TEXT: Paul ‘Wiggy’ Wade-Williams
  Paul ‘Wiggy’ Wade-Williams
  31016
  31016
  
  BY PAUL “WIGGY” WADE-WILLIAMS
  BY PAUL “WIGGY” WADE-WILLIAMS
  EDITING & PROOFREADING: RON BLESSING 
  EDITING & PROOFREADING: RON BLESSING 
  GRAPHIC DESIGN & TYPESETTING: ROBIN ELLIOTT
  GRAPHIC DESIGN & TYPESETTING: ROBIN ELLIOTT
  COVER ART: JORDAN PEACOCK
  COVER ART: JORDAN PEACOCK
  COVER DESIGN: ROBIN ELLIOTT
  COVER DESIGN: ROBIN ELLIOTT
  DARING TALES PLAYTESTERS: KEVIN ANDERSON, DAVE BLEWER, SIMON SCOTT, MARTIN SKIGGS, DAN TUNBRIDGE
  DARING TALES PLAYTESTERS: KEVIN ANDERSON, DAVE BLEWER, SIMON SCOTT, MARTIN SKIGGS, DAN TUNBRIDGE
  WWW.TRIPLEACEGAMES.COM
  WWW.TRIPLEACEGAMES.COM
  © 2008 Triple Ace Games. Daring Tales of Adventure and all related marks and logos are trademarks of  Triple Ace Games. Savage 
  Worlds, Smiling Jack and all related marks and logos are trademarks of Pinnacle Entertainment Group. All rights reserved. Used with 
  permission. © 2008. All Rights Reserved.
  Permission is granted to print this ebook for personal use only.
  This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. Savage 
  Worlds and all associated logos and trademarks are copyrights of Pinnacle Entertainment Group. Used with permission. Pinnacle makes 
  no representation or warranty as to the quality, viability, or suitability for purpose of this product.
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  XMAS 08 
  XMAS 08 
  SPECIAL
  SPECIAL
  BY PAUL “WIGGY” WADE-WILLIAMS
  BY PAUL “WIGGY” WADE-WILLIAMS
  EDITING & PROOFREADING: RON BLESSING 
  EDITING & PROOFREADING: RON BLESSING 
  GRAPHIC DESIGN & TYPESETTING: ROBIN ELLIOTT
  GRAPHIC DESIGN & TYPESETTING: ROBIN ELLIOTT
  COVER ART: JORDAN PEACOCK
  COVER ART: JORDAN PEACOCK
  COVER DESIGN: ROBIN ELLIOTT
  COVER DESIGN: ROBIN ELLIOTT
  DARING TALES PLAYTESTERS: KEVIN ANDERSON, DAVE BLEWER, SIMON SCOTT, MARTIN SKIGGS, DAN TUNBRIDGE
  DARING TALES PLAYTESTERS: KEVIN ANDERSON, DAVE BLEWER, SIMON SCOTT, MARTIN SKIGGS, DAN TUNBRIDGE
  WWW.TRIPLEACEGAMES.COM
  WWW.TRIPLEACEGAMES.COM
  © 2008 Triple Ace Games. Daring Tales of Adventure and all related marks and logos are trademarks of  Triple Ace Games. Savage 
  Worlds, Smiling Jack and all related marks and logos are trademarks of Pinnacle Entertainment Group. All rights reserved. Used with 
  permission. © 2008. All Rights Reserved.
  Permission is granted to print this ebook for personal use only.
  This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. Savage 
  Worlds and all associated logos and trademarks are copyrights of Pinnacle Entertainment Group. Used with permission. Pinnacle makes 
  no representation or warranty as to the quality, viability, or suitability for purpose of this product.
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  XMAS 08 
  XMAS 08 
  SPECIAL
  SPECIAL
  
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  2
  This short adventure contains a pulp tale based 
  around the exploits of four to six pre-generated charac-
  ters. All the characters are kids, aged between 9 and 12. 
  You’ll ﬁ nd character sheets at the back of the module.
  With the exception of Brent Hardcastle, the main 
  hero of our Daring Tales of Adventure line, who must 
  be taken as a character, the players are free to pick and 
  choose from the others. None are vital to the success-
  ful completion of the adventure, though all have their 
  strengths.
  The GM also needs the pulp setting rules from the 
  TAG website.
  Important: The players should be made aware that 
  their characters are young kids. Although most have 
  some combat skills, they are not warriors, nor are they 
  armed with an array of deadly weapons. Indeed, their low 
  Strength scores make the use of large melee weapons or 
  ﬁ rearms trickier. They also have an average Toughness of 
  4, which means they’ll suffer injuries more often if they 
  opt to pummel their way out of trouble. Tricks, Tests 
  of Will, and creative use of scenery and props are the 
  heroes’ best weapons.
  SPECIAL RULES
  SPECIAL RULES
  In addition to TAG’s regular pulp rules, which you’ll 
  need for this adventure (they’re free from the website on 
  which you found this little tale), a few special rules are 
  plied, simply because the heroes are all kids.
  Guns: Adult pulp heroes may be willing to charge 
  a gun-wielding goon, but kids aren’t. Anytime a gun is 
  drawn by an adult, the thug gets a free Intimidation roll 
  against all kids within range (+2 if he actually ﬁ res the 
  gun, +4 if it hit someone). Roll once for the goon, with 
  each kid making an individual Spirit roll. Characters who 
  fail to resist are Shaken. If the thug gets a raise over the 
  character’s total, the hero is Panicked instead.
  Likewise, a kid who picks up a gun isn’t going to be a 
  crack shot, even if his Shooting die is high. Allowing that 
  is ﬁ ne in a regular pulp game, but in a one-off adventure 
  like this, where we want to encourage the players to actu-
  ally think like kids, it might tempt the players to acquire 
  ﬁ rearms from fallen foes. To that end, two special rules 
  are introduced.
  First, a kid using a ﬁ rearm does not beneﬁ t from a 
  Wild Die.
  Second, his Shooting skill is reduced one die type. 
  Shooting dropping below a d4 becomes unskilled, and 
  unskilled heroes suffer an additional –2 penalty (so 
  that’s d4–2 and no Wild Die).
  Tricks: Stick a bunch of kids in a standup ﬁ ght against 
  an equal number of adults, and the kids’ll likely lose. 
  Sure, the heroes are Wild Cards, but they have low 
  Strength, feeble Toughness scores, and few weapons.
  For that reason, and for this adventure only, Shaken 
  results from Tricks count as nonlethal, physical damage 
  (and so can knock out Extras) if the Trick warrants it. 
  For instance, squirting ink in a goon’s eyes isn’t going 
  to cause him to black out, even if he’s Shaken already, 
  but tripping him will—the GM can rule the goon hits his 
  head as he falls.
  ACT 1: MILK AND MAYHEM
  ACT 1: MILK AND MAYHEM
  Set the scene by reading the following text to the players.
  The festive holidays are drawing close. As a special 
  treat your parents have taken you to Boston to 
  visit the circus. Your folks have gone off to ﬁ nd a 
  restaurant, but you kids didn’t fancy that. Armed 
  with a few bucks, you’ve been allowed to visit a 
  milk bar for sodas, milkshakes, and donuts.
  SCENE 1: LOCAL PROBLEMS
  SCENE 1: LOCAL PROBLEMS
  The youngsters are all seated at a single table. Arrayed 
  before them are a variety of drinks and snacks, all high in 
  sugar and low in nutritional value. Seated behind them 
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  2
  This short adventure contains a pulp tale based 
  around the exploits of four to six pre-generated charac-
  ters. All the characters are kids, aged between 9 and 12. 
  You’ll ﬁ nd character sheets at the back of the module.
  With the exception of Brent Hardcastle, the main 
  hero of our Daring Tales of Adventure line, who must 
  be taken as a character, the players are free to pick and 
  choose from the others. None are vital to the success-
  ful completion of the adventure, though all have their 
  strengths.
  The GM also needs the pulp setting rules from the 
  TAG website.
  Important: The players should be made aware that 
  their characters are young kids. Although most have 
  some combat skills, they are not warriors, nor are they 
  armed with an array of deadly weapons. Indeed, their low 
  Strength scores make the use of large melee weapons or 
  ﬁ rearms trickier. They also have an average Toughness of 
  4, which means they’ll suffer injuries more often if they 
  opt to pummel their way out of trouble. Tricks, Tests 
  of Will, and creative use of scenery and props are the 
  heroes’ best weapons.
  SPECIAL RULES
  SPECIAL RULES
  In addition to TAG’s regular pulp rules, which you’ll 
  need for this adventure (they’re free from the website on 
  which you found this little tale), a few special rules are 
  plied, simply because the heroes are all kids.
  Guns: Adult pulp heroes may be willing to charge 
  a gun-wielding goon, but kids aren’t. Anytime a gun is 
  drawn by an adult, the thug gets a free Intimidation roll 
  against all kids within range (+2 if he actually ﬁ res the 
  gun, +4 if it hit someone). Roll once for the goon, with 
  each kid making an individual Spirit roll. Characters who 
  fail to resist are Shaken. If the thug gets a raise over the 
  character’s total, the hero is Panicked instead.
  Likewise, a kid who picks up a gun isn’t going to be a 
  crack shot, even if his Shooting die is high. Allowing that 
  is ﬁ ne in a regular pulp game, but in a one-off adventure 
  like this, where we want to encourage the players to actu-
  ally think like kids, it might tempt the players to acquire 
  ﬁ rearms from fallen foes. To that end, two special rules 
  are introduced.
  First, a kid using a ﬁ rearm does not beneﬁ t from a 
  Wild Die.
  Second, his Shooting skill is reduced one die type. 
  Shooting dropping below a d4 becomes unskilled, and 
  unskilled heroes suffer an additional –2 penalty (so 
  that’s d4–2 and no Wild Die).
  Tricks: Stick a bunch of kids in a standup ﬁ ght against 
  an equal number of adults, and the kids’ll likely lose. 
  Sure, the heroes are Wild Cards, but they have low 
  Strength, feeble Toughness scores, and few weapons.
  For that reason, and for this adventure only, Shaken 
  results from Tricks count as nonlethal, physical damage 
  (and so can knock out Extras) if the Trick warrants it. 
  For instance, squirting ink in a goon’s eyes isn’t going 
  to cause him to black out, even if he’s Shaken already, 
  but tripping him will—the GM can rule the goon hits his 
  head as he falls.
  ACT 1: MILK AND MAYHEM
  ACT 1: MILK AND MAYHEM
  Set the scene by reading the following text to the players.
  The festive holidays are drawing close. As a special 
  treat your parents have taken you to Boston to 
  visit the circus. Your folks have gone off to ﬁ nd a 
  restaurant, but you kids didn’t fancy that. Armed 
  with a few bucks, you’ve been allowed to visit a 
  milk bar for sodas, milkshakes, and donuts.
  SCENE 1: LOCAL PROBLEMS
  SCENE 1: LOCAL PROBLEMS
  The youngsters are all seated at a single table. Arrayed 
  before them are a variety of drinks and snacks, all high in 
  sugar and low in nutritional value. Seated behind them 
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  3
  are two burly men in trench coats. The heroes can over-
  hear their conversation.
  First man: “The boss said we have to snatch the dia-
  mond this afternoon.”
  Second man: “Clam up, dummy! Yer want someone 
  to overhear us and call the cops?”
  First man: “I’m just saying is all. Boy, that sparkler is 
  going to net us some big bucks.”
  Second man: “Quit yer yapping and drink yer milk. 
  Come on, it’s time to go case the joint.”
  With that the two men leave the milk bar. Hopefully 
  the young heroes are intrigued by the possibility of a 
  crime taking place, and decide to follow the thugs.
  As you step outside, you bump into a small gang 
  of kids heading into the milk bar. One of them 
  stumbles back, slips on the icy sidewalk, and 
  lands heavily on his butt. Rising to his feet he balls 
  his ﬁ sts and snarls, “Darn country kids. Looks like 
  they’re spoiling for a ﬁ ght. Get ‘em, lads!”
  Deal action cards. Remember, damage from Extras 
  doesn’t Ace, so the best one of the city kids can do is 
  Shake a hero with a single hit. This should limit the 
  amount of damage inﬂ icted on the party.
  The sidewalk is covered in ice and snow, halving all 
  movement. Heroes who roll a 1 on their running die, 
  slip and fall prone.
  The snow can be made into a snowball as a free ac-
  tion. This improvised weapon has Range 3/6/12 and 
  inﬂ icts Str damage. However, damage from a snowball 
  does not Ace, though raises on the attack still grant an 
  additional +1d6 damage.
  Props outside the milk bar include a trashcan full of 
  discarded drink cartons and food wrappers, and a gob-
  stopper machine. Heroes who want to use other suitable 
  props (like a newspaper, or a passing dog, which can be 
  used as part of an Agility Trick to trip a foe), should ﬁ nd 
  them available.
  Pushing over the candy machine is an action. On hit-
  ting the ground, hard balls of candy scatter in a Medium 
  Burst Template. Place the outside of the template to 
  where it touches the machine and rotate it, so it affects 
  an area in the direction the machine fell. Anyone moving 
  through the template must make an Agility roll (–2 if run-
  ning) or slip and fall prone.
  At some point toward the end of the ﬁ ght, the milk 
  bar window must be broken. This could come about 
  as a result of a youth staggering backward from a blow 
  and crashing through, a missed slingshot attack, or even 
  by a hero throwing a snowball (which just happened to 
  contain a stone).
  The round after this occurs, a large policeman ap-
  pears on the scene. He blows his whistle, points at the 
  heroes, and orders them to stand still. Characters think-
  ing of complying may make a Common Knowledge roll. 
  With success they know two important facts. First, their 
  parents will have to pay for the damage. Second, they’ll 
  end up with no supper for a week and likely lose Christ-
  mas presents as a result of their bad behavior.
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  3
  are two burly men in trench coats. The heroes can over-
  hear their conversation.
  First man: “The boss said we have to snatch the dia-
  mond this afternoon.”
  Second man: “Clam up, dummy! Yer want someone 
  to overhear us and call the cops?”
  First man: “I’m just saying is all. Boy, that sparkler is 
  going to net us some big bucks.”
  Second man: “Quit yer yapping and drink yer milk. 
  Come on, it’s time to go case the joint.”
  With that the two men leave the milk bar. Hopefully 
  the young heroes are intrigued by the possibility of a 
  crime taking place, and decide to follow the thugs.
  As you step outside, you bump into a small gang 
  of kids heading into the milk bar. One of them 
  stumbles back, slips on the icy sidewalk, and 
  lands heavily on his butt. Rising to his feet he balls 
  his ﬁ sts and snarls, “Darn country kids. Looks like 
  they’re spoiling for a ﬁ ght. Get ‘em, lads!”
  Deal action cards. Remember, damage from Extras 
  doesn’t Ace, so the best one of the city kids can do is 
  Shake a hero with a single hit. This should limit the 
  amount of damage inﬂ icted on the party.
  The sidewalk is covered in ice and snow, halving all 
  movement. Heroes who roll a 1 on their running die, 
  slip and fall prone.
  The snow can be made into a snowball as a free ac-
  tion. This improvised weapon has Range 3/6/12 and 
  inﬂ icts Str damage. However, damage from a snowball 
  does not Ace, though raises on the attack still grant an 
  additional +1d6 damage.
  Props outside the milk bar include a trashcan full of 
  discarded drink cartons and food wrappers, and a gob-
  stopper machine. Heroes who want to use other suitable 
  props (like a newspaper, or a passing dog, which can be 
  used as part of an Agility Trick to trip a foe), should ﬁ nd 
  them available.
  Pushing over the candy machine is an action. On hit-
  ting the ground, hard balls of candy scatter in a Medium 
  Burst Template. Place the outside of the template to 
  where it touches the machine and rotate it, so it affects 
  an area in the direction the machine fell. Anyone moving 
  through the template must make an Agility roll (–2 if run-
  ning) or slip and fall prone.
  At some point toward the end of the ﬁ ght, the milk 
  bar window must be broken. This could come about 
  as a result of a youth staggering backward from a blow 
  and crashing through, a missed slingshot attack, or even 
  by a hero throwing a snowball (which just happened to 
  contain a stone).
  The round after this occurs, a large policeman ap-
  pears on the scene. He blows his whistle, points at the 
  heroes, and orders them to stand still. Characters think-
  ing of complying may make a Common Knowledge roll. 
  With success they know two important facts. First, their 
  parents will have to pay for the damage. Second, they’ll 
  end up with no supper for a week and likely lose Christ-
  mas presents as a result of their bad behavior.
  
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  4
   City Kids (1 per hero): See page 10.
  SCENE 2: THE CIRCUS ARRIVES
  SCENE 2: THE CIRCUS ARRIVES
  No matter which way the characters run, they end up 
  running down the street—straight into the oncoming 
  circus parade. Every year, the circus comes to Boston for 
  Christmas, and every year it parades through the streets 
  on arrival, to drum up business.
  This scene uses the Chase rules, but with our alter-
  nate Obstacles rules. The Range Increment is 1”, and the 
  characters begin three Range Increments ahead of the 
  policeman. This scene is mainly for cinematic and humor 
  value. If the kids are escaping too quickly, add another 
  policeman to the chase three Range Increments behind 
  the hero furthest back. The characters should escape, but 
  there’s no harm in delaying their victory a little longer.
  Because of the slippery road surface, any character 
  who goes Out of Control automatically ends up on his 
  butt. His Agility roll next round suffers a –2 penalty, as he 
  must waste time getting to his feet.
  Should the policeman draw close enough, he uses 
  the Parallel maneuver. He then tries to grapple one of 
  the young hoodlums. If a character is arrested and not 
  freed by his comrades, he gets a cuff around the ear and 
  is dragged back to the milk bar. His parents have just 
  arrived and are horriﬁ ed to hear of his troublesome and 
  destructive brawling. All privileges are lost for a month, 
  including supper and Christmas presents!
  Neither the policeman nor the heroes’ parents be-
  lieve any stories about a potential diamond robbery—it’s 
  dismissed as an overactive imagination (and an excuse 
  to avoid the consequences of getting caught brawling in 
  public).
  The adventure isn’t over if a hero is arrested. As luck 
  would have it, the parents intended to take the children 
  to the Museum anyway. While the children explore, 
  the parents visit nearby shops for last minute presents 
  (except for you-know-who). Before the kids know it, the 
  Museum has closed early, leaving them locked inside! 
  Skip straight down to Diamonds are Forever, page 5.
   Policeman: See page 10.
  OBSTACLES
  OBSTACLES
  Deuce (–4) Grappled: A cowboy is twirling his lasso. 
  When he sees the hero, he tries to snare him for the 
  amusement of the crowd. A failed Agility roll means the 
  character is ensnared. On subsequent rounds he must 
  make an Agility or Strength roll (hero’s choice) to escape 
  the binding. Only when this is achieved can the hero run 
  off (so escaping and running in the same round incurs a 
  multi action penalty).
  Three (–2) Clumsy Clown: The hero runs into a 
  clown. As the kid darts left, so does the clown (deliber-
  ately—he thinks it’s funny). Failure causes the hero to 
  drop back a Range Increment, due to the lengthy delay.
  Four (–2/0) Free Tickets!: A performer is handing 
  out free tickets for tonight’s show! If the hero stops to 
  collect them, his Agility roll suffers a –2 penalty. Other-
  wise he can ignore the tempting lure and keep running 
  with no penalty. Next round, the hero has the option of 
  grabbing another pair of free tickets and not making an 
  Agility roll, or continuing his ﬂ ight.
  The policeman is just as keen to attend the show as 
  anyone else, and always grabs tickets. He doesn’t delay 
  on subsequent rounds, though.
  Five (–2) Scantily Clad Ladies: It’s near-freezing, 
  but the circus performers are a hardy bunch. Some of the 
  acrobats are wearing barely any clothes, which is a lure 
  for young boys and policemen. Female heroes ignore 
  this Obstacle. A failed roll simply means the character 
  makes no grounds, due to the distraction.
  Six (–2/0) Firecrackers: A performer is handing 
  out strings of ﬁ recrackers. If the hero stops to collect 
  them, his Agility roll suffers a –2 penalty. Otherwise he 
  can ignore the tempting lure and keep running with no 
  penalty.
  Using the ﬁ recrackers in a Distract stunt grants the 
  hero a +2 bonus. If the kid elects to keep them for later, 
  he can use the crackers to make an Agility vs. Smarts Trick 
  (fooling any victims into thinking they’re gunshots).
  The policeman must make a Smarts roll if he draws 
  this card. With failure, he suffers the Agility penalty, as he 
  cautions the performer against giving kids ﬁ recrackers. 
  Otherwise, he continues the chase.
  Seven (–2/0) Free Candy: As above, except the re-
  ward for taking an Agility roll penalty is free candy.
  If this event is drawn for Oscar, he must go for the 
  candy (the player should roleplay this anyway). If Oscar 
  is within one Range Increment of another character 
  drawing this card, he automatically moves to the same 
  Range Increment, whether than is an extra move forward 
  or a forced move backward.
  Eight (–2) Tangled: A glance back or slight distrac-
  tion causes the hero to stumble into an acrobat, cart 
  wheeling down the road. On a failed Agility roll, the hero 
  is tangled up with the performer. He gains no distance 
  this round and suffers a –2 penalty to his Agility roll next 
  round, as well.
  Nine (–2) Snowball Barrage: Local youths are pelt-
  ing the circus with snowballs. The character runs straight 
  into a barrage. Roll 2d6. If either die comes up 1, the 
  hero has been struck. He is automatically Shaken.
  Ten (–1) Singed Hair: The character runs a little too 
  close to a ﬁ re breather spewing out a gout of ﬂ ame. A 
  failed Agility causes the hero to be Shaken and suffer a 
  –1 Charisma penalty for the rest of the session (no eye-
  brows).
  Jack (–1) Smelly Stuff: Elephants make a lot of 
  mess, and the hero is headed for a fresh pile of manure. 
  A failed roll means the character skids on the stuff, losing 
  any movement for the round. Should he go Out of Con-
  trol, he falls into it. He suffers a –1 penalty to Charisma 
  and Stealth rolls for the rest of the adventure (even if he 
  washes).
  Queen (–1) Elephant: A number of elephants block 
  the character’s path, forcing him to weave through them. 
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  4
   City Kids (1 per hero): See page 10.
  SCENE 2: THE CIRCUS ARRIVES
  SCENE 2: THE CIRCUS ARRIVES
  No matter which way the characters run, they end up 
  running down the street—straight into the oncoming 
  circus parade. Every year, the circus comes to Boston for 
  Christmas, and every year it parades through the streets 
  on arrival, to drum up business.
  This scene uses the Chase rules, but with our alter-
  nate Obstacles rules. The Range Increment is 1”, and the 
  characters begin three Range Increments ahead of the 
  policeman. This scene is mainly for cinematic and humor 
  value. If the kids are escaping too quickly, add another 
  policeman to the chase three Range Increments behind 
  the hero furthest back. The characters should escape, but 
  there’s no harm in delaying their victory a little longer.
  Because of the slippery road surface, any character 
  who goes Out of Control automatically ends up on his 
  butt. His Agility roll next round suffers a –2 penalty, as he 
  must waste time getting to his feet.
  Should the policeman draw close enough, he uses 
  the Parallel maneuver. He then tries to grapple one of 
  the young hoodlums. If a character is arrested and not 
  freed by his comrades, he gets a cuff around the ear and 
  is dragged back to the milk bar. His parents have just 
  arrived and are horriﬁ ed to hear of his troublesome and 
  destructive brawling. All privileges are lost for a month, 
  including supper and Christmas presents!
  Neither the policeman nor the heroes’ parents be-
  lieve any stories about a potential diamond robbery—it’s 
  dismissed as an overactive imagination (and an excuse 
  to avoid the consequences of getting caught brawling in 
  public).
  The adventure isn’t over if a hero is arrested. As luck 
  would have it, the parents intended to take the children 
  to the Museum anyway. While the children explore, 
  the parents visit nearby shops for last minute presents 
  (except for you-know-who). Before the kids know it, the 
  Museum has closed early, leaving them locked inside! 
  Skip straight down to Diamonds are Forever, page 5.
   Policeman: See page 10.
  OBSTACLES
  OBSTACLES
  Deuce (–4) Grappled: A cowboy is twirling his lasso. 
  When he sees the hero, he tries to snare him for the 
  amusement of the crowd. A failed Agility roll means the 
  character is ensnared. On subsequent rounds he must 
  make an Agility or Strength roll (hero’s choice) to escape 
  the binding. Only when this is achieved can the hero run 
  off (so escaping and running in the same round incurs a 
  multi action penalty).
  Three (–2) Clumsy Clown: The hero runs into a 
  clown. As the kid darts left, so does the clown (deliber-
  ately—he thinks it’s funny). Failure causes the hero to 
  drop back a Range Increment, due to the lengthy delay.
  Four (–2/0) Free Tickets!: A performer is handing 
  out free tickets for tonight’s show! If the hero stops to 
  collect them, his Agility roll suffers a –2 penalty. Other-
  wise he can ignore the tempting lure and keep running 
  with no penalty. Next round, the hero has the option of 
  grabbing another pair of free tickets and not making an 
  Agility roll, or continuing his ﬂ ight.
  The policeman is just as keen to attend the show as 
  anyone else, and always grabs tickets. He doesn’t delay 
  on subsequent rounds, though.
  Five (–2) Scantily Clad Ladies: It’s near-freezing, 
  but the circus performers are a hardy bunch. Some of the 
  acrobats are wearing barely any clothes, which is a lure 
  for young boys and policemen. Female heroes ignore 
  this Obstacle. A failed roll simply means the character 
  makes no grounds, due to the distraction.
  Six (–2/0) Firecrackers: A performer is handing 
  out strings of ﬁ recrackers. If the hero stops to collect 
  them, his Agility roll suffers a –2 penalty. Otherwise he 
  can ignore the tempting lure and keep running with no 
  penalty.
  Using the ﬁ recrackers in a Distract stunt grants the 
  hero a +2 bonus. If the kid elects to keep them for later, 
  he can use the crackers to make an Agility vs. Smarts Trick 
  (fooling any victims into thinking they’re gunshots).
  The policeman must make a Smarts roll if he draws 
  this card. With failure, he suffers the Agility penalty, as he 
  cautions the performer against giving kids ﬁ recrackers. 
  Otherwise, he continues the chase.
  Seven (–2/0) Free Candy: As above, except the re-
  ward for taking an Agility roll penalty is free candy.
  If this event is drawn for Oscar, he must go for the 
  candy (the player should roleplay this anyway). If Oscar 
  is within one Range Increment of another character 
  drawing this card, he automatically moves to the same 
  Range Increment, whether than is an extra move forward 
  or a forced move backward.
  Eight (–2) Tangled: A glance back or slight distrac-
  tion causes the hero to stumble into an acrobat, cart 
  wheeling down the road. On a failed Agility roll, the hero 
  is tangled up with the performer. He gains no distance 
  this round and suffers a –2 penalty to his Agility roll next 
  round, as well.
  Nine (–2) Snowball Barrage: Local youths are pelt-
  ing the circus with snowballs. The character runs straight 
  into a barrage. Roll 2d6. If either die comes up 1, the 
  hero has been struck. He is automatically Shaken.
  Ten (–1) Singed Hair: The character runs a little too 
  close to a ﬁ re breather spewing out a gout of ﬂ ame. A 
  failed Agility causes the hero to be Shaken and suffer a 
  –1 Charisma penalty for the rest of the session (no eye-
  brows).
  Jack (–1) Smelly Stuff: Elephants make a lot of 
  mess, and the hero is headed for a fresh pile of manure. 
  A failed roll means the character skids on the stuff, losing 
  any movement for the round. Should he go Out of Con-
  trol, he falls into it. He suffers a –1 penalty to Charisma 
  and Stealth rolls for the rest of the adventure (even if he 
  washes).
  Queen (–1) Elephant: A number of elephants block 
  the character’s path, forcing him to weave through them. 
  
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  5
  A failed roll means the hero is accidentally struck by a 
  beast and suffers 2d6 damage (from an Extra).
  King (0) They’ll Eat Me Alive!: A pair of lions (well-
  fed) is being paraded through the streets on a leash. One 
  roars loudly at the passing character, forcing him to make 
  a Spirit roll as a free action. With success, he may make 
  his Agility roll as normal. A failure causes him to take a 
  detour around the ferocious beast. He moves one less 
  Range Increment than his Agility roll normally permits 
  (moving backward if he fails the Agility roll). On a critical 
  failure he is Shaken, as well.
  Ace (0) Smashing Fun: A performer who balances 
  plates on sticks (held by colleagues) and a chase can 
  mean only one thing. A failed Agility roll causes the 
  plates to fall and smash. The hero suffers no other effects 
  beyond making no headway.
  Alternately, if a kid draws this card and the policeman 
  is within 1 Range Increment, the Wild Card can take a 
  –2 penalty to his Agility roll. Success not only moves the 
  hero ahead a Range Increment, but also gives him an 
  automatic Distract stunt against the cop.
  ACT 2: BOSTON MUSEUM
  ACT 2: BOSTON MUSEUM
  Having escaped the police, the characters have only 
  one lead—the mention of a diamond of great value. 
  Discovering which diamond requires either a Streetwise 
  roll (asking around the crowd streets) or Investigation 
  (reading the newspapers).
  Whatever method is used, success results in the char-
  acters learning of the Amritsa Diamond, a fabulous gem 
  on display at the Boston Natural History Museum. With a 
  raise, they learn the Museum is closing at midday today 
  because the circus is in town. The youngsters don’t have 
  much time!
  SCENE 1: THE DIAMOND IS OURS
  SCENE 1: THE DIAMOND IS OURS
  No matter how fast the heroes run, they reach the 
  Museum just in time to see the last of the patrons being 
  shown the door. A junior curator, Oswald Hibbert (who 
  appears in Daring Tales of Adventure #2), is just closing 
  the door.
  “Sorry, kids,” the man says apologetically, as he 
  shuts one of the doors and slides home the bolt. 
  “Museum’s closing early today due to the cir-
  cus being in town. We’re open again tomorrow, 
  though.”
  The heroes need to gain entrance if they’re to thwart 
  the robbery, as Hibbert won’t believe their story about a 
  theft. Persuasion rolls can be made, but any reasonable 
  excuse, such as urgently needing the toilet, is enough to 
  gain the party access without a die roll. Hibbert smiles 
  politely if any hero is so brazen as to offer a bribe. He 
  doesn’t take the money.
  Hibbert leads them to the toilets, but then wanders 
  off. He plans to inform a colleague to make sure the kids 
  are out before the doors are locked, but he forgets when 
  he spies some exhibits that have been moved out of 
  place. Before the characters know it, they are shut inside 
  the Natural History Museum.
  DIAMONDS ARE FOREVER
  DIAMONDS ARE FOREVER
  Locating the diamond can be achieved two ways. First, 
  the heroes can wander aimlessly through the galleries. 
  Second, they can grab a tourist brochure. Although we 
  don’t usually tell GMs when to hand out bennies, this is 
  one of those moments when player ingenuity should be 
  rewarded. Hey, the kids need all the help they can get!
  The gallery before the one containing the diamond 
  has a few dinosaur skeletons at ﬂ oor level. Hanging over-
  head, however, are the immense bones of a diplodocus 
  and a pair of T-Rex.
  The gemstone gallery contains a few other treasures, 
  such as emeralds and rubies, but nothing as lucrative as 
  the diamond, a ﬁ st-sized, glittering stone.
  The Amrita Diamond sits in a glass display case, which 
  is surrounded by a rope to keep patrons from getting 
  too close. This is 1915, long before the advent of infra-
  red beams and other such security measures. One plan, 
  which may cross the heroes’ minds, is to swipe the dia-
  mond ﬁ rst, thus preventing its theft.
  If the stone is taken, or if the heroes spend too long 
  trying to come up with a plan, they hear sounds of clank-
  ing metal behind them. Staggering into the gallery is a 
  suit of plate mail clutching a spiked mace! One of the 
  goons decided to hide inside the armor to escape detec-
  tion when the Museum closed! There’s only one way in 
  and one way out of the exhibit hall—past the armored 
  goon.
  In a deep voice, the armored ﬁ gure growls, “Pesky 
  kids! You’d better hand over the diamond and 
  vamoose now, or you’re going to get badly hurt!”
  The characters have little chance of hurting the goon 
  (he’s a Henchman) thanks to his armor, but he’s also 
  heavily encumbered. Running past him is certainly pos-
  sible.
  Deal action cards.
  The gallery is 10” long and 6” wide. The thug doesn’t 
  advance into the room, though—he just tries to block 
  the doorway. Moving through his square counts as dif-
  ﬁ cult ground. Despite his strong words, the guy isn’t a 
  child killer. He’ll swing his mace, but pull his punches 
  (an excuse for why damage doesn’t Ace for him). He’s 
  more interested in grabbing the diamond.
  Whether the thug is avoided or somehow beaten, he 
  has one last trick up his sleeve. Regardless of whether 
  he was Incapacitated or not, as the heroes enter the 
  dinosaur bone gallery, the goon swings his mace, smash-
  ing the mechanism holding up the skeletons. Slowly but 
  surely, the bones begin to fall!
   Armored Goon: See page 10.
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  5
  A failed roll means the hero is accidentally struck by a 
  beast and suffers 2d6 damage (from an Extra).
  King (0) They’ll Eat Me Alive!: A pair of lions (well-
  fed) is being paraded through the streets on a leash. One 
  roars loudly at the passing character, forcing him to make 
  a Spirit roll as a free action. With success, he may make 
  his Agility roll as normal. A failure causes him to take a 
  detour around the ferocious beast. He moves one less 
  Range Increment than his Agility roll normally permits 
  (moving backward if he fails the Agility roll). On a critical 
  failure he is Shaken, as well.
  Ace (0) Smashing Fun: A performer who balances 
  plates on sticks (held by colleagues) and a chase can 
  mean only one thing. A failed Agility roll causes the 
  plates to fall and smash. The hero suffers no other effects 
  beyond making no headway.
  Alternately, if a kid draws this card and the policeman 
  is within 1 Range Increment, the Wild Card can take a 
  –2 penalty to his Agility roll. Success not only moves the 
  hero ahead a Range Increment, but also gives him an 
  automatic Distract stunt against the cop.
  ACT 2: BOSTON MUSEUM
  ACT 2: BOSTON MUSEUM
  Having escaped the police, the characters have only 
  one lead—the mention of a diamond of great value. 
  Discovering which diamond requires either a Streetwise 
  roll (asking around the crowd streets) or Investigation 
  (reading the newspapers).
  Whatever method is used, success results in the char-
  acters learning of the Amritsa Diamond, a fabulous gem 
  on display at the Boston Natural History Museum. With a 
  raise, they learn the Museum is closing at midday today 
  because the circus is in town. The youngsters don’t have 
  much time!
  SCENE 1: THE DIAMOND IS OURS
  SCENE 1: THE DIAMOND IS OURS
  No matter how fast the heroes run, they reach the 
  Museum just in time to see the last of the patrons being 
  shown the door. A junior curator, Oswald Hibbert (who 
  appears in Daring Tales of Adventure #2), is just closing 
  the door.
  “Sorry, kids,” the man says apologetically, as he 
  shuts one of the doors and slides home the bolt. 
  “Museum’s closing early today due to the cir-
  cus being in town. We’re open again tomorrow, 
  though.”
  The heroes need to gain entrance if they’re to thwart 
  the robbery, as Hibbert won’t believe their story about a 
  theft. Persuasion rolls can be made, but any reasonable 
  excuse, such as urgently needing the toilet, is enough to 
  gain the party access without a die roll. Hibbert smiles 
  politely if any hero is so brazen as to offer a bribe. He 
  doesn’t take the money.
  Hibbert leads them to the toilets, but then wanders 
  off. He plans to inform a colleague to make sure the kids 
  are out before the doors are locked, but he forgets when 
  he spies some exhibits that have been moved out of 
  place. Before the characters know it, they are shut inside 
  the Natural History Museum.
  DIAMONDS ARE FOREVER
  DIAMONDS ARE FOREVER
  Locating the diamond can be achieved two ways. First, 
  the heroes can wander aimlessly through the galleries. 
  Second, they can grab a tourist brochure. Although we 
  don’t usually tell GMs when to hand out bennies, this is 
  one of those moments when player ingenuity should be 
  rewarded. Hey, the kids need all the help they can get!
  The gallery before the one containing the diamond 
  has a few dinosaur skeletons at ﬂ oor level. Hanging over-
  head, however, are the immense bones of a diplodocus 
  and a pair of T-Rex.
  The gemstone gallery contains a few other treasures, 
  such as emeralds and rubies, but nothing as lucrative as 
  the diamond, a ﬁ st-sized, glittering stone.
  The Amrita Diamond sits in a glass display case, which 
  is surrounded by a rope to keep patrons from getting 
  too close. This is 1915, long before the advent of infra-
  red beams and other such security measures. One plan, 
  which may cross the heroes’ minds, is to swipe the dia-
  mond ﬁ rst, thus preventing its theft.
  If the stone is taken, or if the heroes spend too long 
  trying to come up with a plan, they hear sounds of clank-
  ing metal behind them. Staggering into the gallery is a 
  suit of plate mail clutching a spiked mace! One of the 
  goons decided to hide inside the armor to escape detec-
  tion when the Museum closed! There’s only one way in 
  and one way out of the exhibit hall—past the armored 
  goon.
  In a deep voice, the armored ﬁ gure growls, “Pesky 
  kids! You’d better hand over the diamond and 
  vamoose now, or you’re going to get badly hurt!”
  The characters have little chance of hurting the goon 
  (he’s a Henchman) thanks to his armor, but he’s also 
  heavily encumbered. Running past him is certainly pos-
  sible.
  Deal action cards.
  The gallery is 10” long and 6” wide. The thug doesn’t 
  advance into the room, though—he just tries to block 
  the doorway. Moving through his square counts as dif-
  ﬁ cult ground. Despite his strong words, the guy isn’t a 
  child killer. He’ll swing his mace, but pull his punches 
  (an excuse for why damage doesn’t Ace for him). He’s 
  more interested in grabbing the diamond.
  Whether the thug is avoided or somehow beaten, he 
  has one last trick up his sleeve. Regardless of whether 
  he was Incapacitated or not, as the heroes enter the 
  dinosaur bone gallery, the goon swings his mace, smash-
  ing the mechanism holding up the skeletons. Slowly but 
  surely, the bones begin to fall!
   Armored Goon: See page 10.
  
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  6
  SCENE 2: COLLAPSING BONES
  SCENE 2: COLLAPSING BONES
  Unless the heroes want to be buried under tons of 
  bones, they need to start running fast toward the other 
  door.
  This Scene uses a version of the Chase rules. Place 10 
  markers on the tabletop. In order to escape into the next 
  gallery, the characters have to move beyond the 10th 
  marker. Each hero has two free rolls before the bones 
  begin to fall.
  The skeletons have an Agility die of d10, but can’t 
  Push. Success moves them one marker, and a raise two 
  markers. Use a token to represent the debris. If the bones 
  end up on the same marker as a hero or move ahead of 
  him, the hero suffers 2d6 damage (from an Extra) at the 
  end of the current round.
  Example: Young Brent ends the second round on the 
  ﬁ rst marker (having rolled a failure on his ﬁ rst Agil-
  ity die and a success on the second). Next round, the 
  third since the scene began, the bones enter play. Brent 
  wins the initiative but fails his Agility roll, gaining no 
  distance. The skeletons roll a 5, and move one position, 
  bringing it level with Brent. He suffers 2d6 damage 
  when the round ends but Soaks the wound it caused.
  Next round, the bones draw a higher action card but 
  roll a failure. Brent scores a raise! He rushes ahead of 
  the collapsing bones, leaping ahead of a toothed maw 
  as it crashes to the ground. Since he’s ahead of the de-
  bris at the end of the round, he takes no damage.
  SCENE 3: INSECTS!
  SCENE 3: INSECTS!
  CRASH! The grinning skull of a T-Rex slams into 
  the ﬂ oor, as you dive through the doorway. Your 
  scurry toward the exit is quickly halted by the 
  appearance of two goons. Both look mean and 
  menacing! 
  Deal action cards.
  The gallery measures 10” long and 8” wide, as does 
  the bone gallery (which the heroes may reenter). Place a 
  dozen or so 1” counters to represent display cases. Each 
  is full of worms, bugs, and other creepy-crawlies. Tipping 
  over a case counts as an action. When it smashes, it re-
  leases a swarm of bugs (see below). Movement over the 
  bones in the previous area counts as difﬁ cult ground.
  When the ﬁ ght begins, there are two goons present. At 
  the start of the second round, two thugs appear to block 
  the exit from the bone gallery. When round three begins, 
  the armored goon (assuming he’s wasn’t knocked out) 
  enters play, as well. If the characters are still in the bug 
  room, then the armored thug appears in the doorway 
  between this area and the bug room.
  On round one, a display case must be smashed. This 
  can be done by a wild swing missing, or, and easier to 
  arrange, a goon shoving one aside as he rushes toward 
  the kids. As it strikes the ground it shatters, releasing a 
  swarm of angry (but not dangerous) bugs.
  Deal the bugs an action card starting on the next 
  round. Roll a d12 when the bugs act and read this as 
  a clockface. Then roll 2d6 to determine how far the 
  bugs move in that direction. Should they hit a wall, they 
  “bounce” back into the room at the same angle.
  At some point, the bugs’ template must move over 
  the character of Brent. As fans of the Daring Tales of Ad-
  venture line know, the adult Brent has a phobia of bugs. 
  Can you guess where and how he got that?
  Before the last goon falls or after the ﬁ rst hero takes 
  two unSoaked wounds, a gun shot echoes through the 
  gallery. Standing in the doorway is a number of thugs, 
  one of whom has a smoking revolver in his hands.
  “Brave ﬁ ght, kids,” he smiles, “but the show is over. 
  We want the diamond, and we’re not afraid to 
  shoot you to get it. Now, hand it over and you can 
  go free. Come on, you wouldn’t want your parents 
  to get a cofﬁ n for Christmas, would you?”
  This is a “surrender moment,” the point where the 
  heroes give up the ﬁ ght without further violence in re-
  turn for a free benny.
   Insect Swarm: See page 10.
   Armored Goon: See page 10.
   Goons (1 per hero): See page 10.
  TIED UP
  TIED UP
  The kids are tied up and stuffed into a very dark closet. 
  The goons don’t think the kids will escape; they know 
  the Museum won’t be opened until the morning, and 
  they’re planning to skip town tonight. Before the thugs 
  leave the heroes alone, the characters hear one speaking 
  louder than he probably should.
  “Come on,” he says. “These brats aren’t going any-
  where fast. By the time anyone ﬁ nds them it’ll be 
  morning, and we’ll be long gone. I got us all tickets 
  for the circus show tonight. The boss said he’d meet us 
  there later to collect the merchandize and pay us.”
  ACT 3: ALL THE FUN OF THE FAIR
  ACT 3: ALL THE FUN OF THE FAIR
  The heroes aren’t in a deathtrap, though they are se-
  curely bound. Escaping doesn’t require any die rolls—it 
  just takes several minutes to loosen the bonds and crack 
  open the door. By this time, the goons are long gone. 
  Still, the heroes know where to go, at least.
  SCENE 1: FAIRGROUND FUN
  SCENE 1: FAIRGROUND FUN
  By the time the kids reach the circus, the show is in 
  full swing. The grounds are swarming with adults and 
  kids, performers and animals. As well as the circus there 
  is also a full-scale funfair in town, so there are stalls and 
  rides of every description.
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  6
  SCENE 2: COLLAPSING BONES
  SCENE 2: COLLAPSING BONES
  Unless the heroes want to be buried under tons of 
  bones, they need to start running fast toward the other 
  door.
  This Scene uses a version of the Chase rules. Place 10 
  markers on the tabletop. In order to escape into the next 
  gallery, the characters have to move beyond the 10th 
  marker. Each hero has two free rolls before the bones 
  begin to fall.
  The skeletons have an Agility die of d10, but can’t 
  Push. Success moves them one marker, and a raise two 
  markers. Use a token to represent the debris. If the bones 
  end up on the same marker as a hero or move ahead of 
  him, the hero suffers 2d6 damage (from an Extra) at the 
  end of the current round.
  Example: Young Brent ends the second round on the 
  ﬁ rst marker (having rolled a failure on his ﬁ rst Agil-
  ity die and a success on the second). Next round, the 
  third since the scene began, the bones enter play. Brent 
  wins the initiative but fails his Agility roll, gaining no 
  distance. The skeletons roll a 5, and move one position, 
  bringing it level with Brent. He suffers 2d6 damage 
  when the round ends but Soaks the wound it caused.
  Next round, the bones draw a higher action card but 
  roll a failure. Brent scores a raise! He rushes ahead of 
  the collapsing bones, leaping ahead of a toothed maw 
  as it crashes to the ground. Since he’s ahead of the de-
  bris at the end of the round, he takes no damage.
  SCENE 3: INSECTS!
  SCENE 3: INSECTS!
  CRASH! The grinning skull of a T-Rex slams into 
  the ﬂ oor, as you dive through the doorway. Your 
  scurry toward the exit is quickly halted by the 
  appearance of two goons. Both look mean and 
  menacing! 
  Deal action cards.
  The gallery measures 10” long and 8” wide, as does 
  the bone gallery (which the heroes may reenter). Place a 
  dozen or so 1” counters to represent display cases. Each 
  is full of worms, bugs, and other creepy-crawlies. Tipping 
  over a case counts as an action. When it smashes, it re-
  leases a swarm of bugs (see below). Movement over the 
  bones in the previous area counts as difﬁ cult ground.
  When the ﬁ ght begins, there are two goons present. At 
  the start of the second round, two thugs appear to block 
  the exit from the bone gallery. When round three begins, 
  the armored goon (assuming he’s wasn’t knocked out) 
  enters play, as well. If the characters are still in the bug 
  room, then the armored thug appears in the doorway 
  between this area and the bug room.
  On round one, a display case must be smashed. This 
  can be done by a wild swing missing, or, and easier to 
  arrange, a goon shoving one aside as he rushes toward 
  the kids. As it strikes the ground it shatters, releasing a 
  swarm of angry (but not dangerous) bugs.
  Deal the bugs an action card starting on the next 
  round. Roll a d12 when the bugs act and read this as 
  a clockface. Then roll 2d6 to determine how far the 
  bugs move in that direction. Should they hit a wall, they 
  “bounce” back into the room at the same angle.
  At some point, the bugs’ template must move over 
  the character of Brent. As fans of the Daring Tales of Ad-
  venture line know, the adult Brent has a phobia of bugs. 
  Can you guess where and how he got that?
  Before the last goon falls or after the ﬁ rst hero takes 
  two unSoaked wounds, a gun shot echoes through the 
  gallery. Standing in the doorway is a number of thugs, 
  one of whom has a smoking revolver in his hands.
  “Brave ﬁ ght, kids,” he smiles, “but the show is over. 
  We want the diamond, and we’re not afraid to 
  shoot you to get it. Now, hand it over and you can 
  go free. Come on, you wouldn’t want your parents 
  to get a cofﬁ n for Christmas, would you?”
  This is a “surrender moment,” the point where the 
  heroes give up the ﬁ ght without further violence in re-
  turn for a free benny.
   Insect Swarm: See page 10.
   Armored Goon: See page 10.
   Goons (1 per hero): See page 10.
  TIED UP
  TIED UP
  The kids are tied up and stuffed into a very dark closet. 
  The goons don’t think the kids will escape; they know 
  the Museum won’t be opened until the morning, and 
  they’re planning to skip town tonight. Before the thugs 
  leave the heroes alone, the characters hear one speaking 
  louder than he probably should.
  “Come on,” he says. “These brats aren’t going any-
  where fast. By the time anyone ﬁ nds them it’ll be 
  morning, and we’ll be long gone. I got us all tickets 
  for the circus show tonight. The boss said he’d meet us 
  there later to collect the merchandize and pay us.”
  ACT 3: ALL THE FUN OF THE FAIR
  ACT 3: ALL THE FUN OF THE FAIR
  The heroes aren’t in a deathtrap, though they are se-
  curely bound. Escaping doesn’t require any die rolls—it 
  just takes several minutes to loosen the bonds and crack 
  open the door. By this time, the goons are long gone. 
  Still, the heroes know where to go, at least.
  SCENE 1: FAIRGROUND FUN
  SCENE 1: FAIRGROUND FUN
  By the time the kids reach the circus, the show is in 
  full swing. The grounds are swarming with adults and 
  kids, performers and animals. As well as the circus there 
  is also a full-scale funfair in town, so there are stalls and 
  rides of every description.
  
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  7
  Let the kids explore the funfair for a bit. Assume any-
  thing else that could be readily available for purchase at 
  a funfair, such as cotton candy, costs a dime each. Who 
  knows, it might come in handy!
  There are two attractions they pass which might be of 
  interest to the posse.
  SHOOTING RANGE
  SHOOTING RANGE
  There’s a shooting range (air riﬂ es), which offers a va-
  riety of prizes, one of which is a high-powered slingshot 
  (Range: 4/8/16, Damage: Str+d4+1). The heroes might 
  already have one, but a spare wouldn’t go amiss. The 
  GM is also free to invent other prizes the heroes might 
  ﬁ nd useful, such as a fake gun (water pistol) or bag of 
  marbles. Likewise, encourage the players to think of cool 
  things they might want to use later in the adventure (or 
  just to own).
  In order to win a prize, the character has to make 
  three Shooting rolls. As low-powered weapons with no 
  recoil of note, the air riﬂ es do not use the special rules 
  for ﬁ rearms detailed at the start of the adventure. Aim-
  ing makes no difference—the sights are rigged to be off 
  center, and it’s assumed any shooter is aiming, anyway.
  A success is worth two points, a raise nets three points, 
  and two or more raises earns the shooter ﬁ ve points. In 
  order to win, the character has to score seven or more 
  points. Each go costs a quarter!
  COCONUTS
  COCONUTS
  Coconuts are tough to eat, but they can be used as a 
  thrown weapon (Range: 2/4/8, Damage: Str+d4+1). In 
  order to win one, the heroes have to go on the coconut 
  throw. That costs a dime and earns the thrower three 
  balls. Hitting a nut isn’t that hard, but making one fall 
  from the ring is—a Throwing roll at –4 is required! Any 
  winner gets the coconut he toppled.
  ANOTHER BEATING
  ANOTHER BEATING
  The city kids the heroes trounced earlier are also at the 
  funfair. They spot their “rivals” and decide to get even. 
  In order to do that, they rustle up a few more friends. 
  Deal the action cards and let mayhem commence! Add 
  scenery as desired to make the battleﬁ eld fun!
   City Kids (2 per hero): See page 10.
  SCENE 2: A FUN AND FAIR CHASE
  SCENE 2: A FUN AND FAIR CHASE
  After having a go on the ﬁ ring range and reminding 
  the local kids that country folk are raised tough, the 
  heroes spot the thugs heading across the fairground, 
  toward the funhouse. Unless they’re quick (i.e. they give 
  chase), they’ll lose them in the huge crowd.
  Run this Scene as a Chase. For the purposes of ranged 
  combat, each Range Increment equates to 5”. The goons 
  begin three Range Increment ahead of the kids.
  Lay out 20 marker stones to represent the fairground 
  and the various attractions, through which the action 
  takes place. It’s very important that some of the stones 
  are of different colors, or placed in such a way to distin-
  guish the distinct locales. You can use whatever colors 
  you want. Check the table below.
  Marker 
  Locale
  1–4 
  Outside
  5–8 
  Funhouse—moving ﬂ oor
  9–12 
  Funhouse—hall of mirrors
  13–16 
  Funhouse—haunted house
  17–20 
  Outside
  In each speciﬁ c locale special rules apply, as detailed 
  below.
  The characters can “win” the scene one of two ways. 
  First, they can catch one of the thugs and wrestle him 
  to the ground. Pinned beneath a mob of kids, the thug 
  quickly reveals the location of his boss (keep reading). 
  Second, they can try to remain behind the thugs and 
  tail them. Any hero within three Range Increments of a 
  thug reaching the 20th marker is close enough to see the 
  destination—the big top.
  So what if the heroes fail to achieve either? They’ll 
  need to make a Notice roll to spot the goons when they 
  leave their meeting place. With success, proceed straight 
  to Act 4, Scene 2.
   Goons (4): See page 10.
  OUTSIDE
  OUTSIDE
  There are no true Obstacles. Instead, the numerous 
  stalls and visitors get in the way and hamper movement. 
  Check the value of a Club card on the table below. Modi-
  ﬁ ers apply to the participant’s Agility roll for the round.
  Failure results in the hero making no movement (he’s 
  still moving, of course, but very slowly). A roll of 1 or less 
  means the hero goes back one Range Increment, through 
  taking lengthy detours or being swept backward.
  Card 
  Modiﬁ er
  Deuce 
  –6
  3–6 
  –4
  7–10 
  –2
  Jack 
  –1
  Ace 
  0
  FUNHOUSE—MOVING FLOOR
  FUNHOUSE—MOVING FLOOR
  This particular funhouse has one attraction—a mov-
  ing ﬂ oor. Sections of the wooden catwalk shift left and 
  right at varying speeds and make walking difﬁ cult. And 
  people call this fun? Participants use Agility as their skill 
  for determining movement, but there is always a –2 
  penalty. Use the table above as well—all modiﬁ ers are 
  cumulative!
  As above, heroes who fail just don’t move—they’re 
  too busy catching their balance. A roll of 1 or less means 
  the character falls. He must use an action to stand, giving 
  him a multi action penalty if he wants to stand and try 
  moving in the same round.
  The ﬂ oor counts as an Unstable Platform.
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  7
  Let the kids explore the funfair for a bit. Assume any-
  thing else that could be readily available for purchase at 
  a funfair, such as cotton candy, costs a dime each. Who 
  knows, it might come in handy!
  There are two attractions they pass which might be of 
  interest to the posse.
  SHOOTING RANGE
  SHOOTING RANGE
  There’s a shooting range (air riﬂ es), which offers a va-
  riety of prizes, one of which is a high-powered slingshot 
  (Range: 4/8/16, Damage: Str+d4+1). The heroes might 
  already have one, but a spare wouldn’t go amiss. The 
  GM is also free to invent other prizes the heroes might 
  ﬁ nd useful, such as a fake gun (water pistol) or bag of 
  marbles. Likewise, encourage the players to think of cool 
  things they might want to use later in the adventure (or 
  just to own).
  In order to win a prize, the character has to make 
  three Shooting rolls. As low-powered weapons with no 
  recoil of note, the air riﬂ es do not use the special rules 
  for ﬁ rearms detailed at the start of the adventure. Aim-
  ing makes no difference—the sights are rigged to be off 
  center, and it’s assumed any shooter is aiming, anyway.
  A success is worth two points, a raise nets three points, 
  and two or more raises earns the shooter ﬁ ve points. In 
  order to win, the character has to score seven or more 
  points. Each go costs a quarter!
  COCONUTS
  COCONUTS
  Coconuts are tough to eat, but they can be used as a 
  thrown weapon (Range: 2/4/8, Damage: Str+d4+1). In 
  order to win one, the heroes have to go on the coconut 
  throw. That costs a dime and earns the thrower three 
  balls. Hitting a nut isn’t that hard, but making one fall 
  from the ring is—a Throwing roll at –4 is required! Any 
  winner gets the coconut he toppled.
  ANOTHER BEATING
  ANOTHER BEATING
  The city kids the heroes trounced earlier are also at the 
  funfair. They spot their “rivals” and decide to get even. 
  In order to do that, they rustle up a few more friends. 
  Deal the action cards and let mayhem commence! Add 
  scenery as desired to make the battleﬁ eld fun!
   City Kids (2 per hero): See page 10.
  SCENE 2: A FUN AND FAIR CHASE
  SCENE 2: A FUN AND FAIR CHASE
  After having a go on the ﬁ ring range and reminding 
  the local kids that country folk are raised tough, the 
  heroes spot the thugs heading across the fairground, 
  toward the funhouse. Unless they’re quick (i.e. they give 
  chase), they’ll lose them in the huge crowd.
  Run this Scene as a Chase. For the purposes of ranged 
  combat, each Range Increment equates to 5”. The goons 
  begin three Range Increment ahead of the kids.
  Lay out 20 marker stones to represent the fairground 
  and the various attractions, through which the action 
  takes place. It’s very important that some of the stones 
  are of different colors, or placed in such a way to distin-
  guish the distinct locales. You can use whatever colors 
  you want. Check the table below.
  Marker 
  Locale
  1–4 
  Outside
  5–8 
  Funhouse—moving ﬂ oor
  9–12 
  Funhouse—hall of mirrors
  13–16 
  Funhouse—haunted house
  17–20 
  Outside
  In each speciﬁ c locale special rules apply, as detailed 
  below.
  The characters can “win” the scene one of two ways. 
  First, they can catch one of the thugs and wrestle him 
  to the ground. Pinned beneath a mob of kids, the thug 
  quickly reveals the location of his boss (keep reading). 
  Second, they can try to remain behind the thugs and 
  tail them. Any hero within three Range Increments of a 
  thug reaching the 20th marker is close enough to see the 
  destination—the big top.
  So what if the heroes fail to achieve either? They’ll 
  need to make a Notice roll to spot the goons when they 
  leave their meeting place. With success, proceed straight 
  to Act 4, Scene 2.
   Goons (4): See page 10.
  OUTSIDE
  OUTSIDE
  There are no true Obstacles. Instead, the numerous 
  stalls and visitors get in the way and hamper movement. 
  Check the value of a Club card on the table below. Modi-
  ﬁ ers apply to the participant’s Agility roll for the round.
  Failure results in the hero making no movement (he’s 
  still moving, of course, but very slowly). A roll of 1 or less 
  means the hero goes back one Range Increment, through 
  taking lengthy detours or being swept backward.
  Card 
  Modiﬁ er
  Deuce 
  –6
  3–6 
  –4
  7–10 
  –2
  Jack 
  –1
  Ace 
  0
  FUNHOUSE—MOVING FLOOR
  FUNHOUSE—MOVING FLOOR
  This particular funhouse has one attraction—a mov-
  ing ﬂ oor. Sections of the wooden catwalk shift left and 
  right at varying speeds and make walking difﬁ cult. And 
  people call this fun? Participants use Agility as their skill 
  for determining movement, but there is always a –2 
  penalty. Use the table above as well—all modiﬁ ers are 
  cumulative!
  As above, heroes who fail just don’t move—they’re 
  too busy catching their balance. A roll of 1 or less means 
  the character falls. He must use an action to stand, giving 
  him a multi action penalty if he wants to stand and try 
  moving in the same round.
  The ﬂ oor counts as an Unstable Platform.
  
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  8
  FUNHOUSE—HALL OF MIRRORS
  FUNHOUSE—HALL OF MIRRORS
  Instead of using Agility (a measure of speed), navigat-
  ing through the mirror maze uses Smarts! Use the table 
  from the Outside segment of the Chase in here. Rather 
  than people, it presents the confusing placement of mir-
  rors.
  A failure results in no forward gain. The character 
  might wander in circles or just hit several dead ends 
  (literally). On a roll of 1 or less, the hero ends up get-
  ting lost or smashes into a mirror by mistake. If his 
  action card is red, he’s lost. Move him back a Range 
  Increment. A black action card means he collides with 
  a cunning mirror which shows no reﬂ ection until its 
  too late to stop (the kids are running, after all). The 
  character is Shaken.
  FUNHOUSE—HAUNTED HOUSE
  FUNHOUSE—HAUNTED HOUSE
  Okay, it isn’t really haunted, but there are plenty of 
  spooks leaping out of the shadows to startle visitors.
  Heroes use Agility to make progress. A Club result 
  means the hero must make a Spirit roll as a free action, 
  as something scary occurs (the GM should decide what). 
  A failed roll prevents the hero from making an Agility 
  roll this round—he’s busy clutching his heart in fright. A 
  critical failure means the runner is Shaken, as well.
  ACT 4: IT ALL ENDS WELL!
  ACT 4: IT ALL ENDS WELL!
  There’s a performance on in the big top, so it’s packed. 
  As the kids enter, the ringmaster is just announcing the 
  next act—the clowns!
  SCENE 1: BUGSY WHO?
  SCENE 1: BUGSY WHO?
  Working their way through the spectators, the heroes 
  catch sight of the goons not far away. They’re talking to a 
  weasel-faced man in a suit. There seems to be some sort 
  of problem.
  “Where’s the merchandize?” asks the weasel.
  The goons shift on their feet nervously. “Boss,” 
  begins one of them, his head hung low while he 
  twiddles his fat in his ﬁ ngers, “we stashed it for 
  safety. Some kids was after us.”
  “Kids? You’re telling me a bunch of brats got you 
  scared? Darn it; just tell me where the goods are? 
  We’ve got to get moving. If those kids call the cops, 
  we’re done for.”
  “Er,” the goon replies, nodding his head toward 
  the ring, where the clowns are dragging in a huge 
  table full of cream pies, “we hid it in one of the 
  pies for safekeeping. I don’t remember which one, 
  boss, we was in a real hurry.”
  The boss slaps a hand against his forehead. “You 
  dummies!” he hisses. “Get in that ring now and 
  start searching those pies! I don’t care who sees 
  you; just do it!”
  With that, the goons climb over the low rail-
  ing and, ignoring the boos and hisses from the 
  crowd who resent their intrusion, head for the 
  table.
  Deal action cards. Hopefully the heroes realize they 
  need to act fast and reach the pies ﬁ rst.
  The circus ring is 10” across. The goons enter at the 
  six o’clock position. The table of pies is 3” long and 
  stands inside the northern end of the ring. Ignore the 
  clowns—they become a special hazard once the ﬁ ght 
  breaks out. The thugs initially begin searching for the 
  diamond, but quickly begin throwing pies at the kids if 
  attacked.
  There are a lot of cream pies. Grabbing a cream pie 
  is a free action. Searching through a pie for the diamond 
  requires an action but no die roll. Instead, draw a card 
  from the action deck. A Joker means the character 
  has found the stone! Picking it up requires an action, 
  though.
  A thrown pie has Range 2/4/8 just like a weapon, but 
  instead of causing damage it functions like a Trick, but 
  uses Throwing vs. Agility. Slapping one in someone’s 
  face is a regular Agility Trick.
  When a pie that hasn’t been searched is used as a 
  weapon draw an action card. A Joker means the victim 
  gets hit by something hard—the diamond! Picking up 
  the gem from a thrown pie requires an Agility roll as an 
  action, due to its slipperiness.
  What about the clowns? They mill around the scene 
  for the ﬁ rst round, but then decide this is a great oppor-
  tunity for some fun. From round two onward, whenever 
  a character draws a deuce, the clowns hamper him in 
  some way (see the table below). For the goons or police 
  (see below), pick one thug to be victimized, not all of 
  them.
  Suit 
  Result
  Club 
  My Eyes!: The clown uses a water squirting 
  ﬂ ower or soda siphon on the hero. Treat 
  this as an Agility Trick. The clown’s Agility is 
  d8+2 (they have Acrobat).
  Diamond 
  Big Hat: A clown tries to stick an oversized 
  hat over a hero’s head, temporarily blind-
  ing him. This functions as an Agility Trick 
  (d8+2), with the hat being thrown off when 
  all penalties are removed.
  Heart 
  Rubber Mallet: A hero is whacked with 
  a rubber mallet. Make a Fighting d6 roll. 
  With success, the hero is automatically 
  Shaken (nonphysical effect). On a raise, the 
  character is knocked prone, as well.
  Spade 
  Pie: A clown throws a pie. Draw a card 
  to see if the pie contains the gem. Then 
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  8
  FUNHOUSE—HALL OF MIRRORS
  FUNHOUSE—HALL OF MIRRORS
  Instead of using Agility (a measure of speed), navigat-
  ing through the mirror maze uses Smarts! Use the table 
  from the Outside segment of the Chase in here. Rather 
  than people, it presents the confusing placement of mir-
  rors.
  A failure results in no forward gain. The character 
  might wander in circles or just hit several dead ends 
  (literally). On a roll of 1 or less, the hero ends up get-
  ting lost or smashes into a mirror by mistake. If his 
  action card is red, he’s lost. Move him back a Range 
  Increment. A black action card means he collides with 
  a cunning mirror which shows no reﬂ ection until its 
  too late to stop (the kids are running, after all). The 
  character is Shaken.
  FUNHOUSE—HAUNTED HOUSE
  FUNHOUSE—HAUNTED HOUSE
  Okay, it isn’t really haunted, but there are plenty of 
  spooks leaping out of the shadows to startle visitors.
  Heroes use Agility to make progress. A Club result 
  means the hero must make a Spirit roll as a free action, 
  as something scary occurs (the GM should decide what). 
  A failed roll prevents the hero from making an Agility 
  roll this round—he’s busy clutching his heart in fright. A 
  critical failure means the runner is Shaken, as well.
  ACT 4: IT ALL ENDS WELL!
  ACT 4: IT ALL ENDS WELL!
  There’s a performance on in the big top, so it’s packed. 
  As the kids enter, the ringmaster is just announcing the 
  next act—the clowns!
  SCENE 1: BUGSY WHO?
  SCENE 1: BUGSY WHO?
  Working their way through the spectators, the heroes 
  catch sight of the goons not far away. They’re talking to a 
  weasel-faced man in a suit. There seems to be some sort 
  of problem.
  “Where’s the merchandize?” asks the weasel.
  The goons shift on their feet nervously. “Boss,” 
  begins one of them, his head hung low while he 
  twiddles his fat in his ﬁ ngers, “we stashed it for 
  safety. Some kids was after us.”
  “Kids? You’re telling me a bunch of brats got you 
  scared? Darn it; just tell me where the goods are? 
  We’ve got to get moving. If those kids call the cops, 
  we’re done for.”
  “Er,” the goon replies, nodding his head toward 
  the ring, where the clowns are dragging in a huge 
  table full of cream pies, “we hid it in one of the 
  pies for safekeeping. I don’t remember which one, 
  boss, we was in a real hurry.”
  The boss slaps a hand against his forehead. “You 
  dummies!” he hisses. “Get in that ring now and 
  start searching those pies! I don’t care who sees 
  you; just do it!”
  With that, the goons climb over the low rail-
  ing and, ignoring the boos and hisses from the 
  crowd who resent their intrusion, head for the 
  table.
  Deal action cards. Hopefully the heroes realize they 
  need to act fast and reach the pies ﬁ rst.
  The circus ring is 10” across. The goons enter at the 
  six o’clock position. The table of pies is 3” long and 
  stands inside the northern end of the ring. Ignore the 
  clowns—they become a special hazard once the ﬁ ght 
  breaks out. The thugs initially begin searching for the 
  diamond, but quickly begin throwing pies at the kids if 
  attacked.
  There are a lot of cream pies. Grabbing a cream pie 
  is a free action. Searching through a pie for the diamond 
  requires an action but no die roll. Instead, draw a card 
  from the action deck. A Joker means the character 
  has found the stone! Picking it up requires an action, 
  though.
  A thrown pie has Range 2/4/8 just like a weapon, but 
  instead of causing damage it functions like a Trick, but 
  uses Throwing vs. Agility. Slapping one in someone’s 
  face is a regular Agility Trick.
  When a pie that hasn’t been searched is used as a 
  weapon draw an action card. A Joker means the victim 
  gets hit by something hard—the diamond! Picking up 
  the gem from a thrown pie requires an Agility roll as an 
  action, due to its slipperiness.
  What about the clowns? They mill around the scene 
  for the ﬁ rst round, but then decide this is a great oppor-
  tunity for some fun. From round two onward, whenever 
  a character draws a deuce, the clowns hamper him in 
  some way (see the table below). For the goons or police 
  (see below), pick one thug to be victimized, not all of 
  them.
  Suit 
  Result
  Club 
  My Eyes!: The clown uses a water squirting 
  ﬂ ower or soda siphon on the hero. Treat 
  this as an Agility Trick. The clown’s Agility is 
  d8+2 (they have Acrobat).
  Diamond 
  Big Hat: A clown tries to stick an oversized 
  hat over a hero’s head, temporarily blind-
  ing him. This functions as an Agility Trick 
  (d8+2), with the hat being thrown off when 
  all penalties are removed.
  Heart 
  Rubber Mallet: A hero is whacked with 
  a rubber mallet. Make a Fighting d6 roll. 
  With success, the hero is automatically 
  Shaken (nonphysical effect). On a raise, the 
  character is knocked prone, as well.
  Spade 
  Pie: A clown throws a pie. Draw a card 
  to see if the pie contains the gem. Then 
  
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  9
  roll a d8 (the clown’s Throwing skill). The 
  “attack” is made at short range.
  At the start of round four, the commotion alerts a 
  passing policeman. By a quirk of fate, it’s the same one 
  who already chased the heroes. Deal him an action card. 
  Naturally, he sees the young hoodlums harassing adults 
  with cream pies, so his ﬁ rst act is to try and arrest the 
  kids.
  Convincing him the thugs are the bad guys requires a 
  Persuasion roll at –2 or producing the diamond—which 
  means grappling a villain and then making an opposed 
  Agility roll to remove the gem from the boss’ pocket. 
  Either way, the constable blows his whistle on his next 
  action.
  Once the whistle is blown, more police arrive two 
  rounds later. The exact number is equal to the number 
  of characters minus one (because there’s already one 
  ofﬁ cer present). Hand control of the law enforcement 
  ofﬁ cers to the players.
  The goons will use guns against the police (com-
  pounding their crimes), but never against the kids.
  The boss doesn’t ﬁ ght—once the police turn up, he 
  immediately uses the Recurring Villain rule to make 
  good his escape. Head to the next Scene when the he-
  roes eventually give chase.
   The Boss: Treat him as a goon Henchman.
   Goons (1 + 1 per hero): See page 10.
   Policemen (1 per hero): See page 10.
  ESCAPING THUGS
  ESCAPING THUGS
  In the event the goons manage to ﬁ nd the gem and 
  pick it up, they start running. Likewise, a hero who ﬁ nds 
  it and starts running is quickly chased. Whoever becomes 
  the chased has a three Range Increment lead (it takes 
  time to spot his action and give chase).
  Should the goons be running, only the one holding 
  the gem sprints away—assume others that aren’t Inca-
  pacitated surrender and are arrested, as the action has 
  now switched from melee to the chase. One policeman 
  per goon stays behind to arrest them. The other cops, if 
  any, give chase on the round after the heroes.
  The ﬁ rst three rounds are through the crowded circus 
  tent. There’s an automatic –2 penalty to all Agility rolls. 
  After this, use the Outside table to determine the thick-
  ness of the crowd (see page 7).
  If the gem-carrying goon escapes, the heroes have a 
  second chance to catch him—he joins his boss in the 
  next scene. Heroes who escape should be reminded, if 
  necessary, that the boss has already made a run for it, 
  and only the characters can identify him. Unless they act 
  swiftly, he might escape!
  SCENE 2: HIGH ABOVE THE WATER
  SCENE 2: HIGH ABOVE THE WATER
  The boss, and any minion who may have joined him, 
  is detected on the edge of the river, on which the fair-
  ground is located. Run this ﬁ nal scene as a Chase. The 
  heroes have two choices for how they give chase—they 
  can swim (Swimming) or use sets of stilts left nearby by a 
  performer (Agility). The criminals opt to use stilts.
  The boss begins three Range Increments ahead of the 
  characters, and each Range Increment equates to 5”. Lay 
  out ten marker stones to represent the river.
  Once a hero is clear of the 10th marker, he is on dry 
  land. He can either remain on his stilts or spend a full 
  round (no movement) removing them. The far side of 
  the riverbank is a ﬁ eld. It doesn’t affect heroes on foot, 
  but those on stilts still suffer penalties for drawing a Club 
  (see below).
  The water is absolutely freezing. Any hero who elects 
  to swim also has to make a Vigor roll each round or suf-
  fer a level of Fatigue. We’re not here to watch youngsters 
  freeze to death or drown, so the worst a hero can suffer 
  is Exhausted (–2 penalty).
  A hero who goes Out of Control while on stilts falls 
  into the freezing water. He must make an Agility roll to 
  get back on his sticks. Until he does, he’s in the water 
  (requiring a Vigor roll) and can’t roll to increase his dis-
  tance.
  Characters on stilts who want to use a single hand 
  for something other than gripping the stilt, suffer a –2 
  penalty to all rolls if they move as well in the same turn. 
  Standing still, the penalty is –1. Take away both hands, 
  required for using a slingshot for instance, and the pen-
  alty is –4 (or –2 if the character doesn’t move). On a roll 
  of 1, regardless of Wild Die, the hero falls into the water 
  as above.
  The riverbed isn’t ﬂ at, either—it’s covered in stones 
  and boulders. When a hero draws a Club for his action 
  card, his stilts enter a patch of treacherous ground. 
  The penalty on the table below is applied to his Agility 
  roll.
  Card 
  Modiﬁ er
  Deuce 
  –6
  3–6 
  –4
  7–10 
  –2
  Jack 
  –1
  Ace 
  0
  Where are the cops in all this? They’re searching for 
  a boat. If it looks like the villain is about to escape, have 
  the cops appear ahead of him (having found a boat and 
  crossed the river quickly). The boss drops back 1d4+1 
  Range Increments, allowing the kids to continue their 
  chase.
   The Boss: Treat him as a goon Henchman.
   Goon (1): See page 10.
  AFTERMATH
  AFTERMATH
  Hopefully the ﬁ ght ends with the characters victori-
  ous. Once the villains are cuffed, they admit their crime.
  “Yeah,” snarls the boss, “we stole the diamond. 
  A few of the boys hid in the Museum just before 
  it closed. We knew nobody would detect the theft 
  until the next morning. By then we’d be a long 
  way from here and looking to retire. And we’d 
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  9
  roll a d8 (the clown’s Throwing skill). The 
  “attack” is made at short range.
  At the start of round four, the commotion alerts a 
  passing policeman. By a quirk of fate, it’s the same one 
  who already chased the heroes. Deal him an action card. 
  Naturally, he sees the young hoodlums harassing adults 
  with cream pies, so his ﬁ rst act is to try and arrest the 
  kids.
  Convincing him the thugs are the bad guys requires a 
  Persuasion roll at –2 or producing the diamond—which 
  means grappling a villain and then making an opposed 
  Agility roll to remove the gem from the boss’ pocket. 
  Either way, the constable blows his whistle on his next 
  action.
  Once the whistle is blown, more police arrive two 
  rounds later. The exact number is equal to the number 
  of characters minus one (because there’s already one 
  ofﬁ cer present). Hand control of the law enforcement 
  ofﬁ cers to the players.
  The goons will use guns against the police (com-
  pounding their crimes), but never against the kids.
  The boss doesn’t ﬁ ght—once the police turn up, he 
  immediately uses the Recurring Villain rule to make 
  good his escape. Head to the next Scene when the he-
  roes eventually give chase.
   The Boss: Treat him as a goon Henchman.
   Goons (1 + 1 per hero): See page 10.
   Policemen (1 per hero): See page 10.
  ESCAPING THUGS
  ESCAPING THUGS
  In the event the goons manage to ﬁ nd the gem and 
  pick it up, they start running. Likewise, a hero who ﬁ nds 
  it and starts running is quickly chased. Whoever becomes 
  the chased has a three Range Increment lead (it takes 
  time to spot his action and give chase).
  Should the goons be running, only the one holding 
  the gem sprints away—assume others that aren’t Inca-
  pacitated surrender and are arrested, as the action has 
  now switched from melee to the chase. One policeman 
  per goon stays behind to arrest them. The other cops, if 
  any, give chase on the round after the heroes.
  The ﬁ rst three rounds are through the crowded circus 
  tent. There’s an automatic –2 penalty to all Agility rolls. 
  After this, use the Outside table to determine the thick-
  ness of the crowd (see page 7).
  If the gem-carrying goon escapes, the heroes have a 
  second chance to catch him—he joins his boss in the 
  next scene. Heroes who escape should be reminded, if 
  necessary, that the boss has already made a run for it, 
  and only the characters can identify him. Unless they act 
  swiftly, he might escape!
  SCENE 2: HIGH ABOVE THE WATER
  SCENE 2: HIGH ABOVE THE WATER
  The boss, and any minion who may have joined him, 
  is detected on the edge of the river, on which the fair-
  ground is located. Run this ﬁ nal scene as a Chase. The 
  heroes have two choices for how they give chase—they 
  can swim (Swimming) or use sets of stilts left nearby by a 
  performer (Agility). The criminals opt to use stilts.
  The boss begins three Range Increments ahead of the 
  characters, and each Range Increment equates to 5”. Lay 
  out ten marker stones to represent the river.
  Once a hero is clear of the 10th marker, he is on dry 
  land. He can either remain on his stilts or spend a full 
  round (no movement) removing them. The far side of 
  the riverbank is a ﬁ eld. It doesn’t affect heroes on foot, 
  but those on stilts still suffer penalties for drawing a Club 
  (see below).
  The water is absolutely freezing. Any hero who elects 
  to swim also has to make a Vigor roll each round or suf-
  fer a level of Fatigue. We’re not here to watch youngsters 
  freeze to death or drown, so the worst a hero can suffer 
  is Exhausted (–2 penalty).
  A hero who goes Out of Control while on stilts falls 
  into the freezing water. He must make an Agility roll to 
  get back on his sticks. Until he does, he’s in the water 
  (requiring a Vigor roll) and can’t roll to increase his dis-
  tance.
  Characters on stilts who want to use a single hand 
  for something other than gripping the stilt, suffer a –2 
  penalty to all rolls if they move as well in the same turn. 
  Standing still, the penalty is –1. Take away both hands, 
  required for using a slingshot for instance, and the pen-
  alty is –4 (or –2 if the character doesn’t move). On a roll 
  of 1, regardless of Wild Die, the hero falls into the water 
  as above.
  The riverbed isn’t ﬂ at, either—it’s covered in stones 
  and boulders. When a hero draws a Club for his action 
  card, his stilts enter a patch of treacherous ground. 
  The penalty on the table below is applied to his Agility 
  roll.
  Card 
  Modiﬁ er
  Deuce 
  –6
  3–6 
  –4
  7–10 
  –2
  Jack 
  –1
  Ace 
  0
  Where are the cops in all this? They’re searching for 
  a boat. If it looks like the villain is about to escape, have 
  the cops appear ahead of him (having found a boat and 
  crossed the river quickly). The boss drops back 1d4+1 
  Range Increments, allowing the kids to continue their 
  chase.
   The Boss: Treat him as a goon Henchman.
   Goon (1): See page 10.
  AFTERMATH
  AFTERMATH
  Hopefully the ﬁ ght ends with the characters victori-
  ous. Once the villains are cuffed, they admit their crime.
  “Yeah,” snarls the boss, “we stole the diamond. 
  A few of the boys hid in the Museum just before 
  it closed. We knew nobody would detect the theft 
  until the next morning. By then we’d be a long 
  way from here and looking to retire. And we’d 
  
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  1010
  have gotten away with it if it wasn’t for those 
  meddling…”
  “Ah, right,” says the senior policeman, “that’s 
  enough talk from you lot! Take them away and 
  book them, Danny. As for you youngsters,” he 
  says, turning to face you, “I reckon you’ve done 
  your parents proud today.”
  Before the heroes leave town for their country life, 
  they are contacted by a representative of the Boston 
  Natural History Museum. He rewards each character 
  with $25 (a goodly sum for the age) and thanks them 
  profusely for their assistance. The Boston Herald also 
  interviews the party, and they make the front page!
  Happy holidays from everyone at Triple Ace 
  Games!
  CAST OF CHARACTERS
  CAST OF CHARACTERS
  CITY KIDS
  CITY KIDS
  City kids consider themselves savvier than their coun-
  try cousins, who are a little “backward” in their opinion. 
  They’re prepared to “defend their turf” with ﬁ sts, if nec-
  essary. Note that because the kids are Young, they earn 
  a benny each.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d6, 
  Vigor d4
  Skills: Fighting d6, Intimidation d6, Notice d6, Taunt 
  d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 4
  Hindrances: Loyal, Young
  Edges: —
  Gear: —
  POLICEMAN
  POLICEMAN
  Stereotyping may be politically incorrect, but this is 
  pulp, and certain stereotypes are part of the genre. In 
  this case, it’s the Irish policeman with the thick brogue.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d8, 
  Vigor d8
  Skills: Fighting d6, Intimidation d8, Notice d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 6
  Edges & Hindrances: —
  Gear: Baton (Str+d4), handcuffs
  ARMORED GOON
  ARMORED GOON
  The thug has a –2 encumbrance penalty due to the 
  bulky armor. Modiﬁ ers are included in his stat block, for 
  convenience. Remember, damage is not a trait roll, so 
  that is unaffected. The armored goon is a Henchman, so 
  he has three wound levels but no Wild Die.
  Attributes: Agility d6–2, Smarts d4, Spirit d6, Strength 
  d6–2, Vigor d8
  Skills: Fighting d8–2, Intimidation d8, Notice d6
  Charisma: –2; Pace: 6; Parry: 6; Toughness: 9 (3)
  Hindrances: Greedy (Minor), Mean
  Edges: —
  Gear: Plate armor (+3), spiked mace (Str+d6+1)
  GOONS
  GOONS
  Most of these goons are mere Extras. One, the boss, 
  is a Henchman.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d6, 
  Vigor d8
  Skills: Fighting d6, Intimidation d8, Notice d6, Shoot-
  ing d6
  Charisma: –2; Pace: 6; Parry: 5; Toughness: 6
  Hindrances: Greedy (Minor), Mean
  Edges: —
  Gear: Revolver (Range: 12/24/48, Damage: 2d6)
  INSECT SWARM
  INSECT SWARM
  The insects aren’t dangerous, but they are creepy. 
  They ﬁ ll a Medium Burst Template.
  Attributes: Agility d10, Smarts d4(A), Spirit d12, Strength 
  d8, Vigor d10
  Skills: Notice d6
  Pace: 2d6; Parry: 4; Toughness: 7
  Special Abilities: 
  * Bugs: Nonviolent, the bugs are nonetheless scary to 
  young kids and adults alike. Any hero caught under 
  the template as it moves must make a Spirit roll or be 
  Shaken as he frantically tries to ﬂ ick away the insects 
  and creepy-crawlies.
  * Split: When the swarm is ﬁ rst wounded, it splits into 
  two Small Burst Template swarms. The Toughness of 
  each swarm is lowered by –2 (i.e. to 5). When these 
  swarms take a wound, they are dispersed and become 
  ineffective.
  * Swarm: Parry +2. Because the swarm is composed 
  of hundreds of tiny bugs, cutting, piercing, and en-
  ergy weapons do no real damage. Area-effect weap-
  ons work normally. Stomping does Str damage each 
  round.
  PLAYER CHARACTERS
  PLAYER CHARACTERS
  BRENT HARDCASTLE
  BRENT HARDCASTLE
  Brent has grown up on the farm where his dad works 
  as a laborer. A rough-and-tumble lad, he prefers to solve 
  problems through action and ﬁ sticuffs, not idle thought. 
  He’s currently the school slingshot champion, an honor-
  ary title handed down by his fellow students, but one of 
  which he is very proud.
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  DARING TALES OF ADVENTURE XMAS 08 SPECIAL
  1010
  have gotten away with it if it wasn’t for those 
  meddling…”
  “Ah, right,” says the senior policeman, “that’s 
  enough talk from you lot! Take them away and 
  book them, Danny. As for you youngsters,” he 
  says, turning to face you, “I reckon you’ve done 
  your parents proud today.”
  Before the heroes leave town for their country life, 
  they are contacted by a representative of the Boston 
  Natural History Museum. He rewards each character 
  with $25 (a goodly sum for the age) and thanks them 
  profusely for their assistance. The Boston Herald also 
  interviews the party, and they make the front page!
  Happy holidays from everyone at Triple Ace 
  Games!
  CAST OF CHARACTERS
  CAST OF CHARACTERS
  CITY KIDS
  CITY KIDS
  City kids consider themselves savvier than their coun-
  try cousins, who are a little “backward” in their opinion. 
  They’re prepared to “defend their turf” with ﬁ sts, if nec-
  essary. Note that because the kids are Young, they earn 
  a benny each.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d6, 
  Vigor d4
  Skills: Fighting d6, Intimidation d6, Notice d6, Taunt 
  d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 4
  Hindrances: Loyal, Young
  Edges: —
  Gear: —
  POLICEMAN
  POLICEMAN
  Stereotyping may be politically incorrect, but this is 
  pulp, and certain stereotypes are part of the genre. In 
  this case, it’s the Irish policeman with the thick brogue.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d8, 
  Vigor d8
  Skills: Fighting d6, Intimidation d8, Notice d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 6
  Edges & Hindrances: —
  Gear: Baton (Str+d4), handcuffs
  ARMORED GOON
  ARMORED GOON
  The thug has a –2 encumbrance penalty due to the 
  bulky armor. Modiﬁ ers are included in his stat block, for 
  convenience. Remember, damage is not a trait roll, so 
  that is unaffected. The armored goon is a Henchman, so 
  he has three wound levels but no Wild Die.
  Attributes: Agility d6–2, Smarts d4, Spirit d6, Strength 
  d6–2, Vigor d8
  Skills: Fighting d8–2, Intimidation d8, Notice d6
  Charisma: –2; Pace: 6; Parry: 6; Toughness: 9 (3)
  Hindrances: Greedy (Minor), Mean
  Edges: —
  Gear: Plate armor (+3), spiked mace (Str+d6+1)
  GOONS
  GOONS
  Most of these goons are mere Extras. One, the boss, 
  is a Henchman.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d6, 
  Vigor d8
  Skills: Fighting d6, Intimidation d8, Notice d6, Shoot-
  ing d6
  Charisma: –2; Pace: 6; Parry: 5; Toughness: 6
  Hindrances: Greedy (Minor), Mean
  Edges: —
  Gear: Revolver (Range: 12/24/48, Damage: 2d6)
  INSECT SWARM
  INSECT SWARM
  The insects aren’t dangerous, but they are creepy. 
  They ﬁ ll a Medium Burst Template.
  Attributes: Agility d10, Smarts d4(A), Spirit d12, Strength 
  d8, Vigor d10
  Skills: Notice d6
  Pace: 2d6; Parry: 4; Toughness: 7
  Special Abilities: 
  * Bugs: Nonviolent, the bugs are nonetheless scary to 
  young kids and adults alike. Any hero caught under 
  the template as it moves must make a Spirit roll or be 
  Shaken as he frantically tries to ﬂ ick away the insects 
  and creepy-crawlies.
  * Split: When the swarm is ﬁ rst wounded, it splits into 
  two Small Burst Template swarms. The Toughness of 
  each swarm is lowered by –2 (i.e. to 5). When these 
  swarms take a wound, they are dispersed and become 
  ineffective.
  * Swarm: Parry +2. Because the swarm is composed 
  of hundreds of tiny bugs, cutting, piercing, and en-
  ergy weapons do no real damage. Area-effect weap-
  ons work normally. Stomping does Str damage each 
  round.
  PLAYER CHARACTERS
  PLAYER CHARACTERS
  BRENT HARDCASTLE
  BRENT HARDCASTLE
  Brent has grown up on the farm where his dad works 
  as a laborer. A rough-and-tumble lad, he prefers to solve 
  problems through action and ﬁ sticuffs, not idle thought. 
  He’s currently the school slingshot champion, an honor-
  ary title handed down by his fellow students, but one of 
  which he is very proud.
  
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  1111
  Attributes: Agility d8, Smarts d4, Spirit d6, Strength d4, 
  Vigor d6
  Skills: Climbing d4, Fighting d6, Notice d4, Shooting d8, 
  Stealth d6, Survival d4
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 5
  Hindrances: Arrogant, Loyal, Young
  Edges: Ambidextrous, Luck
  Gear: Slingshot (Range: 3/6/12, Damage: Str+d4, RoF 
  1), handful of stones, pack of gum, packed lunch, $1
  SAMANTHA HARDCASTLE
  SAMANTHA HARDCASTLE
  Sam is Brent’s kid sister (only a year difference). Stu-
  dious and well-read, she has aspirations of becoming a 
  novelist one day. Although her family isn’t wealthy by 
  any stretch of the imagination, Sam has an extensive li-
  brary, thanks to her teacher, Mrs. Wintermore, who has 
  spotted her talent and is nurturing it. Sam’s freckles, 
  long pigtails, and thick glasses give her a dorky appear-
  ance.
  Attributes: Agility d6, Smarts d8, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Fighting d4, Investigation d8, Notice d6, Persua-
  sion d4, Stealth d6, Streetwise d8
  Charisma: 0; Pace: 6; Parry: 4; Toughness: 4
  Hindrances: Bad Eyes (Minor), Curious, Stubborn, 
  Young
  Edges: Investigator
  Gear: Glasses, pad and pencil, packed lunch, $0.50
  OSCAR WHITFIELD
  OSCAR WHITFIELD
  Oscar is your stereotypical “fat kid,” but with one dif-
  ference—he isn’t bullied by his peers. Rather, Oscar is 
  the school bully. He runs a “protection racket”—fellow 
  students hand over their lunches and pocket money, or 
  he pounds them senseless. Of course, to his parents he 
  is their darling angel, and can do no wrong.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d8, 
  Vigor d6
  Skills: Fighting d8, Intimidation d6, Notice d4, Street-
  wise d4, Throwing d6
  Charisma: –2; Pace: 5; Parry: 6; Toughness: 6
  Hindrances: Greedy (Minor: obsessed with food), Mean, 
  Obese, Young
  Edges: Sweep
  Gear: Note from his mother excusing him from strenu-
  ous activity, three packed lunches, $3
  NANCY HESTLETWAIN
  NANCY HESTLETWAIN
  The daughter of the town doctor and the mayor’s 
  eldest child, Nancy is richer than the other kids in her 
  school. She owns a pony, takes violin lessons, is a star 
  gymnast (private lessons), and has even ridden in her 
  daddy’s car (one of the few in town). Nancy has a crush 
  on Brent, though it isn’t reciprocated—Brent would 
  rather be playing than wasting time with girls.
  Attributes: Agility d8, Smarts d6, Spirit d4, Strength d6, 
  Vigor d4
  Skills: Driving d4, Fighting d4, Healing d6, Notice d4, 
  Persuasion d6, Riding d4, Taunt d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 4
  Hindrances: Big Mouth, Paciﬁ st (Minor), Young
  Edges: Acrobat
  Gear: First aid kit, borrowed stethoscope (for playing 
  “doctors and nurses”), packed lunch, $10
  ARTHUR ABRAHAMS
  ARTHUR ABRAHAMS
  Arthur’s dad is an avid reader of the works of H. 
  G. Wells and Jules Verne, and Arthur has followed 
  suit. Using his dad’s tools, Arthur has constructed a 
  “ray gun.” Actually it’s just a flashlight with a pow-
  erful strobe effect, but the lad isn’t having any of 
  that.
  Note: Arthur’s ﬂ ashlight is his sole gizmo and uses 
  one set of Power Points (he’s only a kid, not a genius). 
  Due to the devices experimental nature, it cannot re-
  charge during play—once the Power Points are spent, 
  they are gone. The stun power uses a Cone Template, 
  ignoring the usual rules on Range and the Medium Burst 
  Template.
  Attributes: Agility d4, Smarts d8, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Fighting d4, Knowledge (Optics) d6, Notice d4, 
  Repair d6, Stealth d4, Weird Science d8
  Charisma: 0; Pace: 6; Parry: 4; Toughness: 4
  Hindrances: Cautious, Delusional (Minor; thinks he has 
  invented a ray gun), Young
  Edges: Arcane Background (Weird Science), New Power 
  (stun), Power Points
  Powers: Light, stun (15 Power Points)
  Gear: “Flashlight,” screwdriver, packed lunch, $0.75
  LUCIUS MUNROE
  LUCIUS MUNROE
  In front of adults, Lucius is a perfect child—well-man-
  nered, sociable, and very cute. But his friends know dif-
  ferent. If there’s trouble in town, you can bet Lucius is 
  involved somehow. Many a lad has been rewarded with a 
  cuff round the ear for stealing apples or candy at Lucius’ 
  prompting, but Lucius has a knack for avoiding danger.
  Attributes: Agility d6, Smarts d6, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Climbing d4, Fighting d6, Lockpicking d6, Per-
  suasion d4, Notice d6, Stealth d6
  Charisma: +2; Pace: 8; Parry: 5; Toughness: 4
  Hindrances: Overconﬁ dent, Phobia (Minor: Claustro-
  phobia), Young
  Edges: Attractive, Danger Sense, Fleet Footed
  Gear: Homemade lockpicks, packed lunch, stolen bub-
  blegum and assorted candy, $1.25
  THE TALE OF THE FABULOUS FOUR
  THE TALE OF THE FABULOUS FOUR
  1111
  Attributes: Agility d8, Smarts d4, Spirit d6, Strength d4, 
  Vigor d6
  Skills: Climbing d4, Fighting d6, Notice d4, Shooting d8, 
  Stealth d6, Survival d4
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 5
  Hindrances: Arrogant, Loyal, Young
  Edges: Ambidextrous, Luck
  Gear: Slingshot (Range: 3/6/12, Damage: Str+d4, RoF 
  1), handful of stones, pack of gum, packed lunch, $1
  SAMANTHA HARDCASTLE
  SAMANTHA HARDCASTLE
  Sam is Brent’s kid sister (only a year difference). Stu-
  dious and well-read, she has aspirations of becoming a 
  novelist one day. Although her family isn’t wealthy by 
  any stretch of the imagination, Sam has an extensive li-
  brary, thanks to her teacher, Mrs. Wintermore, who has 
  spotted her talent and is nurturing it. Sam’s freckles, 
  long pigtails, and thick glasses give her a dorky appear-
  ance.
  Attributes: Agility d6, Smarts d8, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Fighting d4, Investigation d8, Notice d6, Persua-
  sion d4, Stealth d6, Streetwise d8
  Charisma: 0; Pace: 6; Parry: 4; Toughness: 4
  Hindrances: Bad Eyes (Minor), Curious, Stubborn, 
  Young
  Edges: Investigator
  Gear: Glasses, pad and pencil, packed lunch, $0.50
  OSCAR WHITFIELD
  OSCAR WHITFIELD
  Oscar is your stereotypical “fat kid,” but with one dif-
  ference—he isn’t bullied by his peers. Rather, Oscar is 
  the school bully. He runs a “protection racket”—fellow 
  students hand over their lunches and pocket money, or 
  he pounds them senseless. Of course, to his parents he 
  is their darling angel, and can do no wrong.
  Attributes: Agility d6, Smarts d4, Spirit d6, Strength d8, 
  Vigor d6
  Skills: Fighting d8, Intimidation d6, Notice d4, Street-
  wise d4, Throwing d6
  Charisma: –2; Pace: 5; Parry: 6; Toughness: 6
  Hindrances: Greedy (Minor: obsessed with food), Mean, 
  Obese, Young
  Edges: Sweep
  Gear: Note from his mother excusing him from strenu-
  ous activity, three packed lunches, $3
  NANCY HESTLETWAIN
  NANCY HESTLETWAIN
  The daughter of the town doctor and the mayor’s 
  eldest child, Nancy is richer than the other kids in her 
  school. She owns a pony, takes violin lessons, is a star 
  gymnast (private lessons), and has even ridden in her 
  daddy’s car (one of the few in town). Nancy has a crush 
  on Brent, though it isn’t reciprocated—Brent would 
  rather be playing than wasting time with girls.
  Attributes: Agility d8, Smarts d6, Spirit d4, Strength d6, 
  Vigor d4
  Skills: Driving d4, Fighting d4, Healing d6, Notice d4, 
  Persuasion d6, Riding d4, Taunt d6
  Charisma: 0; Pace: 6; Parry: 5; Toughness: 4
  Hindrances: Big Mouth, Paciﬁ st (Minor), Young
  Edges: Acrobat
  Gear: First aid kit, borrowed stethoscope (for playing 
  “doctors and nurses”), packed lunch, $10
  ARTHUR ABRAHAMS
  ARTHUR ABRAHAMS
  Arthur’s dad is an avid reader of the works of H. 
  G. Wells and Jules Verne, and Arthur has followed 
  suit. Using his dad’s tools, Arthur has constructed a 
  “ray gun.” Actually it’s just a flashlight with a pow-
  erful strobe effect, but the lad isn’t having any of 
  that.
  Note: Arthur’s ﬂ ashlight is his sole gizmo and uses 
  one set of Power Points (he’s only a kid, not a genius). 
  Due to the devices experimental nature, it cannot re-
  charge during play—once the Power Points are spent, 
  they are gone. The stun power uses a Cone Template, 
  ignoring the usual rules on Range and the Medium Burst 
  Template.
  Attributes: Agility d4, Smarts d8, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Fighting d4, Knowledge (Optics) d6, Notice d4, 
  Repair d6, Stealth d4, Weird Science d8
  Charisma: 0; Pace: 6; Parry: 4; Toughness: 4
  Hindrances: Cautious, Delusional (Minor; thinks he has 
  invented a ray gun), Young
  Edges: Arcane Background (Weird Science), New Power 
  (stun), Power Points
  Powers: Light, stun (15 Power Points)
  Gear: “Flashlight,” screwdriver, packed lunch, $0.75
  LUCIUS MUNROE
  LUCIUS MUNROE
  In front of adults, Lucius is a perfect child—well-man-
  nered, sociable, and very cute. But his friends know dif-
  ferent. If there’s trouble in town, you can bet Lucius is 
  involved somehow. Many a lad has been rewarded with a 
  cuff round the ear for stealing apples or candy at Lucius’ 
  prompting, but Lucius has a knack for avoiding danger.
  Attributes: Agility d6, Smarts d6, Spirit d6, Strength d4, 
  Vigor d4
  Skills: Climbing d4, Fighting d6, Lockpicking d6, Per-
  suasion d4, Notice d6, Stealth d6
  Charisma: +2; Pace: 8; Parry: 5; Toughness: 4
  Hindrances: Overconﬁ dent, Phobia (Minor: Claustro-
  phobia), Young
  Edges: Attractive, Danger Sense, Fleet Footed
  Gear: Homemade lockpicks, packed lunch, stolen bub-
  blegum and assorted candy, $1.25
  
  DO YOU THINK YOU CAN HANDLE 
  DO YOU THINK YOU CAN HANDLE 
  Daring Tales of Adventure
  Daring Tales of Adventure are fast paced pulp 
   are fast paced pulp 
  roleplaying adventure modules designed to take 
  roleplaying adventure modules designed to take 
  your players on a wild ride!
  your players on a wild ride!
  From criminal materminds, crazed cultists to 
  From criminal materminds, crazed cultists to 
  deadly assassins to name but a few, your heroes 
  deadly assassins to name but a few, your heroes 
  will have to keep their wits about them to win 
  will have to keep their wits about them to win 
  through.
  through.
  Daring Tales of Adventure
  Daring Tales of Adventure available now from 
   available now from 
  Triple Ace Games!
  Triple Ace Games!
  Paul ‘Wiggy’ Wade-Williams
  Paul ‘Wiggy’ Wade-Williams
  31011
  31011
  Paul ‘Wiggy’ Wade-Williams
  Paul ‘Wiggy’ Wade-Williams
  31013
  31013
  www.tripleacegames.com
  © 2008 Triple Ace Games. Daring Tales of Adventure and all related marks and logos are trademarks of  Triple Ace Games.  
  All rights reserved. Used with permission.  © 2008. All Rights Reserved.
  
   SOME HIGH OCTANE ADVENTURE?
   SOME HIGH OCTANE ADVENTURE?
  
  © 2008 Triple Ace Games. Daring Tales of Adventure and all related marks and logos are trademarks of  Triple Ace Games. Savage Worlds, Smiling Jack
  and all related marks and logos are trademarks of Pinnacle Entertainment Group. All rights reserved. Used with permission.  © 2008. All Rights Reserved.
  www.tripleacegames.com
  www.tripleacegames.com
  31016
  31016
  $0.00
  $0.00
  Its all down to the kids to save 
  the day in this ripping good yarn.
  The kids discover that a 
  bunch of local criminals plan 
  to steel a valuable diamond 
  from the Boston Natural 
  History Museum. 
  Can they foil the criminals and 
  save the day?
  Triple Ace Games invite you to a 
  seasonal Daring Tales of Adventure in which you take on the 
  roll of these inquisitive kids in The Tale of the Fabulous Four.
  Can the fabulous four foil 
  Can the fabulous four foil 
  the diamond theves?
  the diamond theves?
  
SOURCE: textdata/thevault/Triple Ace Games/Daring Tales of Adventure/TAG31016 - The Tale of the Fabulous Four.pdf