[BPRD] Slaughterhouse, pt 5 [All 2.5]



  • Yeah. Okay man, what's my best way out of... this fucking curse?
  • Blake,

    Dig that damn piece of claw out of yourself. Barring that, you'll need to make Acting Under Pressure rolls to stop each Move coming at you until Sandovol is dead or that thing is ripped out of you (1-Harm AP)
  • red
    edited November 2012

    I was standing frozen, like an Ice Statue Robot Penny, looking at Blake who was about to shoot me. But not Blake, not really. It was Sandovol using Blake's hands, like a giant puppet. I knew before Blake yelled at me to get away. I could see it in his eyes. I've never seen Blake look like that before. And the only thing I could think was that I could not let Blake shoot me because he'd never forgive himself.

    But then Blake was gone. Everything was gone. We were falling, like a horrible, horrible dream. And when we landed, it got worse.

    I'm in the Solitary Room at the asylum.

    I stand there, my eyes huge. Somebody's making a funny gasping noise. I realize slowly, distantly, that it's me. My ribs feel too tight. I can't breathe. I'm clutching at my chest, pressing my fist into my sternum.

    But the door is on the wrong side of the room...and there's....there's blood everywhere...and the smell. Someone is saying words, but they're all running together until they're just sound. I squeeze my eyes shut immediately. What is real? I don't know what's real. I am real. Is this room real? Am I hallucinating? It wouldn't be the first time. I've seen this room flip upside down. I've seen creatures crawl out of the walls. I've seen the white walls start dripping with blood, running down to the floor, and then up above my ankles, and then my knees. I would pound on the door and scream, but nobody let me out because that's what crazy people do. They pound on things, and they scream.

    There's a crash, a loud crash, and I go perfectly still, my eyes still squeezed shut, pressing my fist into my chest until it hurts. I won't scream. I won't scream. Sometimes this helps. Sometimes if I pretend that I, the real life thing, am imaginary, then the imaginary things can't find me.
  • edited November 2012
    I let out a string of curses.

    Where is the damn piece of claw exactly? And is that an AUP to dig that thing out of me? Or do I have to break it down more, like AUP to draw the knife?

    Shit, I guess I should just say that I'm trying to draw a knife and cut the thing out if I can.
  • AUP to cut it. Success means 1-Harm AP and you're free.
  • #DiceRoller(2d6+2)

    xp +1
  • Blake,

    As you're walking sep by agonizing step into the building, you reach down with your left hand and draw out a K-Bar. A few more steps and you've brought the knife up and you're trying to point it at yourself.

    You hear a weird explosion to your right and as you see Sandovol standing there in the shadows, smiling at you with a doll in his hand, a door slams against the far wall to the right past both of you. It was as if a giant threw it it hits with so much force.

    This serves to distract Sandovol, who would have seen what you're doing as you came closer. With some effort, you're able to dig the tip in beside the small piece of claw, like an over-sized bee's stinger, right by your heart. With a quick flick of the wrist, it slips out of you and falls to the ground.

    You feel your will returning to your own body. You're free.
  • Dr. Eaton,

    After flinging the door, you step into the storage bay. You see the door to the outside open and Blake standing maybe eight feet from Sandovol. Sandovol is looking in your general direction and was looking at the door you threw, then he notices you. He is about five ten, thin, a scraggly beard on his face, dressed in jeans and a sweat-stained button-down shirt, he's mid-thirties. He has a small sackcloth doll in his hands.

    What do you do?
  • The feel of the flask in my hand is smooth as the taste of the whisky on my tongue. I can feel my blood moving through my veins. My feet are lighter and the claw strike is reduced from throbbing pain to a slight stinging sensation. Time speeds back up until I am back in the moment. But I realize something isn't right. Although still supporting me, Penny is focused somewhere else. I follow her gaze to Blake and immediately see what she sees: Blake's shotgun. Pointed straight at us...at her! But it's not Blake aiming at us. His movements are strange and his eyes are not his. Blake has become a monstrous marionette.

    Frantically, I search my mind for the right blade to cut the strings Sandoval is pulling. Suddenly, everything fades to darkness when Dr. Eaton's hand is placed on my shoulder. I am an owl in flight. I see a mouse and swiftly swoop down. It is in my talons, and I squeeze it as it squirms. Back at my nest of fledglings, I rend its bits to feed them. On the hunt again. The seconds feel like hours. As the moon passes out from behind a cloud, the darkness lifts as I realize Dr. Eaton has used his power to transport us...somewhere inside the compound in a cell. I try to visualize the sat photos Blake had shown us.

    With one arm still draped around Penny, I use the remnants of my owl magic to enchant my gun. I will need it more than ever with my trusty blade still stuck in that monster's eye. When he finishes speaking, Penny's grandfather rips the door off its hinges as if it were no more than a wet paper sack, and I follow him out of the cell.
  • Use Magic

    #DiceRoller( 2d6+2 )
  • Effect: enchanted my revolver +1 harm and +magic
  • edited November 2012

    After you ensorcel your gun, do you follow Dr. Eaton out of the cell and leave Penny behind? She's withdrawn from you and is standing there, hands pulled into herself and frozen, eyes shut closed.
  • What does the room look like, aside from Sandovol?
  • I am so distracted by my own healing injury and the new surroundings, I don't notice that something is wrong with Penny. I start to follow Dr. Eaton through the cell door but I realize that she isn't moving with me.

    I whisper close to her ear, "It's all right. Things are going to be okay. We will be done here soon and then we are going home." In spite of the sting to my shoulder, I give her an encouraging hug, "We can't do this without you, Penny."
  • Right, so now I"m free, I'm raising the shotgun again, and closing distance to Sandoval, Blood dripping down my chest, I guess from where I dug out that damn claw.

    When I'm in range, I'll fire, probably twice. The buckshot won't hurt the Doc.
  • Joe's voice is talking to me, but I don't open my eyes. Tricky, tricky, tricky. I could open my eyes and see a shadow man with long, skinny legs and gleaming scissor teeth waiting for me to look into his pitch black eyes. He could have stolen Joe's voice, and maybe he wants to steal mine too.

    Joe's voice is hugging me, and it feels like Joe. But I could open my eyes and see a dead Joe with chalky skin and empty eyes and then when I looked at him, he would crumble into hundreds of millions of cockroaches.

    But I can't just stand here and hide. Because Blake is in danger and Joe is bleeding and Dr. Eaton is my family and Sandovol has to be stopped before he hurts anybody else.

    So I open my eyes and I take in Joe's form, not dead or shadowy, bloody shoulder and all. Next the room, nasty with filth and blood. Now that I'm looking a little closer, it's quite different from the Solitary Room. For starters, the door's been torn off the hinges. And outside the window I can see the watchtower.

    But it's better to be safe than sorry, right? So I look at what's hidden. Specifically, Joe's mind.
  • Telepathically Reading Joe

    #DiceRoller( 2d6+1 )

    highlighted for 1xp
  • While I still would like a detailing of the storage bay, I suppose that it really doesn't matter that much. (Correct? You are saying that Sandovol is in the entry hall?)

    I would like to drive Sandovol out of the building, away from any traps he might have placed and into the clear light of day. Hm. I sidestep the storage bay doorway, breaking line of sight on him, and then confuse my approach by instantaneously jaunting to just outside the washroom, then bursting out at him through the wall of the office, seeming to be coming from three directions, all at once!

    The entryway's floor tiles pop and split, and the concrete walls crack and spit dust as I tear wiring from the lights and power with which to entangle him and drag him bodily into the light of day.
  • For the purposes of Mayhem!, consider the wiring to be a weapon, probably 2-harm worth of tightening and strangling. And, really, I suppose I must be kicking ass.

    #DiceRoller( 2d6-1 )
  • And I need a 10+ to actually do what I want, I guess. Without that, I can't do anything but trade harm.

    Could I possibly instead be Acting Under Pressure to, say, come at him unexpectedly and throw him outside? Inflicting harm isn't really my first goal. (My Cool and Tough are both -1, so the dice are the same either way.)
  • edited December 2012
    Here's a bit more of a blow-up map of the storage area:

    now with 100% less Joe!

    Sandovol is making a stand here, pulling on the ritual area, which is drenched in old blood and red paint. Blake, you are going to need to go round it, I assume.
  • edited December 2012
    Alright. You know, there's no door there on the map you showed us, so I guess that's been a little confusing.

    In that case, could you describe the room?

    Wait, and why is Joe there?
  • Yeah, I'll avoid the ritual space. I'm not foolish enough to step into the magic circle even if I'm mad enough to bite nails. I'm going around it to my left and unloading as soon as I can.

    Should I act under pressure, or just go ahead and kick some ass?
  • Joe,

    As you're standing there trying to comfort Penny, she finally looks at you. But you don't think she sees you. Well, not as you. Then, you feel you're yourself being pulled somewhere...


    Someone is in the Solitary Room with you, which makes it a bit less solitary now, so yay.

    Both of you go here.
  • Dr. Eaton,

    The storage room is a nice little lab, the northern wall is covered with shelves, the free-standing ones, metal frame, wooden shelves. Jars and jars of odds and ends, mostly roots and spices and formerly living things floating in jars. The place is dominated by the ritual circle, which aligns with many of the symbols from the DC hotel. There's a smallish library on the western wall, nothing more than a few shelves of books and a workbench. The southern wall is where there are crates and stacks of supplies, ranging from old electronics to leftover building materials and canned food, clothing, odds and ends.

    But hey, you're taking Sandovol outside, right? Well, you can, but that pretty much ruins Blake's shot at him. Do you do it or let Blake take a shot and lose your opportunity?


    The way Sandovol is looking at you, the fear that he could take you over again, let's have you Act Under Pressure.

    As for the no-door on the original pic, yeah, never noticed it until you asked for a detailed description, then I looked on that map and said, "WTF, no door?" So I made a new one, but of course, the door was destroy-i-nated.
  • Okay then


  • Well, forcing Sandovol into the open and away from his ritual space still seems perfectly logical. And Blake is a professional, so I'm certain he can adapt. He will have a clear shot again, once Sandovol is laying in the dust.
  • Blake,

    Dr. Eaton whisks Sandovol away right as you fire. It is just you in the storage room, your shot hits the wall behind where Sandovol was standing, shatters a couple jars and ooze is fling against the concrete wall.

    What do you do?

    Dr. Eaton,

    You pull your poltergeist trick and swoop in on Sandovol and he was focused on Blake. You surprise him and push him and yourself outside somehow through the wall, which isn't a surprise for you, but a bit odd for him.

    He reaches a hand into your cold presence and mumbles a couple words of drawing essence in Latin and quickly tries to mash it into the doll.

    What do you do?
  • Hm, well I actually wanted him on the other side of the building, but never mind.

    Thinking, I realize I don't know what our mission here is. Are we meant to kill Sandovol?
  • In point of fact ... Blake! You are our professional, our team leader. How did you detail our mission here, particularly in regards to Sandovol's intended fate?
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