[DVFP] Arena - Gigg the assassin, Motley the schemer (G 5.4, M 5.5)

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The lines for the Arena queued up last night. Sure, gangers like the Skorpions can stroll in later and still get good vantage spots later, but the chum and the scrum have to line up and wait. Wait for each shuffling step forward into the arena. All the while listening to the go-gang music blaring over the loudspeakers since dawn.

Baskets of food and jugs of water inside the arena is the word on the street. Plenty. For everyone! The Fat Man's flexing his muscles, and the whole of Depot will see. They will see the bounty he provides, everyone will know that the United Front cannot dampen his spirits. Not even the Fippers can keep him down. The palace has not fallen. The Fat Man is unbowed. Depot is triumphant!

Gigg, you know you're not wanted around here, right? But The Fat Man's going to be in there, so close you can taste it. Are you standing in line or trying to find a way to cut past, or what? Maybe the Crue will act as a smokescreen somehow?

Motley, Marigold's with you, of course. How about the Crue? Dokken's more than happy to put his gang's muscle in to get you to Sierra. Early, maybe? Marigold suggest sneaking in before the show starts, it's the best way to snag Sierra and bring Gloriana running. How are you handling that?

Comments

  • This is what me and Lala been workin' towards for seems like weeks now, and today is the day. I've got Momma's to help me find my own way into the arena. No one will ever see me comin'. I'll just be there. That's the thing Pops doesn't understand and will ultimately cost him everything. I can move through the veil that separates this world from the world to come, and there's no defense for that.

    However, it would make sense for me and Motley to work together and help each other. I've been thinking about during the night and figure to have a quick talk-through with Motley as soon as the sun comes up.

    I get out of bed, leaving behind the peaceful, sleeping Sasha, and gather what little gear I have - my mask, momma's purse, my wrench and hockey stick, and a few guns I picked off of the Fat Man's dead goons back at the Junkyard. The only clothes I have left are these tattered leather pants that don't really fit anymore now that I've got these new metal knee braces. Instead, I rife through Sasha's wardrobe until I find a loose fitting longish skirt. The colors are vibrant, like something I remember from some kids book from the Palace when I was still a little teeter. I step into the skirt and pull it up to my waist. It's tight around my hips, but loose down the legs and gives me the feeling of free movement you just don't get with leathers. I look back back at Sasha, still dreaming and reflect back a moment on the night...

    Tip-toes in silence 'round my bed • and quiets the raindrops overhead • With her everlasting smile • she stills my fever for a while • Oh, nursie dear, • I'm glad you're here • to brush away my pain



    Leaving Sasha behind, I fan out through the Pit in search of Motley...



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    I explained to Dokken and the crue what the plan was I like the idea of the Crue forcing our, i mean their, way in. It will add to the desperateness that I need to show.
    I agree with 'Gold as it being easier but if we are gonna sell this as me chumming out then it had to be public. And Sierra had to look scared. I have to take her in a public and crazy way.

    If we get in a little before the show, then we can take her away right at the beginning, giving a lot of chaos and a lot of excitement. Then somehow announcing that I was gonna kill her or something like that. I turn to Marigold, "Hey 'Gold you wanna clue Sierra in on this but if you are seen then they could get wise and think its fake. I know she's you friend, but how can you warn her without this going all to blaze?"

    I start walking towards the staging area to get a good look at the setup, when I see Gigg, walking in my ditection.
  • I see Motley and I motion for him to step aside to a quiet spot. "Mot," I whisper, "are you schemin' to take down Miss Sierra at the concert?"
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    Motley, why don't you roll a Read a Sitch as you, Gigg, and the Crue start working your way into the Arena?
  • Read a Sitch (+sharp) (Rolled: 2d6+0. Rolls: 3, 6. Total: 9)
  • What should I be on the lookout for?
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    Motley, as the Crue muscle their way towards the main entrance, jostling line sitters and clearing a path for Dokken, you spot a dozen of The Fat Man's top soldiers, the ones in heavy armor with high-powered rifles, inside and keeping close watch. You need to watch out for them, they've got vantage points that will be hard to avoid. If you snatch Sierra, there will be a price to pay.
  • edited April 23
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    I nod at Gigg, "Yeah, I just want to snatch her...don't want to hurt her right now. Problem is this heavies inside. They are gonna tear us the fug apart if we get to close. I'm not even sure the best way in just yet." I look around more frustrated at the roadblocks. I lean in to whisper to Gigg,"If this works, this could mean takin' out mother humpin Gloriana herself. Then we can be rid of this place, no more Fat man, no more DVFP, nothin to hold us back" I step back to normal distance again, "I guess I could send 'Gold to talk to Sierra but I want to save that plan when nothing else is available."
  • I nod as he tells me he's not really planning on hurtin' Miss Sierra. "Well, I don't know who this Glorie is you talkin' 'bout, but the Fat Man is going down today. That's why I'm here today, and I'm worried that your plans with Sierra is gonna mess me up. Soon as you snatch Sierra, Fat Man is outta here." I pause a few seconds like I'm pondering over something, and then I lean in real close to Motley. "Look, what if you held off snatchin' Sierra until I make my move on the Fat Man. That'll draw all the attention of his heavies he's surely got posted here for his own safety. Then you might have a clear shot at Sierra and however your Glorie thing goes down. Whadya think? Is that good plan or does that mess you up?"
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    I think about it, "It's a lot of stuff going down to timing but it should work. We can wait till you move on the Fat Man. Good luck Gigg." I hold my hand to Gigg to shake. Knowing we may never see each other again if any of this goes wrong.

    After separating, I inform Dokken and the Crue what the current plan is.
    I also need to talk to Moorhead to see if he could make me something real quick (or knows where to find it)
  • I clasp hands with Motley, and there's an honest moment we know it'll be the last. "A quick word of warning, Mot. It's a dangerous gambit you're playing with Sierra. You think these muggaphuggers care about the people close to 'em. But in the end, they're all just tools and toys to 'em. You think you can use their lives to bargain with them..." I pause to collect myself, thinking again about how Pops would rather Li die than let us walk out of the Palace alive. "You might should prepare that this Glorie Girl will just put a slug in Sierra's head than be used by the likes of chum like us."

    I shrug my shoulders and leave Motley to his own plans and schemes. My own awaits inside in the arena and it's time I find out where my dear Pops will be viewing the concert from.
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    I watch him walk away, I reply to him but not outloud, 'Yeah Gigg, I know, but do I really have any choice at this point?' I turn to find the cure and prepare for my last night in this place...either way.
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    Motley, I need you to give me an Act Under Fire to sneak into the arena with your Crue. On a 7-9, you have to leave behind either the Crue or Marigold. On a miss, you're in a world of shite, sir.

    Gigg, are you trying to walk in, or are you using another way?
  • edited April 24
    Assuming my conversation with Motley happened earlier in the morning before the concert started, I'm certainly not going to just try to walk into the Arena. Instead, I find an out of the way place where no one's around, and fade into the psychic maelstrom and into the Mother's Heartbeat with the intent of emerging later from the maelstrom in the Arena somewhere.
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    Gigg, that works for me! Let's see how this goes!
  • OOC: The mother's heartbeat:
    when you withdraw into the psychic maelstrom, roll+weird (+1 from Pit Bull)

    (Rolled: 2d6+3. Rolls: 3, 6. Total: 12)
  • edited April 24
    OOC: On a 10+, choose 2. You emerge again, about an hour later,

    and...

    • ...Meanwhile, you can still watch and hear what’s happening where you were.
    • ...You can re-emerge in a different place altogether.
    • ...You are healed of all harm.
    • ...You can bring someone in and out with you.


    I'll emerge inside the Arena.
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    Act under fire (+Cool) (Rolled: 2d6+2. Rolls: 3, 6. Total: 11)
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    Gigg, you step out of Lala's embrace into the din of Sierra's second song. Her defiant words about not being owned as delivered in a sultry, but strong voice. As you look around the crowd, you find that you're in the top tier, near the VIP section. You see him, there, sitting with a young pretty boy sitting at his feet as he watches. Sure, there are a dozen guards between you and him, but you're so close. What do you do?

    Motley, it takes a bit, but Quiet Riot and Whitesnake creation a distraction for the rest of the Crue to cruise inside. Now, you and Marigold are on the field of the stadium, in the muck, looking up at the stage, at Sierra as she sings her heart out. She's just finishing a song about how she isn't owned. If only it applied to you, right? What do you do?
  • It's too soon. I need to wait until he's a bit more vulnerable. Maybe he'll get caught up in the performance. Maybe his guards will too. I'm going to wait and study the situation and my surroundings.

    OOC: Angling for Read a Sitch, here
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    Gigg, Read that Sitch!
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    During the second song, the crowd is unable to contain themselves During the second time through the chorus, they're singing along with it. A tumult of voices exclaiming, "YOU DON'T OWN ME!"
  • OOC: Going to assume the +1 from Pit Bull applies here. We can manually take it off it is doesn't apply.

    Read a Sitch, roll+sharp
    (Rolled: 2d6+1. Rolls: 3, 6. Total: 10)
  • OOC: On a 10+, ask 3:

    • Where’s my best escape route / way in / way past?

    • Which enemy is most vulnerable to me?

    • Which enemy is the biggest threat?

    • What should I be on the lookout for?

    • What’s my enemy’s true position?

    • Who’s in control here?
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    Gigg,

    Kamikaze is the biggest threat. He's near The Fat Man and keeping a close eye, he's going to spot you any minute now.

    The Fat Man is sitting five rows up in a VIP box. Decades ago, the glass of the box was whole and filtered against the sun. Now, it's faded and pitted, but it still offers some protection from small gunfire. Only a sniper's bullet, well-aimed, or something bursting through could get at him. Also, the aforementioned dozen guards.

    Right now, Sierra's in control here. The Fat Man, along with the rest of the crowd, is enraptured.
  • edited April 27
    The energy from the crowd is swelling and music is drowning out every other sound. But as I fix my eyes on Pops sitting there behind his near-bullet-proof shade box, everything else in the arena fades to the perimeter and a montage floods my mind -- momma's broken and lifeless body, Will Isaac drawing his last breath with my hands around his neck, the older woman shot dead in the back of the Borax bus, Chaz' bloody body in swagman, Lala's bullet-riddled form wrapped in a tarp, and Last carrying the bleedin' Little Li to Cinch's car. And others, too numerous to focus on.

    Then something weird happens... it's as if I'm suddenly seeing similar montages from others in the crowd -- the things they've had to do to survive, to stay alive, just to eat and get water, to stave off pain or abuse. I knew I wasn't the only one. Mimi, Motley, Esco, and so many in the crowd here... all tools and toys of those using us for their own gain.

    And then I just see Pops. In his glass cage. The light grows dim and reddish in my vision, like dusk is coming, and I rush that cage with all the force and might I feel from the energy of the crowd, with all the force of my own rage, and Chaz' and Will Isaac's and Motley's and Esco's, it all funnels into one objective...

    Getting my hands around the throat of The Fat Man.


    OOC: Angling to trigger Oh yeah! with the something I'm trying to get to is The Fat Man.
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    I make my way to the front of the stage pushing through the crowd until I am at its front ready to pull myself up. I shout over the music to Marigold to stay in the crowd when I take Sierra. I don't want her to be a target when Shades hit the fans. And I wait, I wait till Gigg makes his move, his distraction that will draw the guards eyes to him and not me.

    Then I will climb to the stage, grab Sierra and put my gun to her head. Shouting for Glorianna's attention. At least that is how it plays out in my head. If only things go smoothly for once.
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    Gigg, Kamikaze makes you as you move forward, Gigg, but you're throwing out all caution in this desperate charge. You see him reaching for a bigass revolver, he aims to do his job, to take you down.

    Go for Oh Yeah! (and Pit Bull applies).
  • OOC: *Oh yeah!, roll+sharp (+1 for Pit Bull) (highlighted)
    (Rolled: 2d6+3. Rolls: 3, 6. Total: 12)
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    Gigg, you feel your legs pumping, wrench held high, bashing aside a couple guards like they're barely there. Kamikaze draws and fires on you, two slugs hitting you (2 Harm, 1gets past Rasputin; don't forget Juggernaut affects that Harm roll), but they don't even stop your momentum as you crash through the glass into the booth where The Fat Man was gaping in awe at Sierra. The fawn at his feet scrambles away, whimpering, casting his eyes down. The guards are reacting to this craziness too slow, you have your moment.
    "What..." The Fat Man says as his hands come up defensively, "He said you were dead!" His moment of sheer terror grips his heart, you are the ghost he has nightmares about, Gigg.
    What do you do?

    Motley, you know this is a mad, mad plan. You're going to climb up a barrier where everyone's looking, and try to snag Sierra. I love this plan, sir. I'd like to see you Act Under Fire. You're going to hurt regardless, but a good roll on this gives you a chance to get to Sierra. Then, well, let's see how that goes.
  • OOC: When you suffer harm, roll+harm, (1 harm, -2 from *Juggernaut*)
    (Rolled: 2d6-1. Rolls: 3, 6. Total: 8)
  • edited April 29
    I'm through the glass cage and past the guards and there he is! At last! And I see the terror in his eyes, in his face...

    I've got one shot at this... I reached and grab hold of him... and... withdraw into the world's psychic maelstrom.

    OOC: Angling to take him with me using The mother's heartbeat.
  • edited April 29
    OOC: The mother's heartbeat, roll+weird (+1 Pit Bull)
    (Rolled: 2d6+3. Rolls: 3, 6. Total: 12)
  • OOC: On a 10+, choose 2. You emerge again, about an hour later, and...
    • ...Meanwhile, you can still watch and hear what’s happening where you were.
    • ...You can re-emerge in a different place altogether.
    • ...You are healed of all harm.
    • ...You can bring someone in and out with you.

    i choose to bring The Fat Man in and out with me. I'll figure out where we emerge again later during the intervening scene with Pops if that's ok.
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    Gigg, please go here.
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    Act under fire (+cool) (Rolled: 2d6+2. Rolls: 3, 6. Total: 11)
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    Motley, please go here.
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