this point, you place the gold bar in 
  your pocket as compensation. 
   
  At least now you wouldn’t be leaving empty 
  handed. Satisfied, and with nothing more to see in the 
  room, you leave it behind and move on. 
   
  Go to 140. 
  78 
  You don’t want to take any chances with a man like this. 
  You draw your handgun and fire a round off into the 
  man’s back. It tears through him, and blood begins to 
  ooze from his wound. He looks down at his wound and 
  then up at you as the blood loss gets to him, and he 
  sinks to the ground in a puddle of his own blood. 
   
  The monk before you looks mortified, and his 
  orange robed are splattered with a noticeable amount 
  of blood. He immediately reaches into the folds of his 
  robes and begins fingering his mediation beads for 
  comfort from the sight of such brutal violence. 
   
  He calmly but sternly speaks to you, with his 
  eyes closed. “The man was misguided, but he did not 
  deserve to die. Go. Leave from here.” 
   
  This isn’t necessarily the reaction you 
  expected, but his tone seems to give no room for 
  discussion. You holster your weapon and exit into the 
  lobby of the motel. The woman who owns the 
  establishment takes your hand and shakes it. “I guess 
  you did what had to be done. It’s not pleasant, but I 
  doubt you were left with any other choice.” She pauses 
  for a moment, running a hand through her graying 
  hair. “If you’re looking for the other one, I think I heard 
  him say something about going down to Joshua’s place 
  by the church. He might be involved in some way, so be 
  careful. I might start there.” 
   
  With no other leads, you take her advice and 
  step out into the haze, walking briskly towards the far 
  end of town. 
   
  Go to 160. 
  79 
  You rush outside, hoping to catch a trace of thief. As 
  you exit the motel, you are immediately struck by the 
  lack of visibility. The fog seems to have grown thicker, 
  and although you aren’t certain, it seems as if the sun 
  might be sinking lower toward the horizon. In the 
  green and dusky haze, you pause a moment to listen, 
  knowing that your sight will prove useless here. 
   
  The town is still and quiet. There is nobody 
  out and about near you. No footsteps, no automobiles, 
  no voices. You strain you ears and focus, entering a 
  near meditative state, focusing only on the sounds of 
  your surroundings. 
  
  19 
   
   
  Make a Listen roll. If you succeed, go to 114. 
  If you fail, go to 131. 
  80 
  Clearly she finds something in you that she likes. 
  Perhaps it is your looks, or a glint of intelligence in your 
  eyes. She gives you a sly wink before turning back to 
  her companions. You likewise turn your attention back 
  to the rest of the passengers. 
   
  Sitting apart from the general crowd are two 
  men in dark, well-tailored suits. They whisper quietly 
  to each other and have unamused expressions on their 
  faces, as if they don’t seem pleased to be here. Perhaps 
  they are on business. Noticing that you are sitting 
  alone, the ferryman approaches you and stands over 
  you with his characteristic smile, and you notice he is 
  missing a tooth in the upper left corner of his mouth. 
  His eyes are bright and they light upon you. 
  “Good afternoon! You look a bit lonely there, 
  friend. What brings you to Esbury?” 
  If you have not already chosen an occupation, 
  now is the time to do so. This list of occupations can be 
  found on page 9 of the Quick-Start rules. Be sure to 
  choose you occupation and personal skills, making 
  certain that you add the base modifiers listed on the 
  investigator sheet, noting half and fifth values as well. 
  If you are an Antiquarian, go to 104. 
  If you are an Author, go to 18. 
  If you are a Dilettante, go to 71. 
  If you are a Doctor of Medicine, go to 33. 
   
  If you are a Journalist, go to 63. 
  If you are a Police Detective, go to 4. 
  If you are a Private Investigator, go to 41. 
   
  If you are a Professor, go to 23. 
  81 
  You notice that you are not the only one looking over 
  the items with such interest. The monk appears to be 
  closely scrutinizing the stranger items as well, and the 
  dark suited gentlemen from earlier appear to have 
  taken a liking to the curious idol. Apart from this, 
  various other guests wander amidst the items, 
  occasionally fixating on one in particular. There are 
  many guests, and a fair number of bids being placed. 
   
  If you would like to bid on any of the items, 
  now is the time. You will be redirected to this entry 
  after each choice, and you may choose to bid on any 
  number of items. Please make each choice only once, 
  and please note that each successful bid will lower your 
  Credit Rating for future bids. 
   
  To bid on the Clay Cylinders, go to 24. 
   
  To bid on the Altar, go to 103. 
   
  To bid on the Crown, go to 58. 
   
  To bid on the Journal, go to 6. 
   
  To bid on the Ceremonial Robe, go to 30. 
   
  To bid on the Strange Idol, go to 92. 
   
  If you are unable or do not wish to bid on any 
  further items, go to 16. 
  82 
  You eye the barrel of the gun, weighing your chances. 
  It doesn’t look good, but you decide it beats the 
  alternative. Your muscles tense, waiting to spring into 
  action. You take a breath and chance it. 
   
  You miscalculated just how slim your chances 
  were. You take one step before the loud crack of the 
  revolver is heard and you feel a round slam into your 
  chest, and then another. You stumble back, clutching 
  at your wounds, doubling over in agony. You look up 
  just in time to see Powell looming over you, smashing 
  the butt of the handle over your head. 
  In a daze, you look down at the pool of blood 
  forming around you. As you feel your limbs start to go 
  numb and the pain starts to recede, you feel yourself 
  going cold. You know that you are going to die. The last 
  thing you see is the glint of murder in the policeman’s 
  eyes. 
  The End. 
  83 
  The hideous thing takes a swipe at you, lumbering 
  lazily in your general direction. Whatever this creature 
  is, you are mercifully faster than it. 
   
  You run as swiftly as your feet will carry you, 
  and you dare not look back. Instinctually, you rush into 
  the motel and slam the door behind you, retreating to 
  the closest thing to a safe space that you can find. 
   
  You rest a moment, bracing yourself against 
  the door and catching your breath. You have no idea 
  what is out there or where it came from. Perhaps you 
  do not want to know. 
   
  Your instincts lead you to believe that it is 
  somehow connected to the circumstances of Dr. 
  Harris’s death and his possessions. Why else would this 
  be happening now, of all times? 
  
  20 
   
   
  You do not wish to dwell on it at the present 
  moment, and you have little to go on. You weigh your 
  options with as much rationality as you can muster. 
   
  You could very well simply remain here. Seal 
  the entrances and wait out the night, hoping that it will 
  not find you and that it will leave with the coming of 
  day. Or even prepare to hold out here and fight back, 
  should it come at you again.  Another option is to flee 
  this impossibility. Run into the fog as fast as you can 
  and make for the trees, hoping to leave this unnatural 
  thing behind you in Esbury with the rest of your 
  fruitless endeavors here. Or if you are feeling 
  particularly brave of heart, you may steel yourself 
  against 
  the 
  horror 
  and 
  press 
  on 
  with 
  your 
  investigation, hoping to unravel the goings on in 
  Esbury and perhaps the origin of this horrid thing. And 
  maybe even find a way to get rid of it. 
   
  To remain in the safety of the motel, go to 173. 
   
  To flee everything, go to 166. 
   
  To continue the investigation, go to 200. 
  84 
  Officer Powell glowers at your every little action. 
  Despite his laziness, he is keeping a close eye on you, 
  and you won’t be slipping away. No matter what words 
  you utter, he ignores your pleas for release. The hours 
  drag on. As the two of you sit alone in the room, the air 
  becomes warm and stifling. Powell opens a window to 
  let the room air out. 
   
  You stare out into the green fog and feel a 
  great sense of unease. As if something is staring back at 
  you. You shake off this irrational fear and busy your 
  mind with thoughts of how to obtain your freedom. 
  You do not ponder this long. Your sense of 
  unease grows greater until it is all consuming. You 
  know that something is coming. You hear the shouting 
  first. From outside the windows. The people panicking 
  in the streets. Officer Powell jerks out of his silent vigil 
  when they begin, and he rushes outside to restore 
  order. 
  He is gone for quite some time, and the 
  shouting continues. And then the water rises. Seeping 
  through the doorway and into the small building that 
  you are stuck in. At first it merely wets the floor, but 
  soon, you are up to your ankles in it. Then your knees. 
  Then your waist. In the course of a few hours, it rises 
  with little sign of stopping. Between the bars, the fog, 
  and the waters, you feel thoroughly trapped. 
  And this is when the real madness overtakes 
  you. Within the swirling mists, you swear that you can 
  make out strange and alien shapes. Horrible, flabby 
  things with slender limbs and sagging features. They 
  are decidedly unhuman. When these hallucinations-for 
  the must surely be hallucinations- begin, you hear the 
  shouts turn to full-fledged screams, and then die out in 
  the night, choked by the mists. 
  Through the window, you see the light of fire 
  glowing within the city, illuminating and consuming 
  everything, even as the water rises to swallow up the 
  town. You smell the smoke mingling with the fog. 
  You try to convince yourself that you are 
  having a panic attack, that this is all a dream, that this 
  isn’t real. You don’t know what is happening, or why. 
  You have no idea how these cruel and unnaturally 
  horrific things came to be. You have no idea why they 
  emerged from that eerie fog. You don’t know any of the 
  reasons for this. 
  And you never will. The water rises, and you 
  float to the top, gasping for air with inches between you 
  and the ceiling. As the water rises over your head, your 
  lungs fill, and you drown. You have died. 
  The End. If you wish, you may begin again 
  and try for a better outcome, or at least one that 
  explains the goings on here further. As it stands, your 
  character died ignorant of the nature of these unholy 
  horrors. Perhaps that is for the best. 
  85 
  You lower your weapon and adopt a soft tone of voice, 
  reassuring her that you mean no harm, that you were 
  simply startled by the attempted arrest. You promise 
  not to hurt her. 
   
  She cries throughout your speech, but 
  eventually the waterworks slow to a sniffle. Finally she 
  nods and accepts your explanation, and even 
  apologizes to you. 
   
  “I’m sorry. I never meant for any of this. 
  Joshua sent that policeman after you. He has the law in 
  his pocket. Josh runs the bootlegging in Esbury, and he 
  cuts Powell in on the profits in exchange for looking the 
  other way and helping keep everything secure.” 
   
  She produces a handkerchief and dries her 
  eyes. “Josh protects me. He loves me. He has for quite 
  some time…” 
   
  You press further, inquiring about the nature 
  of their relationship, and how this relates to her 
  husband’s death. She stares back at you blankly and 
  takes a deep breath. “Josh and I have been intimate for 
  a few years. My husband was a good man, when he 
  wasn’t obsessing over his work. But he was sometimes 
  away for so long, and paid so much attention to his 
  books…I have needs. A woman my age shouldn’t be 
  
  21 
   
  neglected.  I met Josh over the whiskey. He bootlegs for 
  the whole town. One thing led to another and…” She 
  smiles, dabbing at the last of the tears in her eyes. 
   
  “We were happy, even with William around. 
  Recently though, Josh has been insistent that we get 
  him out of the picture so that we could be together. I 
  didn’t like it, but I agreed. I let Josh take care of it. I 
  just wanted it to be behind us and for us to be together. 
  I told him I wanted to sell everything and leave town. 
  Just the two of us. I think that was the first time I saw 
  him angry. He never said why.” 
   
  She looks down at her hands, trying to avoid 
  your gaze. “You don’t have to worry about anything. 
  We’ll leave town just as soon as we can. I suggest you 
  do the same.” She looks at Powell’s unconscious body 
  lying on the floor. 
   
   
  To search the premises go to 7. 
   
  To tie up Officer Powell in case he wakes up, 
  go to 68. 
   
  To tie up Amelia, go to 125. 
   
  To simply make good on your 
  escape, go to 111. 
  86 
  Clearly none of the others expected anyone to pay such 
  a ludicrous price for the crude idol. You still can’t 
  believe how much money you offered for it, but the 
  grotesque and misshapen thing is now yours. The 
  monk and the men in the dark suits seem to be staring 
  daggers at you, but nobody else seems to mind or take 
  much notice beyond a few raised eyebrows that anyone 
  would pay such an excessive amount for such a trifling 
  and outlandish thing. Still, when you look Amelia’s 
  way, you can tell she is quite pleased. 
   
  Reduce your Credit Rating by ten. Go to 81. 
  87 
  You carry a bobby pin on you for just such an occasion. 
  You fumble with the lock for quite some time, trying to 
  force the tumblers into place. Despite your best efforts, 
  the lock is stubborn, and it seems unwilling to move. 
  As you are beginning contemplating giving up on the 
  lock and trying to break the door down, the front door 
  of the house flies open, ratting on its hinges. 
   
  Go to 140. 
  88 
  You turn around and backtrack towards the entrance 
  of the ballroom. Something about the officer by the 
  door catches your attention and holds it. He gives off a 
  commanding presence, and his eyes bore into you 
  intensely as you make your way towards him. 
   
  As you move within earshot, he rests his hand 
  on his nightstick and clears his throat. “I really hope 
  there isn’t any sort of problem citizen. I wouldn’t want 
  to see anyone getting hurt tonight.” His hand does not 
  move from his nightstick. 
   
  Make a Psychology roll, if you succeed, go to 
  105. If you fail, go to 29. 
  89 
  You ask after Professor Harris’s widow, Amelia, and 
  Mr. Sanford is only too happy to give you the gossip. 
  “Amelia Harris. She moved here with 
  Professor Harris a few years back. Pretty young broad. 
  Seems to be holding it together after her husband’s 
  death though. She’s got some pluck, I’ll tell ya that. She 
  seems like the type who comes from old money, just 
  like most of the newcomers to Esbury. But she’s selling 
  off some of her late husband’s things tonight, so I guess 
  she needs the money. I can’t say much beyond that. I 
  don’t know her all that well.” Lance shrugs and smiles. 
  You exchange a few more pleasantries with 
  Lance before he goes off to finish guiding the boat into 
  port. You pass the time in casual conversation with the 
  other passengers and in observing the scenery. You 
  note the tall pines and the sloping hills on the lakeside 
  towards Esbury. These features and the small town are 
  just visible through the growing mist, but you squint 
  enough to make them out to your satisfaction. 
   
  In time, you arrive on the pier at Esbury, 
  grateful to be off the water. 
   
  Go to 3. 
  90 
  You walk into town, towards the Harris address. Even 
  knowing the location, it is difficult for you to find your 
  way due to the unfamiliarity of the town and the 
  density of the peculiar green mist. It is some time 
  before you arrive at the Harris house. 
   
  As you approach the house, a man steps out of 
  the fog, blocking your path. The man is young and thin, 
  with rather angular features and the faint hint of a 
  mustache atop his lip. He is dressed in a dark suit and 
  he stares at you from beneath a flat cap. 
   
  “You’re an unwelcome surprise. I don’t know 
  what you’re looking for, but you won’t find it here.” 
  Your eyes betray you as you glance at the Harris house. 
  The man scowls visibly. “Why don’t you leave the poor 
  
  22 
   
  widow alone, you creep? If you want to bother her, 
  you’re going to have to go through old Joshua here, 
  capiche?” His hand rests on his waist, brushing 
  beneath his coat as if searching for something, but then 
  he stops himself. He pauses for a moment, looking you 
  over once more before spitting on the ground at your 
  feet and turning away. 
   
  To call out to Joshua, go to 5. 
   
  To make your way to the Harris house, go to 
  55. 
   
  To heed his warning and return to the motel, 
  go to 122. 
  91 
  The vase flies past you and into the wall, shattering on 
  impact. The broken shards fly around you, narrowly 
  missing you. You are startled and flinch reflexively. 
   
  Seizing this opportunity, Amelia runs out the 
  door as fast as her legs will carry her, calling for help as 
  she does so. 
   
  You could chase after her, or you can take this 
  chance to explore the empty house. The choice is yours. 
   
  To explore the house, go to 7. 
   
  To chase after Amelia, go to 141. 
  92 
  Something draws you to the curious idol, and you feel 
  compelled to make a bid. You notice that you are not 
  alone in this, as the monk and one of the dark suited 
  men both place bids in the box. You hope that yours 
  was high enough. 
   
  Make a Credit Rating roll at Extreme 
  difficulty (success only at or below one fifth of value.) 
  If you succeed, go to 86. If you fail, go to 154. 
  93 
  As before, you sense Joshua’s frustration and note that 
  patience is the better course of action. You wait for him 
  to swing. He throws his full weight behind the blow and 
  you easily move aside and shove him forward, using his 
  momentum against him. 
   
  You send him crashing into the wall and he 
  quickly goes still, thoroughly disabled by the force of 
  the impact. 
   
  You hurry to the front door and barricade it 
  with a chair, buying you time to move about the house 
  freely. Glancing about the area, you see a small living 
  room and kitchen, and two doors at opposite ends of 
  the common area. The door on your left is left wide 
  open, and you can see that a set of stairs leading down. 
  The door on your right is closed, and you assume it to 
  be the bedroom. 
   
  To head down the stairs, go to 156. 
   
  To head into the bedroom, go to 202. 
  94 
  You underbid on the item, thinking you would be able 
  to score a good deal. Another bidder offered a fairer 
  price, and walked away with the Indian crown. 
   
  Go to 81. 
  95 
  You fire blindly at the thing before you, unnerved by its 
  presence. You want nothing more to pull the trigger of 
  your weapon and send this thing into oblivion. 
   
  Unfortunately, you have no such luck. You fire 
  shot after shot, and they all fly harmlessly wide of the 
  monstrosity and the bullets are lost to the mist. 
   
  You panic and scream as the thing falls on 
  you, pinning you to the ground while it digs at your face 
  with its slender and misshapen fingers. The nails of the 
  abomination rake across your face, drawing blood. You 
  helplessly bash against the thing with the butt of your 
  gun, and you feel yourself doing considerable harm to 
  the flimsy flesh of its swollen body. 
   
  In the end, it is not enough. Over the course 
  of several minutes, you remain trapped beneath its 
  weight, and it lays atop you, slowly stripping the flesh 
  from your face with its bony fingers. You fight against 
  it and scream in agony with every rake of its blunted 
  nails. But it is not enough, and you are gradually 
  mauled by the unholy thing. 
   
  You are dead, and this is The End. You may 
  try again and hope for a more favorable outcome, but 
  for now, you have been claimed by whatever horrors 
  are lurking in Esbury. 
  96 
  Joshua aims the gun at you and you freeze in shock. 
  The weapon goes off in his hand and the bullet whizzes 
  through the air, tearing open your left shoulder and 
  throwing you back against the wall. 
   
  You collapse in a heap, blood oozing from 
  your wound. You know it isn’t fatal, but that does not 
  make you feel the pain any less. As you struggle to fight 
  through the pain, you find Joshua standing over you. 
  
  23 
   
  The look on his face is one of pure rage. It is the last 
  thing you see as you are clubbed into unconsciousness. 
   
  Go to 138. 
  97 
  You rush the man, and swing for his head. Your blow 
  lands, and carries him into the wall of the room. With 
  a sickening crack, the man is rendered unconscious 
  and collapses in a heap on the floor. 
   
  You are now standing over a wide eyed monk. 
  He seems battered and bruised, and is no doubt in 
  some amount of pain. Still, he manages to rise to his 
  feet and extends his hand in thanks. 
   
  He offers words of gratitude in heavily 
  accented English. “I am glad that you came when you 
  did. That one was rather violent. It is regrettable that 
  you had to hurt him so, but he will live.” 
   
  You inquire about the reason for the brawl, 
  and the monk nods slowly. “His friend robbed me of 
  some of the relics of my temple. This one wished to stay 
  behind and inflict harm on me for his own vile 
  amusement.” You remark about the robbery in your 
  room and express common cause with him. 
   
  The Indian smiles at you and shakes your 
  hand more vigorously. “Then we shall go after our 
  things together. I heard them discuss where they would 
  be meeting up later after that one” he points to the 
  unconscious thug in the suit “was done with me.” 
   
  Wondering at your good fortune, and not 
  willing to turn down any aid, you accept the monk’s 
  offer. You doubt the suited man will be waking any time 
  soon, and you will both be gone by then. You simply 
  leave him and exit the motel, as the orange-robed 
  Buddhist leads you through the mist. 
   
  Go to 13. 
  98 
  Your hunches are never wrong. Whatever that officer is 
  here for, you don’t want any part of it. Glancing around, 
  you weigh your options. You decide to creep towards 
  Amelia and Officer Powell, positioning yourself behind 
  a stack of the items that are waiting for the porter. 
  Neither of them seems to notice you as they rush past 
  your hiding place, giving you a clear line to the door. 
   
  Alternatively, now might be a good time to 
  explore the house. While there is the risk of discovery, 
  it’s not as if you have anything to lose by snooping 
  around somewhere you weren’t supposed to be. 
   
  For a brief moment, your gaze wanders to the 
  staircase opposite the entryway. The bedrooms and 
  study are likely up there, and you might be able to find 
  some valuable information. 
   
  To make your escape, go to 67. 
   
  To explore upstairs, go to 110. 
  99 
  You turn your weapon in the general direction of 
  Amelia and demand that she explain the meaning 
  everything. 
   
  She is crying, the tears smearing the makeup 
  on her face. She tries to speak and ends up stuttering 
  and stammering until you take a step in her direction 
  menacingly. She cowers once more and begins blurting 
  out the first thing that comes to mind. 
   
  “It was Joshua! He put the policeman up to it! 
  H-he protects me. He loves me…” She trails off and falls 
  to the floor in a weeping mess. 
   
  Clearly she is too upset to be of any further use 
  to you at the moment. 
   
   
  To attempt to calm Amelia down, 
  make a Persuade roll. If you succeed, go to 85. If you 
  fail, go to 39. 
   
  To search the premises go to 7. 
   
  To tie up Officer Powell in case he wakes up, 
  go to 68. 
   
  To tie up Amelia in case she does anything 
  irrational, go to 125. 
   
  To simply make good on your 
  escape, go to 111. 
  100 
  You feel that the knowledge in these pages could very 
  well prove essential to you, so you offer a price that is a 
  bit more than fair. Sure enough, Mr. Warren calls your 
  name and presses the leather-bound tome into your 
  eager hands. 
   
  Reduce your Credit Rating by two. Go to 81. 
  101 
  You try to convince the officer that you have a very good 
  reason for needing access to the file, but he simply 
  doesn’t care. “Scram, stranger, you’re ruining my 
  smoke. If you want to dig at the dead guy, go bother his 
  widow. Her place is over on the north side of town, 
  right next to the church. Can’t fucking miss it.” 
  
  24 
   
   
  Officer Powell will clearly be of no more help 
  at this time. 
   
  To go find the Harris house, go to 90. 
   
  To return to the motel, go to 122. 
  102 
  You approach the strange man. His orange robes are a 
  stark contrast to the fine suits and dresses of the New 
  England financial elite. This man seems well traveled 
  and weary, and his clothes are clearly a carryover from 
  a distant land. His skins is dark, which further causes 
  him to stand out. 
   
  You open your mouth as if to speak, and find 
  him staring intensely at you. 
   
  Make an Anthropology roll, if you succeed, 
  go to 72. If you fail, go to 37. 
  103 
  You decide on a fair bid for the gemstone studded altar 
  and submit your ballot. Not long after, Mr. Warren 
  empties the ballot box and begins sifting through the 
  entries for the highest bid. 
  Make Credit Rating roll at Hard difficulty 
  (success only at or below half of value). If you succeed, 
  go to 19. If you go to fail, go to 59. 
  104 
  “I’m a collector of antiquities. I hear there’s going to be 
  an estate sale of some items of interest here?” The 
  ferryman nods slowly. “You heard right, friend. 
  Professor Harris’s things are being sold off by his 
  widow, Amelia, at an estate sale tonight. Shame what 
  happened to him, but his loss is your gain I suppose.” 
  The ferryman hesitates a moment before extending a 
  hand towards you in greeting. “I’m Lance Sanford by 
  the way, pleased to make your acquaintance.” 
  To inquire about Professor Harris, go to 27. 
   
  To ask Lance Sanford about himself, go to 42. 
   
  To ask about the Estate Sale, go to 66. 
   
  To ask about the widow Amelia, go to 89. 
   
  To pass the time waiting to arrive in Esbury, 
  go to 56. 
  105 
  For an officer of the law, this man possesses a rather 
  thuggish disposition. He seems to be looking for a fight, 
  and from the scars on his face, you can tell he’s been in 
  many. With his size, he does cut a rather intimidating 
  figure. Still, the use of thinly veiled threats as an 
  introduction is somewhat unnerving, and certainly not 
  proper behavior for a moral and ethical man. It is 
  probably best not to provoke this man, and it would be 
  wise to avoid him as much as possible. 
   
  Go to 17. 
  106 
  After getting dressed and eating the modest breakfast 
  set out for you, you are ready to begin your day. You 
  take a moment to consider what that means for you. 
  Your mind turns to Professor Harris and his 
  death. If you are so inclined, you might be able to 
  investigate the circumstances of his death further. 
  Considering that you don’t have the address for the 
  home of his widow, Amelia, you would have to start you 
  search with the official report filed with Officer Powell 
  at the police station. 
  Alternatively, you could take this free time to 
  look through your belongings and examine any items 
  you might have. Clearly the motel owner has been in 
  your room, so a check of your things might be in order. 
  Or perhaps you have some other reason to look over 
  your possessions. 
  Finally, if you feel that your business in 
  Esbury is concluded, you could always try to find Lance 
  Sanford at the ferry. 
  To go to the police station, go to 11. 
  To look over your items, go to 32. 
  To go to the ferry, go to 153. 
  107 
  Lying just outside the bars of your cell, you spot a 
  paperclip. No doubt it fell off of one of the stacks of 
  documents binding together the documents on Officer 
  Powell’s desk. You slip your hand between the bars and 
  reach out to grab it, sighing in relief at your good 
  fortune. You bend the paperclip a bit to serve as an 
  improvised lockpick, and glance up to see that Officer 
  Powell is still turned away from you, puffing absently 
  at his cigar. 
   
  You set to work trying to get the lock to come 
  undone. The lock is strong, and is meant to keep 
  criminals safely behind bars. But it is no match for your 
  skills. It takes you some time before you finally get it 
  open, but eventually you feel it give way. 
   
  You check up on Officer Powell one more 
  time. He seems to be paying you no attention. If your 
  
  25 
   
  luck still holds, you may be able to sneak out of the 
  prison cell without his notice. 
   
  Make a Stealth roll. If you succeed, go to 10. If 
  you fail, go to 146. 
  108 
  You reach into your pocket and produce a bobby pin 
  that you carry on your person for just such an occasion. 
  You insert it into the lock and fumble with it for a few 
  minutes. It sticks and strains, and for a few terrible 
  seconds you fear that it will break in the lock. And then 
  the tumblers give, and the door clicks open. 
   
  You push your way into the small study and 
  find the room much as you would have expected it. The 
  door opens across from a window, which lets in the 
  pale, greenish light of the sun on the mist. This 
  illuminates the room, which is adorned primarily with 
  mostly-empty book cases on either side. There are also 
  several glass display cases throughout the room, but 
  these are similarly empty. At the far end of the room, 
  just beneath the window is a desk, still littered with 
  blood soaked papers. 
   
  Searching through the drawers of the desk, 
  you find stacks of notes and various personal items. 
  Buried in the bottom drawer, you find an impossibly 
  old scrap of papyrus pressed into a glass frame. All 
  across the ancient papyrus are strange and unusual 
  scrawlings. As you pick it up to inspect it, you notice a 
  sheet of paper clipped to the back of the frame, bearing 
  the same scrawling as the papyrus, but with 
  annotations in the margins. Presumably, this is a 
  translation of the papyrus’s text. 
   
  As you read it over, you marvel at the 
  impossibility of the content. The writing purports to be 
  written by a priest of an unknown city by the name of 
  “llarnek.” 
  In this 
  account, the 
  priest 
  records 
  observations of an odd and ugly race of beings who 
  once lived upon a lake long ago in the forgotten land of 
  Mnar. This record goes into great lengths about the fire 
  rituals of these strange creatures, and speaks of the 
  haunting dances they would perform in the light of the 
  flames beneath the gibbous moon. And always under 
  the watchful gaze of a sea-green stone idol, chiseled in 
  the likeness of great lizard. 
   They go on to mention rituals used to ward 
  off the influence of that detestable creature. Rituals 
  performed by man. The text for it in the annotation is 
  untranslated, and simply rendered in standard 
  characters, but the ritual chant recorded here is 
  “Y'hahyar nog nglui ah, Bokrug.” The phrase sticks in 
  your mind saliently. 
   
  You pause for a moment, and consider the 
  implications. You take the translation and fold it up in 
  your pocket as evidence, and exit the study. 
   
  You have learned a ritual chant. When 
  prompted, you may choose to use the chant. If you do 
  so, go to 235 at the appropriate time. 
   
  Go to 140. 
  109 
  You hear the clattering and banging in the next room, 
  and pointedly ignore it. Whatever may be going on 
  there, it does not involve you. You finish setting things 
  straight and take a deep breath, pondering your 
  options. 
   
  You find them to be preciously few. You could 
  see if the motel owner saw anyone coming and going. 
  The establishment is small, and they would likely have 
  noticed something going on. But maybe that way you 
  could set about recovering your lost belongings. 
   
  Another 
  option 
  is 
  to 
  continue 
  your 
  investigation surrounding the late Dr. Harris and his 
  artifacts. You could go out into town to gather more 
  information. 
   
  Alternatively, you can always just cut your 
  losses and leave. The ferry won’t be running with the 
  fog being as dense as it is, but you could set out into the 
  woods and try to circle the lake. This would take several 
  hours of walking through the wilderness in the mist, 
  but with a little luck, you might be able to make it back 
  to the road by nightfall. 
   
  To search for your belongings, go to 134. 
   
  To continue your investigation, go to 148. 
   
  To leave town, go to 124. 
  110 
  You turn your attention to the set of stairs that are 
  positioned opposite to the entrance. You ascend the 
  staircase and see two doors, one on either side of you. 
  The door to your left is slightly ajar, and is no doubt the 
  bedroom. By process of elimination, the door to your 
  right must be the study. The door seems to be locked, 
  and you don’t have a key. With enough time, you may 
  be able to get the door open, but it would probably be 
  unwise to be at it for long, since it’s entirely possible 
  that someone may come to investigate. 
   
  To enter the bedroom, go to 123. 
   
  To enter the study, make a Locksmith roll. 
  If you succeed, go to 108. If you fail, go to 75. You may 
  push this roll (If you fail the initial roll, you may 
  
  26 
   
  attempt again, but if you fail, there will be greater 
  consequences.) If you fail the pushed roll, go to 87. 
  111 
  You leave the scuffle behind you, happy to put that 
  business out of mind. You begin walking down the 
  street at a brisk pace, hoping to put some distance 
  between yourself and the Harris house. 
   
  You continue on the path for a short distance 
  when you hear the sound of heavy footsteps approach 
  you. Thanks to the thick fog, you do not think you have 
  been spotted. You quickly duck into a nearby alley to 
  let the traveler pass. The man passes by you at a quick 
  jog, cursing under his breath. You recognize the voice 
  of Joshua, and you feel certain that he is connected to 
  your attempted arrest. 
   
  Still, you realize that you don’t have many 
  options to deal with that right now. With this damnable 
  fog keeping you from leaving on the ferry, the best 
  thing you can do is head back to the motel and figure 
  out what your next move is. 
   
  Go to 122. 
  112 
  You roll to the side and press yourself up against the 
  door frame, hastily dodging from the spot Joshua had 
  intended to shoot. He curses under his breath as he 
  levels the gun at you yet again. However, the slight 
  pause between shots is all you need. Your instincts take 
  over, and you lunge at him, attempting to wrestle the 
  weapon from him. 
   
  You throw him over with the force of your 
  tackle, and your hands fight with his, clutching 
  desperately for the gun. 
   
  Make a Brawl roll. If you succeed, go to 143. 
  If you fail, go to 152. 
  113 
  You let out a frightened scream as the creature lumbers 
  towards you. You panic and go to run, but your legs fail 
  you. You stumble and fall, tripping over yourself in 
  your haste to escape. 
   
  As you tumble to the group, the abominable 
  being throws itself atop you, and its long-fingered 
  hands wrap around your throat and begin choking the 
  life out of you. The creature shakes you violently, 
  throttling you to completion. 
   
  As you black out, the last sight you see are 
  those horrible, lifeless eyes staring into your soul. 
   
  You have been killed by a being from another 
  world. Though you are uncertain how this creature 
  came to be here, it matters little now, with your lifeless 
  body adorning the streets of Esbury. Though you are 
  free to start the adventure over and try again, for now, 
  this is The End. 
  114 
  You direct your attention away from any distractions 
  and hone in on the sounds around you. You hear the 
  crash of the waves on the pier nearby, and very little 
  else. The stillness is somewhat unsettling. No birds are 
  chirping, no people in the streets. 
   
  Except distantly, you hear the faint echo of 
  footsteps. They sound quite far off, and it would have 
  been easy to miss them if you weren’t listening for it. 
  Still, given how far they must be, the footfalls must be 
  heavy, and they are reverberating in quick succession, 
  as if in a hurry. You set off in their direction. 
   
  You rush through the empty streets, pausing 
  occasionally to continue listening for the footfalls of the 
  man you are pursuing. After some time, you come upon 
  a small plaza adjacent to the town’s church. 
  Unfortunately, by this point, the man has reached his 
  destination, and is no doubt within one of the houses 
  along the plaza, but you have no way of knowing which 
  one. 
   
  You take a deep breath and decide to roll the 
  dice. There are only a handful of houses here, so you 
  feel you have good odds of finding what you are looking 
  for. 
   
  Make a Luck roll. If you succeed, go to 165. If 
  you fail, go to 149. 
  115 
  You struggle against your bonds as you begin to panic. 
  Mercifully, the ropes give way. Joshua is in shock as the 
  sound of snapping rope echoes off the walls, and he 
  jumps away from you on pure reflex. 
   
  You act on instinct. Without thinking, you 
  rush towards him, attempting to wrestle the knife from 
  his grasp. You know that you need to be the one in 
  control of the weapon if you’re going to survive this, 
  especially with another armed man just outside the 
  door. 
   
  You grasp Joshua’s forearm, preventing him 
  from attacking you with the knife, and then try to pry it 
  from his hands even as you jab and strike at him with 
  knees and elbows, hoping desperately that you can 
  seize the blade from his grip. 
  
  27 
   
   
  Make a Brawl roll. If you succeed, go to 133. 
  If you fail, go to 180. 
  116 
  You look over the characters scrawled across the side 
  in blood. You note them to be an obscure dialect of 
  ancient Indian origin, and although you cannot 
  translate them properly, you can pronounce them 
  characters phonetically.  “Y'hahyar nog nglui ah, 
  Bokrug.” You recite the words and the stranger looks at 
  you as if you’re completely mad. 
   
  That is, until the mist around you begins to 
  swiftly dissipate and the waters stop rising. The man 
  looks at you with wide eyes, like you’re some kind of 
  miracle worker, and perhaps you are. Though you do 
  not fully understand what it is that you have done, you 
  have somehow put a stop to the things going on here. 
   
  The stranger probes you for questions for a 
  while, but you assure him you are just as surprised as 
  he is, and eventually he parts ways with you. 
   
  Over the next few days, the waters subside in 
  Esbury, and eventually the ferry begins operation 
  again. You take the first ride out, eager to leave this 
  place and the strange occurrences behind you. 
   
  Our story is over, and this is The End. 
  Though you did not solve the mystery of the events in 
  Esbury, you did put a stop to it, at least partially. The 
  man with the artifacts will eventually sell them off for 
  quick cash, and the tragedy will soon repeat itself 
  somewhere else, and this time, there will be no one to 
  prevent it from fully taking shape. But you will never 
  know this, and it is not your concern. You only have to 
  live with what happened in Esbury, and you will carry 
  that memory with you. You have survived, and may use 
  this character in future adventures. 
  117 
  You attempt to roll out of the way of the lumbering 
  monstrosity, but you are too slow. It throws itself on 
  top of you, and its long, slender fingers wrap 
  themselves around your throat. The thing chokes the 
  life from your body, and you slip away into the 
  blackness of death. 
   
  You have died, and this is The End. If you 
  like, you may attempt the adventure again and try for a 
  different outcome. 
  118 
  You fall to your knees press your ear to the door of the 
  safe and begin twisting the combination dial, hoping to 
  listen for the clicks of the tumblers falling into place on 
  the right numbers. Unfortunately, you can’t quite 
  manage to get an ear for it, despite your best efforts. 
   
  Defeated, you rise and dust yourself off. With 
  nothing else to keep your attention, you leave the room. 
   
  Go to 140. 
  119 
  Judging by the direction you have been travelling, the 
  path on the right seems like it should be the correct 
  one. You leave the crossroads behind and put one foot 
  in front of the other, plodding silently down the foggy 
  path. 
   
  You feel the elevation begin to change beneath 
  your feet. You are sloping downward now, presumably 
  following a trail that winds along the length of the lake. 
   
  Your suspicions are confirmed abruptly, as 
  the ground beneath your feet becomes increasingly 
  waterlogged. It is not long before your feet are covered 
  in mud, and water begins to build up around your feet 
  as you slog through the marshy ground of the trail. 
   
  Suddenly, the water level rises sharply. You 
  feel it rise up your calf, and then your knee. As you 
  wade blindly through the muck, you find yourself 
  hoping that the water level will recede as you move 
  forward. 
   
  This does not happen. As you slosh onward, 
  the water rises to your waist, and shows no sign of 
  getting any shallower. 
   
  You feel confident that the road ahead is the 
  correct one, and that the area is flooded. You will have 
  to swim forward into the fog and hope to reach the 
  other edge of the water if you are to make your way out 
  of here. 
   
  Make a Swim roll. If you succeed, go to 175. 
  If you fail, lose 1 hp and go to 187. If this reduces you to 
  0, your leg gets caught on a branch hidden in the water 
  and you drown, and this is The End. 
  120 
  You aim your weapon at Joshua and pull the trigger. 
  You watch with a detached sense of self as you gun him 
  down. Two shots to the chest in quick succession, the 
  first one intentional, the second a product of recoil and 
  reflex to make sure that he is no longer a threat. 
  Both of the bullets hit him square in the chest, 
  and he is knocked against the wall behind him. He 
  slums to the ground, smearing blood on the wall as he 
  lands in a seated position. 
  
  28 
   
  His eyes glaze over as he begins to bleed out 
  and die. His cold, lifeless eyes stare into you as his 
  mouth forms his last words. Unutterable alien syllables 
  spew from his mouth with his dying breath. “Bokrug 
  ron 'bthnk n'ghft, 'ai.” 
  You shudder as his body stiffens and dies. You 
  check his pockets and find identification and address 
  for him, as well as a key to his home. That might be 
  worth investigating. 
  Amelia is crying silently where you left her, 
  inconsolable for having witnessed Joshua die so 
  violently. At least this gives you the opportunity to 
  search the house over. 
  Make a Sanity roll. If you succeed, lose 1 
  sanity. If you fail, lose 1d3 sanity. 
  To search the Harris house, go to 179. 
  To leave and go search Joshua’s house, go to 
  151. 
  121 
  You wait for Joshua to strike, timing your reaction just 
  right. He drives forward with the point of the blade and 
  you roll to the side. The force of his lunge carries his 
  blow through, and he embeds the knife in the wall 
  behind you, cursing as he does so. 
   
  He lets go of the handle of the blade and turns 
  to face you, balling up his fists and adopting a readied 
  stance. He takes a few experimental swings at you, 
  which you handily dodge. 
   
  Still, you cannot simply keep avoiding him, 
  you’ll have to subdue him if you want to make it out of 
  here, and judging by the banging on the front door, 
  you’ll have to do so quickly. 
   
  Make a Brawl roll. If you succeed, go to 93. If 
  you fail, take 1d3 damage and go to 168. If this reduces 
  you to 0 HP, you have been beaten to death and this is 
  The End. 
  122 
  Feeling that it is the best course of action right now, you 
  return to your room at the motel. You turn the key in 
  the lock and your door swings open to reveal a startling 
  scene. 
   
  Your room has been ransacked. The bed is 
  overturned and the covers are strewn about, the 
  drawers of the dresser have all been pulled out and 
  emptied. Your briefcase lies open on the floor. 
  Anything of value you had is gone. Anything you may 
  have gained from the Estate Sale is longer in your 
  possession, and anything you brought with you beyond 
  the basic essentials is likewise missing. 
   
  The window hangs open, letting the greenish 
  mist into the room. You close it to keep out the chill and 
  begin to set things straight while you overcome the 
  shock of what has happened. As you consider your 
  options, the sounds of a loud and violent commotion is 
  heard in the next room. 
   
  To ignore the scuffle, go to 109. 
   
  To investigate, go to 142. 
  123 
  You push aside the door and enter the bedroom. The 
  room is lavishly decorated and feminine. Large, soft 
  pillows sit atop the bed, and a tangle of blankets is 
  strewn across the mattress. 
   
  Judging by the state of the room, this space 
  belonged more to Amelia than it did Dr. Harris, even 
  before his death. Now though, the room is dominated 
  by her personal affects. A case of makeup sits on the 
  dresser, and a hand mirror lies next to it. The door to 
  the closet is open and the racks are overflowing with 
  various dresses and fashionable outfits. The clothes 
  belonging to the late Dr. Harris take up a small and 
  innocuous corner of the closet, pushed far to the side 
  so as to not get in the way of Amelia’s things. 
   
  The most surprising find you stumble upon is 
  a small pile of discarded men’s clothing next to the bed. 
  They seem to have been left there recently, and given 
  the difference in style and size with the men’s clothes 
  in the closet, it is clear they do not belong to Dr. Harris. 
   
  Your suspicion is confirmed when you see a 
  photograph of Joshua on the nightstand. There is also 
  a half-empty bottle of whiskey there, and two glasses 
  sitting next to it. 
   
  You also happen to notice a safe built into the 
  wall, just behind the nightstand. A combination lock 
  keeps it sealed, though if you were so inclined, you may 
  be able to decipher it. 
   
  There is little else of interest in the room. 
   
  To attempt to open the safe, make a 
  Locksmith roll. If you succeed, go to 77. If you fail, go 
  to 118. 
   
  To leave the room, go to 140. 
  124 
  You pack what remains of your belongings into your 
  thin briefcase and leave your room behind. You 
  descend the staircase, ignoring the sound of the other 
  
  29 
   
  guests in their room. When you reach the doorway of 
  the establishment, you peer out the nearby window and 
  into the sickly mists.  
  Go to 158. 
  125 
  Amelia is too much of a liability to leave alone at the 
  present moment. You resolve to restrain her. You pull 
  a sheet from atop some of the furniture in the entryway 
  and use it to bind her to an armchair in the room. She 
  struggles for a moment, but in her distraught state, she 
  quickly sinks into resignation and ceases to resist. 
  As you are finishing securing the knots, the 
  front door of the house flies open, rattling on its hinges. 
  Dominating the doorway is Joshua, red faced and 
  furious. He has a gun in his right hand, and aims it 
  hastily in your direction.  
   
  You have just a second to hit the ground 
  before he pulls the trigger. Perhaps your reflexes are 
  quick enough. 
   
  Make a Dodge roll. If you succeed, go to 145. 
  If you fail take 1d10+2 damage. If you survive this, go 
  to 96. If you have no remaining HP, you are dead, and 
  this is The End. 
  126 
  You don’t know why you hadn’t realized it before. 
  Selling all of his things, wearing makeup, adopting 
  such a flirty demeanor, dismissing questions about her 
  husband’s death. She doesn’t seem too broken up about 
  her husband passing. She’s hiding something. You’d 
  bet your career on it. You suspect she is involved in 
  Professor Harris’s death in some form or another. 
   
  You open your mouth, prepared to call her 
  bluff and press her for more information, but you are 
  interrupted by a loud knock at the door. Amelia jumps 
  up startled and stands there for a moment in confusion, 
  and the pounding on the door resumes. “Police! Open 
  the door!” Amelia’s face drains white as she goes to the 
  door. 
  Your gut is telling you something is wrong here. You 
  feel uneasy about the officer at the door. You tell 
  yourself that you’re being irrational and on edge, but 
  you have some trouble fighting that feeling. You have a 
  few precious moments to react. 
   
  To ignore your instincts and wait, go to 47. 
   
  To take this chance to hide, make a Stealth 
  roll. If you succeed, go to 98. If you fail, go to 20. 
  127 
  You turn your attention to Officer Powell and plead 
  with him to release you. Initially, he pays you no mind. 
  Eventually, however you mention that you’ll leave town 
  if he releases you, and that seems to seal the deal. 
   
  “Having you out of the way makes my life a bit 
  easier. Get the hell out of here before I change my 
  mind. If I see you again, you’re getting a bullet.” You do 
  not hesitate to leave the cell as he unlocks it. 
   
  Go to 122. 
  128 
  You examine the extraordinary altar. The most readily 
  apparent features beyond its size are the many 
  gemstones set into this piece. They are of a greenish 
  yellow color, and shine even in the half light of the 
  room. 
   
  You also notice strange writing in broad 
  strokes along the side of the object, smeared sloppily 
  along it with haste. What you had originally taken for 
  paint is found to be dried blood, upon closer 
  examination. 
   
  While you cannot be certain, it would appear 
  that this item has been involved in some tragedy. 
   
  Go to 32. 
  129 
  You take a step towards the man, and he hears your 
  approach. He rounds on you, swinging wildly with a 
  shout of surprise. 
   
  His fist catches you in the chest and sends you 
  sprawling backwards. He throws himself on top of 
  your, landing blow after blow with his fists. You raise 
  your arms to fend off the worst of the damage as he 
  works you over. Amidst the confusion you glance up to 
  see the monk running out of the room. 
   
  Finally, the man in the suit grabs you by the 
  collar and begins slamming you violently against the 
  floor. It takes only a few such hits before you lose 
  consciousness. 
   
  Go to 138. 
  130 
  You ask her about Joshua, his relationship to her, and 
  why he would have you arrested. “Josh and I have been 
  intimate for a few years. My husband was a good man, 
  when he wasn’t obsessing over his work. But he was 
  sometimes away for so long, and paid so much 
  attention to his books…I have needs. A woman my age 
  shouldn’t be neglected.  I met Josh over the whiskey. 
  
  30 
   
  He bootlegs for the whole town. One thing led to 
  another and…” She smiles, looking lost in thought. 
  “We were happy, even with William around. 
  Recently though, Josh had been insistent that we get 
  him out of the picture so that we could be together. I 
  didn’t like it, but I agreed. I let Josh take care of it. I 
  just wanted it to be behind us and for us to be together. 
  I told him I wanted to sell everything and leave town. 
  Just the two of us. I think that was the first time I saw 
  him angry. He never said why.” 
   
  She looks down at her hands, trying 
  to avoid your gaze. “You don’t have to worry about 
  anything. We’ll leave town just as soon as you can. I 
  suggest you do the same.” 
   
  She rises to leave, and then hesitates 
  a moment. “I don’t know if this helps, but I think he 
  might have been angry because I wanted to sell my 
  husband’s things. The day after he died, I found Josh 
  in the study. He never went in there until after William 
  was dead. I caught him in there multiple times these 
  past few days. I can’t imagine what he would want with 
  them though.” She pauses and then continues. “It 
  scares me, you know. The way he’s been acting. I-if you 
  need to find him, his house is across the street over 
  there, right outside and to the left. He won’t be alone. 
  He brought some friends in from out of town. I 
  wouldn’t recommend going though. He doesn’t like 
  you. ” She looks away from you and walks out of the 
  room at a brisk pace, leaving you alone in the chapel. 
  To continue on to the Harris house 7. 
  To go to Joshua’s house, go to 160. 
  To visit the motel, go to 122. 
  To abandon your investigation and leave 
  town, go to 158. 
  131 
  You pause outside the doorway of the motel, listening 
  for the sounds of footsteps. The streets are eerily still, 
  and nearly silent.  
  You fancy you hear something and set off in 
  the general direction of the sounds. You wander the 
  streets for what feels to be hours. Your suspicions are 
  seemingly confirmed as it gets harder and harder to 
  see, as the lack of visibility from the mists is 
  compounded by the fading of the light. Dusk falls hard 
  and fast upon you, and you are left roaming the streets 
  in the darkness. 
   
  As you are contemplating abandoning your 
  task, you tense up and freeze as you hear a nauseating 
  squelching sound suddenly begin behind you. 
   
  A sense of terror washes over you as the 
  unexpected sound breaks the silence of the streets. You 
  are ruled by a sense of unease, and are driven to run, 
  though you don’t know why. You do not wish to find 
  out. 
   
  Make a Dexterity roll. If you succeed, go to 
  171. If you fail, go to 162. 
  132 
  You throw yourself to the floor with haste, trying to get 
  out of the way of the shot. You hear the loud sound of 
  the gunshot as it embeds itself in the wall behind you. 
   
  You hear a squeal as Amelia comes running 
  after him, begging him to stop shooting and to put the 
  gun away. He curses and shoves her aside, but he does 
  holster his weapon. 
   
  He rushes past her and up the stairs, just as 
  you manage to stumble to your feet. He comes at you, 
  swinging a fist towards you. It’s not ideal, but at least 
  with the gun put away, you have a fighting chance. 
   
  Make a Brawl roll. If you succeed, go to 21. If 
  you fail, take 1d3 damage and go to 153. 
  133 
  You throw a punch at Joshua’s face and send him 
  rolling backwards, stunned. You manage to rip the 
  knife from his grasp as he is regaining his footing, and 
  you take the blade and swiftly plunge it into his chest. 
   
  His face takes on a pained and shocked 
  expression, as if offended that you would dare to kill 
  him. Still, Joshua slumps to his knees and looks up at 
  you as he begins to die. His eyes glaze over and stare at 
  you with a smoldering malevolence. Strange words 
  pass from his lips the last of his life fades from his 
  mortal form. “Bokrug ron 'bthnk n'ghft, 'ai.” A last 
  shuddering breath rattles his form, and he collapses. 
   
  You feel greatly disturbed by this, but you 
  attempt to shake it off and move on. You survey the 
  room. The table at the far end of the room is covered in 
  the curious artifacts, as well as a large stack of papers. 
  There is little else here save for the flickering bulb 
  above you, the empty chair, and the corpse at your feet. 
   
  You might consider leaving this place, as 
  sitting in a dank basement with a fresh corpse is not 
  entirely a pleasant experience. 
   
  To look over the items, go to 210. 
  To leave this place, go to 181. 
  134 
  
  31 
   
  You exit your room and make your way to the front 
  desk of the motel. The wiry looking old woman stands 
  next to the fireplace, stocking the coals to keep out the 
  chill of the mist. As you approach her, she raises her 
  eyebrows at you inquisitively and says nothing. 
   
  You clear your throat and ask her if she saw 
  anyone entering or leaving your room, or even just 
  anyone unusual at the motel. She bites her lip for a 
  minute before nodding quickly. She grasps your wrist 
  with a fierceness you would not have expected of her 
  tiny frame. “The men had guns, I had to give them the 
  keys. One of them just left, but the other is still upstairs. 
  I think he’s beating that Indian man.” She looks at you 
  nervously, almost pleading for you to do something. 
   
  To deal with the man upstairs, go to 142. 
   
  To pursue the man who left, go to 79. 
  135 
  You make your way through the empty streets of 
  Esbury, stumbling blindly in the dense fog. As you set 
  out from the Harris household, you note a twilight 
  tinge beginning to form over the green mist. 
  Thankfully, you know your destination, and you point 
  yourself towards the motel where you are staying, 
  despite the threat of coming darkness. 
   
  The trip takes some time though, and the 
  darkness does descend before you arrive at your 
  destination. As you are nearing the motel, you freeze in 
  response to a frightening noise. A strange squelching 
  sound echoes among the silent streets. 
   
  At first you linger from shock and surprise, 
  but then out of curiosity, as you question what would 
  make such a noise. 
   
  And then, to your dismay, your question is 
  answered. Out of the mist emerges a frighteningly odd 
  thing. A misshapen mass of sagging green flesh. Its 
  belly horribly distended and bloated, with limbs that 
  are long and spindly. Its face is ruled by large, bulbous 
  eyes and pouting, flabby lips, and its head is adorned 
  with strange ears. 
   
  You take in all of these strange features as it 
  lunges towards you silently, save for the unnerving 
  squelching sound. 
   
  Make a Dexterity roll. If you succeed, go to 
  171. If you fail, go to 162. 
  136 
  You chase after Amelia Harris. She has become lost in 
  the mist, but you are determined to find her. 
   
  But determination alone is not enough to 
  track down the wayward woman. After wandering 
  through the fog for what feels like hours, you are 
  certain that you are lost. 
   
  After trying to get your bearings for some time 
  you find yourself outside of the motel, frustrated that 
  Amelia has managed to escape you. 
   
  Go to 131. 
  137 
  You decide to put your misgivings aside and simply get 
  some rest so that you can try again in the morning. You 
  put away your things and head off to bed. You lock the 
  door of your room, just to be safe. 
   
  You toss and turn, gaining an hour or two of 
  uneasy sleep. But in the middle of the night, you are 
  awakened by the round of screams. 
   
  Somewhere in the fog, shrouded town, people 
  are screaming. A frightened, terrified, bloodcurdling 
  scream of abject terror. Instinctively, you rush to the 
  window to try to puzzle out what the cause might be, so 
  that you can be prepared for it. You stare out and see 
  only blackness and mist, 
   
  You nervously turn back to the room, assuring 
  yourself that you are safe in here, and that whatever is 
  causing the screams is elsewhere. You are only able to 
  force this lie off on yourself for a moment, because as 
  you’re are anxiously pacing your room, you see water 
  begin to seep in beneath the crack in the door. The 
  implications of this are not lost on you. Your room is 
  on the second floor of the building, and Esbury must be 
  thoroughly flooded by now. 
   
  With the first floor flooded and the water level 
  in your room swiftly rising, you find yourself 
  thoroughly trapped. Your only method of egress is the 
  window, which leads out only into the flooded, dark, 
  and hazy streets. You very much mislike the prospect 
  of venturing out blindly into the sunken city, but you 
  find little choice. 
   
  You turn again to the window. You undo the 
  latch with shaky hands. You are about to lift the 
  window open when a green, three-fingered, webbed 
  hand smacks against the pane. You jump back with a 
  start, overcome by panic. This is nothing natural, of 
  that you are sure. As you stare in horror at the sight, 
  more of the unnatural form comes into view. A second 
  hand, trying to force the window open alongside the 
  first. And a terrible face, dominated by pouting, flabby 
  lips and bulbous dead eyes. These eyes stare at you, 
  taking you in as another mere fixture among your 
  surroundings. 
  
  32 
   
   
  You stare back at the creature as the water 
  rises around your ankles. It is pounding against the 
  window, and you see cracks beginning to form. You 
  freeze in terror, knowing it will soon be upon you. 
   
  Surprisingly, the glass holds out as the water 
  fills the room. It does not give out until the water is at 
  your chest. With a sharp crash, the glass breaks and 
  this bloated and misshapen thing squeezes into the 
  room with you. Try as you might, you cannot fight it. It 
  is slow and lumbering, and you land a blow or two 
  against its soft flesh. But your horror overcomes your 
  senses. It lays hands on you, and shoves you down into 
  the rising water. It holds you there until your breathing 
  stops. 
   
  This is The End. If you wish, you may 
  attempt the story again and hope for a better outcome. 
  138 
  You awake, stripped of any weapons and tied to a chair 
  in a dusty basement. The first thing you notice is the 
  pain from your wounds. They are still fresh, and have 
  not been tended to in any way. 
   
  The second thing you notice is the table across 
  from you with its strange collection of items. A pair of 
  cracked clay cylinders, a gemstone studded altar with 
  curious scrawling, a stack of papers, and an unnatural 
  looking idol of sea-green stone fashioned in the shape 
  of a serpent. Standing next to the table is a man that 
  you can’t quite make out in the dimness of the room. 
  He puffs absently at a cigar as he stares at you. Behind 
  the table is a still and other bootlegging equipment. 
  You turn your head about the room and find one of the 
  suited men from before leaning against the door while 
  sipping from a flask. 
   
  When you begin to move, the unknown man 
  walks over to you. He is grinning widely, and you spot 
  a glint of madness in his eyes as he rests on the edge of 
  the illuminated area of the room. He produces a knife 
  from his pocket, and the blade catches the glimmer of 
  the dim bulb flickering above. The stranger shoots a 
  glance at the man by the door, and the suited man 
  leaves. 
   
  He comes into the light and presses the knife 
  against your cheek, and it digs into your flesh, nicking 
  you and drawing a drop of blood on the tip. “Thought 
  you could cause trouble for Josh, eh? I’m going to enjoy 
  this. Getting rid of my little problem. Everything was 
  fine until you started snooping around. You’re putting 
  me and Amelia both at danger here, and you’re getting 
  in the way of my plans. So I’m going to enjoy tearing 
  open your throat and offering up your life to the idol. 
  Perhaps it will please him. And then I will get what I 
  want. I’ll finally make my way to that beautiful place 
  that I’ve seen in my dreams. It will be over soon, but I 
  will bleed you slow. Because I want to enjoy this…” 
   
  He takes the knife and presses it in deeper, 
  and reflexively you struggle against your bonds, trying 
  to escape the pain. Perhaps if you struggle hard 
  enough, you can break free. 
   
  Make a Strength roll. If you succeed, go to 
  115. If you fail, go to 69. 
  139 
  You skid down the side of the cliff, and are slammed 
  against the cold and unforgiving stone several times as 
  you do so. You are in no control of your descent, 
  entirely at the mercy of gravity and cruel fate. 
   
  You fall for what must be fifty or sixty feet, 
  bouncing against the face of the cliff and eventually 
  being deposited forcefully against the side of a tree at 
  the base of the rock. 
   
  You are certain that you must have some 
  serious injuries, perhaps even a few broken bones. 
  Your left leg is particularly painful and unresponsive, 
  and you can feel your foot swelling in your shoe as you 
  struggle to your feet. 
   
  You look around you, taking stock of the 
  situation. There is no visible trail at this elevation, and 
  there is no easy way back up, especially in your current 
  condition. Cursing your misfortune, you limp forward 
  into the woods, trying to find some way to orient 
  yourself and make your way back to the trail. 
   
  Make a Navigate roll at. If you succeed, go to 
  229. If you fail, go to 170. 
  140 
  You turn around and leave the door closed behind you. 
  Looking down the stairs, you realize that you are not 
  alone. Dominating the entryway of the house is Joshua, 
  red faced and furious. He has a gun in his right hand, 
  and aims it hastily in your direction.  
   
  You have just a second to hit the ground 
  before he pulls the trigger. Perhaps your reflexes are 
  quick enough. 
   
  Make a Dodge roll. If you succeed, go to 132. 
  If you fail take 1d10+2 damage. If you survive this, go 
  to 96. If you have no remaining HP, you are dead, and 
  this is The End. 
  141 
  It’s too risky to let Amelia go right now, so you decide 
  to pursue her into the street. You do not go more than 
  
  33 
   
  5 steps from the door when you find yourself staring 
  down Joshua from just out of the mist. He raises a gun 
  at you, and the look on his face shows that he clearly 
  intends to use it. You have only a moment to react. 
   
  Make a Dodge roll. If you succeed, go to 112. 
  If you fail take 1d10+2 damage. If you survive this, go 
  to 155. If you have no remaining HP, you are dead, and 
  this is The End. 
  142 
  Fearing that someone might be in danger, or perhaps 
  that this commotion is somehow related to the theft in 
  your room, you rush to investigate. 
   
  You find the door to the room adjacent to 
  yours open, and inside you find a large and familiar 
  looking man in a dark suit. He is looming over the 
  prone body of a dark-skinned Buddhist monk. The 
  monk is beaten and bloodied. The man in the suit has 
  clearly worked him over. 
   
  The suited man has his back to you, and you 
  doubt if you’ve been noticed yet. With a little luck, you 
  might be able to get the drop on him and subdue him 
  quickly. 
   
  Alternatively, 
  if 
  you 
  have 
  come 
  into 
  possession of a firearm during your stay in Esbury, you 
  could always resort to lethal force. 
   
  To subdue the man, make a Brawl roll. If you 
  succeed, go to 97. If you fail, take 1d3 damage and go to 
  129. If this reduces you to 0, you are beaten to death 
  and this is The End. 
   
  To discharge your firearm, make a Firearms 
  (handgun) roll. If you succeed, go to 78. If you fail, 
  take 1d3 damage and go to 129. If this reduces you to 0, 
  you are beaten to death and this is The End. 
  143 
  You roll over one another, punching and kicking and 
  kneeing and elbowing. You slam your head into his, 
  smashing your forehead against his nose, clearly 
  breaking it. He reflexively grabs at his face, and drops 
  the gun. 
   
  Without hesitation, you seize the weapon and 
  fire into him, knowing that he would do the same if 
  circumstances were reversed. The look on Joshua’s 
  face is utter shock as the bullet pierces his chest. 
   
  The color drains from his face, and his hand 
  weakly grips your clothes, grasping out at you as if 
  offended that you would dare to kill him. He looks you 
  in the eyes as he dies, and utters strange sounds, the 
  likes of which not even a dying man should make. You 
  fancy that you almost hear words, though sure it is only 
  your mind playing tricks on you. With his last breath, 
  he utters the phrase “Bokrug ron 'bthnk n'ghft, 'ai.” 
   
  His hand goes limp and you push the corpse 
  off of you, shuddering as you do so. Mustering your 
  courage, you check his pockets for keys and ID, locating 
  his place of residence. You could make your way to his 
  house to search for clues, or you could continue off in 
  search of Amelia. 
   
  Make a Sanity roll. If you succeed, lose 1 
  sanity. If you fail, lose 1d3 sanity. 
   
  To go to Joshua’s house, go to 151. 
   
  To search for Amelia, go to 136. 
  144 
  You open the door, and it catches a draft, slamming 
  against the wall as you attempt to slip inside. The door 
  rattles on its hinges and you hear the sound of footsteps 
  pounding against the floor in another room. 
   
  Your attempts to conceal yourself prove too 
  slow as a pair of men burst into the living room, and 
  lock their attention on you. 
   
  They rush forward, and the larger of the two 
  tries to tackle you. 
   
  Make a Dodge roll. If you succeed, go to 157. 
  If you fail, go to 25. 
  145 
  Reflexively, you drop to the ground behind the couch 
  as he aims the gun your way. Thankfully, the shot goes 
  off over your head. You breathe with relief for a brief 
  moment, thankful for your safety. 
   
  And then the reality of the situation dawns on 
  you, and you clamber after Officer Powell’s gun, which 
  has fallen to the ground nearby. You scoop it up 
  quickly, and act purely on instinct. You grip the gun in 
  your hands and prepare to return fire. You take a deep 
  breath and aim the gun at Joshua. 
   
  Make a Firearms (handguns) roll. If you 
  succeed, go to 120. If you fail, take 1d10+2 damage. If 
  this reduces you to 0, then you have died of your 
  wounds and this is The End. If you survive this, go to 
  96. 
  146 
  You creep out of your cell as quietly as you can muster. 
  You make it nearly halfway to the door before it is 
  proven that your best is not good enough. 
  
  34 
   
   
  Powell hurriedly rises to his feet and raises his 
  gun at you. He has no intention of letting his prisoner 
  escape. Your fight or flight response takes over, and 
  you act solely on instinct when faced with your 
  probable demise. 
   
  Go to 82. 
  147 
  You make your way through the foggy streets of 
  Esbury, heading once more to the Harris house. As 
  your feet fall against the flagstones of the road, you 
  hear the sound of your footsteps echo emptily along the 
  walls of the buildings, which remain quiet and sleepy 
  all throughout town. 
   
  The lighting is very dim and growing darker 
  by the second. By the time you find yourself once more 
  at the home of Amelia Harris, night has fallen. 
   
  As you approach the building, you freeze dead 
  in your tracks as a woman in a red dress passes mere 
  feet from you. It is Amelia Harris, and she does not 
  seem to notice you for all the fog and her own thoughts. 
  You watch her move hurriedly through the haze and see 
  her enter the nearby church. 
   
  You could choose to enter inside and search 
  the premises, or you could simply pursue Amelia for 
  questioning. 
   
  To enter the Harris House, go to 7. 
   
  To follow Amelia, go to 164. 
  148 
  You step out into the fog, hoping to find someone in 
  town who can give you a little more information. 
   
  Unfortunately, the town seems to be largely 
  deserted, as people prefer to remain inside with the 
  thick haze obscuring sight.  You wander for a little more 
  than an hour before you find someone, moving quickly 
  home from the town’s grocery. You stop the gentleman 
  and press him for questions. 
   
  He appears nervous, and says he doesn’t want 
  to be out in the “Damn scary fog” any longer than he 
  has to. You assure him that it will only take a few 
  moments, and the man relents to answering your 
  questions. 
   
  You ask about Dr. Harris, and the man nods 
  somberly. “Dead. Suicide they say. I don’t really know 
  if I buy it. The professor was a good man. And happy 
  too, so long as he had his things. Between you and me, 
  I think his widow had something to do with it. She was 
  a bit young for him, and didn’t seem to be too fond of 
  him. Her eyes tended to wander, if you catch my 
  meaning. And she goes and sells all his things when he 
  dies, so that’ sort of telling, ain’t it?” You take in the 
  new information silently, weighing the credibility of it 
  in your head as you inquire further. 
   
  You ask about Professor Harris’s things, and 
  the gentleman scratches his head. “Old stuff from 
  India. I don’t know much about it. I heard him talk 
  about it from time to time, said it was mostly religious 
  things. Every once in a while he’d get a visitor wanting 
  to look at them. They usually left upset, can’t say why.” 
   
  At 
  this, 
  the 
  man 
  begins 
  shifting 
  uncomfortably, and asks if he can go. You decide that 
  he has no more to offer you, and you allow him to leave. 
   
  Armed with new information, you set out to 
  find Amelia, assuming her to be at her home. You 
  wander through the streets for a while and the sun 
  sinks low. The darkness exacerbates the lack of 
  visibility, and you are soon lost among the buildings of 
  Esbury. Eventually, you find yourself in front of the 
  motel. You stop and use this landmark to orient 
  yourself, until your thoughts are disturbed by what 
  sound like footsteps. 
   
  Go to 131. 
  149 
  You try a door and find it locked. You move down the 
  line of buildings and repeat this process several times, 
  finding them all similarly secured. 
   
  Defeated, you decide to head back to the 
  motel to regroup and gather your thoughts. 
   
  Go to 131. 
  151 
  You make your way through the streets of Esbury, 
  confirming your location every so often by approaching 
  a building to check the address against the location 
  you’re searching for. 
   
  After some time, you arrive at Joshua’s house, 
  and insert the key in the lock, opening the door into a 
  small living area. 
  Glancing about the area, you see a small living 
  room and kitchen, and two doors at opposite ends of 
  the common area. The door on your left is left wide 
  open, and you can see that a set of stairs leading down. 
  The door on your right is closed, and you assume it to 
  be the bedroom. 
   
  To head down the stairs, go to 156. 
   
  To head into the bedroom, go to 202. 
  
  35 
   
  150 
  You resolve to simply wait it out. You have a wonderful 
  view for the spectacle that unfolds. The waters of the 
  lake rise continually and rapidly. It was now to the 
  point that it must be over some of the buildings in 
  Esbury, though you cannot see into the thick fog below. 
  You wonder at the loss of life and property. 
   
  Though the water continues to rise, seemingly 
  without end and without source, this is the least of the 
  oddities that transpire. Amidst the mist, you spot 
  scattered flames illuminating sections of the city. You 
  find this especially strange, since there seems to be no 
  discernable pattern or reason for it, especially in a city 
  that must be half sunken by now. Perhaps the fires are 
  set on the roofs of the taller buildings, but what could 
  the purpose of that possibly be. 
   
  All the while there is the screaming. The 
  screams of people afraid of the waters. The desperate 
  cries of the lost and blind. The startled shouts of those 
  woken from sleep to find danger. And more primal 
  screams of abject fright. 
   
  You glance back over towards the lake itself, 
  wanting to turn your attention away from the horrible 
  suffering of the town. You find the waters rising high is 
  great rippling waves, all emanating from a single 
  central point. You try to find the exact spot of origin, 
  but the spot seems to correspond with the reflection of 
  the moon, and you are unable to make out any details 
  as to what might be causing the waves. 
   
  You absently direct your gaze toward the 
  gibbous moon hanging overhead, and note yet another 
  baffling sight. Great clouds of mist seem to be rising 
  toward the moon from the ground, extending in long, 
  wispy columns up towards the heavens. Or perhaps 
  streaming down from above. You are uncertain of 
  which, or if it even matters. You do not think it does. 
   
  Looking back at the town, you find it all 
  beneath the water now, save your little island in the 
  waves. They crest a mere foot beneath your feet now, 
  and you know there is no escaping the rising tide. 
   
  Even resigned to the waters, you are not 
  prepared for what happens next. The waves stop 
  suddenly, and all once more falls silent and still. Then, 
  rising from the water, a long serpentine head emerges. 
  It is scaled, and colored like the sea. The mouth of the 
  detestable serpent opens, revealing rows of needlelike 
  teeth as it emits a hissing sound that pierces the night 
  and your very soul. And then its eyes open. Orbs of pure 
  malevolence fix themselves on you. It sits and watches 
  you for a second, a minute, an eternity. 
   
  And then the stonework beneath your feet 
  shifts, and you fall into the water. You know it is the 
  serpent’s doing, though it has not moved since it broke 
  from the water. As you sink beneath the surface, you 
  look upward and see the horrible lizard darting toward 
  you in the light of the gibbous moon. You pray that you 
  drown before it takes you, but fate is not so kind. 
   
  Your demise serves only to feed the horrible, 
  detestable water lizard that is Bokrug, Great Old One, 
  and doom of the cities of Sarnath and Esbury. 
   
  You have died and this is The End. Thank 
  you for playing, and I hope you enjoyed this adventure. 
  152 
  You are locked in a desperate struggle with Joshua. The 
  both of you are fighting for your life, scrambling to 
  make use of the handgun that could so quickly put an 
  end to the conflict. 
   
  Despite your best attempt, it is you who loses 
  this battle. Joshua clutches the gun tightly and rams it 
  into your chest, pulling the trigger several times and 
  ending your life. 
   
  At least your death was mercifully quick, for 
  those who remain in Esbury will not be so lucky. 
   
  This is The End. You have met a swift death, 
  though you may always attempt the story again. 
  153 
  You pause to consider the strange green coloration of 
  the fog and its incredible thickness. You wonder if it is 
  even safe to be out on the water with visibility so 
  limited. You decide to head to the docks first to see if 
  the ferry is still running before hauling all of your 
  possessions down to the water. 
   
  You walk out into the cloying green mist and 
  walk briskly towards the docks. You arrive to find 
  Lance pacing the deck of his boat with a small flask in 
  hand. He stares out into the mist, lost in thought before 
  you rouse him to inquire about passage. 
   
  He confirms your fears. “Sorry, I can’t take 
  her out like this. I can barely see three feet in front of 
  me. The lake is fairly tame, but I’d have no way of 
  telling where the shore is or if any other boats might be 
  out on the water. I like you, but it’s too dangerous. I just 
  can’t risk it. I’ve rarely seen a fog this thick. And this 
  green…never seen anything like it. I’m staying put.” 
   
  You know that nothing you say could possibly 
  convince him. Resigned to your fate, you head back 
  towards the rest of town. 
   
  To visit the police station, go to 11. 
   
  To return to the motel, go to 122. 
  
  36 
   
  154 
  Though you put a sizeable bid in for the idol, a truly 
  outrageous sum is called, easily twice what you had 
  offered. Mr. Warren squints hard at the paper before 
  calling out a staggering price and a rather foreign 
  sounding name, “Banyu.” Whispers of confusion break 
  out as the orange-robed monk collects the statue with 
  a look of excitement on his face. 
   
  Go to 81. 
  155 
  Instinctively, you retreat to the cover of the house. You 
  turn to run, but you are not quick enough. As you enter 
  the doorway, Joshua fires his gun, and you take a bullet 
  to the back. You feel it tear through you and see the 
  projectile pass out the other end, emerging bloody on 
  the other side. You collapse to the floor. 
   
  You reach down to clutch your wound, staring 
  at your bloody hand in disbelief. You look up to find 
  Joshua standing over you. He raises his gun at you, and 
  for a brief and terrible moment you anticipate the end 
  of your life. But Amelia shrieks and Joshua curses 
  under his breath. He kicks you in the face, and you slip 
  into unconsciousness. 
   
  Go to 138. 
  156 
  You descend the stairs, and they creak beneath your 
  feet. When you reach the bottom, you find yourself in a 
  dank and dusty basement, illuminated by a single dim 
  and flickering bulb that dangles precariously from the 
  ceiling. The room smells faintly of cigar smoke. 
   
  You notice an old table across from you, and 
  sitting atop it is a strange collection of items. A pair of 
  cracked clay cylinders, a gemstone studded altar with 
  curious scrawling, a stack of papers, and an unnatural 
  looking idol of sea-green stone fashioned in the shape 
  of a serpent. Behind the table is a still and other 
  bootlegging equipment. 
   
  You might consider looking over the items 
  you have found here, or simply you could simply leave 
  the basement alone. 
  To look over the items, go to 210. 
  To leave this place, go to 181. 
  157 
  You duck the blow and doge out of the way of the man’s 
  body as it flies towards you. He stumbles into the wall 
  and you quickly throw your weight against him and 
  knock the wind out of your assailant. 
   
  As the large man is stunned behind you, you 
  take the chance to enter the building and slam the door 
  behind you, blocking him from attacking you again 
  when he recovers. You are now staring face to face with 
  the other man, and he scowls at you menacingly and 
  brandishes a knife. 
   
  “You bastard! Think you can cause trouble for 
  old Josh? I’ll get you good and gut you like a fish. I 
  think we could use a little bit of blood for what’s coming 
  next.” 
   
  He shouts something incomprehensible at 
  you and lunges forward with the blade, and his eyes 
  betray his murderous intention. 
   
  Make a Dodge roll. If you succeed, go to 121. 
  If you fail, go to 176. 
  158 
  This trip would be unpleasant on a good day, but your 
  gut tells you that the journey will be particularly 
  arduous. 
   
  Still, you feel it is in your best interest to leave 
  this business behind you, and a walk through the 
  woods is the most expedient route with the ferry out of 
  commission. You strike out for the edge of town and 
  make your way to the tree line. 
   
  The trail here is fairly well kept, as it is 
  frequented by the citizens of Esbury who engage in 
  leisure activities such as hunting and camping. As you 
  march into the mists silently, you are even able to make 
  out occasional signage denoting campgrounds or tail 
  names. The markers peek out at you from the fog, going 
  unnoticed until you are almost atop them. Curious as 
  to the visibility that this haze affords, you stick your 
  arm out in front of you, and note with slight discomfort 
  that you are unable to make out the detail of your nails 
  in the murk. 
   
  You take up a quicker pace, hoping that the 
  more ground you cover, the sooner you will be free of 
  the fog. Despite your best efforts, the greenish glow of 
  the mist is your constant companion. 
   
  You walk on for what must be a little more 
  than an hour, and come to a fork in the path. Given the 
  density of the mist, you aren’t quite able to make out 
  which direction you should be going. Thankfully, you 
  spot the silhouette of a signpost in the gap between the 
  trail, and you make your way towards it. 
   
  The paint on the signs are worn here, and are 
  entirely indistinguishable. Perhaps on a good day, you 
  might be able to make out the traces of the words, but 
  
  37 
   
  in this fog, that task is completely impossible. If you 
  want to make your way out of here, you’ll have to rely 
  on your own skill and knowledge. 
   
  Make a Navigate roll. If you succeed, go to 
  119. If you fail, go to 51. 
  159 
  You throw yourself out of the way of the careening 
  automobile as it swerves back and forth in the middle 
  of the road. You let it pass before you finally rise and 
  brush off the worst of the mud. 
   
  As annoyed and frightened as you are by what 
  just occurred, it dawns on you that this was a good 
  thing. It confirms the direction you should be going. 
  You follow after in the direction of the car, and march 
  on silently and purposefully. 
   
  Make a Constitution roll. If you succeed, go 
  to 184. If you fail, go to 233. 
  160 
  You set off to follow the directions to Joshua’s house, 
  and you make your way through the streets of Esbury 
  and that unnerving fog. A few hours have passed since 
  you first set out, and the sky is now dark, but you finally 
  find it. The place in question is a small house located 
  on the edge of town, near the church. 
   
  You try the door and find it unlocked. You 
  have no doubt that the men inside will be armed, so you 
  slip in quietly, hoping to avoid notice. 
    
  Make a Stealth roll. If you succeed, go to 165. 
  If you fail, go to 144. 
  161 
  Try as you might, you are unable to get the door open. 
  No manner of fiddling with the lock will get it to budge. 
  You even resort to force by attempting to throw your 
  weight against the door. 
   
  With a sigh of resignation, you abandon your 
  task. 
   
  Go to 222. 
  162 
  You turn to run, somewhere, anywhere. Just away from 
  the sickening sound. You do not get far. 
   
  You take a few hurried steps and feel 
  something throw itself against your back, sending you 
  tumbling forward. It is slick and large, easily your size. 
  You can feel the moisture through your clothes as it 
  wraps it’s long, flabby arms around you. You look down 
  at the limbs with horror as you realize they are 
  decidedly not human. You struggle a bit, and quickly 
  elbow the thing that had grabbed you. Its hold 
  slackens, and you are released 
   
  Free of its grasp, you spin to confront the 
  thing. To your horror, you stare long into its misshapen 
  face. It has bulbous, lifeless eyes that stare back at you 
  like those of a dead fish. Its mouth is closed off by 
  sagging, flabby lips, and curious fin-like flaps of ears 
  hang from the side of its head. The body of the thing is 
  distended and round, with long spindly limbs trailing 
  forth from the bloated torso. 
   
  You stare long at the thing and terror begins 
  to sink in. It opens its mouth as if to speak, but no 
  sound is heard. It takes a stumbling step towards you, 
  and your instincts take over. 
   
  Make a Sanity roll. If you succeed, lose 1 
  point of sanity. If you fail, lose 1d6 points of sanity. 
   
  If you are armed, you may make a Firearms 
  (handgun) roll. If you succeed, go to 177. If you fail go 
  to 95. 
   
  You may choose to flee. If you do so, make a 
  Dexterity roll. If you succeed, go to 83. If you fail, go 
  to 113. 
  163 
  You steel yourself against the pain in your leg. 
  Whatever it is that is behind you, you don’t want to find 
  out. Pain shoots through your leg, but you manage to 
  carry on, for a while at least. 
   
  Eventually, the splashing behind you stops. 
  You don’t know if your pursuer has given up the chase, 
  or if they are simply waiting for you to stop. You pause 
  a moment to catch your breath, but only a moment. 
   
  You peer through the mists and stare out at 
  the ground before you. Or rather, lack thereof. The 
  water here has risen, and you cannot see the ground 
  beneath. From what little visibility you have, it seems 
  as if this is more than a mere puddle. Your pursuer 
  might yet be behind you, and there are no other paths 
  available within your limited sight. You will have to 
  swim through it if you wish to progress. And with your 
  injured leg, this is a rather grim prospect. 
   
  Make Swim roll at Hard difficulty (success 
  at half of skill value or less.) If you succeed, go to 185. 
  If you fail, go to 209. 
  164 
  
  38 
   
  You step through the shrouded streets and take refuge 
  in the church. The door creaks abominably as you 
  enter, so there is no chance of slipping in unnoticed. 
   
  You find yourself in a large chapel hall, with 
  hand-carved pews flanking you on either side. This 
  continues on for several rows, until it culminates in a 
  pulpit where the priest would conduct service during 
  the proper hours. Still, with the last of the fog-filtered 
  daylight can be seen fading through the stained glass 
  windows, you are aware that these are not the hours of 
  typical service. As it stands, the place is open to the 
  public during off-times, but the sole occupants are 
  yourself and Amelia, who has taken a seat in the front 
  row and is praying with her head bowed. 
   
  She does not lift her gaze as you take a seat 
  next to her, and you sit a minute and allow her time to 
  finish her prayers. You need information from her, but 
  you are that respectful, at least. 
   
  Finally, she opens her eyes and looks at you, 
  sighing softly as she does so. She looks somewhat 
  nervous, and the color drains from her face. “W-what 
  is it you want? You’re not supposed to be here.” 
   
  To press for more information about 
  Professor Harris’s Death, go to 54. 
   
  To ask about Joshua, go to 130. 
  165 
  You approach the house and place your hand on the 
  knob of the door. You hear voices inside, and so you 
  stop, waiting for them to stop. You press your ear to the 
  door and the conversation eventually fades, and you 
  hear footsteps walking away from the main area and 
  vanishing into the confines of the building. Feeling 
  satisfied that you will not be immediately spotted, you 
  turn the knob and creep inside. 
  Glancing about the area, you see a small living 
  room and kitchen, and two doors at opposite ends of 
  the common area. The door on your left is left wide 
  open, and you can see that a set of stairs leading down. 
  The door on your right is closed, and you assume it to 
  be the bedroom. 
   
  To head down the stairs, go to 156. 
   
  To head into the bedroom, go to 202. 
  166 
  You give in to your panic and let it wash over you. That 
  thing was trying to kill you. It’s still out there, waiting 
  for you. It will find you here if you try to hide. That 
  unnatural and unholy thing. You cannot stay here. 
   
  You do not even bother to warn anyone else or 
  grab your things. You simply take a deep breath and 
  rush blindly into the mist with all haste that you can 
  muster. The darkness and fog make it so you can see 
  absolutely nothing, but still, you desperately run as fast 
  as your legs can carry you. 
   
  Make a Dexterity roll. If you succeed, go to 
  186. If you fail, go to 208. 
  167 
  Just before your feet leave ground, you throw your 
  momentum into a jump, sending you flying forward 
  into the protective boughs of the tree. 
   
  Branches snap and break as they give under 
  the impact of your body, but those below hold and 
  catch you. You are not entirely without injury, but the 
  damage is reduced to cuts and bruises rather than 
  broken bones. 
   
  You begin making your way down the tree, 
  dropping carefully from limb to limb beneath you. 
  When you finally make it to the bottom and appraise 
  the distance you traveled downward, you are certain 
  that you just avoided a lethal fall. 
   
  Winded and battered, you trudge on through 
  the night, hoping to continue putting distance between 
  yourself and that Esbury. 
   
  Make a Constitution roll. If you succeed, go 
  to 184. If you fail, go to 198. 
  168 
  You swing at Joshua, and manage to land a few solid 
  blows. But you get as good as you give. He hits you 
  several times as well, and it seems like this brawl could 
  go on some time before a winner is decided. 
   
  Unfortunately for you, time is not on your 
  side. As you continue to strike out against Joshua, the 
  door of the house bursts open, and the other man 
  charges you. Together, he and Joshua beat you into 
  unconsciousness and subdue you. 
   
  Go to 138. 
  169 
  You wander for quite some time, unable to find 
  anything. As you are beginning to feel frustrated and 
  hopeless, your worries are compounded. The ground 
  beneath you begins to become damp. At first, you 
  simply tell yourself it is the fog. But as it rises over the 
  tops of your toes, and then up past your ankles, you 
  cannot deny that Esbury is quickly flooding. 
  
  39 
   
   
  You splash about in the city streets for a bit, 
  contemplating giving up, when you suddenly hear a 
  horrid squelching sound to your right. 
   
  You turn in terror as something distended 
  and misshapen lunges out at you from the mist. You 
  have only a moment to react. 
   
  Make a Dodge roll. If you succeed, go to 228. 
  If you fail, take 1 damage and go to 214. If this reduces 
  you to 0, you are tackled and killed by a mysterious 
  creature, and this is The End. 
  170 
  You stumble through the woods, leaning heavily on 
  your bad leg in the rough terrain. The ground is 
  uneven, and slippery beneath your feet. You must be 
  close to the lake, but despite your best efforts you are 
  unable to find the shore. 
   
  The shore does, however, find you. As you are 
  staggering through the darkness and mist, the water 
  level of the lake begins to rise, and the ground you are 
  on swiftly becomes waterlogged. At first, it is only a 
  minor inconvenience, but it does not take long before 
  the water rises to you ankles, calves, and on up to your 
  knees. It shows no sign of stopping. 
   
  You are dragging your wounded leg behind 
  you, and the pain is growing to be unbearable. Yet you 
  keep sloshing through the swamp that has formed 
  around you. You will yourself onward. 
   
  Until you hear the splashing behind you. 
  Something stomping through the muck, a few feet 
  back. You quickly glance over your shoulder, trying to 
  catch a glimpse of it, but it is obscured by the shadows 
  and shrouded by the fog. Whatever it is, it seems to be 
  in no hurry. It is keeping pace with you, not chasing 
  you. But if your leg gives out… 
   
  Make a Constitution roll. If you succeed, go 
  to 163. If you fail, go to 193. 
  171 
  You quickly duck into the motel, avoiding whoever or 
  whatever else is out there. You pause a few moments to 
  gather your thoughts. 
   
  Darkness has come and your job is not yet 
  done. With perseverance, you may yet finish your task. 
  The most obvious choice is to resume the investigation. 
   
  Another potential course of action is to simply 
  cut your losses and leave. You could try to abandon 
  Esbury on foot, and you must admit that the idea is 
  tempting despite being wholly impractical. This place 
  has not been good to you. 
   
  Of course, you could always simply sleep on it. 
  Stay another night in the motel and hope to either 
  continue your work or move on in the morning. You 
  aren’t certain why, but you feel a vague sense of unease 
  at the thought of spending another night here. You try 
  to push the thought from your mind as you come to a 
  firm decision. 
  To stay the night in the motel, go to 137. 
   
  To attempt to leave in the dead of night, go to 
  194. 
   
  To continue the investigation, go to 200. 
  172 
  You fall to your knees press your ear to the door of the 
  safe and begin twisting the combination dial, hoping to 
  listen for the clicks of the tumblers falling into place on 
  the right numbers. Unfortunately, you can’t quite 
  manage to get an ear for it, despite your best efforts. 
   
  Defeated, you rise and dust yourself off. With 
  nothing else to keep your attention, you leave the room. 
   
  Go to 222. 
  173 
  You cannot gather the courage to leave the safety that 
  you have found. Still, you will not sit completely 
  helpless. You pull a chair from the common area of the 
  motel and barricade the door. You close the shutters on 
  the windows. You gather what weapons you have on 
  hand, and you wait, hypervigilant against what is to 
  come. 
   
  For nearly an hour, you pace the common 
  area of the motel nervously. You almost begin to talk 
  yourself into believing that your earlier experience was 
  a hallucination. Until the water begins to seep in 
  beneath the door. Esbury is flooding. You seriously 
  begin to question your decision to remain, but you 
  realize that it is too late to choose any alternatives at 
  this point. You grit your teeth and prepare for what is 
  to come. 
   
  You are about to head upstairs when you hear 
  the pounding at the door. Something is trying to force 
  its way inside. You tighten your grip on your weapon 
  and prepare to stand and fight. 
   
  If you have a gun, make a Firearm 
  (handguns) roll. If you succeed, go to 217. If you fail, 
  go to 192. 
   
  If you do not have a firearm go to 225. 
  174 
  
  40 
   
  You fall over the ledge and skid a few feet down, but 
  quickly manage to catch yourself. You grab onto a rocky 
  outcrop and halt your fall. You take a few deep breaths 
  and make sure not to look down as you scan the cliff 
  face for handholds. In the fog, it is difficult to find 
  them, but you manage, and slowly pick your way up the 
  face of the cliff. 
   
  Finally, you make it back up to the muddy 
  trail above and throw yourself onto the path, gasping 
  for air. You lie there and recover for a moment before 
  gathering your strength and continuing on down the 
  path. 
   
  You march on, despite a growing weariness. 
  Your feet are sore, and you are nearly blind in this 
  darkness. But you are resolved to this course of action, 
  and you will not abandon it now. 
   
  You carry on for well over an hour, and the 
  obscurity becomes a major problem. You are tripping 
  over rocks and fallen branches. You almost go over a 
  ledge once more before you decide that this this plan is 
  untenable without the ability to see. You decide that 
  you must start a fire of some kind to carry a torch with 
  you. It may not solve the problem of the fog, but it may 
  at least alleviate the darkness. 
   
  Make a Survival roll (specialization does not 
  matter, as making a fire is among the most basic of 
  survival skills.) If you succeed, go to 189. If you fail, go 
  to 201. 
  175 
  You wade forward into the water, and feel the ground 
  slope down beneath you and out of reach of your feet. 
  You then kick off the ground and swim forward is 
  broad, simple strokes, trying to maximize your 
  distance with the least amount of effort. 
   
  You are all but blind in the fog, and so you 
  keep your course as much of a straight line as possible, 
  hoping that there are no twists or curves in the path. 
  You glide through the water for several minutes, and 
  eventually you reach the opposite end and spot the 
  path emerging from the water. 
   
  You climb from the water and shake off the 
  worst of the wetness. You are covered in filth and 
  soaking wet, but at least you are on the path once more. 
   
  However, you are cold and wet, and the 
  darkness and fog makes navigating that much harder, 
  despite the trail beneath your feet. You resolve to make 
  a fire, so that you may dry yourself and carry it with you 
  to keep back the darkness so that you might find your 
  way. 
   
  Make a Survival roll (specialization does not 
  matter, as making a fire is among the most basic of 
  survival skills.) If you succeed, go to 206. If you fail, go 
  to 224. 
  176 
  You are too slow, and he plunges the blade into your 
  chest as he pins you against the wall. His face is lit up 
  with joy as he watches you struggle in agony. Joshua’s 
  eyes are the very picture of sadistic madness, and he is 
  practically drinking in your pain. 
   
  He leans in close as you feel your strength 
  fade, and he whispers to you in a strange tongue that 
  sends chills through your remaining blood. “Grah'n 
  y'hah ngnw ronog Bokrug stell'bsna, phlegeth ep throd 
  ron.” He cackles madly and pulls the knife from your 
  chest as you desperately grasp at your wound to slow 
  the blood loss. “I have seen this in my dreams. Your 
  blood will lead the way to that magnificent city. It is 
  pleased…” 
   
  He then takes the bloody knife and quickly 
  draws it across your throat, finishing his sacrifice to 
  something unspeakable. 
   
  You have died, and this is The End. If you 
  like, you may attempt the story again and hope for a 
  better outcome. 
  177 
  You hurriedly draw your firearm and fire into the 
  creature. Once. Twice. Three times. Each bullet slams 
  into the thing and sends it reeling back. You note that 
  all of the bullets go straight through the thing and 
  emerge the other side, hardly slowed by the flimsy flesh 
  of the creature. The wounds from the gunshots quickly 
  begin leaking clear fluid at an alarming rate. It appears 
  as if the creatures is being deflated of whatever it is that 
  has caused it to be so bloated and misshapen. It takes 
  a few more stumbling steps toward you, and for a single 
  horrific second you fear that it will collapse atop you. 
  Thankfully, it crumples to the ground at your feet and 
  ceases to move as it silently dies. 
   
  You shudder at your victory over the 
  otherworldly thing. However, you do not have long to 
  relish your success from nearby, you hear the 
  squelching sound again. In multiple directions. You 
  reload your weapon quickly in case they should chance 
  upon you, and you make a snap decision of how to 
  proceed. 
   
  Make a Sanity roll. If you succeed, lose 1 
  sanity. If you fail, loose 1d6 sanity. 
   
  To seek the safety of the nearby motel, go to 
  223. 
  
  41 
   
   
  To flee from this place as fast as you can, go to 
  166. 
   
  To muster your courage and attempt to get to 
  the bottom of this, go to 200. 
  178 
  You fix your eyes first on the strange altar, and then on 
  the stack of notes. Rifling through them, you are able 
  to piece together the character’s written in dried blood 
  across the side. They say simply “Bokrug brings DOOM 
  to Sarnath.” As you look over the altar, you also note 
  smaller text in ink, located just beneath the large 
  blood-written print. The smaller text appears to be 
  some sort of chant “Y'hahyar nog nglui ah, Bokrug.” 
  The words stick in your mind saliently. 
   
  As you begin stuffing the religious icon into 
  your sack, you note a similar scripts on the other side. 
  Written in fresh blood. Most of the characters are the 
  same, and you once again consult the notes to finish the 
  translation. You decode the missing words and the 
  whole of the text to read “Bokrug brings DOOM to 
  Esbury.” 
   
  Somewhat unnerved, you shove the altar into 
  your bag, knowing that this is evidence of some sort of 
  cult practice or deranged religious belief. 
   
  The thought does not sit well with you. 
  You have learned a ritual chant. When 
  prompted, you may choose to use the chant. If you do 
  so, go to 235 at the appropriate time. 
   
  Go to 210. 
  179 
  With no immediate threat to yourself, you are free to 
  explore the Harris household, though you do so quickly 
  in case someone is to come looking. Glancing about the 
  sitting room you are in, you find it to be a bit of a mess 
  from the earlier scuffle. 
   
  Glancing towards the entrance, you note the 
  foyer, filled with boxes and crates, many of which are 
  covered. You poke your head into the next room and 
  find a kitchen and adjacent dining room, both 
  spotlessly maintained, though sparsely furnished.  
   
  Peeking beneath the fabric in the entryway, 
  you find various furniture and décor, as well as stacks 
  and stacks of books. Many of them are historical texts 
  and reference materials, some of which are written by 
  Professor Harris himself. There is also a large number 
  of general works of science and literature, as befits any 
  well-educated man. 
   
  You place the cover back down, sensing that 
  you will find nothing of value here. You turn your 
  attention to the set of stairs that are positioned 
  opposite to the entrance. You ascend the staircase and 
  see two doors, one on either side of you. The door to 
  your left is slightly ajar, and is no doubt the bedroom. 
  By process of elimination, the door to your right must 
  be the study. The door seems to be locked, and your 
  earlier search of the house did not yield a key. With 
  enough time, you might be able to get the door open, 
  but it would probably be unwise to be at it for long, 
  since it’s entirely possible that Amelia or one of those 
  close to her may return. 
   
  To enter the bedroom, go to 207. 
   
  To enter the study, make a Locksmith roll. 
  If you succeed, go to 188. If you fail, go to 161. 
  180 
  Try as you might, you are unable to pry the blade from 
  his grasp. Joshua manages to land a single, solid strike 
  against your face that sends you reeling and sprawling 
  backwards. In a moment he is on top of you. 
  He smiles with wicked glee as he places the 
  blade against your flesh once more. The cold metal 
  rests against your throat, and Joshua locks eyes with 
  you. 
   
  His eyes seem to glaze over as speaks, and he 
  begins speaking in strange tongue. “Grah'n y'hah ngnw 
  ronog Bokrug stell'bsna, phlegeth ep throd ron.” He 
  speaks each syllable with a slow and monotonous tone, 
  as if he is focusing on the sound of the words very 
  carefully. 
   
  As the last sound passes his lips, Joshua takes 
  the knife and presses it sharply into your neck. With a 
  single, smooth motion, Joshua slits your throat as you 
  struggle helplessly. 
   
  As you are swiftly bleeding out, your eyes 
  perceive impossible visions. The world before you 
  melts away and you and is replaced by a shining city of 
  marble, onyx, and lustrous gems. You see this 
  magnificent city in all its splendor, sitting next to a 
  placid lake. And then it is gone in an instant. The water 
  rises up to swallow it and from the water rises the 
  serpent of the idol, given life and power. The being eyes 
  you with malicious sentience as the waters rise and 
  consumes you. 
   
  Your story is over. You have been offered up 
  as a sacrifice to one of the Great Old Ones. The End. 
  181 
  
  42 
   
  You decide that you have seen enough of Joshua’s 
  house, and that you have no reason to linger here. You 
  exit the building and close the door behind you. 
   
  You look out into the fog, and find it thicker 
  than you had remembered. You can see almost 
  nothing. Compounding this problem is the darkness, 
  which has completely fallen while you were inside. 
   
  Armed with new knowledge, you feel 
  prepared to confront what lies ahead of you. You take a 
  few steps out into the street and are shocked to find the 
  cobblestones of the city to be waterlogged. The tide has 
  risen, and the city is beginning to flood. 
   
  Given earlier events, you are inclined to 
  believe that this may not be entirely natural, but even 
  if it is, the rapidly rising water is a serious threat in 
  itself. You feel a twinge of fear, but overcome it as you 
  spur yourself into action. You know that you must 
  escape the flood, and that you must act quickly. 
   
  If you know where to meet with Banyu, now is 
  the time that you may choose to do so. 
   
  To search for higher ground and hope to avoid 
  the rising waters, go to 211. 
   
  To try to outrun the rising tide, go to 194. 
  182 
  You are a minute too late. You scramble to get out of 
  the way of the vehicle, but it is accelerating rapidly, and 
  makes no attempt to avoid you, as the driver cannot see 
  you in the fog. 
   
  It strikes you at full speed, and your bones 
  shatter on impact, killing you instantly. 
   
  You have died and this is The End. Though 
  you nearly escaped, you unfortunately did not survive 
  your visit to Esbury. 
  183 
  You yank your hand free of the cold and clammy grasp 
  and withdraw it to find it moist and covered in mucous. 
  You shake the worst of the disgusting substance off of 
  your arm as you rush to get away from whatever it was 
  that grabbed you. Thankfully, the exact form and 
  features of the thing were concealed by the fog and the 
  darkness, but this does not stop your imagination from 
  running wild. 
   
  Thankfully, your feet are also running wild. 
  You move as fast as your legs can carry you. You press 
  on through shrouded streets and see more hazy, 
  hideous things peering out at you from the merciful 
  mask of the mist. You rush past them, not wanting to 
  find out what they are, but knowing full well that they 
  are not human. Finally, you make your way to the edge 
  of town. 
   
  You do not even bother with the trail. 
  Navigating in this level of obscurity would be a near 
  impossibility, even if you weren’t being actively chased 
  by otherworldly horrors. You simply rush into the 
  forest, stumbling around branches and over roots and 
  rocks. If you can keep your footing, you may just be 
  able to put enough distance between yourself and the 
  cursed city that lies at your back. 
   
  Make a Dexterity roll. If you succeed, go to 
  50. If you fail, go to 197. 
  184 
  You march through the night, moving more slowly and 
  more carefully, but never stopping. You keep a brisk 
  pace for several hours, before you finally force yourself 
  to stop and catch a brief nap against a tree. 
   
  Your sleep is light and restless, and you dream 
  of horrific things. Of rising waters and hideous beings 
  with strange faces. Of crumbling towers built of marble 
  and gemstones, and of burning fires and the screams of 
  the dying amidst an unknown city of unknownable 
  antiquity. You wake with a start as a terrifying, 
  grotesque lizard rises from the water and hisses 
  malevolently at you. 
   
  Jolted from your sleep, and thoroughly 
  unnerved. You glance about quickly and note that the 
  sun is shining brightly and the fog has dissipated. You 
  quickly gather yourself and begin walking at a much 
  calmer pace. 
   
  It is several more hours before you find the 
  road. You follow it for some time before a car passes 
  and offers you a ride to Boston. 
  For the next few days, you settle in at Boston, 
  recovering from your experiences in Esbury and the 
  long walk home. You had been trying to put it all 
  behind you, until you find a rather disturbing 
  newspaper article in the morning paper a few days 
  later. The resort town of Esbury was reported to have 
  mysteriously flooded in the middle of the night, 
  claiming the lives of all of its residents while they slept. 
  No source is cited for the cause of the flooding, and no 
  survivors, bodies, or debris are reported to have been 
  found. 
   
  This is The End of our tale. You have 
  survived by abandoning the town of Esbury to its fate. 
  You do not fully comprehend what went on there, but 
  you are relieved to have avoided your own demise. Still, 
  the scars of that night and the eventual outcome will 
  haunt you for quite some time. You lose 1d8 sanity, but 
  you may use this character in future adventures. 
  
  43 
   
   
  Congratulations on surviving Call of Cthulhu. 
  185 
  Your fear spurs you on. You are practically dragging 
  your injured leg behind you as you wade through the 
  waters and finally kick off the ground and begin 
  properly swimming. 
   
  You splash through the murky waters for a 
  fair distance before making it to a patch of drier 
  ground. Mercifully, you do not hear the sounds of 
  pursuit.  
   
  You do not wait around for your pursuer to 
  reappear. Though thoroughly pained, you limp along, 
  trying to get some semblance of your bearings. 
  Ultimately, you decide to trust your gut and pick a 
  direction and start walking. You come upon a trail and 
  you feel relatively confident that you have made the 
  correct choice. 
  You could not be more wrong. Having taken a 
  wrong turn earlier, and without any sort of reference 
  point, you have gotten completely turned around. You 
  now find yourself once more facing the town of Esbury. 
   
  You have little time to express your 
  frustration. As you are standing in the middle of the 
  road, an automobile comes barreling out of the mist 
  directly at you. 
   
  Make a Dodge roll. If you succeed, go to 191. 
  If you fail, go to 221. 
  186 
  You sprint through the foggy streets of Esbury, 
  breathing heavily in the green mists as you try to 
  abandon this God-forsaken place. You move in no 
  particular direction, simply running away. 
   
  You follow twisting and turning alleys, and 
  open streets. In the fog, you can discern little 
  difference. As you are running, you encounter that 
  same horrible, distended monstrosity. It lumbers 
  towards you, but you are much too quick for it. 
   
  But then you round a bend in the road and 
  find another. You quickly change your heading and 
  find another one of the things again blocking your path. 
  You see them shambling towards you. A whole 
  multitude of the horrendous, vile things. You panic and 
  quickly look for an escape route. 
   
  Luckily, you find a narrow alley between two 
  buildings, and you dive towards it with all due haste. 
  Thankfully, there are none of the creatures on the other 
  side. 
   
  You run for a while longer, and you notice 
  something else peculiar. The town is beginning to 
  flood. The water is rising at an alarming rate. You are 
  already splashing through ankle-deep water by the 
  time you reach the edge of town. 
   
  But you do make it to the edge of town, and 
  you run blindly into the forest, knowing full well that it 
  is a hopeless task to find the trail in this darkness and 
  fog. You move as fast as your legs will carry you through 
  the woods. 
   
  Go to 50. 
  187 
   
  You are all but blind in the fog, and so you 
  keep your course as much of a straight line as possible, 
  hoping that there are no twists or curves in the path. 
  You wade further into the muck and begin swimming. 
  You splash through the water for several minutes, and 
  run into some trouble while you are immersed in the 
  water. Something cuts your leg, presumably a fallen 
  branch or log. It is splintered and broken, and digs 
  deep enough to open a wound. But eventually you 
  reach the opposite end and spot the path emerging 
  from the water. 
   
  You climb from the water and are thoroughly 
  disgusting for your time there. You are covered in filth 
  and soaking wet, but at least you are on the path once 
  more. 
   
  However, you are cold and wet, and the 
  darkness and fog makes navigating that much harder, 
  despite the trail beneath your feet. You resolve to make 
  a fire, so that you may dry yourself and carry it with you 
  to keep back the darkness so that you might find your 
  way. 
   
  Make a Survival roll (specialization does not 
  matter, as making a fire is among the most basic of 
  survival skills.) If you succeed, go to 206. If you fail, go 
  to 224. 
  188 
  You reach into your pocket and produce a bobby pin 
  that you carry on your person for just such an occasion. 
  You insert it into the lock and fumble with it for a few 
  minutes. It sticks and strains, and for a few terrible 
  seconds you fear that it will break in the lock. And then 
  the tumblers give, and the door clicks open. 
   
  You push your way into the small study and 
  find the room much as you would have expected it. The 
  door opens across from a window, which lets in the 
  pale, greenish light of the sun on the mist. This 
  illuminates the room, which is adorned primarily with 
  mostly-empty book cases on either side. There are also 
  
  44 
   
  several glass display cases throughout the room, but 
  these are similarly empty. At the far end of the room, 
  just beneath the window is a desk, still littered with 
  blood soaked papers. 
   
  Searching through the drawers of the desk, 
  you find stacks of notes and various personal items. 
  Buried in the bottom drawer, you find an impossibly 
  old scrap of papyrus pressed into a glass frame. All 
  across the ancient papyrus are strange and unusual 
  scrawlings. As you pick it up to inspect it, you notice a 
  sheet of paper clipped to the back of the frame, bearing 
  the same scrawling as the papyrus, but with 
  annotations in the margins. Presumably, this is a 
  translation of the papyrus’s text. 
   
  As you read it over, you marvel at the 
  impossibility of the content. The writing purports to be 
  written by a priest of an unknown city by the name of 
  “llarnek.” 
  In this 
  account, the 
  priest 
  records 
  observations of an odd and ugly race of beings who 
  once lived upon a lake long ago in the forgotten land of 
  Mnar. This record goes into great lengths about the fire 
  rituals of these strange creatures, and speaks of the 
  haunting dances they would perform in the light of the 
  flames beneath the gibbous moon. And always under 
  the watchful gaze of a sea-green stone idol, chiseled in 
  the likeness of great lizard. 
   
  You pause for a moment, and consider the 
  implications. You take the translation and fold it up in 
  your pocket as evidence, and exit the study. 
   
  Go to 222. 
  189 
  You gather some suitably dry wood, and reach into 
  your pocket for the small book of matches that you 
  always carry on your person, just for situations like 
  this. 
   
  You fumble around for quite some time, 
  keeping to the road as best as you can. As you are 
  walking along, your torch illuminates a signpost along 
  the trail. Investigating it more closely, you find that the 
  trail splits off ahead, and by keeping to the road as you 
  had intended, you would have looped back to Esbury. 
  Instead, you take a smaller trail that branches off to the 
  side and begin to follow it. Marching along into the 
  night. 
   
  Make a Constitution roll. If you succeed, go 
  to 184. If you fail, go to 198. 
  190 
  You hear a sound growing louder in the distance. The 
  unmistakable rumble of an automobile thundering 
  down the path. You move off the side of the road, 
  keeping the edge just in view. 
   
  You hear a loud splash as the vehicle forces its 
  way through the flooded section of trail, and you shout 
  at the passing car as it speeds towards and then away 
  from you. You doubt the driver heard you, and if they 
  did, they certainly did not stop to investigate. 
   
  With a resigned sigh you make your way back 
  onto the trail and continue walking. It is a long, 
  arduous journey throughout the night. You follow the 
  trail for hours on end through the darkness and fog. 
  Your feet blister and ache, and your eyes droop from 
  weariness. All the while, you fight against a gnawing, 
  looming terror growing in the back of your mind. 
   
  But despite this, you press on, and eventually 
  stagger towards the dock on the far side of the lake, and 
  make it into your car. Half asleep, you throw yourself 
  behind the wheel and drive home in the night. You 
  steer almost automatically, exhausted and unthinking 
  as you are. But you note that the fog is absent once you 
  have left the lake, and the darkness becomes your sole 
  companion. 
   
  For the next few days, you settle in at Boston, 
  recovering from your experiences in Esbury and the 
  long walk home. You had been trying to put it all 
  behind you, until you find a rather disturbing 
  newspaper article in the morning paper a few days 
  later. The resort town of Esbury was reported to have 
  mysteriously flooded in the middle of the night, 
  claiming the lives of all of its residents while they slept. 
  No source is cited for the cause of the flooding, and no 
  survivors, bodies, or debris are reported to have been 
  found. 
   
  This is The End of our tale. You have 
  survived by abandoning the town of Esbury to its fate. 
  You do not fully comprehend what went on there, but 
  you are relieved to have avoided your own demise. Still, 
  the scars of that night and the eventual outcome will 
  haunt you for quite some time. You lose 1d8 sanity, but 
  you may use this character in future adventures. 
   
  Congratulations on surviving Call of Cthulhu. 
  191 
  You throw yourself on the ground, making sure you 
  avoid the oncoming car. You land face first in water 
  that is already several inches deep. You quickly roll 
  over as the car speeds past you, and you rise from the 
  ground thoroughly wet. 
   
  You once again look in dismay towards the 
  town of Esbury, which is flooding fast. You can make 
  out little through the fog, but amidst the darkness, you 
  can see flames burning bright, the colors muted by the 
  
  45 
   
  mist, but significantly brighter than the surrounding 
  shadows. 
   
  You can think of no reason why a sinking city 
  would be on fire, but whatever excuses your head can 
  conjure are not comforting. You do not stand to ponder 
  on it long. As you are despairing over your 
  circumstance, the mist closes in tighter around you as 
  does something more unsavory. A green, flabby, fleshy 
  hand seizes your arm and begins pulling you violently 
  towards the town. You struggle against the grasp as 
  best you can, but you find you will not be easily able to 
  slip away, and a more intentioned application of force 
  is needed. 
   
  If you have a firearm, make a Firearms 
  (Handgun) roll. If you succeed, go to 213. If you fail, 
  go to 226. 
   
  If you are unarmed, go to 231. 
  192 
  The door falls inward, rattling on its hinges. The 
  bulbous, misshapen thing lumbers into the room with 
  its lifeless and bulging eyes fixed on you and its putrid 
  mouth gashing open and closed silently. 
   
  Your hands shake abominably as you come 
  face to face with the alien thing. Your eyes dart back 
  and forth staring first at it and then at the multitude of 
  others like it that are beginning to clog the doorway 
  behind it. You cannot bring yourself to stare at it any 
  longer, so you close your eyes and fire blindly. 
   
  When you open them again, you see the bullet 
  hole in the wall behind the creature and know that you 
  missed. You do not have time to collect your nerves for 
  another shot. The monstrous thing throws itself at you 
  and pins you to the ground. 
   
  With its cracked and broken nails, it claws 
  open your throat as it silently mouths praises to its dark 
  god. 
   
  You have died. This is The End. 
  193 
  You splash through the rising tide as best as you can, 
  knowing what it means to fail. Unfortunately, the flesh 
  is weak and your leg gives out. 
   
  You never see what it is that has been chasing 
  you. You turn towards it, hearing it come towards you, 
  but it is shrouded in the mist. You can just make out 
  the outline, something almost human, but decidedly 
  not. You blink and it is upon you. You tumble 
  downward face first into the muck. The moist and 
  disgusting thing lies atop you as you gasp for air 
  desperately. But you find none, and soon drown. 
   
  You have died and this is The End. If you 
  like, you may start again and hope to progress further 
  by means of another path. 
  194 
  You are through with this place. You want nothing 
  more to do with Esbury, and whatever business you 
  had intended to carry out here is no longer worth your 
  time. You gather your things and set out into the fog. 
   
  You keep a brisk pace as you stride through 
  the darkness and mist. You are moving with all due 
  haste, making for the edge of town. You wind your way 
  down streets and through alleys. 
   
  But as you are moving, something reaches out 
  at you and grabs your arm, wrapping it tightly in a 
  vicelike grip. You panic and try to pull away. 
   
  Make a Strength roll. If you succeed, go to 
  183. If you fail, go to 199. 
  195 
  You look the idol over. It is made of a sea-green stone 
  and chiseled in the likeness of a water lizard. The 
  sculpture is grotesque and hideous, and the very 
  depiction of the serpentine creature unnerves you. 
  Still, the work is extremely well preserved and 
  unquestionably ancient. 
   
  You feel uncomfortable staring at the alien 
  looking thing for long, and you stow it away in the sack 
  and out of sight. 
   
  Go to 210. 
  196 
  You emerge into the belfry at the top of the stairs, and 
  you find yourself looking down on the fog-shrouded 
  town that is no doubt flooding fast. You glance out to 
  the lake, which is not itself covered by the fog. You see 
  the surface swaying strangely beneath massive waves, 
  and you see the stars and gibbous moon reflected in the 
  water. 
  With a moment of relative safety, you have a 
  minute to pause and reflect. You take a deep breath, 
  bowing your head in thought, or perhaps prayer. Your 
  mind is a whirl, but eventually, a single thought breaks 
  through, determining your course of action. 
   
  If you know a ritual chant, now is the time you 
  may choose to use it. If you do so, go to the appropriate 
  entry. 
  
  46 
   
   
  Otherwise, go to 150. 
  197 
  You run on for some distance, dashing between the 
  tress of the forests around Esbury. You are stumbling 
  blindly through the darkness and fog, half-tripping 
  over roots and rocks. Eventually, you lose your footing 
  and come crashing down against a boulder. 
   
  Your head slams against the rock, and you 
  pass into unconsciousness. You will never know what 
  happens, but you do not wake up. 
   
  You have died, and this is The End. You don’t 
  know if it was the fall, or the rising tide, or the strange 
  monsters that took your life, but you have passed away. 
  Better luck next time. 
  198 
  You begin marching on as best you can, putting one 
  foot in front of the other. You are bruised and tired, and 
  you are unable to go on for very long. Within a short 
  time, you pause to lean against a tree to catch your 
  breath, and slip quietly into sleep. 
   
  Yours is a deep, dreamful sleep. The waking 
  world melts away and is replaced by a shining city of 
  marble, onyx, and lustrous gems. You see this 
  magnificent city in all its splendor, sitting next to a 
  placid lake. And then it is gone in an instant. The water 
  rises up to swallow it and from the water rises the 
  serpent of the idol, given life and power. The being eyes 
  you with malicious sentience as the waters rise and 
  consumes you. You do not wake from your slumber. 
   
  You have died, claimed in the night by the 
  unnatural powers of the Great Old One who was 
  manifesting at Esbury. This is The End. 
  199 
  Try as you might, you are unable to break the grasp of 
  the thing clutching at your arm. It pull you closer 
  towards itself, and you can now see the horrible 
  inhuman form of the thing. Its body is bulging and 
  misshapen, with long slender limbs and a hideous face, 
  all of which are bound by skin of the same sickly green 
  color as the unnatural mist. 
   
  The thing pulls you to the ground, and you 
  hear the squelching steps of many more like it. You 
  struggle to rise as they surround you, but there is no 
  escape. You fight back as best you can, but eventually 
  they crash upon you like a wave, and they scratch and 
  squeeze the life from your body. 
   
  You have died and this is The End. Your life 
  has been claimed by strange things in service to their 
  horrible god. 
  200 
  You collect yourself and step out into the fog, 
  determined to get to the bottom of this. The fog is thick 
  and the night has fallen. At this stage, you have few, if 
  any leads to investigate on. While this is far from ideal, 
  your best option seems to be to patrol the streets 
  looking for something out of the ordinary. Moreso than 
  what you have already seen. 
   
  You begin cautiously walking down the 
  streets, making sure to keep a brisk pace and open ear 
  for anything that might be lurking in the mist. The 
  streets are eerily silent except for your own footsteps. 
   
  You pass houses and places of business, and 
  little seems to stand out at first. With a bit of 
  persistence and luck however, you may just find 
  something. 
   
  Make a luck roll. If you succeed, go to 238. If 
  you fail, go to 169. 
  201 
  You gather up a pair of sticks and try to rub them 
  together to make fire, as you have heard of others 
  doing. Whether this is simple myth or if the secret 
  merely eludes you is irrelevant, as you start no fire. 
   
  You eventually abandon the task and trudge 
  on blindly, following to the trail as best you can in the 
  thick fog. The elevation begins to decline beneath your 
  feet. You assume you must be coming down from the 
  hills and nearing your destination, and you are pleased 
  with your progress. 
   
  You could not be more wrong. Having taken a 
  wrong turn earlier, and without a light to guide you 
  through the darkness and fog, you have gotten 
  completely turned around. You now find yourself once 
  more facing the town of Esbury. 
   
  You have little time to express your 
  frustration. As you are standing in the middle of the 
  road, an automobile comes barreling out of the mist 
  directly at you. 
   
  Make a Dodge roll. If you succeed, go to 191. 
  If you fail, go to 221. 
  202 
  You open the door to find a bedroom, much as you had 
  expected. The room clearly belongs to a bachelor, as the 
  only feminine object in the space is a set of lace 
  
  47 
   
  sleepwear lying across the bed. You look to a nearby 
  nightstand and find several framed photographs of 
  Joshua and Amelia, so you assume those clothes to be 
  hers. Peeking out of a drawer in the nightstand is an 
  open box of bullets, as well as several bottles of bootleg 
  whiskey. 
   
  You scan the rest of the room and the only 
  other object of note is a dresser. You search it and find 
  it to be full of men’s clothing, the sort that Joshua 
  would wear. However, as you are rifling through the 
  things, you find an envelope. Turning it over, you find 
  it to have already been unsealed, and judging by the 
  crumpled state of it, the things looks to have been read 
  over several times. 
   
  You turn it over and begin reading. “It 
  appears to be a correspondence between Joshua and a 
  Dr. Webber, based out of Arkham. Webber is 
  apparently a psychotherapist that Joshua sees 
  monthly. Apparently, the past few months have been 
  quite difficult for Joshua, in addition to his criminal 
  activities and his relationship with Amelia, it would 
  seem that Joshua has been troubled by strange dreams. 
  Dr. Webber labeled them as obsessive delusions. It 
  would seem that Joshua has a fixation with a particular 
  dream of a beautiful city in a far off land. He describes 
  the city as made of marble and says that sometimes he 
  wakes up crying because he has to leave it behind in his 
  dreams. He also reports a seeing a frightening serpent 
  in the waters off the shore of this strange city. 
  Sometimes in the night it whispers that it knows the 
  way to the city. Though the serpent scares him, he 
  listens to the whispers and he professes a deep desire 
  to go there, though he does not know where this city is 
  or even if it is real. For his part, Dr. Webber assures 
  him that these things are completely fictitious and that 
  he must find a way to return to reality and leave the 
  dreaming delusions behind. 
   
  You tuck the envelope back where you found 
  it and think about how this affects the course of events 
  here in Esbury. Silently, you return to the main area of 
  the house. You may now investigate the basement, or 
  leave the house. 
   
  To investigate the basement, go to 156. 
   
  To leave the house, go to 181. 
  203 
  You take a knee and begin twisting the combination 
  lock slowly, listening for the sound of the clicks and 
  feeling for the slight stopping of the dial with a 
  successful guess of the number. You repeat this process 
  a few times, and the door of the safe swings open with 
  a barely perceptible creak of metal. 
   
  The contents of the safe are fairly sparse. 
  There are a stack of documents on the bottom. 
  Passports, 
  birth 
  certificates, 
  identification 
  and 
  financial papers. They’re tied to both Amelia and 
  William Harris, so it appears as if this safe hasn’t been 
  opened since his death. There is also a solitary gold bar 
  sitting off to one side. Considering the trouble you went 
  through to get to this point, you place the gold bar in 
  your pocket as compensation. 
   
  At least now you wouldn’t be leaving empty 
  handed. Satisfied, and with nothing more to see in the 
  room, you leave it behind and move on. 
   
  Go to 222. 
  204 
  You turn over the brick cylinders in your hand and 
  squint to make out the tiny script pressed into their 
  sides. Consulting the stacked notes to the side, you 
  begin to work out a rough translation. The cylinders tell 
  the story of the “lakemist green beings of Ib, with their 
  bulging eyes, pouting, flabby lips, curious ears, and 
  voiceless mouths.” It speaks of the origins of these 
  strange beings, how they “descended one night from 
  the moon in a mist” and “gave praise to the chiseled 
  sea-stone idol of Bokrug beneath the gibbous moon.” It 
  goes on to describe their strange city of stone and their 
  ritual destruction of precious metals to appease this 
  detestable water lizard. 
   
  The tale is perplexing and impossible, but if 
  true, it is rather frightening. You recall the green mist 
  outside, and note that the moon is gibbous tonight. As 
  you place the brick cylinders in the sack. You glance 
  over at the sea-green idol nearby and are further chilled 
  by the portents of this. 
   
  Increase your Cthulhu Mythos skill by 2 
  points. Go to 210. 
  205 
  The exhaustion overtakes you. You lean back, close 
  your eyes, and drift into a deep slumber. 
   
  Your sleep is disturbed by strange and horrific 
  dreams. You see a shining city of marble, onyx, and 
  lustrous gems. You see this magnificent city in all its 
  splendor, sitting next to a placid lake. And then it is 
  gone in an instant. The water rises up to swallow it and 
  from the water rises the serpent of the idol, given life 
  and power. The being eyes you with malicious 
  sentience as the waters rise and consumes you. 
   
  You exist in this state for what feel like an 
  eternity, drifting in the sunken ruins alongside the 
  horrible serpent. It eyes you closely, scrutinizing your 
  every motion. But it never acts, merely watching you 
  
  48 
   
  with checked malevolence. You stare long into its eyes, 
  and begin to wish it would simply consume you so you 
  would not have to be under those watchful eyes. This 
  becomes a maddening desire, and you find yourself 
  swimming toward the thing willingly. It opens up its 
  jaws to receive you, revealing row after row of needle-
  like teeth. As you are about to offer yourself to the 
  thing, you finally wake. 
   
  You find yourself dangling over the edge of 
  the belfry, threatening to roll into the flooded town 
  below and lose yourself in the waters. You quickly pull 
  back towards the center of the platform for safety. As 
  you do so, a glimmer from the contents of your sack 
  catches your eye. You reach inside to find the source, 
  and extract the sea-stone serpent idol. It is shimmering 
  with a blueish-white light of angry intensity, and to 
  even look at the thing is painful. 
   
  You consider throwing the damnable thing 
  into the waters below, but something stops you. A 
  thought creeps into your mind, taking shape and 
  driving your actions. 
   
  Make an Intelligence roll. If you succeed, go 
  to 219. If you fail, go to 234. 
  206 
  You walk to the edge of the trail and gather some fallen 
  branches. Like a good survivalist, you had presence of 
  mind to conceal a match on your person, and though it 
  is wet and it takes some time, you manage to kindle a 
  small flame. 
   
  You spend some time around your tiny fire, 
  taking in the warmth. You do not wish to linger long, 
  and so you improvise a torch to carry with you as you 
  continue along your journey. 
   
  It is a long, arduous journey throughout the 
  night. You follow the trail for hours on end through the 
  darkness and fog, pausing only occasionally to feed the 
  flames of your torch. Your feet blister and ache, and 
  your eyes droop from weariness. All the while, you fight 
  against a gnawing, looming terror growing in the back 
  of your mind. 
   
  But despite this, you press on, and eventually 
  stagger towards the dock on the far side of the lake, and 
  make it into your car. Half asleep, you throw yourself 
  behind the wheel and drive home in the night. You 
  steer almost automatically, exhausted and unthinking 
  as you are. But you note that the fog is absent once you 
  have left the lake, and the darkness becomes your sole 
  companion. 
   
  For the next few days, you settle in at Boston, 
  recovering from your experiences in Esbury and the 
  long walk home. You had been trying to put it all 
  behind you, until you find a rather disturbing 
  newspaper article in the morning paper a few days 
  later. The resort town of Esbury was reported to have 
  mysteriously flooded in the middle of the night, 
  claiming the lives of all of its residents while they slept. 
  No source is cited for the cause of the flooding, and no 
  survivors, bodies, or debris are reported to have been 
  found. 
   
  This is The End of our tale. You have 
  survived by abandoning the town of Esbury to its fate. 
  You do not fully comprehend what went on there, but 
  you are relieved to have avoided your own demise. Still, 
  the scars of that night and the eventual outcome will 
  haunt you for quite some time. You lose 1d8 sanity, but 
  you may use this character in future adventures. 
   
  Congratulations on surviving Call of Cthulhu. 
  207 
  You push aside the door and enter the bedroom. The 
  room is lavishly decorated and feminine. Large, soft 
  pillows sit atop the bed, and a tangle of blankets is 
  strewn across the mattress. 
   
  Judging by the state of the room, this space 
  belonged more to Amelia than it did Dr. Harris, even 
  before his death. Now though, the room is dominated 
  by her personal affects. A case of makeup sits on the 
  dresser, and a hand mirror lies next to it. The door to 
  the closet is open and the racks are overflowing with 
  various dresses and fashionable outfits. The clothes 
  belonging to the late Dr. Harris take up a small and 
  innocuous corner of the closet, pushed far to the side 
  so as to not get in the way of Amelia’s things. 
   
  The most surprising find you stumble upon is 
  a small pile of discarded men’s clothing next to the bed. 
  They seem to have been left there recently, and given 
  the difference in style and size with the men’s clothes 
  in the closet, it is clear they do not belong to Dr. Harris. 
   
  Your suspicion is confirmed when you see a 
  photograph of Joshua on the nightstand. There is also 
  a half-empty bottle of whiskey there, and two glasses 
  sitting next to it. 
   
  You also happen to notice a safe built into the 
  wall, just behind the nightstand. A combination lock 
  keeps it sealed, though if you were so inclined, you may 
  be able to decipher it. 
   
  There is little else of interest in the room. 
   
  To attempt to open the safe, make a 
  Locksmith roll. If you succeed, go to 203. If you fail, 
  go to 172. 
   
  To leave the room, go to 222. 
  
  49 
   
  208 
  You sprint through the foggy streets of Esbury, 
  breathing heavily in the green mists as you try to 
  abandon this God-forsaken place. You move in no 
  particular direction, simply running away. 
   
  You follow twisting and turning alleys, and 
  open streets. In the fog, you can discern little 
  difference. As you are running, you encounter that 
  same horrible, distended monstrosity. It lumbers 
  towards you, but you are much too quick for it. 
   
  But then you round a bend in the road and 
  find another. You quickly change your heading and 
  find another one of the things again blocking your path. 
  You see them shambling towards you. A whole 
  multitude of the horrendous, vile things. You panic and 
  quickly look for an escape route. 
   
  Unfortunately, none present themselves. The 
  horrible creatures close in, and you are trapped. The 
  soon lay arms upon you, and despite your protests, they 
  begin raking their fingers into your skin and strangling 
  you about the neck. 
   
  The last sight you see are the putrid, bulging 
  eyes of one of the things as it squeezes the air and life 
  from you. 
   
  You have died and this is The End. If you 
  like, you may try again, but this story has come to a 
  close. 
  209 
  You make your best attempt to swim through the 
  waters and evade your pursuer, but your injured leg is 
  dead weight, slowing you down and making it very hard 
  to move. You struggle on for a short time, but the 
  sounds of chase begin again soon, and they are close 
  upon you, and gaining quickly. 
   
  Before it even happens, you know you cannot 
  escape. Something grabs you from behind. It is almost 
  like a human hand, but certainly not. It pushes you 
  down into the water and hold you there. Despite your 
  struggles, you swiftly drown. 
   
  You have drowned, and this is The End. 
  Hopefully you will fare better at your next attempt. 
  210 
  You stand over the table of curious artifacts, confident 
  that they have something to do with the strange events 
  in Esbury. You decide it is best to look them over and 
  glean what information you can from them. 
   
  You begin by leafing through the stack of 
  notes off to the side, and realize them to have some of 
  the same characters that are written on some of the 
  ancient items. You may be able to use these notes for 
  translation. 
  There is also an empty sack on the table that 
  was used to bring these relics here, and you are free to 
  load them back up and take them with you. 
  After examining each item, it will be added to 
  your inventory and you will be redirected to this entry 
  or given the option to proceed as appropriate. You 
  should not select any option more than once. When you 
  are ready, feel free to leave. 
  If you want to look over the journal, go to 240. 
  If you want to look over the clay cylinders, go 
  to 218. 
  If you want to look over the gemstone altar, go 
  to 230. 
  If you want to look over the idol, go to 195. 
  To check the bedroom upstairs, go to 202. 
  To leave the house, go to 181. 
  211 
  You try to find somewhere that you can wait out the 
  flood. Somewhere at a high elevation, so that it will not 
  be consumed by the rising tide. 
   
  With the darkness and the fog, you will not be 
  able to scan the skyline of the town to look for such a 
  place, and will instead have to rely on your memory. 
   
  The only place close that comes to mind 
  would be the church nearby. If worst came to worst, 
  you could climb up into the bell tower to wait out the 
  water. 
   
  You rush towards the house of worship, and 
  you see its large gray stonework peeking out at you 
  from the fog, providing a sense of comfort and security. 
  You push open the large double-doors of the church 
  and quickly close them shut behind you, hoping that 
  the sealed doors will at least buy you some time before 
  the water begins to seep in. You quickly rush to the 
  stairs leading up to the bell tower, and ascend them as 
  quickly as you can. You soon find yourself overlooking 
  Esbury. The town itself is shrouded in mist, but from 
  this high vantage point, you can see over the fog into 
  the lake beyond. Large undulating waves break the 
  surface of the normally placid waters, and the stars and 
  gibbous moon are reflecting brightly against the 
  otherwise dark backdrop. 
  
  50 
   
   
  With a moment of relative safety, you have a 
  minute to pause and reflect. You take a deep breath, 
  bowing your head in thought, or perhaps prayer. Your 
  mind is a whirl, but eventually, a single thought breaks 
  through, determining your course of action. 
   
  If you know a ritual chant, now is the time you 
  may choose to use it. If you do so, go to the appropriate 
  entry. 
   
  Otherwise, go to 150. 
  212 
  You do not hear it until it is upon you. A loud splash a 
  short distance back, and a struggling, backfiring engine 
  trying to push through the water as an automobile 
  accelerates at you. You can just make out the headlights 
  through the fog as they wash over you, and you have 
  only a moment to react. 
   
  Make a Dodge roll. If you succeed, go to 159. 
  If you fail, go to 182. 
  213 
  You quickly reach for the firearm at your side and point 
  it in the general direction of the thing, pull the trigger, 
  and fire. The sound of the gunshot overwhelms the 
  silence of the night air, and presumably the bullet 
  strikes the thing, as its grip slackens and distinct splash 
  is heard as it tumbles to the ground. 
   
  You turn to flee, but find yourself face to face 
  with the bulging eyes and flabby face of a strange, 
  green, vaguely humanoid creature. On impulse you 
  fire, and the thing goes tumbling backwards into the 
  water as well. 
   
  No sooner does it splash into the rising flood 
  than does another hand grip you, this time by the 
  shoulder, and then another gropes for your leg. You 
  empty two more rounds into the mist, and the hands go 
  slack once more and you are freed for a brief moment. 
   
  You direct your attention about you once 
  more, and in every direction, you can see a figure in the 
  mist. You hastily reload your weapon and begin firing, 
  hoping to carve out a path with your gunfire. 
   
  The opportunity never presents itself. You 
  bring down several of the in a hail of gunfire, but the 
  water rises rapidly. You spend your last bullet and try 
  to make a run for it, using the gun as a makeshift club 
  as you try to force you way out. 
   
  Unfortunately, they overwhelm. You are 
  shoved and dragged down, held under the water, and 
  claimed by the rising tide. 
   
  This is The End. You have died, and your 
  story has come to a close. You fought valiantly, and 
  took many of the strange horrors to the grave with you, 
  but this was not enough to save yourself or Esbury. 
  214 
  The thing takes a swipe at you, and it connects with 
  your body solidly. Thankfully, there is force behind the 
  blow, and it throws you off balance. You are sent 
  sprawling backwards a few feet into the middle of the 
  road, and the thing continues to lumber towards you. 
   
  If you can rise to your feet and move quickly, 
  you may yet be able to outrun it. If not, you shudder to 
  think what fate may befall you. 
   
  Make a Dexterity roll. If you succeed, go to 
  237. If you fail, go to 117. 
  215 
  You rush across the street and into the church, all the 
  while splashing through the ever-rising water. You 
  slam the door behind you and make your way down the 
  aisle, towards the Buddhist monk standing over the 
  Christian altar. 
   
  As you approach him, you can see that the 
  man looks shaken. His eyes are wide, and his hands are 
  trembling as he holds onto one of the pews for support. 
  He fixes his gaze upon you and starts speaking quickly 
  in a language you don’t understand, before he stops 
  himself and begins speaking in his thickly accented 
  English. “I did not think you would make it back! A-are 
  you okay? D-did you see what is out there?” You 
  mention the rising water and he shakes his head 
  vigorously. 
   
  “No! The creatures! In the mist! The green 
  monsters!” You raise a skeptical eyebrow, and he leads 
  you to the door, cracking it open slightly. 
   
  You gaze out into the mists, and indeed you 
  do see something strange. In the darkness and fog, you 
  think that you see the silhouette of something 
  shambling about in the mist, and the shape is not 
  entirely human. Before you can get a better look, the 
  monk yanks you back into the room and closes the 
  door. But not before the thing has noticed, as a loud 
  banging begins on the door mere seconds after it 
  closes. 
   
  “You see it now, yes? They come for us!” He 
  draws you closer, pulling you in so he can speak at 
  normal volume, though still in a hurried manner. “That 
  is why I came here, friend. My temple wanted me to 
  bring the relics back, because they are cursed by evil 
  things. My temple would pray over the relics to keep 
  the curse away, but they are not safe elsewhere. It may 
  
  51 
   
  be too late, but I know the words. Come, join me. We 
  will pray.” He takes your hand and drags you to the 
  altar. You set down the sack of things, and the monk 
  closes his eyes and begins to speak in a strange tongue. 
  “Y'hahyar nog nglui ah, Bokrug.” He utters each 
  syllable slowly and carefully, giving you the chance to 
  join with him if you so choose. 
   
  If you have the strange idol, go to 227. 
  Otherwise go to 236. 
  216 
  You manage to calm the man, assuring him that he has 
  at least a moment to explain what is going on. He takes 
  a couple of deep breaths before explaining. “Look, I 
  don’t know what the hell is going on here. Joshua called 
  us out here, but he didn’t say anything about this! 
  Whatever is going on here, this isn’t natural! Once 
  things started going south here, I grabbed the most 
  valuable looking things I could find and I ran.” He 
  gestures down to the gemstone altar that he is lugging 
  around. 
   
  You stoop down to inspect it, and notice 
  writing scrawled across the side. The writing is 
  incredibly strange and unfamiliar, but you can attempt 
  to translate it. 
   
  Make an Archaeology roll at Hard 
  difficulty (success only at half skill value or below.) If 
  you succeed, go to 116. If you fail, go to 242. 
  217 
  The door slams open, revealing a hideous green 
  creature. The thing is a vaguely fish-frog like being, 
  with lifeless eyes and flabby lips. Its body is horribly 
  distended, and long, spindly limbs protrude from the 
  torso. With these slender limbs, it grabs either side of 
  the doorframe and launches itself inside. 
   
  You react quickly, aiming your gun at the 
  creature’s face and firing a round into the cold, lifeless 
  eyes of the thing. It drops to the ground immediately, 
  unmoving and leaking ichor. 
   
  No sooner can you celebrate your victory than 
  another, similar creature enters the building and again 
  begins moving towards you. You take another breath 
  and calmly fire, bringing the thing down. 
   
  This pattern repeats several times, with you 
  occasionally pausing to reload as the water rises 
  around you. The tide of water and unholy horrors does 
  not end, and by the time it has risen to your waist, you 
  realize that you will not be escaping this place. Still, you 
  resolve yourself to take as many of the things down 
  with you as you can. 
   
  You hold on for what seems like hours. You 
  begin to hear screaming in other parts of the town, and 
  through he widows you think you can make out 
  flickering flames shrouded in the fog. You shudder at 
  what could possibly be going on, but you hold firm and 
  continue to fire at the creatures as they find their way 
  inside. The stream of them slows, but does not stop. In 
  the end, it is the rising tide that claims your life. 
   
  This is The End. You have died, drowned by 
  the flooding of Esbury. 
  218 
  You turn the hardened clay cylinders over in your 
  hands, your eyes falling on the large cracks running 
  through the pair of items. The solid construction of 
  these things has led to the survival of the objects 
  throughout the ages, despite damages to them. 
   
  The next most obvious quality is the strange 
  writing that is plastered across the side of these 
  artifacts. It is quite remarkable in that they do not 
  resemble any language known to you. Using the notes 
  on the table, you attempt to translate them. 
   
  Make an Archaeology roll. If you succeed, 
  go to 204. If you fail, you are unable to translate them 
  and should go back to 210. 
  219 
  Your mind clouds over once more, as if dreaming 
  again. You see the strange city again in your mind’s eye. 
  Your vision passes over precious metals changing 
  hands between exotic merchants. Disks of silver and 
  gold move from buyer to seller and disappear into bags 
  and boxes. You glide formlessly over the city and out 
  into the surrounding lands, where you see the citizens 
  marching in lines carrying precious metals to the city 
  from the mines. You float above it all and look out to 
  the lake, and sense a brooding hatred and disgust. 
   
  Your awareness snaps back to reality as you 
  stare into the light of the idol. You make the connection 
  between those precious metals and the disdain of this 
  grotesque serpent. 
   
  If you have a gold bar, go to 239. Otherwise, 
  go to 234. 
  220 
  The exhaustion overtakes you. You lean back, close 
  your eyes, and drift into a deep slumber. 
   
  Your sleep is disturbed by strange and horrific 
  dreams. You see a shining city of marble, onyx, and 
  lustrous gems. You see this magnificent city in all its 
  splendor, sitting next to a placid lake. And then it is 
  
  52 
   
  gone in an instant. The water rises up to swallow it and 
  from the water rises the serpent of the idol, given life 
  and power. The being eyes you with malicious 
  sentience as the waters rise and consumes you. 
   
  You exist in this state for what feel like an 
  eternity, drifting in the sunken ruins alongside the 
  horrible serpent. It eyes you closely, scrutinizing your 
  every motion. But it never acts, merely watching you 
  with checked malevolence. You stare long into its eyes, 
  and begin to wish it would simply consume you so you 
  would not have to be under those watchful eyes. This 
  becomes a maddening desire, and you find yourself 
  swimming toward the thing willingly. It opens up its 
  jaws to receive you, revealing row after row of needle-
  like teeth. As you are about to offer yourself to the 
  thing, you finally wake. 
   
  You find yourself dangling over the edge of 
  the belfry, threatening to roll into the flooded town 
  below and lose yourself in the waters. You quickly pull 
  back towards the center of the platform for safety. 
  Glancing around you at the still, but flooded lake, you 
  notice a small group of boats floating amidst the ruins, 
  searching for survivors. You quickly call out to them, 
  and it is not long before you are helped onto a boat. 
   
  As you are being taken to shore, the 
  authorities question you about what happened here. 
  You explain what you can, the believable bits at least. 
  Once you make shore, you are quickly taken to Boston 
  to recover. Over the next few days, you confer with the 
  authorities a few more times, and find that you are the 
  only survivor of the incident. You are relieved to have 
  escaped with your life, but the memory of what 
  happened there will forever haunt you. 
   
  Congratulations, you have survived the 
  horrific events as Esbury. This is The End, but you 
  may save this character for future use in another Call 
  of Cthulhu game, though you do lose 1d6 sanity from 
  the terrible things that occurred on this adventure. 
  221 
  The car flies forward, and you are caught in its 
  headlights as they pierce through the fog. The driver 
  does not appear to show any sign of slowing, and they 
  are driving with reckless abandon, bounding along the 
  road and swerving madly. 
   
  You are unable to predict the pattern of 
  swaying that the vehicle takes. You try to throw 
  yourself aside and avoid the automobile, but fail to 
  accomplish this. 
   
  The car hits you head on, many of your bones 
  shatter, and you die on impact. 
   
  You have met your demise and this is The 
  End. You are welcome to try the story again in the 
  hopes of a different outcome. 
  222 
  You make yourself ready to leave the Harris household, 
  as you feel your business here is concluded. You pause 
  at the door a moment to consider what your next step 
  should be. You know that you spent a good bit of time 
  at the Harris place, and though the fog prevents you 
  from making out the time of day, you imagine there is 
  not much daylight left. 
   
  To investigate Joshua’s house, go to 151. 
   
  To return to the motel, go to 135. 
  223 
  You rush inside of the nearby motel, and throw the 
  door closed behind you. You stay there a moment, 
  catching your breath, trying to come to terms with what 
  you just saw. 
   
  You killed one, but judging by the sounds, 
  there are more of those disgusting, aberrant creatures 
  out there. You do not relish the thought of dealing with 
  them once more. 
   
  You weigh your options. You could always 
  simply hole up here in the motel, where it seems to be 
  relatively safe. 
   
  If you are feeling brave of heart, you could 
  confront the issue and see if you can find what these 
  things are and where they are coming from. Perhaps 
  even stop them. 
   
  And if you’re willing to take a larger risk for 
  the chance at greater safety, you could flee into the 
  woods. In the darkness and the fog, there is little 
  chance that you would be able to make it out, but if you 
  could manage it, you would be able to get far, far away 
  from this godforsaken town. The choice is yours. 
   
  To remain in the motel, go to 173. 
   
  To investigate further, go to 200. 
   
  To flee the horrors of Esbury, go to 166. 
  224 
  Try as you might, you cannot manage to find any way 
  to start a fire. You have no matches or lighter on your 
  person, and you know of no tricks that will help you. In 
  the end, you give up and press on blindly. 
   
  You wander along the trail, unsure of where 
  you are going, but keeping the dirt and gravel beneath 
  
  53 
   
  your feet, making that it does not give way to grass or 
  water. You focus solely on the placement of your steps, 
  confident that you will reach your goal by putting one 
  foot in front of the other. 
   
  Unfortunately, 
  this 
  also 
  distracts 
  your 
  attention from your surroundings. 
   
  Make a Listen roll. If you succeed, go to 190. 
  If you fail, go to 212. 
  225 
  You arm yourself with whatever you find handy, which 
  happens to be a knife left out next what was once the 
  motel owner’s dinner. You clutch the blade in 
  trembling hands as the door buckles and quakes under 
  great weight. 
   
  And then it gives. Water rushes into the room, 
  spilling out across the floor. But more importantly are 
  the forms filling the doorway. Emerging from the 
  darkness and mist and into the light of the room are 
  alien figures with lanky limb and bulbous body. The 
  beings are green, of the same sickly color as the mists 
  from which they emerge. They fix their bulging dead 
  eyes on you and lurch forward clumsily. 
   
  With your blade, you carve them open, 
  gutting them like large fishes, and succeeding in 
  covering yourself in a mess of ichor. They stream 
  through the door one by one, but they are seemingly 
  endless. 
   
  You see your end coming slowly. A little less 
  speed of the stroke. A little more soreness of the arm. A 
  little more shortness of breath. You cannot keep them 
  off for long. Eventually, you tire, and one of the 
  creatures slips through and knocks you over. You are 
  kicking, slashing, and thrashing beneath it as it traps 
  you under its weight. 
   
  As the water fills your lungs, the last thing you 
  see are the cold, lifeless eyes of the creature that brings 
  about your demise. 
   
  You have died, and this is The End. 
  Unfortunately, you have met with doom in Esbury, 
  though you are welcome to begin the adventure again 
  and attempt to reach a different outcome. 
  226 
  You reach for your gun, and manage to quickly draw it 
  out, only to have it knocked from your hands by the 
  large, bulging form of a hideous green creature. Your 
  firearm falls into the rising water with a splash and 
  then it is lost among the shuffle of further bodies of 
  strange beings. 
   
  You struggle against them as best you can, but 
  it is to no avail. Without a proper weapon, you are at 
  the mercy of the unnatural and misshapen things. 
   
  They do not kill you right away. Instead, they 
  carry you, kicking and screaming, towards a burning 
  house. Sitting atop the smoldering piles of ashes are 
  mounds of corpses that have already been burned here 
  and are quickly being reduced to ash. You also find 
  various bits of jewelry and gemstones strewn amongst 
  the wreckage. Entire fistfuls of the stuff. The firelight 
  reflects brilliantly off of the gold and gems. 
   
  You do not have time to admire it or to 
  wonder at the presence of it, as you are swiftly fed to 
  the flames. As you are burning alive in agonizing pain, 
  the last sight you see is that of the creatures taking up 
  a lurching, shuffling dance in the fog beneath the 
  gibbous moon, giving praise to their strange and 
  unimaginable god. 
   
  You have died, and this is The End. You have 
  been offered up as a sacrifice to a Great Old One, and 
  are doomed alongside Esbury. 
  227 
  You stare at Banyu as he completes his chant, and it is 
  as if a great weight has fallen on his shoulders. You look 
  at him curiously for a moment, and you notice that the 
  pounding at the door fades and stops. Cautiously, you 
  go to the door and crack it open, looking outside. 
   
  As the door swings open, a rush of water is let 
  into the church, soaking your legs and the floor around 
  you, pooling amidst the pews of the church. Looking 
  out into the streets, it appears that all of Esbury is a 
  slosh of waist-deep water, though the mists have faded 
  now and the water does not appear to be rising further. 
   
  Banyu comes to join you in looking out at the 
  city, and he breathes a sigh of relief. “It is done now. 
  We will be safe for the moment. I will take the artifacts 
  with me when I leave this place. We will prevent this 
  from happening again.” 
   
  With that, Banyu gathers up the sack of items 
  left by the altar and wades out into the waters. You do 
  not know where he is going, but you never see him 
  again. 
   
  In time, Esbury is evacuated. Bodies of some 
  residents are found, and the deaths are all labeled as 
  the result of drowning.  Some of the residents claim to 
  have seen strange things in the mist, and the papers 
  label it as an outbreak of mass hysteria brought on by 
  the anomalous flooding. Some of the residents are 
  committed to mental institutions, though many return 
  to Esbury when the waters recede. 
  
  54 
   
   
  You are still not entirely sure what went on 
  there, but you are fully aware that it was not entirely 
  natural. You do your best to forget it, but the memory 
  still lingers in the back of your mind, and you never 
  return to Esbury. 
   
  This is The End of our story. You have 
  survived this adventure, and you may save this 
  character to use at a later time. 
  228 
  It swipes at you, but your reflexes are much too quick 
  for it to connect with you. You manage to catch a 
  glimpse of sickly green flesh and you quickly spin out 
  of its reach. 
   
  You turn and run, not stopping to confirm the 
  identity of your attacker. You cover as much distance 
  as you can in as little time as you can. You run down 
  streets and alleys, before eventually you feel 
  comfortable enough to pause and reassess your 
  situation. 
   
  By this point the water has risen up your 
  calves, and is swiftly approach knee level depths. At the 
  rate the water is rising, you do not have time to search 
  the city any further, and you must look to your own 
  self-preservation, especially with those strange things 
  lurking in the fog. 
   
  You can just make out the silhouette of the 
  church in the fog. With no other real options, and the 
  prospect of rising above the tide in the church’s belfry 
  seems like a good idea. You rush inside of the quiet holy 
  space and quickly begin to ascend the steps towards 
  your hoped-for salvation. 
   
  Go to 196. 
  229 
  Though you have fallen, you realize that you are not 
  completely without landmarks. If you follow the cliff 
  above you, you may just be able to find the point where 
  the elevation changes, and in doing so find your way 
  back to the path. You limp forward in pain, but making 
  sure to keep the cliff face on your left. 
   
  You follow the wall of the cliff despite the fog, 
  at points navigating by keeping your hand along the 
  cliff wall and even occasionally stopping to lean against 
  it for support in your broken state. Eventually, you 
  manage to find the trail again, and you cry aloud in 
  relief at your apparent turn of good fortune. 
   
  You move along the path for what must be an 
  hour, and you start to see distant light poking through 
  the fog. You rush towards it, not caring that you are 
  putting weight on your injured leg, and you find 
  yourself staring face to face with a brick wall. 
   
  Peering through the fog, you find that you 
  have somehow gotten turned around and are back in 
  Esbury. You cry out in frustration, but you do not have 
  long to despair. 
   
  You hear the revving sound of an engine, and 
  a car comes hurtling towards you as you are standing 
  in the middle of the road. 
   
  Make a Dodge roll. If you succeed, go to 191. 
  If you fail, go to 221. 
  230 
  You examine the extraordinary altar. The most readily 
  apparent features beyond its size are the many 
  gemstones set into this piece. They are of a greenish 
  yellow color, and shine even in the half light of the 
  room. 
   
  You also notice strange writing in broad 
  strokes along the side of the object, smeared sloppily 
  along it with haste. What you had originally taken for 
  paint is found to be dried blood, upon closer 
  examination. 
   
  While you cannot be certain, it would appear 
  that this item has been involved in some tragedy. 
   
  Using the notes on the table, you may be able 
  to piece together a translation of the text written in 
  blood. 
   
  Make an Archaeology roll. If you succeed, 
  go to 178. If you fail, you are unable to translate the 
  scrawling on the altar and should go to 210. 
  231 
  You find yourself woefully unprepared to deal with the 
  otherworldly horrors that are in front of you. You are 
  unarmed, and unable to effectively fight back. You 
  nearly escape the grasp of the first creature through 
  sheer tenacity, but more quickly emerge from the mist, 
  and it is not long before you are subdued by sheer 
  number. 
  You struggle against them as best you can, but 
  it is to no avail. Without a proper weapon, you are at 
  the mercy of the unnatural and misshapen things. 
   
  They do not kill you right away. Instead, they 
  carry you, kicking and screaming, towards a burning 
  house. Sitting atop the smoldering piles of ashes are 
  mounds of corpses that have already been burned here 
  and are quickly being reduced to ash. You also find 
  various bits of jewelry and gemstones strewn amongst 
  
  55 
   
  the wreckage. Entire fistfuls of the stuff. The firelight 
  reflects brilliantly off of the gold and gems. 
   
  You do not have time to admire it or to 
  wonder at the presence of it, as you are swiftly fed to 
  the flames. As you are burning alive in agonizing pain, 
  the last sight you see is that of the creatures taking up 
  a lurching, shuffling dance in the fog beneath the 
  gibbous moon, giving praise to their strange and 
  unimaginable god. 
   
  You have died, and this is The End. You have 
  been offered up as a sacrifice to a Great Old One, and 
  are doomed alongside Esbury. 
  232 
  Your weight carries you forward, and you go tumbling 
  over the edge of the cliff. You do your best to catch 
  yourself, but it is too late. As you are falling, you do 
  what you can to slow your descent, but you have 
  precious little control over it at this point. It is a short 
  fall to your swift and sudden death. 
   
  You have died and this is The End. 
  Unfortunately you could not escape the horrors of 
  Esbury alive, though perhaps you will do better on your 
  next attempt. 
  233 
  You point yourself along the path and begin moving 
  automatically, slowly but surely covering ground 
  towards your escape. 
   
  However, the journey proves to be longer than 
  you had anticipated. You march on for hours with no 
  sign of light and no sign of reaching the main road. You 
  quickly grow weary, and after the day’s events, you are 
  thoroughly exhausted. 
   
  You fight sleep for some time, and you aren’t 
  entirely sure when your eyes finally close, but you 
  collapse along the road in exhaustion. 
   
  Perhaps the area around you flooded, or 
  perhaps an animal found you, or you were struck by 
  another car in your sleep. You do not know, but you 
  never wake up to find out what causes your demise. 
   
  You have died, and this is The End. You may 
  attempt the story again from the beginning, and 
  hopefully you will achieve a better outcome. 
  234 
  A thought begins to fully take shape in your mind and 
  clarity takes hold. But the thought is not your own. You 
  see visions of the strange reptilian beast, that 
  detestable water lizard. You stare into its eyes 
  hypnotically as it hisses at you, beckoning you forward. 
  You heed its call. 
   
  Your feet move you forward, and carry you 
  over the edge of the belfry, into the water below. You 
  do not thrash about. You do not swim, or struggle, or 
  resist. You simply sink, welcomed into the embrace of 
  the risen tide. 
   
  You have died, and this is The End. You have 
  been led to your demise at the will of Bokrug, the great 
  water lizard. The Great Old One has ensured that 
  Doom has come to Esbury, and that there are no 
  survivors. And that eventually the idol will be found, 
  and the process will begin again. 
  235 
  The words of the ritual chant force themselves into 
  your mind. You stare blankly out at the reflection of the 
  moon and stars upon the rising waters of the lake. Your 
  lips move as if controlled by someone else, 
  automatically uttering the strange syllables of the 
  unknown words. “Y'hahyar nog nglui ah, Bokrug.” You 
  recite the words in a slow, monotone voice and you 
  speak the phrase ten times before you stop. 
   
  You feel strangely tired after this, and so you 
  sit on the stones of the belfry and look out onto the city. 
  The water has risen high now, over the tops of many of 
  the buildings in Esbury, and you are positioned on one 
  of the few landmarks that breaks the water. You are 
  certain that much damage has been done here. 
   
  Still, the water has become still and placid 
  now, returning to its normally peaceful state. And the 
  unnatural green mist is beginning to dissipate around 
  the town. It still lingers, but by the light of the gibbous 
  moon above, you can see the fog starting to thin out. 
   
  You take a deep breath, pondering what is to 
  come next. 
   
  If you have the strange idol, go to 205. 
  Otherwise, go to 220. 
  236 
  Banyu enters a state of hyper focus as he conducts his 
  chant. You can see the look of desperate hope on his 
  face, and you can sense the budding terror beneath his 
  relatively calm exterior. As his chant ceases, he stares 
  towards the door, holding his breath. 
   
  The banging at the door pauses for a moment, 
  and then resumes, renewed in vigor. Banyu’s face is 
  one of shock and fear. “The chant did not work…we are 
  doomed then.” He drops to his knees in abject horror 
  as the door splinters open. Bloated green creatures 
  begin to squeeze themselves inside through the gap. 
  
  56 
   
   
  You do your best to fend them off, but as the 
  waters rise around you and into the church itself, they 
  eventually overtake you. They do not kill you right 
  away. Instead, they seize you and Banyu and carry 
  them off down the flooded streets of Esbury. 
  Eventually, they stop before a building that has been 
  set ablaze. They feed you to the flames and begin to 
  dance about the fire, moving in strange, unearthly 
  motions. While their silent lips sing praise to their 
  detestable god, Bokrug, the great water lizard. 
   
  You have died, and this is The End. Your 
  ultimate fate was as a sacrifice to one of the Great Old 
  Ones. There are few worse ways to die. 
  237 
  You rise quickly and scurry out of the way of the 
  horrible thing. Your feet pound against the flagstones 
  of the street, carrying you far away from the thing. You 
  cover as much distance as you can in as little time as 
  you can. You run down streets and alleys, before 
  eventually you feel comfortable enough to pause and 
  reassess your situation. 
   
  By this point the water has risen up your 
  calves, and is swiftly approach knee level depths. At the 
  rate the water is rising, you do not have time to search 
  the city any further, and you must look to your own 
  self-preservation, especially with those strange things 
  lurking in the fog. 
   
  You can just make out the silhouette of the 
  church in the fog. With no other real options, and the 
  prospect of rising above the tide in the church’s belfry 
  seems like a good idea. You rush inside of the quiet holy 
  space and quickly begin to ascend the steps towards 
  your hoped-for salvation. 
   
  Go to 196. 
  238 
  You prowl the town, hoping desperately to find some 
  source or clue. The waters rise, and soon it is past your 
  ankles. You splash through the streets, clinging to 
  hope. 
   
  It would seem this faith was not misplaced. As 
  you are moving through the mists, a man slams right 
  into you. You recognize him to be one of the dark suited 
  gentlemen from the ferry yesterday. He is carrying a 
  gun in one hand, and dragging a sizable object beside 
  him through the rising waters. You glance down and 
  see it is an altarpiece, with bright jewels studded along 
  the side. You also notice a sack tied about his waist, and 
  it seems to be bulging with heavy goods. The man is 
  wide eyed and pale, and he fixes his wild eyes upon you 
  as you two meet in the middle of the mists. “What are 
  you doing!? We have to run! They’re coming for us! For 
  everyone! We have to go!” 
   
  The man seems ready to panic, but perhaps 
  you can calm him. 
   
  Make a Persuade roll. If you succeed, go to 
  216. If you fail, go to 241. 
  239 
  You reach into your pocket and pull out the gold bar. 
  As you walk toward the statue with intent, you hear a 
  reptilian hiss in your mind, all-consuming and 
  oppressive, shaking you to your core. Instinctively, you 
  grab your head in your off hand and try to hold back 
  the growing headache as you find yourself standing 
  over the idol. 
   
  You raise the ingot high above your head and 
  bring it crashing down onto the stone idol. As soon as 
  the gold touches the stone, the idol shatters into several 
  fragments. As the stone splits apart, the hissing roar in 
  your head subsides, though your brain is still 
  throbbing. The mental strain has worn you down, and 
  you swiftly drift off into a deep and dreamless slumber. 
   
  When you finally awake, you are being pulled 
  into a boat by the authorities who came to investigate 
  the flooding of Esbury. You do not know how long you 
  have been there, but you are taken to the far shore of 
  the lake, and eventually on to Boston, where you send 
  several days in much needed rest. 
   
  While there, the story of what happened in 
  Esbury hits the papers. According to the reports, the 
  freak flooding caught the entire town off guard, and 
  there were very few survivors. Still, the waters are 
  beginning to subside now, and bodies and property are 
  being recovered. Though Esbury was claimed by the 
  rising tide, you were not. And with all that you had 
  learned of the mysterious entity behind it, you were 
  able to destroy the unholy idol that was the source of 
  its connection to this world, and in doing so, you have 
  prevented this horror from being unleashed on the 
  world again. 
   
  You will forever remember your time in 
  Esbury, and you will carry the horror of the place with 
  you. But you can take solace in the fact that it has been 
  put to rest. 
   
  Our story is over, and this is The End. 
  Congratulations on surviving Call of Cthulhu and on 
  thwarting the malign forces of the mythos that were at 
  work in Esbury. You may use this character in future 
  adventures. 
  240 
  
  57 
   
   
  Looking through the book, you become deeply 
  engrossed and spend the next few hours in study. Your 
  time spent yields valuable information. Professor 
  Harris made several trips to India, starting about 12 
  years ago. During this time, he went to multiple sites to 
  make observations and recover artifacts. His longest 
  and most profitable trip appears to be ten years ago 
  during an excursion to Sarnath, India, where he writes 
  about lifting several items from an active Buddhist 
  shrine. Apparently, Professor Harris had some regret 
  about this theft, but he could not resist having the 
  artifacts for his personal studies. The description of the 
  items that he came across in Sarnath match some of the 
  items at the estate sale last night. The clay cylinders, 
  gemstone altar, and the serpentine idol are all 
  described in detail in the entries related to his trip to 
  Sarnath. 
   
  These items appear again throughout his 
  journal after that. Apparently he has been studying 
  these items the past ten years, and developed 
  something of a fixated obsession with them. The idol 
  was something that initially caught his eye, and the 
  depiction of the great and grotesque water lizard 
  matches no description of any known Hindu deity. 
  Hoping to find clues to this, Professor Harris set about 
  trying to translate the mysterious script on the 
  cylinders and the altar. In doing so, he met with 
  significant difficulty, as the text was only barely 
  recognizable as an archaic dialect of a pre-Sanskrit 
  language. The process was slow and painstaking until 
  about a year ago. 
   
  At this time, Professor Harris writes of having 
  a strange and enlightening dream. He reports walking 
  among the ancient world from whence these items 
  originated. A grand city of marble walls and onyx 
  streets, of bronze gates and marvelous palaces and 
  gardens. He writes of visiting the seventeen tower 
  temples of this ancient city and meeting the bearded 
  gods who dwelled here and sat upon their ivory 
  thrones. In his writing, he calls the strange place 
  Sarnath, despite the sheer impossibility of this. He 
  claims that among the temples he learned the secrets 
  of the ancient writing. 
   
  His next entry goes on to describe the odd 
  cylinders 
  of 
  clay 
  as 
  the 
  “Brick Cylinders 
  of 
  Kadatheron,” though he still had not yet identified the 
  other objects. The next few pages are torn from the 
  journal. 
   
  The entries resume with more mundane 
  matters, though there are still references to the 
  artifacts from time to time. The more recent entries in 
  the journal speak of Professor Harris’s daily studies 
  and living with Amelia. It is clear that he cares about 
  her deeply from the way he writes about her, but he 
  laments that his studies keep him from spending the 
  time with her that he would like. Instead, he has been 
  lavishing her with gifts and money, which she was all 
  too happy to accept. He notes that Amelia had never 
  been happier despite the distance between them. 
   
  The last entry to catch your eye is dated a little 
  over a week ago. Apparently, the pages torn from his 
  journal went missing only recently. Professor Harris 
  expresses deep concern at this as there were no signs of 
  forced entry to his study and only he and Amelia had 
  access to it, though he was sure he had not removed 
  them from the journal himself. 
   
  You finish your reading by glossing over the 
  last week of the Professor’s life, which is rather 
  uneventful and peaceful beyond his continued 
  obsession with the artifacts and his occasional worries 
  about Amelia. 
   
  Go to 210. 
  241 
  You try to calm the man, who is deeply in a state of 
  panic. You do your best to talk him down, but he gives 
  you little pause. He will not slow down to listen to you. 
  You hurry along, trying to get him to stop and talk with 
  you for just a moment, but the fear has taken hold of 
  him totally and completely. 
   
  You try to block his path physically, rushing 
  out in front of him to cut him off. He does not take 
  kindly to this, and you realize your mistake too late. 
  There is madness in his eyes, and he raises his gun to 
  fire at you for daring to be an obstacle to his escape. 
   
  At this range, there is no hope of getting out 
  of the way in time. The man fires once into your chest 
  and leaves you bleeding on the ground as he steps over 
  you to continue his flight from this place. You are left 
  there, lying on the flooding streets, bleeding heavily. 
   
  Mercifully, you pass out from the blood loss, 
  and you do not know what it is that finally claims your 
  life. Perhaps you bled out, perhaps the waters rose and 
  you drowned, or perhaps a worse fate befell you. 
  Whatever the case may be, you have died, and this is 
  The End. 
  242 
  You simply have no idea what you are looking at. The 
  characters are strange and unusual here, and they 
  match no script known by you. Studying the rest of the 
  object yields no other clues. 
   
  As you dally here in the darkness and mist, 
  you do not notice the approach of otherworldly things. 
  They surround you and strike together, nearly a dozen 
  
  58 
   
  of the unholy abominations with distended forms and 
  lifeless eyes. 
   
  They fall upon you and your companion 
  swiftly, and though he is armed, he only manages to 
  bring down a few of them before they subdue him and 
  strangle the life out of him. You fare little better, and 
  soon find yourself being seized by the creatures, 
  despite your best efforts. 
   
  Kicking and screaming, you are hauled bodily 
  through the streets of Esbury. You are carried off to a 
  burning building, and fed to the flames by the horrid 
  creatures. As you are being burnt alive, you see the 
  abominable beings take up a shuffling dance of 
  unnerving nature, and their pouting, flabby lips sing 
  praises to their unknown god, to which your soul is 
  sacrificed. 
   
  You have died, and this is The End. You have 
  been burned alive as an offering to one of the Great Old 
  Ones. 
   
   
  
  59 
   
   
  
  60 
   
   
  
SOURCE: textdata/thevault/Call of Cthulhu (CoC) (BRP) [multi]/Adventures/CoC 7e - Adv - Miskatonic Repository - Alone Against the Tide (SOLO).pdf