Dottie Underwood/War Widow's page

You're too kind. :) Been good playing with you on this journey.

Realized I forgot to have Dot do something with the photos of the Roxxon facility and the experimentation chair on her microdot (actually more likely digital) pen--probably either handed off to Samberly to give to SHIELD connections, or uploaded to the Internet with the aid of some unwitting library employee. We'll say one of the two happened, it just ended up on the cutting room floor.

Responding to SuperT further upthread, I'd definitely be down with another season, but I think we all need a break. But if inspiration strikes, SuperTumbler, let me know. Dottie will always be in my head.

After the initial credits run, with silhouettes of the main characters forming from what looks like mixtures of liquid darkness and blood...

We flash to cuts of the helicopter falling into the sea, and Dottie and the kids teleporting to safety on the far shore...

Dottie at Empire State, talking to Samberly...

To a new device, drawing the Darkforce out of Lainia and the two boys...

Meanwhile Silhouette, opting to keep what has been forced upon her, disappearing into the streets...

Dottie now back in Brooklyn, taping a sign to the front door of Duke's: "Closed until further notice due to a death in the family"...

Dottie upstairs, cleaning up Frank's room, finding a half written letter...

Meanwhile, Dottie's voice comes through over the scenes:

"I have never understood why the world gets fixated over heroes. Heroes get the climactic battle, sure... they get the victory. But then you leave the rest of us behind, to clean things up. You fought the Red Skull, crashed your plane, everyone sings your praises. We're the ones who actually fought the final battles. Received the surrenders. Opened the gates to the work camps. Went home to famine and struggle. Where's our statue?

"But I will carry on... Because you heroes..."

We see Dottie, getting off a bus. Walking into a suburb. Leaving an envelope tucked into a door...

A woman picks up the envelope, examines it. Text on the envelope reads: "He died the hero she wanted him to be. Children live because of him. I hope that's enough."

"You heroes keep leaving me. Leaving us behind."

Fade into Dottie standing before the statue of Captain America in Brooklyn. Frank's grave is underwater. Peggy's is in London. So she stands before the monument of the living, and yet the far away. At the base of the statue in black magic marker reads block printed letters: "Constrictor gave his life for Brooklyn. What will you do?"

Dottie looks up at the statue, her fist clasped against her chest. "I'm not doing this for you anymore, you're not worth it. I'm not doing it f-" she chokes something back. "For her. I'm doing it because not a hero."

She lays something on the statue's pedestal, just one of many gifts and tributes. Dottie opens her hand and lets it go: her handmade red hourglass symbol.

"I am a soldier. And a soldier doesn't leave their people behind."

She turns and walks away, and we fade back into black.

I think we could leave it to the imagination of Our imaginary audience.

Will post my denouement scene later tonight.

Maybe Frank had begun to write a note to his kid before they left for the mission?

Cheers to you too, BD! I was glad to have a partner in sort of crime with this and it's been a great pleasure to play with you. Your strong sense of character was well played and you played up a strong growth arc with Frank.

Yes, a post credits sequence is basically what I was thinking. Want to be sure SuperT is okay with it before I post anything.

Is there going to be any further wrap up? I feel like there are a number of loose ends to tie up--I mentioned some in a PM to you awhile ago, like what to do with the kids (Dottie wants to take them to Samberly/Sterns to get them to adapt the gamma trap to remove their powers if the kids are willing; also since Samberly/Sterns making the gamma trap is otherwise a dropped plot arc; it bugs me to just leave it).

Likewise, even if Frank has made his heroic sacrifice, it would be interesting to hear if somehow word gets out that he died saving people and/or his ex-wife/child hears about it (perhaps from Dottie if no one else).

I'd like to post some final thoughts as well--my escape post was climax; I was hoping also for denouement. At the same time I know you are exhausted; I don't want to step on your toes, just get some closure. I could post something here if you don't want the end of the game thread mucked up.

BD/Frank--any last words? I have my own (typical to me, overly lengthy) approach to a denouement so I can tie up loose ends and drop in some thematics, but I feel like you need to have a chance to have any final thoughts/scenes/etc.

I know we're wrapping things up; I know it's not quite time to say goodbye yet, but thanks all for a wild ride.

Dottie's flicker toward the movement from below. She sees more youth in test subject garb. She waits. Ten seconds. Ten years. No Frank. Her expectant expression drops into something blank. "Silhouette, those boys. Go to them and bring them here."

While Silhouette does her thing, Dottie flicks her switches, hoping that helicopter technology has not dramatically changed in the 20 years or so since she last had to control one. Since you're not caring about rolling, with her Vehicles bonus, I'm going to assume she is able to take 10 and that should be adequate to get things going.

While the rotors warm up and Silhouette returns with more refugees and they get buckled in with headphones on, she attends to something else important.

The helicopter is one of those ones, much like a police copter, equipped with a megaphone system. Perhaps it's to issue evacuation warnings during emergencies, perhaps it's for publicity stunts. Should it be on this particular kind of transport copter? Possibly no. But, as though it were convenient for some kind of tv show or something, there is conveniently an external speaker system and there conveniently is a CD deck attached to it, and there is also, extremely conveniently and ridiculously coincidentally, a CD that Dottie recognizes. She first heard the song blasting from a petulant teenager's bedroom in one of Howard's mansions in 1990, and she appreciated the clearly communism-inspired ditty so ironically coming out of the capitalist nest. She, as the kids would say it, mashes play.

And so as the helicopter lifts off, industrial dance rhythms echo over the platform, and the voice of Trent Reznor mocks the fleeing personnel:

God-money I'll do anything for you
God-money just tell me what you want me to

She flies over Roxxon employees, so busy pushing at each other to follow their evacuation routes and fighting for a place in line, they don't even signal to the copter.

God-money nail me up against the wall
God-money don't want everything he wants it all

She hovers near a Roxxon sign. She speaks into the microphone. Dottie has been in the world again long enough to know someone, somewhere, is recording. "Good evening. Please be aware that Roxxon initiated this shutdown and evacuation to hide illegal experiments on trafficked human children. Say hello, children." She invites the youth to shout into the microphone.

No you can't take it
No you can't take it
No you can't take that away from me

"Everything that happened here today is because of Roxxon, by Roxxon's design. Should you survive today, please make better choices in employers." She lifts her pistol and shoots out some of the lights, before pulling away into a wider circle around the facility.

No you can't take it
No you can't take it
No you can't take that away from me

Cut to Frank fighting for his life in the water down below.

Head like a hole
Black as your soul
I'd rather die than give you control

Back to Dottie, tossing flashbangs at security's last ditch attempt at retaliation. The copter lifts upward as a rocket propelled grenade flies wide of the craft, and security officers flee and fall amid the bright white phosphorus bursts.

Head like a hole
Black as your soul
I'd rather die than give you control

She flies down, scanning mainly for Frank, hoping he emerges somewhere. If she see someone who truly seems like a victim and she is able to feasibly rescue them without putting the children in danger, she will do so. She will not if it puts them or the copter at risk. She will definitely bypass anyone looking like a loyal henchman or superior. Otherwise, she mainly is only buying time to see if she can find Frank, but we all know Dottie will not wait forever...

Bow down before the one you serve
You're going to get what you deserve
Bow down before the one you serve
You're going to get what you deserve...

By the way, I have something (completely inconsequential but fun) I want to do when I take off, but I wanted to stop for any final "WAITS!" before they get the rotors going.

Dottie launches herself toward the helicopter, though even in her speed she is looking out for (a) trouble, and (b) the hapless pilots she stole the keys from. She's more than happy to let them take the pilot's chair as long as they take her and the girls with them.

Also if she sees (c) Duke, she will shoot him on sight.

If there is nothing of interest, she enters the copter first, to be sure there's no one lying in ambush, and then pulls the girls in.

Will post by tomorrow. All you, BD.

Dottie smiles at the remaining roughneck, though it is concealed by her face scarf. "I think I saw folks running to evacuate on the level below. How about you use your muscle to join them and get into the ocean the safe way?"

She then scampers off and leaps for the nearest staircase to head for the heli platform and rejoin Silhouette and Lainia.

So looking at pictures of oil rigs, there are all kinds of cranes and booms all over the place for lifting and transferring cargo and oil barrels and whatnot. The more huge and corporate the rig, the more there seems to be all kinds of doodads and whatnots hanging everywhere. (BD please feel free to laugh at my obvious technical expertise on this.) And moreover, I am assuming Roxxon is really, true to Evil Corporation (TM), good at skirting what OSHA will allow to exist on in terms of safety standards. So I am spending my recently collected hero point to have a convenient crane on a boom nearby that is designed to be able to swing out over the edge of the platform and not much in its way to stop it... save perhaps a bunch of people...

Dottie dances with the leader of the roughnecks, dodging his attacks before lifting her pistol and firing toward him. But instead of actually aiming for the roughnecks, she aims for the control that lets a nearby boom swing.

Ranged Attack vs inanimate object: 1d20 + 6 ⇒ (6) + 6 = 12

That should be adequate

Striking the switch, she uses the roughneck's shoulder as momentum to flip herself over the crowd of men and the swinging boom, so that she's on the other side as it swings forward to knock into them... and hopefully knock them into the sea. Using Leaping to get 15 feet onto the other side from where she was standing

Are they following her deception and moving toward the edge? I was following your earlier nudge and coming up with a way to handle the group at once.

Yes, Gracie, the PL 10 tank in the world-threatening magical game, has Takedown 2. Dottie, the PL8 assassin/skillmonkey in (what I presumed was going to be) a street level game, does not. Dottie comes from the genre where the mooks are polite and attack you one at a time, so it's less necessary. ;) If she were higher PL or had more XP it would be a good feat to take, but given her skills aren't even where I'd like them to be it'd take a whole other campaign before she probably was able to take such an ability. (I am not suggesting you run a whole other campaign. :) )

Dottie, in fluid movement, dodges, flips, and cartwheels away from each of the assailants' clumsy blows. She laughs. "Come on, boys, you're not afraid to hit a woman are you?" It's inane banter, but it's the kind that speaks to the level of the thug she's engaging.

Buying the girls time to get upward, she instead taunts the roughnecks and moves toward the outer edge of the level on which they are standing...

Deception, following me is totally a good idea!: 1d20 + 12 ⇒ (13) + 12 = 25

Also she might be pulling out her pistol about now. I don't know why her pistol is not on her character sheet but I distinctly recall her having one. She took it from the SSR facility way back when. If she doesn't have it, she'll attempt to take one of the guards' guns next round.

Whoops we ninjaed each other, I hadn't seen your post yet

Dottie unarmed attack Roxxon Roughneck: 1d20 + 10 ⇒ (9) + 10 = 19
Roughneck Toughness Save DC 17: 1d20 + 3 ⇒ (7) + 3 = 10

Dottie free grab: 1d20 + 14 ⇒ (8) + 14 = 22
Roughneck Resist: 1d20 + 3 ⇒ (19) + 3 = 22

She takes down roughneck 1 so fast with a swift kick to the face that he falls before she can even grab onto him.

Thank you, I had it completely backwards. I also thought both were Russian (I thought they were both victims of Russian mob trafficking since we had been dealing with crime families earlier). I am ready to move forward when you are done with Frank's scene (no rush).

Thank you, I had it completely backwards. I also thought both were Russian. I am ready to move forward when you are done with Frank's scene (no rush).

GM when you are available we are waiting on you, I think

The trio of lost Russian dolls wend their way upward as quickly as they can, running, climbing, shadow-jumping. As they get higher on the rig, they reach the areas where more Roxxon employees, grunt to guard, had been working. A chaos of individuals flee toward lifeboats, while others direct... or lock behind doors or leave behind some workers deemed lesser. Amid the surge, the armed security guards march their way through the area relentlessly, looking for any who don't belong--and the test subject pajamas and a "scientist" in hazmat garb running upward doesn't look right. And while the hazmat suit is helpful for one kind of protection, Dottie needs another versus the batons and firearms the guards wield.

Meanwhile, Lainia flags, already having pushed her legs farther than they can go. Only two guards approach closest, and Dottie forward flips toward them, crashing into one, and then kick flipping off his chest into the other. She grabs the gun the one and fires it toward the other, then elbows the second in the face and he stumbles backward, tumbling off the edge. Dottie fires the gun at a security door mechanism, opening one of the locked doors that had sealed in workers intended to be abandoned. They surge out, rescued for the moment, but also creating a distraction.

"<I need to do something.>" She directs the others toward an open steel door to use for cover. She pulls off the hazmat suit and hands it to one of the young women. "<Run>." She points to the upper platform, now in sight (she prays to a god she doesn't believe in that the helicopter is still there). She pulls out the ammo cartridge of the rifle and hands the longarm to Lainia. "<Use this as a cane>." She hands the ammo to her. "<Or reload it and shoot, if you want.>" She figures if Lainia knows how to shoot, she can reload it and make use of it, but otherwise it's safer in the youth's hands unloaded.

"<Get up to the heliplatform as fast as you can. If the pilots are still there, tell them to wait for me. If they give you trouble, do what you see fit.">

Pulling her coat out of her field bag, she slides it on with practiced rapidity, a lengthy lifetime of suiting up, whether in spec ops leathers, sniper uniforms, or SHIELD battle armor. She pulls up the black hood--clipped on either side so her peripheral vision is not restricted and the red mask over her mouth and nose. She slides the knuckle-blade onto one hand, holsters her pistol, and in a roll to her feet, swings her bag back onto her shoulders. She is already charging toward the mob as she assures the two young women, "<I'll be right behind you.>"

Am back post work crunch and break after work crunch.

I have in my head a "fight to get to the top" montage that at some point somehow Dottie has time to pause and put on her full War Widow gear to fight the baddies while the two girls make a run for it, but I have just not yet had the time or energy. But if now is the time for a montage, let me know. Wagon Fulla Pancakes optional.

And yes, I have a general sense, I think, for where you're going. We'll need BD fully operational for it to work right so hopefully his own work crunch is dying down.

Work is now insane for me and will be for a few days. Want to post but am too drained. Will soon as I can.

While, like most individuals with antisocial personality disorder, Dottie is adrenaline junkie to an extent, she is--unlike many ASPD sufferers--also a survivalist and puts her survival above the adrenaline high. She likes a fight, but you are more likely to survive if you don't get into a fight at all. And that fear is surging more strongly through her veins--and she doesn't know it, but Darkforce and its dimension is deeply associated with fear--makes it less likely to leap into a fight. She is wearing her hazmat suit still, and would try to attempt to convince any toughs that are to follow her own orders first.

Deception, using Taunt to sub for Intimidate: 1d20 + 12 ⇒ (9) + 12 = 21

If that doesn't work, then yeah, she'll kick their asses.

Something about just hearing Russian being spoken pulls her out of the basement of her own mind, though she blinks at Laynia like she hasn't seen her before. She reflexively jerks away from the touch.

"<Right. Helicopter."> Where was that elevator again?

Nothing... nothing NOtHiNG... nothing...LOSS....NOTHING...

Dottie comes out, doubling over as though in physical pain, even though the passage should have inflicted none. She gasps for air as though something is making it hard for her to breathe.

"I can't... I can't, Peggy..."

Dottie straightens as she sees the others heading for lifeboats. Booker's words come back to her: Everything in storage is below the waterline. She remembered the garbage chute that led straight into the ocean. They hide their experiments in the ocean. And they'll use the ocean to hide everything.

She looks at Silhouette and Laynia. "<They're running. That means they're going to destroy this place. We've got to get to the helicopter. Now."> She describes the route.

And then as she leads them upward, she uses her sharp eyes to spot any shadows in the right spots, hoping Silhouette can propel them forward. She was afraid of Darkforce. But survival, as always, was her first priority. If Darkforce helped her survive, then so be it.

Perception to spot convenient shadows: 1d20 + 12 ⇒ (18) + 12 = 30

Dottie gives a sort of halfway look of surprise and yet approval. "<Okay, I figured you were gonna try to teleport upward, but if that works for you...>"

Dottie guides the girls up toward the helicopter platform in whatever way she perceives as most sensible. What is the status of people and security measures where they are moving? Are the alarms still blaring? Where are people headed?

Spent hero point to confirm the wrist device can help enable the darkforce user to use her powers better.

I was waiting on Frank, but I'll go ahead.

Dottie reflexively shudders at the crackle, but even she has to be impressed seeing the results of the woman's actions. "That's handy."

She moves toward her, waving to Laynia to stay behind her to use the shadows that they are approaching to their advantage.

Dottie removes the wrist device as she does so, and as she gets close to Silhouette, she says, "If I put this on you, you think you might be able to use it? It might steady you." It's a long shot, but maybe the thing isn't just a portal opener. Maybe it can stabilize her. I'm willing to throw a hero point behind that to edit scene if that would make sense and serve the purpose of the story.

ooh, good call.

Would a treat injury check still be needed here? I don't think hero points allow for autosuccesses or I'd be using them a lot more... hero point would allow reroll for best of two results, or you can give yourself a temporary Advantage, but the only Advantage I think would work would be Beginners Luck which gives you a temporary 5 ranks in a skill... with an expenditure of a hero point (so would take 2 hero points to get).

Dottie motions to the girls to let her exit the hatch first, and she monitors activity--motions, orders being shouted over loudspeakers, etc.--before determining the case is clear.

Perception: 1d20 + 12 ⇒ (7) + 12 = 19

If the coast is clear at the moment, she offers a hand to both Laynia and Silhouette to help them out of the hatch.

"I know you're exhausted but if we get caught, they'll have no mercy. Move like your life depends on it."

Persuasion: 1d20 + 4 ⇒ (17) + 4 = 21

"That thing is called Darkforce. Or Zero Matter. It can do amazing things. It can also drag us all to oblivion. If you can use it to make rather than destroy that will be a first that I've seen. I don't say this to frighten you. I say this so you know. Maybe you'll be the one to change things for the better."

She doubted it, but she was stuck with these girls now, so might as well try. A flicker of hope pushed tentatively at the coldness in the center of her gut.

Forgot to note above that Dottie is continuing to speak Russian.

Dottie will keep climbing. When they get to the top--hopefully the hatch is still open!

The goal from there is to figure out how to get to the helicopter.

I was taking it as they've flooded the lower floors and killed all the test subjects. You've opened one of the doors holding all the water in and water is now coming toward you fast and will drown you if you don't move quick enough. ST am I wrong?

"That thing is called Darkforce. Or Zero Matter. It can do amazing things. It can also drag us all to oblivion. If you can use it to make rather than destroy that will be a first that I've seen. I don't say this to frighten you. I say this so you know. Maybe you'll be the one to change things for the better."

She doubted it, but she was stuck with these girls now, so might as well try. A flicker of hope pushed tentatively at the coldness in the center of her gut.

Dottie talks to the women as they climb, though not so rapidly as to put them out of breath. She inquires about their schedule, who they interacted with if anyone, and if they were ever taken anywhere beyond where they were being held. If asked why she wants to know, she explains it's important to know anything and everything about this place and the people operating it if they are to escape.

*<<in Russian>>

Dottie offers a wry smile at the James Bond comment. Answering the question about the way out of it.

"<<About six stories above the top of the elevator, there's a helicopter. If they haven't disabled it. If you need me to carry you, say so, this is the time for speed and humility.">>

She pauses. <<"We could also see how this doohickey works but I don't want to gateway us into the ocean by accident, and I'd rather not toy with transdimensional dark matter if there's another way.">>

I dont speak Russian (outside of hello, thank you, yes, no, and goodbye) and DeepL did not know how to translate "doohickey" into Russian, but I expect she's probably using some old World War II slang that makes her sound like she's in her 90s. Which she is.

What's Frank up to?

Dottie calls out to the rapidly descending Frank, "Heroes don't just abandon their partners!" She adds, calling into the darkness, "Especially not after their partner goes to the trouble of rescuing them!"

Dottie's annoyed at the moment for a number of reasons, not the least of which is the fact is in the unlikely chance Frank succeeds in rescuing the rest of the prisoners, the occupancy capacity of the helicopter is ruled by physics neither she nor Frank have the ability to alter, and so she decides transport of anyone other than herself and their immediate party is his problem. If he survives this at all.

And that is the other thing that annoys her: she kind of cares a little bit if he dies. Not enough to go after him, mind, just enough to tickle at the back of her mind.

But: to the issue at hand. She is in an elevator shaft which someone could shut the hatch to at any moment, with two underfed test subjects. SHIELD protocol dictates attempting to rescue them despite possible dangers they themselves pose due to Darkforce exposure, and besides, Dottie is still in her hazmat suit, and even she isn't so awful she'd just abandon them where they are.

So, she waves to them to begin climbing, letting the fully physically capable one go first. As she reaches to help steady the second one, she asks. "Okay, what are your names and where are you from?"

I had a cool flashback scene written about a risky rescue but it doesn't feel like the right time yet. Maybe later.

Frank, before you make your heroic dive to destiny, what are you doing with the girl who can't walk who you are carrying up the ladder? You did have her hang on to the ladder by herself, so are you just leaving her hanging there and hoping Dottie with a Strength of 2 can carry up what I am assuming is at least a 10 story climb? She technically should have no problem carrying an adult (Str 2 can lift up to 200 lbs) but while climbing upward I'm not sure if it's realistic to assume that's feasible without extra effort (which I then have to contend with the fatigue, etc). Do what you're gonna do, just need a clear picture of what's happening here with the prisoners.

I am picturing what she is saying spread out as they climb, with Frank trying to interject as they go (of course BD can insert the interjection).

Dottie tries to filter out the alarms, paying attention to any other sign of resistance.

Perception: 1d20 + 12 ⇒ (13) + 12 = 25

To the blonde, "Я так далека от Бога, как только можно, сестра."

Dottie fiddles with the wrist thingy, hoping to make the spot go away (assuming it is in the way of climbing any further).

1d20 ⇒ 13

To Frank, with possibly an audible eyeroll. "Sure, let's just load dozens of terrified trafficking victims given uncontrolled transdimensional darkness superpowers and load them all onto a helicopter designed to carry, at most, about six people. I am sure that will go down real well." A beat. "And by that, to be clear, I mean the helicopter will go down in the water with us in it."

"Also, I know you hurt your ear, but you do hear the obnoxiously loud claxons blaring, right? How much time do you think we actually have?"

She turns and gives Frank a look through the plastic mask covering her face. "Save who you can, not who you hope you can save. Or you just might kill everyone you hoped to help."

At the gasp, she purrs. "Hello, I'm the War Widow, so nice to meet you, we'll be relieving you of torture today."

To Frank: "Now what are you doing, flirting with two girls half your age in an elevator shaft? Anyway, keep holding that arm..."

Still hanging, now upside down on Ohn with her legs around his waist, she grabs the wrist device. She lets it slide onto her own wrist and fastens it into place.

She then sits up and grabs onto the ladder.

Athletics, I guess: 1d20 + 7 ⇒ (6) + 7 = 13

Not a terrific roll but hopefully enough to transition. She's not moving up or down, just transferring from the body to the ladder

A heavy sigh hisses through the mask of the hazmat suit. "You're supposed to be the big guns. Do I have to do everything myself?"

While going for the device is tempting and absolutely may even be a more tactically sound plan, Dottie's thinking is far baser: why go for the wrist when you can go for the neck?

Free Action, Maintain Grab: 1d20 + 14 ⇒ (3) + 14 = 17
Even if she loses her grip, he should still be defenseless from Frank's snare, so...

Dottie grasps onto Ohn's head and spins about like a gymnast on a trapeze, using his neck as fulcrum.

Finishing Attack, Rolling DC 10 aiming for an Automatic Critical Hit: 1d20 + 8 ⇒ (14) + 8 = 22

As her Sneak Attack is Strength-Based, she can use it while grabbing. Its DC is 23 so with a Crit it is DC 27. She is aiming to kill if his Toughness save is sufficient to allow for death.

No, Melinda May is the Cavalry, thank you. But sadly, Ming Na Wen declined to appear in this imaginary Netflix Marvel drama. ;)

But yeah, body slamming someone in an elevator shaft is definitely fun times

In seriousness, question for SuperTumbler: was the roll of 10 his resistance check vs Dottie's grab? If so just reminding of this rule: " If you win with one degree of success, the target is restrained (immobile and vulnerable). Two or more degrees leave your opponent bound (defenseless, immobile, and impaired)." If he rolled 10 vs her 29, he might be bound. Just checking as that may affect not just what Dottie can do but Frank. I will also take this time to remind that if he does decide to try to break free (and it sounds like he can't or fall) he will be at a -5 to resistance checks to escape because Dottie has improved hold

I'll wait for the answer and also for Frank to act.

Dottie pulls a metal tool from her Handy Inspector Disguise field bag (inside the lab bag) suitable for sliding into the mechanism that turns the wheel to make it less likely the hatch will shut. Since she was equipped as an oil rig inspector, I assume there are likely some tools she might carry to access certain panels, etc.)

She remembered the image on the monitor: Ohn floating above Frank.

She then looks down, looks at her suit as if to reassure herself that the hazmat suit is still on her, swallows, and then finally jumps down the shaft, bouncing off the sides of the shaft to then forcefully land on Dr. Ohn from above.

The aim of course is to attack and grab onto the floating Ohn, not knock Frank and his new girlfriends off the ladder. If somehow she misses/fails/Ohn disappears, I'm hoping I can make an Acrobatics or Athletics check to attempt to stop her fall--stretching out arms and legs to grab something on the sides

Post safe fall move:
Attack, Unarmed: 1d20 + 8 ⇒ (9) + 8 = 17

He should be, unless he has Uncanny Dodge, vulnerable, if that hits, it's a DC 25 Toughness check; if he's not vulnerable but it hits that's a DC 17 Toughness check

If that hits, free grab: 1d20 + 14 ⇒ (15) + 14 = 29

If that does not hit, grab side to not kill Frank/women, Acrobatics: 1d20 + 11 ⇒ (5) + 11 = 16

Camping tomorrow through Monday and will only have my phone with me, so I will likely not be able to post too frequently (through I'll check in if I can). Please bot if needed.

If there's any electronic security associated with the access port, Dottie swipes Booker's ID across it, and presuming success and confirming unlock, she reaches down to the handles to give the port hatch a good turn.

Dottie rushes through the compound, and when out of the sight of people or cameras that she can see, jumps off the upper deck where the labs lie. Grasping onto struts and beams she tumbles to the lower levels, closer to the ocean, moving toward the containment area.

Perception, staying alert for cameras and stuff: 1d20 + 12 ⇒ (8) + 12 = 20

When she does see people, she barks, her voice distorted by the hazmat suit, "I'm on my way, to your stations!" like she clearly belongs there and is clearly a Roxxon employee who knows what she is doing and on her way to help in response to the alarms that are blaring.

Deception: 1d20 + 12 ⇒ (14) + 12 = 26

Dottie looks upward as the alarms blare and turns the security monitors back on to see the confrontation unfolding. "Ah, there we go." She looks on the labels on the security monitor to figure out where on the map this elevator shaft might be.

"Hang on, Frank." She pulls the pen out of her pocket that Duke supplied her with (hero point for flashback to "here is a microdot pen, not-so-micro Dot") and points it around the room, clicking, especially looking at the torture chair and making sure to get Roxxon logos. She moves quick, not wanting to take too much time, but some proof of what Roxxon is doing may come in handy.

She then grabs a silvery suit folded along the lab materials labeled "0Matter Shielding" and puts it on. If there's two more she grabs them and shoves them into her field bag, and indeed if there's something that looks like a carrying case for lab material, she shoves her whole field bag into that.

If Booker's security pass/ID fell off in the shoving or otherwise any sort of spare key card can be found (hero point), she will grab that as well. Yes, all my hero points, but it feels right to spend it on spy competence

She is moving as quick as she can but this will probably take a couple minutes--but especially with her complication she isn't going to skip past putting on the protective suit.

And then it's off to the races. Which is to say, the elevator shaft.

Don't jinx it! ;)

She smiles, warmly, but there's a tightness at the edge of her face. She places her hand on his shoulder collegially. "You know, I've spent my entire life being a 'biological asset.'" And then as he's likely looking at her hand, or at her face, she angles her foot behind his knee and attempts to shove him into the incinerator chute.

Trip, Improved Trip so no penalty, target is his Parry: 1d20 + 8 ⇒ (17) + 8 = 25

If that succeeds, Acrobatics check which he gets to oppose with Athletics or Acrobatics: 1d20 + 11 ⇒ (4) + 11 = 15

Success is "he is prone in an adjacent square of my choosing." I'm choosing the adjacent incinerator chute. If it doesn't seem like the roll is enough I will spend a hero point, though I'm not expecting scientist dude to have high Athletics or Acrobatics, but then there's your die rolling... should I just go ahead and spend it?

"Turns out that makes it real easy to do terrible things. But, you know, the needs of the many..."

Going away for a little R&R and I am running out of time to put up my posts (I hit the other two games first). Dottie has a plan to
(1)flush Booker down the incinerator tube
(2)don an anti darkforce suit and steal any spares she can carry/stuff into her bag (at least one)
(3) Take photos with whatever spy gear Duke equipped her with (hero point for that if needed)
(4) do a little subtle sabotage to the equipment in the lab, and then
(5)look for where Frank might be coming up. I'd like to give that post proper narrative but if you need to push along, that's the gist. If not maybe the scene can turn over to Frank and the girls trying to leave.