TEXT: If, a thousand years from now, archaeologists happen  
  to dig beneath the sands of Guadalupe, I hope that they will not rush  
  into print with the amazing news that Egyptian civilization,  
  far from being confined to the valley of the Nile,  
  extended all the way to the Pacific Coast of North America.
  – Cecil B DeMille
  Written by Kelley Barnes, Jess Hartley and Eddy Webb      
  Based on a scenario developed by the Camarilla Fan Club for GenCon SoCal 2004      
  Developed by Eddy Webb     Edited by Genevieve Podleski      
  Layout: Jessica Mullins     Art:  J S Rossbach, Doug Stambaugh, Cathy Wilkins 
  Special thanks to a number of people from CCP Iceland and CCP North America for helping 
  to playtest this scenario.
  An adventure for Mind’s Eye Theatre: the Requiem  
  using the Storytelling Adventure System
  White Wolf Publishing, Inc.
  2075 West Park Place 
  Blvd Suite G
  Stone Mountain, GA 30087
  Mental 
  OOOOO
  Physical OOOOO
  sOcial 
  OOOOO
  stOrytelling adventure  systeM
  SceneS
  3
  XP LeveL
  o-34
  
  Mental 
  OOOOO
  Physical OOOOO
  sOcial 
  OOOOO
  stOrytelling adventure  systeM
  XP level
  o-34
  scenes
  3
  If, a thousand years from now, archaeologists happen  
  to dig beneath the sands of Guadalupe, I hope that they will not rush  
  into print with the amazing news that Egyptian civilization,  
  far from being confined to the valley of the Nile,  
  extended all the way to the Pacific Coast of North America.
  – Cecil B DeMille
  © 2009 CCP hf. All rights reserved. Reproduction without the written permission of the publisher is expressly forbidden, except for the purposes of reviews, and one printed copy which may be reproduced for personal use only. White Wolf, Vampire and World of Darkness 
  are registered trademarks of CCP hf. All rights reserved. Vampire the Requiem, Werewolf the Forsaken, Mage the Awakening, Promethean the Created, Changeling the Lost, Hunter the Vigil, Geist the Sin-Eaters, Storytelling System and City in the Sand are trademarks of CCP 
  hf. All rights reserved. All characters, names, places and text herein are copyrighted by CCP hf. CCP North America Inc. is a wholly owned subsidiary of CCP hf. The mention of or reference to any company or product in these pages is not a challenge to the trademark or 
  copyright concerned. This book uses the supernatural for settings, characters and themes. All mystical and supernatural elements are fiction and intended for entertainment purposes only. This book contains mature content. Reader discretion is advised.
  Check out White Wolf online at http://www.white-wolf.com
  White Wolf Publishing, Inc.
  2075 West Park Place 
  Blvd Suite G
  Stone Mountain, GA 30087
  An adventure for Mind’s Eye Theatre: the Requiem  
  using the Storytelling Adventure System
  Written by Kelley Barnes, Jess Hartley and Eddy Webb      
  Based on a scenario developed by the Camarilla Fan Club for GenCon SoCal 2004      
  Developed by Eddy Webb     Edited by Genevieve Podleski      
  Layout: Jessica Mullins     Art:  J S Rossbach, Doug Stambaugh, Cathy Wilkins 
  Special thanks to a number of people from CCP Iceland and CCP North America for 
  helping to playtest this scenario.
  
  1
  About the Storytelling Adventure SyStem
  If this is your first Storytelling Adventure System (SAS) product, 
  you’ve chosen a fine place to start. To keep this story kit lean and 
  focused, though, we haven’t included a lot of the core premises and 
  Storyteller suggestions that are at the heart of the SAS. Whether 
  you’re a new Storyteller or an old hand, be sure to read the free 
  SAS Guide, found at the SAS website:
  www.white-wolf.com/sas
  One thing to keep in mind is that City in the Sand crafted for 
  a game of 10 to 50 players and a small team of Storytellers, not a 
  small group of players and a single Storyteller at a table. It’s unique 
  in our SAS offerings thus far, so some elements may be different 
  from what’s detailed in the SAS Guide, or what you might be used 
  to in other SAS products. 
  What’s InsIde
  This kit is broken down into the following sections:
  In this Introduction you will get the background of the scenario setting, 
  the full write-ups of the Storyteller characters and general notes.
  The scenes are the framework for the action in this kit. These have 
  been crafted with a suggested order of progression, but they can be used 
  as the basis for an improvised structure to the unfolding plot.
  Scene cards, which are included at the end of this scenario, are a 
  quick-reference resource for the Storyteller. You will find reminders 
  about the main goal for each scene and information about modifying 
  factors which can affect the outcome for the players. If you don’t want 
  to print out the entire kit, just having these cards at hand can help you 
  keep track of the overarching elements of the story.
  The new player booklet is a tool created for you to print and dis-
  tribute to your players along with their character sheets. It’s a simple 
  reference guide that explains the dots and numbers on the sheets, and 
  how to use basic levels of the vampiric Disciplines.
  Over fifty character sheets – ready for immediate play – have been created 
  for this kit. In addition to the mechanics, each character has background infor-
  mation to help flesh out the concept. Most also have pre-established coteries 
  with suggested goals for the session, along with personal tasks they are striving 
  to accomplish. In the LARP environment, this provides needed hooks to help 
  players jump in and start getting involved in conflicts. Specific characters (such 
  as Prisci or Primogen) will have additional information sheets as well.
  California, 1923. The debris of the film’s wrap party decorated the sand 
  — empty wine bottles leaned against false sphinxes while napkins, plates and 
  glasses lined the stretch between the temple facades of DeMille’s Egypt. The 
  silence of a late morning gave way to the orders of the crew foreman. Stout 
  ropes pulled the 35-foot tall Pharaoh statues down with muffled thumps as 
  they landed on the sandy cushions of the dune. 
  It was the beginning of the end. In the space of three days, a set was buried 
  that was constructed by 1,600 workers in the span of months. This was done to 
  protect the film from cheap production companies poaching the set and releasing 
  inferior films before DeMille’s masterpiece was ready to be shown. 
  At least, that was the reason given to public and the press.
  No mention was made of inexplicable deaths that took place in the one 
  month of filming on the Nipomo Dunes, or the rumor among the crowds of 
  extras that the artifact-decorated set was cursed. Some Kindred had reason to 
  suspect otherwise. But all of that passed into whispered reminisces and myth, 
  and in the span of three generations was forgotten. Memories of the tent city 
  that once populated a remote part of southern California appear to be safely 
  buried. The Masquerade and other secrets are kept intact, as it should be.
  And then comes the press release. “The City of Ramses” has been found, and a 
  group of movie archeologists have started to excavate the site as an important find 
  in film preservation. There is an exclusive party being held to help raise funds and 
  increase awareness of this unique site. Rumor has it that the archeologists have found 
  something interesting, and they intend to reveal it at this event. That may explain 
  why so many Kindred of diverse interests have secured an invitation to be present.
  Dangerous secrets were hidden in the sand over eighty years ago. It’s a blink in 
  time for the vampires of Los Angeles. But discovery is not always a good thing.
  Introduction
  City in the Sand is a Storytelling Adventure System kit for Mind’s 
  Eye Theatre: The Requiem. What makes this different from other 
  SAS products currently available? Along with a handful of scenes 
  and Storyteller advice, we also provide an entire cast of pre-generated 
  characters and the tools to help make the best possible match between 
  what a player wants to portray and what has been created for use. 
  This kit is presented as a single session experience, but you can take the 
  scene cards, story elements or character from City in the Sand and use them 
  as additional pieces for your Storyteller toolkit, or even insert this scenario into 
  your ongoing chronicle. The elements included with this kit can also be used 
  when running a tabletop Vampire: The Requiem session for your players.
  
  2
  treatment
  City in the Sand presents the idea that there are supernatural dangers 
  in the world that not even Kindred are prepared to fight, and that some 
  secrets are better left buried. Cecil B. DeMille filmed The Ten Com-
  mandments in 1923. He destroyed the set, burying it under the dunes 
  rather than trying to salvage it for parts. Recently, a determined group 
  of film buffs located the remains of his set and began to dig it up.
  Given the large number of characters, there are numerous challenges 
  available for exploration in the course of the session. Some obstacles 
  are coterie-versus-coterie conflicts, covenants striving to alter the order 
  of power and clans agitating for more recognition. Individuals have 
  goals to accomplish along with aiding their various allies to complete 
  group tasks. Collectively, the characters will encounter a malevolent 
  spirit, Suten Anu, who is intimately connected to the excavated film 
  set and to selected artifacts on display at the fundraiser. What starts 
  as an evening of social interaction in the Danse Macabre will slowly 
  change with the involvement of the intangible supernatural, involving 
  forces that even a vampire can not readily affect.
  The story begins with characters arriving at a party being held at the 
  Café Bohème, a fashionable Los Angeles club owned by the coterie of the 
  same name. The motivations to be present differ for each individual: Some 
  are here because they seek power, while others are here to make sure their 
  part in questionable activities decades past remains hidden. Some arrive 
  to broker deals, some to gather information and some just to be seen. 
  When tours of the excavation site are extended to the attendees, the 
  artifacts that have been uncovered will be introduced into play. Some 
  of these items are of no import; others could potentially reveal secrets 
  powerful Kindred wish to keep hidden. One, an amulet, is special – the 
  anchor and power object for Suten Anu. When this is triggered, the 
  spirit wakes and becomes active. Contact with the outside world will 
  become constricted after the spirit wakes and grows active, forcing the 
  Kindred present to rely only on those present to resolve the problem, 
  ignore it or be defeated by it. Another artifact, the golden tablet of 
  Ra, is a counter to the powers of Suten Anu and offers protection to 
  the one who holds it in his possession. 
  There is not a pre-determined end to this kit, other than the fact that 
  the party will be over before sunrise. The struggle against Suten Anu 
  may end up being set aside as players choose instead to concentrate 
  on overturning the Prince or securing new positions in the established 
  court for their covenant or coterie.
  theme: dangerous secrets
  This story focuses on the idea that no matter the passage of time, there is 
  always a chance that the skeletons in the closet can be uncovered at the worse 
  possible time. Trust is rare in Kindred society, and everyone has something 
  in their past they want to remain hidden. Enemies who start poking into 
  sensitive backgrounds can initiate vendettas that last for decades, frequently 
  ending only when one of the two opposing individuals or an entire vampiric 
  lineage has been removed from the Danse Macabre permanently.
  Each night of existence as a vampire has a measure of risk attach to it. 
  Kindred must constantly be measuring their choices. What is good for a player 
  character’s covenant may be at odds with the best interests of their clan and 
  keeping a secret from one group that claims a vampire’s loyalty for the benefit 
  of another is a risky proposition – one that can end in final death.
  mood: anachronIsm
  The Fog of Eternity is a blessing, even if some of the Kindred dispute 
  that fact. No one can cope with centuries of memories, no matter if they 
  are mortal or vampire. But there are drawbacks as well. Upon waking from 
  torpor, no Kindred can be certain what they recall is a true piece of their past 
  and not the fevered images of vitae-touched dreams. So what Kindred could 
  anticipate that a threat from Ancient Egypt would surface in 1923, and that 
  the crossed threads of time would bring that danger into the modern day? 
  Age ends up being a kind of insanity in the Danse Macabre. Kindred 
  who don’t adapt, wearing top hats or hoop skirts instead of suits and 
  jeans, will draw unwanted attention. Being out of step with the times 
  means placing your continued existence at risk. This is a major reason 
  to investigate and contain anything at this expedition that will place 
  Kindred society at risk. 
  a chapter In your chronIcle
  City in the Sand is written specifically to provide an introductory session 
  for LARP suitable for one night of play, something that could be run at a 
  local convention or with a large group of friends. If you choose to expand 
  upon the setting and events of this kit, incorporating it into your on-going 
  chronicle, you may want to spend time customizing the backgrounds of 
  some characters and other elements prior to play. Instead of the Café 
  Bohème, select a site already familiar to your players. Change it to a tour-
  ing exhibition, with a stop in your local town looking to raise funds for the 
  ongoing work back in California. (Keep in mind that you may have to cut 
  some sections of the new player booklet if you go this route.)
  
  3
  In recent years, seizing upon a clue found in DeMille’s autobiography 
  (published after his death), a group of determined film students started 
  the search for the buried set, looking for their own place in film his-
  tory as its discoverers. This project was brought to the attention of a 
  few Kindred who had had ties to Hollywood in the 1920s, and they 
  became sponsors of the excavation, providing the much-needed funds 
  for the lengthy project.
  Meanwhile, Kindred society in nearby Los Angeles has un-
  dergone changes in the intervening years. The Prince, Danton, 
  has become increasingly temperamental and capricious. During 
  the last two decades, a few brave (or foolish) Kindred have sug-
  gested she is no longer sane, especially since the disappearance 
  the Sherriff, Takashi. Regardless of the truth of that asser-
  tion, those who Danton allowed to live after having her rule 
  questioned were, at best, banished. More than a few met their 
  end at the hands of her Hound. Now, behind closed doors and 
  only with their most trusted allies in the Danse Macabre, some 
  Kindred are considering if tonight might be the best moment 
  to overthrow Danton.
  set-up
  One of the most important differences between Mind’s Eye 
  Theatre and tabletop Storytelling games is the use of physi-
  cal space. For the most part, you and the players will have to 
  exercise your imagination in a willing suspension of disbelief, 
  but providing elements that create sensory immersion for your 
  players in the play space you’ve decided on will enhance every-
  one’s enjoyment.
  An ideal location for City in the Sand will have one central 
  meeting area large enough to contain all the players at one time, 
  and then one or two smaller rooms or private areas where charac-
  ters can hold meetings away from the crowd. A private residence 
  can sometimes accommodate this need, but more frequently LARP 
  sessions take place at a convention or university student center. 
  When this happens, there will frequently be non-gamers about, so 
  take that into consideration when discussing costuming or settings 
  with your group. 
  The main room will be a static location for City in the Sand. 
  Once everything is set in place, it can remain like that for the eve-
  ning’s session. Dressing this area will help create the atmosphere 
  You can also modify this for a tabletop Vampire: The Requiem 
  chronicle as well. If you can’t find a way to substitute the presented 
  characters, consider sending the coterie as representatives of your 
  Prince or another influential Kindred who has a background tie 
  with one of the leader characters in this kit. This can become a 
  road trip adventure where the characters of your chronicle become 
  caught up in the machinations of a city of volatile Kindred and an 
  angry ghost.
  Background and Set-Up
  Background
  In ancient Egypt, Suten Anu was a priest of Set that went insane 
  and slaughtered people to drink their blood. The priest was killed, 
  and a strange mystic banished his ghost to an amulet. His spirit was 
  cursed never to walk the earth again unless one who has tasted blood 
  touches the amulet. The amulet was buried in a forgotten tomb and 
  believed to be lost.
  Before filming The Ten Commandments, a number of Egyptian arti-
  facts were acquired by DeMille’s producers to give authenticity to the 
  set, including the recently uncovered amulet. When shooting began 
  in Guadalupe, California, an unknown ghoul touched the amulet and 
  set Suten Anu free. The insane spirit started to kill people on the set, 
  starting with the ghoul who unwittingly freed him. 
  The director and his production crew were able to keep most of the 
  gruesome details from getting out to the crew and actors, but not all 
  of them. Of the eight documented people who perished, three bodies 
  were found, and word spread through the cast and crew. Eventually, 
  someone made sure the goings on were brought to attention of the 
  local police. However, the law was too late to make any headway in 
  their investigations, as principal photography wrapped up before the 
  police arrived on set and most of the extras had cleared out as soon as 
  the studio released them.
  With no idea who or what was stalking his people, DeMille did 
  the only thing he could – ordered the destruction of his set and, he 
  hoped, all the evidence or reason for this unknown killer to act. His 
  act of desperation succeeded, because the Amulet of Suten Anu was 
  buried along with all the other structures and props. The spirit of 
  Suten Anu could not recover the amulet, and eventually fell back 
  into its power. 
  
  4
  needed to give the players focus. A number of tables and chairs 
  that will comfortably seat everyone is ideal. With inexpensive 
  cloth, you can cover furniture as well as drape it along the walls 
  to create alcoves. If the site lets you use candles, try centerpieces 
  at the tables and illumination in the corners. Turn down the 
  overhead lights if possible, but make sure the space isn’t so dark 
  that people can’t read their character sheets or end up bumping 
  into each other. Bring a CD or MP3 player and have music play-
  ing at low levels in the background, changing out tracks for the 
  various scenes can help to ratchet up the tension in a cinematic 
  fashion for your players. Instrumental movie scores work best for 
  this, but make sure you don’t choose songs that the players are 
  overly familiar with – nothing breaks the mood faster than the 
  players starting to hum along to the theme of their favorite sum-
  mer blockbuster.
  We suggest that one of the smaller spaces be designated as the 
  outdoors, representing the patio of the café and surrounding sand 
  dunes, but both alternate spaces are dynamic in nature and can be 
  changed as needed to accommodate the actions of the players. If they 
  want to have a meeting in the kitchen or walk to the tents of the 
  excavation and see active site in the dunes, then use the dynamic 
  space for that. It becomes the task of the Storyteller to evoke the 
  imagination through description, giving the players a mental image 
  of their play space.
  Props also play a big part in establishing the atmosphere of the 
  game site. Included are some printable artifact cards (p. I). If you 
  place these before game start next to some appropriate props (con-
  cealed under cloth), this will help create an element of surprise 
  and give the players opportunity to uncover plot elements at their 
  own pace. Using just the cards is possible, but doesn’t evoke the 
  same sense of immersion as having physical props to touch, hold 
  and carry away.
  Helping players to establish the hierarchy of position and power 
  at the onset of the game can be done through the use of setting 
  and props as well. Designating a table or highly visible area of the 
  main room as for the Prince and court members gives those play-
  ers an area of focus they can use in interacting with the game as 
  whole. Selecting a chair with a unique appearance, or covering 
  one with a special cloth can create a “throne” for the player of 
  Prince Danton.
  Distributing the player characters from this SAS is another pre-game 
  task for the Storytellers to consider. Creating a simple questionnaire 
  for players to fill out can be helpful, but it is no substitute for talking 
  with the players, getting a sense of their comfort level and gauging 
  their interest in different roles available. A novice to gaming may not 
  be the best choice for a Sheriff, but someone new to LARP who has 
  background in theatre could enjoy having the spotlight of a Primogen 
  or court officer role. 
  Prince dAnton, Storyteller chArActer
  It’s recommended that Prince Danton is portrayed by a Narrator 
  for the entire duration of City in the Sand. There are two main 
  reasons for this. First, the Prince has her fingers in a lot of pies in 
  this city, and it’s a lot of information to give to a player. It’s more 
  comprehensive to allow a Narrator to read the entire kit and pick 
  out any details involving Danton that make sense for the story. 
  Secondly, there are a lot of subplots that involve the Prince, and 
  having a Narrator involved means that she can kick-start some of 
  those plots into play, such as calling for a new Sherriff or suddenly 
  deciding that the artifacts need to be returned to her immediately. 
  The fact that the Prince is believed to be insane helps with this – 
  any sudden changes or decisions can be easily explained as part of 
  her growing eccentricity. 
  Although the advice presented in this kit assumes the Prince 
  is portrayed by a Narrator, we have provided handouts and a 
  character sheet for Danton, in case you would prefer a player to 
  portray her (perhaps after she has recently awoken from a short 
  torpor, leading her to forget and confuse some details of her 
  previous interactions with the city).
  artIfacts
  There are two artifacts of note from the expedition – the golden 
  tablet of Ra and the amulet of Suten Anu. Each artifact comes with 
  a card with information detailing what happens when you touch the 
  artifact with Spirit’s Touch. We’ve provided a blank card as well so 
  you can introduce more artifacts from the expedition – pieces of the 
  set that look authentic, pictures of the cast and crew from the time 
  or even additional mystical artifacts that might become relevant 
  in future stories in your chronicle. Below you will find information 
  about the artifacts that characters might uncover with appropriate 
  Intelligence + Academics or Occult draws.
  
  5
  amulet of suten anu
  academIcs or occult InformatIon
  The amulet of Suten Anu was an artifact brought to California by 
  DeMille’s team in Egypt. It was uncovered in a different tomb than the 
  golden tablet. The amulet is a simple gold medallion in the shape of a bird, 
  similar to the one on the tablet. However, there are mars and scorches on 
  the surface of the amulet. To all appearances, it is an amulet of a priest of 
  the sun god Ra that has been defaced, although it’s hard to tell whether 
  the defacing was contemporary to the amulet or more recent.
  storyteller InformatIon
  The amulet actually belongs to the ghost of Suten Anu, a priest of 
  Set that was corrupted by madness to become a murderer that drank 
  the blood of his victims (see Suten Anu, right, for more). When 
  one who has tasted blood touches the amulet (i.e., any vampire or 
  ghoul), they awaken the spirit of Suten Anu, who wants to reclaim 
  the amulet and pass to his judgment in the underworld.
  the golden taBlet of ra
  academIcs or occult InformatIon
  This tablet was one of the artifacts acquired by Cecil B. DeMille and his 
  production team while they were in Egypt, and was originally uncovered set 
  into the door leading to an unnamed pharaoh’s tomb. The symbols on the 
  tablet are discernable to someone who understands Egyptian hieroglyphs. 
  The three main glyphs are a bird, a sun and a bull. The bird is a bennu 
  bird, a symbol of fire and rebirth. The sun glyph symbolizes the life given 
  by the sun as well as the authority of the sun god Ra. The apis bull is the 
  only Egyptian deity represented solely as an animal. This is because, in 
  the earliest of Egyptian religious practices, they were animals sacrificed to 
  the cow goddess and represented the resurrected, renewal of life. Taken in 
  whole, the tablet here would seem to indicate it was a symbol of a pharaoh, 
  embodying the qualities of kingship and everlasting life.
  storyteller InformatIon
  Unbeknownst to the characters, the tablet also repels death. It is un-
  comfortable to vampires with unusual senses (i.e., Auspex) because of its 
  connections with life and the sun, but it is particularly loathsome to crea-
  tures of pure darkness and death, such as Suten Anu. Suten Anu cannot 
  come within ten paces of anyone that holds the tablet, or anything that is 
  in contact with it. If the tablet is placed in contact with an outside wall, 
  for example, Suten Anu cannot come within ten paces of that wall.
  scene floWchart
  Prince Danton Speaks
  Suten Anu Awakens
  Revealing the Artifacts
  suten anu
  Quote: [Hissing, gurgling sound]
  Virtue: Temperance. He has waited a very long 
  time to reclaim the amulet and break his curse.
  Vice: Wrath. He is furious at his impris-
  onment, and will do anything it takes to 
  break free of it.
  Background: In ancient Egypt, Suten Anu 
  was a respected priest of Set. Part of his respect 
  came from a vampire that watched over his 
  career and removed obstacles from his path. One 
  night the vampire gave Suten Anu some of her 
  blood, claiming that it would elevate him among 
  the gods. Suten Anu relished in the power the blood 
  gave him, and he went insane. He started to murder others and drink their 
  blood, believing it brought him even more power. His vampire guardian left 
  Suten Anu to his fate, and soon he was killed. Another priest, this one of Ra, 
  felt that his soul was so corrupt that it could not be allowed to pass on, so he 
  bound Suten Anu’s ghost to an amulet. He was cursed to never walk the earth 
  again unless someone who has repeated his crime touched the amulet…
  Someone like a vampire or a ghoul.
  Description: Suten Anu, in his ghostly form, looks like a corpse dressed 
  in rotting Egyptian clothing taken from the original set. His throat is 
  torn out, only allowing him to make strained hissing and soft gurgling 
  sounds. Parts of his body have decayed, including some of his face. When 
  possessing a human, he looks like the person he’s claimed.
  Storytelling Hints: Suten Anu walks only to reclaim the amulet so that he 
  can put his soul at rest. However, he has no means of communicating, and only 
  understands ancient Egyptian, so most of his attempts will be various attempts to 
  take the amulet from the owner. Suten Anu doesn’t have any special knowledge 
  of where the amulet is, but can detect a fake when he is able to touch it.
  
  6
  Revealing the Aritfacts
  MENTAL ••• 
  PHYSICAL – 
  SOCIAL •• 
  overvIeW
  Once the guests have arrived and things are ready to get started, 
  the Café Bohème coterie welcomes everyone to the party and re-
  veals the artifacts their mortal contacts have brought for display. 
  A couple of the artifacts may attract particular attention from the 
  Kindred present.
  Before the game, pick one of the characters in Café Bohème to reveal 
  the artifacts (Doran is the most logical choice, but any character from 
  that coterie will do). The coterie only knows that they’re some artifacts 
  from the recent film archeology dig – their mortal co-workers set up 
  the display before the party started.
  storyteller goals
  The first (and most obvious) goal is to introduce the artifacts into 
  the story. There are a number of characters with a particular inter-
  est in these artifacts, but Kindred are generally curious creatures, so 
  there will likely be a lot of initial interest in the artifacts.
  The second goal is to get one of the vampires to touch the amu-
  let, so that you can introduce the scene “Suten Anu Awakens” at a 
  later point. This shouldn’t be a problem, especially as the Auspex 
  power Spirit’s Touch requires physical contact. Further, it’s likely 
  that at least one Kindred will try to steal one or all of the artifacts, 
  thus neatly circulating them in play. If for some reason none of the 
  characters are interested in touching or taking the artifacts, remind 
  the player of Quinn (or another character in the Starlight coterie, if 
  Quinn is unavailable) that this could be an ideal chance to reclaim 
  the artifacts.
  character goals
  Find out more about the artifacts, and find out who has a particular 
  interest in the artifacts.
  actIons
  learnIng aBout the artIfacts
  Dice Pool: Intelligence + Academics or Occult (whichever is higher)
  Action: Instant
  This is a draw to see if the character remembers anything about 
  any of the artifacts. If the character has access to a library somehow, 
  the action becomes a normal research test (Mind’s Eye Theatre, 
  p. 61, though you can substitute Occult for Academics). Vampires 
  using the Auspex power Spirit’s Touch should reference the artifact 
  cards on p. II.
  Hindrances: Fairly obscure artifacts (-2)
  Help: Library or Internet access (+2)
  Roll Results
  Failure: Nothing is learned about the artifact in question.
  Success: Each success reveals one fact about the artifact. Information 
  on the artifacts can be found on p. II and 5.
  consequences
  One thing to keep in mind is that you won’t be able to keep your 
  eye on the artifacts once the players start moving them around. Make 
  it clear to the players once the artifacts are revealed that whomever 
  has the actual artifact card is the character who has the artifact at 
  any particular time. You might also assign a Narrator (perhaps the 
  one portraying Suten Anu) to log where the artifacts are at any 
  particular time.
  Once an artifact has been touched, you can introduce “Suten Anu 
  Awakens” at any dramatically appropriate time. If you want to slow the 
  pace down a bit, you can also move to “Prince Danton Speaks.”
  6
  
  7
  Suten Anu Awakens
  MENTAL •• 
  PHYSICAL ••• 
  SOCIAL – 
  overvIeW
  After a vampire has touched the amulet, the ghost of Suten Anu 
  comes back to try and reclaim the amulet. 
  storyteller goals
  The main object of this scene is to add some occult mystery to the sto-
  ry (as well as the potential for physical conflict through the humans he 
  possesses). While Suten Anu’s goal is to regain the amulet, it shouldn’t 
  be that easy, either for the ghost or for the player characters. 
  Ideally, Suten Anu should be a subtle presence at the gathering, grow-
  ing in intensity and overt action as the story progresses. Possessing mortal 
  characters at or around the gathering is a good opening tactic – even 
  one police officer can make a group of Kindred nervous, and a beloved 
  ghoul or retainer suddenly walking off and asking strange questions will 
  draw at least a few characters to investigate. From there, Suten Anu can 
  make a lot of (unsubstantiated) threats, using his Phantasm Numina to 
  create illusions of fire, sunlight and the like to cow vampires into doing 
  his bidding. Summoning beetles and insects and using his Terrify power 
  is a last resort, if no other tactics are working or (more importantly) if 
  only a couple of characters are showing interest in the story.
  If the characters hand over the amulet to Suten Anu early in the 
  story, you can claim that the spirit won’t be freed until the sunrise 
  (“when Ra can look down and see that his plan has finally failed”), 
  thus allowing other characters to interact and possibly disrupt the plan. 
  Suten Anu may decide to take the opportunity to destroy the tablet, 
  work with another character to secure a more permanent hiding place 
  for the amulet or simply attempt to take vengeance on any characters 
  that attempted to thwart him earlier. Again, he shouldn’t end up at-
  tached to any one character for too long if at all possible.
  character goals
  Find out what all the unusual events around the party are, and see if 
  they are connected. Once Suten Anu is discovered, find out what he 
  wants and decide if you can (or want to) give it to him.
  actIons
  dealIng WIth suten anu
  Vampire don’t have any inherent abilities to deal with ghosts, so a lot 
  of possibilities depend on the circumstances of the story and whether 
  you need Suten Anu to stick around for a while or if you’re happy 
  wrapping up his subplot. Below are a few suggestions.
  Destroying the artifacts: Both artifacts act as anchors for Suten 
  Anu (see Mind’s Eye Theatre, p. 334). Destroying both artifacts may 
  set Suten Anu to rest, or send him to oblivion.
  Giving him the amulet: Giving Suten Anu the amulet and allowing 
  him to destroy it will also resolve his torment. It might also turn him 
  back into a living man, or make his ghost more powerful, if your players 
  are interested in the subplot and you have some time left.
  Abjuration and exorcism: Characters with faith, such as the Lancea 
  Sanctum characters, might try to perform an abjuration or exorcism, as per 
  the rules in Mind’s Eye Theatre, p. 340. It’s up to you if you consider a par-
  ticular character to have enough faith to be able to perform either rite.
  McGuffin: If all else fails, you can use the Tablet of Ra as a plot device to 
  get rid of the ghost. Let the players come up with an appropriately cool (and 
  roleplayed) ritual, and if you think it adds to the game, let them succeed.
  One thing to be careful of is endless frustration. If the players are bound 
  and determined to get rid of the ghost and you keep shooting down their 
  ideas, they’re going to get frustrated and just do whatever they can to ig-
  nore the plot. Keep an eye out for what players seem to be interested in. If 
  there’s a group that really wants to sit down and explore the mystery of the 
  artifacts and the ghost, then spend some time stretching out and making 
  the final resolution meaningful. If it just seems to be getting in the way 
  of all of the political machinations, let any attempt to get rid of the ghost 
  succeed and focus on the subplots the players are more interested in.
  consequences
  Since Suten Anu can’t instinctively tell where the amulet is, a wily 
  Kindred can trick the vengeful spirit into doing things against her 
  rivals, thus turning the ghost into an ally in their personal agendas. 
  This is certainly an acceptable outcome, but don’t let Suten Anu turn 
  into a minion for one player – at the earliest opportunity, he should 
  move on to another character to look for the amulet.
  If Prince Danton hasn’t addressed the vampires yet (or needs to do 
  so again), move to “Prince Danton Speaks.”
  7
  
  8
  Prince Danton Speaks
  MENTAL •• 
  PHYSICAL • 
  SOCIAL ••• 
  overvIeW
  Prince Danton holds court to set a number of political distractions 
  into motion. But has she finally overplayed her hand?
  how dAnton ruleS
  Prince Danton has a slightly unusual style of rulership, due to 
  her covenant – she allows the covenant leaders to submit petitions 
  for city business to her, which she considers. She also allows them 
  to overrule her decisions with a unanimous vote (which rarely 
  happens, given various rivalries in her city which she tries very hard 
  to cultivate). The Prisci primarily act as mentors to newer Kindred in 
  their clan, but Danton sometimes holds them accountable on larger 
  clan issues (such as if the Pack start getting out of control). Overall, 
  though, Danton is treating her own system more and more like a 
  kangaroo court and simply doing whatever she thinks is best.
  storyteller goals
  If Prince Danton is a player, this scene is very simple – just allow 
  some time for the Prince to speak formally to her assembled court.
  If Prince Danton is portrayed by a Narrator, however (see the 
  sidebar on p. 4), this scene is intended to kick-start or progress a 
  number of political plotlines in the story, whether by her own decree 
  or via various covenant leader petitions (see sidebar above). Some 
  examples include:
  • Finding a new Sherriff to replace Takashi. This will motivate 
  L.A. Confidential (though whether to claim the position or show 
  the inadequacies of the candidates is up to the players involved), 
  as well as those who know or suspect that Takashi was murdered. 
  The Prince might come up with any number of challenges to 
  test the abilities of the candidates, but mostly she’s looking for 
  a Kindred that will be loyal to her and won’t look too closely 
  into her dealings.
  • Meet the Kindred new to Los Angeles. Calling characters 
  forward that are new to the city gives those characters with 
  weaker in-game ties a chance to stand up in front of everyone. 
  Further, it helps to promote the Lancea Sanctum subplot.
  • Allow petitions for other new positions. Specifically, the 
  positions of Prisci’s Harpy and a Bishop for the Lancea Sanctum 
  are open. While the Prince can’t technically appoint either 
  position, she can allow the Kindred present to petition her for 
  formal recognition of the Prisci’s Harpy, and allowing any Bishop 
  to submit petitions and vote like the other covenant leaders do. 
  However, either position can erode her power base (a new Harpy 
  that she can’t control can start affecting her Status, and a new 
  covenant leader might be able to convince the other leaders to 
  cooperate), so mostly this is put forward as a vain hope.
  This is a repeatable scene if needed. If certain storylines are stalling, 
  the Prince can reconvene court and make some new proclamations. 
  More likely, though, this scene will have to be repeated due to larger 
  events – Kindred being accused of various crimes against the Tradi-
  tions, calling for a blood hunt or dealing with a significant power base 
  of Kindred making an attempt to overthrow Danton (such as via the 
  “Too Many Or Too Few Princes” rules in Mind’s Eye Theatre: The 
  Requiem, p. 287).
  character goals
  See what the Prince has to say, and try to turn it to your advantage 
  if possible.
  actIons
  checkIng for dIaBlerIsts
  Dice Pool: Intelligence + Empathy + Auspex – subject’s Composure 
  (Aura Perception)
  Action: Instant
  A Kindred with Auspex •• can attempt to read another Kindred’s 
  aura and see if they’ve committed diablerie. To perceive Danton’s 
  aura, the reading Kindred must first beat her Obfuscate in a clash of 
  wills (Mind’s Eye Theatre: The Requiem, p. 159) before they can 
  attempt this test – if Danton is a Storyteller character, assume she has 
  one success for her Mask of Tranquility power.
  Hindrances: Obfuscate (see “Clash of Wills,” MET:R p. 159)
  8
  
  9
  Help: None.
  Roll Results
  Failure: The character learns nothing from the subject’s aura.
  Success: If the subject has committed diablerie during the game (or 
  is Prince Danton), the character sees the telltale black streaks that 
  indicate the foul act in her aura.
  consequences
  Finding out Danton is a diablerist isn’t hard – she’s primarily survived 
  by just being above suspicion. It’s harder, however, to prove it and make 
  it stick. Either way, if Danton or her coterie get wind of the informa-
  tion, it’s going to have some consequences for the character.
  If the artifacts haven’t been introduced yet, introduce “Revealing 
  The Artifacts” later. If they have already been revealed, introduce (or 
  repeat) “Suten Anu Awakens.”
  Aftermath
  There are a number of things that can happen in City in the Sand 
  that can affect future stories.
  Suten Anu: If Suten Anu is dealt with, there’s still a chance that more 
  curses and problems might result from the set of The Ten Commandments, 
  including the ghosts of the cast and crew lost during shooting. However, if the 
  ghost makes away with the amulet or is thwarted but otherwise not destroyed 
  or banished, he may become a recurring problem for the Kindred of L.A.
  Prince Danton: Prince Danton might not be in power by the 
  end of this story. If she is, any Kindred who were involved in any 
  attempts against her are going to have some serious problems going 
  forward. If she’s deposed, however, any new Prince or government 
  will have to solidify their powerbase from the Danton’s allies and 
  other potential usurpers.
  Individual Goals: There are over a hundred goals possible for char-
  acters within this kit. Any of them can be followed up on in future 
  stories, as it’s very unlikely that all (or even most) of them will be 
  resolved within the scope of City in the Sand.
  experIence
  You can award from 1-9 experience points for wrapping up 
  a chapter and a story, as per the guidelines on Mind’s Eye 
  Theatre, p. 308-309. If the group is small, you might want to 
  consider incremental awards as presented there, such as Learn-
  ing Curve, Roleplaying, Success, Danger, and so on. One good 
  way to do that is to let players tell (very short) stories of their 
  experiences as they nominate someone else for such an award. 
  Another possibility instead of awarding “After A Story” awards 
  is to give each player one experience point for each goal they 
  completed, both personal and coterie, up to a maximum of 
  four. Finally, if the group is particularly large, you might want 
  to consider a flat rate of points, such as five or six, for everyone 
  who participated.
  
   MENTAL 
  PHYSICAL 
  SOCIAL  
  scene:
  Pcs
  h i n d r a n c e s
  h e l P
  sts
  Other
   MENTAL 
  PHYSICAL 
  SOCIAL  
  scene:
  Pcs
  h i n d r a n c e s
  h e l P
  sts
  Other
   MENTAL 
  PHYSICAL 
  SOCIAL  
  scene:
  Pcs
  h i n d r a n c e s
  h e l P
  sts
  Other
   MENTAL 
  PHYSICAL 
  SOCIAL  
  scene:
  Pcs
  h i n d r a n c e s
  h e l P
  sts
  Other
  Fairly obscure artifacts (-2)
   Revealing the Artifacts
  ­•••­
  ••
  Library or  
  Internet access (+2)
  Introduce the artifacts into the story; get a vampire to touch the amulet
  Find out more about the artifacts, and find out  
  who has a particular interest in the artifacts.
   Suten Anu Awakens
  ­••­­
  ••• 
  —
   —
  Use the artifact cards  
  (p. II) as props
  Obfuscate 
  (see “Clash of Wills,” 
  MET:R p. 159)
   Prince Danton Speaks
  None
  Let the Prince speak, and maybe introduce or push along some political plots.
  See what the Prince has to say, and try to turn it to your advantage if possible.
  Some potential plots that 
  Danton can introduce 
  include finding a new 
  Sherriff to replace Takashi, 
  meeting the Kindred new  
  to Los Angeles and 
  allowing petitions for  
  other new positions.
  None
  None
  Add some occult mystery to the story.
  Uncover the unusual events, and see if they are connected.  
  Find out what Suten Anu wants.
  There are at least five ways 
  to deal with Suten Anu: 
  destroy the artifacts 
  •	
  give him the amulet 
  •	
  abjuration 
  •	
  exorcism 
  •	
  using the tablet as a 
  •	
  plot device.
   
   
  ­••­
  ­• 
  •••
  6
  7
  8
  
  Notes         
      Willpower     
      Essence      
       Skills            Numina                  
      Influence 
   
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  o o o o o o o o o o o o
  o o o o o o o o o o o o
  o o o o o o o o o o
  o o o o o o o o o o
  Name: 
  Virtue:
  Concept: 
  Vice:
       Corpus           
  Dice Pool
  Morality
  Aspect
  Rank
  Size
  Speed
  Defense
  Initiative Mod
  Power 
  Finesse 
  Resistance
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  Suten Anu 
  Temperance
       Vengeful Spirit 
  Wrath
          1   
  5
      19 (Running)
          5
                      9      
  Successes:
  1.
  2.
  3.
  4.
  Cost:  
  Action: 
  Test Pool: 
  Artifact:
  Draw Results 
  Failure: 
  Success: 
  Roleplaying Hint: 
  Artifact Information: 
  Animal Control  
    (swarms of beetles) 
  9
  Phantasm 
   
  9
  Possession 
   
  9
  Telekinesis 
   
  9
  Terrify 
   
  9
  
  Cost:  
  Action: 
  Test Pool: 
   
  Amulet of Suten Anu
  If you want to use the Auspex power Spirit’s Touch on this object, follow 
  the instructions below. If you succeed, flip the card over and read only up to 
  the successes you have gained. To use Academics or Occult to learn informa-
  tion about the artifact, please see a Storyteller.
  Draw Results 
  Failure: Failure indicates that no 
  impressions come through. 
  Success: Flip card over for results
  Roleplaying Hint: Light trance 
  state. You are dimly aware of your 
  surroundings, but you cannot 
  move or speak about anything 
  other than visions being received, 
  or use other Disciplines without 
  breaking the trance. 
  — 
  Instant
   
   Wits + Occult + Auspex
  Cost:  
  Action: 
  Test Pool: 
   
  Golden Tablet
  If you want to use the Auspex power Spirit’s Touch on this object, follow 
  the instructions below. If you succeed, flip the card over and read only up to 
  the successes you have gained. To use Academics or Occult to learn informa-
  tion about the artifact, please see a Storyteller.
  Draw Results 
  Failure: Failure indicates that no 
  impressions come through. 
  Success: Flip card over for results
  Roleplaying Hint: Light trance 
  state. You are dimly aware of your 
  surroundings, but you cannot 
  move or speak about anything 
  other than visions being received, 
  or use other Disciplines without 
  breaking the trance. 
  — 
  Instant
   
   Wits + Occult + Auspex
  successes: As above, plus as your eyes start to lose their focus, and you see a face lean-
  ing down. It is skeletal, like a jackal’s head. It wears the regalia of an ancient Egyptian 
  priest. It opens its mouth, and blood drips from its fangs before it lunges forward. You can 
  feel every inch of you exploding into a million pieces, and your last sight is of your own body 
  turning to sand.
  Successes:
  1.
  2.
  3.
  4.
  success: There is an immediate vision of blood dripping. There is an emotional 
  residue of surprise, pain and death.
  successes: As above, plus you see a face, one which pops out of the posters from the 
  restoration of the film: Charles De Roche, the actor portraying Ramses, the pharaoh. He 
  is cradling someone in his arms, the person wearing the amulet. He is shocked and surprised. 
  You get the impression he sees the murderer, or thinks he does, before the vision fades out.
  successes: As above, plus the visions shimmer before your eyes. You can see 
  the night sky overhead, clear and cloudless, with all the stars shining. There 
  are sounds of a loud party in the distance and the smell of cooking fires. There is a 
  brush of a cold hand along your back. You shudder before pain fills your mind. Your 
  heartbeat hammers in your head as you try desperately to push blood to your heart. 
  You feel light-headed, and then you feel nothing but the fluttering of death at the 
  edge of your senses.
  Successes:
  1.
  2.
  3.
  success: Even before you touch the tablet, you feel incredibly uncomfortable, as 
  if the tablet will burn your fingers to touch it. As soon as your fingers brush the 
  warm metal, you get a vision of holding the tablet above your head while the bright 
  California sky beams down on it. You know the light can be seen across the crowd 
  gathered before you. The director is yelling at the extras as they move forward, dressed 
  in the garb of the Egyptian guards and royal attendants. All eyes are on you in the role 
  of temple priest of Ra.
  successes: As above, and your senses strain to make a connection. There is 
  something distant and powerful that seems to linger out of reach—just the faintest 
  whisper of power, the warmth of the sun, the warmth of faith. 
  or more successes: As above, and this is not just a movie prop. The tablet in your hand 
  is far older than that. It is real, authentic. You can feel the age of it, feel it burning 
  your hands, gold melting through the skin, resting against the bone. When you let go or pull 
  away, your hands remain unharmed, but the residual memory lingers for a few seconds.
  4.
  
SOURCE: textdata/thevault/Storyteller [multi]/World of Darkness (WoD) [multi]/Vampire/Vampire - The Masquerade (Classic)/Mind's Eye Theatre (MET)/SAS/Mind's Eye Theatre - Vampire - SAS - City In The Sand - 1 Main Booklet.pdf