Adventure Edition - Babes in London: Little Girls Lost, Act Two Scene 4C

You can find the introduction to the Babes in London adventure sequence HERE, the background to Act One HERE, the Overview for Act One HERE., Act One Scenes 1-2 HERE and Act One Scene 3 HERE.

Act Two Preparation and Scene 1 can be found HERE, Act Two Scene 2 can be found HERE, Act Two Scene 3A can be found HERE, Act Two Scene 3B can be found HERE, Act Two Scene 3C can be found HERE, Act Two Scene 3 Finalization can be found HERE, Act Two Scene 4A can be found HERE and Act Scene 4B can be found HERE.

To play or run this game you will need the following:

PLAYERS: Fireborn Player's Handbook;
GAME MASTERS: Fireborn Gamemaster's Handbook;

This is a piece of fan fiction. It is NOT endorsed or acknowledged by Fantasy Flight Games; it is IN NO WAY official; it DOES NOT indicate any form of relationship between myself and Fantasy Flight Games; and I DO NOT CLAIM any of the setting specific material or setting specific concepts as my own.

GMs, please note that this scene is the end scene to Scene 4A, and that there is cut-scene (posted last week) preceding it. You should not run this scene until you have all the parts belonging to it. Also, please note that these scenes have not been playtested, so you may need to adjust them on the fly. If you do, I would be grateful for any feedback.

PLAYERS SHOULD NOT READ BEYOND THIS POINT

 

 

 

 

 

 

 

 

SCENE FOUR C: SETITE ATTACK

A soft knock at the door heralds the return of DI Mullins: “If you’ve quite finished…” he says.

NOTE: Allow PCs to start to interact with the DI, and then have them make an Earth (Senses) TH4 test to hear the arrival of the assassins in the kitchen. If they make the test and head downstairs to investigate, or follow the DI downstairs immediately without discussing anything with him, the PCs will meet the assassins as both parties enter the dining room. If they do not hear the assassins, or stay discussing things with the DI, they are alerted to the attack by a shout of alarm from Leyila’s father.

Hearing the Sound: It’s no louder than a whisper but you hear it anyway. Below you, a door to the house opens and closes quietly. A foot slides against a tiled floor and nudges something into the wall.

Coming Downstairs Straight Away or After Hearing the Sound: You step into the dining room just as the door from the kitchen opens part way. It pauses for a moment before opening the whole way and a darkly-clad figure steps through. Two paces it moves, then three, heading for the atrium, turning its head and body to survey the dining room as it passes.

NOTES: Unless PCs find a miracle, or are taking extraordinary precautions, the assassin sees them as it half-turns to face the alcove where stairs join the dining room. Roll initiative.

Assassins’ and DI Mullins’ Tactics:

Round 1: The first assassin attacks. A second assassin enters the room and joins the first in the attack. DI Mullins calls the constables outside on the radio. (He has followed the PCs out of Leyila’s room and down the stairs and is at the back of the party.)

Round 2: Two more assassins attempt to slip past the battle. Have PCs make an Earth (Senses) test at +3 difficulty (due to the fact they are engaged in combat) against these two assassins’ Air (Stealth) TH3 tests. DI Mullins calls for back-up, the assassins now have five minutes. (The constables outside are out for the count and have been hidden from view from the street.)

Round 3: Unless the PCs interfere, the last two assassins make it to the lounge room, where they will attempt to capture Leyila’s parents. DI Mullins takes out his sidearm and either shoots an attacking assassin (if he can get a clear shot) or tries to work his way around the melee to the lounge room in order to protect Leyila’s parents. Go to Leyila’s Parents Vs the Assassins.

Not Hearing the Sound: PCs who don’t hear the sound will be alerted as follows: Downstairs, there is a scream of frustration and fear, followed by the sound of something breaking. DI Mullins swears and bolts for the door.

Combat After Hearing Mrs Andrews Scream: PCs miss the first three rounds as described above. They arrive at the lounge room at the first dot point in Leyila’s Parents Vs the Assassins. Make the following alterations before running this section:

(i)                 DI Mullins does not get the chance to radio for help so no cavalry is on its way;

(ii)               Add two more assassins to the lounge room scene.

Beyond this, the assassins’ tactics remain the same.

Leyila’s Parents Vs the Assassins: It takes the assassins five rounds to subdue Leyila’s parents and get them out the front door to the car waiting in the street.

• If the PCs get to Leyila’s parents before the assassins subdue and remove them, then read or paraphrase the following: Mrs Andrews has picked up a lamp. Pale-faced and as determined as before, she has hold of the shade and is swinging the heavy end at one of the assassins. Mr Andrews is brandishing a cushion, although a shattered teapot lies on the floor nearby. The two assassins facing them seem intent on driving them back towards the open window and, as you watch, a third assassin rises out of the shrubbery beyond holding a long tube to its lips. DI Mullins lies next to the door a livid bruise covering one side of his face.
• If the PCs fail to get to Leyila’s parents before they are taken, read: Car doors slam in the street and you glance through the open door in time to see a white delivery van drive quickly away from the front of the house. Before you can reach the door, it turns a corner and is gone. You can hear the sound of approaching sirens.
• If the PCs win the battle with the Setite assassins and manage to rescue Leyila’s parents, they are able to find the three (still breathing) constables and can attempt to bring DI Mullins back to consciousness before his back-up arrives. Otherwise they have a lot of explaining to do. Play out the scene where PCs decide what to do. If the PCs show any sign of leaving, the Andrews beg them to stay.

Mrs Andrews says she will make another pot of tea, before realizing that the pot is smashed and bursting into tears, pulling herself back together and apologizing for being ‘such a wet blanket’.

Mr Andrews offers to square things up with the police when they arrive and asks for help with the officers. If pressed, he admits he doesn’t think they can ‘cope’ with another attack.

DI Mullins, if he can be brought round, asks them to stay and make their statements. He says they should at least give the police time to recognize their allies, and he makes a call to get the back-up to come in more calmly.

By the end of this section, PCs should be established as being ‘helpful’ to the police and the Andrews will be heading back to the station so they can be protected. Once all the loose ends are settled, read or paraphrase the following:

With the door the Andrews house being firmly locked behind you, you realize what’s probably happened to Anika’s parents. The only problem is that you can’t work out what the assassins would want with them. There’s something you feel you should remember about the assassins and children and children’s parents, but, for the moment, it escapes you. In the meantime, your mind buzzes with the things you must do – and the artist in Cambden is only one of the items on your list. Finding out about the symbol on the disk is another. Overlaying it all is the need to act. The children must be found and found quickly. What are you going to do next?

After Searching Leyila’s House: When PCs have finished searching Leyila’s house, they have a number of options. They can:

• go and search Anika’s House (Go To Act II, Scene 3);
• try to find mythological references to assassins of Set, Dancers of Prophecy, Het or Keheb (go to Act III, Scene 4);
• go to Emblae (if they have played The Fire Within) – in which case the faery identifies the assassins as Setites and warns them that the Setites were often known to use the parents of children as leverage to get the children to do what the assassins wanted, either by brainwashing the parents, or threatening to kill them;
• go the Fae of Haverhill (if they have played The Fire Within) in which case PCs receive the above information;
• contact the Gehenna Consortium, go to Act 3, Scene 3.
• contact allies in LN7, go to Act 3, Scene 2. 

END ACT TWO SCENE 4B

Next week, I will post Act Two, Rewards.