Fires rage all around the compound lighting up the night sky like a becon. And surely someone has noticed the cconstant magazine reports echoeing through the darkness even in this remote location.Time is running short.But in the cool, dank recess of a storm cellar, Jay and Daniel calmly steel themselves for an encounter with god knows what. One rickety, termite-infested door is all that separates them from death or salivation.Which will it be?
Knights of the Night
KotN Actual Play Podcast 128 - Silver Bell
[music] Hello, and welcome to Night to the Night Actual Play podcast. This world of darkness story, chagrin, was written and run by your storyteller Scott. [music] And now, please enjoy episode 128, titled Silver Bell. [music] Actual play begins one minute twenty-nine seconds. [music] Yeah, we just have a quick level of sight this week. There will be no feedback. We do have feedback, but we don't have time to record it. Those of you that are friends on Facebook have obviously seen that. I went out and picked up my daughter from college. I was an eighteen-hour round trip, of which fifteen of that was driving, and three in the middle world is filled with loading up her Roman to the van, and going out to dinner with her boyfriend and a friend of hers. So that was really enjoyable, but it did preamp does as far as planning goes, which means no feedback. So, just want to let you know that we're not ignoring your feedback. We will get to it as soon as possible next week, and with that, I'll get back to the board game night with my extended family, and my return to from college daughter, and you can go on to the adventure. This is chapter seventeen of the World of Darkness story chagrin, story number two in the Vanishing City Chronicle. I'm your storyteller, Scott, and to my right is Jim, play in Sister Katie O'Connor, Shadow Congregation, and an upgraded driver person. Bob, playing FBI Special Agent, Chew Park, member of the Benescue Conspiracy. Tom, playing Jay Alton, former warrior, and now leader of this group. Mike, playing Michael Clay, an academic adventure of the Ages Chai Doru. Thomas, playing Ed Gartmont, tastes a voodoo and a practitioner, and a member of the lady's stairs, experiencing. John, playing Daniel Morgan, mountain man, turn mercenary, and ex-task force, I'll remember. All right, a brief recap of the previous chapter. We had both Daniel and Jay in a storm cellar of some sorts. Underneath the house at this point, Daniel had just thrown open a door to a room. I believe you were shining a flashlight if you were sprawled out on the ground to try to give some firing room to Jay because you weren't a very compact space and Daniel was the large man. On the other side of the farmstead, we had Katie and Michael Clay, and then Chu, trying to catch up, closing in as they move through the woods back towards the vehicle to hopefully be able to extricate themselves from the farmstead. So, we'll start there. Actually, we'll start in the cellar, I think, would be. That's where we left off. I think it was my turn. So, normally, we started to clap the order with Mike. We were ending at the bottom of the order because... Yes, Daniel had thrown open the door. I would be fine not getting my view of what's going on. I kind of thrown myself to the ground here. I thought you said you would throw yourself to the ground and try and... Yeah, I don't know where Jay was. I remember that went down. Right. But you asked it. Look, it's okay. You're afraid to look through the door? The flashlight to give me something to shoot. No, it's good. Wait a minute. I have a night vision. There's a girl standing in the doorway. Her hair is matted, either being very dirty or perhaps striped. What? It's hard to tell. She looks like she could be in her teens. She's frail-looking. She has a willowy form like she looks almost to the point of being... Demaciated. Very, very thin. She looks to be wearing what was once a white summer dress. But it is absolutely in patterns. It's ripped. It's torn. It's got dirt, mud, blood stains on it. But the most shocking part of what you see in the brief flashlight vision that you are able to gather is... She is holding what at first you thought was a doll by the hair in her left hand. And the hair, though, is blondish which throws you back flashback to your last night before Casey left for her mission. You guys finish up dinner. There's a bit of an uncomfortableness. This was the last time. You were at dinner with her and she had replaced you in the mission. And so there's just a little bit of an edge to the evening. She's feeling apologetic. You're a little mad. You know, I would imagine a little bit mad about being replaced in the mission. But you like her and you really aren't upset with her. But there just is that thing that's just there. And it's kind of, you know, nagging at both of you. After dinner, she asks if you want to go back to your place. Maybe catch another drink and hang out for a bit. So you're fine. Yeah. Alright, so you guys take your car, drive back to your place. And you go in and you get a glass. What do you drink? What do you prepare for? You guys are not a big drinker. I'm a spritzer. Wine. Um... If he's a man, it wouldn't be more rustic, like either moonshine or applejack. Guinness. A stark stout beer. Sure. Or something that you humber at all. I don't even know. You drink a stout beer. Okay. Yeah, a stout beer. So it's normal Guinness. You pull a couple of Guinness stout from the refrigerator and pour a large glass of it. You turn the fireplace on, the gas fireplace. I mean, you sit down in the couch and she takes a sip from a Guinness thanks for it. And she finally comes right up and says, "Listen. You're the last person I wanted to replace in this mission. I wanted to go on the mission with you. I'm really sorry. I didn't mean to take a place. I know you're upset about it. I'm sorry." But can we just get beyond it and move beyond it? I'm fine with that. I was just... The mission was a big one. I was concerned. How many people have disappeared? I'm just worried. I can't take care of myself. I mean... I was afraid to take it out of myself. I just hope. I hope we'll see you again. Well, like I said, I wish you were coming with me, but I can handle myself. I mean, we have both trained for this and it's not my fault that they chose me to go on the mission. Itches before us have disappeared. They were trying to. I just want you to be as careful as you can with that. Okay. I thought you were mad because it just seems like you're mad. Or like you doubt me or something. I thought we had something special going on and then I thought you were totally dismissing my abilities or pissed at me because they selected me to go instead of you. Or picked me to replace you once you were even assigned to it. I have no idea why they did that, but I really like I said I wish we were going together. So you guys finish your beers and you pour another and it's leaching into the late night this point is one, one, 30 in the morning. And between the wine and dinner and the beers that she's the Guinness spouse that she's had at your place. You notice that she's perceptively drawing closer to you. You know, as the evening progresses, she's getting a little closer to the couch. Her hand will reach out when you guys have a joke or say something funny and it'll touch her knee. You're aware enough to know that she likes you and you certainly can sense that this is going somewhere. You know, this evening is going somewhere. And not 30 seconds after you think that in your head. I think she's kind of been a little bit forward here. She's making her move or, you know, she's kind of coming on to me. Quick mid 30 seconds later, you start to doubt yourself like yeah, right? Cute girl like that, big, brilliant guy like me. And she reaches up and she kisses you. And it's not a friendly kiss, it's definitely a passionate kiss. And she continues to be very forward and to push the relationship in the moment forward. So, you know, her hands are where her hand should be. And she's definitely like she gets up then in your embrace, you find yourself in an embrace at that point. And so she's moving the moment forward. I take a bit of a step back. She says, it's wrong. Let's just wait on this. Until you get back from the mission until we know where everything's fine between us. I don't want to be moving too far forward. Oh, wow. Did I totally... I'm sorry. I thought you... This is horrible. No, this is bad. I'm sorry. I gotta go. Yeah, we'll talk when we get back, okay? That's fine. Yeah. And she leaves, she says. No, no, just stay there. I'll grab it. I'll grab a taxi. We'll talk when I get back, okay? I'm sorry. Yeah. And that's the last time you spoke to her. And when you come back from the flashback, your flashlight falls on what was to be the... excuse me, I'm wrong. It should have been the fourth or the fifth victim of the torso slings. The mad butcher of Kingsbury Run, the torso murders back from the thirties. There was... The stolen... Yeah, the stolen... The head. Basically, it was a death mask, but it actually was the actual head that was... And I saw my vision. Yeah, the choo saw his vision, and you guys saw the empty spot in the museum when you went there to visit. It is the head of Casey Shea, that this girl is holding in her hands. And Casey's eyes are glowing, and the eyes on the head blink. And she opens her mouth as if she's gonna speak this decapitated head that the girl is holding or with her left hand. She opens her mouth, and all you hear in your brain is a scream. A horrendous, shrieking scream. At this point, I need you to make a derangement roll using, I think, the defaults that I would normally use for this second situation would be like about three dice. But because you know Casey, well, I'm actually gonna subtract two dice from it, so it's one dice, because it's not every day that you can see the animated decapitated head of a good friend. Just one thing. Sure. What kind of maneuver did we do? Oh yeah. Um... This is a black. Right back through the existence to mental or emotional binge. How long is that tactic last? Well, the scene, which has been rather elastic in this definition. Where's it give you? Uh, it's moral support. So it gives moral support. Yes, and how many successes, are you actually the successes you had on your... I turned to the lowkeeper, Michael Clay, where I wrote down. Oh, cool. Okay, John, so what you would normally be rolling is three dice. You get three dice from the tactic, but since scenes have been elastic, and I've been awarding, you know, the occasional... That is diminished. Things, I'm gonna say it's diminished. We're gonna say it's plus one instead of plus three. And then you subtract two dice here. Basically, my argument was, relax, guys, we have decided to control, which the past history has shown. We do not. And there have been other things that have been... You've gone on since then, right? So I think that giving them one dice is a linger on your back for that is kind of fair. That's fine. So you're up to two dice. What? These torso victims were long ago, right? Oh, yeah. This isn't what I'm wondering. I have one success. An eight. Somehow, you managed to steal your mind in the millisecond that you need to take the shock of what you've just seen. The improbability of what you've just seen. How is her decapitated head in the hands of the hunter group that seemingly stole it from a police museum? And it should have been some desiccated dried up. That was even like a year ago, right? The theft was actually, I believe it was, say 2009 was when he... Well, no, 2002, yeah, it was when he broke off from his group. So we're talking a decade. It all makes no sense. And maybe that's how you shield yourself. This can't be the one you're talking. Well, then it's even worse, but somehow you deal with it and you compartmentalize it off to the side. But, the screaming in your head is a terror fact. Oh, it is actually an attack. It isn't actually an attack. So what I need you to do is go ahead and roll a resolve plus composure against the successes from the attack. This is five. I imagine I get theatres from three straight up this time. Go ahead and make minuses. Well, no, just be the one. I'm not going to make any much. Other than the two that diminish from the... How many dice do you have? I have just five regularly and one due to the diminishing effect of our bolstered morale. This is that kind of thing as well. So yeah, you have a total of six dice and then subtract two just like you did before because it's... Well, no, don't subtract two because this has nothing to do with Casey. It's not Casey's actual voice inside your head. It's just a screaming that could be anything. It's not her voice in particular. You're hearing. One nine. One six cents. Okay. The effect scored four successes. So at this point, you are stunned. That takes us to jet. In your scope, you see what you expected to see. You're hoping to see a target. To be clear, I believe I actually waited. So that... I had a wait option. This is the second turn? Because I believe you've moved on always the first turn. And I waited a second turn so we could get in the right order. But I'm just saying, I was simply waiting for him to open the door. So if that comes into play and I have the option to pull the trigger before I get hit with an attack, that's up to you. But... The scream... I was holding an option. I was holding an attack. Right. The scream is one that's not verbalized out loud. It was almost like a subconscious attack on Daniel. Right. But again, I'm a guy trained to be a sniper and a warrior. I had my finger on the trigger and I was looking for a target shoot. There was no contemplation. Oh, you're not looking at me. You're not asking what's there. Fucking lutely not. As soon as the door is open and I have a target, I'm shooting. Because I think that this girl is a fucking vampire that moves with speed that is beyond human. Right. So... I wasn't waiting to assess the situation. I was... And again, it's a... It's a trunk... Right. I'm not gonna kill anybody. So I don't need to know if it's a grandma in there. I'm pulling the trigger. I'm all in. Go ahead and make your... After a good shot, you get to see what it is though. And that's fine. I'm saying I can be affected by it and I can even be affected before. Maybe she was holding a tiny brain trigger... Right. I was finger on the trigger waiting for muscle memory. I have a target shoot. Period. My dexterity of four and my firearms of four and the weapon and my specialty of sniping. And then one framing? Sure. I'll get one of the framing. I'll get one of the framing. Alright. As soon as she's a vampire. I was assuming whoever's behind this thing needs to be trained. And I'm also trying to get a trunk round. Yes, a trunk round. And I also said that I was aiming at the height of a child that is... That's right. I do it in 18 or 14. Whatever. We assume the age was. So... He said center of mass. Center of mass. Not aiming for anything particular to say Mr. Body. Or Monday. Go. Okay. Then because of the darkness and the wavering of the flashlight, we'll give a minus one. Okay. Just for a little bit of darkness. But besides that, there's nothing that should stop you. I would suggest that Daniel lose the flashlight, but that would have put him at a huge disadvantage. Yes, it would. So I don't want to do that. Go ahead and do that. 13 dice? 13 dice. All you need is one success to hit her with the trunk round. Right. But, if you remember, the traditional success goes against her stamina. And once I've used all her stamina, then she has to spend new willpower to stay conscious. Or roll to see if she goes out. And when she does, she goes out for 10 minutes. Okay. Then she's a vampire, and then all bets are off. Okay. We have one, two, three, four, five successes. All right. And that's all I'm going to give you. I'm not going to give you eight, nine, or ten again on a trunk round. Okay. Because the damage that you do is, to me, the rifle and the bullet making that combination happening. A trunk round goes into the flesh. And you can't repair it. I'm perfectly fine with that. Okay. You're the storyteller. Say whatever you want. You're at six. Oh, I'm sorry. I had a six. Six, five. I would argue that ten again in all roles, you're kind of penalizing. I'll give you ten again. I won't give you eight or nine again. It's only two of them. Fair enough. Two out of the six. No, I like a good argument. I mean, a good debate. So that makes sense. One more. Okay. Seven successes. That's your instant action. You move action. No, I stay where I am. I shoot again. I shoot again. You move another round to the chamber? No. I move another round to the chamber. Ooh, that's a good sound. Another, another trunk round? Sure. It's a cartridge of them. And I've used two out of the five, so there's three left. And there's no, I couldn't swap out. And she doubles over and looks up at you across the distance. It goes... It's nasty his, but she also drops the head. Just being stunned her reaction. She drops the severed head, which hits the ground with a wet splash that you didn't expect. Again, you're thinking more desiccated, old, triple up, ninety-year-old severed head. Should have been. You're not in his mind, so you don't know that's Casey. You don't get a good glimpse of it either, because you're looking right at her midsection. So you're thinking this thing is going to bump, bump, bump, bump, bump, but it hits us with a splat. Does Jay see the glowing eyeballs? Jane does not because his thing is training on her abdomen. Okay. All he saw was her abdomen, and then he probably brought it up to her face just to see, like, what the hell did I just hit? Actually, I would have held the gun in the same place and back my head when I had to take a visual scan of her. Sure. Because her scope is a tiny little. It's too little. Right. So you do see that as the severed head hits the ground, you do see the eyes. At that point, when she drops it, the eyes fade. The glowing stops. And the head hits the ground with the splat and just kind of rolls over to one side. And my mind rationalizes that when I'm looking through infrared, the people's eyes look like they're glowing, and then say, wait a minute. I think I hit the switch. Right. Try to, uh, convince yourself. It is quite a shocking sight. I'm going to say that at this point, it's not up close and personal enough to bother you with a derangement roll. Yeah. We'll see how it plays out. Why do we want this, Carl again? She's the only thing here. Yeah. Any information whatsoever. She don't got the information. Because we can find out. Ransom. We have her head. Oh, that ransomed. I was like, ransomed or who? I'd just like to know why the, the bad guy wanted her. That's a good point. I don't think she's in a. Yeah. Question, answer, and move. Turn. She reaches down and she pulls the, the trink dart out, and she throws it to the side, and she puts her hand back over it. She's like, what the fuck? That's what she says for her. She talks. Apparently. And it sounds like a preteen. With a little bit of a raspy edge to her voice, it sounded pretty much in a girl version of what I just spoke. Okay. Outside, eventually, Q, you catch up. You guys hear footsteps, and Q catches up from behind. The kids look panicked for a second when they hear the footsteps of someone coming up. Q, do you say anything is your coming up or you just run up to your tent? Well, I kind of gage their reaction if they seem startled. The children are kind of wave to them. All right. I say he's with us kids. Don't worry. He's here to help us. Good guy. Okay. There's only just one of them. Not, not, not a bad guy, right? No. No. No. All right. He's got some issues. He's got some daddy issues, but besides that. You guys can talk about how you want to move forward at this point, and then we'll go back to the scene in the storm shop. Sure knows that we just got- We'll talk about it. Okay. Well, we just got lapped by a vampire, or what I assume was a vampire, because he was moving pretty darn faster than woods, but we've lost sight of him, and he was heading towards the vehicles, which is where we're heading. But we're shuffling along because we're both pretty heavily wounded and we got the kids. So we're worried that he might be setting an ambush, and/or he could be disabling the car. Or he could just be trying to escape. The fact that he didn't stop and we're both covered in our blood, so we would have been easy prey. So he didn't look like he was bothering looking for us though. No. He's so like he was getting out of dodge. So I'm hoping he would have got there and noticed that his truck, his trucks were disabled. Maybe he got pissed off, disabled ours, and just took off. If he was disabling, you're doing something like an anger or frustration. We would have heard him probably doing something to the vehicles like, I don't know, I guess matching the hood. We're not even halfway there yet, are we? You were about a third of the way there. We might not be there. Two catches up, you're almost halfway there. The way he's moving, he could be there and we're still quite a ways off. I'm thinking somebody banging on the hood of a car is going to... We might not be banging. He might just be... We're jumping on the seat, and we'll click right in. I don't think we'll get those cats. Darn it and jump in and run away. Right there, no. Well, let's turn around then. No, Jay's last words were for us to get the kids to the vehicles, and basically he's just getting us out of the way, so the real man can do the work. Right now I need an emergency room, so I'm okay with that. Getting out of here is a good idea, and we've got to get to these cars sooner or later anyways. Yeah, let's go to the cars and maybe we can go and pick them off. We've got to approach this fully and take a good look at what's going on. The car we drove through the fence, is that so drivable? No, no. I don't think so. It might be, but it's about 30 feet down a goalie. I don't know. It might be startable or movable, but you might not be able to get it out of where it is. She lost control when she went off the road a bit. She was trying to hit the gate itself. She was trying to hit the fence. Well, the fence kind of went down a teeny bit on either side, and then it goes deeper into a goalie's on either side, and she buried it into a goalie. We didn't know it was that low. That's what happened. But there's one, we got our van, which if he didn't wreck it, will run, and we got their truck that if he needs it alone, I could repair it pretty quickly. Okay, they're discussing this, which means we're hearing it over the headphones. And about a little distracted. I don't need seconds or so. Okay. So I'm just bad about sounding out at this point. I just wanted to give them a chance to interact with them. And all I wanted to say is if I hear all this crap going on, I'd say, Clay, you're in charge. Make sure the people underneath you are safe. Deal with it. I'm busy. Right. That'll be in about 30 seconds. You'll do that. Which is about 10 turns. J.A. has been compromised. She would never say it. I just wanted to say it's very true. She would be the next live. Oh, no. She has shown that he's very indecisive in certain situations, and the person who is most concerned with safety has always been here. All right. That's my idea for you guys to get out and to me, to help me get the fence open so I can drive back and pick up everybody else. You can't fix one of the other people. I'm sorry. I'm dead. You're not dead. I'm not dead. You're listening to it. I certainly can't respond. You can hear it. Sure you can. 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I'm not sure you can deny it any longer after that. I'm not sure you can deny it any longer after that. To be fair, it's been three seconds, but no. She swore it. I should do swear on me. Shoot her again. That always works. Did you just swear at me? I still have the gun and get her, but I'm looking on the side of the scope. I'm not aiming at her and I'm talking to her. I say these buildings have fire. We need to get you out of here. We assumed you were hostile because you're locked in a room. You've got to follow us? Or am I going to have to try to take you out? Come with us. Leave the head. Take that. It's magic as shit. It's like a gun, but it's not. Do it, isn't it? It's like a magic. She says back to you on her turn, "You just shot me and you want me to come with you." I could stay in a burning building that options yours. Or I could shoot you again and drag you out. I'm not supposed to leave this room. The house is on fire. There will not be a wrong. Now, to be fair, she is several, ten feet underground. And it is under the house, but so they're probably... I'm envisioning the floor collapsing into this space. I'm going to stop at the main floor. That's where all the embers and all the hot corns. It's actually, yeah. The walls are truly made of stone. It's pretty far underground, but it's not made out of any kind of... It's not reinforced with anything really heavy. But the roof of this area is wood. Right. Right. I'm saying, it's not reinforced. It's far underground, but it's not reinforced. So I'm just trying to give you a picture of what it is. So her response to you in that three-second period was, "You just shot me and want me to leave." And then you talked to her and then she said, "I'm not supposed to leave this room." And that's where her turn ends. She's not moving, she's not attacking. She's just staying there talking to you, standing there talking to a girl who looks quite disheveled and quite... That picture is beyond disheveled. Yes. She looks like a zombie. She has blood on her mouth. She has blood on her mouth. She's carrying... Please. Or it could be. A tomato once. Very juicy. Very juicy. Mostly plain. It's got some on my eyes. There's a separate head in this mix. Why didn't that seem to be a pretty important fact? I didn't know what to do with it. I didn't know where that came from. The dead stole it. It was stuck there to play with it. How did it get in a room with ours? Mm-hmm. And you were kissing that head for, you know, a couple years ago. It was kissing me. Oh, okay. It called me... Whoa. Don't you don't have to worry about her hands. It's now Daniel's time. Thanks for that. I feel much better. All right. I stand up. Yeah. So it seems like it's time to do that. And fill up the entire hallway pretty much with the rest. Yeah. Well, it seems sideways against the wall. Okay. I look old. I don't have to... Hold up my hand or... Rather than speak any words, I'm pretty bad at that. Okay. Okay. So you reach out your hand here. We've got to kill a man in Sasquatch down there in the fucking child. And we're going to leave. Okay. So you reach your hand after her. I do, like, stand in the way of the rifle. Make it obvious that I am offering this rather than... You stand in the way of the rifle. Well, I feel it right anyway. So you can fill up... Yeah, she has it in the side. You're filling up the hallway and you're reaching out towards her. Like, come to me. Yeah. He's gone for a bonus because he puts himself between the gun and the girl. Right. Got it. All right. Okay. He puts himself between you and the girl. Nice. And you can't see her. Well, you can see her, like, barely. You certainly can't shoot her at this point. What is your comment? Or what do you do? Yeah. I'm going to have to roll that point and, like, to try to project a comment. You know what? Yeah, that's fair. It's an unspoken. So let's go with presence plus empathy. I have a presence of two. All right. And an empathy of two. We shot her. You shot her. And shine a flashlight in her eyes. And we're just... I have to think from her point of view, a little bit scary. Mine is two dice. Let's do away the gun. You did? Plus one for that. Okay. Here's some points here. Hey, I like the... Wait a minute. Wait a minute. Can you use animal kin? No. No. Why? I'm shooting it on. Well, I've got to go for it. It's feral. She speaks. And what's success? All right. So you project a sense of calm and empathy. As far as that goes. As far as that goes. It's your turn. He looks to project an aura of calmness as he reaches towards her. I try to back up his play. And I think if I also inform her. You will notice I shot you with a needle that was to knock you out. Not to kill you. We were just trying to get you out of this building safely. Okay. Well, I don't know if that encompasses any role to be convincing as well. And call me. I do have a younger sister, but she's not that young. Or that dead. Or that dead. I think we're entering into social combat at this point. I was gonna... Okay. I was gonna just work late for a little bit longer. But I think at this point you guys are making efforts that really would be more. So we'll say that this turn ends with you. Well, you can make an effort one more time. Because if I give you pluses when we get to the social combat aspect. So try to back up this play with your... Well, I shot you with a trink and needle. I wasn't trying to hurt you. We just need to get you out of here quickly. We're here to save you. Whatever you... That can be a persuasion or empathy. You can choose what terms you couched in. So you pick. Of those two? Yeah. Two and persuasion is one. Okay. If you're trying to be really up at that... Yes. You think shot hurts, I know. I know it hurts. You're really hurt. You're speaking, so let's go with manipulation. Yeah, also two. You shot earth so minus two. And you don't get the plus one. But I won't give you the plus one because you didn't try to shoot her again. I don't think you could. I... There was a round that could have spoke to her. Yeah, yeah, yeah. You're right. The round you backed up. No, I got you. It's a ten. One success out of three. Go ahead, go ahead. No, just the one. Okay, so you both started off better terms than you would have been. You just started off after you shot her. Take a brief moment, Tom, to set up your dominance modifier. Your guile and your nerve, please. They're the top three in bold on the top of the first sheet. The president's placement evaluation. That's your dominance modifier. What's your social health? Well, she's got that down already. Five. Mine's six, but you probably have a higher defense. Yeah? No, right. Mine's one. What's your initiative? Three. Mine's five. Your role is plus or minus ten. Go ahead, you're better at this. You're only one lower on the health. Everyone rolls. Oh, okay. Last time we went all there rolling on. Or at all independent actors. We had our face to show up. Right. And you could do that, but you'll add to his plan. Okay. I'm seven. Ten in total on the initiative. What's yours? That's a four, so it's nine. Nine years, Jay. Daniel's ten. So Daniel's ten, Jay's nine, and Grace is eight. Well, the first thing we do is you two determine what you're trying to accomplish, which you've already kind of done, but you can put it into one sentence. And I'm gonna frame what she wants to do in one sentence, which is try to make you go away, stay in this room, pretend like nothing's wrong. Okay. Well, she's hoping to succeed. What are you guys hoping to succeed at? We want to get her to follow us out of here. Okay. Excellent. Daniel's first of you defer to Jay. Yeah, I'll do that. Okay. Maybe he moves to the side and you walk forward to try to reason with her. I'm a pleasure. So she can see me within the light. Sure. You shoulder your gun. Yeah, I know. Absolutely. And now you basically attack verbally. Right. Much more except for the font. Grace, you're unaware of the situation here. All you need to do is look up, and in between the cracks of the ceiling, you can see there's fire up there. This house is going to burn down. We came here to speak with your father, and instead you found someone attacking and killing everyone here. We did our best to stop that. And now we need to get you out safely. Okay. What would you call that? The true persuasion. I would call that persuasion. Yeah, sure. And I would say that you're probably using manipulation more than your presence. Presence to me is more unspoken many times. Manipulation is more verbalized. Okay. One can argue you're showing composure and calmness as well. So, I'm going to say composure actually is going to play here more than manipulation. You're not trying to trick her. No. You are trying to manipulate her, but you're doing it calmly with composure. So I'm going to say composure plus persuasion. Four dice. Subtract two from your role at your defense. She tries to fight against it. You stated that we set our software for the situation to be beneficial. Do we get a dice for that? Yeah, we'll give plus one die to this role. So that's five. What a minus. And then your minus is two for her defense. Okay. And now, if you wish to make the same role as Jay, you can try to add dice to his dice pull. That would only be two dice. I'm not going to do that. Well, it doesn't hurt. Okay. But, actually, I'm so terribly sorry. This wouldn't hurt. Your brain is still buzzing from the screen. You see all the better at silent things right now. And you're actually minus four dice at any social role. Speaking. Yes. What about silent things? Any type of mental role you need to make. Just reaching out to her wasn't exactly mental. I'm going to wait for it. No. He can't help you. He looks seriously... I believe in the social skill I have here to help this empathy. And that's two. Okay. Now, you're supposed to do... If I want to physically threaten her, you've gotten the gutter call, but... Right. He can intimidate shit out of this girl. Go ahead. Holy shit. Three successes out of three dice. One ten again. Wow. Three successes. Okay. So you make a very persuasive argument to her. You see the doubt on her face in a sense of, "Wow. Am I doing the right thing?" She looks up at me. She's like, "Don't understand. If I leave, bad things will happen. Really, really bad things will happen." So she tries to throw a... A manipulation plus... Persuasion at you. What is your guile? I do. It's two. Okay. She does one social damage back at you. You see the fear in her eyes and you're shaking for a second of... This girl really believes if she leaves this room, terrible things are going to happen. Right. What is your nerve? My nerve is five. Okay. So it goes down to four. It's not four. All right. It is now the next turn of social combat. Is Daniel looking at any more under control here? Am I on again? It's been... Three seconds. It's been about... Since that happened, it's been four turns actually. Okay. So it's been just over ten seconds and he is still shaking at this point. He is not going to have to point where he gets to try to break out of it just yet. However, you do in the interim here a shifting from up above of timbers and four boards. And there is the sound of a hard peat thawing and dust comes raining down from the ceiling. Your turn. I see Grace. You saw that, right? I want you to do me a favor. I just want you to listen to Daniel's headset. Michael? He's one of my friends. He's saved. Two of the little kids from this farm are ready. What are their names, Michael? Bill and Sally. Bill and Grace, do you know Bill and Sally? Do you want to talk to one of them? They can tell you that you have to leave here. Bill and Sally. Okay. Go ahead and make your roll. I'm going to switch from composing to manipulating. I was going manipulation because you're being a little more forceful and you're really not being as composed. Well, I'm trying to give her a reason. Your voice out is already saved by a couple of children. Just your voice is not as composed as the first one. Okay. So manipulation plus... I'll give you the empathy. Okay. And then still the plus one? Are we done with that? No. You get a plus one for getting the children's names right. Take a headset off and she hears Michael say, "Billy and Sally." And so you get a dye for that and you still get minus two though for her guile, her social defense. Because she really truly believes that she can't leave this round. All right. So I'm left with four. And this time I get absolutely an octave. She looks up at you and says, "I understand what you're saying. But if I leave this room, if I go with you, horrible, horrible things are going to happen to all of us." You don't understand. And that's what she's putting back at you with. One success. The idea here, by the way, is if she convinces you that horrible things are going to happen, you don't turn around and walk away like, "Hey, we can't get our way." It's just you're not going to be able to talk her out of this room. You're going to have to take a different tact and different approach. Just because she wins social combat, it means you can't try it again socially. You've got to go to a more physical or just walk away. She's not going to dictate what your actions are just that you can't get her out socially at that point. That's all. Okay. That makes sense. That was her turn. Now go back to me. You, at this point, you can make a resolve plus composure roll. This is five desks. It's been 15 seconds. You are now able to try to shake off the unsettling screen of whatever that was. It looked like Casey, but the screen did not sound like her. You may make a roll and try to shake that off. Three successes, two tenes up. Go ahead. Okay. You succeed in shaking it off. I take my turn, though, saying something. Your instant action is shaking off that crazy buzzing in your head. Now you can do a free action or move action. You have those two abilities. Those two abilities. Yes. I say, "Listen, your father's up there. His last words to me were "Save Silver Bell." And I try to convince her they're working. You're not trying to add to Jay here. You're trying to convince her yourself, right? Okay. Go ahead. What's your social health as five, right? Yes. Jay, what was your social health? Mine is six. Oh. Six. Yeah. Okay. We take the highest in the group if there's more than one person interacting. Well, then we're two down, so you're four left. Right. You go first after your dice pull. What was this I just did? What do you think it was? I think Australia composed, but I like that it's cool because I'm good at it. It could have been a mighty issue. That's what your father said was "Save Silver Bell." So you need to come with us. Is that the general gist of your argument? Whatever he told you. Plus empathy. Manipulation perhaps. And empathy, definitely. Because I used to. The multi-minutative part of my... Manipulation plus empathy. Go ahead. This is three dice. All right. You used the term "Silver Bell." So I'm going to give you another die for that. And... Go ahead. What about her health? Her defense. Her defense is two. So you subtract your dice. Now, the neat thing, I think, is Jay. When you approach her with a counter-argument after Daniel goes, her defense goes down by one. Oh, well, well. Because there's two of you ganging up on her and it wears down her defenses as it goes on. It's like regular combo. Yeah. We're the zombies. This time. Mm-hmm. Be 10. Those dice suck it. Hey. Have an 80%. Okay. It's two. It's two. It's two. Yeah. She reaches down and she grabs the hair of the decapity. I look away at the point. Right. And she runs forward and she jumps into your arms and wraps her hands around her now. And she hits you with the head and on your back. But she just holds on tight and she says, "Get me out of here." Gracie, I have a question before we leave. Do those bad things come from you? Do we need to restrain you before we leave here? Or are they going to attack you and I need my friends to help keep you safe? It doesn't matter what you do, they're going to still happen. That's great. That's a very bad answer. Unsensoring. The question I actually have. You may want to switch to lethal rounds. Click. All right. I lead the way up the stairs. Where is it? Montesville. In the front of the building, I got to get back there. That was actually near to the silos. You were trying to get to the pathway? I mean, that's where you collapsed because you had a lot of couple turns running. You're right. I'm sorry. Okay, cool. That's right. So you guys work your way up the stairway. Sister, we may need your help. That's what you hear coming over the headset. She has joined you. You've talked about how? We're almost a mile away. We're going to move forward. She's clinging around your neck and each step you go up, Casey's decapitated head is slapping against the back of your back and it's incredibly nauseating and yet there is this warm feeling of this girl who is warm. Not cold. Not cold. Okay. But warm holding on to you and as you burst into the night air and the heat of that, you see almost like a ephemeral explosion come from Gracie. So you go up the stairs, Jay. You're behind him. Right. But you see this explosion of what looked to be three distinct forms that just come out of her and it's more, again, almost like a subconscious shockwave that hits you. It's not a noise that crackles in the air. It's definitely something that's in another world that you're seeing somehow. This explosion of these three beings that come from her body that then swirl around and there's a trail of vapor as they swirl about and they look to you both to be. They're definitely heads and the heads are old and evil looking and hanging from the heads are actually entrails. But you have head with these incredibly sharp teeth that they look like just horrible creatures out of a nightmare and Gracie screams. So as you three are making your move towards the vehicle, you hear a scream into the headset of what sounds to be a little girl. And to be fair, this scream that you just heard seemed to be more girlish. Like when she was talking before, her voice was raspy and scratchy. Now her voice sounds like that of a young tween girl who is terrified and potentially hurt as well. You're turning in. Are these all around us? Yes, they're probably anywhere from 10 to 20 feet above you swirling in the air looking at you with malevolent eyes and teeth that are just impossibly large and jaws that unhinge and the mouth comes open to be incredibly wide. Is there ghosts like in see-through or are they like, because they're ephemeral. There ghosts like in see-through in a sense, but they also seem to be there. Oh crap, you got the far away from me, the wrong people there. I looked back at you and then we got to get her to the sister. Start running to the left, to the silos. Around the back side of the house, to the south and then to the east, double move with the girl in your arms. Clinging on. We hear all this and we think, for good stealth, we need to get to the vehicles as fast as we can and get the fecal in there and it extract. That's the fastest way we're going to get to them because there's no way we're going to be able to get to them on foot. So that's what I say. I think we're going to be able to crash at the gate, so find another way around. We're going to have to get in vehicles. Get into this area. There's four locks, two of them are unlocked. I want to fit to just damage or shoot the other two locks and then stealth's gone out the window. That was an hour ago. Who knows what it is about? It's a pretty big fucking gate, like you can't shoot it down. It was a big gate. You can't shoot it down. What about the locks? The locks? No one tried to shoot it. You guys were trying to be stealthy when your first came in, so you'd have some options. Believe you, the helicopter might have taken it out. We don't know. Yeah, maybe the helicopter blew up the hole. Sure. We better open up the cover. Right. Maybe the van parrot just sprinted or threw it in. Who knows? Unlocked it. There you go. Jay? I was thinking of going with the faith approach to try to drive them away with prayer. First of all, I moved to at least keep up with Daniel. Okay. You're going the same way. Yeah. You came in and had to rush it. But we've driven fear demons away before and I'm going to try to act as if that's what we're dealing with now or at least something longer. Because you have no fucking idea. Absolutely not. Although, I've won in a cult. If they describe what they're seeing, can we make rolls? Anyone can try anything. Okay. So, I am going to double move. Do I have to keep up with it? Need double move. Okay. I want to make an occult roll to try to describe this event as clearly as possible. Okay. I would say that would involve taking it fully in. Right. If you will. So, the first thing I want you to do is to make a derangement roll. Okay. Because it is something you've never seen before and it is terrifying. The way they're jaws unhinged and they're teeth and it's a horrible thing to witness. So, go ahead and make a derangement roll. I'll do what that is. You're going to roll three dice and you need one success in order to not get a derangement. It was very similar to what happened when you saw Henry's body dissolve into a swarm of bees. You'll have that morale boost. Yeah. Have I known this before? That one down to one, that one backwards we did earlier? Yeah. So, I'm going to say that you get plus one die for that. I'm not going to subtract, even though this is scary, scary shit, your character has seen some stuff. He saw the queen bee. He has seen... It's a derangement check all the time. Yeah. He has seen what looks like a vampire at this point. Right. So, you've seen some stuff. I'm not going to give you any minuses at this point. I'm going to let you roll four dice and see if you get one success in your derangement check. Actually, two. Two. You steal yourself within, you harden yourself to what it is you're seeing and now you can describe fully what you are seeing. Okay. I have an occult of one, anything else, so I can give them... Which plus occult, if you want to give it a shot, as far as trying to plumb it in the back? Yeah. I give them as much information as I can about what I'm visually seeing and then I give them my opinion of what it could possibly be, based on my occult knowledge which... Are you starting to watch? Yeah. All right. No. I don't have a clue. Right. So, thank you guys. Go ahead and describe it in your words, in Jay's words, as I describe you. Yes. Three. Spirit-like ephemeral things came out of her. They were just skulls with dangling spines and entrails. They are malevolence, they're evil-looking, they're jaws are unhinging, they're swirling around and they look like they're going to attack. Our king could talk really fast. Yes. Yes. That was 20 seconds. All right. I'm listening to this. I have seven dice. I'm going to allow for double move if you want, Jay. Sure. I'm keeping up with Daniel. I'm still making it. The last thing is deviating between me and Montes. Mike. I was saying that the occult role was a quarter second looking at them, taking in the vision then turning tail and running your acting on and running. Yes. I got three cult and I got minus three, so I'm done with nothing. Wait, no, it's occult plus bits is the wrong. Okay. Occult plus wits. I'm going down. Actually. Down to wits. Yeah. Two. Two. Could I use my two to help him? Hey, I don't know if I can do this for this. It's going over the headset. So, yeah. I've received some training in the TV about occult things. Right. Okay. Do you can help him? Yes. You guys can put your heads together. You're walking right next to each other. You should go, hey, remember the, you know, in name some ancient home or knowledge, roll first Katie. You're helping. Ten again. Ten again. Two dice. Ten again. And just one success. So you get to add one die to your pool, Mr. Clay. Sweet. Sweet. All right. For some dice. Yep. Go ahead. And because you can't see it, really shouldn't have been this with you as well. Oh, Mr. Katie, but we'll sometimes I, yeah, forget because you can't actually see it. It's a visual description, minus two dice. All right. Five dice. Go. Go. One success. You know, it's this first turn of doing occult recollections and thinking in your head. You are fairly certain they are spirits. Okay. Good. Spirits. What are they? Two. World. I'm dead. Billy. See. I told you he'd come in. I don't even know if that's right. Billy. Well, there was a very good with spirits. Yeah. Yeah. And pretty much in every situation, whether it be social or physical, they're gonna have an answer. Okay. So is that what you say over loud, over your headset is a there's some kind of some kind of spirits. Does fire affect the spirits or all you just mystical circles and rituals, right? Kind of depends on the spirit. Yeah. Fair enough. I actually have a bullet. Physical weapons usually do not work against them unless they become corporeal. If they stay in this state of ephemeralness, they will not be damaged by physical weapons. You know, it's too bad. I'm not there because, you know, I have a whole thing about spirits and my knife, which would have a ephemeral revelation, which would help me see these spiritual entities for what they are. Yeah. I'm just not there. Nope. Not there. You have a bonus choice. Wait, use your, use your camera on your iPhone that we're talking about. If only you had cell reception. Then how are you talking? Walked out. We have radios. Yeah. Yeah. Yeah. Shortwave satellite linked or something. You had something that was not going to be interfered with by being out in the middle of nowhere. Okay. Go ahead, Daniel. I'll make your, I have a bottle of last time. I did. No. Walk in wireless hot spots. Yeah. Don't you? No. You made your roll and you know nothing. Okay. Part too far. And to be fair, you had a very quick glance as you were running with her. Everyone is now running towards the car, trying to, is that the plan that Michael suggested for the car? It seems to be the fastest way that we're going to get back at the end. Get back to them. Get back to the vehicles. Yes. They've had time to run in between. Yes. They've had time. They're actually closing in on where the gate would be and about as you are running down the path, about 20, 25 feet out from the gate itself is, and he's just standing there with his arms folded in the middle of the path as if he's waiting for you. Shoot it. Now show him. Kitty, hold on in the wrath of God. Two, put one between his eyes and, and I'll get my knife ready. And I'll need, at this point, I'll need initiative rolls for you three. You're initiative. And new initiative for everyone, actually everyone rolls initiative because, um, it's a brain. This is a new scene. What's sure. Sure. That means our, uh, psychic bonus dissipates. That's great. What's initiative? Not necessarily. Okay. Dexterity plus something. One thing I'd like to do is, uh, initiative is, Jay, because you use your pride in, in the scene with grace in the storm shelter, you get one wheel power back, because you were convinced that she needed to leave and did not want to listen to her objections that bad things would happen if she left. That worked out well. I would say that was rather prideful. And that is, um. Probably tore a detriment. Yeah. At this point. That's part of the, what you need to do when we're going to get back. Good job. Uh, I spent half of that scene on the ground. I'm pretty sure that matches long. Oh, it's not by choice. That's a nice argument though. I like it. So, not seeing anything that really applies to give you any of your wheel power back at this point. Katie, I don't see Katie applying either. And then the last person there is Michael play. There's no greed. No prudence. Well, I'm pretty really trying to get out of it. My ass out of there. It's a version of advice. Yeah, it's not working to your detriment. Right. You're actually helping the children. So everyone rolls for initiative. Four is what I got. That's really poor. And as I roll the one, plus six, minus three. I doubled that, which still sucks. Okay. I mean, I'm going to win our initiative with eight. I should tie Mike in a chewed roll-off place. Is it the highest dexterity though? Hold on. I rolled it in as well. So, fit me in there. I didn't get it. Just rolled the one. I just rolled the six. Well, it's tied after that. Do you go to the dexterity, I believe? So, Mike's going to play as first. Chew. I mean, Jake. What? What's your opponent? I rolled a eight. My dexterity is four and my composure is three. He's very, very quick. Yeah. Apparently. And Daniel? Yeah? It's a good composure. She's important. Is she or anything? Uh, I think I've calculated it wrong. It is dexterity plus composure. My composure is three. My dexterity is two, that's five. Mm-hmm. I just want it's four. Right. I rolled the five, so that's nine. Okay. So, this helps. You look over your shoulder, Jay, as you're running, and to the first look, they're not pursuing. They seem to be swirling and maybe even talking amongst themselves in some hideous conclave floating above the ground, and it's your turn. All right. I got to get to Montes, and you got to get to the group and the sisters, so keep moving. I was going to help you with whatever first day that could. Well, being attacked. I think it's more important to try to distance yourself from those monsters with the girl. But after? Mm-hmm. Let's go. I'll take your Montes. I never received an order. So you double move and come to a slide, you know, right next to Montes' body after that, but it was a double move. I'm moving in such a way that I'm next to Montes, but I'm looking at these spirits, so I'm keeping an eye on them. Right. What they're doing. And I inform Michael Play, "Spirit's are nice, give me some defense here. What can I do with it?" You have some light. Oh, let me just go get some. I think we need to make another roll. When it's his turn. Yeah. Right. You see, at this point, the spirit heads with the spines and the entrails floating around the side of the house that you have run behind or run around. They're moving relatively quickly, but certainly not as quick as you were able to move with your double move. Again, they seem to be talking to each other, but it's not something you can hear or comprehend in any way whatsoever, and they look to be looking over the situation and are they drawing a bead on you and Daniel and the girl? Are these still inside the house or are they outside the house? They were outside the house. When Daniel took the last step and came charging out of the storm cellar, there was an explosion of white light and three of these specters of some sort started to swirl around. So he broke? He broke the threshold of the house. Yeah. Okay. Something happened. Okay. And then they ran around the back of the house towards the silos in the front of the house, and now the specters are pursuing. And so you come to a stop next to my taste. I can't do anything. The specters move and they're actually really close to Daniel because the fact that he has taken his turn yet, and it is now Daniel's turn. Daniel that will move further east towards the entrance of this place, trying to catch up to he's way behind, I asked Grace, can you tell me about these things? She is sobbing and crying in your neck, basically. We need to get away. What can we do about these things? And you asked her a question and what, yeah, you're going to have to make a role to break her out of her stupor. She's terrified and she's clinging to you like anything. What do I roll for this? You're going to need to make definitely an empathy check. I'm going to say you can use composure in this particular case. You're running, but you're going to remain calm and say, listen, in order to help us deal with this, I need you to tell me about these things. Go ahead. Five, but my response for the damages I have sustained. Four, and then due to her amount of distress, two dice taken away. It didn't happen. They're all six and a one, so she changes to sobbing and crying tears into your shoulder. Okay, so you can double move. That takes us to, Mike. Okay. You got lots of options here, like a play, you can do it a cool role to try to learn more about the spirits or think more about the spirits. You also have what you believe to be a vampire, roughly 30 feet away from you, blocking the way to the fence, because kids that are now terrified because they stopped in their tracks and starting to cry again. I tell the kids to get behind me, chew and figure out some of the vampire and I'll back you up on that. That's your plan. You get your plan. And is there anything occult wise that I can think of that would, like, what type of defense, if they've already broken a threshold, what can I think of? Or I'm trying to think of something that I could say over the radio. Michael Clay needs to know what the hell these are, because there are thousands of different spirits that can play and there's no one panacea. Sure. Well, there is one panacea. Do you like? Every spirit has a band. Right. I remember that. Every spirit has a band. And you can either compel them to do something or compel them not to do something by evoking their band. But without knowing what they are, you're shooting blanks. But I know someone who does know. And I tell Daniel that the girls got to know how to know the band for these things, because she contained them in the first place. She was a vessel for them. So she's probably going to say, oh wait, her dad might have. She knows what you got right now. It's what I got. And she knew enough about leaving the house would be bad. So she knows why or what. So that's all I got for you, boss, I got my own problems. Okay. So that's talking, which is a free action. All right. You told the kids to get behind you, which also was a free action, which is probably about the end of the free action for this round. Do you take a move action or an instant action? Well, I already had my knife in my hand and I had the flashlight. Yes. And I shine the light on the vampire. That's right. I can say, I can't shoot them. I can't. I mean, I've got guns, but I've got free actions to talk about. So just, well, and that's, I think I've used it when he said my free action is talking. You're done. You're done. You're done. All right. All right. It is true. So you heard him talking into the headset. The girl knows the girl must know there's a band, something that can, can affect the spirits. She's our only hope. What he basically says. Let me point out, I'm the only one that does have a light source here, and I am shining in in this. Oh, she has a flashlight. Oh, she does have a flashlight. Not special. So to draw you a picture, there is a Task Force Valkyrie agent. Thank God. Yeah. They're here to rescue you in your path about 20 feet away from you. He has his arms crossed and folded. He has a non-too-please look on his face. He looks pissed off. It's not even smug. And angry. Not even smug. Okay. Angry. Would be, you don't even need to make a roll. He's angry. Everyone kind of stops. Michael's shouting into his headset. Katie probably curses non-cursively. Well, like, not like a swearing curse, but like a tarmy. Oh, she's a gosh star sailor. She is. Taylor. So you get a swear underneath her breath. You're the worst, man. Yep. Well, I used to be a race car driver. I hung out with race car driver. Like, swear like a race car driver with people, and cars and stuff. I just recently became a-- It's a race like a race car driver. And it's a race convent to you, right? Recently, none like recently to the non-afideness. Okay. Jude, your turn. How far is he away? 20 feet. That's pretty close. That is pretty close. And this guy can move pretty quick. It's much hurt. I heard over the radio, right? Yeah, absolutely. Someone was capable of it. Fast. Like, blink your eye fast. And he's there. I'm you. Attack. He's eating your face. So, I'm not going to point my gun directly at him, but it's going to be kind of at the ready, kind of pointed down, maybe 45 degree angle. I gotcha. 45 degree angle. Yeah, I'm just going to hold my action, and just wait until he moves and-- No free action. If he moves close to us, I'm going to fire up at him. Okay. So, I guess that's-- Your whole interaction. Instant action. Yeah. I'm going to kind of stand my ground. Okay. I'm going to say. So, glad Task Force Valkyrie is here. Did Winston Tate send you? Okay. His response back was Winston Tate is a fucking traitor. You guys fucked up our mission. What are you doing here? That's what he says during his day, Katie Children. So he does wait for me? He did something. Whoo! Put that on my tombstone. Um... Shit. You got no social skills? No, I don't. No. I don't have any social skills. Well, it's getting crucifix, right? Some top. Some top. He has some social skills. They're all an animal. Yeah, I remember that. If he was going to do something aggressive, I was going to attack him, but since he wants to talk-- I've got a bit of addictions you got. I don't have anything that suits us all that takes six hours to do, except for-- Do you have any benedictions that can be cast like in one term? Yeah, I do. Very few, but that's what I'm doing now. Okay. Just joking. I was-- if I do the one I want to do now, I'll have no more juice left to save anybody later. If they die, I could bring someone back. Well, if you don't-- If we do something now, we might all-- But right. The only thing I can do is to boost my gun into the case that comes to that. But I don't know if I could wait on that, do you seem to do that or not? Had the gun out. Pretty sure I had it out ever since we saw that since we saw that, since they mentioned him being there. So I'm just doing a spell on it. Okay. You're blessing your gun. I'm blessing my gun and I'm using it for the rest of my juice on that. Okay. My accent. We'll par on it. So we're going to say St. Michael, the Angel of the Medicine battle, and I spend the rest to-- What's that? So you whisper this? Yeah. I'm pretty sure she blows like crazy to me. Yeah. It seems like a provocation. Five. Five. Or the benediction plus one, because I'm a nun minus three, because I'm wounded. Good luck. That's all I got. It's all I got. And you need to spend a willpower point to-- Sorry. I need to spend two-- To kill the benediction. I need to spend two, one now, and then another one can spend after this. Okay. So you can't use a willpower point on your roll to make your roll stronger. No, I can't. Okay. Go ahead. There you go. Ten again. One. That's all I needed. Well, it's all I needed to-- yeah, but what I roll is all I get, so I got one basic shot at the guy. Okay. So many successes you had as many bullets are, are blessed. There's so much damage I can do to him that's aggravated damage. Right. Aggregate is tough damage. That's-- that's serious shit. Where do you have to fire that guy? Um, the end of the scene. Cool. What? Damn scene. Don't kind of send to us. No, I'm not. That's a-- that's a aggregate damage. Oh, one. Oh, look out. I'm going to damage to him. If this is a new fire, it's more. So-- If this is a new scene, then lose my armor protection that I haven't seen before. I'm playing in loose and light with the scene thing. So I'm throwing some willpower here and there and not taking it away in other cases. I think that your benediction is still in effect. Okay. All right. For your turn. There are a couple minutes. Okay. Let's call it. All right. And we will finish next week. Oh, yeah. One way or another. You said that last week. No, he said that last week. No, he said that last week. Thanks for listening to the nights of the night at actual play podcast. Visit kotnpodcast.com for more information on this and other adventures. Where you will find character stats, photos, storytelling, props, and even a form for comments and suggestions. Or you could email us directly at feedback@kotnpodcast.com. Or contact us via Twitter or leave a message on Facebook. All music for this podcast was created and performed by Zen Audio Smith. If you'd like custom professional music created for your podcasts or business, please visit ZenAudioSmith.com. And please join us next episode for more mystery and adventure. Not a bad guy, right? No, no, no, no, oh, well, he's got some issues. He's got some daddy issues, but besides that. I do have a younger sister, but she's not that young or that dead. Spirits. What are they, we can? World. I'm dead. We should have brought one. It's right. Billy? See, told you we'd come in handy. I don't even know if that's right. Billy! I spent half of that scene on the ground. I'm pretty sure that matches sloth. Oh, he's not by choice. I tell the kids to get behind me, Chew, and Katie, figure out some of the vampire and I'll back you up on that. That's your plan. You're doing it. You're doing it. Fine. That's special. [LAUGH]