TheBelltower1 0 PDF

V1.
0 copyright © 2001 Marco Chacon
The Belltower
A Signature (literary) adventure for 50pt/8pt modern day community college students.
High school’s over and you’ve been marooned in young adulthood. It was supposed to be better
than this … it was supposed to be … well, something. Ever since you left school behind it’s been
like an endless summer: part time jobs, a little school (going nowhere really), and late night
caffeine and nicotine fueled sessions with your friends. Maybe you want to be a writer? Maybe a
musician? Maybe a computer programmer … right now all that seems as likely as being an
astronaut. The days go by in slow motion and the nights seem to drag and stretch into a long
road with no end in sight. But it isn’t bad … it isn’t good … it just isn’t … anything.
Archetypes
For this campaign there are some suggested character types:
• Struggling Would-be Artist. You can’t have a roll above 12- and you shouldn’t have
Artistic Genius. The true nature of the 'would-be' artist is that s/he’s not actually good.
You’re trying to make it in a field where you like the idea and the lifestyle but don’t have
the ability (note, it may be acceptable for the would-be artist to have other, real skills but
because of his/her devotion to art they never get used).
• Hacker. You have a lot of Electronic Underground and little Computer Skill. Everyone
thinks you’re a genius programmer when really all you know well is pirate FTP sites and
where to get the latest album bootlegged in MP3’s.
• Slacker. You make an art form of being lazy. You have some philosophy (either spoken
or just adopted) about why it’s wrong for them to make you work.
• Goth. You dress in black, wear weird clothes … you know the drill. The Goth-scene in
town is pretty lame but you do what you can. Your mundane friends alternately respect
and laugh at you for your affliction.
• Intellectual. You’re a snob and everything that’s available as work (“Do you want fries
with that?”) is beneath you. You’re studying art or history or literature or something like
that: no one wants to hire a historian to spray perfume in a clothing store.
• Stoner. You’re into drugs (grass, X, like that—you cannot be into hard drugs for this
game). You like to mellow out and relax. It’s too bad The Man don’t like that!
Player NOTES: For this game it is highly suggested that you create a character that is rich in
detail. Suggestions:
• Goals: your goals may be extremely modest (do no work, stay happy) or extreme
(become a globally recognized writer!) The goals for these characters (at the start)
should not be attainable, realistic, fulfilling goals.
• Beliefs: Do you believe seeming strange? Remember—almost anything from Wiccan
beliefs to JFK Conspiracy theories is, at this age (for this campaign) probably an
affectation. Most of these characters should have a faint edge of hypocrisy to them. Not
a lot but remember, these guys haven’t figured out where they stand in the world or
what they really want.
• Talking Points: Think up something your character has been waiting to talk about and
keep it secret until there’s a slow moment and then engage someone in “slacker style”
conversation. Maybe about how Disney Movies promote teenage sexuality … about what
Jethro Tull lyrics mean … anything that’s entertaining. Extra style-points for an energetic
delivery!
• Ideally there will be at least 1 female PC.
V1.0 copyright © 2001 Marco Chacon
Rules for Character Creation

These are some “hard and fast” rules for character creation.
• You shouldn’t have any Level 3 skills and especially not Level 3 combat skills. Even level
2 skills are pushing it (but okay if done with the right style). Remember, these characters
are not disciplined combat machines. If you want to be okay in a fight, some of the
unusual traits (like Malice) are a good way to go.
• You (and your friends) live at home with your parents. You must either have no
marketable skills or (if you do have marketable skills) you must have some psychological
defect that makes you unemployable. You are NOT self sufficient.
• You are slackers: you either despise the mainstream, don’t fit into it, or are simply lazy
and unmotivated.
• You (all of you) work at the Video Zone movie rental shop just outside of town past the
half-finished mall that’ll probably never open. You’d never survive on the money you
make there but so long as your parents think you’re a successful, full-time student (you
aren’t) the money’s all gravy!
• You may not take enhancements that are of a definite supernatural nature (Storm
Friend). The game does not involve mystical elements that you may know about. Any
unusual enhancement must be approved by the GM. So far as you know, you live in the
real world.
Slacker Defects
If you’re having trouble getting into the spirit of things, perhaps these will help define your
character. They are considered personality traits but the character may have three (instead
of the normal two).
Lazy [-2]
You’re lazy … really lazy. You must make a WIL roll every week on a job or slack off. You
hate manual labor.
Ennui [-1]
The world bores you. You are almost always disaffected and detached. You’re meant for
better than this and the universe is holding out.
Attention Deficit Disorder [-2]

You’re scattered: there’s too much going on and everything gets old after a little while. This
is different than Ennui in that it’s not an affectation. You must make WIL-2 rolls to get
through any boring task (or to watch a boring movie). The point cost assumes you aren’t on
any drugs.
Anti-depressants [-1]
On the drugs (anti-depressants) it isn’t so bad … nothing’s so bad. You don’t care too much
about the fact that your education’s in a holding pattern, your life is stalled and your job
produces an anemic trickle of money. It ain’t so bad.
Militant Goth Identity [-2]

Goth is who you are (work with the GM to decide what it is). Cutting your hair, dressing
normally, etc. takes away your identity: those bastards will never “normalize” you and you’ll
never “go mundane” if you can help it.
Police Record [-2]

Back in your Senior year you did something bad. You escaped jail time (well, maybe a year
or two of soft time) but the stigma has stuck. You’re unemployable. You’ll pay for that for the
rest of your miserable life!
Hopeless Cynic/Romantic [-2]

The world isn’t the way you wish it were and you just can’t get through it. Life’s either out to
get you (cynic) or you aren’t living with enough … heart (romantic). Unfortunately no one
else sees it your way. You’re almost paralyzed by your belief and when you do get something
together (a job, a good date, etc.) you almost always blow it. The character makes periodic
WIL-2 checks to avoid blowing a social situation or job.
Drug Culture [-2]

You’re into soft drugs (no one in the campaign should be a hardcore addict). You’ll fail the
drug test. Your parents watch you … search your things … etc.
Slacker Gear
This is stuff you pay unusual trait points for. Note that in most games a character would have
this stuff ‘for free.’
Own Car [2]

You have a car. It’s old and beat up but woah! It’s your wheels. Other characters may get to
borrow their folk’s cars.
Awesome Computer [2]

You have system … fast access … and lots of software. Other characters have to use the old
486 in their parent’s living rooms.
Spare Cash [2]

You’ve had a birthday recently … or just have a stash. Other characters have $50.00 to their
name when the campaign begins. You get $200.00! Buy everyone a drink!
Cell Phone [4]

It’s almost the holy grail! You have a cool phone that you can use anywhere!
Wardrobe [2,4]
Whether it’s black leather, fishnet, or some other statement making get-up, you’ve got it.
The 2pt version gives the character one piece of expensive gear (leather trench coat, bomber
jacket, one really nice outfit). For 4pts you go in style all the time. This gives +1 to the
Psychology roll of your choice.
Musical Instrument(s) [2]

Anyone can have an old guitar or something. With this you have a real kick-ass instrument of
your choice … or even a small collection. It can be pawned for $300.00 in a tight spot.
• WARNING! STOP: READ NO FURTHER •

• IF YOU CONTINUE READING YOU WILL RUIN YOUR ABILITY TO PLAY IN THIS ADVENTURE •
GM’s Notes
The Belltower takes the characters on a sort of mystical journey of lessons taught by the universe
itself. It's sort of new-agey … mainly just weird. I've never seen a module like it. I'm not sure it'll
work. The characters essentially begin the journey by seeing a flying saucer. But did they really
see it? No one else did. They then begin to meet people who don't exist (TV characters). The
characters have missions or lessons for them. The conclusion of the game is a trip through
'Chapel Perilous,' the proverbial midnight of the soul.
Note: I’m aware that this adventure may not appeal to everyone. Hell, it may not appeal to
anyone. I ran it and we had a great time but will it translate to text? To other gaming groups? I
don’t have any idea. If this doesn't sound like your sort of thing, don't waste any more time on it!
Personas
During the game the characters will meet several personas (both real and imaginary). How you
handle that is up to you (but the adventure gives suggestions). I have included some web-links
so that you can do your research in portraying the NPC’s. Please note that the people the
character’s meet are not necessarily the real (whatever that means) people of that name. Don’t
feel constrained to be 100% accurate.
• Scooby Doo and the Gang: http://www.geocities.com/~zoinks/

• Six Million Dollar Man: http://www.bubblegun.com/culturepop/sixmillion.html
• Madonna: http://www.madonnaland.com/
• Jack Nicholson: http://www.starpulse.com/Actors/Nicholson,_Jack/
• The Man From U.N.C.L.E: http://members.aol.com/Wmkoenig/unclepg.htm
Player Cards
Here I introduce the concept of Player Cards. In the text they look like this:
Player Card 0: Talk to another character about your character’s favorite movie. Don’t forget to
explain why you like it and how it applies to your life. Note: it’s okay to be absurd so long as
you’re funny (“I like Aliens because it’s so intense—Jim Cameron’s a genius … and I feel like
Ripley sometimes … I just want to burn everything with a flame thrower!”)
This is how they work:

1. Get a stack of 3.5” Index cards and copy down all the player cards notes onto them (one
note on each card).
2. Distribute them evenly (or as you see fit) to your players face down. Add to the stack
blank cards (or cards that say something like “Get us munchies” or “your character feels
the need to tell someone they’re making a mistake” or whatever.
3. When the scenario calls for a player card, signal the characters (you can do this by
turning over a (blank) card yourself). The players examine their cards in secret. The
player who got the card with the real instructions on it should do as it says.
The purpose of these is to have the players drive the campaign without having to know its
structure. One of the player cards is a suggestion to go to a wrong-side-of-the-tracks nightclub.
It’s a nominally stupid suggestion and, anyway, the players might not think of it. But I think this
method is better than having an NPC do all the talking.
Since this is a roleplaying exercise the players should be encouraged to get into their characters
and make the suggestions in the way their characters would. Also, they make a great prop
(which always helps RPG’s).
NPC Characters
NPC’s are really important to this game. Get a feel for the characters listed here. Read through
the campaign (and see how they fit in). Feel free to embellish your game with your own
character if that works for you. The important things are:
• The NPC’s need to have some talking points for when things are slow.
• You need to evoke certain moods with them (Brandy’s annoying but a good friend,
Dennis is like a deer in the headlights).
Name: Angie McDonald

Description: Bleached blond salvation army Role in the Scenario: She is with them at the
fashion queen. She has a certain “urban style” beginning. She can help spur conversation.
with weird nail-polish and eye catching Later she has a nervous breakdown and is sent
ensembles put together from combing the thrift to live with her aunt.
shops and 2nd hand clothing stores.
PHY 9 Attractive L2
REF 10 Flair
INT 11 (10 WIL)
Talking Points: Angie will talk about clothes. “Sales are all bait and switch. It’s like stocks: you
have to get there so early that you’ve gotta have inside information. The SEC should make it
illegal for store employees to buy their own stuff on sales … or leak the information.
Name: Jenny Allman

Description: Confused rebel. She’s angry (at a Role in the Scenario: she gets into a big fight
low grade burn) but doesn’t have too much to with her folks and winds up working at the evil
be angry about. She fights with her parents a Meat Packing plant. When she finally takes
lot which is uncomfortable because she relies responsibility for herself and tries to escape the
on them. She had a sister who died 4 years characters have to rescue her.
ago. They were close and everyone felt bad.
PHY 10 Literature L2 11- (AA in English)
REF 11
INT 10 (11 RES)
Talking Points: Jenny will complain about her parents. “My mom wants me to go with her to her
company cook-out next weekend and I’m like ‘Oh, god! Mom! I don’t even get up that early?
Was that a stupid thing to say? Does a bear crap in the woods?”
Name: Trevor (Thomas) Martin

Description: Sardonic Intellectual. He Role in the Scenario: he can be a good
changed his (common) name to Trevor in high sparing partner for the characters. He’s smart,
school. He drinks black coffee, smokes clove will make sarcastic cracks, and can be quite
cigarettes and dresses in black (but is not one funny. In the end, he ‘goes to the dark side.’
of those Goths!)
PHY 10 Literature L2 11- (AA in English)
REF 11 History L2 12- (AA in history)
INT 12 (13 RES) Philosophy L1 12-
Talking Points: Trevor will talk about bands he likes (get the names of the most obscure band
you can find … or make them up and have him rave about music nobody else likes). He’s still
smarting from when he predicted The Weakest Link would fail because it wasn’t ‘populist drivel’
and it succeeded (he loved it and claims it went soft).
Name: Dennis Pearson

Description: Sort of perpetually surprised Role in the Scenario: he gets kicked out of
slacker. He’s short, wears glasses, and is on his house and (Trevor will say) was voted
the heavy side. He’s a nice guy though—he’d “Least Likely To Survive In the Wild.”
give you the shirt off his back (and then forget
where it went).
PHY 10 (14 BLD)
REF 10 (9 REA)
INT 11
Talking Points: Dennis listens … makes small talk … he isn’t a dynamic speaker. He is pleasant,
though, and genuinely kind.
Name: Brandy Lorien

Description: Gothic Queen. Blessed with Role in the Scenario: she can be a good foil
beauty and cursed with a real need to be for pushing the characters along (she takes
them to a rave). She usually gives good advice.
different she has adopted the gothic lifestyle.
She hates mundane clothes, sun, and If she’s around when the characters are having
authority. problems she might be able to get them out of
a jam.
PHY 11 (10 STR) Street Fighting L2 12-
REF 11
INT 11
Talking Points: Brandy loves the sound of her voice. “Oh … wow—how do you feel about
that?—let me guess…”
Act 1: The Storm Before The Calm

The characters are at work: the closing shift at a video store just outside of town when they have
a visual encounter with a flying saucer.
Scene1: The Video Zone 8:12 PM

Description: “The day is winding down and the headlights on the nearby highway have slowed to
a trickle and then died out. It’s time to close. The Video Zone seemed like a good idea when the
owner bought it four years ago: three new developments, all stalled due to a subtle economic-
downshift, were supposed to open out here … and the little general mart was supposed to be the
only place they’d be able to rent movies until one of the larger chains moved in. Now, it’s like a
lone sentry. People coming home from the city stop in … and that family-unfriendly commodity,
that Blockbuster won’t stock, pornography, keeps some of the sleazier customers coming back …
but it’s not a real job. It’s more like a play-job. Maybe that’s why you like it.
• Closer to town, visible from the Zone you see the future site of the Camelot Mall. A
sweeping expanse of level concrete, a few half walls, and signs showing a glorious,
sparkling mega-mall with fountains and vast windows and skylights. It’s construction is
stalled. It might never be built.
• Angie is there. Her shift was over but she caught a ride out and has to wait for a ride
back. She sits on the counter, doing her nails in some new shade of purple.
Mood: This is the calm before the storm (in tone). Twilight is coming and the characters are
tired from a life of overly late nights and overly late mornings. They’re stalled … in the doldrums
of late adolescence … nothing ever seems to happen and it seems that nothing will. It’s just
another end of another mundane day in another mundane life. If possible, encourage the
characters to banter or otherwise roleplay their thoughts or emotions about their life.
GM’s Note: Almost the entire circle of friends work at the Video Zone. The reason is that a) it
keeps their parent’s happy (who believe they have a ‘real job’) and b) they can almost hire at will
so long as no more than 2 are on at once … so they’ve cut each other in. The limited pool of
hours sometimes makes for more stressful dynamics of the group. “You still remember the time
Brandy stole your shift because she had a hot date … who stood her up.”
Action: The characters are rearranging the shelves (Marty McAllister, the manager comes in
early and has a fit if the movies aren’t in order). Don’t Fear the Reaper plays softly on the
stereo. One of the PC’s is behind the desk. The silence is shattered by the ringing phone. “Hey
guys! It’s Brandy! Omigod, listen, what are doing tonight? Can you come to the Steak and Shake
(the character’s open-all-night 50-ish hangout). Yeah—come on. I gotta tell you Dennis just got
thrown out of his house! No shit!”
Player Card 1: Dennis Pearson is a somewhat chubby, bespectacled guy whose just a little shy
of having it all together. He has these grand dreams of being an Internet millionaire but he,
and you, know that he hasn’t got a grip on how to really do any of that. He’s been having
problems with his parents … it’s come to a head.
Sample Dialog: “Oh damn … what’s he gonna do? Where is he staying? Shit, why?”
GM Responses: No one knows what he’s gonna do but his parents found out that he’d been
working 4 hours a week at Video Zone and flipped out (“If you aren’t going to graduate school
this year you’d better be working more than 4 hours a week!!” No one knows where he’s staying
(the crew is all on creaky terms with their own folks). The character may feel a foreshadowing
stab of fear: their own parents have the same delusion that they’re working a lot more than they
are.
Player Card 2: That’s horrible! Dennis is a nice guy … and … man … um—you’ve been telling
your folks It’s a 40-hour a week job and that they’re having a little banking problem. Your folks
are fine with that excuse … they aren’t tracking your spending … but if they found you got 2
D’s and C last semester and were working only 12 hours a week …
Angie’s Dialog: “What? How the hell’d they find out? Was he stupid enough to tell them. Shit. I
hope they don’t talk to my mom!”
Conclusion: The player on the phone should roleplay telling the others what happened and
each player should, in the conversation, discuss how they feel about it.
Scene 2: The Storm 8:20 PM

Description: You’re out in front of the Zone. Inside is all shadowed and red-lit by the exit signs …
it looks a little like a submarine at battle-stations. You’re walking around to your car, yawning
and stretching. And then … you feel it.
The air smells like it does just before a storm—the scent of rain and a feeling of cold wind. Angie
stops. She’s back by the rear door of the car.
“Ouch!” she steps back clutching her hand, doubled over a bit. “It shocked me! Oww!” (shakes
hand) “What’s … what’s?”
The lights in the Video Zone go out. For a moment everything is black other than the sky and the
faint light from town. Then: BRRRrrrmmmmmmm! The car lurches in place! The headlights come
on, the wipers start.
Angie: “What the hell!!”

Player Card 3: Shout “look!” and point up. You stare upwards, pointing. After the GM reads the
next bit, you’ve heard of this: “St. Elmo’s Fire.” <pause> “Sailors used to see it … at sea … I
think it was some kind of … weather phenomena?”
The Video Zone sign has an eerie red light hovering around it, flashing like fire at the top. The
lighted sign goes on and off—flash on—flash off. The light seems to dissipate and reform.
Angie (if no one else talks): “what is it!?”

And then … and then, with everyone looking up, you see it.
Close Encounter: It comes without a sound—the car goes dead and the lights go off but the
ground is suddenly lit up brighter than a full moon. Overhead, opening out of the sky like a
flower, seeming to descend like the tip of a corkscrew is … something. A flying saucer.
It has projections like upside-down clusters of skyscrapers from the center and a sort of angled
lip around the edge. The whole thing glows with a blue-green light and it has a presence—a
palpable presence hanging overhead. It must be huge. You’ve seen Denver from air and it looks
bigger than that! The sky overhead is filled was a vast, glowing array of lights and spokes and
spindles and hieroglyphs. Everything but the wind is silent and it turns slowly overhead.
Angie reaches up towards it but it’s hard to tell how far away it is—it seems like it’s just above
the top of the lighted sign … or maybe bigger than the moon and hundreds of miles away. You
can hear an engine noise … like a faint song.
And then it stops—it turns for a moment, ponderously, in the other direction and it’s gone,
screwing back up into the sky. The lights flicker and come back on.
GM’s Notes: The encounter with “The Wheel” is a sign that the characters are awakening. A
freak encounter with the buttresses and beams that hold up the cosmos. It isn’t an alien
spacecraft, it’s more like The Wheel of Fortune in the Tarot deck. The character’s won’t know
this.
Furthermore, despite it’s size, no one else saw it. In the moments afterwards when everyone is
afraid to move, hoping against hope that it will return, a police car will crawl up from the town.
The power went out and the alarm system went off (silent). He will determine that they work
there and that there’s no robbery and then go. He didn’t see anything even though they would
think the whole town saw it.
Conclusion: Angie goes straight home after that. She is silent in the car ride. If anyone asks her
about it, she doesn’t want to talk about it. She privately feels that it did nothing but underscore
how ordinary her life is … and how it will never change.
Scene 3: The Steak and Shake

Description: The gang’s all there, waiting for Dennis to show up. The various NPC’s are talking
(animatedly about what he’s gonna do).
Action: Dennis arrives. They expect him to be a wreck (he has a tiny compact car with one
window missing … he could spend the night in that but … yuck!). However, he’s sort of in okay
spirits. He sits down and tells them that his parents have been in contact with Dr. Wright, a
psychologist specializing in 18-24 year olds (“The most valuable demographic,” Thomas notes
dryly). This guy claims he’s a specialist in motivation and creating success. Dennis is allowed to
stay at home … but he has to start seeing this guy Wednesday (it’s Sunday). He feels like he just
dodged a bullet.
GM’s Notes: This doctor guy coming into town isn’t good news … although Dennis feels like
maybe he could use some motivation and success in his life the GM should have some of the
NPC’s sort of privately recoil at the thought. If a player picks up on the “what’s this guy gonna do
to motivate you?” question, Dennis hasn’t really thought about it.
If the character’s show up talking about flying saucers: everyone is shocked (someone tries to
call Angie and doesn’t get through to her). They at first think it’s a joke … then that the
characters are being weird. Underneath it all is, surprisingly, jealousy: they’d all love to see a
flying saucer and are a bit angry at being left out. Trevor will declare Angie’s input to be
“necessary.” Jenny will talk about how witnesses often get facts wrong (like the color of a car in
an accident) and how people make up memories all the time … like ritual abuse that never
happened.
Act 2: Lesson one—We Live In the Middle

The characters (save for Angie who denied what she saw so successfully that even she doesn’t
believe she saw it) are now ready. When the student is ready, the saying goes, the teacher will
appear.
Scene 1: The Rave

Description: The next morning, everything is bright and firm and ordinary. The night seems
further and further away.
• One of the PC’s will hear (while in the bathroom at 11:30 AM, just getting up) his or her
mother on the phone … it sounds like with Dennis’s mother … talking. “I know … I know
… I blame television—no one on TV really works.”
• Angie isn’t returning calls. “She’s sick,” her mother says. If the PC’s crash her house to
see her, she says she didn’t see anything and YELLS at them to leave (almost in tears).
• Then Brandy calls up. She’s going to a party tonight, out by the viaduct … could one of
them drive? It’s gonna be cool? Should the players say no, tell them they’re itching to get
out and do something—anything—unusual.
• There have been two near-fatal dog maulings in town in the last two days (a character’s
father is reading the paper). He asks if they’ve seen any dog packs outside of town. The
police think it’s a big rottweiler or Great Dane!
Action: They pick Brandy up at 9:00 PM and she’s dressed to kill in her gothic best! Her parents
are mad as hell at their daughter going out like that but she’s determined. In the car they pass a
new nightclub: Pluto … newly opened in the older part of town, on the bad side of the tracks. It
has a big cement wall (2 stories) with a painting of a black planet with a broken ring partway
around it. Pluto looks windowless and ominous.
Player Card 4: “Hey—I heard about that place! They’re supposed to have some kind of VR
dance game or something. It looks like they’re opened,”
You see the sheer cement wall with cars around it and harsh fluorescent lights overhead.
Something about it screams danger but … you want to go. If the rave isn’t a great time,
afterwards you’ll suggest checking it out!
The characters get out to the Viaduct at 9:30 Monday night. It’s a clear night and there’s a bunch
of cars parked and a dusty pickup truck and some lights and a couple of generators and some of
the out-of-towners with some stalls set up. People Are Strange is playing over a sound system
when they exit the car.
“Oh wow! Look at the turn out! Thanks, guys,” says Brandy. She starts moving away. She has a
date and wants to ditch her friends to meet him. She won’t be rude (well, ruder than she was by
not telling them) but she explains that she’s not on steady ground with this guy and she didn’t
want him coming to her house.
The guy is a tall, lean, immensely pale man with blond hair and a handsome face. He seems a
cool customer in a black leather jacket with a silver ankh on the back. She goes home with him.
GM’s NOTE: There’s nothing strange about him. If the players, “smelling vampire” follow him
around, he turns out to be really dull … but Brandy’s into him anyway.
At The Rave: The rave is a bad time—the people are fine … the scene should be good but they
feel … empty. Even the music, which is perfect, isn’t helping. They feel like something should
happen … like something’s about to happen. And then it doesn’t. Brandy comes back and tells
them she’s going home with her friend. The look around and suddenly there’s no reason to be
there.
The Hexagram: The characters are wandering around
and moving through the small "stalls" opened out of the
backs of pickup trucks, they see a fortune teller who has
some printouts (off a cheap color printer) of her tarot
cards. One of them shows people pointing up at the sky at
a great flaming wheel (like a wagon wheel). Something
about it reminds them of the UFO (if they check it out
anyway, don't be pushy).
She does readings for $5.00. Her name is Sheila Grozny

and she claims gypsy descent (a very shaky claim). She is
pretty and nice and does a good show with a Crowley
deck (you can get one at a bookstore—it’s worth having)
on blue felt paper. She deals the character. The first card
that comes out: You is the Unicursal Hexagram.
She blinks, surprised. The card is specific to the deck by

Aleister Crowley and she doesn't use it in her work.
Worse—she doesn't know what it means (it means a lot of
things one of them, the pertinent one here is the connection between the above and below
realms). It wasn't explained in her book.
She will hem and haw and stutter. "I don't know how that got out there—I um take it out for
readings … it means change … umm …" At this point the characters may get scared ("is it a bad
card?"). She'll come clean … it's specific to the Crowley deck and she … doesn't know what it
means. She had a friend tell her once that the government committee who designed the Bio
Hazard Symbol were all members of the later evolutions of Crowley's secret society (there's no
truth to this).
Scene 2: Pluto
GM’s Notes: The characters are on the wrong side of the tracks (the rave was a little bad …
Pluto is not a place they should be). They’re extending their feelings and following their need for
… something more. The get it.
They encounter something that shouldn’t exist: twenty-first century characterizations of the gang
from the Scooby Doo cartoon. They appear as real, flesh and blood people but are really “avatars
of pop-culture” almost like demi-gods. They’re here to help the characters with their first step—
finding a teacher who has an interesting lesson for them.
Action: The characters pull up and go in. There’s a wire cage just inside with a tattooed bouncer
to take the money. He eyes them with distrust: they don’t look like they belong here. Inside it’s
murky. Heavy bass music thumps out. The dance floor is strafed with overhead strobe lights and
the bodies writhe like a singe, massive, dark wounded thing. They screw up their courage and go
inside. Nine Inch Nail’s Head Like A Hole is a good song for this. Anything off Appetite for
Destruction would work. You choose. My favorite for this, though, would be the Stone’s Paint it
Black. You choose (I like the older stuff … )
Inside they can move to the bar (the bar is lit from underneath making the bartenders and the
patrons look a little like zombies). They can dance. They can stand there and feel out of place.
Eventually, however someone takes notice.
If there are no female characters, a gang—a group of tough, dangerous kids will move over to
check out the newcomers. If there is a female character a tall, dark, man (think Antonio
Banderas trying to look mean) will move in on her. She should feel threatened but not quite
enough to run—not yet. But just as things are looking scary, someone else has an appointment
with them.
Fred Jones: He looks out of place here even more than they do. He’s dashingly handsome,
blond hair, blue eyes, and a white preppy shirt with a blue collar. He has a red bandana tied
around his neck. But … his eyes have a hard gleam. He smiles and it’s predatory. He moves up
on he group.
“Sorry gentlemen (or gentleman) I’m afraid your appointment is over.” They look at him. He
smiles at them—a hard smile, a smile of a man who’s not afraid … not one bit. Not at all. They
back off.
“Hi there,” (looks over the characters a little dubiously) “I’m Fred … I’m a detective. (harsh smile)
A private dick.” He gives a faint, barking laugh. “I’m in town for a few days and I need to look
you up. Purely business. I need you to come with me.”
GM’s Note: Freddy is a being of amazing power—he exists off the combined subconscious
energy of the generations that grew up making him real. He is immune to physical damage, has
a Presence of 20 if he needs to stare anyone down, and can make people disappear if they upset
him. He shouldn’t do any of this. He’s a little annoyed at having to fetch these kids.
• If they ask who his employer is, he says “The guy who tells me what to do sport.” (if
pressed, “Telling you isn’t part of the job.”)
• If asked what he does or otherwise pestered about it “I hunt down people … mostly
people pretending to be dead.”
• If by some chance he gets identified “Are you Fred Jones!? From Scooby Doo!?” he says
“I usually kick the teeth out of people who laugh at me.”
If they Go: The characters can go or not go. It’s smart not to go—Freddy is far more frightening
in his way than the thugs. If they don’t go he’s not upset. “That’s okay … they don’t always come
along. I know where to find you.
Surveillance: The PC’s have turned down the Scooby gang. That’s okay. The gang is nothing if
not persistent. The characters will see a van idling out at the end of the street, steam belching
out of a gutter. The back door opens and the massive shape of a dog climbs in. They read in the
paper about another attack.
Velma Dinkley, the glasses wearing woman in the orange turtleneck now has the character’s
under surveillance. Their phones are tapped. She bounces lasers off their windows … she can
search their room and leave no trace but a vague feeling that someone’s been through their
things.
Go to Scene 2.5 but the characters will feel a presence for the next two days … a faint feeling of
being watched … strange noises on the phone … but nothing concrete.
Scene 2.5: Un-Ordinary Life

Description: This is some ‘filler’ for what happens while ‘nothing is happening.’ The characters
may not have taken up Freddy’s offer. Maybe they did and had their first lesson (this scene takes
both possibilities into account).
Dr. Vincent Wright: Dr. Wright has blown into town and is the enemy of slackers everywhere.
He claims to have techniques to whip youngsters into shape and get them motivated on the right
track. He’s done some radio spots. The characters might hear some.
“Are your twenty-something children still living at home after graduation? Do you keep paying for
their school but see no attempt to graduate? Do you feel that what’s missing in your son or
daughter’s life is motivation? A drive for success? The drive for success isn’t instinctive—it must
be taught and learned and Dr. Vincent Wright has made a career of teaching and studying the
special motivators for young adults. If a son, daughter, niece, or nephew or other young adult in
your life needs some help getting the engine of life started, Call Dr. Wright at 555-5313.”
The Dreams Begin: The characters begin having dreams. They are in a river, up to their waist
in water, with the current running against them. They walk up the stream towards the source of
the river but the current becomes too strong and pushes them back. Along the banks of the
river runs a wolf that yips and howls and runs ahead and turns and comes back.
If the character tries go get out of the stream, a voice says (in a kindly tone) “In the fires of trial
we forge our wills!” (the character wakes up). The characters should have one or two such
dreams before going to the next stage.
The Video Zone Is In Danger: Jenny makes the calls. She was at work this morning and
McAllister said that the numbers are in and it looks like the Zone might be shutting down. Panic
spreads through the group. The thoughts of having to get real jobs don’t sit well with anyone.
Player Card 5: Getting a Job.

You decide that you’d better look for a job. Ask the GM about getting your resume in order.
Once that’s done (maybe get someone good with computers to help) go out and shows it
around. Oh, and don’t forget to tell the GM how you dress up and such. Make a point of how
stressful it is to interview.
The GM should string out the painful interview process over a few scenes if possible (if the
players are having no fun, cut it short but if they enjoy the interplay, it’s a good chance to be
sadistic). The characters will not find a good job. If a character has a special ability that would
make for an interesting job that could work (in the playtest game a character had Photographic
Memory and convinced a bar-tender/owner to use him as a ringer in a card-game as a counter. It
didn’t work—but it was interesting and the character got paid to clean the bar while the
bartender (NPC) tried to line the game up.
The Interview: The character (or others if they think it’s a good idea) canvass the strip malls
and other shops looking for work. But it’s hard. The GM should make it miserable.
1. The Manager is out and the character is forced to interview with a high school character.
He asks what bands the character likes and declares him un-cool.
2. The character shows up for an interview with a name—but the building is 6 stories with
multiple offices and he/she doesn’t remember the name of the company.
3. A female character is asked by a male chauvinist if she minds making coffee … filing …
and typing. He gives a dictation test, which she fails.
4. A promising looking job has just been filled. A smarmy 22 year old credits Dr. Vincent
Wright with getting him on track.
Anniversary of Jenny's Sister's Death: This can be described more than run. The characters
meet early and have a special dinner (somber) to mark the 6th year since Jenny's older sister
Diane died in a car accident. It isn't a bad time … but she makes a toast, wearing the necklace
that her sister gave her just before leaving. She says she never wants to forget her sister.
The best way to run this is sort of like "In the days that follow you blow several interviews, drink
lots of coffee and have a special dinner with your friends to commemorate the death of …" If you
have a better idea, run with it. (this is important later so don't skip it).
Next Encounter: Daphnie
If the players didn’t go with Fred, after some of the above, a beautiful woman in a purple dress
will show up. She seems elegant and kind. She says she’s a philanthropist … she works with
Fred. She implores the characters to come. Finally, she’ll tell them this is their last chance:
they’ve washed up on the shores of a new evolution. They can either adapt or go back into the
water. They should go.
Scene 3: The Magician

Description: The characters are taken by the Scooby gang (who are there to chaperone them)
to meet The Magician. The Magician isn’t a nice guy. Ordinarily no one gets close enough to talk
to him if he doesn’t want them to. He’s powerful enough to destroy a person just by talking to
them. He won’t mess with the Scooby gang … and they have something he’s interested in. The
Magician is the first teacher they meet.
Action: The characters come outside (either with Fred or with Daphnie) and are taken to the
van. The van is a big green van with what looks like interlocking gears on the side. They can’t
see the custom artwork too well.
The back door opens and inside they see an eclectic crew: Fred, the model/superstar beautiful
Daphnie, the short bespectacled Velma with an array of oscilloscopes, satellite networks, laptop
computers, and wired PDA’s. She has a police scanner going, tracking the local cops.
Finally, a hippy, in a green shirt with a sparse goatee … and the dog: a massive, mean looking
brown great dane, sprawled out in the back. The van smells of cannabis.
--Velma: “We have contact. They’re clean—no weapons.”

--Fred: “Don’t think these guys know how to use weapons. Thanks Vel. Daphnie, are we ready?”
--Daphnie: “We have the location. He’s still there. What are we doing for protection?”
--Shaggy (‘in a voice that sounds just like the radio’s Kasey Kasseum’): “”He won’t talk to us …
but he won’t mess with the dawg … Scooby?”
--Scoobie: “grrrrrrrrrrr….” Wags tail … slobbers.
At this point, it … hits them. They’ve seen these people before. If no one gets it, have them
make MEM rolls. If no one still gets it … Scooby!? How old are your players!? They pile in. There
are plenty of hash brownies but the characters don’t get to eat them (Scooby snacks).
The Drive: The entities won’t respond to “how can this be happening.” Fred drives fast and
furious, cutting off SUV’s and contemptuously running red lights. In his hands the van handles
like a motorcycle—effortlessly responsive. The cops don’t even see them (blaze right past a
police car).
The Paradise Hotel: In the really old part of town—the part of town that was around when the
railroads were going up, is the Paradise Hotel. It’s a 4 story almost gothic looking structure. It
used to be a 5-star establishment … before California was a state. Now it’s fallen into disrepair.
The characters get out of the van. They’re given a clear sealed “killing jar.” It has a butterfly in it
with wings like a stained glass window. They’ve never seen anything like it.
Inside is a dusty counter, an indifferent clerk, and a place card that says “Tonight One Show
Only: The Magnus.” Below it is the symbol of the Unicursal hexagram. The scratchy speakers play
Wrapped Around Your Finger. The clerk looks at the dog.
--Clerk: “N-no dogs allowed …”
--Scooby: “Rezz Ruuu!” (says you!)
The Magician: This is the guy from the Tarot Deck (well, he looks like a middle-aged man with
piercing eyes and a sharp goatee). He sits on a cheap wooden stage with folding metal chairs in
front of him. The room is empty. He looks over the characters with an edge of contempt.
“People,” he says, with a crisp voice, “seek me out for years … find me … and then ask me whom
I wish dead … offer me their vast fortunes … their souls as though they could give such a thing.
They wish to be taught.” (last word rings with contempt).
“And here you are … twenty? Nineteen? If you wish I could make you whatever age you ask for
… but no … you haven’t come for parlor magic.”
The dog growls.
“And you do have protection … No tricks. I am The Magician. I have learned the secret of
Naming. I have learnt the power of the Word. But tonight’s lesson is not on how to offend the
Creator. Tonight I will show you a magic more profound than you can yet imagine.”
He produces two metal rings and hands them around. “Solid metal rings.”
He takes them back and c-chang! He interlocks them. He separates them, seeming to pull them
through each other (ching!). He re-locks them and hands them back. They seem completely
solid.
Player Card 6: “I’ve seen that done before!” You can be curious or unimpressed but you’ve
seen better magic acts at the county fair.
The Magician laughs. “No. You haven’t. I would know if you had. I may have been done in your
presence … but you have never seen it done. Very few humans who’ve been alive less than three
hundred years know how to do that.”
Let me explain. He takes out a gold pocket watch. The dog growls.
“Easy boy, I’m to teach—I must be allowed latitude … they’ll come to no harm.” The dog quiets
down.
“Look at the watch and listen to my voice and relax. Relax your arms and your minds. You are
relaxed.” –It’s true. The characters feel their bodies melt.
“Now, with your eyes, look again. And with your hearts: see.” He holds the rings.
“Before you saw two rings. Now …”

Now they see many rings—all occupy almost the same space but they seem to bobble about and
shift as though he holds a thousand rings that normally look like one ring.
“Yes … many rings. We live in the middle, blind to what is above and what is below. There are
chords in music you can’t hear but they change the shape of the sound nonetheless. Creation is
like that: above … and below.”
The rings pass through each other never touching. They move through higher dimensions
becoming mere circles and then points, expanding back into three dimensions and then before
and afterward. They can move through the same space without touching. The characters feel a
cold chill watching this.
“And that’s it. The lesson is over. Remember—we live in the middle. You won’t see the above and
below … you’ll likely die first … and come back as stink bugs probably … but it’s there, shaping
the world.
If asked about the Hexagram: "It means 'as above, so below' but that's pedantic. You've
heard that before. I'll show you (or I have shown you) what it really means. It's the symbol of
the path you mean to walk … the picture of the bridge. You've seen it before? It's your card? A
good omen then … a good omen for a journey you'll probably die trying to finish."
Conclusion: The characters hand over the butterfly and he walks with them outside (if they
don’t, he asks for it and they give it to him—he can make them do anything he asks them to). He
goes outside.
He opens the killing jar.

Character—“What is it?”
The Magician—“The last living thing from the Garden of Eden.”
The butterfly stirs … and then flutters it’s wings and then flies up and into the night.
Act 3: Lesson three—Shadow

The characters learn about the darkness … the reality based on fear and hate, which is part of
the equation.
Scene 1: Extra Ordinary Life

Description: The character’s life has just taken a turn for the bizarre. They are now half in and
half out of reality. The GM’s sense of pacing is important here. If the PC’s are bored and want to
get on with it, then skip some of this. If not, play it to the hilt.
The UFO Club: The characters read in the paper that there is a UFO club in the school. They are
having a meeting and have a speaker who wrote a book on Roswell.
• The Club President’s name is Melissa Taylor. She’s friendly. If they call up and talk about
her sighting she’ll encourage them to come down and talk to the group.
• The experience is horrible. The students start with some basic questions: did they hear a
noise? How big was it? And then conclude that the form of the saucer is based on a cross
between the UFO’s from Close Encounters of the Third Kind and ID4 (“couldn’t you at
least be original?”)
Player Card 7: The UFO club knows a lot about this, at least give them a call and find out
what’s going on. If you like and trust the club president you should give them a try.
Video Zone Closes: The character’s job/cover breathes it’s last gasp. Their parents want to
know what’s going on. More Vincent Wright commercials play on the radio. The characters go out
one last time to get their things from the locker.
• Describe the Camelot Mall again—they drive past it and see dunes of pushed up dirt. The
signs still look new (the artist’s representations showing blue skies and gleaming bronze
and flashing white walls) but overhead is a real gray sky.
• Cleaning it out is a sad affair. You can run it … or just describe it. A few of the old videos
are still around.
At the Steak and Shake:

• Angie had a nervous breakdown and went to live with her aunt.
• Dennis and Jenny are seeing Dr. Wright. They’re being gotten jobs at some kind of plant
that’s opening up in a few weeks. Something industrial. Both seem a little depressed and
confused. If someone gets into it with them, they’ll talk about how easy it is to waste
your life these days.
• “In the fires of trial we forge our characters.” Dennis repeats this, kind of confusedly. Dr.
Wright is fond of saying it.
• Both Dennis and Jenny have to get home early: they have a curfew.
Scene 2: Secret Agent Man

Description: A man from a shadowy government agency shows up asking about their encounter
with a spacecraft.
Action: One or more of the characters has been signed up for Dr. Wright (which Brandy thinks is
a fate worse than death). They’ve had a bad experience with the UFO club … and no luck finding
a job. Their parents are out and a car (a smallish late model ford) pulls up.
A handsome man in a dark gray suit (razor sharp!) gets out. He walks up and rings the bell. He
asks to speak to the character. He is easy going. He shows ID.
He is Steve Majors
He works for OSI (Office of Scientific Investigation). He was a test-pilot for the Air Force and an
astronaut. He was severely injured when the craft crashed after launch and he has been remade.
He is a cyborg. He cost the government about six-billion dollars in R&D.
Steve Majors is polite, courteous, and professional. He is very friendly and has a winning smile.
He will ask for them to get their friends together. “After the government closed Project Blue Book
–the UFO study, there were still some remnants around. I work for one of them. It’s very
important that I talk to your friends.
Should it ever come to combat, he’s a super-elite special forces agent (he has a pistol and an
SMG in the car) and he’s virtually bulletproof, fast and strong. There’s nothing he’ll fight that he
can’t beat.
The Mission: He takes them out to coffee (on a government expense account).
“Now, it’s very important that we keep this quiet. What I’m going to tell you is quite classified but
since you’re in the middle of it, it can’t be helped. I need to take you to see something. It’s
important you do … and you’ll have to go in alone. Do as I say and you’ll be in no danger. If you
don’t do as I say you can call me and I’ll come for you. I’m very fast—so you needn’t be afraid.”
Character: “What are we going to see?”
Majors: “We call it shadow. There’s some in each of us … necessary really. But … Shadow is
hungry. Shadow is infectious. It’s something you’ll need to understand soon. I can’t tell you
why.”
Conclusion: The characters should feel they can trust him. Even if they don’t get that he’s the
six-million-dollar-man (if things aren’t going well, he’ll show them what the government did to
keep him alive—show them metal under the skin and such).
Scene 3: Shadow
Description: The characters are taken ‘nearby’ to see a place in the city that has become
consumed in shadow. This is not unlike hell. They are told to enter, observe and get out. Since
they are not ‘infected’ with the shadow it doesn’t much want them so they should be safe … but
it is scary and not entirely without peril.
The Location: He drives them out of the city. Colonel Majors (what a name!) will ask them
questions … how’s it going? Has it been hard since the contact? No—we don’t think they’re aliens
but I can’t say more.
• Describe them going past the mall, the dark shell of the Video Zone.
He gets into the city … and then into the deep city. He parks on the street where the streetlights
are out (he goes in the day). Overflowing dumpsters and rusted out cars line the streets. Faded
graffiti loops in illegible scrawls over walls and doors.
“Here we are at the mouth. This is as far as I go unless you call me (gives them a cell phone set
to dial). Through that hole in the wall there.” He won’t give them weapons—not useful and
they’re not trained anyway. “Go to the building and work your way up to the top. That’s it.”
Into The Darkness: Through the collapsed hole in a low wall is a dirty stretch of asphalt and
another wall, covered with graffiti and a collapsed hole in it. Beyond that is one more—a decayed
wall with weeds growing up through it. Behind that third wall sits an ugly squat 3 story
apartment building.
Just looking at it gives kind of a sick, hopeless feeling. The small windows reflect everything. You
can’t see inside.
The Entryway: The characters approach. There are cars but none of them seem to work. Some
are very old (50’s junkers). Each is hopelessly ruined. The entryway is dirty … there’s a coating of
grime over everything. Dead flies litter the floor and windowsills. A few live ones buzz hopelessly
against the glass (if released, they will sit outside trying to get back in). There is an elevator. It
opens and it’s choked with garbage bags. The bags are so foul and thin that any attempt to clear
the elevator will make a bigger mess and revolt the character trying it.
Stair Wells: The characters take the stairs. They’re dark, steep and dirty as well. Gray water
flows down in a faint trickle. When the door opens to the second floor (the steps go up only one
floor) they see a hall filled with trash. The walls are covered with graffiti.
• As the characters look for the new door they will notice something scary: the graffiti is
covering most of the walls. But the spaces where it isn’t are M.C. Escher like scenes of
violence. Women cringe before axes, bodies lie bleeding, kneeling figures choke. Have
them make Perception rolls to see that.
• In each room (and there are scores) are people suffering. In a room with a door opened
a man lays on a mattress in an empty room moaning that they’ve taken it all—
everything. There is a carpet of unpaid bills on the floor. The water and electricity is
turned off. His last possession is an electric fan that doesn’t work. He’ll tell the characters
how he lost everything but he can’t really see or hear them … and he can’t be helped.
• In another room (door opened) there is a black and white cardboard cutout of a woman.
In a filthy highchair is a cardboard cutout of a baby. If the characters get near, the
pictures suddenly move: the woman screams at what a “No good son of a bitch you are!”
This can barely be heard over the infant’s wail.
• From one room phones ring and ring and ring. A man tries desperately to sleep, unable
to keep from answering the many phones.
• Sickness dominates other places (coughing, hacking).
• Abandonment: An elderly person in a broken wheelchair tries constantly to get his
children on the phone. He can’t reach anyone.
Green Light: The whole place, from the parking-lot to the lobby to the interior is infused with a
subtle, sickly green light, as though the sunlight were green. Mention a sort of sick ambiance and
as the characters get higher and higher the light will actually become green.
GM’s Note: This horrible place is a kind of hell—it isn’t punishment. The people here have done
nothing wrong (exactly). It is where they have chosen to be. Because they believe they have no
choice they can’t be rescued. If the characters try to burn the building, pull people out, whatever,
it won’t work and the security (see below) will come. If that happens they’ll have to call for help.
The Demons: The demons look like large imposing men with huge mouths and no other
features. They wear large hats and trench coats. All you can see are their massive lips. They
don’t move unless doing something. Some of the people in the building live in fear of them—they
peek out and see a demon in the stairs and slam the door. Other are implacably chased by them
(running from abandoned room to abandoned room and sneaking in and out). The characters will
see the demons … feel watched by them … but they won’t attack the character’s.
Third Floor: They find the staircase and go up. The third floor is bathed with green light. They
can hear an air-conditioner like hum. The top level is almost empty: there are four massive pipes
that come out of the central shaft and move to each end of the building. There they open into
trumpets. The room is filled with green light. Out, through the windows they seem to be looking
down from on high … far more than three stories above the city.
Shadow is sending its siren song of despair and corruption out of this place where it has power.
The characters can hear it … a dull melody. A dismal march. They can see the green radiance
projected from the trumpets, falling like deadly radiation or invisible rain across the city. Before
them, in the shadows, is a large chair. A form sits in it: a tall man. They can’t see his face.
Best Jack Nicholson voice

“Yep (clipped-harsh) It al-ways-gets-me! A couple of nobodies from nowhere … suddenly catch a
break and you know what? It doesn’t matter. It doesn’t matter. Because no matter what you
think you’re made of you’re all the same. I’ve seen your kind before! Full of hope and energy
and it’s all an illusion. What? You don’t know that fifty billion billon years from now this place will
all be nothing but space dust!? Find your hope in there, kids! There isn’t any. So listen … listen
…”
And they do. They can hear the wails of those suffering. They won’t know the souls below have
the choice to rescue themselves, they hear the strains of musical hopelessness. Have them start
making WIL rolls (if anyone fails badly enough, they feel as though their heart has turned to ice
and they collapse, wailing). Everyone should run at this point.
Conclusion: Steve Majors congratulates them on getting through it. He tells them that it was
important for them to see that … that they needed to be ready for what’s to come. No, he can’t
tell them that exactly … but he’s pulling for them.
He tells them he'll check in with his superiors at OSI to see if anything can be done to help. His
attitude is that they're in some real trouble and he was allowed to show them the enemy but
doesn't think they'll make it … even with help. He doesn't say that … but it's the impression they
should get.
Act 4: Lesson four—Mastery

The characters are introduced to a master who shows them how to lose a fight.
Scene 1: The Next Day

Description: The characters are at the Steak-N-Shake … things are getting a bit rough for
everyone. Dr. Wright has been holding seminars almost everyone's parents have been to. The
Video Zone is in real trouble.
Trevor: "Wright's a fraud."

Brandy: "Wright's an asshole!"
Dennis: "Wright got me back in my parent's house …"
Out in the parking lot, two police cars pull up. The officers get out. They will move into the
Steak-N-Shake and come to the table where the players are all sitting.
"Are you--?" (they ID the characters). If the character's lie, the police will be annoyed. They've
been given pictures of the characters.
The NPCs will assume the characters are in trouble and ask quiet questions, take shots, and
otherwise make nuisances of themselves.
The Feds: A few minutes later a black rental car shows up. A handsome man gets out with a
female sidekick. They come up and, with police escort introduce themselves:
Napoleon Solo, on liaison with the Federal Bureau of Investigation. He will present his B&C
(Badge and Credentials … if carefully studied they show him being from United Network
Command for Law and Enforcement). The police are suitably impressed with him.
• "Your buddy in OSI managed to pull some strings. We've got an element that owes us a
favor. You're it. Come along for a little drive and I'll explain everything. Good job boys
(to the cops) you can go now."
• The cops: "yes sir!"
The other characters sit in awe.
GM's Note: All these 'fictional' government agencies exist for real for the time they're interacting
with the characters. Solo is a totally legit member of an elite crime fighting international law
enforcement team. He's also aware that he's (again) sort of an incarnation of human belief. He's
enlightened. Taking the characters to meet a Zen master doesn't seem strange at all—although it
would to Solo. The point is that if the characters do some detective work the next day they will
discover trace references to U.N.C.L.E. and O.S.I. there were bureaus with those names. Some of
them seem to be the basis for television shows … but nothing conclusive.
The Temple: Solo takes them on a long drive—past the city and up into the hills. He can't talk
to the characters about his station much (it's all classified … what a pain, huh?). He will have a
sort of 60's air about him.
If asked about the favor, he'll say: "It's completely classified but let's just sat that early on we
helped a few of those IMF amateurs out of a tight spot and they had some unusual connections
… so here we are."
They reach a hilltop and there's a temple there. Paper lanterns are lit outside. It seems deserted.
There is a sign denoting the area as a Buddhist Shrine. The characters enter and a young man
with a shaved head greets them and takes them to a long room with a suit of oriental armor and
several martial arts weapons (Chinese—this is Kung Fu).
The Master: The master is a bald man of indeterminate age. He wears the gold robes of a monk
and comes in and kneels and sits with them. He speaks flawless English.
"Greetings. It is uncommon that we should meet here: there are only five schools like this in
existence. There only will ever be five. The students spend many lifetimes trying to gain
admission. But you have wonderful friends and they have asked us to return a favor … and so …
for tonight … I will teach you. After that, however, you will go and not return unless invited. Are
we agreed?"
To Napoleon: "I have been told that they have seen the face of shadow. That you wish to have
them … inoculated against it?"
Napoleon: "Well, I think you're the best shot at giving them a chance at a fair fight."
Master: "You see the world as a conflict. It is not. I cannot teach them to fight. Perhaps,
however, I can teach them … the dance … the interaction. That would be of use to them."
Napoleon: "You're the master."
Master—to the characters: "Good. I am not going to teach you Kung Fu. It would do you no
good. Instead I am going to teach you about shadow … and how you must deal with it. Normally
this would take decades—but we have only tonight so I will do what I can." (he examines them)
"It … is… you would call it a long shot."
The Point: The lesson is in blending. When Shadow takes hold it does so with despair and fear.
Both of these are legitimate emotions but the response most people take is to ignore them—not
to feel them. The person under attack armors their heart.
The problem is that Shadow is part of all our natures. Each of us has a dark side within them. To
disavow it gives it more power. To accept it … even to love it … takes that power away. What he
means to show them is that by accepting the 'gift' that shadow gives and by "blending" with it,
you can take it's power away … even turn it against itself.
The Lesson:
He takes them to a wall and pulls down a sword with a broad blade. It is very sharp. He tells the
character to strike him (this is done with AGI). The master is at –8 to be hit and has a block of
24-. If somehow he is hit, he's immune to the physical damage of the blade and will commend
the character.
More likely: as the blow comes in, he turns with the strike so it goes past him. Now he's closer to
you than he was. "Again!" and again and again. You can all try (he blocks for 2 REA and has 20
REA). Note: The dodge is not just getting out of the way it is moving, turning and joining the
strike. He will do this for a while. If they strike overhead, he turns, stepping out of the way and
moving his arm down with them, guiding them down. From the left, he moves, left and in,
twisting until he actually moves past the character behind him.
"What I am doing is blending. At the upper levels martial arts is not strikes and blocks—it is a
fluid flow of energy from one form to another from one person to another. The loser is the one
who breaks the rhythm. While it is most apparent in the physical form it is a truth that is all
around you. Come back to the table and look."
He takes them to the table. There is an egg.

"This is a fertile egg from the chickens out back. If cared for it will hatch and grow into a living
being. Within this egg are the yellow and the white. If I declare the yellow to be bad or evil and I
wish to extract it I must break the egg—destroying its balance. It can never hatch … it can never
evolve into a chicken. Both must exist. Neither is 'evil.' "
"When confronted with Shadow—with someone who wishes to hurt you (and I mean your soul
not your body but at my level they are the same thing) the average man—the unenlightened
man builds armor around his heart."
He places the egg in a tight box where it fits with no other room.
"Do you think it will hatch now? That the chick will live? Where is the yolk? Inside. It is within.
Shadow does not touch us from the outside (taps the box) it touches us from the inside. You
see? What does this mean to you? Sit."
He has them sit and breath while he talks. "When someone tells you are unenlightened do not
armor yourself and retort with how enlightened you are. Do not pretend they have no business to
speak with you. Instead accept the gift they give and blend with it. Use it as a tool to find your
own weaknesses. Do not pretend it has no value: that is the armor."
"If you are hurt by words or actions, regard that other as a teacher. Meet scorn with respect and
blend. When the attack is in full you may defend your soul—your boundary—but to strike back
with scorn or anger risks disrupting the dance."
The characters are more and more relaxed. He has them stand. He has them move through
some body exercises. As he does so, with them making the movements, he walks amongst them
and strikes where they were a moment ago, kicks over their heads where they've sunk into a low
stance. He keeps them breathing properly.
"When you refuse to feel an emotion you give it power to hurt you. If I am sad and I cry the
sadness leaves my body. If I deny it, it becomes a stone within my heart."
The exercise concludes. He bids them goodnight. Suddenly exhausted, they are driven back and
returned to their houses.
Player Card 8: But … Master? When do you fight? When do you fight back … and how?
"Yes … dangerous truths. The flaw with shadow is that it is needy. Hungry. It is a vortex that can
never be filled and will consume and consume. Eventually you may need to stop it. When it has
crossed the line. The line is when it tries (just as we try to rescue those who do not wish to be
rescued) to consume those who have chosen against it. When one moves from the shadow to
the light, the shadow cannot truly stop you: but sometimes, when it is powerful it can … harm
the balance of things. Then we fight.
How will you know? You will know when there is an attempt on your body—and you may defend
yourself. When there is no choice at all. When you are forsaking the shadow and it bars your
path … then you fight. To fight before then is to risk poisoning yourself."
Conclusion: The lesson is two-fold: 1. You should roleplay your character's emotion since not
roleplaying it means less enlightenment. 2. They can strike out when Shadow is (in a sense)
cheating.
Act 5: Lesson five—Emotions Have Mass and Weight

The characters are taught that the difference between hope and hopelessness is as real and
physical as the ground they’re standing on.
Scene 1: Unusual Lives

Description: One or more of the characters is sent to Dr. Vincent Wright.
Action: The character has been unemployed for several weeks and is sent to Dr. Wright by
concerned parents (driven there). He or she meets in the doctor’s plush office, hung with an
impressive array of certificates and awards and diplomas.
How it Plays: The doctor will start by asking questions (play as though he knows what the
character’s weaknesses are). He will explain that the character must simply be motivated enough
and that the character must be trained in ‘success’ (much like you housebreak a puppy!)
He will sign the character up to work at Westlowe Industries (which is opening it’s plant in a few
days). The character will have to work there or be thrown out of the house.
Success Therapy: Additionally there is a project going on in town. A group of volunteers are
building a belltower in the center of town. In order to “practice success” he assigns the character
to work on that (on Saturdays). It takes all day, he says, but it’s rewarding and you’ll meet
people with drive and energy!
Conclusion: The character should hate the doctor but not be able to do anything about it yet.
Scene 2: Emotional Black Holes

Description: The characters are invited to lunch with … Madonna! The pop singer! And she has
something to tell them.
Action: The characters get a call from Circus-Circus productions. They are told that Mrs.
Ciccone (Madonna's last name … unless she's adopted her married name) wishes to
meet them for lunch at the Chez Royale restaurant in the city. They get their act together and
drive there.
The City: The section of the city is paradoxical—a really nice 5-star restaurant sits on the corner
of two streets that are run down. Huge metal shutters close off stores and are covered with
graffiti (normal graffiti here). Waste bins are overflowing. Even the trees look droopy. Everything
is gray and there is a slate-gray sky and a steady drizzle falling. The characters move quickly to
get out of the cold rain.
Inside With a Private Rented Dining Room: They come in and see Madonna and two other
women seated at the table. One is a brunette (pretty) but she looks sluggish … low on energy.
She stares into the plate and says nothing. She wears a lab coat over her blouse and dress. It
has a nuclear energy symbol on it. Her name is Dr. Laura Williams.
The second woman is far more animated. Her name is Amanda Lorenis and she greets the
characters, smiling and maybe even hugging them. She’s full of happiness to be there. Madonna
is played like the grinning Cheshire cat. She knows a lot but isn’t here to give everything away.
She’ll insist that they order and will answer a few questions (do some homework!).
If asked if she’s “real?” She’ll say “oh yes … and usually in several places at once … like everyone
else, you know?”
Amanda will smile, nod, talk a bit. Dr. Williams says nothing. Finally, the hostess is ready to
begin.
The Lesson: “You are completing the first stage of your journey. When the student is ready, the
teacher will appear and you have had your teachers. Now it is almost time for you to do the
learning. You are on the brink of Chapel Perilous … you must journey through it to the other
side. Many … do not complete this journey and become trapped in there.” She shakes her head.
“If we can help it, you won’t be—but it is not up to us. Still, there are some truths you can arm
yourself with. Dr. Williams, tell us about your project.”
Silently, she reaches out to hold hands with everyone (linking hands) but Dr. Williams.
Dr. Williams: “The project isn’t working … we’re dumping money into it … the mass ratios are
off. My equipment is starting to show random failures … sometimes … I think … someone has
sabotaged the project. Other times I realize how hopeless it all is …” She speaks slower and
slower.
“We had a break through the other day (dead voice) … until I reviewed the data …” around her
the air is starting to crystallize. The table trembles but she doesn’t notice.
“The data … was all bad … all wrong. I don’t know how I missed it …”
A cup slides towards her. It feels like the room is tilting, wrapping itself around her.
“And the data …”

her voice has become soft … shifting into inaudibility. Her body is covered in shadow. Light
bends around her.
Madonna—“Eventually the gravitational pull of her emotions is so strong not even light can
escape. Some black holes are emotional. Look …”
Holding hands the characters stand and look around. The world has stopped—they are inside the
event horizon. Outside raindrops hang like jewels, fixed in space. Sound waves stand still in the
air. The Doctor herself looks like a statue, head bowed, unmoving.
VERY IMPORTANT LINE

“I can revive her—but it won’t be permanent. Even I can’t rescue those who do not want to be
rescued.”
Madonna leans over and kisses her lightly on the cheek.

Everything moves. The room uncoils, rain falls, sounds travel.
She explains about Chapel Perilous (in vague terms)

“You are still in the process of awakening. The lessons you’ve learned—the experiences—have
transformed you (touches her heart) inside. But this segment of the journey will have no guide.
It is … a dark time … for some a terrible time. Listen to Amanda. She’s been there. Believe in
what she says.”
GM’s Note: Madonna should be played as funny, warm, wise, and powerful. The GM can take
any traits from her real persona that work … or use another character entirely. The point isn’t
that this is the real person … but more like the incarnation of public perception that surrounds
her.
Amanda: The floor is handed over to Amanda. She smiles and gets the character’s up. She goes
walking with them.
“We all live in the worlds we choose to live in,” she tells them. “All of us. Pain is to be expected,
suffering is optional. Most people choose to live in a world that suits them—redundant, gray, and
unchallenging. A world where as victims they don’t have to take responsibility for themselves.”
She smiles. “If it works for you …. But look … it’s the same world … the same people the same
buildings .., and yet …”
They’re outside. The rain has stopped. Overhead the sun shines brightly. Up and down the strip
the shops have opened and they’re selling newspapers and ice-cream and toys. Children and
families rush up and down the streets, playing in puddles. She smiles at them: the air is fresh
and a clean, cool wind whispers through the streets.
“Anyone can do that … that’s the first step. Then … pretty soon … you’re ready to make the next.
Look.”
She points up at the glass wall of an office building. Reflected in its mirrored face is a world of
white towers, elegant soaring jumbo-jets, monorails, and brilliant hot-air balloons. The
architecture in the reflection is sweeping and awe-inspiring. She smiles. She hugs the characters
… and she steps away from them into the reflection.
“See you soon … be careful… have faith.”

Conclusion: She’s gone and the lighting shifts. Clouds gather … a light rain begins to fall.
Act 5: Chapel Perilous

The characters have entered the middle phase of their training—the journey through darkness.
GM Notes: Although the characters don’t go anywhere, everything around them begins to
change subtly. Skies are cloudy. Parents seem watchful and mistrustful. Friends seem distant or
petty. The journey will last a few days at best … weeks or months at worst (depending on how
you can scale your campaign and keep it moving).
Scene 1: Life in the Chapel

Description: Here are the building blocks that will make up the character’s lives. The following
scenes will occur but should be spaced out, at least by narration to represent the passing of time.
Ideally this act (the final act) should last the three months of summer (enough time for the Bell
Tower to get built). If it looks like the characters are impatient, have the construction go
supernaturally fast.
The Dreams: The character’s dream of being in the river, moving up stream (a good technique
is to run each encounter separately so each player doesn’t get to hear the others). Have them
make WIL rolls to fight the current. –1, -2, -4, -8, -16, etc. They can’t succeed that way.
The wolf on the shore becomes frantic. If they try to move out of the stream:
• “In the fires of trial we forge our characters.”
• “ By overcoming adversity we build our strength.”
• (harsh) “You must not meet strength with weakness!”
• (angry) “Get back in the FUCKING WATER!!”
When they get out, they feel an immense sense of freedom. The wolf frolics. They wake up.
NOTE: Overcoming this trial is key to the rest of the scenario. Run them through a few sessions
of it (start by trying to convince them they can make the WIL roll … then, let them despair that
they can’t). When they overcome the dream, the final act plays out.
Mother Nature: When the characters complete their dreams (ideally this will take place all
through this act) then they are walking in the woods. They come to a glen with beech trees
around it. In the center is a woman of indeterminate age. Her body is young but her face seems
in late middle-aged. She looks kind and wise.
"You're a little early. You haven't left the chapel." [conversation with the PC's]
"You are … yes … in danger. Darkness is rapacious. It wants what it can't have. When the time is
right you'll know. When you are ready to move on it will come … in good time … takes some
people years. However … here …" (examines palm, eyes of characters) "You have it's scent on
you. Rest assured son/daughter when shadow moves against those who have not imprisoned
themselves there are consequences. Shadow pays the consequences like everyone else. You are
stronger than you think … and you have friends." The wolf moves to their side. They awaken.
The Belltower: Some or all of the characters are on the construction project. It’s a bunch of
college kids … a few adults … and some construction types. They help out one or two days a
week.
• The tower is symbolic of the Tower of Babel (the Tarot card The Tower—Destruction).
This won’t be clear but it’s an imposing structure on a green lawn.
• The character(s) will meet a soul mate. This person (of the opposite gender) will be
caring, helpful, and trusting. This person has also seen a flying saucer (something s/he
will confide to the character). This happened 2 years ago.
“I was driving back from visiting my friends up north … it wasn’t a good trip and I was
making time to get home. It must have been about 11:30 at night. I saw this reddish light
over head—above my car, but close and then they swept out to the side over the desert
floor.
They looked … they looked a little like floating Faberge Eggs … red and, well, complicated.
With jewels and sparkles and stuff and they were surrounded with a glow like St. Elmo’s fire.
Ever heard of that? I could hear them too—they made noise like wind chimes.
I’ve never been able to forget it … I still think about it at night.”
Player Card 9: Talk with the character about how your encounter made you feel … you don’t
need to describe what happened after it—no one would believe that … but it’s interesting to
have met someone with a similar experience.
The GM should describe a few late-nights out (the characters are tired this day though) with the
character. It’s possible that the character will even offer a (little) help with the plant.
The Meat Plant: Westlowe Industries has moved in and set up a plant out of town. It’s a meat
processing plant for chicken parts. Some or all of the characters are employed there from Dr.
Wright’s practice.
• The plant is in deep shadow: there is a sick, industrial feeling about it. The people who
run it are frightening. There are foremen who seem almost supernaturally huge with slick
skin that smells like eggs and sour milk. They maintain order almost brutally.
• The people from the town who work there adopt sallow complexions, looking pale and
tired under the harsh fluorescent lights. The plant runs all three shifts—all day and all
night and is a twisted maze of conveyer belts and meat and blood.
• There are no breaks allowed and the characters are watched by the massive Neanderthal
looking foremen (and the mean, hick-like floor bosses). Shadowed figures look down
from the observation windows overhead.
Here are some events which can happen:

• Jenny tries to quit. She claims she’s sick … she doesn’t want to come back. She confides
(in the short time they have together, to the character that she’s scared). The character
can’t really help her—but will hear that the foremen went out to her house in a pickup
truck and picked her up. She’s back at work gutting (a terrible job—always covered with
chicken blood). Very Important: She will tell the character directly not to intervene (she
made a deal to do the work and she’ll stick to it … she can take care of herself … even:
she deserves it). You cannot rescue people who don’t want to be rescued.
• The characters are assigned workers. The workers do an awful job (think Beavis an
Butthead but in no way funny). The characters are in danger of being gotten in trouble
by their subordinate’s bad behavior.
• The penalty for offending the administration is being dipped head down in a barrel of
blood and rotten meat (this is a real torture technique in some parts of the world).
Action: The characters can’t really blow up the plant or fight back. A lot of this is better handled
with narration and a few quick scenarios. The objective is to get a sense of hopeless desperation.
Here are some things that can happen to keep the action moving.
• Dreams: if the characters made it to the side of the bank (if not, keep trying) they dream
they are walking in a glen with the wolf (or other totem animal specific to the character).
They come to a woman in cluster of beech trees. She gives them a cup of honey and
wine to drink and warns them that anyone they hurt/strike/or kill becomes three times
stronger in Chapel Perilous. She is a nature spirit and she can talk to them (especially
talk them out of trying to go commando and attack the plant).
• Recruitment: The forces of shadow have a chat with the characters. They are called into
the main office. A man who wears a black suit is there. The character(s) are given a
psychological test that takes 8 hours (this is a version of the MMPI test). Questions like:
Do you vomit blood? Do you feel watched? It doesn’t matter what they ask.
“I see everything from up here. Do you know what the Panopticon is? A prison—a model for a
prison where the prisoners never know if they’re being watched. It has a one-way glass roof.
This is my panopticon. I can see the whole … glorious floor.
And I know you. I’ve seen you. I realize you aren’t happy and I would never think of offering you
so trivial a bauble. You could move up here. Take on more responsibility … and power. None of
us make our own destinies but I can remove that illusion and give you control over other’s
destinies. Think about it. My door is always open to you.”
Player Card 10: You get a terrible creepy feeling. You can feel him there, looking into you. You
can see the entire twisted factory floor like the large intestine of some mechanical
abomination. You realize you could … and might … surrender to him—to be consumed in the
dark pools of his eyes.
It doesn’t matter if they accept or not (or even attack him—if they kill him he comes back the
next day three times richer and more powerful and they go to jail).
• Sparring with Dr. Wright: the characters are in counseling. The counseling consists of
tearing them down, telling them they’re worthless. Telling them they’re responsible for all
their failures. Play a session or two and try to get under their skin. Dr. Wright has heard
(from Angie if nowhere else) that they think they saw a flying saucer.
“Do you believe in flying saucers? UFO’s? Often, when we are unsatisfied with our lives or the
attention we’re getting we invent things to make them more interesting. When women poison
their children to keep them sick it’s the Munchausen Syndrome. I think the reports of alien
abduction are much the same thing.
We wish to be more important than we are … lead more exciting lives … so we invent cosmic
forces that pay attention to us. What do you think of that?”
Conclusion: The above are the building blocks for the final scene, the awakening of shadow and
the character’s exit of Chapel Perilous.
Scene 2: Descent
Description: The characters are traveling through Chapel Perilous. In their state of clarity this is
a very warped world. They will sense paranoia … despair … the feeling that the universe is out to
get them. In reality it is their own shadow inside being awakened … demanding
acknowledgement … and their view of the world through its eyes.
Voices: The characters start hearing voices. The phone will ring and a harsh voice will be on the
other end. An announcement over a PA system which no one else seems to hear (or they hear
something else). The voices are along the lines of: "You're WORTHLESS! You're a fraud!"
Artist: You're trite, you suck.

Intellectual: Jovial gameshow host asks questions he can't answer ... laughs at him.
Slacker: You've peaked. You'll never amount to anything.
Goth: you're pathetic. You're trying so hard to be different and you've just made yourself
a carbon copy of every super-loser out there.
Anyone: We're going to take all of your friends away ... and all of the people who love
You and you'll be alone for ever and ever!"
Signs: There will be some bizarre objects. Characters will find horrible (and true!) things written
about them on bathroom walls. A billboard saying "LOSER!" will be put up right where it's visible
from a character's window (it seems to be a coy announcement for a new movie or something).
Betrayal: The character involved with the sympathetic character from the belltower will come
upon a conversation (from around a corner) and hear him/her with his/her friends. "Yeah s/he
fell all over me as soon as I used the flying saucer line. What a simp! I'm gonna dump him/her as
soon as I see someone else I half-like more." If the character confronts the asshole s/he will say
the most hurtful things s/he can think of. This will seem to be a total reversal of character but
the asshole will never go back to the way s/he was.
On a lesser scale: Their Friends

Trevor: he becomes one of the golden-children at the plant. He's working his way up.
Dennis: He's a big fan of Dr. Wright's. He tells the characters their in resistance and won't face
their flaws. He tells them they have to submit (which is, kind of, good advice … but Wright
doesn't mean them well).
Jenny: She doesn't betray them but she is in fear and depression and will complain but will not
allow herself to be rescued.
Brandy: The only person taking care of herself (a little). She works as the plant receptionist.
She's forced to dress mundanely … and hates it … but she's not in revolt.
The Bells: The tower is not yet finished but in the dead of night or early morning when the
characters are in town they will be awakened by its ringing. GOOONGGGG—GOOOONNNGG—
GOOONNNGGGG … Ominous peals over the sleeping town. Nobody else hears it.
Conclusion: If the players are like 'let's get this over with' then it might not be working right.
Sure, it sucks
Scene 3: Rescue
Description: Things are coming to a head and getting out of hand at the plant. It’s finally
becoming time for the characters to take action. And the tower is complete … oh, and the
character from the Belltower wants to ask the PC out …
Action: Jenny has tried to run and been pulled back. She’s been sick and still working in the
awful skinning plant. She is suffering. Until now she’s embraced her fate. But that’s changed. She
wants out—and they’re physically baring her from leaving (sending the truck to get her each
morning). She isn’t ‘strong’ enough to stand up to them (although that would, paradoxically
work—but they’d make it hard). She asks the PC’s for help.
• She calls a PC in the middle of the night. She’s working 3rd shift and using the phone
illicitly. She’s decided to go—to get out and go. She has a plan.
Jenny's Plan: Jenny is in deep. She has agreed ('committed') to work at the plant … to give
more than she's able to, etc. For her to get out will be very hard and she is close to despair.
Unfortunately she went home sick and left her purse (forgot it—how could she be so stupid!?) in
her locker. It has all her money, her plane tickets, the keys to her mom's car, etc. She has over
$800.00 dollars in there and, most importantly, the necklace her dead sister gave her before she
died. She will not leave it but she isn't feeling strong. The plane tickets are for tonight.
1. The character's enter. It isn't their shift but that shouldn't be bad. They can say they're
covering for someone.
2. To cover her escape they punch in her time card for her.
3. They go to the women's locker area and post a lookout. One goes in and goes to her
locker (this is a bit dangerous: the foremen are around there and no one wants to be
caught breaking the rules in that place).
4. They get the bag and go!
Lead Up (The Day Before): The belltower is finished. It rises up, ringed with staircases, an
electric bell set at the top. The characters meet one last time at the Steak –N- Shake across and
down the street.
• Dennis has been sent to a psychological counseling center. He had a breakdown two
days ago on the job.
• Brandy is nervous. She’s got a relatively good job as receptionist at the plant (she has to
dress terribly mundanely and hates it). They’ve been talking about moving her back to
the line.
• Trevor has ‘shaped up’ and conformed. He stops in. He says hi. He tells the PC’s that he
suspects that Jenny’s a troublemaker and they’d best not get involved. He gives Jenny a
meaningful look.
• Jenny is scared. Afraid to pack much lest she be seen. She considers calling it off several
times.
• A pickup truck seems to be watching them—parked across the street. The guys from the
factory are in fact watching her.
• They hear the first test of the bells and it’s a somber, resonant call that echoes across
the town. For a moment, there is deep silence.
The Raid: The night has come and the characters are ready. Jenny tells her parents she's
leaving. She goes to the bus station. They leave her there, clutching her bus-tickets.
They arrive. They are feeling clear. The air is cool. Green light pours out of the plant's windows
and doors: they see it clearly for what it is. Shadow.
Inside: the foremen look like the demons from Act 3. There are women workers who have a
similar appearance but stooped, wrinkled, and with long black dirty fingernails (hags). One of
these hateful things is lurking around.
Run them feeling watched (as they punch in for her a foreman seems to pace back and forth. In
the women's locker room it seems to be under surveillance.
Finally they open the locker. It's empty.

Trevor comes into the room. "Sorry … they knew what she was trying to do … smelled it. They're
not going to let her go. They have her up at the party out by the road. If you know what's good
for you … you'll stay way—or even go, but with the right attitude. She agreed to their contract.
There's no backing out."
At this point the characters feel a cool chill. Trevor looks around.
"I'm not going to let you go and rescue her. You can't. She's ours now."
From behind him there's a growl: the character's totems are there (wolves … bears? Whatever).
He stares. He backs away. "You can't have her! (angry—scared) She's ours!"
Player Card 11: Yeah—maybe she agreed … but it’s not about signing a contract. She doesn't
have to spend the rest of her life here … she wants out and shadow doesn't get to hold her—
not without a fight!
Conclusion: As the characters leave the plant they see the Belltower, it's bell ringing wildly in
the rising wind, green light radiating like a lighthouse from its top.
Scene 4: The Tower (Destruction)

Description: This is the final act. The characters have experienced chapel perilous and now
confront shadow on their terms. Music? AC-DC's Hell's Bells!
Action: Outside of town, up on the ridge are cars and trucks. There's a big bonfire like a funeral
pyre and they can see people milling about. It looks like a rough scene (fires in barrels, big
muscular guys walking around … it seems somehow mean and low. In the center, with two of
the largest guys they've seen is Jenny. She looks horrible.
Dr. Wright is there—with the dark man who runs the plant. He will tell the characters they're out
of their league. He'll tell them they can't make a difference. He'll say anything he can to make
them stop. He should be played as faking confidence (he knows that shadow is overstepping its
boundaries).
Rescue: The characters feel a sensation in the air, an electric charge as they get close. This is
wrong … it's out of balance. The universe is not supposed to work this way and Shadow is
overstepping its bounds. They feel strong.
The Master's Training: When they get close they will be accosted by the executive (who will
make a last ditch effort to recruit them). They will be told by their co-workers that they need to
fall into line. If they don't they'll be subject to her fate (her fate is to have her soul enslaved with
chains of despair but no one elaborates).
As soon as someone touches them: the characters get +5 REA, +5 STR, and 24- Jujitsu Level 4
skill. This is sort of 'universal harmony.' However this gift is not permanent: it only lasts so long
as they are rescuing her. They can go and get her and go to the car—any wanton violence off
the path will result in the scores draining by half each second (they can resume the rescue
mission). This should be enough to free her and get out.
"You feel like an hourglass of pure, white-hot strength has opened in you. Everything seems part
of an amazingly complex crystalline reality and for a few brief seconds your soul thunders with
understanding (describe their gift). Jenny stares at you, looking into your eyes in awe. The man
in the dark suit steps back … 'no.' But this is out of balance too and you can feel it draining the
universe will sustain it for 2 or 3 seconds—but no more … and perhaps no more should be
necessary."
Driving Back: The characters get to the car with others in hot pursuit. They drive but someone
coming up the road cuts them off. They are forced to take a side turn towards Camelot mall (give
them the choice of running into the embankment and crashing the car or making a few driving or
COR rolls to navigate the half finished road until they can get back to the main one.
When they go off road, however, the dirt collapses and the car goes careening into a gorge. They
can see, below them, the white cement plane of the only-started Camelot Mall and the huge
utopian billboard emptily promising it. The car, for a moment is in free-fall. Beneath them they
see sharp rocks and a cement wall. Then … they drop.
For a moment there is speed and rushing wind—terror rises in them but suddenly there is a
moment of clarity: there are many cars—some above and some below. The vehicle they are in
exists in many places at many levels. They close their eyes and shift. There is no impact.
Conclusion: The characters are awake. They look up and outside of the car it's day. The sky is
blue and beautiful and white birds wheel overhead. They are in the middle of the Camelot Mall
(still unfinished) but they can see the work that's been done—is being done. The car is
undamaged. Jenny is in a deep sleep in the back. They see movement and then Amada (from the
restaurant in Act 4) approaches.
"Hi guys! Glad to see you made it—and so fast! Almost no one gets out of Chapel Perilous that
fast!" She puts her hands on her hips and looks up at the massive, gorgeous billboard of the
almost Atlantean structure. "Welcome to this world … you never stop learning but it’s a much
nicer place to be!"
When its over, the Meat Plant is just a kind of bad place to work, Trevor remembers having an
argument with them … but it was the incarnation of his subconscious Id they were talking to—
not his conscious mind. In short, everything that looked hellish looks normal. Jenny does go …
she's not sure what happened.
The big difference is that now everything seems … brighter. The characters feel powerful and
aware. They feel in control of their lives instead of adrift in it. They've learned to except a higher
degree of adventure and surprise in their lives.
--The END

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V1.

0 copyright © 2001 Marco Chacon

Rules for Character Creation

Attention Deficit Disorder [-2]

Militant Goth Identity [-2]

Police Record [-2]

Hopeless Cynic/Romantic [-2]

Drug Culture [-2]

Own Car [2]

Awesome Computer [2]

Spare Cash [2]

Cell Phone [4]

Musical Instrument(s) [2]

• WARNING! STOP: READ NO FURTHER •

• Scooby Doo and the Gang: http://www.geocities.com/~zoinks/

This is how they work:

Name: Angie McDonald

Name: Jenny Allman

Name: Trevor (Thomas) Martin

Name: Dennis Pearson

Name: Brandy Lorien

Act 1: The Storm Before The Calm

Scene1: The Video Zone 8:12 PM

Scene 2: The Storm 8:20 PM

Angie: “What the hell!!”

Angie (if no one else talks): “what is it!?”

Scene 3: The Steak and Shake

Act 2: Lesson one—We Live In the Middle

Scene 1: The Rave

She does readings for $5.00. Her name is Sheila Grozny

She blinks, surprised. The card is specific to the deck by

Scene 2.5: Un-Ordinary Life

Player Card 5: Getting a Job.

Scene 3: The Magician

--Velma: “We have contact. They’re clean—no weapons.”

The dog growls.

“Before you saw two rings. Now …”

He opens the killing jar.

Act 3: Lesson three—Shadow

Scene 1: Extra Ordinary Life

At the Steak and Shake:

Scene 2: Secret Agent Man

Character: “What are we going to see?”

Best Jack Nicholson voice

Act 4: Lesson four—Mastery

Scene 1: The Next Day

Trevor: "Wright's a fraud."

The other characters sit in awe.

Napoleon: "You're the master."

He takes them to the table. There is an egg.

evolve into a chicken. Both must exist. Neither is 'evil.' "

Act 5: Lesson five—Emotions Have Mass and Weight

Scene 1: Unusual Lives

Scene 2: Emotional Black Holes

“And the data …”

VERY IMPORTANT LINE

Madonna leans over and kisses her lightly on the cheek.

She explains about Chapel Perilous (in vague terms)

buildings .., and yet …”

“See you soon … be careful… have faith.”

Act 5: Chapel Perilous

Scene 1: Life in the Chapel

I’ve never been able to forget it … I still think about it at night.”