Derby Day - Ghosts of Albion Quickstart

Rules

Credits 1About the Creators 1

Introduction 2Background 2

Image of Queen Victoria 3Characters 4

Tamara Swift 5William Swift 7Nigel Townsend 9Queen Bodicea 11Lord Byron 13Lord Nelson 15

The Rules of Play 17The Basic Roll 17Resisted Actions 17Modifiers 17

Base Modifiers Table 17Success Level (SL) 17

Success Level Table 17Penny Dreadfuls 18

Fear Table 18Combat 18Close Combat 18Ranged Combat 19

Ranged Modifiers Table 19Damage 19Effects of Injury 19Getting Better 19Drama Points 19

Uses for Drama Points 20

Magic 20Spellcasting 20

Spell Backfire Table 20Repeat Casting 20Dispelling 21Spell Defense 21Defensive Magics 21

Defensive Magic Types 21Lesser Sensing 21

Blank Character Sheet 40

Director Quick Sheet II

DeRby Day aDventuRe

Introduction 22Image of Derby Day 22

Plot Synopsis 22Derby Day 22The Cast 23

Act One: Set-up 24Rundown 24Joining the Festivities 24Class Information 24

Aristocracy 24Middle Class 25Working Class 25

The People’s Charter 25The Cane Gentlemen 26Gypsy Visions 26The Chase Is On! 27

Act Two: Complications 28Rundown 28Mystic Battle 28

Cane Gentleman 29The Urchins 30A Finnegan 30

Act Three: Revelations 31

Rundown 31Coachhouse Fight 31

Brulshar Demon 32The Coin 33

Act Four: Climax 34Image of Derby Day Race 34

Rundown 34Lording Over 34

Angus MacTaggert 36A Grand Brouhaha 36

Viscount Duncannon 37William Atherton 38

Act Five: Resolution 39Rundown 39The Aftermath 39More Skulduggery? 39

I

Table of Contents

Credits Producers: M. Alexander Jurkat, George Vasilakos

Director: George A Matzen

Writers: Timothy S. Brannan (game rules) and Gar-ner Johnson (adventure and rules)

Unisystem Game Designer: CJ Carella

Editor: M. Alexander Jurkat

Editing Assistance: David Chapman, Laura J. Lexan-der

About the CreAtors Amber Benson was born in Birmingham, Alabama

where she enjoyed an imaginative childhood before moving to California to pursue a career as an actor, writer, and director for film and television. Though best known for her three seasons portraying the white witch “Tara” on the television series Buffy the Vampire Slayer, she also appeared on television as Brian Dennehy’s daughter in a trio of Jack Reed tele-films. Amongst her film credits are The Crush, Bye Bye Love, Imaginary Crimes, Latter Days, and Steven Soderbergh’s King of the Hill. In addition to her act-ing roles, Ms. Benson wrote, directed and produced the romantic comedy Chance, in which she also stars, and is the co-writer and director of Ghosts of Albion: Legacy, an hour-long animated BBC serial. Ms. Ben-son lives in Los Angeles with her family.

Christopher Golden is a Bram Stoker Award-win-ning writer best known for his novels The Boys Are Back in Town, The Ferryman, Strangewood, Of Saints and Shadows, the Body of Evidence series of teen thrillers, and co-author of the youth fantasy series Out Cast. He has written or co-written a great many books, comic books, and video games related to the televi-sion series Buffy the Vampire Slayer and Angel. In the comic book field, he has written tales of Batman, Spider-Man, Doctor Fate, and Hellboy.

Timothy S. Brannan has worked for universities, the Navy, dot coms, and mental institutions. Oddly enough, less than imagined separates these places. He has graduate degrees in education and psychol-ogy, but pushed aside the loving arms of academia, where he is a professor of statistics, to draft the Ghosts of Albion role playing game. Amongst other writings, he is the author of three (soon to be four!) books on roleplaying witches in various game systems. When not writing, Tim can be found somewhere in the northwest suburbs of Chicago with his beautiful wife and two wonderful sons.

Garner Johnson is a life long gamer who has been associated with Task Force Games, TimeLine Ltd., and Eden Studios and is assistant manager of a local game and comic store. He earned degrees in econom-ics and history, specialized in military history and has written or edited a number of adventures or rules books for Buffy the Vampire Slayer, City of Heroes, and Ghosts of Albion. Although a Chicago native, he cur-rently resides in Nebraska, when not found running events at various gaming conventions.

Ghosts of Albion created by Amber Benson and Christopher Golden

Ghosts of Albion™ & © 2004 Amber Benson and Christopher Golden.

All rights reserved. Used under license from Amber Benson and Christopher Golden.

The Unisystem™ Game System © 2004 CJ Carella. The Unisys-tem™ is used under exclusive license. © Eden Studios, Inc. All rights reserved.

1

tAmArA swift: Well, something foul is afoot. Let’s have a look!

—embeRs, act I

introduCtion Welcome to the Ghosts of Albion RPG introductory

demo pack!

These pages provide all that’s needed to begin telling tales and battles evil forces in the uni-verse of Ghosts of Albion. Gather a few friends and a 10-sided die or two and get ready to

play. If that kind of dice cannot be found (look in any good adventure game store), a deck of cards (face or suit cards removed and shuffled) will do in a pinch.

One amongst you should take on the role of Direc-tor—the one that actually runs the game, keeps the story moving, and embodies everyone who is not a Cast Member. This person should read all the rules laid out here and the specifics of the adven-ture Derby Day (see p. 22). The others play the Cast Members—the characters actually participating in the events of the game. They can read the rules portion of this pack and should be provided with copies of the Original Cast (see pp. 5-15). They should not read the adventure (that will spoil the excitement of the game).

For more information on the Ghosts of Albion RPG, kindly visit http://www.edenstudios.net. For more information on the Ghosts of Albion universe, please visit the Ghosts of Albion website at http://www.ghostsofalbion.net

bACkground

Ghosts of Albion takes place in a version of 1839 England, a year after Queen Victoria’s coronation, where magic, the supernatural, and various monsters all exist. Supernatu-

ral evil is real and very deadly. Demons, undead, cold-hearted Faeries, werewolves (called ferals), and many other creatures stalk the wilds or fringes of humanity. Fortunately, the soul of each land empow-ers a human or two with great magical abilities to fight against these forces of darkness. These people are called Protectors, and they wield powerful spells. Although it is a time when many people still believe in superstitions, the Protector’s role is still a secret one, not widely recognised, acknowledged, or ap-preciated.

The Protectors are not alone in their fight, however. They are aided by the ghosts of fallen individuals, be they famous or obscure, who have the power to come when called and affect other supernatural beings even while most of humanity can’t see them.

2

Some faeries can also be counted on for aid. These supernaturals are more benign, or at least realise that our world and theirs are connected and if mankind becomes corrupted or falls into darkness they are likely to follow. Human magicians, poets with occult skills, or simply ordinary people with a sense of duty towards Jolly Old England also assist. One may even find an unusual vampire whose conscience and ethics are stron-ger than normal for their race.

The setting itself is a time of transi-tion and turmoil. The Industrial Revolution began in England around forty years ago, but has not run its course yet. Over half of the popula-tion is still living in rural areas. There are only around 200 miles of railways. Steam power has been harnessed for some textiles facto-ries and a limited number of steam ships, but has gen-erally not become common place yet. London is lit mostly by oil lamps—gas light is reserved for the main streets and theatre district, and is not widely accepted. This is not the time of Jules Verne, H.G. Wells, Sherlock Holmes, or Jack the Rip-per, but that of Charles Dickens. The English Empire is nowhere near as extensive as it will become later, and the urge to colonise and explore is in abeyance till the home situation can be stabilised.

Life is changing for every class in England. The upper class faces challenges to its privileged posi-tion. While deference still exists, wealth can now be acquired through business and various trades, not just land.

The middle class is just forming. “Black jacketed” work like that of clerks, bookkeepers, and other mid-dle managers, along with a demand for specialists in engineering, management, chemistry, and many other industries has pushed the need for education

and granted a higher income than most ever hoped to see. The middle class is searching for identity and has turned to the idea of propriety, doing what is expected in terms of religion, marriage, and personal actions. The middle class also desires the right to vote and to influence the nation’s future.

The working class is in a miserable position. They toil up to 14 hours a day for six days a week. Wages are low and the cost of food high due to tariffs on im-ported grain. Many are on the brink of starvation. Life is short, brutal, dirty, and overcrowding in ramshackle buildings or tenements is typical. There is a tax on windows so quarters are small, lightless, and filthy. Open air dunghills exist in many of the courtyards in poor sectors and the sewers are woefully inadequate. Whether the working classes will revolt as they did in France in 1830, ally with the middle class to take power from the aristocracy, or wal-low in their own misery is yet to be determined.

This miasma is thickened further by the various machinations of evil powers. Demon Lords like Balberith seek to enter into man’s world to spread evil and chaos. Powerful vampires pass amongst humanity with goals of their own, feeding off the mortals, yet maintaining the secrecy of their existence and actions.

Evil magicians abound, some serving the Demon Lords, others form their own orders trying to increase their wealth, power, and control over human affairs. Mix in random packs of ferals—savage werewolf creatures that kill and rampage, dark-oriented ghosts that feed off the living, evil faeries such as goblins, and all manner of legendary creature that would do mankind harm.

At this point in time, perhaps more than any other, the Protectors and their allies are hard pressed to keep evil at bay. Beset by change within society, by supernatural and mundane plots, and by conspiracies and crises, the course of humanity itself hangs in the balance.

Queen Victoria

3

ChArACters

In a role playing game the players, except the Di-rector, take on the roles of various characters like the original cast in Ghosts of Albion. In the full game players will be able to make up their own

characters to play, but to test the waters the original cast will do nicely.

All characters have Attributes—basic physical and mental abilities. They are Strength, Dexterity, Con-stitution, Intelligence, Perception, and Willpower. Human Attributes range from one to six, with two being average.

Life Points (LPs) represent the amount of damage a character can absorb. When a character’s Life Points are exhausted she is at or near death.

Drama Points are the extra storytelling edge that al-lows a character to succeed when it is vital or dramat-ically appropriate. Starting Drama Points are based on the Character Type, but go up and down through-out an adventure as they are spent and earned by the character’s actions.

Additional actions are allowed to those with high Intelligence or Dexterity. They can be either mental (spellcasting mostly) or physical actions.

Qualities and Drawbacks are positive and negative traits that help round out a character and flesh out their personality. The game effects of a character’s Qualities and Drawbacks are explained under each entry, and bonuses to other Attributes are already applied.

Skills are learned abilities and are counted in levels. Where skills may overlap (such as the ability to sneak around in the case of Athletics and Crime), the Direc-tor decides which applies in any given situation.

Manoeuvres are a list of a character’s most used actions, broken down between mundane actions on top and magical ones on the bottom. Their associated scores are already calculated.

Some characters know spells that they can use with a spellcasting roll. Some of their effects are based on the Success Levels (SL) of that roll.

The following Original Cast Members are provided to get the group playing as quickly as possible. The Director should hand them around to the players or have each one select which Cast Member they wish to play. There are notes for each, describing the starting situations and personalities of each for the included adventure.

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Life Points 39Drama Points 20

Experience PointsAdditional Actions 1 Mental

Character Name Tamara SwiftCharacter Type Protector of Albion

Description See next page

AttributesStrength 2

Dexterity 3Constitution 3Intelligence 5

Perception 3Willpower 6

SkillsArmed Mayhem 4

Art 3Athletics 2

Crime 0Drive / Ride 0Engineering 0

Fisticuffs 0Influence 3

Knowledge 3Languages 3

Marksmanship 0Notice 4

Occultism 6Physician 1

Science 0Wild Card 0

Monetary Conversion4 Farthings / Pence

12 Pence / Shilling20 Shillings / Pound

Success Level TableRoll

total

success

levels DescRIptIon

9-10 1 Modest11-12 2 First Rate13-14 3 Jolly Good15-16 4 Topping17-20 5 Brilliant21-23 6 Extraordinary24-26 7 Magnificent27-29 8 Outstanding30-32 9 Smashing33-35 10 Ripping

+3 +1

QualitiesAttractiveness—2 Quick ReflexesBookish Resourses (Well Off)Hard to Kill—3 Status—3Magic—4Nerves of SteelOccult Library (Impressive)Protector—Albion

DrawbacksAdversary—3 Mental ProblemsHonourable (Serious) (Mild—Obsession)Love (Platonic—William) Mental ProblemsMinority (Woman) (Mild—Recklesness)

Useful InformationobseRvatIon: d10 + 7 Languages: English, French,

InItIatIve: d10 + 5 LatinappeaRance: +1

aRmouR:FeaR: +4

suRvIval / Ko 12 / 9

Combat Maneuversname

to HIt bonus Damage DescRIptIon

Dodge / Parry +7 — Defence ActionGrapple +5 — Resisted by Dodge

Punch +3 4 BashSword +7 8 Slash / Stab

Spellcasting +16 Varies By Spell (see next page)Counterspell +13 — Magic defence action; dispels spell

Deflect +16 — Magic defence action; deflects spell 45˚Hold +15 — Magic defence action; delays spell SL turns

Lesser Sensing +11 — Notice magical effects, nature, or possessionVolley +10 — Magic defence action; returns spell to caster

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More about Tamara...peRsonalIty

Feisty, smart and not afraid to voice her opinions, nineteen year-old Tamara Swift is way ahead of her time. She is the youngest of the two Swift children and, like her brother, inheritor of their family’s business, fortune, estate and legacy—the legacy of the Protectors of Albion. Called “Tam” by her brother William, Tamara chafes under the society perception that she should be a second class citizen.

QualItIes explanatIon

Attractiveness 2: +2 on all social tasks due to her good looksBookish: mental benefits but –1 on all social tasksHard to Kill 3: +3 on Survival TestsMagic 4: +4 to spellcasting and Lesser Sensing; can quick castNerves of Steel: +4 on Fear Tests; only necessary under very unusual circumstancesOccult Library (Impressive): Ludlow’s old library, shares with WilliamProtector: of AlbionQuick Reflexes: +2 initiativeResources (Well Off): decreased to 30 shillings weekly disposable income because she’s a womanStatus 3: upper middle class, –1 because she’s a woman

DRawbacKs explanatIon

Adversary 3: occupational hazard; Protectors have enemiesHonourable (Serious): always keeps word and does best to fulfil any promisesLove (Platonic—William): Willpower (not doubled) – 3 roll to follow head not heart when William is involvedMinority (Woman) - 2nd class citizenMental Problems (Mild Obsession—understand magic): trying to figure out some magical problem dominates her life to the exclusion of most other thingsMental Problems (Mild Recklessness) says what’s on her mind with little consideration for diplomacy or courtesy, rushes into dangerous situations, and rarely wastes time on second thoughtsNaïve: +2 to others’ Influence rolls against her, –1 to Knowledge rolls on city and crimeObligation (Total, Albion): Protector’s duties to their land

ArcanumSpell Casting Bonus +16 Casting Actions 2 Current Repeat

Casting ModMagic Threshold PL 2 Magic/Quick Cast Level 4

Rep

eat

Cas

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Spell Name Pow

erLe

vel

Act

ions

to

Cas

t

Range Damage Effects

yes Exorcism 5 5 10’ -- If SLs greater than possessing entity’s Willpower, posses-sion is ended

yes Eldritch Ball of Flame 5 1 100’ 24 + (SL x 2) Small green fireball hits one target; will set flammable

objects on fireyes Healing Touch 3 3 touch -- SLs x 2 Life Points healed; once per target per dayno Shield 2 1 self -- SLs x 2 AV; protects caster only for SL number of strikes

no Sleep 2 1 50’ -- Target’s Willpower (doubled) vs. spellcasting roll to avoid falling asleep for half hour per SL

yes Solid Air 4 1 100’ --Target’s Strength (doubled) vs spellcasting roll to move (can be attempted once per Turn); lasts for SL Turns (or until Strength roll succeeds)

yes Poseidon’s Trident 3 1 100’ 6 + (SL x 3) Spear of water hits one target

6


Experience PointsAdditional Actions 1 Mental

Character Name William SwiftCharacter Type Protector of Albion






Art 0Athletics 3










total

success

levels DescRIptIon


+3 +1

QualitiesHard to Kill—2 Status—3Magic—3 Well Educated—2Nerves of SteelOccult Library (Impressive)Protector—AlbionQuick ReflexesResources (Well Off)

DrawbacksAdversary—3 Obligation (Major—Honourable (Serious) Edinbourgh University)Love (Platonic—Tamara)Love (Romantic—Sophia)Obligation (Total—Albion)


InItIatIve: d10 + 6 LatinappeaRance:

aRmouR: William has a ScienceFeaR: +4 specialization in Architecture









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More about William...peRsonalIty

The twenty-one year old scion of a wealthy London banking family, William is apprenticed to one of the most reputable architects in England. William is the more skeptical than his sister Tamara, and has difficulty accepting his legacy, even when faced with incontrovertible physical and visual evidence. Despite any bicker-ing, however, he loves his sister dearly and is quietly proud of her independence and her accomplishments.


Hard to Kill 2: +2 on Survival TestsMagic 3: +3 to spellcasting and Lesser Sensing; can quick castNerves of Steel: +4 on Fear Tests; only necessary under very unusual circumstancesOccult Library (Impressive): Ludlow’s old library, shares with TamaraProtector: of AlbionQuick Reflexes: +2 initiativeResources (Well Off): three pounds weekly disposable incomeStatus 4: upper middle classWell Educated 2: extra skills


Adversary 3: occupational hazard; Protectors have enemiesHonourable (Serious): always keeps word and does best to fulfil any promisesLove (Platonic—Tamara): Willpower (not doubled) – 3 roll to follow head not heart when Tamara is involvedLove (Romantic—Sophia Winchell): Willpower (not doubled) – 3 roll to follow head not heart when Sophia is involvedObligation (Total - Albion): Protector’s duties to their landObligation (Major - Alma Mater, Edinbourgh University)

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Rep

eat

Cas

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Spell Name Pow

erLe

vel

Act

ions

to

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Azure Wave 2 1 50’ 12 + (SL x 2) If SLs greater than possessing entity’s Willpower, possession is ended

Barrier Reduction

Bolt3 3 10’ —

If bolt spellcasting roll is greater than barrier spellcasting roll when erected, barrier drops; will allow a vampire to enter a private dwelling

Exorcism 5 5 10’ -- If SLs greater than possessing entity’s Willpower, possession is ended

Eldritch Ball of Flame 5 1 100’ 24 + (SL x 2) SLs x 2 AV; protects caster only for SL number of strikes

Healing Touch 3 3 — SLs x 2 Life Points healed; once per target per day

Shield 2 1 self — SLs x 2 AV; protects caster only for SL number of strikes

Sleep 2 1 50’ -- Target’s Willpower (doubled) vs. spellcasting roll to avoid falling asleep for half hour per SL


Experience PointsAdditional Actions 2 Physical

Character Name Nigel TownsendCharacter Type Vampire






Art 2Athletics 4






Science 0(WC) Gambling 2




total

success

levels DescRIptIon


+3 +1

QualitiesAge— Mesmerize (Charming Voice)Attractiveness—2 Natural Weapon (Claws)Fast Reaction Time Resources (Well Off)Hard to Kill—2 Status—2Increased Life Points—2 VampireInnate MagicMagic—1

DrawbacksAdversary—3 Mental ProblemsArchaic—1 (Mild—Cruelty)Covetous (Serious–Lechery) Mental ProblemsHonourable (Minimal) (Mild—Laziness)Love (Tragic—Louise) Secret—4


InItIatIve: d10 + 12 Latin, SpanishappeaRance:

aRmouR:FeaR:




Bite +16 21 Slash / StabClaws +14 21 Slash / Stab






9

More about Nigel...peRsonalIty

Sir Ludlow’s greatest friend, the almost amusingly pessimistic Nigel loves the night life. He should. He has been a vampire longer than he cares to mention. He’s quite the gentleman dandy, always on the town. Still, Nigel lives alone with more than his share of secrets. In a past shrouded in mystery, he has travelled the world and had a great many adventures. Note that Nigel can move about during the day with his Obscure Sunlight spell, though he does not like using it.


Age: Nigel has not revealed his true ageAttractiveness 2: +2 on all social tasks due to his good looksFast Reaction Time: +1 on Fear Tests; +5 initiativeHard to Kill 2: +2 on Survival TestsIncreased Life Points: +20 Life PointsInnate Magic: +3 to Deflect, Lesser Sensing, and MesmeriseMagic 1: +1 to spellcasting; can quick castMesmerise (Charming Voice): if Mesmerise manoeuvre succeeds target is helpless for one Turn; target must hear, but not necessarily understand, Nigel’s voiceNatural Weapon: concealable clawed handsResources (Well Off): three pounds weekly disposable incomeStatus 2: middle classVampire: 1/5 damage from bullets; able to heal 5 Life Points per day from fire damage, 5 per hour otherwise; cannot enter private dwellings without being invited;–2 to all physical activities during the day; casts no reflection or shadow; stake through the heart immobilizes


Adversary 3: various enemies, both personal and due to his vampire statusArchaic 1: has trouble with some modern items or ideasCovetous (Serious Lechery): resisting this compulsion requires a Willpower (doubled) roll at a penalty of –1 to –3 if the temptation and possible rewards are greatHonourable (Minimal): does not lie or betray friends, loved ones, or people he respectsLove (Tragic—Louise): Louise died due to his natureMental Problems (Mild Cruelty): seldom allows the problem to control him during times of crisis especially when friends and loved ones are involvedMental Problems (Mild Laziness): seldom allows the problem to control him during times of crisis especially when friends and loved ones are involvedSecret 4: many different secrets, including being a vampire

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Rep

eat

Cas

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Spell Name Pow

er

Act

ions

Range Damage EffectsObscure Sunlight 2 1 -- Allows target vampire to travel during daylight for one

hour per SL



Character Name Queen Bodicea – Queen of the Iceni CeltsCharacter Type Ghost


AttributesStrength 0 (6)

Dexterity 0 (7)Constitution 0 (6)Intelligence 3



Art 0Athletics 6










total

success

levels DescRIptIon


+3 +1

QualitiesAge— Increased Life Points—2Athletic Innate MagicAttractiveness—3 Situational AwarenessDaredevilFast Reaction TimeGhostHard to Kill—4

DrawbacksAdversary—7 Humorlesss Mental ProblemsAntisocial Impulses Love (Tragic—Husband and (Mild—Recklessness)

(Severe—Violence) Daughters) Mental ProblemsArchaic—3 Mental Problems (Deranged—Zealot)Honourable (Rigid) (Mild—Cruelty)

Useful InformationobseRvatIon: d10 + 7 (9) Languages: English, French,

InItIatIve: d10 + 14 Gaelic, Latin, Manx, NormanappeaRance: +3 (can only speak, not write)

aRmouR:FeaR:





Punch +11 12 BashSpear +15 21 Slash / Stab

Spear (Thrown) +12 18 Slash / Stab

Deflect +14 — Magic defence action; deflects spell 45˚Lesser Sensing +8 — Notice magical effects, nature, or possession

11

12

More about Queen Bodicea...peRsonalIty

Bodicea is very tall with long red hair. She is completely naked, covered in Gaelic woad swirls, and carry-ing only a spectral spear.

Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Bodicea. She cannot affect purely non-supernatural opponents. Bodicea is invisible to mortal eyes unless she chooses to be visible (this does not take an action and requires no roll). All supernatural creatures (vampires, faeries, de-mons, etc.) can see ghosts whether they are visible to humans or not.


Age: seriously oldAthletic: –1 to all mental tasksAttractiveness 3: +3 on all social tasksDaredevil: likes to take risksFast Reaction Time: +1 on Fear Tests; +5 initiativeGhost: can move through barriers and even other living humans; can physically attack and be attacked only by super-natural beings and meansHard to Kill 4: +4 on Survival TestsIncreased Life Points: +20 Life PointsInnate Magic: +3 to Deflect and Lesser Sensing rollsSituational Awareness: +2 initiative, +2 to Observation rolls vs. surprise or danger


Adversary 7: AssortedAntisocial Impulses (Severe Violence): Bodicea tends to rush in swinging her spearArchaic 3: born in the 1st Century, Bodicea has trouble with most of the items and concepts of the 19th Century. This includes modern weaponry restricting her marksmanship to use with archaic weapons only.Honourable (Rigid): refuses to ambush, strike a helpless or unsuspecting foe, cheat or lie Humourless: lacks the ability to laugh at life and takes everything with the utmost seriousnessLove (Tragic—husband and daughters): Everyone she loved is deadMental Problems (Mild Cruelty): seldom allows the problem to control her during times of crisis especially when friends and loved ones are involvedMental Problems (Mild Recklessness): says what’s on her mind with little consideration for diplomacy or courtesy, rushes into dangerous situations, and rarely wastes time on second thoughtsMental Problems (Deranged Zealot): may control herself out of fear of being stopped, or discovered by the law, or other major threat, but when no such fear exists, watch out



Character Name Lord George Gordon ByronCharacter Type Ghost






Art 6Athletics 3










total

success

levels DescRIptIon


+3 +1

QualitiesArtist Occult PoetCharisma—2 Quick ReflexesExplorer Reputation / RenownGhost Worldly—Hard to Kill—4Increased Life Points—1Innate Magic

DrawbacksAddiction (Mild—Alchohol) Honourable (Minimal)Adversary—3 Love (Tragic—Wives, Lovers)Clown Mental ProblemsCovetous (Severe—Obsession)

(Desperate—Lechery)


InItIatIve: d10 + 7 German, Greek, LatinappeaRance: +2

aRmouR: William has a ScienceFeaR: specialization in Architecture




Counter +8 / +8 8 Parry, if successful also punch as one actionDodge / Parry +9 — Defence Action

Grapple +7 — Resisted by DodgeJab +10 6 Bash; +2 Initiative

Punch +10 8 BashUppercut +8 10 Bash


Poetic Suggestion +14 — Magic defence action; returns spell to caster

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More about Lord Byron...peRsonalIty

Byron lives on not only in his poetry, but also in his creation of the “Byronic hero”—the persona of a brood-ing melancholy young man, forever pondering a dark mysterious past. How much of this brooding person-ality was due to the darker forces Byron no doubt knew existed is debatable. Still, in death he still fights for liberation of a greater kind, as one of the defenders of Albion.

Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Byron. He too cannot affect purely non-supernatural opponents. Byron is invisible to mortal eyes unless he chooses to be visible (this does not take an action and requires no roll). All supernatural creatures (vampires, faeries, demons, etc.) can see ghosts whether they are visible to humans or not.


Artist: has a creative soulCharisma 2: +2 on social tasksExplorer: loves to experience new thingsGhost: can move through barriers and even other living humans; can physically attack and be attacked only by super-natural beings and meansHard to Kill 4: +4 on Survival TestsIncreased Life Points: +10 Life PointsInnate Magic: +3 to Deflect, Lesser Sensing, and Occult Poet rollsOccult Poet: can recite a poem and implant a simple suggestion in a person; cannot be done in combatQuick Reflexes: +2 initiativeReputation/Renown: Little recognized (1-2 on D10), Good reputation (+2 Influence if recognized)Worldly: has experienced many things


Addiction: Mild AlcoholAdversary 3: Demon LordClown: finds humour in all situations, even inappropriate onesCovetous (Desperate Lechery): makes lewd comments in most situationsHonorable (Minimal): does not lie or betray friends, loved ones, or people he respectsLove (Tragic): wives, loversMental Problems (Severe - Obsession): fascinated with new things

14



Character Name Lord Admiral Horatio NelsonCharacter Type Ghost






Art 0Athletics 3






Science 2(WC) Naval Tactics 5




total

success

levels DescRIptIon


+3 +1

QualitiesGhost Soldier (Officer)Hard to Kill—3 Status—4 (Admiral)Increased Life Points—1 Well Educated—Innate MagicQuick ReflexesReputation / RenownSituational Awareness

DrawbacksAdversary—2 Love (Tragic— Mental ProblemsHonourable (Serious) Emma, daughter) (Mild—Weak Constitution)Humorless Mental Problems Physical DisabilityImpaired Senses (Vision) (Severe—Cruelty) (Missing Arm))

Useful InformationobseRvatIon: d10 + 7 (4) Languages: English, French,

InItIatIve: d10 + 9 Latin, SpanishappeaRance:

aRmouR:FeaR:





Pistol +10 12 BulletPunch +9 6 BashSword +12 12 Slash / Stab


15

More about Lord Nelson...peRsonalIty

Horatio Nelson was born a sickly youth with a profound limp. He began his legendary naval career as sailor at age 12. Regal, refined, and the perfect picture of British Military might, Vice Admiral Horatio Lord Nelson continues to wage war in the name of Albion and England.

Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Lord Nelson. He too cannot affect purely non-supernatural opponents. Lord Nelson is invisible to mortal eyes unless he chooses to be visible (this does not take an action and requires no roll). All supernatural creatures (vampires, faeries, demons, etc.) can see ghosts whether they are visible to humans or not.


Ghost: can move through barriers and even other living humans; can physically attack and be attacked only by super-natural beings and meansHard to Kill 3: +3 on Survival TestsIncreased Life: +10 Life PointsInnate Magic: +3 to Deflect and Lesser Sensing rollsQuick Reflexes: +2 initiativeReputation/Renown: Well known (1-6 on D10), Stellar reputation (+4 to Influence rolls if recognized)Situational Awareness: +2 initiative, +2 to Observation rolls vs. surprise or dangerSoldier: OfficerStatus 4: AdmiralWell Educated: extensive training


Adversary 2: MinorHonourable (Serious): always keeps word and does best to fulfil any promisesHumourless: lacks the ability to laugh at life and takes everything with the utmost seriousnessImpaired Senses (Vision): missing one eye, –3 to vision Observation rollsLove (Tragic—Emma, daughter)Mental Problems (Severe Cruelty): likes to inflict pain and suffering on those who have angered or attacked himMental Problems (Mild Weak Constitution): –1 to any Constitution-based rollPhysical Disability (Missing Arm): any task requiring two hands is at a disadvantage (–3 or worse) or simply impossible

16

the rules of PlAy

Roleplaying games, like all other games, have rules. The main rule for the Director and the players is to have fun.

Rules are not necessary for many aspects of the game. Simple things like talking or picking up an object do not require rules or rolls. Only if the outcome of an action is in doubt and the results of that action are important, do the rules come into play. That’s when it’s time to start rolling dice.

the bAsiC roll

All tested actions are resolved with a ten-sided die (D10). A player rolls a D10 and adds the appropriate Attribute and/or skill to the number rolled. If the result is nine or higher, the action was successful. If the result is less than nine, the action failed. Some actions may be more difficult than others (see Modi-fiers below). The higher the final total result the more spectacular the success (see Success Levels below).

Most actions add the values of one Attribute and one skill to a D10. The Director always determines which Attribute and skill should be used for a par-ticular action. When no skill is appropriate, the At-tribute is usually doubled and added to a D10. Some tough actions don’t get the doubling. The Director makes the call on which Attribute is used and wheth-er it is doubled or not.

Example: George is playing Bernard St. John, an apprentice magician. George wants Bernard to climb from a balcony up to the roof of a building. The Director decides that this should be resolved using Bernard’s Strength 4 and Athletics 2. The player rolls a four on a D10, and adds six (the sum of Attribute 4 and skill 2). The result is 10. Since this is higher than nine, Bernard succeeds in making his way to the rooftop.

George then decides that Bernard will attempt to jump down to a ledge on the neighbouring build-ing. The Director decides that due to the precarious footing, once the jump is successful (using a Dexterity and Athletics roll), the player must roll a Dexterity (doubled) action for Bernard to keep his balance. Ber-nard’s Dexterity is three, so this is doubled to six. A D10 is rolled and comes up six, for a total of 12. The Director informs the player that Bernard wobbles, but is able to keep from falling from the narrow ledge.

resisted ACtions

Sometimes a character attempts something and another character tries to stop her or avoid the action. This is resolved as a normal action, but both sides get to roll. If both rolls fail, neither side gets the desired effect. If one fails and one succeeds, the successful character wins. If both rolls are successful, the better

result wins. In the case of a tie, the defender (if there is a defender) wins; otherwise it is just a tie.

Resisted actions occur most often in combat. The attack rolls his attack; the defender rolls his defence. However, the basic roll usually applies only to Cast Members and (if the Director chooses) important Guest Stars and Adversaries. Whenever Cast Mem-bers need to fight or outwit other characters, they need only beat the appropriate Ability Score number for the Supporting Cast Member in question. No dice for them! There are three Ability Scores: Muscle (for Strength contests), Combat (for attacks and defences), and Brains (for perception and feats of intellect).

modifiers

Sometimes cir-cumstances make an attempted task easier or more dif-ficult. In such a case, a positive or negative modifier may be added to the attempt. The Base Modifiers Table gives some modi-fiers and provides guidance on when to use them.

suCCess level (sl)In some situa-

tions, how well a character succeeded is im-portant. In that case, check the result against the Success Level Chart.

When a char-acter attacks someone, how well she struck influences how much she hurt the target. Add the Success Lev-els of the attack roll to the base damage of the attack (for Supporting Cast Members with Ability Scores, the damage listed in their Com-bat Manoeuvres already includes the bonus for Suc-cess Levels). Alternatively, for uses of the Physician skill, each Success Level heals one point of damage.

17

base moDIFIeRs table

Child’s Play +5Moderate +3 to +4

Average +1 to +2Challenging No Modifier

Difficult -1 to -2Very Difficult -3 to -5

Herculean -6 to -9Promethean -10 or worse

success level table

Roll Total

Success Levels Decription

9 - 10 1 Modest11 - 12 2 First Rate13 - 14 3 Jolly Good15 - 16 4 Topping17 - 20 5 Brilliant21 - 23 6 Extraordinary24 - 26 7 Magnificent27 - 29 8 Outstanding30 - 32 9 Smashing33 - 35 10 Ripping

+3 +1

Penny dreAdfuls When something fearful happens, the characters

must roll Willpower (doubled). This is known as the Fear Test. Modifiers may be called for. That’s up to the Director.

If the result of the roll is nine or higher, the character may be afraid or apprehensive, but she can act nor-mally. If the result is eight or less then things start to happen. Use the Fear Table below for inspiration.

CombAt To make things go a bit easier when the rough stuff

starts, tense situations (such as combat) are divided into segments, known as Turns. A game Turn repre-sents a short bit of time—five seconds or so—during which characters can attack and defend.

At the beginning of each Turn, the players declare the intentions of their Cast Member. This is where they say, “I want to aim my crossbow,” or “I cast a spell.” The Director decides if that action is possible in one Turn. Most simple actions are, but if a charac-ter wants to knock a large hole in a wall with an axe, she is going to need more than five seconds.

Then the Director determines who has the initia-tive—who acts first. The simplest way is to have each character roll and add their Dexterity (and any Quality or manoeuvre bonuses).

Once initiative is determined, the intended tasks are rolled. Usually a character may only take one attack and one defence action per Turn. Exception charac-ters gain extra actions, which may be physical (in the case of high Dexterity) or mental/spell casting (in the case of high Intelligence).

As it is difficult to do more than two things at once, additional actions suffer cumulative penalties of –2. The player only rolls once—successive attacks or defences each reduce the total by two. If the target defends against any of those attacks, the character can no longer continue attacking on that Turn.

Close CombAt In close combat, attacking uses Dexterity and the

appropriate skill (Fisticuffs for bare handed or Armed Mayhem with a weapon) or the Combat Score. In a pinch, Athletics might be substituted for swinging at-tacks with a stick (cricket bat, croquet mallet). When two or more attackers gang up against a single target, they get a +1 bonus to all actions for each attacker, to a maximum of +4 for four or more attackers.

Weapons may only be parried by weapons. A hand-to-hand attack may be parried by a weapon and that’s going to cause half normal damage for that weapon to the bonehead who rushed in unarmed. Thrown weapons can be parried at a –2 penalty. Ar-rows and crossbow bolts are parried at a –6 penalty. No character can parry bullets.

Anyone may attempt to dodge an attack. Dodg-ing hand-to-hand attacks can be done once per Turn without penalty; dodging missile attacks (bullets, arrows, harpoons) suffers a –2 penalty on top of any other modifiers.

Engaging in Full Offence means the character foregoes any defence against attacks that turn, in exchange for a +2 bonus on all attacks. The flip side is Full Defence, which allows the character to defend against two attacks at no penalty (and against others if extra actions are available), and gives him a +3 bo-nus to all defence actions. No attacks are allowed on any Turn the character is in Full Defence mode.

Sometimes a character just wants to grab someone. That requires a Grapple (Dexterity and Fisticuffs or the Combat Score). The victim resists with a Dodge action. When grappled, the target suffers a –2 pen-alty to actions that involve the grappled limb (Direc-tor’s decision), or –1 to all actions if grappled around the body. If two attackers grapple both arms, the penalty is –4 and no Dodges are possible. The victim can try to break free with a Strength (doubled) roll, or the Muscle Score versus another Grapple action.

18

FeaR table

Roll Result

eFFect

9+Okay: The character is doing fine and while perhaps afraid, he’s mastered his fear and can act normally.

7 - 8

Startled: The character is startled, but not paralysed, and can act normally. Initiative is lost, however; the creature wins initiative automatically on that Turn. Set the charac-ter’s initiative to one less than the being that caused the Fear Check.

5 - 6

Unnerved: The character screams and/or flinches away. Only defence actions can be attempted on that Turn and the character cannot go on Full Defence. She is at –2 pen-alty for all actions for the next Turn.

3 - 4Scared: The character embarrasses himself and backs away slowly. He suffers a –3 pen-alty to all rolls for the next three Turns.

1 - 2

Terrified: The character takes off running for a full Turn, unless cornered, in which case she cowers in terror. No attacks are possible, and defensive actions suffer a –2 penalty. After the first Turn, a new Fear Test can be rolled (reduce any penalties by one with each successive Turn until the character snaps out of it).

0 or less

Overcome: The character is not in control of his actions. He may pass out or suffer some other humiliating fate.

rAnged CombAt Generally speaking, ranged combat works just

like close combat. Attackers make their rolls or use their Combat Score, and the target tries to defend by Dodging. Sometimes it pays to take careful aim—if the character misses the demon with a crossbow shot, she may not get a second chance. Aiming delays the shot action until near the end of a Turn. The player aims with a Perception and Marksmanship roll, or just uses the Brains Score. The subsequent shot ac-tion gets a bonus equal to the Success Levels of the Aiming roll.

The ranges (in yards) of various weapons are listed on the Range Table. Modifiers to attack rolls are in-cluded in parenthesis after the range heading.

dAmAge Damage is measured in Life Points. Each attack ac-

tion has a base damage number or a formula, which is calculated and listed under Combat Manoeuvres. The actual damage inflicted is equal to the base damage, plus one per Success Level of the attack roll, minus any Armour Value (AV) possessed by the defender, multiplied by any damage type or other modifiers. In the case of Bullet or Slash/stab type, damage is doubled against normal humans (bullet damage is not doubled against vampires). Bash dam-age has no multiplier.

Bash attacks (pugilism moves, billiard’s cues, cricket bats, and so on) can be turned into Knockout attacks, using a Dexterity and Fisticuffs – 2, or Dexterity and Armed Mayhem – 2 roll, or the Combat Score – 2. The total damage of the attack is halved, but the victim has to make a Constitution (doubled) roll (or use the Muscle Score) with a penalty equal to the Suc-cess Levels of the Knockout roll. If she fails, she goes down for the count.

Recovery from a knockout is in the Director’s hands; the victim may recover in a few turns, or wake up an hour later . . . possibly in captivity.

Fire damage is a special case. A person on fire takes three points of damage every Turn until somebody puts her out. If more than 20 points of Fire damage are inflicted on a character, some scarring occurs. Fire damage also heals at half the normal rate (or one Life Point per Constitution level per day for vam-pires); the player should keep track of fire damage separately.

effeCts of injury Characters reduced to 10 Life Points or below are

severely injured and find it hard to continue fighting; all combat rolls suffer a –2 penalty. If reduced below five Life Points, this penalty goes up to –4. At zero Life Points or below, the character is knocked down, stunned, and only semiconscious. A Consciousness Test (Constitution and Willpower minus the number of Life Points below zero) is required to remain con-scious. Thus, at –7 Life Points, a Consciousness Test suffers a –7 penalty.

At –10 Life Points, a Survival Test is required (Con-stitution and Willpower minus one for every 10 Life Points below zero). The Survival Test must be passed once each minute until the character receives some medical aid. Each additional Test suffers a cumula-tive –1 penalty. A successful Intelligence and Physi-cian roll stabilises the character.

getting better For most Cast Members (the purely human kind),

injuries heal at the rate of one Life Point per Consti-tution level every day spent under medical care (no healing is gained without some kind of medical care). Supernatural creatures—faeries, ghosts, vampires, etc.—heal much quicker, usually at the rate of one Life Point per Constitution level every hour or some-times even faster. Use of Drama Points can greatly speed recovery.

drAmA Points Drama Points are what make noteworthy characters

worthy of the tales we tell about them. A player must announce that her character is using a Drama Point during the Intentions phase of a Turn, or before roll-ing during non-combat situations. Drama Points can be used in several ways.

19

Range moDIFIeRs table

TypePoint Blank(+1)

Short(0)

Medium(-1)

Long(-3)

Extreme(-6)

Pistol 3 10 20 40 80Spear

(Thrown) 5 20 45 70 100

Heroic Feat: By spending a Drama Point, the char-acter gets a +10 bonus on some value. This can be an attack or defence roll, any use of a skill, or even for a Fear or Survival Test. The Heroic Feat can also make things hurt more; the +10 bonus is added after Success Level bonuses, armour, damage type, and other modifiers are applied. Only one Heroic Feat may be performed in a Turn.

I Think I’m Okay: For a mere Drama Point, half the Life Point damage (round down) the character has taken up to that point is healed up. I Think I’m Okay can be used only once per Turn, but it can be used several Turns in a row, each use halving what-ever damage remains. If the character had suffered enough damage to be incapacitated or unconscious, however, healing does not necessarily awaken him. The Director decides if the time is right for the char-acter to revive and join the action.

Plot Twist: Once per game session, each character can spend a Drama Point and get a “break.” This is not a free ticket. If the heroine stupidly walked into a ferals’ lair and she is surrounded by a horde of hungry werewolves, a Plot Twist won’t allow her to escape unscathed. If the Director decides that a Plot Twist is not possible, the player gets back the Drama Point.

Righteous Fury: By spending two Drama Points, the character gets a +5 bonus to all attack actions, including magical attacks, for the duration of the fight. These benefits may be cumulative with Heroic Feats. There must be an appropriate provo-cation to invoke the Righteous Fury rule, however. She needs to be truly provoked, such as a brutal attack on a loved one, an unexpected betrayal of trust, or the raising of a monster that killed her lover years ago. Not even the injury of a party member is sufficient unless there is some further emotional tie between the two characters.

mAgiC Magic is a vital part of the Ghosts of Albion universe.

It has been around for thousands of years and is the Protector’s chief weapon in the fight against the enemies of Albion.

Each spell has a Power Level. This determines the overall strength of the spell—the higher the Power Level, the more difficult the spell is to cast properly and the more damaging the consequences of failure.

sPellCAsting Casting a spell requires a spellcasting roll using

Willpower and Occultism (with a bonus equal to any levels of the Magic Quality). A target must be within the spell’s range, in the area of affect if the spell has one, and in the caster’s sight. A blinded magician

could still cast a spell at a target sensed through hear-ing or smell, or in a specific direction, but would be at –6 to his spellcasting roll.

Unless otherwise stated, any spell may be cast with one action.

If the spellcasting roll fails (i.e. the total is less than nine), the spell doesn’t work—the ritual simply fails as the proper mindset or energies were not engaged. Generally, there’s no other downside here; the charac-ter just wasted some time, candle power, words, and gestures.

If successful, the roll’s Success Levels are compared to the spell’s Power Level. If the Success Levels are equal to or greater than the Spell’s Power level the spell effects occur as described.

If some Success Levels were generated, but were not equal or greater than the Power Level of the spell, magical energies were created but not controlled. Bad show, chap. The Director consults the Spell Backfire Table below or decide what is dramatically more appropriate.

rePeAted CAsting Casting certain spells is taxing on the old grey mat-

ter. A cumulative –1 penalty is applied for each spell cast without a good three to four hours rest. This could be eating, meditating, or other relaxing activity, but not research.

20

spell bacKFIRe table

Roll D10 and add the Spell’s Power Level.Roll Total Result

4 or less Phew! Jammy! The spell still works.

5 - 7

The spell is delayed. It appears the spell failed, but it manifest normally at a time of the Director’s choosing (ideally, a dramati-cally appropriate time).

8 - 10

The spell works, but is less effective than expected. The duration, damage, area, range, or effect is halved (if not applicable, the spell is delayed as above).

11 - 13

The spell works, but the energy damages the caster. The magician takes five Life Points of damage per Power Level of the spell.

14 - 15The spell affects the wrong target (the Director decides who gets to be the lucky recipient).

16+

Spell has a completely unexpected ef-fect. The magical energies run rampant, often causing physical damage to the area or summoning dangerous entities from beyond our reality. This can also happen if something disrupts the spell during a criti-cal point in casting.

Defensive magics (see below) do not count as spells cast for incurring a Repeated Casting modifier. They are affected by the current cumulative modifier, but do not increase it.

disPelling At some point a magician may want to end the

effect of one of her ongoing spells. She may do this at will, though it does take an action to accomplish. Stopping the ongoing affects of other caster’s spells is not so easy, however. There are three ways to do this.

Reverse: If the character knows the spell that he wants to end, he just casts it in reverse using a normal spellcasting roll. As long as Success Levels equal to the spell’s Power Level minus one (to a minimum of one; it’s easier to reverse than cast), the spell ends. If the character has access to the origi-nal caster’s spell books or version of the spell, the Power Level is reduced by two.

Disperse Magic: This spell must be used if the specifics of the spell sought to be dispelled are not known. The Success Levels must equal or be greater than the Power Level of the spell to be dispersed.

Persuasion: The character can find the caster of the spell he wishes to end and get her to stop it. Obvi-ously persuasion here will work, but so will more dire measures. Furthermore, continuing spells stop working, but permanent ones may not. In any event, wholesale slaughter is discouraged.

sPell defenCe

Anyone can attempt to dodge a bolt, ball, cone, etc. spell. This uses a defensive action. Reduce the incoming damage from the spell by the target’s Suc-cess Levels times three. If the damage is reduced below zero, the spell is considered to have missed the target and any other affects the spell might entail are ignored.

defensive mAgiCs Those with the Magic or Innate Magic Qualities

can employ defensive magics. One can also save an action from multiple spell actions for extra defensive magics (with the normal penalties applying). Note that defensive magics work against a supernatural creature’s targeted power. Like normal defence ac-tions, they can be used in response to an opponent’s offensive action.

These manoeuvres use Willpower and Occultism, and are modified by Magic levels or Innate Magic. A standard Resisted Action between the original cast-er’s spellcasting roll and the target’s defensive magics roll is conducted. Failed defensive magics means the spell goes off as the original caster desired.

The magician must choose his defensive magic ma-noeuvre before he knows what the opposing magi-cian rolled for spellcasting.

Deflect: The magician deflects an incoming spell approximately 45 degrees. The magician can choose which side, but the Director decides where the spell ends up. This defence action only protects the char-acter using Deflect, and redirects only that portion that would affect him in an area spell. This is the only defensive magics manoeuvre that those with Innate Magic may use. The Deflect defence roll suf-fers no penalty.

Hold: The magician delays the opposing spell a number of Turns equal to the Success Levels of the defensive magics roll before resolving. If the spell is a ball, bolt, cone, etc., when the Hold runs out it continues to its full range, striking whatever is in the way. If the spell affects a specific target directly and the target is out of the area, spell’s range, or line of sight, it has no effect. Hold will protect the caster and delay a portion of an area spell equal to the magician’s Magic Level in feet. The Hold defence roll suffers a –1 penalty.

Counterspell: The Magician can try to dispel the in-coming spell, totally negating it and dispersing the magical energies harmlessly. This is much harder on the fly and the roll to accomplish this Defensive Magic is – 3. Note that the Magician does NOT need to know the incoming spell to attempt this. Dispel will protect the caster and dispel incoming spells in an area up to the magician’s Magic Level x 2 in feet around him. The Counterspell defence roll suffers a –3 penalty.

Volley: The Magician can try to volley, return or reflect the spell back upon the caster, who will suffer all the effects of the spell. The roll to accomplish this difficult Defensive Magic is – 6. Volley will protect the target only, rebounding just the portion of an area spell affecting him. If successful the origi-nal caster may not use a Defensive Magic to protect himself, he just takes the spell effects. The Volley defence roll suffers a –6 penalty.

lesser sensing Any creature with Innate Magic or Magic levels has

the Lesser Sensing ability. This allows them to make a Perception and Magic (+3 instead for Innate Magic) roll while concentrating to see certain things. Suc-cess reveals any active spells, whether a being or item has magical abilities (but not what type they are), if a ghost is present (but again not the exact particulars), or if a person or object is possessed (though not any details on the possessing entity). Higher Success Levels give clearer results.

21

introduCtion

Derby Day is an adventure for the Original Cast, known to those who have visited the BBC Ghosts of Albion site: Tamara, William, Nigel, and the three ghosts. This material

includes background and period information to get players into the setting and the concerns of the times. They can learn about the different horses, notice the betting establishments and the extensive preparations for lunch, interact with others revellers, and discuss matters of recent concern—all the while trying to ferret out the supernatural threat. Several fights will occur, both magical and physical, and plenty of chances for roleplaying with various Director-played Supporting Cast Members will arise.

As always, the first rule is to have fun. Novice Di-rectors should attempt to keep the Cast on the basic story path, even if that means dropping broad hints or simply dictating which direction they take. Expe-rienced Directors should allow the Cast more leeway and use their imaginations to fill in blanks when unexpected decisions occur (and they will).

Plot synoPsis

The overall plot of Derby Day revolves around the attempt of one William Atherton to pass two specially prepared coins containing Allitra demons to two Cabinet Ministers—the Home Secretary and the First Commissioner of Woods and Forests. In doing so,

Atherton hopes to take control of the two individu-als. He is doing this at behest of Lord Winchester, a member of the aristocracy who objects to the route of the Great Western Railway near his estate. The Lord desires the route changed, and seeks to control the two Ministers in order to do so.

Complications arise when a child steals one of the coins. If he fails to recover it, Atherton will be forced to convince the person it was meant for to come Atherton’s home in Epsom and perform a longer, more complicated summoning and possession ritual.

The Cast must negotiate the teeming throng at Derby Day and thwart the machinations of Lord Winchester’s agent, Mr. Atherton.

derby dAy

The Derby Day holiday at the centre of this story takes place in May 1839, about a month prior to the first anniversary (usually called a ‘Jubilee’) of Queen Victoria’s coronation in June (she ascended to the throne in June 1837, but the coronation is always a year later). Derby Day is a national holiday and even Parliament is adjourned then. The aristocracy deigns to set aside prejudices for the day and mixes shoul-der to shoulder with the working class. The middle class is less well represented, but is still present. (The Ascot, generally a month later, is more of an elite race with just the aristocracy attending.) Derby Day takes place at Epsom, a short trip south of London.

22

Derby Day~or~

A Day at the Races

All the popular racing literature: Bailey’s Racing Register, Pick’s Racing Calendar, The Turf Register, and the Sporting Magazine predict a jubilant crowd and an exciting race. The railroad from London opened last year and was a rousing success with a few thousand arriving by railway. While not a big number for the large throng expected—50,000-70,000 total—these newcomers added a touch of colour to the event, and more are expected to travel in this manner this year. Smoke belching engines combined with the large number of coaches and carriages that travel down the dry roads from London will bathe the whole area in dust giving everyone a slightly dirty, almost chimney sweep look. White or tan is definitely not a wise choice for clothes. So much for some clear, fresh air away from the grim and soot of coal-powered London.

Think of Derby Day Epsom as a giant faire. Beer and ale houses are filled to overflowing—areas are set up outside for the additional patrons and prices are actually lowered slightly due to the high expected volume. The Downs, the track itself, has no rails or stands, so most watch it from nearby, open fields. A single rail fence on the inner side of the track marks the best route for the horses; a strain of rope keeps the crowd away from the outer rim. Other than a starting area and stables for the horses, and a place for the judges, that’s it for facilities.

Although Epsom is normally a smallish community, the village is flooded with all sorts of entertainers for the day. Booths made of wood frames, canvas, ropes, and other materials are erected in the area around the Downs to house a wide variety of faire-like activi-ties. Booths hold dancing areas, drinking contests, tableaux vivant (“living pictures”—costumed enter-tainers posed in still-life displays), darts and other sporting events, terrible melodramas, puppet shows, burlesque, pugilism sparring (no full events as these would last way too long.), and gambling of all sorts: roulette, card games, even/odd, and three-card mon-te. Men pass through the crowd handing out cards with various house names and the rules of the game that establishment is running. The general buzz of crowd noise is accentuated as they yell their pitches, inviting all to come and join in. Colourful and bedaz-zling gypsies with their garish wagons sell elixirs and tonics, tell fortunes, and add a touch of exotic.

Betting shops for the race usually stand alone or share space with tobacconists or shoemakers, and money is passed through a small pigeon hole. Ask-ing around a bit reveals some of the more reputable brokers, who give reliable buzz. In 1836 Lord Jersey’s horse, Middleton, won. He had no entry the last couple years, but has returned with a spirited new-comer, Isle of Oak, this year. Many like his chances. Last year’s winner was Amato, owned by Sir Gil-bert Heathcote and ridden by John Chappel, a fine jockey. Their horse this year, Majestic, won a race last month largely due to the wet conditions. Today is

overcast and rain is possible. Majestic just beat out a newcomer, Bloomsbury, owned and trained by Wil-liam Ridsdale . These well regarded newcomers are thought to have a excellent shot at the win this time, provided the weather holds. (Note that historically, this is the horse that won in 1839. He was ridden by S. Templeman.)

If the Cast picks a betting house at random, it is more likely than not one of ill-repute. Many are set up to fleece the customers by trumpeting second rate horses as front runners. These houses might put forth either Norman Beau, a horse of French lineage, or Lucky Gentleman as two relative unknowns. These horses have great stamina and strong legs. Their chances are good, supposedely, as this race is more egalitarian and not so blue-blooded as the Ascot or 1,000 Guineas races. A few other horses that could be mentioned are Plover’s Folly and Lucky Lady. Each has little chance of winning, but can be used to muddy the betting field, as it were.

The actual race itself lasts only three minutes and is generally run just before lunch. This year, the organizers have decided to start after lunch around 2:00 p.m. or so, with more festivities following. They are hoping to entice more of the crowd to spend the afternoon and evening in Epsom (spending freely). The Day lasts until dark—some stay on for a night’s merriment but the bulk of the crowd departs at vari-ous times before that. The main action in this adven-ture should take place before the race begins.

the CAst

Through various contacts, William, Tamara, and Nigel have gotten word that certain omens point to demonic activity. The exact nature is unknown, but it is definitely old, evil, and of a subtle rather than brute-force nature. The portents hint at a larger threat to all of England, but something that is slow or delayed, and hidden.

Queen Bodicea has been contacted by members of the Faerie, who explain that their seers have felt a great heat coming from Epsom. Something mystical is happening there involving human-style magic and demons. The threat derives from past events that the humans are unaware of, and that even the long-lived Faerie do not fully comprehend. The seers see deep machinations amongst the humans that will lead to great tragedy for Faerie kind. They hope that Bodi-cea and her friends will address the situation.

With the previous information in mind, the Cast sets off to Derby Day. They arrive via coach, which Far-ris, their more-than-capable manservant, has parked and is currently looking after. Nigel has cast his spell and has six hours of protection before he must find darkened shelter. It is about 10:00 am.

23

ACt one: set-uP

williAm: Your Lordship, i’m quite certain aLL of this must be a terribLe shock to You. i assure You, there’s a perfectLY reason-abLe expLanation.

(beat) a scientific expLanation, reaLLY.

—embers, ACt ii

rundown

The flow of this act depends quite a bit on whether the Cast stays together or splits up. For the most part they should get a taste of the day, a chance to see some of the sights,

overhear what is being discussed, and get a lay for the land. During this portion they should see, but not encounter, a couple of the strange cane gentlemen, and speak with an old gypsy woman who knows who the protectors are and has some important infor-mation to relate.

At that point, the Cast should notice the two chil-dren running through the crowd, pursued by some cane gentlemen. The act should culminate with a chase through the crowd heading towards the out-skirts of town, toward a burned-out building.

joining the festivities The Cast is presented with a large crowd in festive

spirits enjoying the day. The Director should relate the cacophony of people and establishments. The Cast can take part in political discussions, watch some of the performances, bet on the race, or gamble in general.

They may wish to watch some of the pugilist spar-ring. If so, Lord Byron comments with some exper-tise since he was trained by Gentleman Jackson, a famous champion pugilist. Normally pugilism is fought bare-knuckled and bare-chested in upwards of 50 rounds, each separated by 30 seconds. Each round lasts till someone is knocked down. The sport isn’t commonly called boxing yet, and the Marquis of Queensbury rules don’t come into affect until 1867. Wrestling holds above the waist are legal and contestants fight in a roped off area about eight feet per side. Derby Day sparring matches are basically best two out of three rounds—anyone knocked down twice, or being knocked out, loses.

The Cast cannot fail to notice the preparations for lunch. This is a very big deal at Derby Day and usu-ally lasts quite some time with various specialties all over the area. Plover’s eggs, one-shilling blanc manges of the Gunter School, a variety of cold fruit, and meat pies are among the offerings. Six foot vats ring the finer establishments dispensing the best champagne into goblets—beer is in abundance, and

finer wines are also available. All sorts and selections of food can be found and purchased.

Finally, the Cast should notice that a few members of the Metropolitan Police Force are present and providing some measure of security for the occasion. There are only a hundred of these constables and they tend to be lost in the crowd, but they are around.

Throughout this scene, the characters should talk about or overhear discussions on various topics. The subject varies by class and the most important ele-ments are listed first.

Aristocracy: The dominant subject is the Queen’s birthday which is 24 May, when she will be only 20. What celebrations will occur and the various balls and receptions for that are important matters for the elite. In addition, her first jubilee is next month, on 28 June. With such a young queen, the talk is that her mother, the Duchess of Kent, and her mother’s advisor, Sir John Conroy, are dominating the Crown. Others feel that Lord Melbourne, the Prime Min-ister, seems to have taken her under his wing and perhaps she will be more independent than was expected. This news is followed by the usual talk over who is being presented at Court next, what the coming balls will be like, who will dance the best, and the quality of various card players.

Some members of the House of Commons present. A little business might be done, but not much. This is pretty normal, but always worth noting. It is also thought that Lord John Russel, the Home Secretary, one of Queen Victoria’s Cabinet Ministers, a known Whig and liberal reformer, is also likely to be pres-ent. He enjoys pugilism quite a bit and always bets on the matches. He also well known for his interest in horse racing and other equestrian events.

The “fad” of the railway bringing some wealthy and influential folk down to Epsom has split the crowd. Some think it novel and interesting, oth-ers decry the added smoke and clamour and feel it should be eliminated. This leads to talk about Lord Winchester, the 2nd Earl of Winchester, Herbert Weston Penthingham, who has been speaking with the Duke of Reading, Michael Hollingsworth, to set up a commission in the House of Lords to review railway bills in the House of Commons. (In order to build a railway line, an Act of Parliament must be passed detailing the route and the location of any stations prior to construction). Lord Reading has been trying to get support in the Lords to limit railway construction because the smelly, loud, and uncouth machines threaten the hunting, shooting, and aesthetics of the countryside. Lord Winchester has just realised that the Great Western route will pass very near his estate and is trying to get the route altered so that it will not pollute the forest nearby or damage the crops of his tenant farm-ers. He wants the route moved to the north side of a nearby hill (Olde Baldy) to put the high ground

24

between his estate, lands, and the railway. There are some who say he also fears that if the railway comes directly into Winchester, it will bring union agitators and Chartists, whom he obviously despises.

More than a few sly comments are uttered about the ridiculous Chartists, their petition and National Charter, published just over a year ago. Their idea that working men can aid in the governance of the land, or even vote, is clearly preposterous. A man with no stake in society, as established by owner-ship of real property, has no vested interest to protect. As such, his vote would be available to the highest bidder or any he was dependent on for his own livelihood.

Middle Class: Wealthy commonfolk and those on the fringes of the aristocracy focus mostly on the Great Western Railway. It is claimed that it will open up many new markets and bring more people to London—clearly a great opportunity for those with the proper business acumen. A large amount of foodstuffs, Welsh coal, and other raw materi-als can be brought into London from the western regions of Albion. The railway coming down to Epsom is seen as the wave of the future and some-thing that should be supported and advanced. Many bemoan the difficulties of getting railway acts through Parliament—the cost of construction is already enormous, less Parliamentary interference would be much preferable. Lord Reading and Lord Winchester have let self-interest colour their propos-al to bring the House of Lords into the process.

Talk revolves around the growing scandal that the Rookeries and eastern districts of London are be-coming. The ramshackle tenement housing, the in-crease in disease due to inadequate circulation, the poor sanitation, and the lack of religious fervour has brought great shame to England. If the poor could just be made to understand that thrift, sobriety, and hard labour lead to prosperity their plight could be alleviated. The condition of the Irish in the Rooker-ies around St. Giles is an especially good example of the evils of too much drink, Catholicism, and lack of moral fibre. A Royal Commission should be formed to study the situation.

The Anti-Corn Law League established last year under Richard Cobden and John Bright in Manches-ter is fast becoming a national movement and this is seen as very good. “Corn” is generic for all grains, including wheat, rye, oats, barley, etc. The League proposes removing the import tariff on all grains. That in turn will lower the price of bread, the primary foodstuff of the poor. More importantly, it will encourage other countries to lower or restrict counter tariffs on English manufacturers, thus open-ing new markets and expanding trade. Anything that promotes free trade and business opportunities abroad is highly laudable, especially if it involves less government intervention in the economy.

Some are concerned about the London’s Work-ing Man’s Association attempt to establish itself as a respectable union. They press to restrict free trade through collective bargaining and support the adoption of the National Charter. Such interference is bad in itself; combined with the universal suf-frage proposal, there’s no end to the trouble pos-sible. However, some in the middle class feel that the Chartists should be supported as it will weaken the aristocracy. Feelings are heated and split on this topic.

A few talk about the troubles in Canada. An unseemly border dispute has broken out with the former Colonies in North America. The southerners are all criminals or deserters and their influence has doubtless corrupted the lower provinces of Canada, causing the current problems. Fortunately, Earl Durham has been sent to settle things and when his report comes in things should hopefully improve. It would be a shame if some sort of border conflict cropped up and lead to increased taxes to pay for the fighting.

Many think it is time that Anglican Church reform be expedited. There are anti-pluralities acts and acts for building and enlarging churches pending in Par-liament that need to be expanded and strengthened. Hopefully this will bring a revival in church atten-dance and keep the dissenters and Catholics at bay. (If the person speaking is dissenter-inclined, reform efforts are described as a sop to the public intended to maintain the state’s Anglican-favoured position.)

Working Class (or the rougher parts of town): The People’s Charter published by the National Charter Association last year has led to them be-coming known as Chartists. Their six-point plat-form is of great import to the working class:

25

tHe peoples cHaRteR

Universal male suffrage: The right to vote is currently restricted to those with 40-pounds property ownership.Secret ballots: Voting is currently done in the open and every man expected to stand up for his viewpoint. In effect, if suffrage were expanded, a landlord or employer could determine how those beholden to them voted.No property requirements to serve in Parliament: This would allow working class and lower middle class men to be elected.Payment for members of Parliament: This would allow the non-wealthy to be elected and serve.Equal electoral districts: Rotten and pocket boroughs had not been entirely eliminated, nor was representation based on population.Annual Parliaments: This would make them more responsive to the people.

Naturally, both the middle and upper classes see this movement as a threat, particularly since its popularity is rising in working classes. The Char-tists’ current efforts revolve around getting names on a petition to present to Parliament. With enough signatures, they hope to force them to recognize their support and adopt the Charter’s provisions. Thomas Atwood, Member of Parliament (MP), House of Commons for Birmingham, will present the petition next month. The Chartists have a booth here along with part of the petition and are actively trying to secure more signatures, especially amongst the better sorts of people. Some agitators are mov-ing throughout the crowd trying to get people to sign, and at least one of the Cast Members should be approached (William or Nigel is best; few indeed consider granting voting rights to the fairer sex). All is not entirely smooth amongst the Chartists, how-ever. The convention to get it adopted has moved from London to Birmingham and a large debate is occurring over the use of physical or moral force to get the Charter adopted. The move north seems to indicate the physical force element under Feargus O’Connor has the upper hand.

As usual in any crowd, nearly everyone claims times are hard, wages are low, and food is expen-sive (in truth, life was exceedingly hard in Victo-rian England). Some mention the new Anti-Corn Law League and how it may lower the food prices. Some support this but the Chartists view this as a stop-gap sell out to middle class dominance and feel only the National Charter and petition should be supported.

Troubleshooting: This scene should mostly be a prelude that allows the characters to mingle with the crowd, observe, look around, and get a feel for the times. It can be very open-ended, but shouldn’t last too long. Keep things moving by avoiding lengthy exposition of each character’s specific actions. The ultimate goal is to get the Cast into roughly the same area of town, a crowded street with a number of pugilist sparring booths. This scene simply sets up the others.

Much information is presented above—use what-ever seems to fit the player’s interest or catches your fancy. The most important point is the railway con-troversy and a Chartist encounter.

If any pay attention to the pugilism matches, keep Angus MacTaggert (see p. 36) out of sight unless Act Two is imminent. Usually it is useful to have the Pugilism booths across from the Gypsy encampment, as both are things players find interesting and set up the chase below.

the CAne gentlemen

This scene should evolve at some point as the Cast wanders the festival.

Anyone using Lesser Sensing (no roll necessary) glimpses unfamiliar magical swirls and filigree around a couple of gentlemen wearing brown bowlas (derbies), brown waist coats, whitish shirts (now dusty), dark brown trousers, and fashionable shoes. They each have identical deep brown, lacquered canes, inlaid with a dark, almost burnt, silver that traces various shapes. Two joints divide the canes into thirds. Their handles are also burnished silver. The gentlemen do not wear gloves.

If a Cast Member sees the magical swirls around the cane gentlemen, have that character make a Lesser Sensing roll. Success indicates that gentlemen appear to be magicians and that the darker silver on their canes appears corrupt and malignant. Three Success Levels further reveals that a demon is bound in each cane, but the type is unknown.

These men are quickly lost in the crowd, but a sec-ond pair might be seen a little later. They are human and all look fairly similar (brothers?), but not identi-cal.

Troubleshooting: Attacking the cane gentlemen at this point results in a near riot in the crowd. The gentlemen disappear in the melee and Peelers quickly appear to restrain the Cast. The officers can be dis-suaded from acting further as long as the Cast ceases violent action.

Anyone trying to steal a cane will fail and is graced with a bop on the noggin’ by said cane. The gentle-man immediately calls a nearby Peeler and asks that the Cast Member be restrained. As each cane con-tains a demon, sneaking up on a gentleman is impos-sible.

gyPsy visions William or Tamara specifically, if using Lesser Sens-

ing, notice that one old gypsy fortune-teller, named Antonia, has magic and seems to be genuinely gifted. She is standing with her daughter before one of the garishly painted wagons, and all are wearing tradi-tional gypsy garb. Her daughter, Fiona, tries to sell anyone approaching some elixirs, tonics, or other trinkets, but also takes them to have their fortune read. The old gypsy knows who William and Tamara are, though they’ve never met before. She knows what a Protector is, and can even name other mem-bers of the group if it is necessary to impress them with her abilities. She has the usual small wagon decorated with gaudy tapestries, a table, a crystal ball, tarot cards, and other paraphernalia for fortune telling, though she prefers to have her customers put their hands on the ball and use it and palmistry to read their futures. The ball itself is not magical.

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She can relate certain information to the group. She sees gold in the future, but not the good kind—it’s impure and corrupt, filthy lucre with undue influ-ence. Smoke and darkness looms large and air is not always the answer. The young shall end up leading the old, despite lack of wisdom. Water is a friend this day and the Scotsman who defeated all comers knows what they seek.

Troubleshooting: Antonia’s visions are important. Make sure that William and Tamara, or at least one of the pair is enticed inside to her them. Perhaps the beautiful young daughter can lure William inside with feminine wiles. Or maybe she can speak with Tamara and appeal to her independent streak. She could say “Grandma” has seen that the Protectors would be present and would like to see them. Either of these should get one of the Swifts inside.

the ChAse is on! When Act One is ready to wrap up, have everyone

congregate in the pugilism area. Other booths are nearby, maybe near the gypsies, though the Cast does not have to be all together. In fact it works better if they are in various places around the area. Have everyone who isn’t at the gypsy’s make Observation rolls. Those that succeed notice two fine Lord types (one is shorter and has brown hair touched with grey; the other is taller, thinner, and seems younger with black hair) amongst a party of ladies and servants, as well as few other gentlemen, watching a red-haired giant of a man fighting another large pugilist. The match goes for the rest of the round and the red-haired man wins, knocking the other out with a tre-mendous roundhouse punch. One of the Lords, the shorter, goes to congratulate the winner while the rest of the party waits and excitedly discusses the match. This is Lord Russel, the Home Secretary, inviting Angus MacTaggert to join him watching the Derby. The rest of the party includes Viscount Duncannon (more on him later), another cabinet member, and a few members of the House of Commons.

At that point, all Cast Members notice two children, a twelve-year-old boy and a similarly aged girl being chased by cane gentlemen. Those who gain two Suc-cess Levels see one fellow wave the cane and a small, dark silver bolt streak out. The boy dodges out of the way at the last moment. The bolt hits a working class man who falls to the ground with blood running from his thigh. One of the other cane gentlemen ob-viously chastises the one who fired the bolt. Another makes a circle with his cane and a small, faint yellow area appears under the boy just as he jumps around a lower class woman. That person steps in the area, is held fast, and looks around puzzled.

The entire Cast should jump to the chase. Have the Cast roll Dexterity and Athletics to keep up with the men and move through the crowd.

Troubleshooting: This scene marks the point where the pace of the adventure increases. Try and get everyone involved in the chase, though keep in mind that the cane gentlemen are used to seeing strange things and the sight of a ghost does not faze them. Don’t let the Cast catch up too quickly, but also don’t drag the chase out too much either. Don’t forget to describe the crowd thinning as the pursuit heads towards the outskirts of town. Remind William and Tamara’s players that just cooking off fireballs into the crowd is a bad idea.

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ACt two: ComPliCAtions

bodiCeA: so come, then. attack me. kiLL me. but wonder, first, who among You wiLL survive.

—astRay, act vII

rundown

A mixture of scenes occur in this act. It starts with a struggle against the cane gentlemen, the goes on to some information gather-ing from the girl being chased. The group

should learn about the demon-bound canes and the coins. Some information on the children’s overseer Neal comes out and he must be dealt with. Just as Traeger’s hiding place is found, a scream sounds.

mystiC bAttle The chase from Act One ends at the burnt-out build-

ing described in A Good Deed. The girl is visible just inside the remains of the doorway, trapped by a yellow circle from one of the cane gentlemen. The boy is not in sight. The cane gentlemen head towards the doorway by the time the Cast gets close enough to stop them.

Time for a fight! Point out that while the street isn’t crowded in this area of town, a number of potential onlookers are nearby. Too much flashy magic could attract attention. Generally any spell without a bolt, cone, wave, ray, or ball is pretty much invisible—just people waving their hands at each other and talk-ing strangely. The cane gentlemen may start out circumspectly, or cut loose with Dark Bolts (they’re unconcerned about hitting bystanders) depending on the situation and the player’s actions. If they do, the onlookers run in fright. This allows William and Tamara to safely cut loose if they desire.

If one of the cane gentlemen is reduced to five or less Life Points, he leaves via the Smoke Transloca-tion spell. An Intelligence and Occultism roll reveals what the spell was and that a Solid Air spell around a person would probably counteract it (as long as it is cast before the Smoke Translocation).

Troubleshooting: The fight should be not overly difficult, but could have a fair amount of magic flying back and forth. Since the cane gentlemen are magi-cians and have a ward pact with the demon bound in their canes, the ghost Cast Members can affect them directly. Five cane gentlemen are present if the full cast is being played. If less than a full Cast is play-ing, drop an adversary or two from the mix. They are tough-ish, but the fight is not intended to be excep-tionally dangerous.

The group might confront the cane gentlemen, ask them to stop, demand to know what they are doing, etc. If so, they refuse to discuss the matter, and attack the group with magic, mostly disabling blindness and the yellow disk. They know they have to catch the kid before he gets away and won’t want to waste much time chatting.

Remember to have one can gentleman escape via the Smoke Translocation spell so that the group real-izes this is possible and thinks about how it could be countered. It is not vital, but should help them keep William Atherton from leaving himself in Act Four.

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Additional Actions 1 Physical & 1 Mental

Character Name Cane ManCreature Type Human Magician

Motivation Follow the Maseter’s will




Special AbilitiesAV 4Demon CaneHard to Kill—2Magic—4

(the Cane Men get one free attack and defense as normal, their canes allow an extra physical and mental action, one at -2 and the other at -4, the Director can choose which is which.)



Cane Strike +14 15 BashDodge / Parry +14 — Defence Action

Observation +15 — Perception Action

Counterspell +16 — Magic defence action; dispels spellDeflect +14 — Magic defence action; deflects spell 45˚

Hold +18 — Magic defence action; delays spell SL TurnsLesser Sensing +19 — Notice magical effects, nature, or possession

Volley +13 — Magic defence action; returns spell to caster

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Ability Scores:Muscle 12

Combat 14Brains 15

cane man



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yes Blindness -- Target can’t see; many actions impossible; –3 or more to other actions

yes Darkbolt 100’ 23 One target within 100 feet

yes Rectangle of Force 33 If hit, target also knocked back five feet per SL

yes Smoke Translocation self --

Transforms caster to small wisp of smoke which moves very swiftly out of sight through various cracks and crevices, travelling at such a rate that even a ghost cannot follow it

yes Yellow Disk -- Willpower must be at least five or target’s feet become stuck to ground; lasts five minutes

the urChins

After the fight, a number of things should catch the cast’s interest and need to be resolved. Keep in mind that the Peelers might be coming if the fight lasted too long or got too obvious.

Dead cane gentlemen must be dealt with or ignored, as must live and conscious ones, and then the girl is still trapped, though a reverse Paralysis (or Solid Air) spellcasting roll at a –2 (-1 for Solid Air) to try and dispel the yellow disc should get her loose. Other-wise it will wear off in a few minutes.

Cane Gentlemen: Unconscious ones disappear, along with their canes. Those that are dead remain, as do their canes.

Canes: At least one cane should be left behind by a dead cane man (someone should kill one during the fight) and it can be examined. The group should have seen the cane gentlemen manipulate the canes as part of their magic use.

Any Success Level with Lesser Sensing reveals the magical swirls around the cane and the corruption of the darker silver. Two Success Levels (the task is easier as the characters can take their time examining the cane) shows a demon bound into the cane. Intel-ligence and Occultism indicates that the demon in the cane is bound to it and helps with magical spells, if one has made a pact with it. An Exorcism can drive the demon out, but isn’t necessary immediately as it is quite bound and incapable of getting loose. Hold-ing it cannot hurt the possessor, but an incessant buzzing and background whisper may be heard. Three Success Levels with an Observation roll shows that the handles of the canes can be broken apart and fit into different shapes. Think of it as a three-sec-tional staff, only not so loose or big.

Mary, the girl: Mary is scared and needs to be calmed down (Willpower and Influence and some good roleplaying). The ghosts should frighten her, while Tamara has the best chance of getting her to settle down. Once calmed, she tells her name and that her friend is called Traeger. They used to live in this burnt-out building but left after the fire. She knows that Traeger saw a man in a black coat and pants pass something gold to some fine lord type. He went over to investigate and nip something of value from the passer, and the next thing she knew he was running past her with a scared look on his face. Her usual job is to act as distraction and maybe trip some-one pursuing, but she never expected so many people to be chasing them. She thinks Traeger filched some-thing, but isn’t sure what. She is very worried about him. The group can convince her to show them their new living house—the basement of an old stable/storage area where they sometimes kept horses in the winter. It is sort of sturdy and better than this place was, but she fears it will be used again come winter and they’ll need another place later.

Traeger, the boy: He escapes out the back during the fight and is lost from sight. No one, no mat-ter what they do, amongst the Cast can catch him. Drama Points cannot change this.

Troubleshooting: This is mostly an informational scene with some good roleplaying potential. Mary is young, scared, and worried about Traeger. She also distrusts adults and definitely fears being taken off to the Workhouse, but in the end should take the group to her home. The canes should resist any attempts to mess with them, but aren’t dangerous at the moment.

A finnegAn

Mary takes the Cast to a stable at the fringe of the Downs area, amongst some older stables that have obviously been neglected recently. Newer, more modern ones stand closer to the racetrack itself. The Cast finds a stairway down to a storage area below the stables. In the underground area, Neal and several other children are examining their takings for the day. The area has a small pot and fire, various sleeping pads, and a maze of rags that act as curtains dividing the large, long room.

Neal Briscombe is a ne’er do well who acts as a Finnegan for the den. He is a tall man—an inch shorter than six feet—and very fat, around 380 pounds. He wears a stained and grey undershirt and dark trousers held up by suspenders and a wide belt. In his mid thirties, he is partially bald with greying black hair. He is loud, blustery, and antagonistic at first. If pressed, he becomes more sullen and deferen-tial. Neal is a bully and a coward and while he may cow several children or maybe one adult, he dares not be antagonistic to a larger group. He is not overly cruel, just mostly unsympathetic.

If pressed, Neal states that Traeger hasn’t been back yet. Still, if he was scared or pursued, Neal knows where he might have gone. Neal tries to get some money for the information, but again if pressed de-scribes a coach repair and workshop to the east that Traeger always liked. The boy would go up in the loft amongst the paints and dyes or climb about the rafters and hide in the darkness up there. He espe-cially liked that spot in the winter as it was warmer. Mary is willing to take the Cast there. Neal is not, unless threatened.

The group arrives at the coach workshop and finds a long barn, with big double doors (one open) at both ends. A regular door is located on one side. A small place to stable horses extends from one side, and a large water trough sits beside it. As they approach, a man’s scream rings out.

Troubleshooting: If for some reason, the group kills or incapacitates Neal or something else happens to him, one of the other children remembers seeing Traeger head to the coach workshop in the past.

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ACt three: revelAtions

byron: whY do we aLwaYs have to fLing ourseLves into the meLee without fore-thought? i wonder if taking a few mo-ments to create a more intricate pLan of attack might behoove—

—legacy, act v

rundown

This short act begins with a pair of Brulshar demons, creatures specializing in smoke mag-ics, trying to get Atherton’s coin back from Traeger. Once Traeger is saved, the Cast still

has to convince him to admit he has the coin. They learn that the coin contains an Allitra demon that specializes in possession, influence, and control.

CoAChhouse fight

If about, Neal runs the other way when the scream sounds. Mary’s worry for Traeger overcomes her fear, but she hangs back, out of harm’s way, till every-thing seems safe. Entering the coachhouse, the Cast sees a long area with three coaches in various stages of work. One is being painted and lacquered, another has some reupholstering done, and the last has a bro-ken axle and is lifted partially off the ground. Tools lie about, along with workbenches, supplies of wood, leather, and stuffing. A loft runs along one side hold-ing paints, thinners, grease, and caulk. The rafters form a latticework above big enough to walk on.

Standing on the floor is a dark grey-skinned demon about seven feet tall with smoky hoofed feet, large similarly obscured clawed hands, and a big head with grey-black teeth, dark grey eyes, and bull horns. Black smoke issues from its mouth. A coach repair-man lies on the ground with a black demon hand-print on his chest. A second demon is in the loft and heading towards Traeger in the upper rafters. The boy seems petrified.

The first demon bellows and it’s Fear Test time: –4 for supernatural, –1 for dead body, –2 for demons horrible visage, and –2 for the bellow and its terrify-ing nature (–9 in total). Drama Points should prob-ably be spent.

An Intelligence and Occultism roll with a –2 penalty reveals that these are rare Brulshar demons—very strong, fairly tough, possessing smoke and pain mag-ics. Two Success Levels indicates knowledge that their smoky nature reduces damage to a great extent. They are better fighters than magic users, but are still competent in their area. Any examination leads one to guess that air spells would work well against them. If none of the players remember the gypsy warning, have them make Intelligence (not doubled) to recall that air is not always the answer and water is their friend today. In fact, there is a trough of water outside for horses brought with the wagons and a number of buckets inside. If the cast get inventive with any of these give them an extra drama point and it will make the combat a bit quicker. No one is really observing this fight, so the group can cut loose. Don’t forget to save Traeger.

Troubleshooting: This should be a tougher battle than the previous one. Use Drama Points for the Brulshar to make them tougher as needed, or hold back if fewer players are present or the Cast rolls particularly badly. Traeger should be saved—a lot of information goes with him if he dies. Still, as long as the Cast gets the coin in the end, they should be able to learn the bulk of it.

This battle could be the climax if time is short. Have Atherton present with the Brulshar attempting to get the coin back, throw in a cane gentleman or two, and run this as the culminating battle. Afterwards jump to Act Five, skipping Act Four.

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Additional Actions 2 Physical

Character Name BrulsharCreature Type Demon of Smoke

Motivation Follow the Maseter’s will




Special AbilitiesAV 10 (zero vs water spells) Innate MagicHard to Kill—2 Increased Life Points—1Fast Reaction Time (+1 on Fear Tests; +5 initiative)

Vulnerability to water (besides reducing theirarmor, water of any sort does 10 points ofextra damage to them. If they are submerged ordunked in the trough, they will take half their total (not current) Life Points damage.)



Claws +19 26 Slash/stab + Smoking Hand SpellDodge / Parry +15 — Defence Action

Horns +17 33 Slash / Stab

Deflect +18 — Magic defence action; deflects spell 45˚


Combat 19Brains 15

bRulsHaR



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yes Pain 10Can affect two targets; –2 to actions due to pain for five Turns; Constitution (doubled) roll of 18 or higher negates effect

yes Smoke Cone 23 Cone 50 feet x 40 feet, burns, chokes and stings

yes Smoking Hand touch —Target loses one action and suffers –2 penalty to all ac-tions next Turn; Willpower (doubled) roll of 18 or higher negates effect

the Coin

After the fight in the coach repair shop, the Cast should be able to talk to Traeger. The bodies of the Brulshar turn to ectoplasmic goo, then dissipate over the next ten minutes or so leaving no trace of their existence.

After the fight, Traeger is still frightened, maybe a little hurt. Some doctoring or healing puts him in a better mood, and if Mary brought the group, she tells him that they helped save her. In any case, some ro-leplaying is in order to convince the boy to talk about the guy he pinched from earlier. He relates that he was hanging around the pugilism area, saw a couple of fancy toffs, and decided to lift something from them. He spied this bloke in a fine black coat, nice hat, white shirt, and dark pants pass a gold coin to one of the toffs, the bigger one. That fella then stiff-ened for a moment and the two talked like long-lost friends. They went off a short ways into the crowd, presenting Traeger with his chance. The guy he pinched the coin from was young, say late twenties, had brownish hair, and a crest on his jacket, which he can describe.

From Traeger’s description, an Intelligence and Knowledge roll with a –3 penalty can be made by modern human types—no ghosts—to recognize the crest as Lord Winchester’s. The person wearing it is probably someone in his employ, as he is known to be much older. A similar roll indicates that the other two men are Lord John Russel (the shorter), the Home Secretary, and Viscount Duncannon, John William Ponsonby, 4th Earl of Bessborough, Lord Privy Seal and First Commissioner of Woods and Forests, both cabinet-level ministers. Cabinet min-isters advise the Queen, and have great power in both the House of Lords and House of Commons to influence members and get bills altered or enacted. Someone controlling them would have great sway in the country.

A Dexterity and Art roll can be attempted from either Treager’s description of the crest or each of the two gentlemen (toffs). Each Success Level in that task adds to a subsequent recognition roll.

The group doubtless asks Traeger where the coin is, and at first he’ll say it is safe. If convinced that it is dangerous, that the demons were trying to get it back from him, or that they can provide its equivalent in worth (Traeger tries to hold out for more, but if it is going to cause him harm . . . ), he’ll fish it out of his coat and give it to the Cast.

The coin is a gold guinea with some unusual carv-ings on it. One side shows a demon sigil. An Intelli-gence and Occultism roll reveals that a demon inhab-its the coin, bound and powerless for the moment, but set to possess someone specifically. Anyone else carrying it is in no direct danger, but the enemy does seem to be able to track it or locate it. A second Intel-ligence and Occultism roll suggests either putting it in a container with the Ward spell on it, or a lead box or something with lead in it (like the various paints around) would help obscure it.

An Intelligence and Occultism roll with a –3 pen-alty shows the sigil belongs to an Allitra demon. These are non-corporeal demons that have little direct power, though they are tough to destroy. They specialize in the possession and influence of humans. They are difficult to detect as Lesser Sensing does not reveal them and the person possessed acts normally for the most part. The demons are hard to summon, but actually enjoy coming to our world and possess-ing humans.

The flip side of the coin contains a series of symbols. An Intelligence and Languages rolls shows that they spell out Lord John Russel’s name in a strange and obscure demonic script.

If the sigil is recognized, any of the group recalls that both Allitra demons and Brulshar demons are servants of Balberith, a great demon lord whom Ludlow Swift, Tamara and William’s grandfather, defeated a while ago, and whom William and Tamara barely frustrated in the events depicted in Ghosts of Albion: Legacy. Clearly, his machinations continue.

Troubleshooting: If Treager winds up dead or not rescued, Mary could describe the Lord types that Atherton passed the first coin to. If for some reason the Brulshar get the coin and depart, well, bad show! Atherton is then able to possess Lord Russel pretty easily, but all is not lost. If the group acts quickly, it might come upon the Lords party and stop Ather-ton from passing the coin. They might also accost Viscount Duncannon and John Russel and remove the coin from their presence. This could occur at the track itself, at Atherton’s house if the ministers head there after the race, or perhaps back in London, though this is a less optimal and more open-ended choice.

33

ACt four: ClimAx

nigel townsend: now we dueL. and maY You praY Your death is quick.

—embeRs, act II

rundown

The Cast heads to the track to find the min-isterial party. However they approach the situation, they should find out that William Atherton is Lord Winchester’s agent at the

race and that he has set up an appointment with the ministers at his house following the race.

The group ends up at Atherton’s house. They should know that Atherton is trying to possess Lord Russel and that speed is of the essence. A big fight with Atherton and his servants result, and if all goes well the ritual is interrupted and prevented, Viscount Duncannon freed, and a few prisoners taken captive to learn more of what’s going on.

lording over

Either Traeger takes the Cast to look for the two blokes he saw, one of whom had a coin passed to him, or the group heads off to locate Cabinet Minis-ters (of course these are the same individuals). Any-one can make an Intelligence and Knowledge roll to realize that the Derby starts in about a half hour and the likely place for any aristocrats is near the Downs in a prominent spot. By searching that area, they cut the time spent looking significantly.

Depending on where they look and the quality of several Observation rolls, the party comes across the Russel and Duncannon party somewhat before or just before the race starts. Mention the masses of people moving towards the Downs, horns sounding, growing excitement in the crowd, that sort of thing. Around the nobles are a few other members of Parlia-ment, several ladies in fine dress, a few children, ser-vants, a steward, and an enormous red-haired man, Angus MacTaggert, whom they might recognize from their prior investigation of the pugilism booths.

34

At this point, a number of approaches are possible. The Cast could casually insinuate themselves with the lords. This is not easy as no Cast Member is an aristocrat. Still, a decent Willpower and Influence roll, as well as some good roleplaying, should help. Lesser Sensing shows that none of the party is pos-sessed. If they ingratiate themselves to the nobles, they are introduced to Angus MacTaggert, and told that Lord Russel enjoyed his final match and asked him to view the race with his party. The lord is think-ing about sponsoring Angus in a series of pugilism matches back in London. If the group mentions Earl Winchester, his crest, or his man, Lord Russel men-tions that they did indeed meet earlier. They talked about the Great Western Railway which Lord Win-chester has some concerns about, and his man has set up a meeting later to present his master’s views. This might devolve into a little railway talk (see Act One for particulars). Lord Russel is hesitant to talk business, but the Viscount adds that he does view the growing number of acts being passed with some apprehension. As First Commissioner of Woods and Forests, he is worried about the impact on these areas. It would be a shame to ruin the hunting and hinder the agriculture that makes the country great. He doesn’t see the need to eliminate the railways, they are too useful, but a greater amount of guid-ance from a Railway Commission might be in order. Viscount Duncannon is personable, level-headed. He simply wants the situation monitored and progress to proceed slightly more slowly. They should watch the Derby, discuss the horses a bit, and then the lords depart. At this point, the Cast can either try to tail the nobles discretely or maybe talk with Angus as he heads off separate from the ministers’ party.

The party might try talking with the Scotsman di-rectly, or during conversation with the Lords, get his attention. He may recognize any in the group who watched one of his matches. Angus is jovial, open, and fairly affable. He talks about the matches that day, the race, his gratitude that Lord Russel is willing to sponsor him, and his upcoming bouts. If the group asks him about the Earl of Winchester, or his man, Angus mention that he met the gentleman in ques-tion and didn’t much care for him. Angus knows his name is William Atherton, that he works for Lord Winchester, and that he lives here in town. The lords are supposed to call at his house after the derby for a post race meeting and revel of sorts. It was actu-ally decided rather suddenly just a little while ago, and Angus is afraid he can’t go as he has to help tear down booths. He has some friends amongst the Chartists that he said he would help. He’s still divid-ed about the whole Chartist issue, but his friends are pretty committed and he is willing to help out with the physical stuff. He knows that Atherton’s house is on the west side of town. He mentions that Atherton lives here while Parliament is in session (rather than in London or off in Winchester) and suggests asking one of the locals for the exact address (which is easy

to do and shouldn’t require a roll). If the group asks his aid, is persuasive (a successful Willpower and Influence roll), roleplays well, he agrees to join them. Angus does enjoy a good brawl and would consider evil creatures harming children an outrage.

The direct approach—“Hey, we’re the Protectors, your friend has been possessed, and we want to help him”—is always possible. Lord Russel, being Home Secretary, is aware of who the Swifts are and what a Protector is, although he does not fully accept the situation. He has not seen any magic or supernatural creatures, just second hand accounts. While accept-ing in theory the need to protect the nation from the occult or supernatural menaces, he’s not certain this is all real. Having Sir Horatio Nelson appear before him might make him more amendable, but there is a 6 out of 10 chance that someone in the crowd recog-nises the admiral as well. That causes something of a stir. If the party is sincere and convincing enough, Lord Russel may go along with an exorcism to see what happens, but makes it clear that future relations depend on how this is handled and what happens. He warns in no uncertain terms that if this is some sort of bilk, the consequences will be dire. The party should not attempt the exorcism in such a public place. Duncannon protests any movement away from the track, and trie to leave if the party insists. A few cane gentlemen show up and a short (and hope-fully discreet) fight takes place before Duncannon can be exorcised. After that, Lord Russel is definitely convinced. He tells them where Atherton’s house is, and even has his servants accompany the Cast to aid in whatever way they can. He also offers Angus’ services, who is happy to oblige his potential sponsor.

The Cast might decide to stake out Lord Russel and Viscount Duncannon and follow them after the race. Don’t drag that out too much—describe them watch-ing the race, the big red Scot being there and then leaving afterwards. The aristocrats head to the west side of town and to Atherton’s house (though the Cast won’t know whose it is).

As this is a roleplaying game, there’s always the potential for the unexpected. Whatever the Cast’s actions, manipulate things so they end up at the Atherton house. Perhaps Lord Russel wants to speak with them, having noticed one of the earlier magi-cal battles, or at least gotten reports of it. Maybe the Scotsman runs into them, on his way to get some ale, to the outhouse, on his way to aid his Chartist friends, or whatever. The ideal situation would be for Angus to be pivotal to steering the group in the right direction and thus fulfilling the gypsy’s fortune telling.

Troubleshooting: The main point of this scene is to inform the characters where Atherton is and put them in a place to do something about it. Following the gypsy’s fortune, the Scots pugilist should factor highly into this.

35


Additional Actions 1 Physical

Character Name Angus MacTaggertCreature Type Human (Scottsman)

Motivation Test self against other Pugilists, have rip-snorting good time




Special AbilitiesIncreased Life Points—1Hard to Kill—4Fast Reaction Time (+1 on Fear Tests; +5 initiative)PugilistSituational Awareness (+2 initiative, +2 to

Observation rolls vs. surprise or danger)Natural Toughness (AV 4 vs Bash)



Counter +16/+16 —/16 Defence ActionDodge / Parry +18 — Defence Action

Haymaker +15 22 BashJab +19 15 Bash; +2 Initiative

Punch +18 17 BashPut ‘em in Chancery +18/+24 —/19 Grapple and Punch in one attack action

Uppercut +16 18 Bash


Combat 18Brains 9

angus mactaggeRt

A grAnd brouhAhA The party has now come to the final confrontation.

If no one else does, Lord Nelson should suggest that some reconnoitring and a solid plan of action is a must before “any boarding action.”

The scene takes place at Atherton’s two-story house on the west side of Epsom. The place is a classic middle class dwelling with an outhouse and garden in the back, sturdy construction, glass windows with shutters, and a front and rear entrance. Horses may be secured in the front, but the Lords’ carriages are not present (they would never have made it through the tangle of coaches that came down from London).

Inside, the front door leads to a foyer with a stair-case leading up, a big reception area/drawing room, and a decent sized study off to the side. A library is located in the back, a dining area, and a kitchen and pantry. The upstairs has several bedrooms for Ather-ton and the servants, guest rooms, some storage, and maybe a smoking room. The cellar contains a wine room and more storage areas.

Atherton’s goal at this point is to get Lord Russel into the back library so that he can be possessed the hard way. Atherton realises the coin is probably lost, and that a lengthier summoning and possession must be performed. He places a paralyzed Lord Russel in a triangle of summoning on a yellow disk of holding. The magician stands within a magical circle along with two of his cane gentlemen, and perform the two-hour ritual of summoning and possession.

36

The magic circle stores energy and provides Ather-ton with six free Success Levels usable two at a time for any spell he casts. It’s also a barrier against physi-cal entry, deflecting spell and physical missile attacks, and causes 25 points of fire damage to anyone who crosses it, including any of the ghosts. An Intelli-gence and Occultism roll informs any Cast Member that the circle is dangerous, offers great protection, and is hard to break. To do so requires physically marring or obscuring it in some manner. It could be scratched or disturbed with a weapon, but the antag-onist suffers the fire damage while doing so and must beat Atherton in a Willpower (doubled) roll. Success allows the attacker to roll Dexterity and Athletics with a –6 penalty to mar the circle. A blast of air does not disrupt the marks as the magical energy rebound off the barrier. If the group remembers the gypsy’s comment that water is their friend they might think of trying to wash it away. Tossing a pitcher or bucket of water at the floor near the circle negates the magi-cal protection. If the water is actually tossed at the men in the circle it rebounds off, being considered a physical attack. Another method would be to cast Barrier Reduction Bolt against the circle, but there is a –3 modifier for this and one must beat Atherton’s spellcasting score of 25. Once the circle is broken, its affects end and Atherton’s summoning and posses-sion spell is ruined. This also frees him to take an active hand against the players. Atherton does not act against the Cast until the circle is broken as the possession spell is much more important to him. The two cane gentlemen with him, however, can cast magic out of the circle with no detriments.

Two cane gentlemen and a Brulshar are stationed in the library outside the circle. One or two other cane gentleman are mingling with the other guests (wives, ladies, servants, kids, and even a few mem-bers of Parliament), along with Viscount Duncannon, keeping the rest of the party entertained and from asking questions. The group should disable Dun-cannon without killing him, but he isn’t much of a threat, unless they are sneaking about and he sees them of course. If the group takes down the cane gentlemen before approaching the library, they must do so quietly. If they make noise, the cane gentlemen not in the circle come to investigate, and if that’s not sufficient, the Brulshar follows. If the party attacks the library first, Duncannon and the cane gentlemen outside rush in once they hear the scuffle.

The house staff consists of four servants, a door-man, a butler, a maid, and a cook. The doorman and butler might aid to repel attackers, but are only fairly normal human thugs (use the Viscount stats for these folks). The other servants flee any combat. Ather-ton’s servants are loyal to him through suggestion, his charismatic influence, good pay, and a little bit of fear. Turning them against him would be difficult.

Troubleshooting: If the group decides to reconnoi-tre and is discovered, the scene could get a bit dicey

as Atherton and his minions are prepared and ready to fight. Surprise is the Cast’s best bet. Feel free to change the exact disposition and numbers of the ene-mies to best suit what is going on. One way to speed things up is to have no cane gentlemen outside the library and Duncannon with Atherton. This makes any attack easier. The group might also just knock on the door and try and brazen their way in, though any cane gentlemen who see them immediately attack and let out the alarm.

Balancing a final battle is sometimes difficult—the use of Drama Points against the Cast can definitely keep things tense and in doubt. First time Directors might eliminate the magic circle entirely to simplify things. Make sure that Atherton is in the midst of the ritual and not reacting to the Cast until they do some-thing to him and force him to “lose” the spell. After which, he can take out his ire on the cast.

If the entire Cast is not present, the opposition should be similarly weakened. The two cane gentle-men with Atherton can be aiding in the ritual and unable to act until the circle drops. Allowing them freedom to attack the Cast highlights the power of the circle and sets taking it down as the group’s first priority.

Another way to help the cast is to have some open water present, perhaps a large tub for washing dishes in the kitchen, a horse trough out back near the stables or in front for carriage horses, if the cast spend drama points for a plot twist, and this should require two, not just one drama point, perhaps a fire fighting wagon with a tank of water and some hoses is nearby. If so, these require two men to pump the water through the hoses, or perhaps just one very strong one.

Finally, Atherton could have a repeat casting modi-fier of –2 or –3 to reflect the ritual and other spells he might have previously cast. This gives William and Tamara a better chance against him.

37


Combat 15Brains 20





Character Name Viscount DuncannonCreature Type Possessed Human

Motivation Follow the master’s will andinfluence Parliament

Maneuversname

to HIt Damage DescRIptIon

Dodge 10 — Defence ActionPunch 10 5 Bash

38


Additional Actions 1 Physical / 2 Mental

Character Name William AthertonCreature Type Human Magician with demon pact enhancement

Motivation Return Balberith to Earth




Special AbilitiesAV 14 (from Shield spell)Hard to Kill—2Increased Life Points—3Magic—5



Dodge / Parry +15 — Defence ActionObservation +20 — Perception Action

Punch +15 12 BashRitual Knife +15 16 Slash

Counterspell +22 — Magic defence action; dispels spellDeflect +25 — Magic defence action; deflects spell 45˚

Hold +24 — Magic defence action; delays spell SL TurnsLesser Sensing +19 — Notice magical effects, nature, or possession

Volley +19 — Magic defence action; returns spell to caster


Combat 15Brains 20

wIllIam atHeRton



Rep

eat

Cas

ting

Spell Name Pow

erLe

vel

Act

ions

to

Cas

t


yes Blindness -- Target can’t see; many actions impossible; –3 or more to other actions

yes Break Limb variesTarget must gain seven SLs on a Constitution (doubled) roll or one of his limbs breaks, inflicting one quarter of his Life Points in damage

yes Darkbolt 100’ 37 One target within 100 feet

yes Shield — Provides Amour Value 14 vs physical attacks; lasts seven Turns or seven attacks, whichever comes first

yes Smoke Translocation self --

Transforms caster to small wisp of smoke which moves very swiftly out of sight through various cracks and crevices, travelling at such a rate that even a ghost cannot follow it

yes Yellow Disk -- Willpower must be at least five or target’s feet become stuck to ground; lasts five minutes

ACt five: resolution

tAmArA: i am one of the protectors of aLbion, and i saY this fooLishness is at an end.

—astRay, act vII

rundown

Once Atherton is defeated, the Cast can inter-rogate any captives. Atherton reveals all he knows in hopes of more lenient treatment. Basically Lord Winchester sent Atherton to

possess the ministers and get the route of the Great Western Railway switched. The ministers should express their thanks for being rescued from a hor-rible fate and the Swifts have made a useful contact within the government that could also lead to further adventures.

the AftermAth

Assuming the Cast is successful in the final battle, several loose ends must be cleared up. First and fore-most should be the exorcism of Viscount Duncannon to free him of the Allitra demon’s control. Putting the demon back in the coin requires an Exorcism, but the presence of the sigil-marked coin grants William and Tamara one free Success Level in performing that spell.

Afterwards both Lord Russel and Viscount Duncan-non display their appreciation. The First Commis-sioner of Woods and Forests remembers everything that happened while he was possessed and is quite shocked by the experience. Some appropriate role-playing and perhaps a Willpower and Influence roll helps settle him down. The Home Secretary conveys that the Swifts have done him a great service and he won’t soon forget that. They have made an impor-tant contact and potential ally.

If Atherton is still alive, he can be restrained and questioned. After that, the issue of what to do with him arises. He really is too dangerous to live. He can’t just be jailed or tried—he is too likely to get away. He has also committed treason by possessing Viscount Duncannon and trying to control the minis-try. The Home Secretary is in favor of executing him immediately, and assuming Bodicea or Nigel won’t kill him, he orders one of his servants do the deed. Unconscious cane gentlemen are also similarly dealt with. It’s up to the players to argue modern sensibili-ties about the death penalty; the noblemen can object strenuously or not at the Director’s choice. In this time the death penalty was common for a variety of crimes, and in the not too recent past for even minor transgressions.

If for some reason all of the foes are dead, Viscount Duncannon remembers much of what the Allitra demon possessing him was told, what it intended to do, and should be able to relate most of the following as well.

more skulduggery?The exact reason for Lord Winchester’s actions de-

pends on the Director’s future adventures. Here are some questions and suggestions.

Was Lord Winchester specifically involved with the demons or was he just using Atherton? Per-haps Atherton or someone behind him was using Winchester’s name as a ruse? Perhaps this was all to manoeuvre the Protectors into attacking Winchester for some reason.

Why did Lord Winchester want the Railway moved? Was it because of something in the woods it would go by, say Unseelie allies? Was it to break ancient spells on the hill to get at something inside? Perhaps something was buried within it—an ancient artifact, a bound spirit, an evil magician or witch.

To twist things, perhaps Winchester is really a good guy helping Seelie faeries in the woods by his estate and hired Atherton without knowing his methods. After foiling Atherton’s plans, the group might have to take his place and help Winchester get the railway route changed.

The possibilities are endless. The supernatural threats to Albion never end. A Protector’s work is never done.

39

40

Life PointsDrama Points

Experience PointsAdditional Actions

Character NameCharacter Type

Description

AttributesStrength

DexterityConstitutionIntelligence

PerceptionWillpower

SkillsArmed Mayhem

ArtAthletics

CrimeDrive / RideEngineering

FisticuffsInfluence

KnowledgeLanguages

MarksmanshipNotice

OccultismPhysician

Science(WC) Naval Tactics




total

success

levels DescRIptIon


+3 +1

Qualities

Drawbacks

Useful InformationobseRvatIon: d10 +

InItIatIve: d10 + appeaRance:

aRmouR:FeaR:

suRvIval / Ko /



II

base moDIFIeRs table

Child’s Play +5Moderate +3 to +4

Average +1 to +2Challenging No Modifier

Difficult -1 to -2Very Difficult -3 to -5

Herculean -6 to -9Promethean -10 or worse

success level table

Roll Total

Success Levels Decription

9 - 10 1 Modest11 - 12 2 First Rate13 - 14 3 Jolly Good15 - 16 4 Topping17 - 20 5 Brilliant21 - 23 6 Extraordinary24 - 26 7 Magnificent27 - 29 8 Outstanding30 - 32 9 Smashing33 - 35 10 Ripping

+3 +1

FeaR table

Roll Result

eFFect

9+Okay: The character is doing fine and while perhaps afraid, he’s mastered his fear and can act normally.

7 - 8

Startled: The character is startled, but not paralysed, and can act normally. Initiative is lost, however; the creature wins initiative automatically on that Turn. Set the character’s initiative to one less than the being that caused the Fear Check.

5 - 6

Unnerved: The character screams and/or flinches away. Only defence actions can be attempted on that Turn and the character cannot go on Full Defence. She is at –2 penalty for all actions for the next Turn.

3 - 4Scared: The character embarrasses himself and backs away slowly. He suffers a –3 penalty to all rolls for the next three Turns.

1 - 2

Terrified: The character takes off running for a full Turn, unless cornered, in which case she cowers in terror. No attacks are possible, and defensive actions suffer a –2 penalty. After the first Turn, a new Fear Test can be rolled (reduce any penalties by one with each successive Turn until the character snaps out of it).

0 or less

Overcome: The character is not in control of his actions. He may pass out or suffer some other humiliating fate.

Range moDIFIeRs table

Type

Point Blank(+1)

Short(0)

Medium(-1)

Long(-3)

Extreme(-6)

Pistol 3 10 20 40 80Spear (Thrown) 5 20 45 70 100

spell bacKFIRe table

Roll D10 and add the Spell’s Power Level.Roll Total Result

4 or less Phew! Jammy! The spell still works.

5 - 7

The spell is delayed. It appears the spell failed, but it manifest normally at a time of the Director’s choosing (ideally, a dramatically appropriate time).

8 - 10

The spell works, but is less effective than expected. The duration, damage, area, range, or effect is halved (if not applicable, the spell is delayed as above).

11 - 13

The spell works, but the energy damages the caster. The magician takes five Life Points of damage per Power Level of the spell.

14 - 15The spell affects the wrong target (the Director decides who gets to be the lucky recipient).

16+

Spell has a completely unexpected effect. The magical energies run rampant, often causing physical damage to the area or summoning dangerous entities from beyond our reality. This can also happen if something disrupts the spell during a critical point in casting.

Director Quick Sheet

DRama poInts

Heroic Feat +10 to a die roll or +10 damageI Think I’m

OkayHeal half Life Point damage (round up)

Plot Twist Fate conspires in the players favorRighteous

Fury+5 bonus to all attack actions (costs 2 Drama Points

monetaRy conveRsIon

4 Farthings / Pence12 Pence / Shilling

20 Shillings / Pound

44

Documents

Derby Day - Ghosts of Albion Quickstart