TEXT: All sins are  
  attempts to fill voids. 
  –Simone Weil
  Written by Chuck Wendig
  Developed by Chuck Wendig and Eddy Webb
  Edited by Genevieve Podleski
  Layout by Tiara Lynn Agresta
  An adventure for 
  Vampire: 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
  XP LEVEL
  100+
  SCENES
  3
  
  All sins are  
  attempts to fill voids. 
  –Simone Weil
  Written by Chuck Wendig
  Developed by Chuck Wendig and Eddy Webb
  Edited by Genevieve Podleski
  Layout by Tiara Lynn Agresta
  An adventure for 
  Vampire: The Requiem 
  using the  
  Storytelling 
  Adventure System
  MENTAL 
  OOOOO
  PHYSICAL OOOOO
  SOCIAL 
  OOOOO
  STORYTELLING ADVENTURE  SYSTEM
  XP LEVEL
  100+
  SCENES
  3
  © 2011 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, Storytelling System and Parlor Games 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
  
  1
  Into the Void
  that cork will find that the shadows within are now the shadows 
  without. The Prince has been holding this city back from its own 
  baser instincts for decades now. Hasn’t anyone noticed the relative 
  stability, the continuing Masquerade, the unbroken Elysium? 
  Do they think that all happens magically on its own? Nobody’s 
  suggesting the Prince is a hero, but to suggest that he doesn’t play 
  his role is tantamount to a child’s illusion.
  And now somebody’s gone and fucked that all up.
  In fact, the players’ own characters are the ones who screwed it 
  all up. They are the conspirators who bring the Prince down, not 
  realizing that what they’re doing isn’t setting the city free—but 
  rather, setting the monsters free. 
  This product is about what happens when the city suffers a 
  major void of power, and about navigating the horrors that swiftly 
  move to fill that void.
  What's Inside
  This scenario is broken down into three sections:
  In this Introduction you’ll get the background of the story to 
  come, the full write-ups of the Storyteller characters and some 
  other general notes. 
  This isn’t the end of the war. This isn’t the fall of the Third 
  Reich with Hitler painting the bunker walls with his fucked-
  up brains—nobody’s going to cheer in the streets. You’re 
  not going to hear the Lollipop Guild doing its rendition of 
  “Ding Dong The Witch Is Dead.” What you did was kill 
  the jailer. Sure, the warden was an asshole. But he kept all 
  us monsters in check. You didn’t think about that, did you? 
  Now he’s gone, the cages are all open, and it’s time for the 
  monsters to run free once more. We’re all bad, bad people— 
  do you really want to see what kind of party we throw? 
  Introduction
  At the top of it all, sitting comfortably at the zenith of the city’s 
  nocturnal hierarchy, is the Prince. The Prince—in this city and 
  others—represents an unholy host of things to the vampires beneath 
  him: The Prince is oppression, the Prince is brutality, the Prince is 
  solipsistic self-interest, the Prince is hunger and callousness and 
  fascism. (Or, as the youngest Kindred might say, “The Prince is a dick.”)
  It’s all true, of course. The Prince represents all of those things. 
  He is a corrupt figure, not at all noble. He is mired in his own desires. 
  The Prince is lord of those younger than him and bulwark against 
  (or slave to) those elders above him. 
  So everyone wants the Prince gone. The covenants don’t like 
  that he pushes his agenda above theirs. The clans not represented by 
  the Prince’s own lineage want to see themselves on the pedestal of 
  power. The elders grow weary that this wicked upstart is a constant 
  thorn in their side, the ancillae see themselves as the bloated and 
  discarded middle class, and the neonates think… well, they just 
  think, “Fuck that guy.”
  So it is that night after night, year after year, whispers circle the 
  city—carried forth by hollow conspirators and chattering Harpies—
  of plans to kick the pyramid out from under the Prince and let him 
  fall on his own sword (or stake, as it were). 
  Everybody talks about getting rid of the Prince. Few, however, 
  actually make it happen.
  Maybe in their dead hearts and kinked-up bowels lurks a glimmer 
  of instinct that tells them the truth: the Prince is a bastard and 
  monster, yes, but he is also the cork in a bottle. In the bell of that 
  bottle lurks a grim swarm of horror, and anybody who deigns to pop 
  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
  Here are some of the features available in Into the Void:
  •   Interactive links. Clicking on anything in red will take you directly 
  to the section referenced, or to an appropriate character sheet or 
  prop. It may also take you to an external website that could be useful.
  •   Scenes. Clicking on a scene name in the scene flowchart or the page 
  number in the scene card will take you to the full write-up of the scene.
  •   Bookmarks. This PDF is fully bookmarked, so you can jump to major 
  sections at any time when the file is open.
  
  2
  Into the Void
  The Scenes of the story are the heart of the action. Because of the 
  way in which storytelling games can flow, these scenes are modular 
  and provide you with a framework upon which you can improvise, 
  rather than locking you into rigid patterns.
  The Scene Cards at the end of the scenario are a quick-reference 
  resource for you to use as the Storyteller. If you don’t have the option 
  of printing up the entirety of Into the Void, you can just print up the 
  scene cards instead and use those to get the overall gist of the story.
  Treatment
  The adventure begins with a bang: In the very first scene, the 
  characters off the Prince. It seems like a moment of triumph, but 
  the victory lap is short-lived.
  Morning comes, and by the following evening, the truth has 
  been loosed upon the city: the Prince is dead—really, truly, finally 
  dead. The jailer is gone. The result? Chaos. Vampires feed wantonly. 
  Political maneuverings cast aside all pretense of subtlety—you can’t 
  call it “backstabbing” if the stake goes in through the chest. The 
  clans and covenants all set to a boil: They want power, and they 
  want it now.
  As the nights worsen, as the madness escalates, the Masquerade 
  strains at its stitches to contain it all. The human response is already 
  rising to the surface as the herd unknowingly seeks to countermand 
  the deepening shadow. 
  Somewhere it becomes clear: the Prince had a very tight grip on this 
  city. The response to any deposition of leadership is usually a period of 
  chaos, but this is fucking nuts. This Prince had something special going 
  on—some factor of control that went well beyond the norm. And so, 
  early on in the adventure the players learn the truth: the Prince had 
  orchestrated power and wrested control from the other vampires in 
  the city by holding their darkest secrets above their head. He went 
  well above and beyond the call of duty in learning the vulnerabilities 
  and discovering the closeted skeletons of the city’s vampires, from the 
  lowliest neonate worm to the eldest sanguinary scion.
  And now that he’s gone, the puppet strings have been cut. 
  But those secrets remain; the Prince had them concealed 
  somewhere in the city. If the players hope to restore order to the 
  city and claim leadership for themselves, they damn well better try 
  to find the Prince’s “box of secrets” before someone else does.
  Or before the city cannibalizes itself and is left a bloodless corpse.
  A Chapter in Your Chronicle
  This game is certainly well-served by becoming an organic part 
  of your pre-existing Vampire: The Requiem chronicle. To do so 
  isn’t particularly difficult, but will take some maneuvering to ensure 
  that this adventure is a natural part of the story’s flow.
  First, be advised that the characters in this game are meant to 
  be of a fairly high-level. These are not neonate characters; they are 
  potent ancillae or young elders, most likely. 
  Second, the conspiracy to bring down the Prince isn’t 
  something someone concocted overnight. Whether the 
  characters birthed this conspiracy on their own or they are 
  shepherded forth by a Patron character (the Patron is described 
  later in this document on p. 5), it didn’t come from nothing. 
  The resentment and the hunger for power have been simmering 
  for a long while. It is worth taking time not only to think about 
  how this will build up but also taking a number of game sessions 
  to actually start the ball rolling. Yes, this adventure begins right 
  in the thick of it, but the overall story doesn’t have to. If the 
  players are on board, you can build up to the first scene (“The 
  Perished Prince”) over the course of several game sessions. 
  Third, it’s worth putting into play a relationship with the 
  Prince—his demise will feel all the more organic and affecting if 
  the players get to witness the man in action.
  Background and Setup
  Some pieces of information should be made available to the 
  vampires right off the bat, with no roll necessary. 
  A Hint of the Truth
  Characters (and by proxy, their players) want to feel active, not 
  passive—they should not be dragged along to the truth but rather 
  shown only the door. It’s up to them whether or not they care to 
  walk through it.
  In this case, you want to show them how the Prince has been 
  keeping order in the city without explicitly stating it. The backstory 
  is therefore a good place to set this up.
  Someone in the last ten years went against the Prince. He or 
  she (hereby known as The Defiant) stood up against the Prince’s 
  
  3
  Into the Void
  The Set-Up
  The story begins in the set-up. It’s where you’ll provide the 
  narrative impulse to get the game moving. Backstory is important, 
  but don’t focus on it. The springboard to action (and thus, player 
  interest) starts here.
  Dark Secrets
  The Prince possesses a treasure trove of secrets. He has something 
  on every vampire in the city: haven locations, access codes, duped 
  SIM cards, recordings, documents, blurry photos, letters—the works. 
  He has something different on every vampire.
  Before play, discuss separately with each player exactly what he 
  might have on them. Have the player clearly identify up to three 
  dark secrets that few others know about the character. (It’s ideal if 
  these dark secrets remain hidden from the other players and their 
  characters.)
  The player may have an idea, or may be willing to offer the 
  Storyteller a little creative license in coming up with some dangerous 
  or deranged backstory for her character that has yet remained 
  unknown.
  If you require it, work a roll into the mix. Have the player roll 
  her character’s Manipulation + Stealth dice pool. Failure indicates 
  that the Prince had three pieces of evidence serving to illuminate 
  three of the character’s darkest secrets. Success drops this number 
  to one revealed dark secret, whereas an exceptional success means 
  that the character was lucky enough to have scraped by without 
  the Prince ever having any evidence; whatever lies in the Prince’s 
  box of secrets is inconclusive and ultimately useless.
  Why does this matter? 
  First, no vampire wants to learn that another vampire holds 
  secrets over their head. Yes, the Prince gets offed after the first scene, 
  but it won’t be long before the players learn about the box of secrets 
  (if they didn’t already know of it). Clearly the Prince had a threat 
  in place: you mess with him, you get your secrets released into the 
  wild. Even if that’s not the case, that still means the characters’ 
  darkest secrets remain “out there” for any other vampire to discover.
  Second, the final scene of this piece—provided the characters 
  make it that far—reveals a pivotal problem. The players’ characters 
  don’t know one another’s dark secrets—though, let’s be honest, 
  presumably draconian policies and, three nights later, was beheaded 
  on a rooftop, his body turned to ash, his skull left as a charred 
  artifact. Seems a not unusual course of events—defy the Prince, 
  end up decapitated—but how those three nights unfolded is what 
  was unusual.
  Various power players across the city received packages. These 
  packages were all different, and all seemingly tailor-made for 
  the recipients.
  Each package was reflective of The Defiant in some way.
  One package revealed a recorded conversation where the Defiant 
  badmouthed and conspired against a powerful Crone Hierophant 
  (who received the tape).
  A second package showed a map to (and of) the Defiant’s haven 
  and was sent to various neonates across the city.
  A third package revealed forensic evidence that the Defiant was 
  the malefactor responsible for the Final Death of a young vampire 
  who happened to be the child of a prominent elder. (And who got 
  that evidence? You guessed it: the prominent elder.)
  A fourth package was sent to the Prince. The evidence within 
  revealed various Masquerade breaches committed by the Defiant, 
  his coterie and his childer.
  So, when the time came and the Defiant wound up headless and 
  burned, nobody can really say for sure exactly who did the deed because 
  out of nowhere a whole lot of vampires suddenly gained motive. 
  The truth of the whole thing is that the Prince was the one who 
  had all this information and was the one responsible for putting it 
  into the hands of the city’s vampires—but he put it into his own 
  hands publicly, thus attempting to draw attention away from himself.
  The city’s vampires don’t know this, of course. Some may have 
  a suspicion, but that’s all they have to go on; the situation remains 
  hidden behind clouds of rumor. The player characters probably 
  know the core of the situation: the Defiant went against the Prince 
  publicly, then was the target of some kind of smear campaign just 
  before he got his ass handed to him.
  If you don’t have this story connected to your pre-existing 
  chronicle, that’s okay, we have it covered: the Defiant’s name was 
  Kunz and he was a firebrand Carthian who refused to be contained. 
  The important thing to note is that he wasn’t some small fish in a 
  big pond: he was a powerful ancilla with notable connections and 
  ambitions. It shows that even those with power can have it snatched 
  away at the last moment.
  
  4
  Into the Void
  for her in a big way, the idea becomes a lot more seductive. Note 
  that this could go either way: it’s possible that the character has 
  been put to the task by another individual. “Destroy the Prince 
  and the Bishopric awaits you,” or “Cast him into Final Death and I 
  shall owe you the biggest favor you could imagine.” Alternatively, 
  the character may believe that offing the Prince will yield status 
  and allies in much the same way that a knight slaying a dragon 
  might be viewed as a hero. Obliterating the Prince is surely the 
  way toward a bump in status, is it not?
  • Secrets. In general, the city’s vampires don’t know that the 
  Prince has a box of secrets—and those that do don’t necessarily 
  know he has something on everyone. It remains possible, however, 
  that one or all of the characters do know this. If one of them 
  thought to stand against the Prince (perhaps on a political issue), 
  then it’s likely that the Prince would have issued a warning that 
  hinted at his cache of dark secrets. As a result, it’s very possible 
  that the motivation to attack and destroy the Prince is to reclaim 
  and liberate those secrets for themselves—either to bury their own 
  dark secrets or to exploit the secrets of others.
  • Revenge. Any Prince makes enemies. You can’t make a 
  city without breaking a few heads. As such, revenge represents a 
  perfectly viable motive behind his execution. If a character doesn’t 
  like how the Prince done her wrong, well, revenge is a dish best 
  served with an axe to the neck.
  • Religion. It’s naïve to think that only humans kill one another 
  over religion—vampires, already driven by their most basic instincts, 
  often view their religious beliefs with an almost reptilian sense of 
  protectiveness. Consider that the Prince (as he’s shown here) is 
  an atheist capitalist whose only gods were blood and money. His 
  policies on the two ostensibly religious covenants within the city 
  kept them largely politically neutered. It makes sense, then, that 
  a religious vampire (or a character hired by just such a religious 
  character) would want him out of the picture. Alternately, if you’re 
  using a Prince character of your own design, that Prince might very 
  well be a Crone or one of the Sanctified, earning his own brand of 
  enmity from the other side (think “religious crusade”).
  • Puppet. Blood is addictive, and a lot of vampires are 
  on the hook for it: many, in fact, end up in service to other 
  vampires. One of the characters may very well be acting at the 
  behest of a vampiric master: a mad elder, a crass Archbishop or 
  a callous Hierophant. 
  they probably want to. That final scene, when the vampires discover 
  the box, is a turning point. Do they agree to burn the box? Throw 
  the secrets wide open? How can they negotiate one another’s 
  vulnerabilities? It’s like a minefield.
  Now, if you’re not really into those games where treachery and 
  duplicity come into play at your own gaming table, we understand. 
  In that case, we recommend removing the characters from this 
  equation. Reframe the story so the reason the characters are the 
  ones to go after the Prince is because they have nothing to lose. 
  He never got secrets on any of them and so they remain protected.
  Motivations: What's at Stake?
  Killing another vampire is a big deal. And it’s generally a big 
  “no-no” in terms of keeping order and maintaining the Masquerade. 
  Killing the Prince is therefore the extreme fringe of this— if 
  murdering a common vampire is a scary proposition, offing the 
  Prince is pretty batshit.
  Thus it’s important upfront to establish the motivations of the 
  characters. They aren’t just doing this for kicks. This is serious 
  business that demands serious motive.
  It’s okay if each character has a separate motive, but it’s just 
  as okay if they share a single motive. (In the latter case, it’s 
  recommended that the characters belong to one coterie as opposed 
  to merely being co-conspirators).
  Here you’ll find a handful of potential motivations that drive 
  the characters. This is not an exhaustive list and you’re encouraged 
  to come up with your own. Moreover, they aren’t exclusive to one 
  another and in many cases can be combined to form an even more 
  powerful motive.
  • Reward. Some vampires have moved past material reward, 
  but let’s be honest: most haven’t. Money is great. So is territory. 
  And fast cars. And blood dolls. A vampire may be willing to off the 
  Prince for a reward—mind you, it’s probably a very big reward, but 
  that makes the sting all the sweeter. The important thing to note 
  here is that “reward as motivation” means that the task at hand is 
  externally-driven; killing the Prince is, for the character, nothing 
  personal. Someone else is the one pointing the character like a gun 
  (and here we’ll refer you to the “Patron” section on p. 5). 
  • Status and Allies. What’s often more important than material 
  reward is political and social reward. A vampire is only as good as 
  her place in the hierarchy, and if offing the Prince improves that 
  
  5
  Into the Void
  • Something Far More Sinister. Killing the Prince is a significant 
  enough event that it may demand a truly sinister reason. In this, 
  you have unlimited options. Is the Prince a sacrifice for some kind 
  of blood demon? Is one of the characters a diablerist? Perhaps the 
  murder of the Prince is driven by the mysterious sect known as VII, 
  or one of the characters is possessed and controlled by a foul Strix 
  spirit. It could even be that one of the conspirator characters is 
  nothing more than an entropy-loving sociopathic monster whose 
  only desire is to see the city go down in flames of chaos.
  The Patron
  This story works well without a patron character—as noted, 
  offing the Prince is a big damn deal and is very likely born of 
  personal motivations. 
  Of course, nobody said those personal motivations had to be from 
  the players’ characters—it’s possible that a Storyteller character in 
  the city is the one harboring said motivations, and this character 
  can then become the group’s patron. 
  Why would a Patron have the characters perform this onerous, 
  odious task? Check the motivations listed above and choose one for 
  the patron; is it personal? Infernal? Political or religious?
  The other question to ask is: why is the patron figure not 
  performing the task himself? Is he afraid of getting caught? Is he 
  trying to create an alibi for himself? 
  The patron needn’t be a single character. This conspiracy may 
  be born of an entire covenant. If the Dragons in a city decide that 
  they want the Prince cast down, then they might all be in on it. 
  The Cast
  Below is a cast you can use for Into the Void. We’ve only statted 
  out a handful of characters, but below that you will find a list of other 
  vampires that can “fill in” the remainder of the city’s hierarchy if 
  you don’t have one ready to go. These vampires do not receive any 
  stats, but each get a paragraph or so of information to help you drop 
  them into a scene or two. (Obviously, should they become more 
  important, feel free to give them stats when appropriate.)
  Prince Donal
  Quotes: “Oh-ho-ho. Come in. Have 
  a drink. It’s been too long. What’ll 
  you have? Blood of an Englishman?” 
  (Socialize)
  “You have no idea what Hell 
  you’ve opened up. Not just for 
  yourselves, but for the whole city. 
  Would you burn down a forest just 
  to get a single fox?” (Intimidation 
  or Empathy)
  “Please. This has gone too far. You 
  don’t want to do this. I can help you. I 
  can offer you so many things. Will you 
  listen? Will you wait?” (Persuasion)
  Virtue: Prudence
  Vice: Sloth
  Description: Donal is a hearty, physically robust ruler—a 
  plump gut beneath a broad chest, a tangled top of red hair (coupled 
  with a sideburns that look like fire leaping off his rough-hewn 
  face), and hands that could crush a monkey skull. He carries 
  himself with a rakish, almost drunken charm.
  It is a ruse, at least in part. Donal pretends to rule as a sloppy, 
  sometimes slovenly Prince—he enjoys his food and his wine, but 
  most of all he seems to enjoy ruling by “letting things fall as they 
  may.” In reality, he’s a sharp and vicious man—the fat-bellied 
  spider at the center of a very complicated web. He is a man who, 
  with his box of secrets, is running a very long con, and who governs 
  more behind the scenes than up front. 
  It’s earned him a great deal of enmity, though few Princes can 
  say they escape each night without added scorn—but certainly 
  many of the vampires in the city believe that Hell holds a special 
  place for Donal. 
  Storytelling Hints: Imagine that an old English king has a 
  few flagons of wine gurgling around his gut and you come to 
  understand exactly how Donal acts most of the time—that is, 
  until he is somehow cornered or forced into acting like a Prince. 
  At that point, the illusionary fog clears, the lips purse or scowl, 
  and his eyes darken. 
  The Cast
  
  6
  Into the Void
  Harmon Kale (Sheriff)
  Quotes: “City’s fucked. Plunged 
  into chaos and darkness because of 
  what you done. That’s unacceptable. 
  You violated the peace, so now I 
  violate you.” (Intimidation)
  “Only person I trust to step 
  into the void on this one is me. I’m 
  making a play for the city, an’ I’m 
  the only one who knows how it’s 
  really done.” (Politics)
  “I can give you the carrot, or I 
  can give you the stick. The carrot is 
  you help me lock this city down and I 
  give you some territory, maybe a better 
  title. The stick is… well, we don’t talk 
  about the stick.” (Persuasion)
  Virtue: Justice
  Vice: Envy
  Description: Kale’s built like a fire-plug: round chest, meaty 
  fists, bulldog face. He isn’t particularly charismatic, nor is he all 
  that attractive—it’s why the role of sheriff has been ideal for him. 
  It grants him a measure of power and authority over the city’s 
  vampires without making him the face of the city. He can operate 
  in shadow, be equal parts “tough goon” and “long arm of the law,” 
  and play good cop/bad cop all by himself. He’s long been the Prince’s 
  right hand man when it comes to keeping order in the city; Kale’s 
  been the one who has done most of the collection for the Prince’s 
  mighty box of secrets. Kale is equal parts “Sheriff” and “Head of 
  the Secret Police.”
  Thing is, Kale’s always wanted more. He has long felt that in 
  reality, he’s been the one keeping the cap on things—the Prince 
  has just been a figurehead. A very important figurehead, no doubt, 
  but he’s been the guy with his hands on the reins, right? 
  It doesn’t matter if it’s true or not. What matters is that, despite 
  being the Prince’s go-to guy and being the one who has collected 
  most of the Prince’s prized collection, Kale has no idea where the 
  Prince actually keeps this mythic collection of secrets. 
  He knows that if he can get to it, it’ll put him in a position of 
  unparalleled power—more specifically, it’ll allow him to claim the 
  mantle of Prince. A curious thing: Kale doesn’t really want power 
  for the sake of power. He finds it distasteful. But he thrives on 
  authority and is obsessed with keeping order, which is what fuels 
  his drive.
  Storytelling Hints: Kale is gruff and straightforward, but that 
  doesn’t mean more isn’t going on beneath the surface. He’s always 
  playing an angle, and is far craftier than he seems. He’s got the 
  demeanor (and face) of a bulldog, true. But he’s got the mind and 
  heart of a fox. Amelie (The Prince's Attaché)
  Quotes: “Hey, to hell with you. I’m free, and unlife is short, and 
  now it’s every blood junkie for herself.” (Politics)
  “I hold the keys to the kingdom. You didn’t know that, do you?” 
  (Subterfuge)
  “Donal, he loved me. He trusted me. He made me his. And so 
  he gave me the greatest secret in the city, and now I’m going to use it 
  to keep my head attached to my shoulders. The bidding starts in one 
  hour.” (Persuasion)
  Virtue: Faith
  Vice: Lust
  Description: Amelie is a waifish pixie-girl with close-cropped dark 
  hair, wearing a black pinstripe suit just a bit too large for her. (This 
  was what Donal demanded she wear, and if the characters catch her 
  unawares, she might have dressed in a white 
  wife-beater and a pair of baggy cargo pants.) 
  Amelie has long been Donal’s 
  attaché—she has served as advisor, 
  liaison, and lover for a pair of decades. 
  It was not her choice; her sire 
  (long dead) made the first of many 
  grievous errors and as a result was 
  forced to give his childe to the 
  Prince as restitution. The Prince 
  bound her to him and came to love 
  her. She, too, came to love him but 
  only because of the bond—now 
  that Donal is gone, she feels free, 
  unburdened by her fetters. 
  As a character, Amelie remains 
  in an interesting place should you 
  The Cast
  
  7
  Into the Void
  care to use her beyond this adventure.  She could really go either 
  way now that she’s free. She will certainly seek to “find herself,” but 
  does this mean she drags herself out of Donal’s long, dark shadow, 
  or does it mean she only becomes more of a monster in turn?
  Storytelling Hints: Amelie is finding her feet, so to speak—she 
  is equal parts brash and cowardly. It’s as if she wants to spit in the 
  eye of the Danse Macabre so bad, her bravura keeps pushing past 
  her fear and rising to the surface. Vampires of the City
  Below you’ll find a handful of vampires (in most cases, those 
  potent Kindred who sit closer to the top of the pyramid than the 
  bottom) for use in this adventure. With each you will find the 
  vampire’s clan and any dark secrets the vampire possesses (important 
  in terms of the Prince’s “box of secrets”).
  If you require fast, on-the-go stats, feel free to peruse the New 
  Orleans Appendix of Vampire: The Requiem, which contains a 
  number of higher-XP vampire stats (pp. 285-294). For instance, 
  Cardinal Twain may use Antoine Savoy’s stats (though likely with 
  more Theban Rituals). You could take Baron Cimitière’s stats and 
  tweak them to become Greta’s (lose the Voodoo angle and replace 
  it with Pagan Rituals). Both Owen and Ludmila could use Pearl 
  Chastain’s stats (again with minor tweaking—Owen probably has 
  Narcissism as a derangement, for instance). 
  Cardinal: Twain (The Hand of God)
  Daeva
  Dark Secret: Was once a violent diablerist, uses forgotten 
  Theban Sorcery to hide it as he claims it was the “hand of God” 
  that made him do those things.
  Twain is a self-righteous brute. His version of the Sanctum is 
  walled-off and restrictive: a castle in which those who belong are 
  protected and those who do not are held outside the gate. His 
  version of the Danse Macabre is an exalted condition, but only if 
  you accept God and the story of Longinus. He cares not to preach. 
  He has little interest in convincing you of the glory of God. He 
  yearns for a violent crusade to cleanse the city of its naysayers, but 
  the Prince has been holding him back. 
  Harpy: Blackmoore (The Comedian)
  Ventrue
  Dark Secret: Despite all his callousness and Harpy judgment, 
  Blackmoore still has a mortal family that he keeps in touch with 
  and protects.
  Blackmoore is equal parts “Tim Gunn from Project Runway” and 
  “court jester.” Though he’s not gay, he acts the stereotype: sassy, snide, 
  cruel, always fast with a jibe or a verbal riposte. If he had a Social 
  Fighting Style, its opening move would be, “Oh, Snap.” The thing 
  is, despite all the jokes and hilarious cruelty, he’s very good at a) 
  knowing all the most forbidden gossip while keeping to himself until 
  it’s advantageous to release it and b) knowing how to really make it 
  hurt. He can sting the most stalwart of monsters. Of course, he never 
  turned his wicked tongue against the Prince… because he’s one of 
  the Kindred in town who knows full well about the box of secrets.
  Hierophant: Greta (The Monster)
  Nosferatu
  Dark Secret: The evidence the Prince possesses is about where 
  Greta sleeps. She’s very paranoid and does not want that information 
  “out there.”
  Greta is a night terror—an ancient, decrepit elder who has 
  carved out a pretty good swath of territory across the city’s park 
  system. Despite being a possibly insane and monstrous elder, Greta 
  remains as an active part of the Circle of the Crone. She serves as 
  Hierophant, yes, leading the local cultists in the various rites and 
  services. But she also serves as an emblem of the Crone herself—
  Greta even claims to be the childe of the Crone. As such, her role 
  as leader of the local Crones is not just as a taskmaster or actor; she 
  is also a creature who earns her worship directly. With the Prince 
  gone, she knows that the lock has been knocked off the cage, and 
  she has little interest in restraint or prudence. The covenant—with 
  her at its head—must be ascendant at any cost.
  Judex: Atticus (The Rational)
  Ventrue
  Dark Secret: Was once a prominent Carthian in a different city 
  under a different name (Aaron). 
  Atticus has long been neutered. Yes, he’s the standing Judex 
  in a city full of Invictus, and yes, the Prince was himself Invictus. 
  But the Prince chose to mediate disputes himself (or have Sheriff 
  The Cast
  
  8
  Into the Void
  Kale do it), thus leaving Atticus relatively toothless in the face of 
  conflict. Atticus wasn’t without tasks, of course; nobody wants a 
  bored Judex wandering around. But the conflicts he was called upon 
  to mediate were thin and shallow, divisions that could have been 
  bridged by a neonate with a year of the Requiem under his belt. 
  Now, the shackles are off. The Prince is gone. Atticus—judgmental, 
  rational, icy—is ready to work.
  Kogaion: Saladin (The Obsessive)
  Mekhet
  Dark Secret: He has been accused of giving away the Order’s secrets 
  to outsiders. The Prince, however, intervened and ensured that the 
  letters from the seven other Kogaions never made it to their recipients. 
  Like many Kogaions, Saladin is an obsessive hermit driven to 
  the brink of madness by his consuming need to study the occult 
  forces behind the city, its construction, and its politics. He believes 
  he will be able to predict the next Prince by examining the occult 
  forces surrounding the city at this time, which causes him to leave 
  his penthouse tower and descend into the fray for the five days that 
  comprise this adventure.
  Master of Elysium: Owen (The Ludicrous)
  Daeva
  Dark Secret: Owen has a ghoul lover, Miranda. He is technically 
  her master and her keeper, and that role plays out in public quite 
  nicely. But it’s not the entire truth. In reality, Owen has given 
  himself to her completely: she owns him body and soul. Miranda 
  is running the show—and that means she is essentially the Master 
  of Elysium, not him. 
  Owen’s Elysium is full of vampiric “bread and circuses.” He is the 
  king of pomp and circumstance, establishing lunatic carnivals and 
  orgies and balls to keep the city’s Kindred amused (and to keep them 
  from ripping out each other’s throats). Owen himself is, as his name 
  suggests, ludicrous. If the vampires of the city released a “Blackwell’s 
  Worst Dressed” list of the year, he’d be top of the list every time. 
  Yes, it’s high fashion, but in the lowest way possible. Owen didn’t 
  like the Prince—ruse or no, he found Donal slovenly, careless and 
  a real lout. But he also recognized that the Price was the one who 
  put him in the role and who kept him there by dint of containing 
  his secrets; in this sense, Owen is one of the few within the city 
  who actively misses the Prince’s control over the city, because now 
  his role is threatened.
  Prefect: Quinn (The Whore)
  Ventrue
  Dark Secret: Quinn is blood-bound to Greta, and is a secret Crone 
  worshipper, a fact that would not sit well with her Carthian servitors.
  They call Quinn “the Whore” not because she literally sleeps 
  around but because she is willing to whore herself and her covenant 
  out to achieve even the most modest or miniscule of goals. Carthians 
  are constantly directed by Quinn to perform some task for the other 
  vampires of the city—bodyguard, dancer, debate moderator, blood 
  wrangler, the role is always different, but Quinn pimping out her 
  own people to meet her own ends. Of course, irony is alive and well 
  amongst the city’s nocturnal populace: just as Quinn whores out her 
  own people, the Prince would whore out Quinn to perform secret 
  tasks for him. Why? Because he could. The secret he held over her 
  head was profound.
  Priscus Daeva: Ludmila (The Moonbat)
  Dark Secret: Isn’t really insane—no, really, she’s just pretending.
  Everyone knows that Ludmila is fucking nuts. She’s old. She’s lost 
  her mind to the depredations of the Danse Macabre. She’s equal parts 
  “lunatic artist” and “crazy cat lady” (yes, she comes complete with 
  a flock of blood-addicted felines), but all that is just a clever ruse. 
  Ludmila is perfectly sane and has a memory as clear as the pealing 
  of a flawless bell: this allows her a great deal of leeway in the city to 
  do whatever she wants and learn things that rational Kindred could 
  never learn. Part of it goes beyond strategy and into straight-up 
  amusement—a former actress, Ludmila really likes to play pretend.
  Priscus Gangrel: Robicheaux (The Domesticated)
  Dark Secret: Robicheaux claims to be about a hundred years 
  old—and that is a tremendous lie. This Gangrel is actually well over 
  a thousand years old. But the years have not been kind to his mind 
  and he finds it easier to play younger. If anyone found out that his 
  blood was of significant potency, they might come after him.
  The city’s Gangrel don’t much like Robicheaux. They call him 
  “domesticated,” because he’s like a wolf who has become a dog—a 
  lap dog, at that. Robicheaux is a weak-kneed, bent-spined “noble 
  savage”—a wild man dragged out of the Bayou (or so the story 
  goes) and turned civilized. He’s now a hungry politico who will give 
  his vote to whoever is standing downwind. A small conspiracy of 
  Gangrel now wants to drag him away and “reintroduce” him to his 
  wild side by whatever means possible.
  
  9
  Into the Void
  Priscus Nosferatu: Grolsch (The Brown Recluse)
  Dark Secret: Grolsch is, yes, a powerful Nosferatu elder. He 
  is also “Karl,” the not-so-powerful leader of a rag-tag Unaligned 
  neonate coterie known as the “Red Scare.” Grolsch is political, 
  while Karl wants to tear down the political structure. Ultimately, 
  he does so to undermine any attempts by the “lower class” to 
  bring down those atop the pyramid. How does he keep up the 
  ruse? Grolsch never shows his face: he always wears a mask that 
  is reportedly bolted to his misshapen skull. Karl’s face, however, 
  is always on display and hard to forget: noseless, with a mouth full 
  of fangs and bloodshot eyes.
  Grolsch is the king of the subterranean spaces, and can be found 
  in every shadow and around every dark corner in the city (hence 
  his epithet, the Brown Recluse). But despite being the leader of the 
  Nosferatu warren beneath the city, he’s alarmingly political as far as 
  the Freaks go—he’s forever active in campaigning and politicking 
  for his own weird pet causes. 
  Priscus Mekhet: Siobhan (The Go-Getter)
  Dark Secret: Siobhan has long been the keeper of the city’s mortal 
  political dynasties—the Allertons, the Whitworths, the Macbrides. 
  Common vampire wisdom exhorts the bloodsuckers to stay away from 
  directly manipulating important mortals, but Siobhan has ignored that 
  advice for centuries. She doesn’t just control these families—she has 
  integrated herself into them, nesting there as the leader of various 
  shadowy blood cults. No, the Illuminati don’t control local politics, 
  Siobhan does. And she wants that kept secret.
  Siobhan is not the typical cold, stodgy Mekhet. She dresses 
  brightly, she smiles, her voice has a lyrical lilt. She could sell milk to 
  a cow: her words are that compelling even without the judicious use 
  of her Disciplines. It’s not a ruse, exactly—she really is that way. But 
  it betrays what is for her a completely eroded sense of Humanity. She 
  is debased in ways one cannot even imagine—behind those bright 
  eyes are the memories of countless human sacrifices, endless tortures 
  and blood-soaked orgies.
  Miscellaneous Enemies
  Throughout this adventure, we will refer to a number of enemies 
  that may plague the characters through the various scenes and 
  encounters. For ease of use, most of these characters can be put into 
  play using stats that already exist in both Vampire: The Requiem 
  and World of Darkness Rulebook.
  Gangbanger: Gang thugs may be orbiting the hospital or 
  roaming the streets. Stats in World of Darkness Rulebook, p. 205. 
  Gargoyle: May be guarding the box of secrets. Stats, V:tR, p. 226.
  Hell Hound: May be guarding the box of secrets. Stats, V:tR, 
  p. 225.
  Neonate Thug: Neonates smell an uprising, and either go into 
  hiding or start looting, drinking shit-tons of blood and possibly 
  even rioting. Use either the Rogue Ghoul or Belial’s Brood Fanatic 
  stats on pp. 228-229, V:tR.
  Police Officer: Cops are out in force and continue to increase 
  their presence on the streets as the nights go on. At first, the 
  characters may encounter one or two in a patrol car, but after 
  that, they travel in packs of four, even five. See stats in World of 
  Darkness Rulebook, pp. 205-206.
  Soldier: By the fourth or fifth night, a military presence is 
  guaranteed in order to enforce a curfew (and vampires just so happen 
  to be the ones who constantly violate curfew). Use the “SWAT 
  Officer” stats found in World of Darkness Rulebook, pp. 206-207.
  SWAT Officer: While the police do random spot checks and 
  drive-bys, SWAT officers are reserved for tactical action—if they 
  hear that a club full of vampires is ground zero for criminal activity, 
  they might send in a team of five SWAT guys ready to rock. Use 
  stats from World of Darkness Rulebook, pp. 206-207.
  Vampire Hunters: When the vampires act up (and act out), 
  the hunters are the ones who know the signs and who see what’s 
  really going on. And those carrying the Vigil will attempt to be the 
  “equal and opposite reaction” to the monstrous uprising. Use the 
  “Monster Hunter” stats found in World of Darkness Rulebook, 
  pp. 207-208. 
  Feel free to tweak those stats to give them Endowments either 
  from Hunter: The Vigil (if you possess that book) or you can give 
  them Physical Disciplines from Vampire: The Requiem (Celerity, 
  Resilience, Vigor). Instead of Vitae, it costs two points of Willpower 
  to active such powers. How do they gain such power? Possibly from 
  enchanted weapons, from holy water, from a priest’s blessing or 
  from occult rituals or sacrifices… anything that might empower 
  a once-normal human with paranormal abilities. Note, too, that 
  vampire hunters are likely to possess mild or severe derangements.
  
  10
  Into the Void
  Scenes
  Scene Flowchart
  The narrative of Into the Void unfolds in a way that allows 
  the characters (and their players) a hefty measure of freedom. The 
  adventure itself features only three truly critical scenes: a beginning 
  scene (kill the prince), a middle scene (discover location of the box of 
  secrets), and an ending scene (reclaiming the box of secrets). The other 
  scenes listed in this SAS are ultimately optional “encounter” scenes. 
  Plotting
  They say real estate is about location, location, location. Telling a 
  good story is about escalation, escalation, escalation. This tale starts 
  off innocuous enough, but swiftly swells with an intensification of threat 
  from all sides: physical, moral, spiritual, social. The characters will have 
  respite, but it shouldn’t be long-lived. If a scene seems to exist without 
  tension, feel free to mine other scenes for new ideas and ways to ratchet 
  up the conflict. Remember that in life, we hope to avoid conflict, but in 
  fiction, we hope to achieve it.
  The Five-Day Forecast
  Into the Void is meant to unfold over the course of five 
  nights—the characters may complete the story before those 
  five in-game nights are up, but unless the Storyteller decides 
  otherwise, the adventure won’t go beyond those five nights. 
  Over these five nights, the tensions in the city according to 
  the following scheme:
  First Night: “Party Down.” The news is out: the Prince is 
  dead. The atmosphere is festive, celebratory, a real party. Of 
  course, the way monsters party isn’t exactly sane: Masquerade 
  breaches pop up around the city as the vampires wantonly fill up 
  on blood. For the most part, the vampires keep the peace with 
  one another on this night, but they’re damn sure not keeping the 
  peace with the human herd. If anyone has claimed themselves to 
  be the Prince on this night, the narrative doesn’t stick: nobody 
  believes it, and frankly, nobody really cares.
  Pandora's Box
  Good Night, Sweet Prince
  Dead Man's Party
  Fire It Up!  
  Fire It Up!
  Hanging Posse
  Pick a Side,  
  Any Side
  SWAT Got You 
  Surrounded, Son
  Gonzo: An Army of 
  Inquisitors
  Gonzo: Dragged 
  Into The Dark
  Gonzo: Masquerade, 
  Shattered
  Gonzo:  
  Portal to Hell
  Gonzo: The  
  Terrorism Tango
  First Night  
  "Party Down"
  The Five-Day Forecast
  Second Night  
  "Party Down"
  Third Night  
  "Agitation"
  Fifth Night  
  "Apocalypse"
  Fourth Night  
  "Boilover"
  Secrets on the Wind, 
  Like Blood in the  
  Water
  
  11
  Into the Void
  Second Night: “Hangover.” The chickens come home to roost. 
  Increased vampire activity looks on the surface to be crime-related, 
  and so the city puts out police in force. Nobody is restraining the 
  monsters, and so their response isn’t to retreat to the shadows but 
  rather, to push back. Meanwhile, the city’s dominant nocturnal 
  predators begin to jostle for position, each claiming some kind of 
  ownership over the city, justifying why he or she should end up 
  in the city’s seat of power. The problem is, no one vampire has 
  the cachet or the muscle to really back this up, so the void will 
  remain unfilled. Resentment and madness breed in the margins. It’s 
  becoming clear: offing the Prince broke the picture into a thousand 
  puzzle pieces, then shook up the box. Now, nothing is certain. No 
  outcome is guaranteed.
  Third Night: “Agitation.” The dominant players and factions 
  in the city’s vampire society are now in competition to show who 
  has the biggest, sharpest teeth: it’s everybody against everybody. 
  Normally, the Danse Macabre is a slow-burning chess match, but 
  tonight? Tonight it’s a brutal hockey match-up with lots of blood on 
  the ice. Violence ensues. Chaos reigns. The mortal authorities push 
  back even harder, believing this to be some kind of “underworld 
  gang violence,” which puts a lot of innocent humans in the 
  cross-fire. Real gangs take notice, and they start acting up—some 
  just because they can smell a power grab, some at the behest of 
  unseen masters.
  Fourth Night: “Boilover.” Up until this point, the city’s elders 
  have remained largely silent on the city’s future. Many are slow to 
  act in general, preferring instead a slow, calculating approach. That 
  is no longer possible. The city’s power hierarchy is in shambles, 
  and so they must act. Unfortunately, they do not act as a single 
  entity. Each elder is his own tangle of motives and peccadilloes, 
  and as a result each elder chooses to back a different horse (be it 
  individual or faction). This fails to resolve anything—and in fact 
  only ratchets up the conflict—because now the stage is complicated 
  by a host of definitely powerful and possibly insane elders. Violent 
  clashes spill over into the street. The Masquerade is in tatters. 
  Vampiric authorities begin to weigh in: Inquisitors sent from 
  Rome, negotiators arriving on behalf of the First Estate, elders 
  from neighboring cities (who fear spill-over damage), and so forth. 
  The news goes out that tomorrow night, the mortal authorities 
  are putting the city under martial law. With martial law comes a 
  curfew… and a military presence.
  Fifth Night: “Apocalypse.” Apocalypse infers the end of the 
  world, but it also translates into revelation, and both of those things 
  are apropos, here. Martial law is in place. The military comes rolling 
  in to set up a presence and to quash rioters. The elders use their 
  considerable power to complicate the lives and unlives of both 
  mortal and immortal competitors. Nobody is Prince. The shit has 
  hit the fan, and now the fan has exploded and the drapes are on 
  fire. And so comes a shining light early in the night: Amelie, the 
  Prince’s attaché, emerges from hiding. She reveals the existence of 
  the Prince’s box of secrets, and makes it clear that she knows where 
  it is. She will offer the box in its entirety to the highest bidder—but 
  the bid must include safe passage out of the city. Amelie doesn’t 
  want to be here anymore. 
  
  Into the Void
  12
  Good Night, Sweet Prince
  MENTAL • 
  PHYSICAL •••• 
  SOCIAL •
  Overview
  The characters-as-conspirators have trapped the Prince—and 
  now it’s time to drag the bastard into Final Death. This is the first 
  domino’s toppling that leads to the city’s plunging into chaos.
  Description
  It’s early in the morning. The sun will be up in the next hour. 
  Already the sky has that purple tinge bleeding along the horizon’s 
  edge. Donal kneels before you, grinning, eyes flashing. On 
  the surface he seems defiant, but as you press him, the façade 
  trembles and the cracks begin to show. He sees the writing on the 
  wall. Nothing to be done, now—or is there? He begins to beg—
  like any creature at the end of its life, he struggles to make sense 
  of it and bargain his way out. Whatever you want, he’ll offer it.  
  As if that matters.
  You have two ways into this scene.
  The first is that you and the player group sit down before this 
  scene really begins and ask the question, “How do you kill the 
  Prince?” The question comes with no wrong answers, really—
  they’re ultimately describing the machinations that will lead to 
  this scene. Do they trap him in the basement of a club? Do they 
  somehow attack his haven, heist-style? Can they use some drunken 
  Irish girl as bait? (His favorite.) 
  From that point, you play out the scene in its entirety. The Prince 
  isn’t going down without a fight, and if given half an opportunity, 
  he’ll run. Ultimately, the characters have the advantage, as they 
  outnumber him—but if you play this scene out accordingly, expect 
  them to suffer at his hands. He will not go quietly.
  The other way into this scene is to begin at its end. This might be 
  best if you don’t have a lot of time to run this adventure. Jump right 
  in with the characters having surrounded him and with Donal on 
  his knees—he moves from cocky to cajoling, from blustery and brash 
  to begging in short order. You can have the players describe how 
  the scene built to this point, but it’s purely for narrative expression.  
  In this mode, there’s no need to roll dice.Storytelling Goals
  You’re coming into this scene with the energy of a climactic 
  narrative moment. This scene should feel like it’s the end—this is a 
  huge deal. In video game terms, Prince Donal is the end boss. This 
  should feel like an insane way to open a story: offing the Prince? 
  Really? It can’t be this easy. The players should be made to feel 
  uncertain that you’re really starting this way; surely it’s a trick? Have 
  Donal act suspiciously, as if this might be a reverse trap. You may 
  want to hint that this is the climax and the rest of the story will be 
  a flashback building up to this point. When they finally take the 
  Prince’s head as a trophy, they’ll be forced to wonder: what now? 
  What can top this?
  Character Goals
  Establish motivations and destroy the Prince. 
  Actions
  Below are some of the actions that may impel the scene toward 
  its conclusion. Note that these are all focused on the Prince. If 
  Donal feels he has an advantage, he’ll try to engage in combat in 
  an effort to hinder the characters. If he feels overwhelmed, he’ll 
  run for it. And, when he’s finally left with no other option, he’ll 
  try to talk his way out.
  Combat Attacks
  Dice Pool: Any appropriate attack roll
  Action: Instant
  Hindrances: The Prince’s Animalism may invoke a fear frenzy 
  via Leashing the Beast; the Prince’s Dominate may attempt to 
  manipulate one of the characters with Command, Mesmerize, or 
  the Forgetful Mind; the Prince’s Resilience makes him tougher than 
  he looks (and he’s already a tough nut to crack). 
  Help: It’s perhaps been a long night and the Prince is low(er) 
  on Vitae; he’s alone; if the characters so declared it, consider the 
  possibility that the Prince has consumed drunken or drugged blood 
  and thus suffers a -3 penalty to his own attacks
  
  13
  Into the Void
  The Chase
  Dice Pool: See Foot Chase rules in the World of Darkness 
  Rulebook, p. 65.
  Action: Instant and Contested
  Hindrances: Donal can boost his speed with his limited dots in 
  Vigor. Further, he’ll do more than run—he’ll knock down obstacles 
  to separate him and his pursuers (-3), he’ll jump across rooftops or 
  over dangerous territory (-3), and he’ll do whatever it takes to put 
  himself ahead.
  Help: The Prince might be suffering wound penalties already (-1 
  to -3) and could be lower on blood; a character might have Vigor 
  or, even better, Celerity to boost Speed; the Prince may run into 
  some obstacles all on his own (-3). 
  Roll Results
  Dramatic Failure: Character fumbles, takes a point of lethal 
  damage (goes through a window, scrapes across a piece of metal, 
  tumbles down steps, etc)
  Failure: Character fails to make any ground.
  Success: Character gains ground on enemy.
  Exceptional Success: Character inadvertently creates difficulty 
  for pursuers (knocks over trashcans, puts traffic or a train between 
  groups) and causes them a -5 penalty on their next roll.
  Navigating the Prince's Pleas
  This isn’t an action in the strictest sense—but it is likely where 
  the scene will end up presuming the characters didn’t manage to 
  preemptively destroy Donal.
  Donal will attempt to talk his way out of the situation. He’ll use 
  Dominate if need be—Mesmerize could come in handy for him. 
  (Characters may bolster themselves against his Dominate before 
  this scene by spending a Willpower to gain +2 to resistance or 
  by Dominating one another, thus forcing Donal to overcome the 
  previous commands put in place.) 
  He’ll also beg and make offers—and as the Prince, he can 
  make some very promising offers. The trick here is that he cannot 
  make equitable offers across the board. He can’t promise that each 
  character will become his seneschal. He can’t give each character 
  the sweetest hunting grounds in the city. There’s only so much 
  reward to go around, and this is what complicates his plea—do 
  the characters squabble over the choices? Do they see that this 
  is ultimately just a way to get them to turn against one another? 
  Consequences
  It’s worth asking right up front: what if Donal succeeds? What 
  if he escapes, or what if he manages to talk his way into a stay of 
  execution?
  Those things are perfectly acceptable, if a bit tricky—it certainly 
  complicates the rest of this adventure as written. Which leaves 
  you with two options:
  One, fuck it. The story is what the story is, and the players 
  have made the choice for the characters. The Prince survives 
  and a whole other story will grow out of this scene. Let it happen 
  organically. 
  Two, game on. Sure, the characters didn’t manage to finish the 
  job, but later that night someone else damn sure does. Imagine it: 
  they let him go or he escapes, and what happens the next morning? 
  The news comes out that the Prince is dead. A mystery ensues: 
  who finished the job? Did Amelie or Harmon find the Prince in 
  a weakened state, and decide to take advantage? If the characters 
  were driven to this point by a Patron figure, did their Patron have 
  a “back up plan” handled by other conspirators? Or is it possible 
  that the Prince, smelling the blood in the water, decided to flee 
  the city before dawn and create a false narrative about his own 
  murder? In any of these instances, the course of Into the Void 
  remains largely as written (though it may now feature a minor 
  “murder mystery” component).
  
  Into the Void
  14
  Secrets on the Wind,  
  Like Blood in the Water
  MENTAL ••• 
  PHYSICAL • 
  SOCIAL •••
  Overview
  This isn’t so much a single scene as it is a collection of actions that 
  lead the group to discover the existence of the Prince’s box of secrets.
  Description
  The rumors are true: the Prince has more than just his drunken 
  charm and casual intimidation to keep the city’s blood-hungry 
  monsters in line. He was the keeper of a cache of secrets, secrets 
  that, if unearthed, would kick over the hive. No vampire wants 
  his dirty, gore-caked laundry hung out for all to see. That’s how 
  the Prince kept order.
  This scene involves the characters uncovering the truth about 
  the existence of the box of secrets. It is not, strictly speaking, a 
  necessary scene—if enough time passes, eventually Amelie will 
  come out of hiding and offer the box to the highest bidder.
  Storytelling Goals
  The value in this scene is that it puts additional stress on the 
  characters—but it also offers them a solution that as yet few others 
  in the city possess. 
  After the end of the last scene (“Good Night, Sweet Prince”), 
  the characters may be inclined to believe that the city will simply 
  fall into a new order—it’s even possible that one of the characters 
  will name himself Prince. (Though how this sits with the other 
  characters remains to be seen.) The problem is, order and stability 
  just won’t stick. As the nights go on, all manner of vampire will 
  name themselves Prince—just because a vampire calls himself that 
  doesn’t mean the title holds water. One has to have the authority 
  to lay claim to the highest position in the land, and as it stands 
  no one vampire holds the edge over all others. In the absence of 
  that kind of authority, the city will plunge into chaos.
  However, the discovery of the existence of the box of secrets is 
  a big deal. It’s how the Prince gained an edge, and it’s similarly how 
  any vampire will do the same.
  With this, you create a great McGuffin that everybody wants 
  (but doesn’t yet know about) and a ticking clock. The characters 
  must surely realize that if they don’t get to the box soon enough, 
  somebody is going to get it—and then one devil will replace another. 
  Note that the pieces of this scene can be interspersed with any 
  of the “Encounter Scenarios” found later in this document (as 
  always, feel free to come up with your own to match any pre-existing 
  chronicle elements in play).
  Character Goals
  This is tricky, because the characters don’t necessarily know that 
  they have this as a goal—it’s hard to have as a goal a thing you don’t 
  know exists in the first place.
  The goal, then, is really to find an edge. The characters just 
  don’t have it. The city is sliding swiftly into violence, and if they 
  want to get any kind of foothold, they need something, anything, 
  to give them that edge. So the goal here is the characters reaching 
  out and looking for a hook, a handhold, some kind of advantage.
  That advantage just so happens to be the Prince’s box of secrets.
  Actions
  Investigating the Prince
  Dice Pool: Wits + Investigation + equipment
  Action: Extended (10 successes are necessary to discover the 
  information regarding the box of secrets, but interim successes should 
  yield some degree of reward: money, deeds, weapons, bottles of rare 
  blood, and so forth)
  Hindrances: Assuming that the characters are investigating the 
  Prince’s haven (or at least a satellite office), they must contend with 
  the fact that the Prince didn’t exactly leave everything out in a nice, 
  neat pile (-5); further, assume that they only have about an hour before 
  they must escape the area and hide from the coming sun. Which means 
  that, given that this is an extended roll, they only have so much time 
  and opportunity to do so. (It’s safe to assume that the next night this 
  haven or office will no longer be available to them—Sheriff Kale may 
  lock it down, or may even burn it to the ground).
  Help: If the characters work well together, it might be worth it 
  to allow this action to become a teamwork action (p. 134, World 
  Secrets on the Wind, Like Blood in the Water
  
  15
  Into the Void
  of Darkness Rulebook). However, if these are vampires known 
  to be at each other’s throats, then teamwork is off the table. 
  Further, any equipment adds a bonus, as does Auspex (+1 to +5).
  Roll Results
  Dramatic Failure: The character does something that makes 
  discovery of this information impossible by the other characters—
  he accidentally sets a fire, spills ink on critical documents, does 
  something that alerts mortal (or immortal) authorities, etc.
  Failure: The character fails to turn up any information regarding 
  the box of secrets (though reduced successes on the extended roll 
  may have earned the character other, lesser rewards).
  Success: The character discovers a wall safe behind a removable 
  wainscoting panel. The wall safe is Size 1, Durability 4, Structure 
  5, and requires eight successes on a Lockpicking roll (pp. 74-75, 
  World of Darkness Rulebook). In the safe is Donal’s journal, an 
  overstuffed ledger of coded transactions and missives. It’s not coded 
  in a “secret cipher” sort of way, but rather all written in shorthand. 
  It should require no roll to decode, as it in and of itself does not 
  contain much actual information. It instead contains references 
  to people and events but no critical details—however, it does 
  consistently refer to a “secret weapon” the Prince possesses, and 
  this weapon is consistently tied to both Amelie and Sheriff Kale. 
  Kale seems to be the one who “maintains” the weapon, while 
  Amelie is the one responsible for its location. 
  Exceptional Success: In addition to finding information 
  regarding the box of secrets, the character also finds cell phone 
  numbers for both Kale and Amelie.
  Confronting Harmon Kale
  Dice Pool: Manipulation + Persuasion or Presence + Intimidation 
  versus Kale’s Resolve + Composure
  Action: Instant and contested 
  Hindrances: Kale is generally distrustful and on edge since the 
  Prince’s demise (-2), but if Kale learns that the characters are the 
  ones who did in the Prince, then the penalty increases (-5)
  Help: Characters mention the box of secrets (+1); Kale is an ally 
  (+3); Characters offer Kale something he wants, such as information, 
  a patsy, or a cherished object (+3)
  Roll Results
  Dramatic Failure: The character inspires only violence in Kale. 
  Maybe Kale knows what the characters did, maybe he doesn’t, 
  but now his suspicious side has been triggered into full-blown 
  paranoia: He and any lackeys he has with him will move against 
  the characters—if not now, then when he has an advantage.
  Failure: The characters fail to impress Kale. He wants nothing 
  to do with them; he has enough on his plate.
  Success: The characters get Kale to open up. He’s ready to make 
  a deal in order to keep this city under lock and key. Of course, the 
  deal Kale wants is the one that puts him in charge of the whole 
  city, as Prince. If the characters can convince him that this is their 
  aim, too (and hey, who knows, maybe it is), then he’ll help them 
  procure the box of secrets and purge their own dark secrets from the 
  box. He tells them the truth: he procured the secrets, but Amelie 
  was the one who “administrated” them. He tried time and again to 
  discover the location but was never successful.
  Exceptional Success: An exceptional success gives Kale 
  pause—he will now consider making a deal that allows him to 
  serve not as Prince but as Primogen or Seneschal provided he 
  helps pick the next Prince from the group of characters. Further, 
  Kale will give up some of the secrets contained in the box—after 
  all, he is the one that obtained them. They only have so much 
  value, however, because they are at present without any kind of 
  evidence. That said, the characters could conceivably bluff and 
  use the secrets against some of their targets to sway them (for 
  instance, getting a vampire to back off his attacks or to redirect 
  his vitriol elsewhere).
  Finding Amelie
  Dice Pool: Manipulation + Investigation
  Action: Extended (10 successes necessary, each roll is 
  equivalent to one full night of searching as it is meant to be 
  difficult to track her down; further, each roll that is necessary 
  should also incur one of the Encounter Scenarios described on 
  p. 21)
  Hindrances: Characters don’t know or haven’t have much 
  contact with Amelie (-1), characters are hostile (-3), Amelie 
  discovers that they are on her trail (-5; feel free to give her a chance 
  to discover this with a Wits + Investigation roll)
  Help: Characters know Amelie fairly well (+2), characters offer 
  bribes (+3). Characters can of course use Disciplines, too, which 
  create different rolls but also make easier the ability to manipulate 
  others into telling the characters where Amelie is hiding.
  Secrets on the Wind, Like Blood in the Water
  
  16
  Into the Void
  Roll Results
  Dramatic Failure: The characters arouse suspicions—now other 
  vampires are wondering what’s so important about the Prince’s ex-
  lover and seneschal. Other bloodsuckers begin following her trail.
  Failure: Characters meet one dead end after another.
  Success: The characters track down Amelie—she has been in 
  hiding, moving night after night. One night she’s hiding in a tenement. 
  The next she’s hunkered down in some artist’s studio apartment. The 
  third she’s at some CEO’s penthouse—an old ally of the Prince. She’ll 
  hop from place to place—homeless shelter to abandoned asylum to 
  house in the suburbs—relying on the kindness of humans with whom 
  she’s cultivated relationships over the years. She does not contact any 
  Kindred during this time; she hides only among her human herd. 
  Exceptional Success: An exceptional success grants the 
  characters the ability to also note if they’ve been followed; it remains 
  possible that other vampires remain in their periphery—Kale, for 
  instance, is likely to cling to the shadows to see where they go.
  Dealing with Amelie
  Unless Disciplines come into play, no rolls are necessary to deal 
  with her at the outset. If the characters don’t really know much 
  about the box of secrets, she certainly won’t offer anything to the 
  characters unless they’re particularly kind to her.
  If they do mention the box of secrets, however, she’ll react with 
  surprise and—despite being scared out of her wits—will discuss the 
  box with the characters.
  She will first make an offer—she wants a way out of town and 
  $100,000. If the characters can get that to her by the start of the 
  following night, she will take them to the box of secrets. 
  However, if the characters push or attempt to intimidate her, 
  she’ll offer to give them the box for free—but from this point 
  forward, she will take every opportunity to betray the characters. 
  She will, if given half-a chance, perform one or several of the 
  following actions:
  • Flee.
  • Attack.
  • Call for help.
  •  Offer the box to someone else if they agree to “take care of” 
  the characters.
  • Manage to put the box up for bidding. 
  • Destroy the box and its secrets.
  No matter what happens, she won’t tell the characters that the 
  box of secrets:
  a) is contained in a heavy gun safe with a keypad combination, and
  b) actually has a smaller duplicate out in the open that is both fake 
  and a trap (explodes with white phosphorus, burning any who are 
  attempting to get into it)
  It’s important to note that Amelie responds well to the characters 
  if she discovers that they are the ones who killed the Prince—yes, she 
  was his lover, but that was a role she was forced into and is frankly 
  pleased that her old master has gone the way of the dodo.
  Gaming the Auction Crowd
  If the nights go on and nobody tracks down Amelie or the box of 
  secrets, she will choose to hold an auction in order to put the box of 
  secrets into the hands of a vampire earn herself a passage out of the city.
  The way the auction works is this: Amelie appears out of hiding 
  to deliver the message of the auction by waltzing into Elysium 
  and telling the gathered vampires that the auction begins there,  
  at midnight. If she is hurt, the auction is off and Amelie or her minions 
  will destroy the box of secrets. 
  Otherwise, it’ll work like a silent auction: bids go in a box at 
  midnight. Bids can contain any kind of offer imaginable over the 
  course of one hour. At the end of that hour, Amelie examines the 
  bids and chooses one; if your game has more room for it at the table, 
  the auction may continue as Amelie announces the bid and allows 
  for one more round of counter offers (i.e. upping the ante). The 
  vampire who wins the auction will go with Amelie to the location 
  of the box of secrets (see the next scene, Pandora’s Box).
  Consequences
  The primary consequence of this scene (or rather, sequence) is that 
  reveals to the characters the existence of the box of secrets—and they 
  may even get put on its trail. 
  However, negative consequences are inbound. First, other vampires 
  may be sniffing around and end up following the same trail. Second, 
  both Kale and Amelie represent uncertain allies—any help they offer 
  could go south if they sense an opportunity to do better elsewhere. They 
  aren’t dedicated to helping the characters. Third, this sequence can and 
  should be interspersed with the Encounter Scenarios (which start on 
  p. 15)—without those, this entire adventure ends up a little bit toothless. 
  Secrets on the Wind, Like Blood in the Water
  
  17
  Into the Void
  Pandora's Box
  MENTAL ••• 
  PHYSICAL •••• 
  SOCIAL •
  Overview
  The characters arrive at the location of the box of secrets—the 
  basement of an abandoned hospital in the worst part of town. 
  They’ve possibly gone through hell to get here (having had to cross 
  a city in chaos and endure various Encounter Scenarios), and what 
  they find here isn’t much different: complication after complication 
  blocks their path.
  Description
  The hospital is falling down around your ears. The place is 
  littered broken tile, shattered wall, pipe and conduit and bundles 
  of wire dangling from pockmarks of ruined mortar. A lone 
  wheelchair sits in the corner, covered in dust. Graffiti stains 
  every inch of exposed wall. It smells of death and decay. This 
  was where the Prince was keeping his secrets?
  The hospital is two floors and a basement sublevel—if the 
  characters know roughly where the box of secrets is located, they’ll 
  head to the basement. Otherwise, they may need to search the 
  upper two floors. 
  Once they head down into the basement…
  The steps are concrete. Your footsteps echo. Cockroaches 
  run up the walls while rats flee from your feet. The basement 
  appears to be mostly a repository of junk: hospital beds piled in 
  a tangled pyramid, ratty curtains and boxes of equipment that 
  have been defunct for two decades. No light shines down here: 
  everything in the beam of the flashlight (or in your Auspex-
  enhanced gaze) casts a shadow that looks like a wretched 
  monster forever reaching.
  17
  
  18
  Into the Void
  If they are lead to or discover the false box of secrets, they’ll 
  discover it in the morgue hidden behind the only body drawer that 
  still has a door:
  You pull out the warped metal body drawer, the human-sized 
  tray rattling and screeching as it rolls a bit before sticking 
  halfway out. At the far back of the empty drawer you see it: 
  a little green blinking light. You want to get in there? You want 
  to get to the box of secrets and unlock the keypad? Then you’re 
  going to have to crawl into that dark drawer on your back or on 
  your belly—only one of you can get in there to open the box.
  Of course, that box is a trap. The real box of secrets is disguised to 
  look like a rusted medical cabinet (about human-height) at the far end 
  of the basement, surrounded by nothing but piles of debris and boxes.
   
  You open the medical cabinet and find another door beyond 
  it—this one belonging to a Fort Knox-brand fire-protected gun 
  safe. It’s clean. Smells like gun oil. Got a big wheel to turn and 
  a keypad with nine numbers on it. 
  If the characters crack it open…
  Inside you find what you’ve been looking for all along: the box 
  of secrets. Except it’s not just one box. It’s a dozen file boxes all 
  containing documents, tapes, photographs, maps—an unholy 
  host of evidence and secrets regarding the city’s nocturnal 
  population. Not only is this a major potential Masquerade 
  breach, but it also guarantees the wielder of such information a 
  great deal of sway over the unruly hierarchy.
  Storytelling Goals
  This is an “it’s too good to be true” scenario. In some sense, it 
  is true, and it is pretty damn fantastic for the characters… which 
  is why it’s your job as Storyteller to escalate, escalate, escalate. It’s 
  impossible to predict exactly how the characters got here or what 
  they’ll do once here, but your job is to make this difficult and throw 
  the final conflict into high gear. 
  Options include:
  •  Utilize the trap in the morgue.
  •  Have the characters get attacked before they manage to get a hold 
  of the box of secrets: a mortal gang attacks, a neonate mob tracks 
  them here, or one of any major vampire characters (Hierophant, 
  Cardinal, Sheriff) decides it’s high time to clean up the mess and 
  secure the box for themselves.
  •  Consider the possibility that the basement area is guarded by 
  monsters put in place by the Prince. For an easy challenge, use 
  a pack of Hell Hounds (p. 225, Vampire: The Requiem). For 
  something a little more difficult, imagine that the Fort Knox 
  gun safe is trapped in the embrace of a cranky Gargoyle (p. 226, 
  Vampire: The Requiem). 
  •  Amelie may betray them. If she believes that she herself will 
  be betrayed or she recognizes that the characters have been 
  intimidating her this whole time, she will lead them to the trap, she 
  will attempt to run, and she may even attempt to lock the characters 
  in the basement while she sets other vampires on the trail.
  •  Fire bad. Imagine finding the box of secrets just as a fire breaks 
  out? First, nobody wants the box of secrets to burn up. Second, 
  vampires + fire = frenzy. Who set the fire? Amelie, perhaps. A 
  throng of neonates. Or maybe it’s one final trap set on the Fort 
  Knox safe—cracking into the safe may set it off.
  And at the end of it all? When the smoke clears and the bodies are 
  on the floor? Confirm the moral dilemma at hand: the box of secrets 
  contains information on all the characters. Do they really want their 
  dark secrets exposed to one another? Further, only one character can 
  be Prince. Are they really willing to let one of their own take the helm 
  while the others step back? Can a deal be arranged where one becomes 
  Prince and the others Primogen? Could they all agree to back a different 
  vampire for Prince, or is it possible that their goal is to either destroy 
  the box or be the ones to put it up on the auction block and share 
  whatever (likely significant) profits come rolling in?
  Character Goals
  One assumes that the characters’ goal is to get the box of secrets 
  at any cost—the question is, why do they want it? To gain power? To 
  destroy it? Sell it?
  How will they use it?
  Must they betray one another to gain advantage from it?
  
  19
  Into the Void
  chart on p. 179, World of Darkness Rulebook. This explosive is 
  incendiary: its blast area is restricted to the confines of the morgue 
  drawer, but that also means the damage (2) is doubled (to 4). Damage 
  from the explosion itself is bashing, but fire damage is aggravated 
  for vampires.
  A character could attempt to notice the trap before triggering 
  it—a Wits + Investigation roll is necessary. Note, however, that the 
  character is in the dark and so a -3 penalty is in play (but a powerful 
  flashlight or Auspex may help to diminish this penalty to zero).
  Finally, the Fort Knox reinforced gun safe is, as its brand name 
  suggests, very difficult to damage: Size 6, Durability 5, Structure 11. 
  Lockpicking it is similarly difficult, necessitating 14 total successes. 
  Combat
  Our opinion is that this scene should not occur without some 
  manner of combat. The box of secrets is a powder keg of possibility, 
  and a whole herd of vampires would love nothing more to exploit or 
  destroy it (the characters chief amongst them). Hence, this hospital 
  basement needs to be a chokepoint of agitation and violence.
  The question is, who is doing the attacking? Do the characters 
  happen upon someone already trying to bust open the safe? Or are 
  they ambushed themselves?
  Through the course of the first two scenes and the intermingled 
  Encounter Scenarios, the characters will likely have earned some 
  enemies. (This is doubly true if you’re using this adventure as a 
  continuation of your chronicle. It’s very unlikely that these vampire 
  characters do not have some kind of enemy that you could use 
  that this point). Obviously, the more personal you can make their 
  antagonists, the better.
  Still, if you don’t find that such an option is available to you, 
  consider using one of the following five options:
  •  Sheriff Kale converges on the hospital basement at the 
  same time as the characters. He’s brought with him a host of 
  lackeys—just enough to outnumber the characters by one or 
  two. Fortunately, these lackeys aren’t high-caliber vampires (use 
  the stats of Lidia Kendall on p. 293 of Vampire: The Requiem 
  for at least one or two of his companions). What begins is a 
  good old-fashioned standoff: can the characters convince Kale 
  to back off or share the prize? Or is the only result a blood-
  soaked ballet of violence?
  Actions
  A note on mAking extended ActionS AweSome
  A number of the actions below (anything from wandering the hospital 
  to lockpicking a door) demand extended actions.
  It is critical to ensure that extended actions are not just a series of 
  rolls counting down to success—given a relatively infinite number of 
  turns, success is almost guaranteed.
  Extended actions must be made tense by two factors:
  First, the factor of time. It is important to ensure that characters 
  don’t have an endless array of turns in which to attempt an action. 
  Give them some kind of time frame at every instance of an extended 
  roll—“Oh, you have two minutes” Or five. Or one hour. What 
  happens if they wait too long? Does frustration mount and the task 
  becomes impossible?
  Answering that leads us to the second issue: complicate the factor of 
  time with threat and conflict. “In one hour, the sun comes up.” Maybe 
  every failed turn incurs a -1 penalty, and those penalties accumulate. 
  Consider that every roll may bring in some new complication: from 
  small problems (rats are scurrying over your hands and feet, causing 
  a distraction this turn) to huge issues (a mortal gang of PCP thugs 
  comes poking around, weapons at the ready and feeling invincible). 
  Feel free to randomize these. Take a cup. Write 10 (or 20, if you’re 
  ambitious) complications on little slips of paper, put them in a cup. 
  Any time a player has to roll the dice for an iterative extended roll, 
  have the player rolling pick a slip from the cup—the complication on 
  the paper is now active, drawing trouble to the character.
  Lockpicking and Safecracking
  The hospital basement features a number of barriers.
  First, the door to the basement is locked with a heavy chain 
  and has reinforced hinges and fixtures. Door is Size 5, Durability 2, 
  Structure 7. Lockpicking here isn’t terribly difficult, requiring only 
  five successes.
  Second, the trapped proxy safe in the morgue drawer is Size 2, 
  Durability 3, Structure 5. Lockpicking is a little more difficult: seven 
  successes are necessary.
  Note, however, that this safe is trapped. Tampering with it or 
  opening it causes a white phosphorus explosion: see Explosives 
  
  20
  Into the Void
  •  As noted, you may want to include some supernatural guardians—
  Hell Hounds may be slumbering behind debris, and the Fort Knox 
  safe might be in the craggy stone embrace of a Gargoyle.
  •  Pick a big, powerful vampire—Greta or the Cardinal will do—and 
  have the characters come upon this vampire already working to 
  open the box of secrets. This powerful vampire will likely be alone 
  as they have little interest in letting their dark secret (whatever 
  it may be) fall into the hands of a neonate attendant. 
  •  Human beings aren’t always the toughest predators—after all, 
  they break so easily—but consider having the hospital basement 
  be home to a shitload of them. Imagine that a gang is down there 
  having some kind of initiation or party—they broke in, have no 
  idea what’s down there, and they’re raging until the morning 
  light. Maybe they have a dog fight going in the one corner and a 
  bonfire in the other. Twenty thugs together could make trouble for 
  even the most potent vampire (the danger of humans is often the 
  same as a herd of cattle stampeding). Of course, if the characters 
  can make short, brutal work of just a handful of the thugs, the 
  rest will back off and flee—but until that time, it’s game on for a 
  host of ultra-violence. 
  •  Some Vampire: The Requiem games just don’t end happily. 
  Vampires backstab. They manipulate. They hold secrets—which, 
  in a way, is exactly what this whole thing is about. Secrets. Some 
  people will go to extreme lengths to protect their secrets, and 
  so we come to perhaps the darkest twist on the idea—that the 
  characters must battle one another for access to the box of secrets. 
  This can start easily—one plans to use the box to her own ends, 
  another wants to be Prince but the others don’t agree. From there, 
  blood boils, frenzy ensues, and it’s a claws-out fangs-ready fracas. 
  Worth mentioning are some of the combat considerations that 
  could come into play:
  Cover: Characters will be able to conceal themselves or take cover 
  behind a whole host of objects—hospital beds, tables, piles of file 
  boxes, and so forth. Assume that “partial concealment” (-2) is easily 
  accessible, but that characters willing to take a turn or two to move 
  can find full cover fairly easily. (Review Concealment and Cover rules 
  in the World of Darkness Rulebook starting on p. 162.)
  Debris: The hospital is debris-strewn. And it’s dark. Assuming that 
  the fight is a dynamic one and the characters aren’t merely standing 
  together like Rock ‘Em Sock ‘Em Robots, that means debris is going to 
  come into play in terms of complicating combat. Every turn presents a 
  new complication (replacing the previous turn’s, not adding to it). 
  Roll a single d10 and compare the results on this table to determine 
  the effect:
  Die Roll
  Effect
  1-2
  Characters each lose Defense this turn 
  (debris as disadvantage)
  3-4
  Characters each double Defense this turn 
  (debris as advantage)
  5-6
  Failures become dramatic failures this turn 
  (character swings, misses, missteps and trips 
  over an old desk)
  7-8
  Each character must succeed on a Stamina 
  + Dexterity roll to first make an attack 
  (avoiding debris, keeping balance)
  9-10
  Character finds a “found object” weapon 
  nearby (board with a nail in it, hunk of 
  rebar, conduit). Remember that using such 
  a weapon confers a -1 penalty for being an 
  improvised weapon
  Fighting Blind: It’s completely dark in the basement, and if the 
  characters do not possess lights or Heightened Senses, then follow 
  the Fighting Blind rules found on pp. 166-167, World of Darkness 
  Rulebook.
  Consequences
  Getting hold of the trove of dark secrets once possessed by the 
  Prince is a powerful game-changer: one or all of the characters now 
  has a leash connected to most, if not all, of the city’s vampires. As 
  such, this adventure can nicely serve as the opening for a much 
  larger, high-powered chronicle. 
  Of course, it can also serve as a tragic end to a chronicle. 
  Characters reaching for the brass ring of the box of secrets may be 
  destroyed in the conflict. They may be destroyed by the box itself 
  as their secrets are leaked. They may be destroyed as they kill one 
  another for power. Or they may be wiped out as the vampires rise 
  up against them to bury the box and its contents for good.
  20
  
  21
  Into the Void
  echelons of vampire society, then we might actually have a shot at 
  this Requiem thing.” It could be a compact or conspiracy of vampire 
  hunters who seize on the opportunity of a politically destabilized 
  Danse Macabre and think they have the perfect solution. It might 
  even be a single ancilla or elder (even the Keeper of Elysium himself) 
  who figures it’s high time to eliminate some competitors from the 
  blood pool.
  Fire It Up! Fire It Up!
  On the streets, it’s madness. The human herd can smell the ash 
  and char on the wind and acts up accordingly, clogging the streets 
  with looters and rioters. At first it’s just gang members, but after 
  that? Anybody and everybody joins in the fray.
  The characters may come upon a scene of such chaos. They 
  may find a truck that’s been overturned, and the driver has been 
  dragged out and is being beaten and threatened by rioters. A mob 
  has grown up—most have makeshift weapons (signposts, kitchen 
  knives, hunks of brick), but a few have real weapons (machetes, 
  shotguns, a Tec-9). Something is probably on fire.
  The characters have to make it through the insanity. They 
  find that backtracking just won’t do: the mob has enclosed 
  them unwittingly.
  Do the characters decide to help the innocent? Maybe not—
  after all, vampires aren’t superheroes. But maybe they smell the 
  opportunity to save a man and, as a result, own him body and soul. 
  Or maybe they just don’t give a rat’s ass and decide to push through.
  Pushing through seems easy, but isn’t. The mob turns on them. 
  They can smell something is different: it’s like a herd of wildebeest 
  realizing that a crocodile walks among them. They can sense the 
  predatory nature of the characters.
  And so the characters become the target. How do they deal 
  with it? How can they move forward? Acting out with Kindred 
  powers is a breach of the Masquerade—but the city’s in flames, so 
  who really cares? 
  Hanging Posse
  The characters come across—or are invited to—a scene of 
  retribution. A sympathizer to the Prince has been captured a band 
  of vampires (neonates lead by an elder, perhaps, or a pack of Cronies 
  stirred up by Greta). They’ve got him strung up and hanged. It 
  won’t kill him, of course, but with hands behind his back and legs 
  Encounter Scenarios
  Below are a series of encounters you can drop into the game 
  at nearly any point. These are story-based scenarios of conflict 
  meant to illustrate a city sliding into chaos and further meant to 
  serve as dangerous roadblocks preventing easy access to the box 
  of secrets. You will find ten possible scenarios—the first five are a 
  little milder, and fairly well “in-theme” with what you normally 
  get out of Vampire: The Requiem. The latter five, however, are 
  more “gonzo”—they contain scenarios that are, succinctly put, way 
  more fucked up.
  It would not be unusual to use at least five of these (one for 
  each night of Into the Void). The more “gonzo” selections, should 
  you choose to use them, are perhaps better reserved for the latter 
  two nights.
  Dead Man's Party
  The characters receive an invite to a party. It’s a celebration for 
  the revolution, a party honoring a “free city” where the so-called 
  tyranny of the Prince is gone. Ding dong, the dickhead is dead.
  The party takes place in Elysium—a nightclub, a bar, maybe 
  a museum.
  Thing is, nobody can tell who’s throwing the party. Everybody’s 
  invitation says a different name, a name that will help ensure that 
  the recipient will attend. The result is a well-populated party full 
  of nocturnal monsters. It’s a powerful social occasion filled not with 
  physical violence but rather the personal and emotional violence so 
  common to the Danse Macabre. It’s a good time to get the characters 
  some face-time with the other vampires to test the waters, see who 
  knows what.
  But the mystery remains: who sent the invitations? Whoever sent 
  them has a plan: now that many of the city’s vampires are in one 
  place, it’s time to burn every last one of them. The doors are barred, 
  and someone starts throwing Molotov cocktails. Given that fire 
  and vampires don’t mix, the event swiftly descends into a chaos 
  of potentially-frenzying monsters. Granted, most of the vampires 
  will probably survive—it’s something of a clumsy plan, which 
  is  intentional.
  So, who’s behind that plan? It’s up to you. It could be a band 
  of neonates who thought, “Hey, if we can scrape clean the upper 
  
  22
  Into the Void
  to test loyalty, and they need to earn supporters for any presumptive 
  bid for Praxis. Every vampire is going to attempt to secure support 
  in a different way. A monster like Greta will attempt to show her 
  power and create worship. Someone like the Cardinal will use 
  shame, guilt, and the threat of God-chosen violence. One vampire 
  will use honey, another will use vinegar. 
  The characters will get dragged into this—if you’d like, more 
  than once. They may first be invited to a “meeting,” which is really 
  a social ambush by either one powerful vampire or by a whole 
  covenant’s worth of vampires standing together (for now). Or they 
  might be abducted or even attacked. 
  The end result is that they’re stuck in a room—a board room, 
  the back room at a strip-club or the belly of a yacht floating out in 
  the harbor—where someone is trying to sway or even force their 
  hand to offer support. The only way out of that room might be to 
  lie—or kill.
  SWAT Got You Surrounded, Son
  Maybe it’s just bad luck—wrong place, wrong time. Or maybe 
  someone set them up. Either way, the result is the same: the 
  characters are the target of an incoming SWAT team.
  This scenario is best when indoors or in a cramped vehicle. 
  Consider that, as the characters follow the trail of the box of secrets, 
  they’re going to end up in places that are claustrophobic and walled-
  off, with fewer exits then they’d prefer. This is an excellent place to 
  set up a SWAT siege. And that’s exactly what it is: SWAT thinks 
  they have some high-profile agitators—even domestic terrorists—on 
  their hands. They’re not fucking around. They’ll bring the smoke 
  bombs, the “door knockers,” the riot shotguns that can blow off 
  limbs. They might even have an armored vehicle. 
  Now, to be clear, the characters are likely strong enough to 
  put a deep hurt on the SWAT officers. But that doesn’t mean this 
  isn’t a bad situation: a normal human could easily crush a scorpion 
  underfoot, but that doesn’t mean a well-placed stinger won’t deliver 
  an unholy dose of venom. 
  This isn’t meant to be a serious threat, but it is meant to act as a 
  roadblock. The SWAT siege can delay characters, which is all the 
  more troubling if their situation is time sensitive. Plus, dispatching 
  a whole team of SWAT doesn’t magically end the problem. It 
  could mean that they’re bringing hell down on their  heads. 
  bound, it’s hard to make any 
  kind of a physical effort and 
  break free. They’re planning a 
  long night of torture—maybe 
  they’re doing it just for shits 
  and giggles, or maybe they 
  think they can get something 
  out of the victim. Maybe they 
  want to know about the box 
  of secrets. Or perhaps they 
  think they can find their way 
  to accessing the Prince’s assets.
  D o  t h e  c h a r a c t e r s 
  participate? Do they intervene? 
  Perhaps they simply walk away. 
  But is there something to be 
  gained or lost in this encounter? 
  What if the vampire that gets 
  strung up is Amelie or Harmon 
  Kale? What if the one character 
  who’s about to get tortured and 
  torched is the one character 
  who can lead the characters to 
  the box of secrets?
  Pick a Side, Any Side
  With the Prince destroyed, 
  the city ends up like a box 
  of puzzle pieces thrown up 
  into the air—any picture of 
  order is gone, and so too is 
  any semblance of a protected 
  hierarchy. Now, it’s every 
  vampire for himself, which 
  means a whole lot of blood-
  hungry monsters jockeying 
  for position.
  It’s this “jockeying for 
  position” that draws the 
  characters in. Vampires need 
  22
  
  23
  Into the Void
  The police will send a stronger response next time. Or the FBI 
  will get involved. Or, if this happens later in the adventure, the 
  military will come calling. Do the characters really want that kind 
  of attention?
  Gonzo: An Army of Inquisitors
  They arrive on the third night: an army of Lancea Sanctum 
  Inquisitors, put together from surrounding cities (those within, 
  say, 200 miles). They are here not on behalf of the Cardinal, not 
  on behalf of the Prince’s lineage, but as the standard bearer of the 
  Lancea Sanctum itself. 
  The idea is this: yes, generally the Danse Macabre is an expressly 
  local affair. What happens in Las Vegas stays in Las Vegas. Same 
  with Denver, Philadelphia, London, and Johannesburg. Each city 
  serves as its own fiefdom. In reality, those cities are lined up like 
  dominoes. If one city falls to chaos, the others may, too—and the 
  Masquerade is not a local affair. If the truth of the Kindred’s existence 
  is revealed, in this hyperconnected age it is revealed globally—and 
  almost instantly. And that’s not just bad for the vampires in that 
  city. It’s bad for vampires everywhere.
  The Sanctified Inquisitors on the city’s doorstep arrive under the 
  auspices of “restoring order in this dark time”—which is perhaps true 
  as a side benefit, but they have other goals. The Inquisitors are here 
  for a twofold purpose: one, to enforce the standards of the Lancea 
  Sanctum and to convert vampires who are found weakened and 
  confused in the chaos; and two, to evaluate the Cardinal as a proper 
  replacement for Prince. If they find him wanting (and they will if 
  his secret is exposed), they will choose a different horse to back.
  The characters will have to negotiate the Inquisitor presence. 
  Inquisitors may oppose them at every turn just by remaining present 
  and obstructive. Further, the Inquisitors will doggedly seek out the 
  box of secrets should they catch even a whiff of its existence.
  Gonzo: Dragged Into The Dark
  Interested in turning this adventure into something retributive 
  and, perhaps, even redemptive? Want equal parts “The Labyrinth 
  at Minos” and the torture-porn of “Saw?” 
  Below the city sits a massive Nosferatu warren: a tangle of 
  passages that borrow from sewer lines, defunct subway tunnels, 
  aquifers, wells and sandhog passageways. Connecting them all are 
  the many caves and passages hand-carved by the Freaks themselves 
  over the course of the last 100 years. The warren is, frankly, way 
  bigger than the Nosferatu population deserves: the city maybe has 
  a dozen prominent Freaks, and the warren labyrinth itself covers at 
  least 50 square miles in multiple directions (up and down included).
  In their search, the characters may fall prey to a trap put forth 
  by the Nosferatu Priscus, Grolsch. How the trap is sprung is up to 
  you—it’s possible that he knows what they’re seeking and sends 
  them on a wild goose chase into the sewers, or maybe he sets p some 
  rigged portion of a building’s subbasement to send the characters 
  tumbling into an old cistern. The only way out is down, through 
  the channels and tunnels.
  What follows is a bizarre morality play lasting an entire night, 
  where the characters must stumble through the maze and brave traps 
  and physical dangers put forth by Grolsch and the other Nosferatu. 
  The question is, why? Grolsch is an intensely political Kindred. 
  Why resort to such brutal Freak tactics? It’s possible that he’s 
  doing this under another false identity — maybe he speaks to the 
  characters only through a rusty old intercom system the Freaks 
  installed.
  His goal may be to punish the characters. If he discovers they 
  destroyed the Prince, he may be tormenting them to invoke some 
  semblance of order or accountability. It’s also possible he’s trying to 
  suss out why they did what they did, and what it is they’re looking for. 
  Gonzo: Masquerade, Shattered
  The city has eyes, you know: Closed circuit TV cameras. Traffic 
  light cameras. Helicopters filming. All of it is amped up as the chaos 
  ramps: the vampires come out to drink and laugh and fuck and kill, 
  and the city sees.
  Everything is connected. Savvy users—humans—can tap into 
  traffic feeds, listen to cop radios and baby monitors and even use 
  their own equipment to capture the goings-on of the city. With only 
  the push of a button and a few clicks on the keyboard, a person 
  could upload feeds and videos and audio clips not just to a friend but 
  to the entire world—torrents and UseNet and email and blogs and 
  Twitter and… well, the list goes on and on. That means vampires 
  have to be extra careful, because one slip-up and a Masquerade 
  breach ends up on Facebook.
  The problem is, the vampires of this city are doing everything 
  but being careful. Kindred are woefully anachronistic, and while 
  
  24
  Into the Void
  some may be vaguely tech-savvy, most have never heard of “social 
  media.” So, over the course of the five nights, it’s more than likely 
  that a Masquerade breach will be caught on camera and thrown up 
  on the Internet.
  Except that what’s captured isn’t just a breach—we’re not talking 
  about a muddy, uncertain video of “something weird going on.” 
  It’s a full-bore shattering: a foot through the Masquerade’s mirror. 
  A high-definition (video and audio) camera captures it crisply: a 
  pack of vampires hunting in the middle of a street or a nightclub 
  or shopping mall. They can do things that nobody else can do: 
  leap great heights, turn to wolves, grow claws. It’s all there, on a 
  three-minute video.
  Sure, the vampires should’ve caught it before it ever went to air. 
  But they’re too preoccupied—remember, the city is going apeshit 
  right now. Nobody’s paying the right kinds of attention.
  Sure, maybe the characters could debunk it, but the authorities 
  have tried. By the time it makes it on the news, they already have a 
  video expert and an audio guru and they can’t find any manipulation 
  or any signs of special effects. 
  For bonus points: what if it’s the characters who are the ones 
  caught on tape? Or what if it’s their enemies? Can they exploit this? 
  Can they undo it?
  What happens when the city plays sudden host to vampire 
  hunters, drawn to the evidence, ready to recruit, ready to hunt and 
  kill, ready to turn the tables on the nocturnal predators?
  Gonzo: Portal to Hell
  The floodgates are open. It’s a field day for monsters. Which 
  means that the crazy, cranky pockets of Belial’s Brood vampires can 
  come out of hiding with reasonable certainty that nobody’s paying 
  attention to what they do right now.
  What they’re going to do is perform stupid rituals from old 
  books they found in prominent occult places—graveyards, critical 
  geomantic street intersections, old haunted buildings. These are 
  places that once were watched over by the vampires of the Ordo 
  Dracul, werewolves, or even monster hunters. But the anarchy 
  going on all around has left these places unprotected, and the Brood 
  assholes are moving in.
  The Brood vampires we’re talking about aren’t a sinister cabal 
  of demon-savvy monsters—for the most part, they’re one step 
  above the Keystone Cops, the Kindred equivalent of a gaggle of 
  emo-Goth-punk morbid jerkoffs. But that doesn’t mean they can’t 
  accidentally step into the shit. And that’s exactly what happens: 
  they get a hold of a couple of really old Satanic texts that just so 
  happen to contain very real summoning rituals. These are rituals 
  that don’t normally work unless they’re done at the right time and 
  right place: the Brood vampires are at the right place, and the time 
  is right because of all the blood being spilled in the city. 
  They have no idea what they’re doing, but they do it anyway, 
  and it succeeds. In fact, it doesn’t just succeed on a small scale: it 
  succeeds on a big, uh-oh-holy-shit scale. 
  The ritual rips open a door. A portal to Hell is thrown wide. What 
  comes out? Frankly, whatever you want. An easy solution is to use 
  the Poltergeist, Deceiver and Skinrider ghost stats in the World 
  of Darkness Rulebook (pp. 215-216) and recast them as demonic 
  entities aiming to play havoc with both mortal and immortal alike. 
  That said, you’re free to use anything you want: if you have the 
  Night Horrors: Wicked Dead book, almost anything in that book 
  could be recast as a demonic presence (and the Strix in particular 
  make for an excellent “upping of the ante”). 
  Gonzo: The Terrorism Tango
  You know what this story needs? More terrorism. 
  When the city plunges into chaos, the humans feel it. Hell, they 
  don’t just feel it, they witness it on their sidewalks and street corners. 
  They may not know what is going on (after all, the news can’t keep 
  a single narrative this time), but they can see what’s right in front 
  of their eyes, and what’s there is violence and anarchy.
  Most humans know this to be a good time to hunker down and 
  stay safe. Others, though, are malefactors who seek to exploit the 
  pandemonium for their own needs—so you get looters and rioters 
  and gang members murdering one another.
  Some malefactors are not content with small acts, however, 
  so we come back to the subject of terrorism. With the police 
  occupied (and the military not yet on the scene), it’s a good 
  time for a domestic terror group to put in motion a hasty plan 
  to create big damage city-wide. What does this mean? An 
  assassination is big, but not big enough. Think bombs. Bombs 
  city-wide? Bombs on city buses and trains? Anything that would 
  snarl transportation is going to be bad for the city and bad for 
  24
  
  25
  Into the Void
  its vampire population, too. Further, that means the military 
  comes rolling in early, it means the news media fall all over 
  themselves to capture it, and it means that the city is on high 
  alert. All bad news for the Kindred.
  And if you want to tweak it just that much more, assume that 
  the bombs set off one or both of the following:
  First, they cause a small earthquake. It’s just enough to crack 
  the street and bring down a few old buildings, but it’s just enough 
  to deepen the city’s isolation and insanity. (If you’re so inclined, 
  jack the earthquake up to a full-bore mega-disaster, and next 
  thing you know you have an event similar to Batman’s No Man’s 
  Land where disaster strikes and the super-villains take over the 
  city in territorial pockets.)
  Second, the event exposes—and awakens—a millennia-old 
  vampire, a vampire unlike anything any of the Kindred in town 
  have ever seen before. With such a “true” elder suddenly on 
  scene, the power dynamic is sure to shift.
  Aftermath
  As noted earlier, this adventure can either set up a major 
  chronicle or be the end of one: it represents a significant sea change 
  in the city’s nocturnal hierarchy.
  No matter how it shakes out, things are going to look a lot 
  different. Here are some options:
  • If the characters get hold of the box of secrets, they can be kings 
  or king-makers. Do they all survive? Do they set up one of their own 
  as Prince with the rest filling in as Primogen? Consider the possibility 
  that they set up a political structure that doesn’t involve a Prince at 
  all. A Carthian approach might set up presiding Parliament or even 
  a vote-by-vote democracy. (Earning votes can create an intensely 
  more political story. Democracy sounds cuddly—but take a look at 
  the bloodthirsty politics of the United States, then frame it as the 
  political model of actual bloodthirsty monsters, and you have a recipe 
  for brutally fantastic political storytelling.)
  • Beyond the characters, the most obvious choice for Prince 
  is Sheriff Harmon Kale. Kale as Prince, however, creates a more 
  tyrannical vibe than Donal ever put forth. Donal was ultimately a 
  fairly lax leader; Kale is authoritarian. He demands obeisance and 
  obeys the Traditions and the Masquerade above all else. This means, 
  ultimately, he’s not long for this world—someone will seek to usurp 
  him and take from him the box of secrets. Besides, the chaos that 
  erupts from Donal’s death cannot so easily be contained: once the 
  snakes are out of the bag, it’s hard to get them back inside. However, 
  it’s worth considering that Kale could become a good Prince with 
  proper advisors—are the characters those advisors?
  • If the characters do not manage to procure the box of secrets, 
  then someone else will. And that “someone” will become the Prince. 
  For instance, the Cardinal seeks the role of Prince above all else, and 
  will create something of a “vampiric theocracy” which will foment 
  a cold war between the Sanctum and the Circle. Greta doesn’t 
  really want the Prince role, but will find someone in her covenant 
  deserving of the role. (By “deserving,” we of course mean “able to 
  serve as Greta’s blood puppet”—consider Quinn as a curious option). 
  Some characters are more capable than others. Siobhan or Atticus 
  would make good, somewhat moderate Princes. Robicheaux would 
  be a strip of taffy pulled this way and that. Owen probably wants 
  the role but ultimately wouldn’t be able to handle the pressure.
  
  26
  Into the Void
  • What happens if the characters destroy the box and with it, 
  all of those secrets? The city will continue on in chaos for a couple 
  more nights until enough vampires get put out of their misery to 
  balance the scales toward one side or another. Eventually someone 
  will find their way to the Prince’s seat and saner minds will win 
  out—but it takes a number of fiery, uncertain nights to get to that 
  point. In the grand scheme of vampiric politics, this is just a drop 
  in the bucket. But it’s a major flashpoint just the same: over the 
  course of 5-10 nights, the landscape of the Danse Macabre changes. 
  Experience
  Playing out Into The Void should take between one and five 
  chapters, but can go on indefinitely if you continue to interject new 
  adventures and plot hooks throughout. At the conclusion of each 
  session, players should be rewarded an experience point for their 
  participation in the adventure. See p. 216 of the World of Darkness 
  Rulebook for other in-game reasons that may warrant the reward 
  of experience points.
  When the adventure is complete, you may consider giving more 
  experience based on the following levels of participation and success:
  +1 Political Savvy. While the city is cast into chaos—chaos 
  that manifests through very real violence—the true violence of 
  the Kindred is always in the socio-political sphere. Characters can 
  emerge triumphant from this story based not on their ability to throw 
  a Vigor-juiced punch but on their ability to negotiate the turbulent 
  churning waters of the Danse Macabre. Doing so is a perfectly fine 
  reason to gain an experience point. 
  +1 Survival. The city presents an unholy host of unpleasant 
  challenges to the characters navigating the void after offing the 
  Prince, and just making it through with all your fingers and toes 
  intact is a big deal. If the character survived, that might be worth 
  a point of experience all on its own.
  +1 Favorable Outcome. The presumed goal of the characters 
  through this story is to come out on top. One assumes that’s exactly 
  what they hoped to do in the opening scene, what with the act of 
  offing the Prince, but it didn’t happen. Furthermore, the city presents 
  a constant array of pitfalls wherein the character may decide it’s 
  less about coming out on top and more about just coming out at 
  all. As such, characters who make it through this story to the end 
  and having completed their goals (or achieving some equivalent 
  favorable outcome) should earn a point of additional experience.
  26
  
   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
  Prince can fight—he has 
  Vigor and Resilience, will 
  knock down obstacles if he 
  flees (-3)
  Good Night, Sweet Prince
  •
  •
   If Prince has been 
  poisoned (-3)
  Set up a false climax scene—start off with a bang, but it only escalates from here 
  For the Prince? Off with his head.
   ••••
  None
  Secrets on the Wind, Like Blood in the Water
   ••• 
      • 
  •••
  Everybody’s distrustful (-2), 
  everything’s a mess (-5)
  Characters can shine a light 
  on things in the form of 
  allies (+3), a flashlight (+1 
  to +3), a bribe or blackmail 
  (+1 to +5 depending on 
  potency)
  Each new bit of information the characters find should give them more  
  reason to be afraid. Use the crowded streets of the city to further this paranoia. 
  Find out what happened to Jonas Craft and what it might mean for the characters.
  Isn’t really contained to a 
  single scene—in film terms, 
  this is a “sequence.” Use 
  the Encounter Scenarios 
  (p. 21) to break up this 
  sequence in order to 
  escalate tension
  Darkness (-3)
  Pandora’s Box
  Light source (+1 to +3)
  Follow threads to their conclusion and organically include awesome threats and 
  escalation (see scene description for handful of ideas) 
  Find the box, crack it open, access the box of secrets…  
  and deal with the consequences
  None
   ••• 
   •••• 
  •
  17
  12
  14
  
  Name: 
  Virtue: 
  Clan:
  Concept: 
  Vice: 
  Covenant:
  Intelligence 
  Strength 
  Presence
  Wits 
  Dexterity 
  Manipulation
  Resolve 
  Stamina 
  Composure
  Notes
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
        Skills                 
         Merits                
  Humanity
  Size
  Speed
  Defense
  Initiative Mod
  Armor
        Disciplines      
  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
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
         Willpower      
         Health                                
      Blood Potency    
          Vitae                                
  oooooooooooo
  oooooooooo
  oooooooooo
          Flaws        
   
   
   
   
   
   
   
   
   
   
   
  Attacks: 
  Type
   
  Damage 
  Size 
  Special 
  Dice Pool
   
   
   
   
  Name: 
  Virtue: 
  Clan:
  Concept: 
  Vice: 
  Covenant:
  Intelligence 
  Strength 
  Presence
  Wits 
  Dexterity 
  Manipulation
  Resolve 
  Stamina 
  Composure
  Notes
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
        Skills                 
         Merits                
  Humanity
  Size
  Speed
  Defense
  Initiative Mod
  Armor
        Disciplines      
  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
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
         Willpower      
         Health                                
      Blood Potency    
          Vitae                                
  oooooooooooo
  oooooooooo
  oooooooooo
          Flaws        
   
   
   
   
   
   
   
   
   
   
   
  Attacks: 
  Type
   
  Damage 
  Size 
  Special 
  Dice Pool
   
   
   
   
  Academics
  Compter
  Investigation
  Occult
  Politics
  Athletics
  Brawl
  Drive
  Firearms
  Larceny
  Stealth
  Survival
  Weaponry
  Animal Ken
  Empathy
  Expression
  Intimidation
  Persuasian
  Socialize
  Streetwise
  Subterfuge
  Prince Donal
  Prince What Got 
  Himself Dead
  Prudence
  Sloth
  Ventrue
  Allies
  Barfly
  Fighting Style:  
    Boxing
  Fresh Start
  Herd
  Haven  Location 
    Size
    Security
  Resources
  Status
  Animalism
  Dominate
  Majesty
  Resilience
  Vigor
  13
  4
  8
  Vigor-Juiced Haymaker  3(L) 
  n/a 
   
  12 
  Must spend Willpower point to utilize Haymaker maneuver 
  Civil War Saber 3(L) 
  n/a
  Allies: Police, Fire, Hospitals, Politics)
  4
  Computer
  Crafts
  Investigation
  Medicine
  Occult
  Politics
  Athletics
  Brawl
  Drive
  Firearms
  Larceny
  Stealth
  Suvival
  Weaponry
  Empathy
  Intimidation
  Persuasion
  Socialize
  Streetwise
  Subterfuge
  Harmon Kale
  Beleaguered Sherriff
  Justice
  Envy
  Mekhet
  13
  3
  9
  Remington 
  5(L) 
  20/40/80 
  11 
  M870 12 Gauge
  5
  Vitae per Turn: 7
  Vitae per Turn: 2
  o
  Allies
     (private eye community)
  Contacts 
  (police, mayor’s office, FBI, Sanitation 
  Dept, Park Svcs)
  Disarm
  Fast Reflexes
  Resources
  Status
  Haven  Location
    Size
    Security
  Auspex
  Celerity
  Obfuscate
  
  Name: 
  Virtue: 
  Clan:
  Concept: 
  Vice: 
  Covenant:
  Intelligence 
  Strength 
  Presence
  Wits 
  Dexterity 
  Manipulation
  Resolve 
  Stamina 
  Composure
  Notes
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
        Skills                 
         Merits                
  Humanity
  Size
  Speed
  Defense
  Initiative Mod
  Armor
        Disciplines      
  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
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
         Willpower      
         Health                                
      Blood Potency    
          Vitae                                
  oooooooooooo
  oooooooooo
  oooooooooo
          Flaws        
   
   
   
   
   
   
   
   
   
   
   
  Attacks: 
  Type
   
  Damage 
  Size 
  Special 
  Dice Pool
   
   
   
   
  Academics
  Compter
  Craft
  Investigation
  Occult
  Politics
  Athletics
  Brawl
  Drive
  Larceny
  Stealth
  Weaponry
  Empathy
  Expression
  Intimidation
  Persuasion
  Socialize
  Subterfuge
  Amelie Villarossa
  Faith
  Lust
  Daeva
  Danger Sense
  Fleet of Foot
  Herd
  Status
  Auspex
  Celerity
  Dominate
  Majesty
  15
  3
  8
  Straight Razor 
  1(L) 
  na 
  6 
  na 
  6
  Broken Doll
  Vitae per Turn: 1
  Vitae per Turn: ____
  Name: 
  Virtue: 
  Clan:
  Concept: 
  Vice: 
  Covenant:
  Intelligence 
  Strength 
  Presence
  Wits 
  Dexterity 
  Manipulation
  Resolve 
  Stamina 
  Composure
  Notes
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
        Skills                 
         Merits                
  Humanity
  Size
  Speed
  Defense
  Initiative Mod
  Armor
        Disciplines      
  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
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
  ooooo
         Willpower      
         Health                                
      Blood Potency    
          Vitae                                
  oooooooooooo
  oooooooooo
  oooooooooo
          Flaws        
   
   
   
   
   
   
   
   
   
   
   
  Attacks: 
  Type
   
  Damage 
  Size 
  Special 
  Dice Pool
   
   
   
   
  
SOURCE: textdata/thevault/Storyteller [multi]/World of Darkness (WoD) [multi]/CofD/Vampire - The Requiem/SAS/Vampire the Requiem - SAS - Into the Void.pdf