GM Henry Fortuna's First Steps (Sessions 1-3) [Group 2] (Inactive)
Game Master Signore di Fortuna

Regarding her bleeding finger with equanimity, Aesantiel inquires, "Does anyone have means to separate a viper from its favorite key? I think it might be less embarrassing if the viper survives. Though right now my charity is feeling somewhat wounded - almost venemous."

A lightbulb seems to go off in Elross' head. "I might have a solution to both our problems," he proclaims, setting the glass jar back down. Retrieving his water skin, he explains, "I'll lower this into the basket and then grab the snake when it bites it. Then seeing as the water will most likely be poisoned, I'll dump it out and use it as a container for the liquid from the glass." A smirk across his face, Elross lowers the water skin into the basket with his left hand. Now hopefully I'm quick enough, he thinks to himself.

Reflex save if needed 1d20 + 2 ⇒ (8) + 2 = 10
Grapple 1d20 + 4 ⇒ (18) + 4 = 22

"Aesantiel you should really let me see that."
States Simon as he touches her lightly on the shoulder.

Krygmar listens to all of this intently "If that fails we could probably just smash the glass and the snake...then we have the key."

Well, if you think the liquid might be harmful, you could test that by pouring it out on the snake.

Simon heals the snakebite channeling positive energies from Sarenrae.
Channel Energy 1d6 ⇒ 5

Casting Mage Hand.
He then casts a spell and attempts to lift the key from the basket and from the liquid in turn and deposit them on the floor.

Hasty GM correction time!
Viper's Critical Confirmation:1d20 + 5 ⇒ (12) + 5 = 17
Okay, it was still a critical...

Viper vs. Elross:1d20 + 5 ⇒ (5) + 5 = 10

The viper knows the difference between a hand and a waterskin.

Viper's Attack of Opportunity:1d20 + 5 ⇒ (19) + 5 = 24
Damage:1d2 - 2 ⇒ (2) - 2 = 0

Fort Save, Elross.

Elross' waterskin ploy does not work, but, he successfully grapples the viper, leaving the key unattended in the basket.

Fortitude Save 1d20 + 4 ⇒ (19) + 4 = 23
Knowledge Nature (to tell if it's a poisonous snake) 1d20 + 1 ⇒ (1) + 1 = 2
Continued Grapple 1d20 + 4 + 5 ⇒ (15) + 4 + 5 = 24
Inflict Nonlethal Damage 1d3 + 3 ⇒ (1) + 3 = 4

Elross stares at Simon blankely while the viper wiggles around in his hand. "Well I guess that works too," he admits. Setting the water skin down on the table he gives the snake a quick knock and (if it's unconscious) drops it back into the basket. (If not he continues to hold it)

1 point of non-lethal damage, Elross.

With the viper safely bludgeoned and unconscious, Elross, unaffected by poison, tosses it back in the basket along with the key.

Cedrick picks up the key in the basket and sees what Chest(s) it will be able to fit into.

The runes on the blue key match those on the keyhole of the red lacquered chest. The jeweled brass key looks like it could fit into any of the chests' locks.

Aesantiel asks, "can I see the runes a moment?"

Are the runes in a language I know? Are they apparently a language, or just decoration?

The runes aren't a language, rather the markings of a spell. They glow with an amber light.

"I can attempt to read this as a last resort, but perhaps someone better informed about what they might read?"

aesantiel can read magic 1/day, but has no spell craft or UMD

Aesantiel inspects the red key, any locks with writing, and any locking mechanism on the door behind them, specifically looking for writings, and more particularly magical writings.

Aesantiel notices that there is a keyhole in the door behind you, but she finds nothing else that offers a lead besides the blue key and the red lacquered chest.

Ok, stand back, just in case. Cedrick takes the Rune Key, puts it in the red chest, and turns it. He moves slowly while keeping an eye out for anything unusual.
Perception (take 10): 16

The key turns in the lock as soon as Cedrick inserts it. The chest opens to reveal a key forged into a jeweled scepter.

"Well this is a delightfully complicated set of locks and keys." Simon states.

Simon continues his casting of mage hand to pull the key down from the ceiling. Failing that he pulls the line holding it taut making it easier for a blade to cut.

Cedrick steps back, pulls out his bow, aims, and unleashes an arrow at the ceiling.

Simon, you're reading spoilers ;)

Simon and Cedrick's tactic works and the golden key falls to the floor with a small clatter.

Elross steps forward and picks up both the brass and the gold key. Glancing at both of them, he decides to stick with the key that was in the glass jar and tosses the gold key to Aesantiel. "Give that one a try in the steel chest," he says, leaning down towards the copper-banded chest. Placing the key into the chest, Elross cautiously turns the key to the right.

My bad. Combo of sleep deprivation, and being the scout in another PBP. I'll be more careful in the future.

Make a Will Save, Elross.

Will Save: 1d20 + 2 ⇒ (15) + 2 = 17

What does the Golden Key fit into?

Waving his hands in the empty space in front of him, Elross says, "Turns out there is no third chest, it's some kind of illusion." He stands up and walks back to the table to retrieve his water skin, watching Aesantiel as he goes. If this is any kind of indication of what the family vault will be like, he thought to himself, I'm not sure that I'll be the best candidate for the exploration.

Do I still have the key or did it fade with the chest?

Aesantiel takes Elross's recommendation, and attempts to apply the gold key to the steel chest.

@Elross - nope, probably not a good fit for this little crew. But I don't think that's our gig. We're just the document couriers.

Aesantiel slides the gold key into the lock.

Will Saves:
Aesantiel:1d20 + 4 ⇒ (4) + 4 = 8
Elross:1d20 + 2 ⇒ (3) + 2 = 5
Cedrick:1d20 + 5 ⇒ (19) + 5 = 24
Simon:1d20 + 3 ⇒ (7) + 3 = 10
Krygmar:1d20 + 3 ⇒ (15) + 3 = 18

3d20 ⇒ (1, 16, 9) = 26

After Aesantiel opens the chest, you notice that her, Elross' and Simon's skin turns blue. Inside the chest, there is the map of the Salhar burial vaults and a wand of knock.

You still have the brass key, Elross.

"hrmm. Blue. It could have been orange, or scarred by acid. I can pull off blue. Just a quick thought though.." Aesantiel dips the tip of her little finger into the fluid in the glass, then critically reviews her fingertip.

OOC: is this all the documentation we were supposed to acquire? I though there was a 'charter' or some such.
Separately, I wonder whether we're meant to take the wand along with us, or if that was an alternative way to open the front door if we had come up a key short...

Well, it certainly makes me feel better. Cedrick grins wide.

Does one of these keys look like it will open the door to get out?

"Yeah, I wonder why they would bother turning us blue though. It's like some sort of childish prank."

Take one point of acid damage from dipping your finger in the liquid. And it does nothing for the blue. Yes, the map is all you needed.

Upon close inspection, it looks like the scepter key will unlock the door. Trying it, the door swings open. The servant who escorted you down here stumbles forward from the wall he was leaning on.

"I see you found the map. Quite quickly too, I might add. I'll take those keys, please. You may keep the wand you found."

He looks over the group, pausing slightly when looking at Aesantiel, Elross and Simon. He clicks his tongue against the roof of his mouth before he speaks again.

"Well, I suppose that I shall escort you out. Master Amenopheus will be...pleased with your results."

That would be acid burned, snake bit, and blued. Now all I need is a tattoo :)

Sense Motive (vs the clicked tongue): 1d20 + 1 ⇒ (14) + 1 = 15

Elross narrows his eyes at what he assumes to be a Osirian taunt, the blue skin making them the butt of some joke. "Hopefully it wears off," he says to Simon, "we'll look pretty ridiculous standing in front of Venture-Captain Valsin like this." Glancing at Aesantiel nursing her finger, Elross feels guilty. If only I had successfully identified that liquid, he thought to himself, she wouldn't have burned her finger. I'll have to try harder next time, and make it up to her.

Addressing the researcher, Aesantiel says, "yes, many thanks. Might I trouble you for a small glass of milk? camel, yak, or cow - any would be fine." Receiving the small glass of milk, and the odd look with equanimity, Aesantiel plunges her small finger into the milk, stirs for a short moment, then returns the glass of milk. She wipes her finger fastidiously on the napkin on the tray with the glass of milk. "That feels much better now. மிகவும் நன்றி"

--------

"Gentlemen, it seems we're on to Paracountess Zarta Dralneen in the Ivy Quarter. I hope she appreciates Osirian humor, or at least is a fan of the color blue."

You depart from the Wise District and head to the Ivy Quarter. You get a few stares from passersby, but, thankfully, the walk is long enough for Aesantiel, Elross and Simon to turn back to a normal hue.

While walking down the street in the Ivy District, you see an acting troupes and several bards practicing what appears to be a comedy. A painter suddenly rushes up to Aesantiel.

"My dear, you are the most beautiful elf I have seen all day. You must let me paint you! I am Rodrigo, painter extraordinaire, and I will do your lovely face justice!"

"I would suggest avoiding the color blue if I were you."
Simon states offhandedly to the painter.

Elross chuckles at Simon's quip, then glances over to the performers. Watching the practice, his stomach gives a loud notification that it is well past time to eat. I guess now is as good a time as any, he acknowledges. Pulling the pack off his shoulders, Elross flips it open and finds his stash of rations. He then begins to silence his growling stomach while replacing the pack over his shoulders.

One trail ration removed from equipment.

"master rodrigo, I am flattered. It appears my companions have some impulse to luncheon, and I have some desire to observe this rehearsal. However, we have obligations this afternoon. If you can make An initial study as we have lunch, and perhaps come by the pathfinder's house this evening?" casting a glaance at Simon, "and blue might be a particularly apt color for the day. And perhaps cats."

"Ahh, you do me honor, young lady!" Rodrigo states, quite surprised by Aesantiel's response. "Most people take my offer as 'flirting'. It is these young painters and their dreams of fairy tale love. Ah, I digress...Let us head over to the Red Rose Tavern. They have a wonderful interior and their food is quite delicious."

He jingles his coin purse slightly. "I'm sure I can repay you for you and your companions' time."

He leads the way to a small tavern that looks like a country cottage. He holds the door open for you.

"I suppose I could really go for some food now. How about the rest of you?"
Simon asks the rest of the group.

"Master Rodrigo, if your desire is to pay me court, I am, " giving him an appraising look, "not unwilling to have that discussion. I would recommend that if such is your intention, you should be well prepared to engage in serious painting. Mutual participation in a productive activity is a fine start to either courtship or friendship. Non-productive dalliance is surely intended for a later phase of relationship."

"Or are the assumptions here different?" Aesantiel gives him a frank, if somewhat disbelieving 'how could that not be the case' look.

"Ah, forgive me, young lady. I do believe you misunderstand me in some way. I am Master Painter Rodrigo de Valencia and, many years ago, I was the envy of all the painters in the Ivy District. I was praised by critics and students alike. But now...not so much."

He raises his hands and they shake ever so slightly. "These hands, they have betrayed me. But I search and hope for a subject who can bring life to them. So I turn to you, young lady. I believe you can help me."

I suppose it would be good to not tackle whatever the Paracountess has in store for us on an empty stomach, but we should make it quick.

Rodrigo orders a roast leg of lamb and four ales for the group. The smell is intoxicating and your mouth waters as it is brought out to the table.

He patiently waits for Aesantiel to finish before setting a stool before a window. He pulls out an array of brushes and paints. You see in his large case that there are many pictures, unfinished.

Aesantiel eats sparingly, eschewing the steaming sheep carcass. She listens to the group's discussion, and considers the performers in the courtyard. She gives consideration as to whether their performance is instructive, religious, or simply for entertainment. She considers the nature of their interactions, and what it might mean with respect to their social station, the station of characters portrayed, and whatever she might infer about social, racial or religious groupings.

'These diversions embody so much that is instructive about the society that originates them. Yet so much of it is coded, either in shorthand, convention, or intentionally misrepresented for humorous effect. It may take some time to be able to effectively use theater as an accurate lens on these societies...'

And incidentally, she sits at the window, in marvelous mixed light. She has a far-away, but somehow fiercely active look in her eyes. And again, incidentally, unconsciously, she strikes a very attractive composition.

Simon responds to Cedrick.
"I am all for accomplishing things quick as well. This man bought us dinner though, so we'll let him have his muse for the painting then be on our way."

"Perhaps Master Rodrigo has some knowledge or Paracontess Zarta Dralneen?" advances Aesantiel, distractedly.