November 30, 2025 • 30 mins
Welcome to the Hollow Men - a Hunter: the Reckoning dramatised solo actual play.
In this episode, we meet our protagonist, Courtney Webster, whose meeting at a bar with a contact doesn't go exactly as planned.
All music and soud effects from Epidemic Sound.
Thanks to the following for lending their wonderful voice talent to this episode: Karen Pope, Heather Haneman, Troy Coady and Havliah Coady.
Contact us at:
EMAIL: roll.to.save.pod@gmail.com
FACEBOOK: https://www.facebook.com/rolltosavepod
WEBSITE: https://rolltosave.blog
HOSTS: Iain Wilson, Steve McGarrity, Jason Downey
BACKGROUND MUSIC: David Renada (Find him at: davidrendamusic@gmail.com or on his web page).
TITLE, BREAK & CLOSEOUT MUSIC: Xylo-Ziko (Find them on their web page).
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Iain (00:05):
Welcome to the Hollow Men, a dramatized actual play of
Hunter the Reckoning.
What you're about to hear isthe story of ordinary people who
discover that monsters are realyet choose to bravely stand
against the darkness.
This is a solo game playedusing dice and the roles of
Hunter the Reckoning firstedition.
(00:27):
Every role is real.
Every decision matters.
Nothing is scripted.
This show contains maturethemes including violence,
profanity, body horror,paranoia, moral ambiguity, and
psychological distress.
Listener discretion is advised.
The story unfolds as a dicedictate.
(00:49):
Sometimes the heroes triumph,sometimes they fail, sometimes
they die.
The only certainty is that onceyou've seen the truth, they're
forever changed.
It's the eve of the millennium.
Monsters walk amongst uswearing human faces.
Anyone could be compromised.
This is the Hollow Men.
(01:10):
Calvary Bluffs, Missouri,Downtown, May 22nd, 1999, 824
pm.
As bars went, the depot wasn'tmuch to speak of.
(01:34):
The steel door facing ontoMadison Street occasionally
rattled as a particularly stronggust of wind made its presence
felt.
The whole Midwest had been hitby devastating storms earlier in
the month, and this had upsetweather patterns all across the
state.
A pool table sat idle in therear corner of the room,
(01:55):
underneath the flickering Millerlight sign that flashed
fitfully in what seemed like ahalf-hearted attempt at creating
ambience.
A rack of cues stood neatlyagainst a wall that had been
yellowed by decades of smoking,and a single piece of blue chalk
hung out forlornly on thetable's green felt surface.
The bar itself stretched allthe way along the left-hand
(02:18):
wall, twenty feet of scarred andpitied oak, backed by a mirror
edged with railroad crossingsigns.
About two blocks north of herewas the abandoned Missouri
Pacific Railroad Station, andthe depot occupied a converted
freight office that used toservice it.
Booths lined the other wall,their aged red vinyl cushions
(02:39):
seemingly held together byerratic lines of black
electrical tape that foughtvaliantly to keep their stuffing
from spilling out.
The man sitting across fromCourtney Webster in the booth
shakily took another drag fromhis cigarette whilst glancing
towards the door again for whatseemed like the hundredth time.
His eyes darted to thedictophone that sat between
(03:01):
them, and the fingers of hisleft hand drummed nervously on
the tabletop.
Courtney pointed at therecorder, its black plastic case
shining under the harshoverhead lights.
Courtney (03:12):
Do you mind not doing that?
Iain (03:14):
The man turned his head to the side and exhaled a puff of
bluish smoke.
Doing what?
Courtney (03:19):
The drumming.
Makes it hard for the mic topick up what you're saying.
It's bad enough with all thebackground noises it is.
Iain (03:25):
Courtney gestured to the crowd of men huddled together
beneath the depot's onlytelevision set.
The cardinals were losing tothe Dodgers, and what had been a
gentle murmur of conversationhad become a noisy bladder of
recriminations and castigation.
The man nodded.
Yeah, sorry.
He took another drag on thecigarette, exhaled, and smiled.
Courtney (03:49):
It's just it feels like I'm being watched, you
know.
Iain (03:52):
She nodded and smiled in what she hoped was a sympathetic
manner.
Courtney (03:56):
I understand.
You've listened to my show,right?
So you believe me when I sayI've talked to a lot of
whistleblowers before.
I know it's not easy.
Those guys?
Iain (04:08):
She pointed at the rest of the bar's occupants.
Courtney (04:11):
They're so absorbed with the game, and they're never
going to remember you evenbeing in here.
Iain (04:16):
Packing his hand, she smiled again.
Courtney (04:19):
So Edwin Dead.
Let's start from the top.
You're an employee.
A cornerstone concrete,correct?
Iain (04:28):
Ed nodded, then drew in a cigarette and then frowned.
You said no name.
If it came out that I'd talk toyou, accordingly, shook her
hand and modernly.
Courtney (04:39):
Don't worry about that.
This is just for us to make ourconversation easier.
I'll reset afterwards.
Besides it would be weird if Icalled you Mr.
X or something.
Iain (04:48):
For the first time since arriving at the bar, Ed smiled.
Courtney (04:52):
Yeah, that's a good point.
Iain (04:54):
Sorry, I'm just His voice trailed off.
Courtney (04:57):
Nervous?
Like I said, I get it.
Iain (05:02):
Courtney looked at Ed before continuing.
He was in his mid-thirties, buthe looked closer to 50, his
complexion marred by years ofhard manual labour.
His hair, a curly mess that wasnormally concealed by the
cornerstone concrete baseballcap that lay on the table next
to him, had gone prematurelygrey, and he gave the impression
(05:23):
of being a man who had apermanent five o'clock shadow,
regardless of the time of day.
He wore a faded cardinalsweater, its vibrant red now a
muted pink.
The tips of his fingers werestained yellow from years of
smoking, and the hacking coughthat occasionally interrupted
his speech suggested it wasn'tjust the work that was aging
him.
However, despite his worn downand beaten-up appearance, Ed
(05:47):
clearly possessed a quietcourage.
The message to the radiostation had simply said there
was someone at Cornerstone thatwanted to meet to discuss
irregularities in the workingconditions there.
What really made this stick forCourtney, a woman who'd
received a thousand hot tips inher time from supposed
whistleblowers, was that Edhadn't asked for anything.
(06:10):
Ordinarily, the first thing outof these guys' mouths after
passing on the request to meetwas a query about how much they
were going to be paid.
Not Ed though, he simply wantedto talk.
What was more, and here's whereCourtney believed Ed was more
courageous than his appearancesuggested.
In the small town of CalvaryBluffs, Cornerstone Concrete
(06:31):
employed a sizeable percentageof the town's 55,000
inhabitants, and its supplychain contributed to the
livelihoods of even more.
For Ed to go up against this,an organisation that enjoyed
nothing but positive supportfrom all parts of the local
community, suggested thatwhatever was causing him concern
was big.
(06:51):
Sure, there'd been concernsover working conditions at
Cornerstones in the past, but inall cases these had never gone
legal and they'd certainly nevermerited a media investigation.
The plant and its owners weresimply too important to the
local community.
Courtney's instincts told herthat if Ed was willing to
challenge this, there wassomething worth exploring here.
Courtney (07:13):
Okay, Ed, let's start again.
An employee at CornerstoneConcrete.
What is it you want to talkabout?
Iain (07:21):
Ed exhaled again and stared at the smoke
thoughtfully.
He turned back to Courtney andwas about to speak before his
eyes darted to the door andwidened.
He instinctively hunched down,facing the wall, and tried to
make himself as unobtrusive aspossible.
Courtney, never wanted topanic, glanced casually in the
(07:43):
direction Ed had been looking.
A tall man had entered the barand was walking in the other
direction.
He was smartly dressed, blackslacks with a white button-down
shirt with a navy blue tie, andalso wore a jacket with a
cornerstone concrete logostitched onto the right breast.
She leant forward in her seat.
Courtney (08:02):
Who's that?
Iain (08:03):
Ed glanced up from where he'd been pretending to study
the menu.
He's management.
Before Courtney could answer,the general hubbub of background
noise rose in a swell of panic.
She barely had time to registerthe barmaid screaming, He's got
a gun, before she saw anotherfigure lurched drunkenly from
the crowd by the television.
He was dressed in a blueworkman's overalls, also with
(08:27):
the cornerstone logos stitchedacross the front.
More alarmingly, he wascarrying a handgun, a glossy
black automatic held limply inhis right hand.
As she took this in, herstomach seemed to somersault and
time seemed to stand still.
The television cut to staticbefore the words open your eyes
stood out in stark white againsta black background.
(08:49):
The same words echoed in herhead.
Open your eyes.
And then she saw it.
The gunman's gait was allwrong.
He dragged his left leg behindhim as he moved, and as he
slowly raised his gun arm, shecould see it shake, as if the
very act was one of monumentaldifficulty.
His skin was pale, almosttranslucent, and she could smell
(09:14):
the damp and stench of mildewthat came from his clothes.
His eyes, though, they were theworst of all.
Pools of pure, fathomlessdarkness stared lifelessly from
his head.
As if sensing her scrutiny, thething, for she could no longer
think of it as a man anymore,slowly turned its head in her
direction, its movements jerkyand disjointed, like she was
(09:37):
watching an old stop-motionanimation.
Its mouth fell open and dirtywater cascaded out down the
front of its chin and overalls.
Then, with a rush that wasdizzying, reality snapped back.
The TV had reset to show thegame, but everyone around her
seemed to be screaming andpanicking.
The barmaid had ducked beneaththe counter, dragging the
(10:00):
payphone with her.
Courtney hoped she was calling911.
Ed was just staring slack jawedat the figure in front of her.
A figure that as she looked atit seemed to just radiate a
sense of wrongness.
She got to her feet.
She had to do something.
In terms of the storytellersystem, combat is broken down
into three phases (10:40):
initiative determination, actions, and
resolutions.
In short, every character rollsfor initiative, then they can
take an action, and then theresults of the actions take
place.
Now, ordinarily in the tabletopgame, the characters with the
lowest initiative declare theiractions first, allowing the
faster characters who get to actfirst to respond.
(11:02):
However, given that I'm theonly one playing this game, I'm
not going to bother with this asit will just slow the narration
down.
Initiative is determined byrolling a d10 and adding the
total of a character's wits anddexterity.
In addition, any character maymake a defensive action as long
as they have an action left andcan either make a successful
(11:22):
willpower roll or spend a pointon willpower.
The storyteller system doesinclude roles for multiple
actions, but I'm not going to beusing them unless a character
specifically has a role thatallows them to take multiple
actions, it'll just get toocomplicated otherwise.
Finally, because Courtney hasbeen imbued, I'm ruling that she
automatically has second sightup without the need to spend a
(11:44):
point of conviction.
Therefore, she is immune topanic and mind, body, and
emotion control.
Anyway, all of that out of theway, I'm going to rule that for
this first round of combat thatonly our interloper with gun and
courtney can act.
Everyone else is far tooshocked and surprised to do
anything.
So let's get to combat.
Entering combat.
(12:09):
Courtney.
The creature.
10.
Even though Courtney isdetermined to do something, the
imbuing is shaking her, andshe's extremely slow on her
feet.
The creature raises its gun andfires.
Who's it going to be shootingat?
(12:29):
Let's say that on a 1-4 it'sCourtney because she's actively
making moves towards a creature.
It's a management guy on a 5-7.
Some other bystander gets shoton an 8-9 and it goes for Ed on
a 10.
Rolling.
A 10! Looks like it's targetingEd because he's surprised he
can't take any defensiveactions.
(12:50):
Now ordinarily for a rangedattack, I would roll dexterity
in firearms, requiring a six orabove to succeed, but the
creature has no skill with thisweapon, so it just rolls its
dexterity of two.
That's a six and a seven.
Yikes, poor Ed's been hit.
Now, since this is our firstcombat, we should probably talk
(13:11):
about health and hunter.
Broadly speaking, unless I ruleotherwise, every character and
hunter has seven health levels.
As characters take damage, theybegin to suffer penalties to
their dice pulls.
The damage our charactersuffers can take one of two
forms, bashing or lethal.
Bashing is generally bluntforce trauma, being punched,
kicked, or hit with a baseballbat, all count as bashing
(13:34):
damage.
Lethal is anything, well morelethal, being stabbed, shot, or
set in fire all counts as lethaldamage.
Crucially, normal humans can'tsoak bashing damage, which is to
say they get to roll to reducethe amount of damage they take
from it.
Lethal damage, on the otherhand, can't be soaked, it's a
big deal.
If a character fills up theirdamage track with bashing
(13:56):
damage, further levels ofbashing damage are converted to
lethal.
If all health levels are filledwith lethal damage, a character
dies.
Now because a gun does lethaldamage, Ed can't soak it, so the
creature just gets to roll forthe damage.
In this case, the gun has adamage rating of 5, plus the
creature gets to roll anadditional die because it gets
an extra success on its 2-hitroll.
(14:19):
That's 3 6's, a 7 and 2 10s.
Each despite the creature'sjerky pained movements, it fires
and hits Ed in the neck,spinning him around and spraying
blood all over the booth.
It's Courtney's turn to act.
Now that she's been imbued,it's important to know what
edgies she has access to andwhether these will help in this
(14:40):
situation.
Edgies are the powers that themessengers bestow upon hunters,
small supernatural capabilitiesdesigned to give them an edge
when encountering thesupernatural.
Those of you who listened tothe whole of the setup episode,
my congratulations on yourpatience, will know that
Courtney has one point in eachof the virtues of vision, mercy,
(15:01):
and zeal, meaning that she getsa single level 1 edge from each
category.
Now I've rolled for these offmic, and this has given Courtney
access to the following 4C, alevel 1 vision edge that allows
her some insight into theactions of others and
probabilities.
This is honestly very fittingfor everything we've determined
about Courtney so far.
(15:22):
She likes to know how peopletick.
She also has discern, a level 1judgment edge from the zeal
virtue path.
This gives her a hyperawareness to supernatural
creatures and gives greaterinsight into what they may
actually be rather than just thevague sense of wrongness that
(15:42):
Second Side provides.
She finally has Hide, a level 1innocence edge from the Mercy
Virtue Path.
This allows Courtney theability to vanish from the sight
of supernatural beings.
It has no effect on normalpeople or hunters.
Well, this seems like a goodtime to use 4C.
Rather than Courtneyconsciously activating it, the
(16:03):
imbuing is going to flood hermind with knowledge.
The edge kicks in, giving herlimited insight into what's
coming.
Mechanically, 4C is reflexive,so it doesn't cost her her
action.
However, it can only be usedonce per episode.
She will roll intelligence andvision, it's a difficulty of
seven, and each success lets herre-roll a future action.
(16:24):
Essentially, she sees twopossible outcomes and chooses
the better one.
The catch is she can only applyit once to any given action,
and if both rolls are bad, she'sstuck with the less terrible
option.
Anyway, those mechanics aside,let's get rolling.
What have we got?
A 9, 2, 8, a 6 and a 1, sothat's two successes.
(16:46):
Then with her head swimmingwith visions, Courtney is going
to try and drive off thiscreature.
She's going to grab a nearbybar stool and swing at the
monster who just shot Purette.
For this, she's going to rollher dexterity and melee skill.
A six and a four, that's a hit.
She slams a stool into the sideof the creature and the wood
(17:07):
squirches deeply on the impact,causing her stomach to turn.
I'm treating this bar stool asa club, it does strength plus
two damage.
Because Courtney didn't rollany extra successes on her
attack roll, that means she'srolling six dice.
Two fives, two threes, and twofours.
That's unlucky.
Despite Courtney's naturalstrength, that's not to do any
(17:29):
damage.
However, because she'sactivated 4C, she chooses to use
a reroll.
That's better.
A 2, a 4, 2 5s, and 2 10s, 2successes.
One more thing.
Normally, characters with 4 ormore and an attribute or ability
could take a specialization, anarea which allows tens to
explode, letting you roll anadditional dice to try and get
(17:52):
more successes.
Time for a house roll.
I'm skipping the specificspecializations and just
applying this to anyone withfour plus and any trait.
Why?
Basically, it allows forsimpler bookkeeping and it also
serves the random nature of soloplay better.
All of which is to say, becauseCourtney is a strength of four,
I get to re-roll those two tensagain.
(18:14):
A five and a seven, that'sanother success, so three points
of damage in total.
The creature now is going toroll its stamina of three to try
and resist the damage.
A three, a four, and a two, nosuccesses.
The monster staggers back fromthe impact, something that's not
quite blood, not quite water,leaking from its overalls.
(18:35):
Curiously, despite the damage,the creature doesn't appear to
be impaired.
It's not suffering the samewound penalties that a normal
human would suffer.
On to round two.
Initiative.
Courtney.
A 9.
The monster.
A five.
The cornerstone management guy.
(18:55):
A fourteen.
Well, it looks like themanagement guy is going first.
And he turns and runs from thebar.
He's seen someone gun down infront of him and he is
terrified.
Courtney acts next, stillconscious of this threat the
thing poses, she swings at itonce again.
A six and a one.
The one cancels out a singlesuccess, so that's a miss.
(19:20):
Worried for her life, she usesher remaining reroll.
It's probably a good time nowto mention a stat that all
characters have.
It's called Willpower, andwhile it can sometimes be rolled
like any other attribute, italso comes with a pool of
temporary points.
Characters can spend thesepoints to do various things, but
at the moment all you need toknow is that a point of
(19:40):
willpower can be spent toguarantee a single success in a
roll.
Given that she's fighting for alife, that's exactly what
Courtney is going to do.
That's better, a seven and asix along with the willpower
point spent, that's threesuccesses, meaning that she hits
a creature and also gets twoextra dice on her damage roll.
Rolling four damage.
(20:02):
But in the storyteller system,you can't botch damage or soak
rolls.
That means the monster simplytakes three points of bashing
(20:22):
damage.
Courtney's stool impacts intothe side of its neck with enough
force to cripple a grown man,but instead, head lying at an
odd angle, it remains on itsfeet.
The creatures turn and itflails wildly at Courtney.
The creature swings at Courtneybut overbalances and staggers
(20:45):
into the bar.
A rule that the creature can'taxe next round as it tries to
right itself.
Round three, initiative.
Now you think I'd not botherwith initiative as Courtney is
the only one capable of acting,the creature being out for a
round and then Mavvy's win guyhaving fled.
However, two new individualshave pushed their way through
the crowd.
A man and a woman, so I'll rollfor them too.
(21:09):
Courtney.
A twelve, the woman.
As Courtney readies herself, aman and a woman push their way
through the crowd.
The man raises his fists and heswings at the stricken
creature.
As he does so, Courtney seeshim wince slightly and say
(21:30):
something to the monster, butshe can't make it out over the
noise.
Now I rolled these charactersup off mic, but this man is of
the martyr creed and he's usingthe level 1 martyrdom edge
demand.
This allows the martyr to hurtthemselves in order to save
another's life.
In mechanical terms, this letshim take a health level of
bashing damage and then allowsthe imbued to add his mercy
(21:52):
rating, in this guy's case 3, toone strength-related roll.
There's a catch though, for acombat roll, they have to take
the level of damage beforerolling to hit.
Anyway, with that out of theway, let's roll to attack.
Rolling the 10 again.
(22:15):
An eight, so five successes,rolling damage.
Wow, that's five successes intotal rolling the monster's
stamina.
Is no good, so all the damagegoes through.
This fills its damage track upcompletely with bashing damage,
and it now spills over to fourlevels of lethal damage.
(22:38):
Black, watery blood leaks fromthe creature's mouth as it leers
drunkenly at the man.
It's the woman's turn.
Having rolled her up off Mike,she follows the vengeance virtue
and is of the Avenger Creed.
She's grabbed a pull cue, whichshe's going to swing at the
monster.
However, she's using the level1 Vengeance Edge Cleave, which
(22:58):
empowers her weapon to do plustwo damage and it also makes
that damage lethal.
Furthermore, she's risking 5points of conviction in this
role.
What does that mean?
Well, all imbued can do this,and it allows her to add the
points risked as dice to hermelee role to hit, but if she
fails, she loses the convictioninvested, and if she botches the
(23:20):
role, she loses all herconviction.
If she's successful though, shegains her points of conviction
back, plus an extra one.
She also cannot use a point ofwillpower if she is risking
conviction.
Anyway, all of that out of theway, let's roll to attack.
That's three successes nowrolling her damage.
(23:41):
Wow, five successes.
The pool cue almost seems tohum as it cuts through the air,
and for a second, Courtney'sdimly aware of something that
might be fire surrounding it asit strikes a creature.
Now, unlike normal humans,despite the damage being lethal,
the creature can attempt tosoak it.
Ouch, the creature's appallingluck continues and it manages a
(24:06):
grand total of zero successesfor the soak roll.
As the empowered pull cuestrikes the monster's side,
there's a wet gurgling sound,and the creature crumples to the
floor in a heap, ending thiscombat.
Courtney's heart was racing asshe ran her free hand through
(24:35):
her hair.
It was sodden with sweat.
She let the broken bar stoolfall from her hand and looked
over the man and woman who hadcome to her assistance.
He was tall and athletic.
His build reminded her of arunner, with dark skin and short
hair that was cropped in analmost militaristic fashion.
His face was young, probably nomore than 25, and the powder
(24:58):
blue Kansas City Royals top thathe wore made him seem even
younger.
The woman would have stood nomore than 5'2 with the kind of
effortlessly slim frame that ina more normal setting would have
made Courtney feel envious.
Her face was striking, highcheekbones, beastung lips, and
large blue eyes that would haveseemed almost comical if they
weren't so pretty.
(25:19):
A black baseball bat coveredher head, and a sandy blonde
ponytail jutted out of the back,swinging in time with the
woman's nervous energy.
Courtney caught her breath andwas about to express her thanks
when the woman turned to theman.
Mysterious Woman (25:34):
We have to go now.
Iain (25:35):
Rather than turn to leave, the man turned and inclined his
head towards Courtney.
What about her?
Mysterious Woman (25:43):
What about her?
Iain (25:45):
For one awful moment, Courtney thought of crime movies
where a witness had seen toomuch and had to be removed.
But the next words out of theman's mouth set her nerves at
ease.
She's clearly one of us.
The woman made a non-committalnoise before fishing around in
her pocket to produce a notepadand pen.
As she started drawing, the mankept glancing nervously at the
(26:08):
door.
The woman nodded as she drew.
Mysterious Woman (26:11):
Okay, lady, if you're what he thinks you are.
Iain (26:14):
She jabbed the pen at the pad a couple of times as if she
were very aggressively dottingher eyes before turning it to
face Courtney.
Mysterious Woman (26:21):
Tell me what you see here.
Iain (26:23):
The page was blank, save for a single simple symbol.
It looked like a plus sign or across with a thick dot in the
center from one each of thepoints.
She furrowed her brow and wasabout to shake her head when
that voice that she'd heardearlier spoke again.
Open your eyes.
She handed the pad back to thewoman.
Courtney (26:44):
Ally.
Ally or friends, I think.
Iain (26:47):
The woman smiled, her cold demeanor evaporating almost
completely.
Nodded and placed a hand onCourtney's shoulder before
giving it a little squeeze.
Mysterious Woman (26:57):
Things are going to get very weird very
quickly for you.
We can't hang around.
Iain (27:01):
She nodded at the other man who seemed to be a bundle of
twitching energy.
Mysterious Woman (27:05):
But when the cops arrive, just act scared and
confused.
Tell them that when the gunwent off, you tried to get that
man away from your friend andleave it at that.
Iain (27:12):
She smiled gently.
Mysterious Woman (27:14):
If you can cry on demand, that always helps
too.
Tends to stop the questioning,you know.
Most men tend to feeluncomfortable around hysterical
crying females.
They don't like it when we'reemotional.
Iain (27:24):
She put air quotes around the last word, winked, and
taking the pad from Courtney,she scribbled her number on it
before tearing off the sheet andhanding it to her.
Mysterious Woman (27:34):
Once the dust settles, call me.
I'll answer a fable, if not,leave a message.
I will get back in touch.
Believe me, I wish I hadsomeone to help me when this
first happened to me.
Iain (27:44):
She turned to the other man and punched him in the
shoulder.
Mysterious Woman (27:47):
Come on, let's bounce.
Iain (27:48):
The man offered Courtney a grim little smile before the
pair of them left.
Head still swimming witheverything that just happened,
Courtney pocketed the scrap ofpaper as she had a car leaving
and the squeal of tires.
Almost as an afterthought, sheglanced down at the body of the
monster.
Only he wasn't a monsteranymore, he looked just like a
normal man.
None of that wrongness hungaround him, and his appearance
(28:11):
was completely ordinary.
She could feel her heartbeating faster and her legs
begin to shake.
Had they just murdered someone?
Kneeling down next to him, shewas shocked to see that he
looked almost peaceful.
It was then that she heard thesirens, and after what seemed
like an age, two police officersbattled into the room with guns
drawn.
(28:31):
Courtney felt an overwhelmingsense of relief, which, combined
with the adrenaline, caused herbody to shake even harder.
One of the officers noticedthis and rushed to her side
whilst his companion stood inthe doorway and started
hollering into his radio forbackup.
The cop attending her, hisexpression one of genuine
concern, knelt beside Courtneyand asked her if she was okay.
(28:53):
Open your eyes.
As she stared back into hishonest, worried face, Courtney
felt her stomach flip and an icycold run up her spine.
The police officer was wrong.
Despite herself, she started tocry.
Drop us a line at roll.save.podat gmail.com or find us on
(29:54):
Instagram and Facebook bysearching for Roll2Save.
If you want to support theshow, you can Do so by leaving
us 5 stars on your podcast appof choice, nor by sharing our
episode announcements on socialmedia.
Every review and share helps usreach more listeners and it
validates our fragile locos andmakes us want to make more
(30:14):
episodes.
If you're new to Roll2Safe,welcome.
We have a back catalogue filledwith other actual plays like
this one, plus history episodesexploring classic RPGs,
roundtable discussions, authorinterviews, and product reviews.
If you're a fan of Gaming'sGolden Age, you'll find
something there for you.
Until next time, stay vigilantand beware of the Hollow Men.
Welcome to the Hollow Men, a dramatized actual play of
Hunter the Reckoning.
What you're about to hear isthe story of ordinary people who
discover that monsters are realyet choose to bravely stand
against the darkness.
This is a solo game playedusing dice and the roles of
Hunter the Reckoning firstedition.
(00:27):
Every role is real.
Every decision matters.
Nothing is scripted.
This show contains maturethemes including violence,
profanity, body horror,paranoia, moral ambiguity, and
psychological distress.
Listener discretion is advised.
The story unfolds as a dicedictate.
(00:49):
Sometimes the heroes triumph,sometimes they fail, sometimes
they die.
The only certainty is that onceyou've seen the truth, they're
forever changed.
It's the eve of the millennium.
Monsters walk amongst uswearing human faces.
Anyone could be compromised.
This is the Hollow Men.
(01:10):
Calvary Bluffs, Missouri,Downtown, May 22nd, 1999, 824
pm.
As bars went, the depot wasn'tmuch to speak of.
(01:34):
The steel door facing ontoMadison Street occasionally
rattled as a particularly stronggust of wind made its presence
felt.
The whole Midwest had been hitby devastating storms earlier in
the month, and this had upsetweather patterns all across the
state.
A pool table sat idle in therear corner of the room,
(01:55):
underneath the flickering Millerlight sign that flashed
fitfully in what seemed like ahalf-hearted attempt at creating
ambience.
A rack of cues stood neatlyagainst a wall that had been
yellowed by decades of smoking,and a single piece of blue chalk
hung out forlornly on thetable's green felt surface.
The bar itself stretched allthe way along the left-hand
(02:18):
wall, twenty feet of scarred andpitied oak, backed by a mirror
edged with railroad crossingsigns.
About two blocks north of herewas the abandoned Missouri
Pacific Railroad Station, andthe depot occupied a converted
freight office that used toservice it.
Booths lined the other wall,their aged red vinyl cushions
(02:39):
seemingly held together byerratic lines of black
electrical tape that foughtvaliantly to keep their stuffing
from spilling out.
The man sitting across fromCourtney Webster in the booth
shakily took another drag fromhis cigarette whilst glancing
towards the door again for whatseemed like the hundredth time.
His eyes darted to thedictophone that sat between
(03:01):
them, and the fingers of hisleft hand drummed nervously on
the tabletop.
Courtney pointed at therecorder, its black plastic case
shining under the harshoverhead lights.
Courtney (03:12):
Do you mind not doing that?
Iain (03:14):
The man turned his head to the side and exhaled a puff of
bluish smoke.
Doing what?
Courtney (03:19):
The drumming.
Makes it hard for the mic topick up what you're saying.
It's bad enough with all thebackground noises it is.
Iain (03:25):
Courtney gestured to the crowd of men huddled together
beneath the depot's onlytelevision set.
The cardinals were losing tothe Dodgers, and what had been a
gentle murmur of conversationhad become a noisy bladder of
recriminations and castigation.
The man nodded.
Yeah, sorry.
He took another drag on thecigarette, exhaled, and smiled.
Courtney (03:49):
It's just it feels like I'm being watched, you
know.
Iain (03:52):
She nodded and smiled in what she hoped was a sympathetic
manner.
Courtney (03:56):
I understand.
You've listened to my show,right?
So you believe me when I sayI've talked to a lot of
whistleblowers before.
I know it's not easy.
Those guys?
Iain (04:08):
She pointed at the rest of the bar's occupants.
Courtney (04:11):
They're so absorbed with the game, and they're never
going to remember you evenbeing in here.
Iain (04:16):
Packing his hand, she smiled again.
Courtney (04:19):
So Edwin Dead.
Let's start from the top.
You're an employee.
A cornerstone concrete,correct?
Iain (04:28):
Ed nodded, then drew in a cigarette and then frowned.
You said no name.
If it came out that I'd talk toyou, accordingly, shook her
hand and modernly.
Courtney (04:39):
Don't worry about that.
This is just for us to make ourconversation easier.
I'll reset afterwards.
Besides it would be weird if Icalled you Mr.
X or something.
Iain (04:48):
For the first time since arriving at the bar, Ed smiled.
Courtney (04:52):
Yeah, that's a good point.
Iain (04:54):
Sorry, I'm just His voice trailed off.
Courtney (04:57):
Nervous?
Like I said, I get it.
Iain (05:02):
Courtney looked at Ed before continuing.
He was in his mid-thirties, buthe looked closer to 50, his
complexion marred by years ofhard manual labour.
His hair, a curly mess that wasnormally concealed by the
cornerstone concrete baseballcap that lay on the table next
to him, had gone prematurelygrey, and he gave the impression
(05:23):
of being a man who had apermanent five o'clock shadow,
regardless of the time of day.
He wore a faded cardinalsweater, its vibrant red now a
muted pink.
The tips of his fingers werestained yellow from years of
smoking, and the hacking coughthat occasionally interrupted
his speech suggested it wasn'tjust the work that was aging
him.
However, despite his worn downand beaten-up appearance, Ed
(05:47):
clearly possessed a quietcourage.
The message to the radiostation had simply said there
was someone at Cornerstone thatwanted to meet to discuss
irregularities in the workingconditions there.
What really made this stick forCourtney, a woman who'd
received a thousand hot tips inher time from supposed
whistleblowers, was that Edhadn't asked for anything.
(06:10):
Ordinarily, the first thing outof these guys' mouths after
passing on the request to meetwas a query about how much they
were going to be paid.
Not Ed though, he simply wantedto talk.
What was more, and here's whereCourtney believed Ed was more
courageous than his appearancesuggested.
In the small town of CalvaryBluffs, Cornerstone Concrete
(06:31):
employed a sizeable percentageof the town's 55,000
inhabitants, and its supplychain contributed to the
livelihoods of even more.
For Ed to go up against this,an organisation that enjoyed
nothing but positive supportfrom all parts of the local
community, suggested thatwhatever was causing him concern
was big.
(06:51):
Sure, there'd been concernsover working conditions at
Cornerstones in the past, but inall cases these had never gone
legal and they'd certainly nevermerited a media investigation.
The plant and its owners weresimply too important to the
local community.
Courtney's instincts told herthat if Ed was willing to
challenge this, there wassomething worth exploring here.
Courtney (07:13):
Okay, Ed, let's start again.
An employee at CornerstoneConcrete.
What is it you want to talkabout?
Iain (07:21):
Ed exhaled again and stared at the smoke
thoughtfully.
He turned back to Courtney andwas about to speak before his
eyes darted to the door andwidened.
He instinctively hunched down,facing the wall, and tried to
make himself as unobtrusive aspossible.
Courtney, never wanted topanic, glanced casually in the
(07:43):
direction Ed had been looking.
A tall man had entered the barand was walking in the other
direction.
He was smartly dressed, blackslacks with a white button-down
shirt with a navy blue tie, andalso wore a jacket with a
cornerstone concrete logostitched onto the right breast.
She leant forward in her seat.
Courtney (08:02):
Who's that?
Iain (08:03):
Ed glanced up from where he'd been pretending to study
the menu.
He's management.
Before Courtney could answer,the general hubbub of background
noise rose in a swell of panic.
She barely had time to registerthe barmaid screaming, He's got
a gun, before she saw anotherfigure lurched drunkenly from
the crowd by the television.
He was dressed in a blueworkman's overalls, also with
(08:27):
the cornerstone logos stitchedacross the front.
More alarmingly, he wascarrying a handgun, a glossy
black automatic held limply inhis right hand.
As she took this in, herstomach seemed to somersault and
time seemed to stand still.
The television cut to staticbefore the words open your eyes
stood out in stark white againsta black background.
(08:49):
The same words echoed in herhead.
Open your eyes.
And then she saw it.
The gunman's gait was allwrong.
He dragged his left leg behindhim as he moved, and as he
slowly raised his gun arm, shecould see it shake, as if the
very act was one of monumentaldifficulty.
His skin was pale, almosttranslucent, and she could smell
(09:14):
the damp and stench of mildewthat came from his clothes.
His eyes, though, they were theworst of all.
Pools of pure, fathomlessdarkness stared lifelessly from
his head.
As if sensing her scrutiny, thething, for she could no longer
think of it as a man anymore,slowly turned its head in her
direction, its movements jerkyand disjointed, like she was
(09:37):
watching an old stop-motionanimation.
Its mouth fell open and dirtywater cascaded out down the
front of its chin and overalls.
Then, with a rush that wasdizzying, reality snapped back.
The TV had reset to show thegame, but everyone around her
seemed to be screaming andpanicking.
The barmaid had ducked beneaththe counter, dragging the
(10:00):
payphone with her.
Courtney hoped she was calling911.
Ed was just staring slack jawedat the figure in front of her.
A figure that as she looked atit seemed to just radiate a
sense of wrongness.
She got to her feet.
She had to do something.
In terms of the storytellersystem, combat is broken down
into three phases (10:40):
initiative determination, actions, and
resolutions.
In short, every character rollsfor initiative, then they can
take an action, and then theresults of the actions take
place.
Now, ordinarily in the tabletopgame, the characters with the
lowest initiative declare theiractions first, allowing the
faster characters who get to actfirst to respond.
(11:02):
However, given that I'm theonly one playing this game, I'm
not going to bother with this asit will just slow the narration
down.
Initiative is determined byrolling a d10 and adding the
total of a character's wits anddexterity.
In addition, any character maymake a defensive action as long
as they have an action left andcan either make a successful
(11:22):
willpower roll or spend a pointon willpower.
The storyteller system doesinclude roles for multiple
actions, but I'm not going to beusing them unless a character
specifically has a role thatallows them to take multiple
actions, it'll just get toocomplicated otherwise.
Finally, because Courtney hasbeen imbued, I'm ruling that she
automatically has second sightup without the need to spend a
(11:44):
point of conviction.
Therefore, she is immune topanic and mind, body, and
emotion control.
Anyway, all of that out of theway, I'm going to rule that for
this first round of combat thatonly our interloper with gun and
courtney can act.
Everyone else is far tooshocked and surprised to do
anything.
So let's get to combat.
Entering combat.
(12:09):
Courtney.
The creature.
10.
Even though Courtney isdetermined to do something, the
imbuing is shaking her, andshe's extremely slow on her
feet.
The creature raises its gun andfires.
Who's it going to be shootingat?
(12:29):
Let's say that on a 1-4 it'sCourtney because she's actively
making moves towards a creature.
It's a management guy on a 5-7.
Some other bystander gets shoton an 8-9 and it goes for Ed on
a 10.
Rolling.
A 10! Looks like it's targetingEd because he's surprised he
can't take any defensiveactions.
(12:50):
Now ordinarily for a rangedattack, I would roll dexterity
in firearms, requiring a six orabove to succeed, but the
creature has no skill with thisweapon, so it just rolls its
dexterity of two.
That's a six and a seven.
Yikes, poor Ed's been hit.
Now, since this is our firstcombat, we should probably talk
(13:11):
about health and hunter.
Broadly speaking, unless I ruleotherwise, every character and
hunter has seven health levels.
As characters take damage, theybegin to suffer penalties to
their dice pulls.
The damage our charactersuffers can take one of two
forms, bashing or lethal.
Bashing is generally bluntforce trauma, being punched,
kicked, or hit with a baseballbat, all count as bashing
(13:34):
damage.
Lethal is anything, well morelethal, being stabbed, shot, or
set in fire all counts as lethaldamage.
Crucially, normal humans can'tsoak bashing damage, which is to
say they get to roll to reducethe amount of damage they take
from it.
Lethal damage, on the otherhand, can't be soaked, it's a
big deal.
If a character fills up theirdamage track with bashing
(13:56):
damage, further levels ofbashing damage are converted to
lethal.
If all health levels are filledwith lethal damage, a character
dies.
Now because a gun does lethaldamage, Ed can't soak it, so the
creature just gets to roll forthe damage.
In this case, the gun has adamage rating of 5, plus the
creature gets to roll anadditional die because it gets
an extra success on its 2-hitroll.
(14:19):
That's 3 6's, a 7 and 2 10s.
Each despite the creature'sjerky pained movements, it fires
and hits Ed in the neck,spinning him around and spraying
blood all over the booth.
It's Courtney's turn to act.
Now that she's been imbued,it's important to know what
edgies she has access to andwhether these will help in this
(14:40):
situation.
Edgies are the powers that themessengers bestow upon hunters,
small supernatural capabilitiesdesigned to give them an edge
when encountering thesupernatural.
Those of you who listened tothe whole of the setup episode,
my congratulations on yourpatience, will know that
Courtney has one point in eachof the virtues of vision, mercy,
(15:01):
and zeal, meaning that she getsa single level 1 edge from each
category.
Now I've rolled for these offmic, and this has given Courtney
access to the following 4C, alevel 1 vision edge that allows
her some insight into theactions of others and
probabilities.
This is honestly very fittingfor everything we've determined
about Courtney so far.
(15:22):
She likes to know how peopletick.
She also has discern, a level 1judgment edge from the zeal
virtue path.
This gives her a hyperawareness to supernatural
creatures and gives greaterinsight into what they may
actually be rather than just thevague sense of wrongness that
(15:42):
Second Side provides.
She finally has Hide, a level 1innocence edge from the Mercy
Virtue Path.
This allows Courtney theability to vanish from the sight
of supernatural beings.
It has no effect on normalpeople or hunters.
Well, this seems like a goodtime to use 4C.
Rather than Courtneyconsciously activating it, the
(16:03):
imbuing is going to flood hermind with knowledge.
The edge kicks in, giving herlimited insight into what's
coming.
Mechanically, 4C is reflexive,so it doesn't cost her her
action.
However, it can only be usedonce per episode.
She will roll intelligence andvision, it's a difficulty of
seven, and each success lets herre-roll a future action.
(16:24):
Essentially, she sees twopossible outcomes and chooses
the better one.
The catch is she can only applyit once to any given action,
and if both rolls are bad, she'sstuck with the less terrible
option.
Anyway, those mechanics aside,let's get rolling.
What have we got?
A 9, 2, 8, a 6 and a 1, sothat's two successes.
(16:46):
Then with her head swimmingwith visions, Courtney is going
to try and drive off thiscreature.
She's going to grab a nearbybar stool and swing at the
monster who just shot Purette.
For this, she's going to rollher dexterity and melee skill.
A six and a four, that's a hit.
She slams a stool into the sideof the creature and the wood
(17:07):
squirches deeply on the impact,causing her stomach to turn.
I'm treating this bar stool asa club, it does strength plus
two damage.
Because Courtney didn't rollany extra successes on her
attack roll, that means she'srolling six dice.
Two fives, two threes, and twofours.
That's unlucky.
Despite Courtney's naturalstrength, that's not to do any
(17:29):
damage.
However, because she'sactivated 4C, she chooses to use
a reroll.
That's better.
A 2, a 4, 2 5s, and 2 10s, 2successes.
One more thing.
Normally, characters with 4 ormore and an attribute or ability
could take a specialization, anarea which allows tens to
explode, letting you roll anadditional dice to try and get
(17:52):
more successes.
Time for a house roll.
I'm skipping the specificspecializations and just
applying this to anyone withfour plus and any trait.
Why?
Basically, it allows forsimpler bookkeeping and it also
serves the random nature of soloplay better.
All of which is to say, becauseCourtney is a strength of four,
I get to re-roll those two tensagain.
(18:14):
A five and a seven, that'sanother success, so three points
of damage in total.
The creature now is going toroll its stamina of three to try
and resist the damage.
A three, a four, and a two, nosuccesses.
The monster staggers back fromthe impact, something that's not
quite blood, not quite water,leaking from its overalls.
(18:35):
Curiously, despite the damage,the creature doesn't appear to
be impaired.
It's not suffering the samewound penalties that a normal
human would suffer.
On to round two.
Initiative.
Courtney.
A 9.
The monster.
A five.
The cornerstone management guy.
(18:55):
A fourteen.
Well, it looks like themanagement guy is going first.
And he turns and runs from thebar.
He's seen someone gun down infront of him and he is
terrified.
Courtney acts next, stillconscious of this threat the
thing poses, she swings at itonce again.
A six and a one.
The one cancels out a singlesuccess, so that's a miss.
(19:20):
Worried for her life, she usesher remaining reroll.
It's probably a good time nowto mention a stat that all
characters have.
It's called Willpower, andwhile it can sometimes be rolled
like any other attribute, italso comes with a pool of
temporary points.
Characters can spend thesepoints to do various things, but
at the moment all you need toknow is that a point of
(19:40):
willpower can be spent toguarantee a single success in a
roll.
Given that she's fighting for alife, that's exactly what
Courtney is going to do.
That's better, a seven and asix along with the willpower
point spent, that's threesuccesses, meaning that she hits
a creature and also gets twoextra dice on her damage roll.
Rolling four damage.
(20:02):
But in the storyteller system,you can't botch damage or soak
rolls.
That means the monster simplytakes three points of bashing
(20:22):
damage.
Courtney's stool impacts intothe side of its neck with enough
force to cripple a grown man,but instead, head lying at an
odd angle, it remains on itsfeet.
The creatures turn and itflails wildly at Courtney.
The creature swings at Courtneybut overbalances and staggers
(20:45):
into the bar.
A rule that the creature can'taxe next round as it tries to
right itself.
Round three, initiative.
Now you think I'd not botherwith initiative as Courtney is
the only one capable of acting,the creature being out for a
round and then Mavvy's win guyhaving fled.
However, two new individualshave pushed their way through
the crowd.
A man and a woman, so I'll rollfor them too.
(21:09):
Courtney.
A twelve, the woman.
As Courtney readies herself, aman and a woman push their way
through the crowd.
The man raises his fists and heswings at the stricken
creature.
As he does so, Courtney seeshim wince slightly and say
(21:30):
something to the monster, butshe can't make it out over the
noise.
Now I rolled these charactersup off mic, but this man is of
the martyr creed and he's usingthe level 1 martyrdom edge
demand.
This allows the martyr to hurtthemselves in order to save
another's life.
In mechanical terms, this letshim take a health level of
bashing damage and then allowsthe imbued to add his mercy
(21:52):
rating, in this guy's case 3, toone strength-related roll.
There's a catch though, for acombat roll, they have to take
the level of damage beforerolling to hit.
Anyway, with that out of theway, let's roll to attack.
Rolling the 10 again.
(22:15):
An eight, so five successes,rolling damage.
Wow, that's five successes intotal rolling the monster's
stamina.
Is no good, so all the damagegoes through.
This fills its damage track upcompletely with bashing damage,
and it now spills over to fourlevels of lethal damage.
(22:38):
Black, watery blood leaks fromthe creature's mouth as it leers
drunkenly at the man.
It's the woman's turn.
Having rolled her up off Mike,she follows the vengeance virtue
and is of the Avenger Creed.
She's grabbed a pull cue, whichshe's going to swing at the
monster.
However, she's using the level1 Vengeance Edge Cleave, which
(22:58):
empowers her weapon to do plustwo damage and it also makes
that damage lethal.
Furthermore, she's risking 5points of conviction in this
role.
What does that mean?
Well, all imbued can do this,and it allows her to add the
points risked as dice to hermelee role to hit, but if she
fails, she loses the convictioninvested, and if she botches the
(23:20):
role, she loses all herconviction.
If she's successful though, shegains her points of conviction
back, plus an extra one.
She also cannot use a point ofwillpower if she is risking
conviction.
Anyway, all of that out of theway, let's roll to attack.
That's three successes nowrolling her damage.
(23:41):
Wow, five successes.
The pool cue almost seems tohum as it cuts through the air,
and for a second, Courtney'sdimly aware of something that
might be fire surrounding it asit strikes a creature.
Now, unlike normal humans,despite the damage being lethal,
the creature can attempt tosoak it.
Ouch, the creature's appallingluck continues and it manages a
(24:06):
grand total of zero successesfor the soak roll.
As the empowered pull cuestrikes the monster's side,
there's a wet gurgling sound,and the creature crumples to the
floor in a heap, ending thiscombat.
Courtney's heart was racing asshe ran her free hand through
(24:35):
her hair.
It was sodden with sweat.
She let the broken bar stoolfall from her hand and looked
over the man and woman who hadcome to her assistance.
He was tall and athletic.
His build reminded her of arunner, with dark skin and short
hair that was cropped in analmost militaristic fashion.
His face was young, probably nomore than 25, and the powder
(24:58):
blue Kansas City Royals top thathe wore made him seem even
younger.
The woman would have stood nomore than 5'2 with the kind of
effortlessly slim frame that ina more normal setting would have
made Courtney feel envious.
Her face was striking, highcheekbones, beastung lips, and
large blue eyes that would haveseemed almost comical if they
weren't so pretty.
(25:19):
A black baseball bat coveredher head, and a sandy blonde
ponytail jutted out of the back,swinging in time with the
woman's nervous energy.
Courtney caught her breath andwas about to express her thanks
when the woman turned to theman.
Mysterious Woman (25:34):
We have to go now.
Iain (25:35):
Rather than turn to leave, the man turned and inclined his
head towards Courtney.
What about her?
Mysterious Woman (25:43):
What about her?
Iain (25:45):
For one awful moment, Courtney thought of crime movies
where a witness had seen toomuch and had to be removed.
But the next words out of theman's mouth set her nerves at
ease.
She's clearly one of us.
The woman made a non-committalnoise before fishing around in
her pocket to produce a notepadand pen.
As she started drawing, the mankept glancing nervously at the
(26:08):
door.
The woman nodded as she drew.
Mysterious Woman (26:11):
Okay, lady, if you're what he thinks you are.
Iain (26:14):
She jabbed the pen at the pad a couple of times as if she
were very aggressively dottingher eyes before turning it to
face Courtney.
Mysterious Woman (26:21):
Tell me what you see here.
Iain (26:23):
The page was blank, save for a single simple symbol.
It looked like a plus sign or across with a thick dot in the
center from one each of thepoints.
She furrowed her brow and wasabout to shake her head when
that voice that she'd heardearlier spoke again.
Open your eyes.
She handed the pad back to thewoman.
Courtney (26:44):
Ally.
Ally or friends, I think.
Iain (26:47):
The woman smiled, her cold demeanor evaporating almost
completely.
Nodded and placed a hand onCourtney's shoulder before
giving it a little squeeze.
Mysterious Woman (26:57):
Things are going to get very weird very
quickly for you.
We can't hang around.
Iain (27:01):
She nodded at the other man who seemed to be a bundle of
twitching energy.
Mysterious Woman (27:05):
But when the cops arrive, just act scared and
confused.
Tell them that when the gunwent off, you tried to get that
man away from your friend andleave it at that.
Iain (27:12):
She smiled gently.
Mysterious Woman (27:14):
If you can cry on demand, that always helps
too.
Tends to stop the questioning,you know.
Most men tend to feeluncomfortable around hysterical
crying females.
They don't like it when we'reemotional.
Iain (27:24):
She put air quotes around the last word, winked, and
taking the pad from Courtney,she scribbled her number on it
before tearing off the sheet andhanding it to her.
Mysterious Woman (27:34):
Once the dust settles, call me.
I'll answer a fable, if not,leave a message.
I will get back in touch.
Believe me, I wish I hadsomeone to help me when this
first happened to me.
Iain (27:44):
She turned to the other man and punched him in the
shoulder.
Mysterious Woman (27:47):
Come on, let's bounce.
Iain (27:48):
The man offered Courtney a grim little smile before the
pair of them left.
Head still swimming witheverything that just happened,
Courtney pocketed the scrap ofpaper as she had a car leaving
and the squeal of tires.
Almost as an afterthought, sheglanced down at the body of the
monster.
Only he wasn't a monsteranymore, he looked just like a
normal man.
None of that wrongness hungaround him, and his appearance
(28:11):
was completely ordinary.
She could feel her heartbeating faster and her legs
begin to shake.
Had they just murdered someone?
Kneeling down next to him, shewas shocked to see that he
looked almost peaceful.
It was then that she heard thesirens, and after what seemed
like an age, two police officersbattled into the room with guns
drawn.
(28:31):
Courtney felt an overwhelmingsense of relief, which, combined
with the adrenaline, caused herbody to shake even harder.
One of the officers noticedthis and rushed to her side
whilst his companion stood inthe doorway and started
hollering into his radio forbackup.
The cop attending her, hisexpression one of genuine
concern, knelt beside Courtneyand asked her if she was okay.
(28:53):
Open your eyes.
As she stared back into hishonest, worried face, Courtney
felt her stomach flip and an icycold run up her spine.
The police officer was wrong.
Despite herself, she started tocry.
Drop us a line at roll.save.podat gmail.com or find us on
(29:54):
Instagram and Facebook bysearching for Roll2Save.
If you want to support theshow, you can Do so by leaving
us 5 stars on your podcast appof choice, nor by sharing our
episode announcements on socialmedia.
Every review and share helps usreach more listeners and it
validates our fragile locos andmakes us want to make more
(30:14):
episodes.
If you're new to Roll2Safe,welcome.
We have a back catalogue filledwith other actual plays like
this one, plus history episodesexploring classic RPGs,
roundtable discussions, authorinterviews, and product reviews.
If you're a fan of Gaming'sGolden Age, you'll find
something there for you.
Until next time, stay vigilantand beware of the Hollow Men.
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