Intro: Daria de Angelis, actual play

Retired Play by Post Campaigns Ars Magica 5th Edition: Tales of Crimson and Gold
1

Like much of the France, your home in Paris suffered greatly years ago during the last battles between the Empire and Man and the Empire of Hermes, and as the fighting grew more gruesome the common folk fled or hid to survive. This left areas of the countryside unpopulated, and some townships all but deserted. Over the last ten years of truce in the region the Empire of Man has dedicated itself to the refurbishment of the city, and restoration of the people's spirit. Once again His word has returned to the populace, and their fears are allayed by the faithful working day by day with the common folk. It is common now for a monks to work along side commoners, guided by their superiors, the Rectors.

Paris has once again become a city of splendour, but instead of the gaudy monuments and resplendent buildings the major works are now "the works of the soul". Projects specifically target those people in need, and those who cannot help themselves. Recently the the market quarter finished it's great refurbishment, and the Hospice of St Luke in the artisan quarter offers learning and letters to all who desire it.

Rector Arnaud leads the rejuvenation projects over many quarters of the city, and can be seen frequently inspecting His works.

However despite all the great work, the new found safety and protection of The Lord, and the long lasting truce within the region all is not happy. The mercantile workers suffer crippling taxes, food shortages are frequent, and many are forced to work for food and shelter alone; little more than slaves within their own homes. Stories of excess and rumours of decadence circulate in quiet whispers. Tones of discontent with the speed of recovery are slowly growing.

For the inn, business has been reasonable. It acts as a resting place for many itinerant travelers, and a community rallying point.

Some services are given freely to benefit those in need, with side ventures and quiet deals covering the shortfall for many patrons. Renalto and his young wife's fortunes are growing with your own, your partnership in the inn and grounds keeping each of you far from the breadlines and able to leverage magnanimous gifts for future promises.

2

On a typical day Isabelle would have been up before the dawn fussing over the details, and Renalto might have arisen but not ventured far from his bedchambers due to his late nights. The Inn's servants tend to stay off the second floor; due to Renalto's instructions.

An nondescript morning starts the same as may others for you, and the quiet is disturbed by a commotion of some sort on the ground floor; far away from your quarters on the second. From the noise it is at least a few men's voices shouting and yelling, and something heavy must have made the loud thump that shuddered through the the inn. As a moment or so passes the shouting continues.

[assuming you are alone in your quarters; the rest of the second floor is the private quarters of Renalto and Isabelle, and the most expensive dwelling rooms offered to those who can afford them. The common and kitchens are on the ground floor, two floors below.] [your action]

3

I unsheathe a long stiletto from a baldric scabbard and place it beneath the cloak to offer it concealment. I then quietly but quickly make my way down the stairwell.

4

The second floor is indeed empty, as is the hallway on the first. Firstly you now know one of the men yelling is Renalto, his broad voice practiced at carrying across crowded rooms. Oddly his voice is actually angry, something you don't hear very often. Secondly the other men's voices have a note of anger or power in them too, as as you close near to the top of the stairs you can clearly make out what they're saying. As you approach the stairs to the ground you can make out a more details.

"Let him go now!"
"They touch the girl, I touch you", Renalto's voice, like he speaking through gritted teeth.
"grrrmph!"

Just as you reach the top of the stairs the tabled man screams, "just let her go. now!" Clearly shaken.

From the top of the straight stairs into the common you can see that the normally clear entryway is a shambles of broken furniture, and the huge ship's wheel which the common uses as a cheap chandelier is now crashed amongst men, chairs and tables. Face up atop one of the intact tables near to the chandelier is a very worried looking guardsman, and leaning over him is Renalto; his left forearm pressing down on the man's throat and his right holding a small kitchen knife into the man's groin. On the other side of the wheel to Renalto are two more guardsmen, one with a small girl in his grip, and the other brandishing a long club.

[your Perception + Awareness check was reasonable, so you can take in a fair amount of detail at once...]

To your right a way across the common is Isabelle, who has a terrified look on her face, but also a nasty looking knife. Beside her is Grim Paulo, the Inns Man-Friday, who is holding the intimidatingly large crossbow loaded which normally stays well hidden in the kitchen. He's not looking entertained by the scene.

As the girl is released she sprints away from the men, starting toward the stairs. "Good"

"She has my protection. Come back with a captain, or marshal. Fuck bring a Rector, else she stays."

[guardsmen are the lowest ranking foot patrol for the city, typically trained, but not to be accounted amongst the finest. Mostly men and women working a job like any other]

5

I walk downstairs and crouching down extend a hand "Your safe here child."

Standing and shifting my gaze towards the guardsmen "I think it's best if you leave now." i say calmly but sternly taking a few steps forward while keeping the weapon beneath my cloak with attention firmly fixed on the men.

Once the guardsmen have left (if they leave) i survey the scene and turning to Renalto "What happened here?"

6

The guardsmen on the table lurches to his feet, a mean scowl across his face. Now that he is standing it's more obvious that he's a very large man. They begin to leave, walking slowly. The man with the baton nods to Renalto; and there is no malice in it.
At the same time as the men begin to get up and move the little girl continues her dash away from them. She is very clearly going to run past you up the stairs, unless you try to stop her.

(Up to you, a Brawl or Athletics check + Dex will let you grab her if successful)

Grim has stepped in front of Isabelle, with the crossbow still pointing directly at the men. His face is unreadable and calm.

7

The guardsmen on the table lurches to his feet, a mean scowl across his face. Now that he is standing it's more obvious that he's a very large man. They begin to leave, walking slowly. The man with the baton nods to Renalto; and there is no malice in it.
At the same time as the men begin to get up and move the little girl continues her dash away from them. She is very clearly going to run past you up the stairs, unless you try to stop her.

(Up to you, a Brawl or Athletics check + Dex will let you grab her if successful)

Grim has stepped in front of Isabelle, with the crossbow still pointing directly at the men. His face is unreadable and calm.

8

"Child no need to run, you are safe here" i say turning around. I allow her past if she doesn't stop and follow her up the stairs. "Calm down you are safe."

I don't restrain her, rather follow until she finds a safe place and attempt to talk her out of her panic.

9

[Roll a Folk Ken + Per to communicate that, and understand her behaviour, target number 9+. If you think another skill is suitable let me know.
That means rolling using InvisCastle, where you type your toon name, and the 1 roll, of 1d10. You can then link to the roll here.]

10

Folk Ken 2 + Per 0

invisiblecastle.com/roller/view/4555720/

11

[roll was ok, but not enough to tell you anything significant]
The child runs straight past you, only slowing slightly as she moves along the second floor main corridor. She moves quickly, and rounds the corner which you know leads to the rear stair, which then ends downstairs near the kitchens, between the storerooms and the rear exit. You're able to stay apace and leave the rest of the inn occupants behind you.

The girl runs straight down the stairs, and lands poorly at the bottom with a crunch as he leg twists under her. Yelping and pulling herself to her feet, she's now openly weeping, and you can see the fear in her eyes as she looks back at you following her. Daria is now very close, to where a burst of speed would have you catch her; especially with her injury. She lopes to the downstairs intersection of a few corridors, and drags herself around to the right without looking to either corridor.
As Daria gets there you see her using the wall to move, and heading very slowly for the rear exit.

12

Daria chases the girl back up the stairs and round the corner then down again towards the kitchens It's now obvious the girl is beyond reasoning with. "Stop running, i'm going to help you. What is your name, I am here to help you," taking hold of her by the hand and arm. Still weary of her having lost her mind.

If she calms down try to make her comfortable and carry her back into the main room for some treatment. If necessary restrain her and carry her back to the others.

13

When you grab her she takes the screaming up a few notches, to where your ears hurt. The words are there, but in her current state she is incomprehensible. Strong for her size too.
You have to drag her back to the common room, which is made slightly easier by Grim opening the door as you approach, and thankfully he isn't holding the crossbow anymore.

Over the din Renalto says "she needs to settle, but holding her here won't do that. Take her upstairs and we'll bring food. " he looks to his wife, and then shrugs, "The bishop's rooms are empty and not likely to be used. For all we know the guardsmen are lurking, so she can't safely leave." Isabelle offers to help you take her up stairs.

As a few moments pass, the girl never lets up struggling.

14

"Thank you Grim" as i carry her back into the common room.

I nod to Renalto holding back a grimace with a deep exhale and carry the girl with Isabelle upstairs into the closest bishop room. "I'm sure you are tired and hungry" i say to the girl still making an effort to calm her down. "Some food and water will be here soon, you should rest"

I hope with time, rest and a full belly she will get some sleep and when she awakens offer more nurturing while gently questioning her.

15

As you put her down in the Bishop's room she runs across the room and immediately tries to open the window. Finding it locked, she stops to take in the rest of the room and also keeps a careful eye on you, her back to the window.

The room is very small and spartan but the quality of the furnishings is high. When she stands next to a dresser it strikes a contrast between her ragged multi-layered clothes and the fine wood she leans against. She has a sharp look under the disheveled swirl of hair, and a grim set to her mouth despite the tears. After a few moments of staring, she moves to sit in a far corner. One hand slips into the folds of cloth near her hip, but you cannot tell what it might be.

When the food arrives she takes a sample of it very slowly, but is still mute in response to your gestures. When the food was brought Isabelle let you know that the others can assist if you wish, but she looks a little nervous at the prospect. As more time passes she eats and drinks all of what is supplied, and she appears to have calmed. The look in her eyes is still skeptical and probably hostile.

[try a skill roll to open a dialog. Folk Ken (or some other appropriate skill?) with your Communications stat]

16

Skill roll to open a dialogue.

invisiblecastle.com/roller/view/4565229/

Folk Ken 2 or if applicable Charm 3 with First Impressions as the speciality + Communication 0

17

After some time the look on her face changes from anger to something else, perhaps impatience. It is difficult to tell.

As you look away she asks "when will you let me go?" And then "your man will say when?" As she looks at the door.

Her voice is fast and you can still hear strong emotion within it.

18

I sit on the bed not too far from the girl.

"Are you in a hurry to be somewhere? You won't get very far on that ankle. Be worse if the patrol is waiting outside."

"Are you still hungry, Isabella can bring you something else to eat."

"Before you go at least let someone take a look at your ankle. By the way i'm Daria, who might you be?"

19

After a few hours of very little except glares and grunts as responses, the girl starts to respond.

"My ankle will be fine. " and to make her point she tests her foot against a chair, hiding the wince of pain well.

then "I'm due where I'm due. You can't keep me here forever, nor watch forever. Tis none of your concern. "

"Why are you keeping me?"

20

"Your no prisoner here child and you can leave whenever you like. I'll make sure the patrol is gone and you can be on your way, remember there's food and shelter here if you need it."

"Isabelle, please tell the others the girl will be leaving."

I will take the girl to the rear exit and have her hide a few metres up the hallway from the exit and scout of the immediate area to make sure the patrol is gone.
If she decides to flee i won't restrain her.

Awareness Searching 2 + Per 0
invisiblecastle.com/roller/view/4581531/