Alice noted the movement of the barkeep's hand more than his words. She did not say anything, she simply shot him.
08:54, Today: Mary-Alice Reussoe Conner rolled 14 using 1d20+7. Rnd 1, Shot 1 - Barkeep.
+1 PBS = 15
Then turned and shot the window behind her.
08:55, Today: Mary-Alice Reussoe Conner rolled 16 using 1d20+2. Rnd 1, Shot 2 Window.
+1 PBS = 17
She hopped through it, and got distance between her and her assailants, but no more than 30 feet. Keeping them within 30 feet will be her goal in any movement. She continued firing and when necessary, back peddling.

09:09, Today: Mary-Alice Reussoe Conner rolled 14 using 1d20+2.  Rnd 4, Shot 2, same.
09:08, Today: Mary-Alice Reussoe Conner rolled 13 using 1d20+7.  Rnd 4, Shot 1, sane.
08:59, Today: Mary-Alice Reussoe Conner rolled 3 using 1d20+2.  Rnd 4, Shot 4 (off hand), same.
08:59, Today: Mary-Alice Reussoe Conner rolled 24 using 1d20+7.  Rnd 3, Shot 3 (off hand), same.
08:58, Today: Mary-Alice Reussoe Conner rolled 17 using 1d20+2.  Rnd 3, Shot 2, same.
08:58, Today: Mary-Alice Reussoe Conner rolled 24 using 1d20+7.  Rnd 3, Shot 1, Same.
08:58, Today: Mary-Alice Reussoe Conner rolled 9 using 1d20+2.  Rnd 2, Shot 4 (off hand), Same.
08:57, Today: Mary-Alice Reussoe Conner rolled 26 using 1d20+7.  Rnd 2, Shot 3 (off hand), same.
08:57, Today: Mary-Alice Reussoe Conner rolled 10 using 1d20+2.  Rnd 2, Shot 2, same.
08:56, Today: Mary-Alice Reussoe Conner rolled 18 using 1d20+7.  Rnd 2, Shot 1, Barkeep or anyone attacking.
08:56, Today: Mary-Alice Reussoe Conner rolled 16 using 1d20+2.  Rnd 1, Shot 4 Same.
08:55, Today: Mary-Alice Reussoe Conner rolled 8 using 1d20+7.  Rnd 1, Shot 3 (off hand) Barkeep or anyone attacking.
08:55, Today: Mary-Alice Reussoe Conner rolled 16 using 1d20+2.  Rnd 1, Shot 2 Window.

The report of her pistols would be unmistakable to Penny, especially given that she is in the open street. Assuming she does not or cannot get there in the four rounds above, Alice will treat this like a shoot out, trying to cut off and isolate her foes in pairs at the most.  The opening action of Round four is to reload both weapons (quick reload allows reloading one as a mva and 2 as an standard if my reading is correct) with replacement cylinders (ie 1890's speed loaders).

OOC: Just the rolls for now.
23:23, Today: Penny Dreadful rolled 28 using 1d20+13. search.
23:23, Today: Penny Dreadful rolled 29 using 1d20+9. spot.

Penny's search reveals much. The town, though quaint and picturesque, doesn't quite make sense the more you look at it. Everything is too perfect, all the angles, too straight. Even the aging of the buildings looks fabricated and false; a deliberate effect rather than the true weathering of time. It's...disconcerting. What's more, all the people you pass on the street seem too friendly. Their smiles so wide and animated it's jarring. Gives you goosebumps. You spot Coira and the children in one of the shops, picking out sweets. Ian's wife doesn't seem to notice you but the children do. They turn and give you the coldest, most startling stares you've ever had. Then, wordlessly, they turn back to their mother and ignore you.

By now you hear shots ring out down the street. A lot of shots...

ooc: feel free to join Alice for the next round. You'll see her not far from a pub with seven or so men after her.

Alice: Your bullets hit nicely and though some miss, they are quite effective. Luckily it seems as though these villagers aren't the hardiest sort and though they aren't dead yet, you think it probably won't take much work to do the job. John shoots at you throughout all this, but he misses all times but one. Unfortunately that one time lodges into the fleshy area between your shoulder and chest. Meanwhile the others, afraid to get too close, throw their bottles at you, one of them glancing off your hip but fortunately not much more than a bruise will result. What's more concerning is that they move around to flank you, crouching and moving in an attempt to form a rough wide circle. You also, to your dismay, see several more villagers coming at you from the other side of the street and they seem to be bearing weapons...
ooc: Next round please

Question, did that include all four rounds, or just the first?
Second, make sure you read the last paragraph, my blubr about isolating them in ones or twos is designed to prevent the surrounding her move you are conveying.

With a shiver, Penny moved away from the cold glares of the children. This unnatural, storybook village was bothering her immensely, but it confirmed what she'd already suspected. She hurried along the street, feeling a chill despite the warm sunny day. Too sunny for Scotland, she thought dismally.

Hearing the thunder of gunfire, she hissed in alarm and hurried onto the scene, her own pistol falling into her hand. She found Alice in a shootout with a half-dozen men outside the local pub. 'Bloody American cowboys!' she muttered in exasperation and shock, 'This is Britain, you're meant to be discreet!'

She doffed her hat to the thugs, announcing 'Good day, gentlemen!' then shot one.


OOC:
Point Blank Shot +1 attack, +1 damage if within 30 ft
Precise Shot: No -4 penalty on ranged attacks into melee
Full-round attack:
#1: attack 12, damage 8
#2: attack 19, damage 10

Penny's second shot hits true and his eyes bulge in surprise as he looks down at the gunshot wound in his shoulder. It's a more even fight now with the both of you, and though there are clearly more interlopers on their way, you have a little time to either thwart these or try to escape. Fortunately only the barkeep is armed with a gun, though the others have plenty of makeshift weapons.

One of them throws a bottle at Penny, the glass grazing her head but fortunately not doing more than minor damage. The others try to take cover and find some vantage around Alice, but she's proving cautious. It's all she can do right now to keep them from circling. The pubkeep shouts over the din to one of his men, Go upstairs and secure Ian! Don't let him see this, no matter what it takes! Then get Coira. Go!

ooc: Penny, you take 4 damage. Both of you go ahead and roll your next round, keeping in mind the one farthest from you both is trying to run back to the pub. The men don't seem too hardy luckily but it's probably going to be a numbers game in the near future with the others headed your way.

Alice was glad to see Penny but had no time to say so. She aimed both weapons at the barkeeper. He was going down so help her. She hoped Penny would pick up on her focusing on him.

08:19, Today: Mary-Alice Reussoe Conner rolled 12 using 1d20+4.  Shot 4, Off Hand Barkeeper (or someone else).
08:19, Today: Mary-Alice Reussoe Conner rolled 23 using 1d20+7.  Shot 3, Off Hand Barkeeper (or someone else).
08:18, Today: Mary-Alice Reussoe Conner rolled 14 using 1d20+4.  Shot 2, Barkeeper (or someone else if he goes down).
08:18, Today: Mary-Alice Reussoe Conner rolled 18 using 1d20+7.  Shot 1, Barkeeper.

Penny flinched under the hurled bottle's impact, but fortunately was mostly shielded by her hat. Always wear a hat, she would remind herself with satisfaction. Yet this was still a difficult situation. Though she was a capable duelist, and Alice a talented gunslinger, they could not hope to overcome this many ruffians, especially not expendable figments of the imagination, who might be endless in number. 'We have to get to Ian!' she gasped to Alice.

Following Alice's lead, she levelled her pistol at the barman. He certainly seemed to be in charge here; if they could despatch him, perhaps the others would be left leaderless. She fired, a deadly shot, proving she was no slouch in gunplay either.


OOC:
Dodge: +1 dodge vs barkeeper
Defensive Martial Arts: +1 dodge Defense vs melee attacks
Point Blank Shot +1 attack, +1 damage if within 30 ft (assumed below)
Exploit Weakness, 15 vs DC 15, success

Shoot @ Barkeeper, or next most threatening if Alice has done him in.
Attack 31, rolled a 20, critical confirmation 25
Damage 5, critical damage 16, total damage 21

Between both of your efforts, the barkeep goes down and with him gone and the other off to get Ian, that leaves only five, most of which look close to dropping. One of them charges at Alice with a knife, desperate determination on his face as he unfortunately stabs her in the chest with the thing. It is no killing blow of course, but you're lucky the blade wasn't longer or it could have been.

Meanwhile the other four try to spread out to block the way to the pub, though they are few enough that you should be able to traverse them if you run.

ooc: You can either continue the fight or try to run around them. For time's sake if you choose the latter, just make a general dexterity check against them. Otherwise go ahead and roll 3 more rounds.

Alice shouted, "Upstairs!" and charged through the men trying to block her.

08:34, Today: Mary-Alice Reussoe Conner rolled 12 using 1d20+10.  Tumble.
08:34, Today: Mary-Alice Reussoe Conner rolled 17 using 1d20+4.

Of course despatching the barman didn't scatter the rest; Penny reflected she should not have been so hopeful. Regardless, they had a chance now. Seizing advantage of the distraction, Penny dashed quickly around the group of men, nimbly evading their snatching grasps, expecting half would go for Alice, half for her. If they could get to the pub, they could barricade the door, take cover, and thin the numbers some more while they fought their way to Ian's side.


OOC:
Defensive Martial Arts: +1 dodge Defense vs melee attacks
Dodge: +1 dodge Defense vs nearest opponent

Dexterity check 21
20:23, Today: Penny Dreadful rolled 21 using 1d20+2. dexterity check.

ooc: I'm working on a couple of assumptions below, so if they are wrong let me know and I'll edit them.

Fortunately for Alice, the men going after her are clumsy in their attempts to grab you because they only just miss. Penny darts through easily and soon the both of you are inside the pub. It will be difficult, with the windows, to completely secure the place but it will take them some work to get through and fortunately barring the door is easily done.

The men start to ram at the door but it is strong and you watch as they scurry around to find a window to break. Just as this happens you hear a scuffle upstairs followed by a crash! Should you follow the sound you discover Ian, scowling down at the now unconscious man who had gone up to "secure" him. Even in this dreamworld, eight years later, he still knows how to throw a punch.

He whips around at the sound of you, fists up ready to defend himself. A nasty gash on his forehead drips blood down his face and he looks furious. Then, seeing the both of you, the fury turns to horror.

Alice turned and pointed her pistols at the stairs, waiting for whoever tried to mount them. Her comment is directed at Penny, "Whatever you're gonna do, do it fast. They'll be on us any second."

Taking two steps at a time, Penny had raced desperately up the stairs to rescue Ian. 'Ian! Thank God.' But upon sighting him she rocked back a step, stunned by the look of utter horror on his handsome face. She realised she had no idea how to break the awful news to him. She'd have to break it to him gently, let him come to the conclusion himself and accept the grim means of escape, or else he'd deny it completely. There was no time for it now, in any case. 'Come with us! We must leave immediately!' she urged him, beckoning him to her. Remember me please, she hoped silently.

Ian says nothing at first, still stunned and looking at both of you in hopes that this isn't real. At last he gives a small nod. T-There's a way out the back. he gestures to a door behind which presumably has stairs leading outside. There's a long, terrible pause. You've come to take me back haven't you. Is any of this real? The desperate look of hope is even worse than the crack in his voice.

Downstairs you hear a window break.

Alice shouted "It's real enough to get us killed. Now MOVE!" She all but pushed them toward and out the door.

Alice's shouted response was all the answer he needed for now; 'Come on!' Penny grabbed his hand, her warm solid touch and fingers worn by battle and needlework showing her to be more real and more genuine than anything else in this dream-world. She ran with Ian, leading him out of the pub. Fortunately for them all, she considered, Ian was already questioning this reality. That would surely make the realisation less painful, she hoped.

Ian's still stunned but his hunter training, long dormant as it is, kicks in. This has to be a nightmare he mutters but pushes open the door and takes the lead, gently untangling himself from Penny's hand. You two stay behind me he orders. And don't stop running for anything got it? Why are they after you anyway? One of them attacked me too. I had thought we were friends he growls at the memory. By now you're running down the stairs and through the streets. The majority of the townsfolk are gathered around the windows and front door, no doubt believing Ian still unconscious. It takes a moment for them to spot you. Enough that you have a lead, but you can see the sheer panic in their faces as they see the Scotsman with the two of you in tow.

Ian is faster than either of you by far with his long legs but he keeps pace and glances back frequently to see if you're being followed which of course, you are. You run seemingly endlessly as he pulls you through alleys and behind buildings, darting this way and that in an attempt to shake the mob tracking you. It may all be a dream but it's a dream he knows well.

At last he takes you to a small white washed church, the most picturesque darling place you've ever seen, and leads you to the back, opening a narrow window that drops down into the basement. It's a tight fit for him but he manages, urging you to hurry. Should you listen you find yourselves in a dusty room full of crates and half broken pews in need of repair as well as stacks of hymnals and other such holy accoutrements. Breathing hard, you've all been running like mad people, he leans against the wall and looks at you both, taking you in fully now that he has a chance. We don't have much time so just what is it you want from me? I would have thought I was going mad if you weren't being chased by half the town. I suppose that confirms you're real at least.

Alice put a gentle hand on Penny, "Let me, it will be easier. You watch for company." She motioned with her head to a place as far from Penny as they could get and still be in the basement. She spoke quietly, hoping to save Penny some embarrassment.

"This is not the real world, Ian. It is a dream, a wonderful dream, but it is a prison. You are held here, in a gelded cage. Penny and I used a shaman's intervention to come here, we are dream travelers, but we are stuck here just like you. Penny came her because she loves you. I believe she is falling in love with you too. You can protest all you want about being too young or whatever, but my guess is that this dream proves you ain't the womanizing playboy you want everyone to think you are. Penny is just beginning to figure out how much she cares about you, so I don't think she could tell you this."

She paused but went on, "I came here because I cannot have any more ghosts following me around. Penny was going with or without me. I love you both but I'm not in love with either of you. All that is said so you understand that what I am going to tell you is hard to hear. The only way out of this for you or us is if you make a choice. You have to choose to die here...to take your own life. Believe me or don't. Penny came here because, whether she believes it or not she won't be the same without you. It will hollow her to loose you. I KNOW this, I KNOW it. I don't think she even knows it herself, at least not consciously. Some part of you must know this is all a lie."

She thumbed back the hammer and handed him one of her pistols. "In your mouth, or in my back, either way you choose."
This message was last edited by the player at 15:46, Fri 15 Dec 2017.

After their desperate and hurried flight through the village, Penny dropped down into the church cellar and tried to catch her breath. But she hardly had the time before Ian asked his question. Penny opened her mouth, about to answer him, somehow, before Alice intervened. Surprised, Penny was both aggrieved and grateful. Wordless, she nodded and let Alice take the lead, while she took a place in the shadows by the window, watching out for pursuers.


OOC: Listen 15, Penny can't pick up the words.

Penny, you notice Ian glancing at you and then back to Alice several times as she talks about something. Whatever it is has his eyebrows raised in shock.

Alice: Ian listens, completely stunned and as he looks down at the gun his shoulders sag. I did love her once. I remember that much. But...how do I know if this is right? If there's even a small chance this life is real...how can I leave my wife and children? I-I've got to think! he looks anguished. You can tell though that you've planted the seed of doubt in him. He paces like a caged animal, running his fingers through his thick hair.

Both: Suddenly the door to the basement opens and even Ian looks startled, ready to fight. To your surprise you see the beautiful Coira, one of her boys on either side, holding her hands and looking up at their father with wide blue eyes. Ian, what are you doing here? Please, come home with us. We can sort this out! she pleads. The poor Scotsman turns white. In a bit love. I'll be home in a bit he manages to say. This does not please the woman. No! Come back now! I've heard bad things about these women, they'll try to take you away from us! As if on cue, one of the boys starts to cry softly, the other calling for his daddy. They aren't going to make this easy for him.

Alice looked up at the woman and her children. She turned to Penny hoping she might have some way to dissuade Ian. "Ian, you know this isn't real. It is too perfect. This woman is exactly what you would have wanted..." she actually went over and took his face in her hands to turn it to Penny, "She is not perfect, but she is real." She looked at Penny and mouthed "K-I-S-S H-I-M N-O-W."

Penny waited anxiously by the window, wondering what on Earth Alice was telling Ian and hoping with all her heart that, whatever it was, it was working. She spun as the door opened, disturbed to see the djinn-conjured wife and children appear to sabotage everything; though she didn't raise her pistol to them for fear of scaring Ian, nor did she try to hide or holster it.

Then she caught Alice's expression and the mouthed words. But Penny was mortified by the suggestion. Reading lips was a skill she'd learned and was very useful for spying, but it was of course prone to misinterpretation. Kill him now?! she read, aghast. Then Alice had to repeat it, two or three times, and Penny was no less shocked.

Without a single thought, with only a hunter's need to act swiftly and without doubt or hesitation, and with an unconscious urge she couldn't explain, Penny was drawn across the dusty cellar floor to Ian's side. She grabbed his hand again, rose up on her tiptoes – and gave Ian a chaste peck on the cheek. A more loving and passionate kiss might have been called for, but from Penny this was practically indecent.


OOC: Spot (read lips) 23
This message was last edited by the player at 08:25, Tue 19 Dec 2017.

Coira watches with fury and Ian gives her a shocked look. The old Ian would probably have laughed at such a quaint display of affection but this version looks more tormented and confused than anything. His wife is fuming. I'll kill you, you whore! she snarls at Penny and moves as if to make good on her threat but Ian steps in front, squarely protecting the Englishwoman. You'll not touch her Coira he says flatly, perhaps the first sentence he's been sure about since seeing you both. I told you, I need a minute She looks at him as though he's slapped her. You don't really believe them do you?! she gasps. I'm your wife! These are your children! she gestures to the still crying boys. We've been together eight years! Does that mean nothing? You're happy Ian! Doesn't that feel right? Don't throw that away for a couple of madwomen spewing nonsense! They want to take you away from us, I don't know why but they do!

You're right he shakes his head, overwhelmed at the situation. I am happy. Happier than I've ever been.

Then make them leave! D-Don't you love me? Don't you want to be with me?! she begins to weep. It's the weeping that seems to break him and his face crumples as he gathers her in his arms, talking into her raven black hair as his own eyes tear up. Of course I love you Coira he tilts her head up and kisses her deeply to your dismay. She smiles, immense relief on her face. I will always be with you. All of you he adds to his sons, and kisses her again with a trembling smile. Then, he turns in one smooth motion, grabs Alice's pistol from her hand, puts it against the side of his head and pulls the trigger, Coira's screams echoing in your ears. A sound you'll never forget.

You both find yourselves lying on your backs, staring up at the peaked roof of the teepee.

Alice took a frightened breath, deep and startled. She sits up and makes sure everyone else is there and conscious...