Fix every NPC sheet, which has never opened

npc-sheet.hbs line 43 read

    {{#if (lookup ../skillsByCategory key).length}}

and Handlebars cannot read a property off a subexpression. That is a PARSE
error, so the template never compiled, so every NPC sheet in the system threw
on click — Natives & Threats, the starter's enemy roster, and the whole LAST
ADMISSION cast. #if already treats an empty array as falsy, so the .length was
never doing anything in the first place.

It was invisible to all four existing guards, and the reason is worth writing
down: check-rules reads .mjs, check-behaviour says in its own header that it
cannot reach sheets, and every play-through in this project has driven the
system through its API rather than by clicking. Nobody had ever opened an NPC
sheet, including me, in any of the sessions that "played through" scenarios
full of NPCs.

So: check-templates.mjs, a fifth guard, compiling every .hbs in about a tenth
of a second, wired into the build ahead of check-behaviour. It also names the
specific shape — a property read off a subexpression — because the raw parse
error says only where. Verified it bites by reintroducing the bug. Handlebars
is a devDependency now.

Opening the sheet then showed a second thing nobody had seen: the NPC skill
rows carry four children and were using the character sheet's seven-column
grid, so the name landed in a 13px column and the whole list overlapped
itself. The NPC row now has its own four-column template.

Verified by opening all six LAST ADMISSION cast sheets with an error hook
attached: six rendered, no errors, and Old Marrow reads HP 20/20, major wound
10, armour 2, Brawl 60%, Melee Weapon (Polearm) 60%.

Version 1.0.1.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

README.md

@@ -58,14 +58,20 @@ changing underneath a running server.
 
 ## What is in the box
 
+<!-- box:start -->
 | | |
 |---|---|
-| **Roles** | 25 postings, each with a key characteristic, trained skills, talents and its own kit |
-| **Catalogue** | 175 items — 118 gear, 30 weapons, 13 armour, 14 vehicles |
+| **Postings** | 25, each with a key characteristic, trained skills, talents and its own kit |
+| **Trades** | 10 ordinary jobs the department recruits from, plus induction |
+| **Catalogue** | 236 items — 123 gear, 62 weapons, 32 armour, 19 vehicles |
+| **Skills / talents** | 59 skills, 19 talents |
+| **Bestiary** | 21 statblocks across folklore, horror and the far side |
 | **Eras** | modern, antique, future, anomalous — the agency is old and never abolishes anything |
-| **Icons** | 231, all generated from `tools/icons.mjs`; no external art |
-| **Compendia** | pregens, NPCs, skills, weapons, armour, gear, vehicles, powers, tables, rules, a starter case |
-| **Rules journal** | 8 pages, generated from `rules.mjs` so the book cannot drift from the code |
+| **Icons** | 292, all generated from `tools/icons.mjs`; no external art |
+| **Starter scenario** | **BLACK PLATFORM**, a six-player action starter, importable as a single Adventure |
+| **Compendia** | pregens, NPCs, skills, weapons, armour, gear, vehicles, powers, tables, rules, the starter |
+| **Rules journal** | 12 pages, generated from `rules.mjs` so the book cannot drift from the code |
+<!-- box:end -->
 
 ---
 
@@ -92,6 +98,16 @@ Only a critical stops a critical.
 **Access is a record.** There is no hacking skill and nothing to break into — see
 below.
 
+**A weapon's fire mode is a decision.** Slow weapons shoot better and then make you
+work; fast ones offer a second shot at the cost of both; rapid ones fire bursts; beams
+can be held on the target for damage instead of hits. A weapon that cannot fire a
+burst cannot be made to.
+
+**Sights and lamps apply themselves.** A sight is graded by range band — a telescopic
+sight is a penalty inside ten metres — and a carried lamp buys the dark back to dim,
+never to daylight, and tells everyone where you are. Neither is a thing the player
+selects: both are facts about what is in the pack.
+
 ---
 
 ## Borrowed Authority — the access subsystem
@@ -129,7 +145,7 @@ and nothing in this game spends anything to converge them back.
 ## Repository layout
 
 ```
-ringbrp.mjs          the system: sheets, engine, hooks (~4,900 lines)
+ringbrp.mjs          the system: sheets, engine, hooks (~5,500 lines)
 rules.mjs            THE SINGLE AUTHORITY for every rule formula
 system.json          Foundry manifest
 template.json        data model for every Actor and Item type
@@ -162,8 +178,11 @@ one set of numbers and played under another; this makes that impossible to ship.
 
 The build runs all three guards before it writes anything:
 
+<!-- guards:start -->
 ```
-check-rules: 40 rules, 12 files scanned, 132 formulas verified
-check-kits:  25 roles, 162 catalogue items, every kit key resolves
-check-lang:  738 keys, no leaf/branch collisions
+check-rules: OK — 87 rules, 21 files scanned, 3 aliases + 41 constant sets checked, 275 formulas verified
+check-kits: OK — 25 roles, 10 trades, 218 catalogue items, every kit key resolves, every posting can use what it carries, every loadout distinct
+check-lang: OK — en.json, 927 keys, no leaf/branch collisions
+check-behaviour: OK — 44 behavioural tests
 ```
+<!-- guards:end -->

docs/scenarios/LAST_ADMISSION.md

@@ -0,0 +1,501 @@
+# Prologue — The Custodians: LAST ADMISSION
+
+> *Twelve thousand people paid to be told this house was haunted. It was listening.*
+
+---
+
+## GM ESSENTIALS
+
+- **System:** d100 roll-under. Under a fifth of the skill is a **special**, under a
+  twentieth a **critical**. 96–99 always fail. 00 fumbles. Everyone has 1% at anything.
+- **Mechanics inline:** `[CUS: Skill — what it gets you]`
+- **Two hours.** One house. Four names on a wall. Three of them can be hit.
+- **No Coherence is lost.** They do not know what they are looking at yet. The word is
+  not said until the last scene.
+- **Safety:** X-card or open door, stated in 30 seconds at seating.
+- **Runs with the six:** Pollard, Ashcroft, Braithwaite, Renshaw, Sharrock, Ferriby —
+  their **"(before)"** sheets, the civilian ones. Works at 4; drop Ashcroft then Ferriby.
+
+---
+
+## Overview
+
+- **Setting:** Culland Hall, four miles outside Nettlefold. The last Saturday in October,
+  20:40 to about 23:00.
+- **Tone:** A cheap scare attraction, and then the real thing standing in the queue with
+  everybody else.
+- **Runtime:** 2 hours. No break.
+- **Content warnings:** jump scares and staged violence; a real death in a fire (1963,
+  off-screen, discussed); a child character who is not a child; one dead body; brief
+  fighting; strobe and fog effects described.
+
+### Design intent
+
+1. **One building, one truth, one decision.** Deliberately simpler than OPEN DAY: no
+   fixed timetable to narrate, no unresolved list, and the players can hit things.
+2. **The mystery is "which of these is an actor".** That is the whole investigation and
+   it explains itself the moment they walk in.
+3. **A fight is available and never required.** The three can be stopped by hurting them
+   or by breaking their script. Both work. The script is faster.
+4. **The ending is a decision with a price on both sides**, not a die roll.
+5. **They finish attached to the department** because they see it work, not because
+   somebody explains it to them afterwards.
+
+---
+
+## Session Timing
+
+| Section | Time | Cumulative | Checkpoint |
+|---|---|---|---|
+| Seating + open | ~10 min | 0:10 | everyone knows why they are at the Hall |
+| Act One — Last Admission | ~30 min | 0:40 | they have been through the attraction and something was wrong in it |
+| Act Two — Who's Still In There | ~45 min | 1:25 | the three are loose, one PC has been hurt or nearly, the fourth name is found |
+| Act Three — The Fourth Name | ~25 min | 1:50 | the panel comes down, or it does not |
+| Close — Last Admission | ~10 min | 2:00 | the cards are handed out |
+
+**Hard rule: at 1:25, go to Act Three.**
+
+---
+
+## Plot Summary (GM truth — one page, players never see it)
+
+Culland Hall has been empty since 1998. This autumn a company called Blackwick
+Attractions leased it for six weeks and turned it into **THE CULLAND HAUNTING** — timed
+entry, twelve people every ten minutes, eighteen actors, fog, a soundtrack, and a story
+invented in an afternoon by a marketing agency.
+
+The agency invented three ghosts, wrote them a page of backstory each, printed them on
+the tickets, the wall panel, the website and the actors' call sheets, and had eighteen
+people perform them forty times a night for six weeks to **twelve thousand paying
+visitors who agreed to believe them**, briefly, on purpose, as the price of a good time.
+
+**Reality keeps a record of what belongs where.** It is a good record, and it can be made
+to get it wrong by something patient and stupid saying the same wrong thing for a very
+long time — or by something loud and clever saying it twelve thousand times in six weeks.
+Tonight is the last night of the run. The house now contains what the panel says it
+contains.
+
+**The three are not ghosts. They are entries.** They have exactly as much inside them as
+was written down, which is a page each, and they do the page. They are cold, they are
+solid, and they can be hurt.
+
+**And there is a fourth name on the panel.** The agency's copywriter needed a fourth for
+the layout and took one off a photograph of a memorial in Nettlefold parish church:
+**EDITH CRANE, 1941–1963**. Edith Crane was a real housemaid who died in a real fire in
+the east wing in 1963, and nobody wrote her a page, because nobody had to. She has been
+named twelve thousand times alongside three inventions, on a poster, for money.
+
+She is not following a script. She wants her name off the wall.
+
+**Tonight**, at about 21:10, an actor named **Josh Pardoe** — who plays the gardener —
+did not come out of the east corridor. What came out finished his shift.
+
+### Timeline
+
+| When | What |
+|---|---|
+| 1963 | Fire in the east wing. Edith Crane, housemaid, 22, dies. |
+| 1998 | The Hall closes. |
+| September | Blackwick leases it. The panel goes up. |
+| Six weeks | Forty performances a night. Twelve thousand visitors. |
+| **21:10 tonight** | Josh Pardoe does not come out of the east corridor. |
+| **21:40** | The players' timed entry. |
+| **~22:00** | The last group of the run goes in. After that the doors are locked and the house is full. |
+
+### Revelations (7, and that is all)
+
+| # | Revelation |
+|---|---|
+| R1 | Some of the performers are not performing |
+| R2 | The three do exactly what their printed backstory says and nothing else |
+| R3 | An actor is missing, and the thing in his costume is not him |
+| R4 | Breaking the script — panel, tape, call sheets — stops them |
+| R5 | There are **four** names on the wall panel and only **three** on the call sheet |
+| R6 | Edith Crane was a real person who really died here |
+| R7 | Somebody official is already in the building and is not surprised by any of it |
+
+---
+
+## Player Experience
+
+You paid eighteen quid, or you work here, or you are in the cast. It is the last night of
+a cheap haunted-house attraction in a big empty hall, with fog and a soundtrack and a
+teenager in a nurse's costume who says the same line to every group. Then the nurse says
+it in the wrong room, and she says it to you by name, and she is cold to the touch. There
+are three of them on the poster and four names on the wall, and one of those names
+belonged to somebody who actually died in this building, and she has been listening to
+twelve thousand people say it wrong.
+
+---
+
+## The Six, and why they are at Culland Hall
+
+| PC | Why |
+|---|---|
+| **Kate Renshaw** — actor | **She is in the show.** Third-billed. She plays Sister Enderby, forty times a night, six weeks. She knows every line of the script that is now walking about. |
+| **Danny Sharrock** — site foreman | He built the sets. He is here to start striking them at eleven, because the lease ends Sunday. |
+| **Colin Ferriby** — infrastructure engineer | He wired the show — fog, lights, sound, the radios. He is in the control room with a laptop and a headset. |
+| **Gareth Pollard** — custody sergeant | Off duty, on the door as paid security, because the money is good and it is one weekend. |
+| **Neil Braithwaite** — histopathologist | Dragged along by colleagues who thought it would be funny. It is not funny. |
+| **Dominic Ashcroft** — research physicist | Came with a group from the university to laugh at it, and has been quietly unsettled since the car park. |
+
+**Nothing essential lives on one PC.** Renshaw's script knowledge, Ferriby's control room
+and Sharrock's set plans each shortcut a different part of the middle. Any one of them is
+enough; none is required.
+
+---
+
+## Act One — Last Admission *(~30 minutes)*
+
+> **Goal:** let them enjoy a cheap haunted house for ten minutes, then put one wrong thing
+> in it and let them argue about whether it was wrong.
+
+### Opening (read aloud)
+
+> A big cold house with a marquee bolted to the front of it, a smoke machine going in the
+> porch, and a queue of about forty people in coats. Somebody's speaker is playing the
+> same eleven seconds of organ over and over. A girl in a nurse's costume is taking
+> selfies with a hen party.
+>
+> The board by the door says **LAST ADMISSION 22:00**.
+
+### The attraction — six rooms, ten minutes
+
+Run it fast and lightly. This is meant to be fun. One or two lines a room.
+
+| # | Room | What the show does |
+|---|---|---|
+| 1 | **The Entrance Hall** | A recorded voice welcomes you and names the three. Fog to knee height. |
+| 2 | **The Ward** *(east corridor)* | Sister Enderby walks the corridor counting beds. She has one line. **Renshaw's room.** |
+| 3 | **The Nursery** | Sammy, the boy in the wall, laughs and moves behind the panelling. A hand comes out of a hole at ankle height. |
+| 4 | **The Glasshouse** | Old Marrow with the shears. He chases you eleven feet and stops at a taped line on the floor. |
+| 5 | **The Long Gallery** | Strobe, screaming, a mirror gag. Nothing in it at all. |
+| 6 | **The Ballroom** | Everything goes dark and quiet, then the lights come up on the fire exit and a girl thanks you for coming. |
+
+### The one wrong thing
+
+Pick **one** and make it the only strange beat in Act One:
+
+- **Sister Enderby does her line in room 5.** She is not scheduled in room 5. Room 5 has
+  no cast. *(If Renshaw is dealt, use this one — she knows the running order.)*
+- **Old Marrow does not stop at the tape.** He follows the group to the door of the next
+  room, which is not in the routine, and stands there.
+- **Sammy's hand is warm and holds on**, and the hole at ankle height is nine inches
+  across and there is no room behind that wall.
+
+Let the table talk themselves out of it. That is the correct outcome for Act One. Somebody
+will say *"that'll be the actor messing about"*, and they will be right, once.
+
+### Clue trail — Act One
+
+| # | Clue | Where | How | Type |
+|---|---|---|---|---|
+| 1 | The wall panel by the ticket desk lists **four** names | Entrance hall | **Automatic** to anyone who reads it — it is a poster, it is at eye height | Essential |
+| 2 | The call sheet on the green-room door lists **three** | Green room / clipboard | **Automatic** to Renshaw or anyone who goes backstage | Essential |
+| 3 | Old Marrow's costume has no radio pack | Anywhere he appears | `[CUS: Spot]` — every performer wears one and Ferriby issued them | Optional |
+| 4 | Josh Pardoe has missed two comms checks | Control room | **Automatic** to Ferriby; otherwise the floor manager says it out loud | Essential |
+
+**Fallbacks.** Clue 1: the same four names are on the ticket in their hand. Clue 2: Beata
+Nowak is standing at the green-room door shouting for Josh. Clue 4: the floor manager
+walks past saying *"has anybody seen Pardoe?"* — she does this every ten minutes until
+somebody answers her.
+
+### Pacing note
+
+At 0:40, whatever they have worked out:
+
+> **Fast-track:** the lights on the whole east side go out, the soundtrack keeps playing,
+> and Beata Nowak comes through the crowd asking for anyone with first aid.
+
+---
+
+## Act Two — Who's Still In There *(~45 minutes)*
+
+> **Goal:** the show stops, the three do not, and the players find out what a script is
+> for. This is where the action lives.
+
+### The situation
+
+The public are being walked out through the marquee — it takes twenty minutes and it is
+not orderly. Roughly **thirty people are still inside**: cast in costume, crew, a hen
+party who went the wrong way, and three things that are not any of those.
+
+**Josh Pardoe is dead.** He is in the east corridor, behind the false wall, and he has
+been for half an hour. He is not marked. **No roll:** nothing killed him that leaves a
+sign. Anyone with Medicine or First Aid says cold and cannot say why, and a good roll
+does not buy a better answer, because there is not one.
+
+### The three
+
+Each does its printed page and nothing else. Read the page aloud when the players first
+get a good look — the page is on the wall, on the ticket and in the programme, so this
+is not a secret.
+
+#### Sister Enderby
+
+*"She walked the ward at night and counted the beds, and if the count was wrong she made
+it right."*
+
+- **Does:** counts people. Out loud. In a group of six she will say *six*, and then she
+  will say *five*, and then she will go and make it true.
+- **Fight:** cold, strong, ignores pain. **HP 12, armour 0, Brawl 55%, 1d6 damage.** She
+  does not defend herself. She counts while you hit her.
+- **Script break:** she stops the moment the count is right. Put a person back in the
+  room and she is finished with it. *This is the cheapest kill in the scenario and the
+  table should be allowed to find it.*
+
+#### Sammy, the boy in the wall
+
+*"He hid where nobody could reach him, and he is still hiding, and he wants someone to
+come in and hide with him."*
+
+- **Does:** laughs, moves inside the walls, and takes hold of ankles. He does not hurt
+  anybody. He pulls, and he is very strong, and the hole is nine inches across.
+- **Fight:** you cannot hit him. He is in the wall. **Athletics or Brawl vs STR 17 to get
+  a leg back**, or somebody else pulls with you for an automatic success. **On a fumble**
+  they go over on their face and lose whatever was in their hands under the floorboards.
+  He does not get to keep the leg.
+- **Script break:** he is hiding, so he stops when he is *found*. Say his name and open
+  the panel and he is not there any more.
+
+#### Old Marrow
+
+*"He kept the grounds for forty years and never once came in the house, and he is not
+coming in now, but he will see you off it."*
+
+- **Does:** carries the shears, moves at a walk, and will not enter the building. He is
+  the reason nobody gets to the car park.
+- **Fight:** **HP 20, armour 2, shears 1d8+2, Brawl/Melee 60%.** He is the actual fight
+  in this scenario. He is slow, he never runs, and he is between them and the way out.
+  Expect about four and a half rounds, and expect somebody to get hurt.
+  *(Tuned by playing it thirty times — see the playtest note at the foot of this file.)*
+- **Script break:** *he will not come in the house.* Going inside is a complete answer
+  and it costs nothing. Reward it. He waits on the lawn.
+
+### The set-piece — the run to the marquee *(the combat, if they want one)*
+
+Someone has to get thirty people across ninety feet of lawn past Old Marrow.
+
+- **Three ways to run it:** fight him, distract him (he follows anyone off the grass), or
+  go back inside and out through the kitchens — Sharrock built the sets and knows there
+  is a door there; the plans are pinned in the green room for anyone else.
+- **Rounds:** four or five. He closes at a walk, one attack a round, and he goes for
+  whoever is furthest from the house. He drops somebody in about one fight in three —
+  and *dropped* is dropped, not dying.
+- **If it goes badly:** he does not pursue anyone indoors and he does not finish anybody
+  off. He sees them off the grass. That is his whole page.
+- **Idle players:** hand them the hen party — six frightened people who need telling what
+  to do, and who will do it.
+
+### Clue trail — Act Two
+
+| # | Clue | Where | How | Type |
+|---|---|---|---|---|
+| 5 | Each of the three does exactly what the panel says and nothing else | Anywhere | **Automatic** by the second encounter | Essential |
+| 6 | The fourth name has no page — one line, two dates, nothing else | Wall panel | **Automatic** to anyone who goes back and reads it properly | Essential |
+| 7 | Josh Pardoe's body is behind the false wall in the east corridor | East corridor | **Automatic** if anyone searches; otherwise Beata finds him at the twenty-minute mark and screams | Essential |
+| 8 | EDITH CRANE, 1941–1963 is on a memorial in Nettlefold parish church | Phone, or the local-history board in the entrance hall | `[CUS: Research or Computer Use]`, or automatic to Braithwaite, who has been past that memorial a hundred times | Essential |
+| 9 | The 1963 fire was in the east wing, and one person died in it | Local-history board, ticket office | `[CUS: Knowledge]` or asking any local | Optional |
+
+**Fallbacks.** Clue 6: Renshaw says it herself — *"there's only three of us"*. Clue 8:
+Mrs Ferrand says it aloud in Act Three if nobody has got there.
+
+### The woman on the stairs
+
+At about 1:10, wherever they are, they see her: a young woman in a housemaid's uniform
+of the wrong period for the attraction, standing halfway up the main stairs, doing
+nothing at all.
+
+- She is not cold. She is not fast. She does not have a page.
+- **She will not speak until she is asked her name.** Then she says it, and she waits.
+- Anyone who tries to hurt her will find they cannot make themselves do it. *No roll
+  resolves this. Say it plainly and move on.*
+
+---
+
+## Act Three — The Fourth Name *(~25 minutes)*
+
+> **Goal:** one decision, priced on both sides. No new information.
+
+### Mrs Ivy Ferrand
+
+*A woman who came in on a nine o'clock ticket, alone, and has not been surprised by
+anything since.*
+
+- **Physical:** fifties, a raincoat, a small hard case she has not opened.
+- **She has been in the building for two hours.** She is not here to rescue anybody. She
+  is here to take a statement and decide what the department does on Monday.
+- **What she knows and will say:** what the three are and why. That they will stop.
+- **What she will not say:** who she works for. *"I'm not able to tell you that tonight."*
+  Not *"I don't know"* — she is careful about the difference.
+- **Key line:** *"Three of them were made up in an afternoon. One of them was a girl of
+  twenty-two who worked here. Which of those do you think is angry?"*
+
+### The situation
+
+Everyone who is getting out is out. Vic Tunnicliffe wants his last night finished and his
+set struck. The panel is screwed to the wall of the entrance hall, four names, and Edith
+Crane is standing on the stairs where anyone can see her.
+
+**Taking the name down ends it.** Ferrand says so. She also says the department will do
+it on Monday whatever happens tonight, and that Monday is two days away, and that there
+are two more performances between now and then, and that the doors open at seven.
+
+### The choices
+
+| Choice | Cost |
+|---|---|
+| **Take the panel down tonight** | The run ends. Blackwick's licence and bond go with it, Tunnicliffe is finished, forty people including three PCs lose the last of the money, and the town's one profitable weekend of the year is cancelled. The three stop within the hour. Edith goes. |
+| **Leave it until Monday** | Two more performances, twelve people every ten minutes, with the three still running and Josh Pardoe still dead. Ferrand will not stop them; she will write it down. |
+| **Change the name** *(the table will invent this)* | Unscrew the letters, make the fourth name a fiction like the other three. **It works.** It also does to Edith exactly what was done to her in September, on purpose this time, by people who knew. Ferrand allows it and writes down who suggested it. |
+| **Ask her what she wants** | Nobody has. She wants her name off a poster and somebody to write down that she was here. That is all, and it takes four minutes, and it is the best ending. |
+
+### If Tunnicliffe fights for it
+
+He will. He is not a villain — he is a man with a bank loan, forty staff and one dead
+employee, and he is holding a screwdriver he has not put down since ten o'clock. He
+does not threaten anybody. He asks them not to. `[CUS: Persuade, Insight or Status —
+he can be talked round, and the roll is a real one]`
+
+### If someone gets violent
+
+Nothing in the last twenty minutes needs hitting. If they hit Tunnicliffe, Pollard is
+paid security and off-duty police and this becomes his scene, and Ferrand watches to see
+what he does. She is not judging. She is recruiting.
+
+---
+
+## Close — Last Admission *(~10 minutes)*
+
+Whatever they chose, the ending is the same shape: blue lights in the car park, a
+statement each, and a woman in a raincoat going round the six of them one at a time with
+a card in her hand.
+
+### Read aloud
+
+> The marquee is coming down at four in the morning because nobody can face leaving it up.
+> Somebody has put a tea urn on the tailgate of a van. The board by the door still says
+> **LAST ADMISSION 22:00** and somebody has turned it round to face the wall.
+>
+> The woman in the raincoat has spoken to each of you separately and said nearly the same
+> thing to all of you, which is that you wrote down or said out loud one true thing
+> tonight that nobody wanted to hear, and that this is rarer than you would think.
+>
+> There is a card in your coat pocket with a telephone number on it and no name.
+
+### What she says to each
+
+One line each, spoken privately, in front of the table. **Keep it to one line.**
+
+| PC | Her line |
+|---|---|
+| **Kate Renshaw** | *"You knew it was wrong because you knew the running order. Nobody else in that building was listening that closely to a script they were sick of."* |
+| **Danny Sharrock** | *"You got thirty people out through a door that is not on the fire plan. Somebody has to know where the doors are."* |
+| **Colin Ferriby** | *"Two missed comms checks and you went to look. Everybody else assumed he'd gone for a cigarette."* |
+| **Gareth Pollard** | *"You wrote the times down. On the back of a ticket, in the dark, while it was happening."* |
+| **Neil Braithwaite** | *"You said cold, and then you said you didn't know why, and you did not fill the gap in with something that sounded better."* |
+| **Dominic Ashcroft** | *"You were frightened from the car park onwards and you went in anyway and you kept saying so. Do you know how useful that is?"* |
+
+### The one true thing
+
+If there is time — and there usually is, because this ends early — she says it:
+
+> *"Reality keeps a record of what belongs where. It is a very good record. It can be made
+> to get it wrong by anything patient enough — or by twelve thousand people agreeing to be
+> lied to, for six weeks, for eighteen pounds each. That is all a haunting is. Somebody
+> wrote it down too many times."*
+
+**Then the word Coherence, once, and then the card.**
+
+---
+
+## NPC Roster (GM quick sheet)
+
+| NPC | Essence | Wants | Key line |
+|---|---|---|---|
+| **Beata Nowak** | Floor manager holding the whole night together on a radio | Josh found, the house cleared, and to be sick afterwards | *"Has anybody seen Pardoe?"* |
+| **Vic Tunnicliffe** | Operator with a bank loan and a dead employee | Two more performances | *"Monday. Just give me Monday."* |
+| **Josh Pardoe** | The gardener. Twenty-four. Dead since 21:10 | — | — |
+| **Sister Enderby** | An invention that counts | the count to be right | *"…five."* |
+| **Sammy** | An invention that hides | somebody to hide with | *(laughing, in the wall)* |
+| **Old Marrow** | An invention that will not come indoors | you, off his grass | *(nothing; he walks)* |
+| **Edith Crane** | A real housemaid, 22, dead here in 1963 | her name off a poster | *"Edith Crane."* |
+| **Mrs Ivy Ferrand** | Recruiting officer on a nine o'clock ticket | to see what you do | *"Which of those do you think is angry?"* |
+
+---
+
+## Artwork
+
+**Style line:** flat editorial vector, deep navy and pale yellow with warm off-white,
+1970s British public-information poster, `--style raw --ar 3:2 --v 6`.
+
+| ID | Description |
+|---|---|
+| LA-ART-01 | Culland Hall at night with the marquee and the queue |
+| ~~LA-ART-02~~ | *Cut.* Two generations both produced three frames instead of four, and a picture that contradicts the count is worse than none. The panel is a handout — show it, do not describe it. |
+| LA-ART-03 | The east corridor: fog, hospital beds, red light |
+| LA-ART-04 | The nursery: torn panelling and a hole at ankle height |
+| LA-ART-05 | The glasshouse: a figure with shears among dead vines |
+| LA-ART-06 | The green room: mirrors, costumes, a clipboard on the door — used on the Act One page, where the call sheet is |
+| LA-ART-07 | Edith Crane on the stairs |
+| LA-ART-08 | The car park afterwards: a van, a tea urn, blue lights |
+
+---
+
+## GM Notes
+
+- **Act One is a comedy.** Play the attraction as cheap and likeable and let the players
+  take the mickey out of it. The scenario only works if they were having a nice time.
+- **The three are not clever.** Never have them plan, hide their nature, or exploit
+  anything. They have a page each. Anything not on the page, they do not do.
+- **Say the page out loud.** It is a poster in the entrance hall. Withholding it makes the
+  scenario a puzzle; giving it away makes it a game about scripts, which is the good one.
+- **Let them break the script.** Putting a person back in the room, saying Sammy's name,
+  or simply going indoors are all complete answers, and a table that finds one should get
+  it for free and feel clever.
+- **Edith is not a monster.** She never attacks, never speaks first, and cannot be hurt.
+  She is the only thing in the building that is owed something.
+- **Cut first:** the Long Gallery, then the glasshouse fight if the clock has gone —
+  Marrow can simply be standing between them and the cars, and going round him is a
+  conversation.
+- **If they solve it in ninety minutes**, run the close long: let each of them have their
+  private line as a proper scene.
+
+---
+
+## Which prologue to run
+
+**LAST ADMISSION** is the two-hour opener: one house, one decision, a fight available.
+**OPEN DAY** is the longer, quieter one — 2h15, no combat, a fixed timetable — and it is
+built for the ten-agent roster rather than these six. Run either. They are alternative
+first nights and nothing in the campaign depends on which.
+
+---
+
+## Playtest note — one run, six characters, 12 August
+
+Played through in Foundry with the six on their civilian sheets. Five things came out
+of it, all now fixed:
+
+1. **Pollard and Agyeman were armed.** The `police` trade kit contains a revolver and a
+   stab vest — right for a serving officer, wrong for a British civilian, and it ended
+   the only fight in one round. The civilian build now strips firearms and body armour
+   from trade kit, and the build throws if one gets through. Finch keeps her knife.
+2. **Old Marrow's shears were a utility knife.** The page said 1d8+1; the actor in the
+   pack carried 1d4+2. He now carries a billhook — a real garden tool in the catalogue —
+   and the page says 1d8+2, which is what a billhook does.
+3. **He was too soft.** At the original numbers he died in 2.4 rounds and in 6 runs of
+   20 he was dead before he swung. At **HP 20, armour 2** he lasts about four and a half
+   rounds, somebody is hurt in 28 runs of 30, and somebody goes down in 9.
+4. **Two stat lines disagreed with the sheets** (Marrow 16 vs 15, Enderby 13 vs 12).
+   Both corrected, and `check-behaviour` now parses this document's fight line and
+   compares it to the actor the build generates.
+5. **Two rolls had no failure written.** The body (now marked *no roll*) and Sammy's
+   ankle pull (now has a fumble result).
+
+The run itself: Act One's optional Spot clues both missed and cost nothing, because the
+essentials are automatic. Ashcroft found Edith Crane on Research. Braithwaite failed the
+body twice, which no longer matters. Renshaw broke Sister Enderby by walking the sixth
+person back into the room without a die being rolled. Braithwaite fumbled the ankle pull
+on a 100 and Sharrock hauled him out. Marrow took four rounds and put Pollard on eight
+hit points. Renshaw talked Tunnicliffe down on a Persuade success. Panel down at 23:40.

docs/scenarios/OPEN_DAY.md

@@ -0,0 +1,857 @@
+# Prologue — The Custodians: OPEN DAY
+
+> *For eleven minutes the building was on a different street. You were inside it.*
+
+---
+
+## GM ESSENTIALS (one glance, any GM)
+
+- **System crash-course:** d100 roll-under a percentage skill. Under a fifth of the
+  skill is a **special**, under a twentieth a **critical**. 96–99 always fail. 00 is
+  always a fumble. Everyone has a 1% chance at anything.
+- **Mechanics inline:** `[CUS: Skill — what it gets you]`
+- **No Coherence is lost in this scenario.** See *The anchoring rule* below. Do not
+  hand out drift, do not roll for it, do not mention the word until the Briefing.
+- **No combat.** There is no antagonist. Nothing in the building wants anything.
+- **Hard rule: at 1:35 on the clock, go to Act Three regardless.**
+- **Safety:** state the tool in use (X-card / open door) during seating — 30 seconds,
+  no ceremony. This scenario contains a missing elderly man and no body.
+
+---
+
+## Overview
+
+- **Event:** Session Zero / prologue. Run before BLACK PLATFORM or any first case.
+- **System:** The Custodians (BRP d100)
+- **Setting:** Marchbank Exchange, Sail Street, Nettlefold — a middling English town.
+  **Saturday 27 September**, 14:00–16:30. The year is whichever one you need.
+- **Tone:** Municipal, warm, then wrong. Bunting and a tea urn, and then the street
+  outside is the wrong street.
+- **Maximum runtime:** 2 hours 15 minutes of play. No break — it is short enough.
+- **Players:** 4–6, drawn from the ten **"(before)" pregens** in the *Custodians:
+  Pregens* compendium. Runs at 3. Every role below is written for all ten, so any
+  selection works; nothing essential lives on one PC.
+- **Content warnings:** an elderly man goes missing and is never found; claustrophobia
+  and enclosed machine rooms; a child's distress, briefly, off-screen; workplace
+  injury (non-graphic); institutional pressure to sign something.
+- **Art style:** the module's own — flat editorial vector, deep navy and pale yellow,
+  1970s British public-information poster. **Not** the ink-sketch house style; these
+  assets sit inside the Foundry module beside the portraits and must match them.
+
+### Design intent (read this first)
+
+1. **This is a prologue, not a slot.** 2h15 against the house 3h30 on purpose: it
+   exists so that the first real case lands, and a prologue that outstays its welcome
+   does the opposite.
+2. **There is no mystery to solve.** The players are not investigating; they are
+   *present*. The gameplay is what each character does with eleven minutes of
+   impossible, and what they write down afterwards.
+3. **Recruitment is earned by record-keeping, not heroics.** Every "before" pregen's
+   biography already ends with a line beginning *How they found her/him*. Those ten
+   lines are ten views of this one afternoon. Act Three is the department reading
+   them back.
+4. **The ending is a signature, and a refusal is a real ending.** The Epilogue honours
+   "not yet" — it just gets there by a longer road.
+5. **What this is not:** a fight, a puzzle box, or a scenario with a villain. Nothing
+   in Marchbank Exchange wants anything. That is the horror.
+
+---
+
+## Session Timing Guide
+
+| Section | Duration | Cumulative | GM Checkpoint |
+|---|---|---|---|
+| Slot Zero + Introduction | ~15 min | 0:15 | Every player has said, in character, why they are at this building today |
+| Act One — The Open Day | ~35 min | 0:50 | All PCs have met at least two others; the demonstration has been announced |
+| Act Two — Eleven Minutes | ~45 min | 1:35 | They are back on Sail Street; each PC holds one record that disagrees with the others |
+| Act Three — The Approach | ~25 min | 2:00 | Every PC has been approached alone and has answered |
+| Epilogue — The Briefing | ~15 min | 2:15 | The department has said the one true thing out loud |
+
+Durations are **ceilings, not fills**. **Hard rule:** at 1:35, go to Act Three.
+
+---
+
+## Plot Summary (GM truth — players never see this page)
+
+Marchbank Exchange was built in 1938 as a municipal automatic telephone exchange. Its
+entrance faced **Cattle Lane**. In 1971 the borough drove **Sail Street** through the
+block, demolished Cattle Lane end to end, and re-addressed the Exchange to its side
+elevation. The Post Office never fully re-addressed the *equipment*. For twenty-three
+years the selector racks in the frame room went on stating, ten thousand times a night,
+in the only language a machine has, that this building stood on Cattle Lane.
+
+Reality keeps a record of what belongs where. A machine that argues with that record
+ten thousand times a night, for twenty-three years, is not a haunting. It is a
+**submission**. When the last live circuit was pulled in 1994 the argument did not
+resolve. It went quiet.
+
+The building was sold for conversion to flats. The civic society got one open day out
+of the developer before the strip-out, on the last Saturday in September. Bunting, a
+tea urn, a head-count clipboard, and a retired exchange engineer called **Douglas
+Kearsley** who had waited thirty years to show somebody how the machine worked.
+
+At **15:41** Kearsley put power to a restored demonstration panel and placed a call
+across four racks so the public could hear it connect. It connected. It also
+re-energised a selector that still held the old routing.
+
+For **eleven minutes**, the record was contested. The Exchange's address reverted.
+Everyone inside was inside a building on Cattle Lane, in a year that is not this one.
+Everyone outside saw a door where a door had always been, and did not look twice.
+
+At **15:52** the demonstration fuse failed and the record snapped back.
+
+**Three things did not come back right.**
+
+1. **The head count is one over.** Twenty-seven signed in. Twenty-eight signed out.
+   Every name on the out-sheet is also on the in-sheet. The department calls the
+   difference **the Eleventh**, and does not have a better answer than that.
+2. **Douglas Kearsley did not come out.** He walked to the far end of the frame room
+   at 15:49 to pull the fuse himself, and he pulled it, because the fuse is out. He is
+   on the Cattle Lane side. He has been there for eleven minutes ever since.
+3. **The records disagree.** An outside-broadcast tape, a microwave relay log, a
+   contaminated-land sample sheet, a measured survey, a set of clinical notes, a
+   pocket notebook, a witness statement. Seven documents describing the same eleven
+   minutes. Each internally consistent. No two consistent with each other.
+
+**Why anybody came.** The department maintains a standing watch on address
+discrepancies — this is most of what Registry does, and it is duller than it sounds.
+Between 15:41 and 15:52 the historical address database was queried nine times from a
+trunk decommissioned in 1994. The flag was raised on the Monday. A recruiting
+officer was in Nettlefold by the Thursday.
+
+**Why these people.** Not because they saw it. Ninety people saw something. Because
+they **wrote it down accurately, kept the record when it was inconvenient, and raised
+it a second time when nobody answered the first**. That is the entire recruiting
+criterion, and the department has never found a better one.
+
+### Timeline (GM reference)
+
+| When | Event |
+|---|---|
+| 1938 | Marchbank Exchange opens. Address: 4 Cattle Lane. |
+| 1971 | Cattle Lane demolished; Sail Street cut through. Building re-addressed. Equipment is not. |
+| 1994 | Last live circuit pulled. The argument stops without resolving. |
+| Last spring | Sold for conversion. Strip-out scheduled for the Monday after the open day. |
+| 14:00 | Open day begins. Head count starts at the trestle table. |
+| 15:30 | Last tour of the day goes down to the frame room. |
+| **15:41** | **Kearsley powers the demonstration panel. The eleven minutes begin.** |
+| **15:52** | **The fuse fails. The record snaps back. Kearsley is not among them.** |
+| 16:10 | Police attend. Agyeman's division. A missing-person report with no crime number. |
+| Monday | Registry's address flag is raised. |
+| Thursday | Mrs Ferrand arrives in Nettlefold. |
+| +4 to +11 weeks | The approaches (Act Three), one PC at a time. |
+| +12 weeks | The briefing (Epilogue). |
+
+### The anchoring rule (mechanical, and the point of the scenario)
+
+**Nobody loses Coherence in this scenario.** Not a point.
+
+Coherence is not damage from seeing something. It is what it costs to *keep looking
+once you know what you are looking at*. These ten do not know. They have the perfect
+armour of the uninitiated: they think they are having a strange afternoon.
+
+Say none of this to the players. It pays off the first time they lose a point on a
+real case, and it pays off best if the Briefing is the first time they hear the word.
+
+### Revelations (GM checklist — abstracted from where they are found)
+
+| # | Revelation | Expected by | Delivered? |
+|---|---|---|---|
+| R1 | The building used to face a different street | Act One | |
+| R2 | The machine still says so | Act One | |
+| R3 | The eleven minutes are happening *to* the building, not to them | Act Two | |
+| R4 | Outside is not outside | Act Two | |
+| R5 | Someone is walking the aisles who is not on the tour | Act Two | |
+| R6 | The head count is one over | Act Two | |
+| R7 | Kearsley chose to go and pull the fuse | Act Two | |
+| R8 | Their own record does not match anyone else's | Act Two / Three | |
+| R9 | Somebody official has read their record — all of it, including the part they only wrote for themselves | Act Three | |
+| R10 | The organisation is small, statutory, and appallingly ordinary | Act Three | |
+| R11 | Kearsley is not going to be recovered | Epilogue | |
+| R12 | Reality keeps a record of what belongs where, and it can be made to get it wrong | Epilogue | |
+
+Anything undelivered by the end of Act Two folds into the Briefing, except R5 and R6,
+which are **better left undelivered** if the table did not reach them. The Eleventh is
+designed ambiguity. Do not resolve it.
+
+---
+
+## Player Experience
+
+You went to an open day. You had a professional reason — a survey, a sample, a live
+link, a shift, a delegation to interpret for, a door nobody was watching — and you
+expected to be home by five. At twenty to four an old man in a good jacket switched on
+a telephone exchange to show you how it used to work, and for eleven minutes the front
+door opened onto a street that was pulled down before you were born. Nothing attacked
+you. Nothing spoke to you. You went outside, eventually, onto the right street, and
+the head count was one over and the old man was not there. Then you did the thing you
+always do: you wrote down exactly what you saw, and you did not cross any of it out.
+Some weeks later a woman with a small case sits down opposite you in a place where you
+work, orders a tea she does not drink, and quotes your own notes back to you.
+
+---
+
+## The Countdown — The Eleven Minutes
+
+This replaces the antagonist clock. There is no antagonist: **the world moves on a
+timetable and nothing the players do alters it.** Advance one row roughly every three
+to four minutes of real time, faster if the table is quiet, and *always* advance when
+someone tries to stop it.
+
+Read the minute aloud. Say the time. That is the whole engine of Act Two.
+
+| Time | What happens (say the time aloud) |
+|---|---|
+| **15:41** | The panel takes power. Every light in the building goes one shade warmer. Every watch, phone and wall clock in the frame room reads **15:41**, including the ones that were wrong. |
+| **15:42** | The traffic noise from Sail Street stops. It is replaced by different noise: a diesel engine idling, a handcart, and — far off and quite clear — cattle. |
+| **15:43** | The front door is open. Beyond it is a narrow lane of soot-black brick with a cooper's yard on the corner. Two members of the public step out onto it, pleasantly, as if the tour continues. |
+| **15:44** | The frame room has one more rack than the survey says it has. It is at the far end, and it is running. |
+| **15:45** | A telephone rings in the operators' room. It is not connected to anything. It rings until answered — and whoever answers is live on air, because the OB desk has patched it through. There is a frightened person on the line who is calling from inside this building. |
+| **15:46** | A well-dressed man asks a PC, courteously and in a language of the GM's choosing, for directions to **11 Cattle Lane**. He is patient. He will wait for an answer. |
+| **15:47** | A man in a donkey jacket walks the length of the frame aisle with a tag list, checking racks. He does not see anyone. He is not frightening. He is working. |
+| **15:48** | Councillor Odame takes a head count in the hall, because that is what you do. She counts twice. She gets twenty-eight both times. |
+| **15:49** | Kearsley says, to nobody in particular, *"Well, that's not right, is it,"* and walks to the far end of the frame room to pull the fuse. |
+| **15:50** | The lights fail from the far end backwards, rack by rack, towards the door. Two members of the public go down hard on the basement stairs in the dark. Somebody has to carry them. |
+| **15:51** | A child on the tour asks, clearly, in the dark: *"Where's the man gone?"* One of the two men on the stairs has a forearm that is already knitted crooked, over an old break, from a fall he had six minutes ago. |
+| **15:52** | Daylight. Sail Street. Buses. Twenty-eight people on the pavement, and Douglas Kearsley is not one of them. |
+
+**If the players try to stop it:** they can. Any of it. Pull the fuse at 15:44, drag
+Kearsley back at 15:49, hold the front door shut at 15:43. **It does not change the
+timetable.** The lights still fail from the far end backwards. Kearsley is still not
+on the pavement at 15:52. Let them succeed at the action and fail at the outcome, and
+do not explain why — the Briefing does that, twelve weeks later, in one sentence.
+
+---
+
+## Pre-Game Handouts
+
+| ID | Description | Format | When Given |
+|---|---|---|---|
+| OD-H01-A | Open day leaflet, Nettlefold Civic Society | A5, two colours | Introduction |
+| OD-H02-A | Head-count sheet — IN 27 / OUT 28 | Clipboard photocopy | Act Two, 15:48 or after |
+| OD-H03-A | OB transcript, eleven minutes | Typed, timecoded | Act Two end (Rahimi, or any PC) |
+| OD-H04-A | Relay log — MARCHBANK/CTL: **forty minutes of traffic inside an eleven-minute window** | Line printer output | Act Two end (Sandoval, or any PC) |
+| OD-H05-A | Measured survey, north wall, three figures | Drawing extract | Act Two end (Kowalczyk, or any PC) |
+| OD-H06-A | The department's letter | One page, no letterhead | Act Three |
+| OD-H07-A | Form CS/1 — the Act, with signature block | One page | Epilogue |
+
+Every "or any PC" above means exactly that: if the table did not pick that pregen, the
+document exists anyway and reaches them another way. **Nothing essential lives on one
+character.**
+
+---
+
+## Introduction — Trestle Table *(~15 minutes, including Slot Zero)*
+
+### Slot Zero (before the fiction)
+
+1. Seating + safety line (30 seconds).
+2. Pitch each "(before)" pregen in one spoken line — the job, and the one odd thing:
+   *"Court interpreter. Says other people's worst sentences in the first person all
+   day, and remembers every one."*
+3. Players choose, or the GM deals, in ≤5 minutes.
+4. Open at the table on the pavement. Everyone signs in. **Make them say their name
+   aloud as they write it.** That is the head count, and it is a clue nobody notices.
+
+### Opening (read aloud or paraphrase)
+
+> Bunting, a tea urn, and a folding table on the pavement with a clipboard on it. The
+> building behind it is municipal brick, 1938, four storeys of frosted window and one
+> good brass door. A woman in a council fleece asks you to print your name, and
+> underneath it, the reason for your visit.
+>
+> Write something. She will read it later, and so will somebody else.
+
+### Player briefing (as bullets)
+
+- Nettlefold. Saturday 27 September. Ten past two.
+- **Marchbank Exchange**, Sail Street: a decommissioned telephone exchange, sold for
+  flats. Strip-out starts Monday.
+- The civic society got one open day out of the developer. This is it.
+- Tours run every half hour. The last one goes down at half past three.
+- Everyone has a reason to be here, and every reason is a working one. Nobody is here
+  because they are brave.
+
+### Atmosphere notes
+
+- **Sound loop:** the tea urn, the traffic on Sail Street, and under both a mains hum
+  that you stop noticing and then notice again.
+- **Smell:** hot dust, floor polish, and the specific smell of an unheated building in
+  September.
+- **Light:** frosted glass. Everything is the colour of weak tea.
+
+### Why each PC is here (use whichever are dealt)
+
+| PC | Reason they are in the building |
+|---|---|
+| **Marta Holloway** — interpreter | Booked for a twinning delegation the council invited and then forgot to brief. |
+| **Ben Okonkwo** — steel erector | On site since seven, propping the second-floor opening before Monday. |
+| **Rey Sandoval** — network field engineer | The OB link needs a clear shot to the mast; the roof is the only place it works. |
+| **Arun Bhattacharya** — research chemist | Contaminated-land sampling in the battery room. Lead, cadmium, and forty years of acid. *His chain-of-custody sheet comes back from the lab countersigned by a name that is not on the staff list, and never has been.* |
+| **Soraya Rahimi** — radio presenter | Outside broadcast, live at four. Van on the double yellow, cable through the side door. |
+| **Dr Chidi Nkemdirim** — A&E registrar | Volunteer first-aid cover. Sitting on a stacking chair by the urn, bored. |
+| **Marek Kowalczyk** — structural engineer | Measured survey for the conversion. Has three days of drawings that do not close. |
+| **Wren Finch** — between things | The side door has been on the latch since Thursday and there is copper in the frame room. |
+| **Joseph Agyeman** — detective sergeant | Off duty, with a grandchild, because the leaflet came through the door. |
+| **Prof. Åke Lindqvist** — folklorist | Giving the three o'clock talk: *"Streets That Were: Nettlefold's Lost Lanes."* |
+
+### Hook into Act One
+
+The three o'clock talk, the half-past-three tour, or the job they came to do. Offer
+all three. Everyone ends up in the frame room by twenty to four regardless, because
+Kearsley invites them personally, and he is very hard to say no to.
+
+---
+
+## ACT ONE — The Open Day *(~35 minutes)*
+
+> **Goal:** Make the building ordinary and likeable, put every PC in the frame room by
+> 15:41, and plant two facts: **the building used to face a different street**, and
+> **the machine still says so.**
+
+### Summary
+
+Tea, bunting, and six small competent jobs happening in parallel. Lindqvist's talk
+names Cattle Lane. Kearsley shows anyone who will look how a call used to be
+connected, and mentions — as a joke, as an old man's grievance — that the racks were
+never re-addressed. Nothing is wrong. That is the entire act.
+
+### Split plan
+
+- **Recommended pairing:** works naturally as three loose pairs by lane — machine
+  (Sandoval, Kowalczyk, Bhattacharya, Okonkwo), people (Holloway, Rahimi, Agyeman,
+  Nkemdirim), edges (Finch, Lindqvist). Offer; do not assign.
+- **Segments:** ~10 minutes each, cutting between them. End each on a pull line.
+- **Cross-team payoff:** the machine half learns *the racks still say Cattle Lane*;
+  the people half learns *Cattle Lane was pulled down in 1971 and nobody was
+  rehoused locally*. Neither half is interesting. Together they are the scenario.
+
+### Locations
+
+#### The Trestle Table, Sail Street *(exterior)*
+
+- **First impression:** bunting in two colours, a clipboard on a string, a tea urn
+  running off an extension lead through a propped fire door. A council fleece.
+- **Interactables:** the head-count clipboard — names in, names out, in two columns.
+  Councillor Odame, who wants the building listed and will corner anyone about it.
+  A photocopied leaflet (**OD-H01-A**).
+- **Hidden:** the leaflet's own map has the building set back from Sail Street by
+  about four metres. It isn't. `[CUS: Spot — the frontage on the map is not the
+  frontage in front of you]`
+- **Artwork:** OD-ART-01
+
+#### The Public Hall *(former operators' room, ground floor)*
+
+- **First impression:** a long room with a parquet floor worn into two grooves where
+  the operators' chairs ran, forty years of them, from one end to the other.
+- **Interactables:** display boards of borough photographs. The tea urn. A stacking
+  chair with a first-aid box on it. A black bakelite telephone on a side table, cable
+  cut, put there for children to pick up.
+- **Hidden:** one board photograph, 1968, shows the brass door with **CATTLE LANE**
+  on the fanlight. `[CUS: Spot — the door is the same door; the street is not]`
+- **Artwork:** OD-ART-02
+
+#### The Frame Room *(basement)*
+
+- **First impression:** ten aisles of steel racks, floor to ceiling, each one a
+  wall of relays and jumper wire in cotton sleeving, cream and red and green. It is
+  the most beautiful thing any of them have seen this year and none of them expected
+  that.
+- **Interactables:** Kearsley, who will explain anything to anyone. The restored
+  demonstration panel at aisle one, with a fuse carrier and a hand-lettered card. Rack
+  ends stencilled with route codes. A tag list on a nail.
+- **Hidden:** every rack end carries the route prefix **CTL**. `[CUS: Knowledge or
+  Repair (Electronics) — CTL is a routing prefix, and it is the old address block]`
+- **Artwork:** OD-ART-03
+
+#### The Battery Room *(basement, beyond the frame room)*
+
+- **First impression:** two hundred glass cells on tarred timber staging, all empty,
+  all still faintly sweet with acid. The floor slopes to a drain in the centre.
+- **Interactables:** Bhattacharya's sample points. Kowalczyk's staff and tape. A
+  stencilled notice: **NO NAKED LIGHTS — MARCHBANK EXCHANGE, 4 CATTLE LANE**.
+- **Hidden:** the drain does not appear on the drainage drawing. `[CUS: Engineering
+  (Field Systems) — it goes somewhere the survey does not]`
+- **Artwork:** OD-ART-04
+
+#### The Roof and the Mast
+
+- **First impression:** felt, gravel, a lightning conductor, and a lattice mast with
+  one live dish on it that the network never got round to taking down. Nettlefold
+  from above: a ring road, a retail park, and the shape of a street that isn't there
+  any more, still legible in the backs of the houses.
+- **Interactables:** the link equipment. The view. Sandoval's laptop.
+- **Hidden:** the dish is aligned on a bearing with nothing at the end of it.
+  `[CUS: Computer Use — it has been carrying something, on and off, for years]`
+- **Artwork:** OD-ART-05
+
+#### The Yard and the Side Door
+
+- **First impression:** a walled yard, a skip, and a steel door on the latch with the
+  hasp taped over, because the OB cable runs through it and nobody wants to keep
+  getting up.
+- **Interactables:** the skip (cable offcuts, a broken chair, a box of tag lists). The
+  door. The taped hasp.
+- **Hidden:** the tape is fresh. Somebody else taped it before Finch got there.
+  `[CUS: Spot — two layers of tape, different ages]`
+- **Artwork:** OD-ART-06
+
+### NPCs
+
+#### Douglas Kearsley
+
+*A retired exchange engineer who has waited thirty years to show somebody how the
+machine worked, and today somebody is finally asking.*
+
+- **Physical:** seventy-one, a good jacket over a work shirt, and a pen in the top
+  pocket that he uses.
+- **Motivation:** to be understood about this one thing before he dies.
+- **What he knows:** everything about the Exchange, including that the racks were
+  never re-addressed — which he raises as an old grievance, twice, to anyone.
+- **Disposition:** delighted. Uncomplicated. Genuinely good company.
+- **Key line:** *"They moved the street. They never told the machine."*
+- **Mechanics:** ordinary man, 71. INT 15, EDU 14, Repair (Electronics) 80%,
+  Knowledge 65%. No roll resolves anything he does after 15:49.
+
+#### Councillor Hazel Odame
+
+*Chair of the civic society, who wants the building listed and has one day to make
+ninety people care.*
+
+- **Physical:** a lanyard, a folder, and reading glasses pushed up into her hair that
+  she will spend the afternoon looking for.
+- **Motivation:** listing. Failing that, a decent photograph in the *Advertiser*.
+- **What she knows:** the borough history cold, including the 1971 scheme, and that
+  the Cattle Lane households were rehoused eleven miles away.
+- **Disposition:** brisk, warm, absolutely will not be told the day should stop.
+- **Key line:** *"They took the whole lane. Both sides. In a fortnight."*
+- **Mechanics:** Persuade 60%, Status 70%. Takes the head count at 15:48 because
+  that is what you do.
+
+#### Tony Vasey
+
+*The developer's site manager, who wants the day over and the strip-out started
+Monday.*
+
+- **Physical:** a good coat over a hard hat he does not need indoors, and a phone he
+  keeps checking.
+- **Motivation:** Monday.
+- **What he knows:** the programme, the asbestos survey, and that the frame room was
+  meant to be sealed today and Kearsley talked him round.
+- **Disposition:** not unkind, entirely uninterested, will be the one who says
+  *"he'll have gone home"* at 16:00 and mean it.
+- **Key line:** *"Half three, and then I'm locking it, heritage or no heritage."*
+- **Mechanics:** Fast Talk 55%, Status 45%.
+
+### Clue trail — Act One
+
+| # | Clue | Location / Source | How found | What it reveals | Type |
+|---|---|---|---|---|---|
+| 1 | The building's address was 4 Cattle Lane | Battery room stencil; Lindqvist's talk; Odame | **Automatic** on entering either basement room, or attending the talk | R1 — the building used to face a different street | Essential |
+| 2 | Every rack end is prefixed CTL | Frame room | **Automatic** if Kearsley is asked anything at all about routing | R2 — the machine still says so | Essential |
+| 3 | Cattle Lane was demolished in 1971 in a fortnight | Odame, or the display boards | **Automatic** on any question about the street | Context for R1 | Essential |
+| 4 | The 1968 photograph: same door, different street | Public hall boards | `[CUS: Spot]` | Makes R1 physical rather than administrative | Optional |
+| 5 | The leaflet map's frontage is wrong by four metres | OD-H01-A | `[CUS: Spot]` | First hint the record and the building disagree *now* | Optional |
+| 6 | The dish is aligned on nothing | Roof | `[CUS: Computer Use]` | Sets up the relay log in Act Two | Optional |
+| 7 | Two layers of tape on the hasp | Yard | `[CUS: Spot]` | Somebody else has been coming and going | Optional |
+
+**Fallbacks for the essentials:**
+
+- **Clue 1** — if nobody goes downstairs and nobody attends the talk, Odame says it
+  at the tea urn while looking for her glasses: *"Four Cattle Lane, this was."*
+- **Clue 2** — Kearsley raises it himself, unprompted, as a grievance, at any point
+  after 15:20. He raises it twice. He is a man with one good complaint.
+- **Clue 3** — the display boards carry the 1971 compulsory purchase notice at
+  readable size.
+
+### Story hooks (if players stall)
+
+- Kearsley comes and finds them personally. He has been told he can run the panel at
+  twenty to four and he wants an audience, and he asks by name, having read the
+  clipboard.
+- Vasey announces the building shuts at half three, which moves everybody down.
+- The child from 15:51 — Agyeman's grandchild, or Odame's, or nobody's — asks a PC
+  what a telephone exchange *is*, which gets Kearsley across the room in ten seconds.
+
+### Pacing note
+
+Before Act Two: **every PC is in or adjacent to the frame room, and clues 1 and 2 are
+delivered.** At 0:50:
+
+> **Fast-track:** Kearsley claps his hands once, says *"Right — who wants to hear it
+> connect?"*, and puts his thumb on the fuse carrier. Start the clock at 15:41.
+
+---
+
+## ACT TWO — Eleven Minutes *(~45 minutes)*
+
+> **Goal:** Eleven minutes of a timetable nobody can alter, in a building that is
+> somewhere else, and then a pavement with the wrong number of people on it.
+
+### Summary
+
+Run **The Countdown** table. Say each time aloud. Between rows, ask each PC what they
+are doing and let them do it — competently, successfully, and without effect on the
+timetable. The act ends at 15:52 with daylight, buses, twenty-eight people, and no
+Douglas Kearsley.
+
+### How to run it
+
+1. **Say the time.** Every row. *"Fifteen forty-four."* It is the whole engine.
+2. **Let them win the actions.** Rolls are real and rolls succeed: they get the door
+   shut, they get the fuse out, they get hold of Kearsley's sleeve. `[CUS: any
+   applicable skill — they achieve exactly what they attempted]`
+3. **Do not let the outcome change.** Then the next row happens anyway. Never explain.
+   Never say "you can't". Say what happens.
+4. **No Coherence. No horror rolls. No damage.** If a player asks whether they are
+   going mad, the answer in the fiction is that they are extremely calm, and so is
+   everyone else, and *that* is the frightening part.
+5. **Nothing is hostile.** The man in the donkey jacket is working. The man asking
+   directions is polite. The building is not haunted; it is filed incorrectly.
+
+### The wrong side — Cattle Lane *(location, exists 15:43–15:52)*
+
+- **First impression:** a lane about four metres wide, black brick, greasy cobbles,
+  and a cooper's yard on the corner with the hoops stacked. It is late afternoon there
+  too, but a different late afternoon: colder, and the light comes from the other end.
+- **Interactables:** the cooper's yard. A parked van, olive green, with a Nettlefold
+  Borough crest and no registration you can read. Front doors, numbered — **11 Cattle
+  Lane** is three along, and the door is ajar.
+- **Anyone who steps out** can step back in. Always. Every time. Say so by showing it,
+  not by promising it: the first PC out gets pulled back in by their coat and nothing
+  bad happens, and everyone relaxes, and that is the trap the scenario sets and never
+  springs.
+- **11 Cattle Lane.** Wren Finch's biography says she was the only witness who could
+  describe the inside, so if she is dealt she is the one who goes in — she will not be
+  able to help herself, and you should let her. If a player insists, they find a hallway,
+  a hall stand, and a door at the end that is the frame room door, from the other
+  side. They come back into the frame room. **Nothing happens to them.** Note it on
+  their sheet and never mention it again. It is worth more unresolved than any
+  consequence you could write. *(No roll resolves this.)*
+- **Artwork:** OD-ART-07
+
+### The far end of the frame room *(15:49–15:52)*
+
+- **First impression:** aisle eleven, which the survey says is aisle ten, running warm
+  and loud with a rack in it that Kowalczyk has measured and does not have.
+- **What is there:** a fuse carrier, and Douglas Kearsley reaching for it, with his pen
+  still in his top pocket.
+- **What happens:** he pulls it. The lights fail from that end backwards. Whoever is
+  with him is holding his sleeve or is not; either way, at 15:52 they are on the
+  pavement and he is not, and their hand is closed on nothing.
+- **Artwork:** OD-ART-08
+
+### NPCs (Act Two)
+
+#### The man asking directions *(15:46)*
+
+*A courteous stranger who wants to get to 11 Cattle Lane and has all afternoon.*
+
+- **Physical:** a good overcoat and a hat he takes off to speak.
+- **He speaks** whichever language the GM likes — this is Holloway's moment if she is
+  dealt, and any PC's moment if she is not, because he is patient enough to be
+  understood by gesture.
+- **What he knows:** nothing useful. He is asking a genuine question.
+- **Disposition:** grateful for any answer, and he takes it, and he goes.
+- **Key line:** *"Eleven. Three along, on the left, I think — but you'd know better
+  than me, you're local."*
+- **No roll resolves who he is.** He is not resolved. He is not meant to be.
+
+#### The man in the donkey jacket *(15:47)*
+
+*An exchange engineer on his rounds, checking racks against a tag list.*
+
+- **Physical:** donkey jacket, 1971, and a biro behind his ear.
+- **He does not see anyone.** Not menacingly — he simply is not sharing the room. If
+  spoken to he does not react. If touched, the hand goes through nothing: he is warm,
+  and solid, and busy, and continues.
+- **Key detail:** the tag list in his hand is the same tag list that is hanging on the
+  nail in aisle one, which a PC may already have handled. `[CUS: Spot — it is the same
+  list, forty years apart]`
+
+#### Douglas Kearsley *(15:41–15:52)*
+
+Unchanged, and that is what makes it hard. He is enjoying himself until 15:49. He
+notices the extra rack, says the thing about it not being right, and goes to deal with
+it the way he has dealt with a fault for fifty years — himself, at once, without
+drama, because that is the job. **He is not sacrificing himself.** He does not know
+he is doing anything. If a PC tries to go instead, he lets them come along and gets
+there first, because he knows the aisle in the dark.
+
+### Clue trail — Act Two
+
+| # | Clue | Location / Source | How found | What it reveals | Type |
+|---|---|---|---|---|---|
+| 8 | Every timepiece in the building reads the same minute | Anywhere, 15:41 | **Automatic** | R3 — this is happening to the building | Essential |
+| 9 | The street outside is not Sail Street | Front door, 15:43 | **Automatic** | R4 — outside is not outside | Essential |
+| 10 | There is a rack that the survey does not have | Frame room, 15:44 | **Automatic** to any PC who has seen the survey; otherwise Kearsley says it at 15:49 | R7 — this is why Kearsley goes | Essential |
+| 11 | The head count is twenty-eight | Odame, 15:48, or the sheet afterwards | **Automatic** if anyone is in the hall; otherwise **OD-H02-A** in Act Three | R6 — one more came out than went in | Essential |
+| 12 | A man is walking the aisles who is not on the tour | Frame room, 15:47 | **Automatic** if anyone is in the frame room | R5 | Optional |
+| 13 | The tag list is the same list | Frame room, 15:47 | `[CUS: Spot]` | Deepens R5; never explained | Optional |
+| 14 | 11 Cattle Lane's back door is the frame room door | Cattle Lane | Only if a PC insists on entering | Nothing. It reveals nothing. That is the point. | Optional |
+| 15 | The phone that is not connected rings until answered | Public hall, 15:45 | **Automatic** if anyone is in the hall | Atmosphere; and whoever answers it hears the exchange working | Optional |
+
+**Fallbacks for the essentials:** clues 8 and 9 are automatic and unmissable. Clue 10
+arrives in Kearsley's mouth at 15:49 if nowhere else. Clue 11 arrives as a handout in
+Act Three if the table was not in the hall — Agyeman's copy, or the one the department
+brings.
+
+### Pacing note
+
+At **1:35**, go to Act Three regardless of where the table is.
+
+> **Fast-track:** cut to 15:52 mid-sentence. *"Daylight. Buses. Somebody's radio.
+> You are standing on Sail Street and it has been eleven minutes and there are
+> twenty-eight of you."* Then go straight to the first approach.
+
+Undelivered revelations fold into the Briefing — **except R5 and R6**. If the table
+missed the extra man and the head count, let them stay missed and give the players the
+handout at the very end of the Briefing with no comment. It is a better ending than an
+explanation.
+
+---
+
+## ACT THREE — The Approach *(~25 minutes)*
+
+> **Goal:** Each PC, alone, in their own working life, four to eleven weeks later, is
+> approached by somebody who has read what they wrote. **No new information.** This
+> act is confirmation and consequence.
+
+### How to run it
+
+Run each approach as a **two-to-three minute solo scene** in front of the whole table.
+Do not go round the table asking for reactions; go to each player, play the scene,
+end it, move on. This is the only part of the scenario where spotlight is
+deliberately serial, and it works because each scene is short and every player is
+watching somebody get read.
+
+**Give OD-H06-A to the first player approached.** They all get the same letter.
+
+### Mrs Ivy Ferrand
+
+*A recruiting officer who has read everything you wrote and has come a long way to
+say so gently.*
+
+- **Physical:** fifty-something, a raincoat over something sensible, and a small hard
+  case she puts on the floor beside her chair and never opens.
+- **Motivation:** to establish, in under ten minutes, whether you are a person who
+  keeps a record when it costs you something. She already believes you are. She is
+  checking.
+- **What she knows:** everything in the written record, including the private part.
+  Not what happened in the building. She was not there and she says so plainly.
+- **Disposition:** kind, unhurried, and completely immovable. She orders tea and does
+  not drink it. She does not use the word *crossing*, or *coherence*, or *department*.
+- **Key line:** *"You wrote it down twice. Most people cross it out the second time."*
+- **What she will not answer:** where Kearsley is; who the twenty-eighth person was;
+  what she works for. To each: *"I'm not able to tell you that today."* Not *"I don't
+  know."* She is scrupulous about the difference, and a sharp PC will notice.
+- **What "no" gets:** a card with a telephone number and no name, and *"That's not a
+  door that closes."* And she means it — see the Epilogue.
+- **Mechanics:** Persuade 75%, Insight 80%, Status 60%. **No roll resolves this
+  scene.** She is not rolling against them and they cannot roll her away.
+- **Artwork:** OD-ART-09
+
+### The approaches, one per pregen
+
+Use whichever were dealt. Each is: **where**, **the line she opens with** (always a
+quotation from their own record), and **the offer**.
+
+| PC | Where | She opens with | The offer |
+|---|---|---|---|
+| **Marta Holloway** | The interpreters' room at the magistrates' court, between listings | *"You wrote down what the gentleman asked for, and then you wrote down what the room did while he asked it. Nobody had asked you to hear either."* | Work where what you heard matters more than what was said. |
+| **Ben Okonkwo** | The site canteen, half seven in the morning, everyone else outside | *"You carried two men out and your statement runs to four hundred words and none of them is 'I think'."* | We need people who go in and come out and can say which. |
+| **Rey Sandoval** | The foot of a mast, in the rain, while she waits for him to come down | *"Forty minutes of traffic from a site that came out in 1994, and you kept the file. Your employer's IT policy says destroy."* | Somebody has to watch the things that are still transmitting. |
+| **Arun Bhattacharya** | The laboratory, ten past six, the only two people in it | *"You raised it in writing. Then you raised it again. Nobody has ever thanked you for that. I'm not going to either."* | A registry, and everything in it read by somebody who notices. |
+| **Soraya Rahimi** | The station car park after the mid-morning show | *"Eleven minutes of your tape and it plays differently every time. You still filed it. You could have wiped it and nobody would have known."* | Talking to people on the worst day of their lives, on purpose. |
+| **Dr Chidi Nkemdirim** | The relatives' room, empty, at the end of a shift | *"Your notes describe an injury healing in the wrong direction, in the correct clinical language, without one hedge. Your consultant amended them. You didn't."* | Be the doctor for people this happens to. |
+| **Marek Kowalczyk** | A pub near the office he has not gone into yet | *"You measured the same wall three times and put all three figures on the drawing. Your practice made you take two off."* — *(his sheet's footbridge is a later job, where he did it again and it cost him)* | Buildings that are wrong, measured properly. |
+| **Wren Finch** | An interview room, and she asks the officer to leave | *"You are the only person alive who has been inside number eleven. You could have said nothing at all and walked out of here."* | The caution goes away. The skills do not. |
+| **Joseph Agyeman** | His own front room, on a Sunday, by appointment | *"A file with no crime number, worked on your own time, and you got further than you were meant to. Somebody has retired on less."* | Twenty-six years of taking statements, for statements nobody else will take. |
+| **Prof. Åke Lindqvist** | His room in the department, among the boxes, after the last tutorial | *"You gave an answer that was too specific. Everyone assumed you'd read it somewhere. You hadn't."* | An answer, eventually, to the only question he has ever cared about. |
+
+### The choices (present plainly; then get out of the way)
+
+- **Sign.** Six weeks' induction, a warrant card, and the rest of it.
+- **Ask for time.** She gives it. Genuinely. See *Not yet* in the Epilogue.
+- **Refuse.** The card, the number, and *"That's not a door that closes."*
+- **Compromise the table will invent:** *"I'll tell you what I know, but I won't
+  join."* She accepts, takes an excellent statement, thanks them properly — and comes
+  back in the spring. Write down what they told her; it is theirs, and the department
+  keeps it.
+
+### If someone gets aggressive
+
+Nobody threatens Mrs Ferrand successfully. She does not escalate, does not call
+anyone, and does not leave. She waits. If a PC walks out, she is outside their place
+of work the next morning with two teas, and she has brought the head-count sheet, and
+she puts it on the wall of the bus shelter and lets them read it. **That works.** It
+was always going to work. She has done this two hundred times.
+
+### Pacing note
+
+25 minutes maximum, which is roughly two and a half minutes per player plus slack.
+If the table starts debating in a group:
+
+> **Pressure line:** *"Mrs Ferrand looks at the clock behind the bar. 'I've one more
+> today,' she says, 'and they're in Carlisle.'"*
+
+---
+
+## Epilogue — The Briefing *(~15 minutes)*
+
+> **Goal:** The department says the one true thing out loud, in a municipal room, with
+> the wrong number of chairs.
+
+### The room
+
+A first-floor room above a closed register office. Stacking chairs, a projector on a
+trolley, a jug of water and a plate of biscuits nobody touches. There are eleven
+chairs out and however many of them there are. Nobody mentions it.
+
+**Artwork:** OD-ART-10
+
+### Mr Bewley
+
+*Registry. Signs things. Has read every word any of them ever wrote about that
+afternoon, twice.*
+
+- **Physical:** grey, unremarkable, and wearing a very good watch that he checks
+  exactly once.
+- **Motivation:** to have them understand the one true thing before they sign, because
+  people who sign without understanding it do not last and the paperwork is dreadful.
+- **Disposition:** courteous, dry, faintly apologetic about the building, the chairs
+  and the biscuits.
+- **Mechanics:** none. Nothing in this scene is rolled.
+
+### The briefing (deliver as bullets, in this order)
+
+1. **Who we are.** *"We're a department. We have a statutory basis, a budget line, and
+   nobody in this room's grade would surprise you. We are not secret. We are
+   uninteresting, which is much better."*
+2. **What we do.** *"We attend when a place stops agreeing about where it is, and we
+   get it to agree again, and we take a statement."*
+3. **The one true thing.** Say it slowly, once, and do not elaborate:
+
+> *"Reality keeps a record of what belongs where. It is a very good record. It is not
+> a perfect one, and it can be made to get it wrong — usually by something patient and
+> stupid saying the same wrong thing for a very long time. That building spent
+> twenty-three years telling the truth about an address that had stopped being true.
+> On the twenty-seventh of September, for eleven minutes, it was believed."*
+
+4. **Your own words, read back.** Bewley reads two lines from each PC's own record,
+   aloud, without comment. *This is the emotional beat of the scenario.* Use their
+   actual sheet biography line. Then: *"Every one of you wrote what you saw. None of
+   you wrote the same thing. All of you are correct. Do sit with that."*
+5. **Douglas Kearsley.** Asked or not asked, he says it: *"Mr Kearsley pulled the fuse.
+   That is why you are all here and not still in there. We have not recovered him. I
+   am not going to tell you we are going to. I will tell you that the file is open and
+   that it is mine."*
+6. **Coherence** — first use of the word in the whole scenario. *"You will find that
+   knowing costs something. It did not cost you anything that afternoon, because you
+   did not know. That is over now."*
+7. **The anchor.** Each is asked to bring one object, of no value, that is
+   unambiguously theirs. *This is where each pregen's "Anchor:" line on their AFTER
+   sheet is chosen — do it at the table, in their own words.*
+8. **Form CS/1** (**OD-H07-A**) — one page, and a signature block, and a pen that is
+   already on the table.
+
+### Outcomes
+
+| Outcome | Trigger | What happens |
+|---|---|---|
+| **Signed** | Any PC signs at the briefing | Six weeks' induction. Their "before" sheet is retired and their agent sheet is issued. Play BLACK PLATFORM. |
+| **Not yet** | A PC asked for time in Act Three | They are at the briefing anyway, as a guest, in the eleventh chair. They sign in the spring, off-screen, and start play at the same rank. **This costs them nothing mechanically.** |
+| **Refused outright** | A PC refused and never called | Their agent sheet exists in the compendium and they can be picked up at any later session with no explanation required. The card is still in the drawer. |
+| **The whole table refuses** | Rare, and honour it | Bewley thanks them, collects the forms, and leaves. Two years later every one of them gets a Christmas card with no message. Start the campaign there instead. |
+
+### Closing scene (read aloud, adapt to outcome)
+
+> The stacking chairs go back on the trolley. Somebody has to carry the projector
+> down. Outside it is the same wet Tuesday it was when you came in, and Sail Street is
+> still Sail Street, and the Exchange is flats now — they went up quickly in the end.
+>
+> There is a card in your wallet with a telephone number on it and no name, and there
+> will be for the rest of your life.
+>
+> You will find, in about a year, that you have stopped saying *eleven minutes* out
+> loud. You will still know exactly how long eleven minutes is.
+
+**Early finish:** run *The Tangent*.
+
+---
+
+## NPC Roster Summary (GM quick sheet)
+
+| NPC | Essence | Wants | Key line |
+|---|---|---|---|
+| **Douglas Kearsley**, 71 | Retired exchange engineer with one afternoon to be understood | An audience for the machine | *"They moved the street. They never told the machine."* |
+| **Cllr Hazel Odame** | Civic society chair fighting for a listing | The building saved, or a photograph | *"They took the whole lane. Both sides. In a fortnight."* |
+| **Tony Vasey** | Site manager who wants Monday to start | The day over | *"Half three, and then I'm locking it."* |
+| **The man asking directions** | A courteous stranger, 15:46 | 11 Cattle Lane | *"Three along, on the left — but you'd know better than me, you're local."* |
+| **The man in the donkey jacket** | An engineer on his rounds, 15:47 | To finish his tag list | *(says nothing; does not see you)* |
+| **Mrs Ivy Ferrand** | Recruiting officer who has read everything you wrote | To know whether you keep a record when it costs you | *"You wrote it down twice. Most people cross it out the second time."* |
+| **Mr Bewley** | Registry; signs things | That you understand before you sign | *"All of you are correct. Do sit with that."* |
+| **The Eleventh** | The difference between 27 and 28 | — | *(never appears, never resolved)* |
+
+---
+
+## Artwork Assets
+
+**Art style (direction line, prepend to every prompt):**
+flat editorial vector illustration, limited palette of deep navy blue and pale yellow
+with warm off-white, 1970s British public-information poster style, clean thick
+outlines, large areas of flat colour, no text, no logo, `--style raw --ar 3:2 --v 6`
+
+| Asset ID | Description | Used in | Prompt subject |
+|---|---|---|---|
+| OD-ART-01 | The frontage | Introduction | a 1930s municipal brick telephone exchange on an English high street, brass door, frosted windows, bunting strung across the pavement, a folding trestle table with a tea urn |
+| OD-ART-02 | The public hall | Act One | a long empty room with a worn parquet floor, two dark grooves running its length, display boards of old photographs, a black bakelite telephone on a side table |
+| OD-ART-03 | The frame room | Act One / Two | ten aisles of floor-to-ceiling steel telephone exchange racks, dense with relays and cotton-sleeved jumper wire, one aisle lit warmer than the rest |
+| OD-ART-04 | The battery room | Act One | two hundred empty glass battery cells on tarred timber staging in a low basement room, floor sloping to a central drain, a stencilled enamel notice |
+| OD-ART-05 | The roof | Act One | a flat felt-and-gravel roof with a lattice microwave mast and one dish, an English town below, a ring road, and the ghost outline of a demolished street |
+| OD-ART-06 | The yard | Act One | a small walled service yard, a skip, a steel door standing ajar with a taped hasp, a black cable running out through the gap |
+| OD-ART-07 | Cattle Lane | Act Two | a narrow soot-black brick lane of terraced doors and greasy cobbles seen through an open doorway, a cooper's yard on the corner with stacked barrel hoops, cold late-afternoon light from the far end |
+| OD-ART-08 | The far end | Act Two | the far end of a dark telephone exchange aisle, one rack still lit and running, an elderly man in a good jacket reaching up to a fuse carrier, seen from behind |
+| OD-ART-09 | Mrs Ferrand | Act Three | a woman in her fifties in a raincoat seated at a small café table, a hard-sided case on the floor beside her chair, an untouched cup of tea, calm and unhurried |
+| OD-ART-10 | The briefing room | Epilogue | a first-floor municipal meeting room with eleven stacking chairs set out, a slide projector on a trolley, a water jug, frosted windows, weak afternoon light |
+| OD-MAP-01 | Marchbank Exchange floor plan | GM | **Drawn, not generated** — hand-styled SVG: ground floor and basement, aisles numbered 1–10, the front door on Sail Street, and a dotted second front door on Cattle Lane |
+
+---
+
+## The Tangent
+
+*The thread a later session pulls, and the early-finish bonus scene.*
+
+The flats went up quickly. **Marchbank House, Sail Street**, twenty-two units, and the
+developer kept the brass door because the planners insisted. Nine years later a
+resident of flat 11 reports, politely and repeatedly, that her hallway is four metres
+longer at night, and the department's address watch flags **Marchbank House** because
+somebody has been querying the historical address database from inside the building.
+
+Nine queries. Eleven minutes. The same nine, and the same eleven.
+
+Whoever is doing it knows the number of the flat to ask for, and Mr Bewley's file on
+Douglas Kearsley is still open, and it is still his.
+
+---
+
+## GM Notes (private)
+
+- **The scenario's whole tonal trick is that nothing is hostile.** Play every NPC in
+  Act Two as busy, polite, or preoccupied. The moment you make something menacing you
+  have written a different, worse scenario.
+- **Say the time.** If you take one instruction from this document, take that one.
+- **Let them succeed.** Every attempt to intervene in Act Two works, mechanically and
+  visibly, and changes nothing. Do not soften this by having them fail instead —
+  failing is comforting, because failing implies that succeeding would have helped.
+- **Do not resolve the Eleventh.** Do not resolve 11 Cattle Lane. Do not resolve the
+  man in the donkey jacket. Three unresolved things is exactly the right number; a
+  fourth is untidy and a second is a mystery the table will try to solve.
+- **The Briefing is the scenario's payload.** Read their own biography lines back to
+  them in Bewley's voice, slowly. If you have their sheets, use the actual text. This
+  lands harder than anything in Act Two and it costs you nothing to prepare.
+- **Cut first:** the roof (OD-ART-05) and the yard, in that order. Both are colour.
+  Never cut the battery room stencil — it carries an essential clue.
+- **If a player asks whether they could have saved him:** *"Yes."* Then move on.
+  Bewley answers it properly twelve weeks later, and the answer is that the fuse came
+  out either way. Do not pre-empt him.

icons/arbalest.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(344 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(344 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(344 80% 64%)" stroke-width="4"/>
+<path d="M14 58h100v12H14z M52 40h12v46H52z" fill="hsl(344 55% 82%)" stroke="none"/>
+<path d="M20 46c18 8 18 28 0 36M108 46c-18 8-18 28 0 36" fill="none" stroke="hsl(344 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/arming_sword.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(20 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(20 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(20 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(20 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(20 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/baker_rifle.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(330 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(330 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(330 80% 64%)" stroke-width="4"/>
+<path d="M10 66h96l14-6v8l-14 6v6H62l-10 14H24l10-14H10z" fill="hsl(330 55% 82%)" stroke="none"/>
+<path d="M40 70h26v6H40z M66 56l8-8 6 6-8 8z" fill="hsl(330 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/ballistic_shield.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(197 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(197 80% 64%)" stroke-width="4"/>
+<path d="M64 14l38 12v34c0 30-16 48-38 58-22-10-38-28-38-58V26z" fill="hsl(197 90% 88%)" stroke="none"/>
+<path d="M64 14v104 M30 52h68" fill="none" stroke="hsl(197 70% 46%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/barrier_field.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(249 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(249 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(249 80% 64%)" stroke-width="4"/>
+<path d="M64 14l38 12v34c0 30-16 48-38 58-22-10-38-28-38-58V26z" fill="hsl(249 90% 88%)" stroke="none"/>
+<path d="M64 14v104 M30 52h68" fill="none" stroke="hsl(249 70% 46%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+<path d="M12 102h104" stroke="hsl(249 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/bayonet.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(56 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(56 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(56 80% 64%)" stroke-width="4"/>
+<path d="M78 12l12 12-44 44-12-12z M40 60l12 12-8 12-16-4z M34 84l10 10-16 16-10-10z" fill="hsl(56 55% 82%)" stroke="none"/>
+<path d="M74 22l6 6-38 38-6-6z" fill="hsl(56 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/billhook.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(50 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(50 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(50 80% 64%)" stroke-width="4"/>
+<path d="M52 14h14v106H52z M66 20c22 0 34 14 34 26s-12 24-34 24z" fill="hsl(50 55% 82%)" stroke="none"/>
+<path d="M72 30c12 2 18 10 18 16s-6 14-18 16z" fill="hsl(50 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/blunderbuss.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(324 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(324 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(324 80% 64%)" stroke-width="4"/>
+<path d="M12 46h58v10H12z M12 60h58v10H12z M70 44l30 16-30 16z" fill="hsl(324 55% 82%)" stroke="none"/>
+<path d="M100 52h16v16h-16z M20 48h14v4H20z" fill="hsl(324 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/boarding_pike.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(352 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(352 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(352 80% 64%)" stroke-width="4"/>
+<path d="M62 8l10 26-10 12-10-12z M58 46h12v74H58z" fill="hsl(352 55% 82%)" stroke="none"/>
+<path d="M60 20h8v12h-8z M56 92h16v6H56z" fill="hsl(352 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/brodie.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(235 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(235 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(235 80% 64%)" stroke-width="4"/>
+<path d="M22 34h84v34c0 26-20 46-42 52-22-6-42-26-42-52z" fill="hsl(235 55% 82%)" stroke="none"/>
+<path d="M44 56h14M70 56h14" fill="none" stroke="hsl(235 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/brown_bess.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(44 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(44 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(44 80% 64%)" stroke-width="4"/>
+<path d="M10 66h96l14-6v8l-14 6v6H62l-10 14H24l10-14H10z" fill="hsl(44 55% 82%)" stroke="none"/>
+<path d="M40 70h26v6H40z M66 56l8-8 6 6-8 8z" fill="hsl(44 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/buckler.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(227 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(227 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(227 80% 64%)" stroke-width="4"/>
+<path d="M64 20a44 44 0 1 1 0 88 44 44 0 0 1 0-88z" fill="hsl(227 55% 82%)" stroke="none"/>
+<path d="M64 50a14 14 0 1 1 0 28 14 14 0 0 1 0-28z" fill="hsl(227 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/buff_coat.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(239 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(239 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(239 80% 64%)" stroke-width="4"/>
+<path d="M42 22h44l12 16v62H30V38z" fill="hsl(239 55% 82%)" stroke="none"/>
+<path d="M64 22v78 M30 54h68" fill="none" stroke="hsl(239 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/coat_of_plates.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(175 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(175 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(175 80% 64%)" stroke-width="4"/>
+<path d="M40 20h48l10 18v56a10 10 0 0 1-10 10H40a10 10 0 0 1-10-10V38z" fill="hsl(175 55% 82%)" stroke="none"/>
+<path d="M64 20v84 M38 46h20M74 46h20" fill="none" stroke="hsl(175 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/cuirass.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(221 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(221 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(221 80% 64%)" stroke-width="4"/>
+<path d="M64 12l40 14v40c0 28-18 44-40 50-22-6-40-22-40-50V26z" fill="hsl(221 55% 82%)" stroke="none"/>
+<path d="M64 26l26 10v30c0 18-12 28-26 32-14-4-26-14-26-32V36z" fill="hsl(221 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/cuirassier.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(157 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(157 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(157 80% 64%)" stroke-width="4"/>
+<path d="M64 12l40 14v40c0 28-18 44-40 50-22-6-40-22-40-50V26z" fill="hsl(157 55% 82%)" stroke="none"/>
+<path d="M64 26l26 10v30c0 18-12 28-26 32-14-4-26-14-26-32V36z" fill="hsl(157 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/cutlass.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(72 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(72 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(72 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(72 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(72 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/cutter_ship.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(142 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(142 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(142 80% 64%)" stroke-width="4"/>
+<path d="M52 52h24v24H52z" fill="hsl(142 90% 88%)" stroke="none"/>
+<path d="M20 28a14 14 0 1 1 0 4zM94 28a14 14 0 1 1 0 4zM20 96a14 14 0 1 1 0 4zM94 96a14 14 0 1 1 0 4z" fill="hsl(142 70% 46%)" stroke="none"/>
+<path d="M34 40l18 12M94 40L76 52M34 88l18-12M94 88L76 76" fill="none" stroke="hsl(142 80% 64%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+<path d="M12 102h104" stroke="hsl(142 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/dirk.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(8 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(8 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(8 80% 64%)" stroke-width="4"/>
+<path d="M78 12l12 12-44 44-12-12z M40 60l12 12-8 12-16-4z M34 84l10 10-16 16-10-10z" fill="hsl(8 55% 82%)" stroke="none"/>
+<path d="M74 22l6 6-38 38-6-6z" fill="hsl(8 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/falchion.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(44 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(44 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(44 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(44 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(44 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/flail.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(348 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(348 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(348 80% 64%)" stroke-width="4"/>
+<path d="M44 100l40-72 14 8-40 72z M84 18a12 12 0 1 1 18 10 12 12 0 0 1-18-10z" fill="hsl(348 55% 82%)" stroke="none"/>
+<path d="M52 96l32-58" fill="none" stroke="hsl(348 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/flak_jacket.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(181 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(181 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(181 80% 64%)" stroke-width="4"/>
+<path d="M40 20h48l10 18v56a10 10 0 0 1-10 10H40a10 10 0 0 1-10-10V38z" fill="hsl(181 55% 82%)" stroke="none"/>
+<path d="M64 20v84 M38 46h20M74 46h20" fill="none" stroke="hsl(181 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/gambeson.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(189 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(189 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(189 80% 64%)" stroke-width="4"/>
+<path d="M42 22h44l12 16v62H30V38z" fill="hsl(189 55% 82%)" stroke="none"/>
+<path d="M64 22v78 M30 54h68" fill="none" stroke="hsl(189 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/halberd.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(358 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(358 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(358 80% 64%)" stroke-width="4"/>
+<path d="M62 8l10 26-10 12-10-12z M58 46h12v74H58z" fill="hsl(358 55% 82%)" stroke="none"/>
+<path d="M60 20h8v12h-8z M56 92h16v6H56z" fill="hsl(358 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/harness.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(169 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(169 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(169 80% 64%)" stroke-width="4"/>
+<path d="M64 12l40 14v40c0 28-18 44-40 50-22-6-40-22-40-50V26z" fill="hsl(169 55% 82%)" stroke="none"/>
+<path d="M64 26l26 10v30c0 18-12 28-26 32-14-4-26-14-26-32V36z" fill="hsl(169 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/heater.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(211 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(211 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(211 80% 64%)" stroke-width="4"/>
+<path d="M64 14l38 12v34c0 30-16 48-38 58-22-10-38-28-38-58V26z" fill="hsl(211 55% 82%)" stroke="none"/>
+<path d="M64 14v104 M30 52h68" fill="none" stroke="hsl(211 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/jack_of_plate.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(229 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(229 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(229 80% 64%)" stroke-width="4"/>
+<path d="M40 20h48l10 18v56a10 10 0 0 1-10 10H40a10 10 0 0 1-10-10V38z" fill="hsl(229 55% 82%)" stroke="none"/>
+<path d="M64 20v84 M38 46h20M74 46h20" fill="none" stroke="hsl(229 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/javelin.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(26 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(26 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(26 80% 64%)" stroke-width="4"/>
+<path d="M62 8l10 26-10 12-10-12z M58 46h12v74H58z" fill="hsl(26 55% 82%)" stroke="none"/>
+<path d="M60 20h8v12h-8z M56 92h16v6H56z" fill="hsl(26 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/lee_enfield.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(54 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(54 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(54 80% 64%)" stroke-width="4"/>
+<path d="M12 60h84l20-8v12l-14 6v8H60l-8 14H32l8-14H12z" fill="hsl(54 55% 82%)" stroke="none"/>
+<path d="M46 66h30v6H46z M84 52h10v8H84z" fill="hsl(54 40% 52%)" stroke="none"/>
+<path d="M116 58h6v10h-6z" fill="hsl(54 80% 64%)" stroke="none"/>
+
+</svg>

icons/lighter.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(136 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(136 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(136 80% 64%)" stroke-width="4"/>
+<path d="M44 20h40v88H44z" fill="hsl(136 90% 88%)" stroke="none"/>
+<path d="M52 34h24v18H52z" fill="hsl(136 70% 46%)" stroke="none"/>
+<path d="M44 62h40M44 78h40" fill="none" stroke="hsl(136 80% 64%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+<path d="M12 102h104" stroke="hsl(136 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/lobster_pot.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(247 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(247 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(247 80% 64%)" stroke-width="4"/>
+<path d="M22 34h84v34c0 26-20 46-42 52-22-6-42-26-42-52z" fill="hsl(247 55% 82%)" stroke="none"/>
+<path d="M44 56h14M70 56h14" fill="none" stroke="hsl(247 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/long_hull.svg

@@ -0,0 +1,10 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(223 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none"
+      stroke="hsl(223 80% 64%)" stroke-width="4" stroke-dasharray="26 13" stroke-dashoffset="7"/>
+<path d="M64 14a50 50 0 1 1 0 100 50 50 0 0 1 0-100z" fill="hsl(223 90% 88%)" stroke="none"/>
+<path d="M64 38a26 26 0 1 1 0 52 26 26 0 0 1 0-52z" fill="hsl(223 70% 46%)" stroke="none"/>
+<path d="M64 54a10 10 0 1 1 0 20 10 10 0 0 1 0-20z" fill="hsl(223 80% 64%)" stroke="none"/>
+
+</svg>

icons/longbow.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(338 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(338 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(338 80% 64%)" stroke-width="4"/>
+<path d="M40 16c30 14 30 82 0 96M36 12v104" fill="none" stroke="hsl(338 55% 82%)" stroke-width="9" stroke-linecap="round" stroke-linejoin="round"/>
+<path d="M40 16l52 48-52 48" fill="hsl(338 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/longsword.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(12 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(12 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(12 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(12 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(12 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/mace.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(54 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(54 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(54 80% 64%)" stroke-width="4"/>
+<path d="M44 100l40-72 14 8-40 72z M84 18a12 12 0 1 1 18 10 12 12 0 0 1-18-10z" fill="hsl(54 55% 82%)" stroke="none"/>
+<path d="M52 96l32-58" fill="none" stroke="hsl(54 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/maille_shirt.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(183 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(183 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(183 80% 64%)" stroke-width="4"/>
+<path d="M40 20h48l10 18v56a10 10 0 0 1-10 10H40a10 10 0 0 1-10-10V38z" fill="hsl(183 55% 82%)" stroke="none"/>
+<path d="M40 40h12v12H40zM60 40h12v12H60zM80 40h10v12H80zM50 56h12v12H50zM70 56h12v12H70zM40 72h12v12H40zM60 72h12v12H60zM80 72h10v12H80z" fill="hsl(183 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/main_gauche.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(64 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(64 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(64 80% 64%)" stroke-width="4"/>
+<path d="M78 12l12 12-44 44-12-12z M40 60l12 12-8 12-16-4z M34 84l10 10-16 16-10-10z" fill="hsl(64 55% 82%)" stroke="none"/>
+<path d="M74 22l6 6-38 38-6-6z" fill="hsl(64 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/martini.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(326 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(326 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(326 80% 64%)" stroke-width="4"/>
+<path d="M12 60h84l20-8v12l-14 6v8H60l-8 14H32l8-14H12z" fill="hsl(326 55% 82%)" stroke="none"/>
+<path d="M46 66h30v6H46z M84 52h10v8H84z" fill="hsl(326 40% 52%)" stroke="none"/>
+<path d="M116 58h6v10h-6z" fill="hsl(326 80% 64%)" stroke="none"/>
+
+</svg>

icons/matchlock.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(334 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(334 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(334 80% 64%)" stroke-width="4"/>
+<path d="M10 66h96l14-6v8l-14 6v6H62l-10 14H24l10-14H10z" fill="hsl(334 55% 82%)" stroke="none"/>
+<path d="M40 70h26v6H40z M66 56l8-8 6 6-8 8z" fill="hsl(334 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/pavise.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(179 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(179 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(179 80% 64%)" stroke-width="4"/>
+<path d="M64 14l38 12v34c0 30-16 48-38 58-22-10-38-28-38-58V26z" fill="hsl(179 55% 82%)" stroke="none"/>
+<path d="M64 14v104 M30 52h68" fill="none" stroke="hsl(179 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/picket.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(164 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(164 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(164 80% 64%)" stroke-width="4"/>
+<path d="M52 52h24v24H52z" fill="hsl(164 90% 88%)" stroke="none"/>
+<path d="M20 28a14 14 0 1 1 0 4zM94 28a14 14 0 1 1 0 4zM20 96a14 14 0 1 1 0 4zM94 96a14 14 0 1 1 0 4z" fill="hsl(164 70% 46%)" stroke="none"/>
+<path d="M34 40l18 12M94 40L76 52M34 88l18-12M94 88L76 76" fill="none" stroke="hsl(164 80% 64%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+<path d="M12 102h104" stroke="hsl(164 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/pike.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(58 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(58 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(58 80% 64%)" stroke-width="4"/>
+<path d="M62 8l10 26-10 12-10-12z M58 46h12v74H58z" fill="hsl(58 55% 82%)" stroke="none"/>
+<path d="M60 20h8v12h-8z M56 92h16v6H56z" fill="hsl(58 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/poleaxe.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(6 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(6 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(6 80% 64%)" stroke-width="4"/>
+<path d="M52 14h14v106H52z M66 20c22 0 34 14 34 26s-12 24-34 24z" fill="hsl(6 55% 82%)" stroke="none"/>
+<path d="M72 30c12 2 18 10 18 16s-6 14-18 16z" fill="hsl(6 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/quarterstaff.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(2 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(2 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(2 80% 64%)" stroke-width="4"/>
+<path d="M52 12h24v92H52z M44 104h40v14H44z" fill="hsl(2 55% 82%)" stroke="none"/>
+<path d="M58 24h12v70H58z M52 12l-8-6h40l-8 6z" fill="hsl(2 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/rapier.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(344 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(344 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(344 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(344 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(344 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/revenue_boat.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(172 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(172 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(172 80% 64%)" stroke-width="4"/>
+<path d="M52 52h24v24H52z" fill="hsl(172 90% 88%)" stroke="none"/>
+<path d="M20 28a14 14 0 1 1 0 4zM94 28a14 14 0 1 1 0 4zM20 96a14 14 0 1 1 0 4zM94 96a14 14 0 1 1 0 4z" fill="hsl(172 70% 46%)" stroke="none"/>
+<path d="M34 40l18 12M94 40L76 52M34 88l18-12M94 88L76 76" fill="none" stroke="hsl(172 80% 64%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+<path d="M12 102h104" stroke="hsl(172 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/riot_shield.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(235 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(235 80% 64%)" stroke-width="4"/>
+<path d="M64 14l38 12v34c0 30-16 48-38 58-22-10-38-28-38-58V26z" fill="hsl(235 90% 88%)" stroke="none"/>
+<path d="M64 14v104 M30 52h68" fill="none" stroke="hsl(235 70% 46%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/sabre.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(68 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(68 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(68 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(68 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(68 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/sallet.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(163 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(163 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(163 80% 64%)" stroke-width="4"/>
+<path d="M22 34h84v34c0 26-20 46-42 52-22-6-42-26-42-52z" fill="hsl(163 55% 82%)" stroke="none"/>
+<path d="M44 56h14M70 56h14" fill="none" stroke="hsl(163 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/sight_irons.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(176 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(176 80% 64%)" stroke-width="4"/>
+<path d="M52 12h24v92H52z M44 104h40v14H44z" fill="hsl(176 90% 88%)" stroke="none"/>
+<path d="M58 24h12v70H58z M52 12l-8-6h40l-8 6z" fill="hsl(176 70% 46%)" stroke="none"/>
+
+
+</svg>

icons/sight_reflex.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(158 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(158 80% 64%)" stroke-width="4"/>
+<path d="M56 20a34 34 0 1 1 0 68 34 34 0 0 1 0-68z M80 82l28 28" fill="hsl(158 90% 88%)" stroke="none"/>
+<path d="M56 34a20 20 0 1 1 0 40 20 20 0 0 1 0-40z" fill="hsl(158 70% 46%)" stroke="none"/>
+
+
+</svg>

icons/sight_scope.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(142 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(142 80% 64%)" stroke-width="4"/>
+<path d="M56 20a34 34 0 1 1 0 68 34 34 0 0 1 0-68z M80 82l28 28" fill="hsl(142 90% 88%)" stroke="none"/>
+<path d="M56 34a20 20 0 1 1 0 40 20 20 0 0 1 0-40z" fill="hsl(142 70% 46%)" stroke="none"/>
+
+
+</svg>

icons/sight_thermal.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(194 62% 34%)"/>
+<path d="M96 0H128v32z" fill="hsl(194 80% 64%)" opacity="0.55"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(194 80% 64%)" stroke-width="4"/>
+<path d="M56 20a34 34 0 1 1 0 68 34 34 0 0 1 0-68z M80 82l28 28" fill="hsl(194 90% 88%)" stroke="none"/>
+<path d="M56 34a20 20 0 1 1 0 40 20 20 0 0 1 0-40z" fill="hsl(194 70% 46%)" stroke="none"/>
+
+<path d="M12 102h104" stroke="hsl(194 80% 64%)" stroke-width="2" opacity="0.7"/>
+</svg>

icons/sling.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(46 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(46 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(46 80% 64%)" stroke-width="4"/>
+<path d="M32 20c40 0 24 44 64 44M32 64c40 0 24 44 64 44" fill="none" stroke="hsl(46 55% 82%)" stroke-width="9" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+
+</svg>

icons/smallsword.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(336 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(336 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(336 80% 64%)" stroke-width="4"/>
+<path d="M64 8l10 10v58H54V18z M40 76h48v10H40z M58 86h12v34H58z" fill="hsl(336 55% 82%)" stroke="none"/>
+<path d="M62 20h4v52h-4z M60 108h8v8h-8z" fill="hsl(336 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/targe.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(191 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(191 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(191 80% 64%)" stroke-width="4"/>
+<path d="M64 20a44 44 0 1 1 0 88 44 44 0 0 1 0-88z" fill="hsl(191 55% 82%)" stroke="none"/>
+<path d="M64 50a14 14 0 1 1 0 28 14 14 0 0 1 0-28z" fill="hsl(191 40% 52%)" stroke="none"/>
+
+
+</svg>

icons/trench_club.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(46 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(46 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(46 80% 64%)" stroke-width="4"/>
+<path d="M44 100l40-72 14 8-40 72z M84 18a12 12 0 1 1 18 10 12 12 0 0 1-18-10z" fill="hsl(46 55% 82%)" stroke="none"/>
+<path d="M52 96l32-58" fill="none" stroke="hsl(46 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/war_hammer.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(354 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(354 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(354 80% 64%)" stroke-width="4"/>
+<path d="M44 100l40-72 14 8-40 72z M84 18a12 12 0 1 1 18 10 12 12 0 0 1-18-10z" fill="hsl(354 55% 82%)" stroke="none"/>
+<path d="M52 96l32-58" fill="none" stroke="hsl(354 40% 52%)" stroke-width="6" stroke-linecap="round" stroke-linejoin="round"/>
+
+
+</svg>

icons/weapon_lamp.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(162 62% 34%)"/>
+
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(162 80% 64%)" stroke-width="4"/>
+<path d="M70 8L28 72h28l-10 48 46-68H62z" fill="hsl(162 90% 88%)" stroke="none"/>
+<path d="M64 26L44 62h16z" fill="hsl(162 70% 46%)" stroke="none"/>
+
+
+</svg>

icons/webley.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(50 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(50 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(50 80% 64%)" stroke-width="4"/>
+<path d="M20 60h48l8-8h18v12l-10 6v10H56l-8 14H26l8-14H20z" fill="hsl(50 55% 82%)" stroke="none"/>
+<path d="M44 56a10 10 0 1 1 0 20 10 10 0 0 1 0-20z M28 70h14v8H28z" fill="hsl(50 40% 52%)" stroke="none"/>
+<path d="M110 58h10v10h-10z" fill="hsl(50 80% 64%)" stroke="none"/>
+
+</svg>

icons/wheellock.svg

@@ -0,0 +1,9 @@
+<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 128 128" width="128" height="128">
+<rect width="128" height="128" rx="20" fill="hsl(36 38% 30%)"/>
+<path d="M0 0h30L0 30z" fill="hsl(36 44% 22%)"/>
+<rect x="5" y="5" width="118" height="118" rx="16" fill="none" stroke="hsl(36 80% 64%)" stroke-width="4"/>
+<path d="M18 64h44l40-16v10L70 74v8H56l-10 16H22l10-16H18z" fill="hsl(36 55% 82%)" stroke="none"/>
+<path d="M56 54l10-8 6 8-8 8z M26 72h16v8H26z" fill="hsl(36 40% 52%)" stroke="none"/>
+
+
+</svg>

lang/en.json

@@ -15,11 +15,11 @@
   "TYPES.Item.authority": "Authority",
   "RINGBRP.Tab.Access": "Access",
   "RINGBRP.New.authority": "New authority",
-  "RINGBRP.Scope.nothing": "nothing",
-  "RINGBRP.Scope.read": "read their own records",
-  "RINGBRP.Scope.routine": "the things they do daily",
+  "RINGBRP.Scope.nothing": "nothing at all",
+  "RINGBRP.Scope.read": "look at their own records",
+  "RINGBRP.Scope.routine": "the things they do every day",
   "RINGBRP.Scope.privileged": "things they could do, but rarely",
-  "RINGBRP.Scope.administrative": "grant permissions to others",
+  "RINGBRP.Scope.administrative": "give other people permissions",
   "RINGBRP.Authority.Holder": "Belongs to",
   "RINGBRP.Authority.Role": "Their job",
   "RINGBRP.Authority.Scope": "Scope",
@@ -32,12 +32,12 @@
   "RINGBRP.Authority.SuspectTag": "flagged",
   "RINGBRP.Authority.MergingTag": "records converging",
   "RINGBRP.Authority.Using": "Using {name}",
-  "RINGBRP.Authority.Asking": "What are you asking it to do?",
-  "RINGBRP.Authority.Tripping": "Which of their habits are you breaking?",
-  "RINGBRP.Authority.NoFlags": "Nothing is known about how they behave. Nobody is watching for it yet.",
-  "RINGBRP.Authority.NoRoll": "no roll, 1 Trust",
-  "RINGBRP.Authority.ARoll": "a stretch — roll for it",
-  "RINGBRP.Authority.Cannot": "they could never",
+  "RINGBRP.Authority.Asking": "What are you asking them to do?",
+  "RINGBRP.Authority.Tripping": "How many of their habits are you breaking?",
+  "RINGBRP.Authority.NoFlags": "Nobody knows how this person behaves yet, so nobody is watching for anything odd.",
+  "RINGBRP.Authority.NoRoll": "no roll needed — costs 1 Trust",
+  "RINGBRP.Authority.ARoll": "beyond what they normally do — roll for it",
+  "RINGBRP.Authority.Cannot": "they could never do this",
   "RINGBRP.Authority.Dossier": "Dossier",
   "RINGBRP.Authority.AI": "Watched by",
   "RINGBRP.Authority.Use": "Use",
@@ -82,6 +82,47 @@
   "RINGBRP.Vehicle.Hull": "Hull",
   "RINGBRP.Vehicle.Terrain": "Goes over",
   "RINGBRP.Vehicle.Operate": "Operated with",
+  "RINGBRP.SpaceBand.docked": "alongside",
+  "RINGBRP.SpaceBand.knife": "knife range",
+  "RINGBRP.SpaceBand.close": "close",
+  "RINGBRP.SpaceBand.standoff": "standoff",
+  "RINGBRP.SpaceBand.distant": "distant",
+  "RINGBRP.SpaceBand.gone": "gone",
+  "RINGBRP.Station.helm": "Helm",
+  "RINGBRP.Station.guns": "Gunnery",
+  "RINGBRP.Station.sensors": "Sensors",
+  "RINGBRP.Station.engines": "Engines",
+  "RINGBRP.Station.damage": "Damage control",
+  "RINGBRP.Station.signals": "Signals",
+  "RINGBRP.Station.medical": "Medical",
+  "RINGBRP.Station.anchor": "The anchor",
+  "RINGBRP.Station.Label": "{station}, aboard {craft}",
+  "RINGBRP.Station.Card": "{name} — {station}",
+  "RINGBRP.Station.At": "Range: {band}",
+  "RINGBRP.Station.HeatPen": "Running hot: {mod}%",
+  "RINGBRP.Station.RangePen": "Range: {mod}%",
+  "RINGBRP.Station.State": "Hull {hull}/{max} · Heat {heat} · {band}",
+  "RINGBRP.Station.Closed": "Closed to {band}.",
+  "RINGBRP.Station.Opened": "Opened the range to {band}.",
+  "RINGBRP.Station.Hit": "{n} through the hull of {name} — {left} left.",
+  "RINGBRP.Station.Would": "{n} would have gone through, with something to shoot at.",
+  "RINGBRP.Station.Lost": "{name} is finished.",
+  "RINGBRP.Station.Marked": "Marked. The next gunnery roll lands one more.",
+  "RINGBRP.Station.Spoofed": "Signature down. Harder to find, for a while.",
+  "RINGBRP.Station.Read": "You know what it is, what it is carrying, and who sent it.",
+  "RINGBRP.Station.Braced": "Braced. The next hit takes half.",
+  "RINGBRP.Station.Steadied": "Steady, everyone. The heat penalty does not apply this round.",
+  "RINGBRP.Station.Shed": "Vented {n}. Heat is {now}.",
+  "RINGBRP.Station.Patched": "Patched {n} of the hull.",
+  "RINGBRP.Station.Talking": "They are still listening. That is not nothing.",
+  "RINGBRP.Station.TalkedDown": "They break off. Whatever you said, put it in the report.",
+  "RINGBRP.Station.Crew": "The wounded are stable and somebody is at their station again.",
+  "RINGBRP.Station.Going": "Transposing out. It is not tidy.",
+  "RINGBRP.Station.GoneClean": "Gone, cleanly, and nothing followed.",
+  "RINGBRP.Station.Fumbled": "It goes wrong and the craft runs hotter for it. +2 Heat.",
+  "RINGBRP.Station.Unknown": "No such station.",
+  "RINGBRP.Station.OutOfRange": "Nothing to shoot at from here.",
+  "RINGBRP.Station.TooHot": "Too hot to manoeuvre. Somebody vent it.",
   "RINGBRP.Speed.walk": "walking pace",
   "RINGBRP.Speed.slow": "slow",
   "RINGBRP.Speed.road": "road speed",
@@ -117,11 +158,11 @@
   "RINGBRP.Style.Hint.Second": "a second shot in the round",
   "RINGBRP.Style.Hint.Move": "{n}% if you move and fire",
   "RINGBRP.Style.Hint.Pierce": "ignores {n} points of armour",
-  "RINGBRP.Difficulty.Automatic": "Automatic",
-  "RINGBRP.Difficulty.Easy": "Easy (×2)",
-  "RINGBRP.Difficulty.Average": "Average",
-  "RINGBRP.Difficulty.Difficult": "Difficult (÷2)",
-  "RINGBRP.Difficulty.Impossible": "Impossible",
+  "RINGBRP.Difficulty.Automatic": "Automatic — no roll needed",
+  "RINGBRP.Difficulty.Easy": "Easy — double your skill",
+  "RINGBRP.Difficulty.Average": "Average — skill as printed",
+  "RINGBRP.Difficulty.Difficult": "Difficult — half your skill",
+  "RINGBRP.Difficulty.Impossible": "Impossible — cannot be rolled",
   "RINGBRP.Cover.None": "No cover",
   "RINGBRP.Cover.Light": "Light cover",
   "RINGBRP.Cover.Partial": "Solid partial cover",
@@ -263,18 +304,18 @@
   "RINGBRP.New.discovery": "New Discovery",
   "RINGBRP.New.project": "New Project",
   "RINGBRP.Dialog.Roll": "Roll",
-  "RINGBRP.Dialog.RollButton": "Roll",
+  "RINGBRP.Dialog.RollButton": "Roll it",
   "RINGBRP.Dialog.Cancel": "Cancel",
-  "RINGBRP.Dialog.Difficulty": "Difficulty",
-  "RINGBRP.Dialog.Situational": "Situational modifier %",
-  "RINGBRP.Dialog.OrderNote": "Difficulty multiplies the rating first, then the situational modifier is added.",
-  "RINGBRP.Dialog.Distance": "Distance to target (m)",
+  "RINGBRP.Dialog.Difficulty": "How hard is it?",
+  "RINGBRP.Dialog.Situational": "Anything else helping or hurting? (%)",
+  "RINGBRP.Dialog.OrderNote": "Difficulty changes your skill first, then everything else is added or taken off.",
+  "RINGBRP.Dialog.Distance": "How far away is it? (metres)",
   "RINGBRP.Dialog.Bands": "Bands",
-  "RINGBRP.Dialog.Cover": "Target cover",
+  "RINGBRP.Dialog.Cover": "Is the target behind anything?",
   "RINGBRP.Dialog.Moved": "I moved this round",
   "RINGBRP.Dialog.Aiming": "I spent last round aiming",
-  "RINGBRP.Dialog.Band": "Which range band?",
-  "RINGBRP.Dialog.BandHint": "This weapon does different damage at each band.",
+  "RINGBRP.Dialog.Band": "Which range?",
+  "RINGBRP.Dialog.BandHint": "This weapon hits harder or softer depending on range.",
   "RINGBRP.Attack.Moved": "Moved and fired",
   "RINGBRP.Attack.Aimed": "Aimed",
   "RINGBRP.Attack.IgnoresArmour": "Ignores {n} points of armour",
@@ -333,13 +374,18 @@
   "RINGBRP.Expedition.Success": "Phase complete at the baseline cost.",
   "RINGBRP.Expedition.Failure": "Phase complete, but at an extra Resources and half again the time.",
   "RINGBRP.Expedition.Fumble": "The phase is not completed. Baseline cost paid, Containment down two, Clearance down one, and a hazard is on you. Roll on the Hazard table.",
-  "RINGBRP.Notify.Impossible": "That is Impossible. No roll is permitted.",
-  "RINGBRP.Notify.NoSkill": "No skill on this sheet matches {name}.",
-  "RINGBRP.Notify.OutOfRange": "Beyond twice the long band. The shot is impossible.",
-  "RINGBRP.Notify.Empty": "Empty. Reload first.",
+  "RINGBRP.Expedition.WindowNarrows": "You are out, but not cleanly. The window has narrowed and the way home is worse for it.",
+  "RINGBRP.Expedition.WindowHeld": "Out clean, and early enough that the window opens back up.",
+  "RINGBRP.Expedition.WayHome": "The way home: {mod}% on every Transposition roll.{extra}",
+  "RINGBRP.Expedition.WayHomeDifficult": " The return is Difficult as well.",
+  "RINGBRP.Cross.WindowClock": "The window closed on you {n} time(s): {mod}%",
+  "RINGBRP.Notify.Impossible": "That cannot be done at any skill. Try something else.",
+  "RINGBRP.Notify.NoSkill": "Nothing on this sheet knows how to use {name}.",
+  "RINGBRP.Notify.OutOfRange": "Too far away to hit. Get closer or use something with more reach.",
+  "RINGBRP.Notify.Empty": "Empty. Reload before firing.",
   "RINGBRP.Notify.NoLeg": "No unresolved phase remains.",
   "RINGBRP.Notify.BadDamage": "Damage was not a number — the hit was not applied. See the console.",
-  "RINGBRP.Notify.BlowStopped": "That blow was turned aside. There is no damage to roll.",
+  "RINGBRP.Notify.BlowStopped": "That blow was stopped. There is no damage to roll.",
   "RINGBRP.Notify.MissingKit": "{role}: the catalogue has no item for {keys}. The agent was created without it.",
   "RINGBRP.Notify.NoNavigator": "No agent has Tradecraft or Navigate.",
   "RINGBRP.Sheet.RollCharHint": "Roll d100 against this characteristic ×5",
@@ -573,21 +619,21 @@
   "RINGBRP.Gen.NewNPC": "New NPC / Threat",
   "RINGBRP.Gen.Name": "Name",
   "RINGBRP.Gen.NameHint": "leave blank to generate one",
-  "RINGBRP.Gen.Species": "Species",
-  "RINGBRP.Gen.Role": "Role",
+  "RINGBRP.Gen.Species": "Which species?",
+  "RINGBRP.Gen.Role": "Which posting?",
   "RINGBRP.Gen.RoleRandomBlurb": "A posting will be drawn at random. Pick one to see what it does.",
-  "RINGBRP.Gen.KeyStat": "Key characteristic",
-  "RINGBRP.Gen.Trains": "Trains",
+  "RINGBRP.Gen.KeyStat": "Best characteristic",
+  "RINGBRP.Gen.Trains": "Good at",
   "RINGBRP.Gen.Draws": "Draws from stores",
-  "RINGBRP.Gen.Tier": "Experience",
+  "RINGBRP.Gen.Tier": "How senior are they?",
   "RINGBRP.Gen.Gravity": "Home gravity",
   "RINGBRP.Gen.Threat": "Threat level",
-  "RINGBRP.Gen.Count": "How many",
+  "RINGBRP.Gen.Count": "How many?",
   "RINGBRP.Gen.Random": "Random",
   "RINGBRP.Gen.Create": "Create",
   "RINGBRP.Gen.Made": "{n} created.",
   "RINGBRP.Gen.Hint": "Everything is already chosen at random. Change what you care about and press Create.",
-  "RINGBRP.Gen.RandomEach": "Random (rolled separately for each)",
+  "RINGBRP.Gen.RandomEach": "Random — rolled separately for each",
   "RINGBRP.Install.Done": "Installed {n} items into the Items directory.",
   "RINGBRP.Install.Button": "Install all content",
   "RINGBRP.Sheet.FullList": "Add full skill list",
@@ -624,6 +670,58 @@
   "RINGBRP.Wound.variant.mobility": "mobility",
   "RINGBRP.Heal.Bleeds": "{name} bleeds {amount}.",
   "RINGBRP.Heal.BledOut": "bled out",
+  "RINGBRP.Fall.Short": "Not far enough to matter. {m} m and they roll it off.",
+  "RINGBRP.Fall.Flavor": "A fall of {m} m — {dice}, and the ground is not impressed by armour.",
+  "RINGBRP.Breath.Losing": "{name} cannot breathe. −{n}",
+  "RINGBRP.Fire.spark": "Caught a spark",
+  "RINGBRP.Fire.clothes": "Clothes alight",
+  "RINGBRP.Fire.pool": "Standing in it",
+  "RINGBRP.Fire.engulf": "Engulfed",
+  "RINGBRP.Fire.Flavor": "{band} — round {round} of {of}",
+  "RINGBRP.Blast.contact": "at the centre",
+  "RINGBRP.Blast.near": "inside the radius",
+  "RINGBRP.Blast.far": "on the edge of it",
+  "RINGBRP.Blast.Flavor": "Detonation — {formula} at the centre, {r} m radius",
+  "RINGBRP.Burst.short": "short burst",
+  "RINGBRP.Burst.long": "long burst",
+  "RINGBRP.Burst.full": "the whole magazine",
+  "RINGBRP.Burst.Label": "{name} — {size}",
+  "RINGBRP.Burst.Spends": "Spends the rounds whether or not it hits.",
+  "RINGBRP.Burst.Connected": "{n} of {of} rounds connected.",
+  "RINGBRP.Burst.Jam": "It jams. Clearing it is an action and the weapon is out until you do.",
+  "RINGBRP.Burst.Empty": "The magazine is gone. All of it, in one press.",
+  "RINGBRP.Burst.Wild": "The muzzle climbs. The GM decides what was behind the target.",
+  "RINGBRP.TwoWeapon.main": "{name} (main hand)",
+  "RINGBRP.TwoWeapon.off": "{name} (off hand)",
+  "RINGBRP.TwoWeapon.Penalty": "Two weapons: {mod}% — {note}",
+  "RINGBRP.TwoWeapon.Trained": "trained to it",
+  "RINGBRP.TwoWeapon.Untrained": "and you have not been taught this",
+  "RINGBRP.TwoWeapon.CannotPair": "{off} is too much for an off hand. Nothing over {max} kg.",
+  "RINGBRP.Talent.ambidextrous": "Ambidextrous",
+  "RINGBRP.Death.Dying": "{name} is dying.",
+  "RINGBRP.Death.Count": "Round {n} of {of}.",
+  "RINGBRP.Death.Died": "{name} is dead.",
+  "RINGBRP.Death.Coherence": "They died at Coherence {n}.",
+  "RINGBRP.Death.TheEntry": "The last entry:",
+  "RINGBRP.Death.LocationLethal": "{name}'s {location} is destroyed. That is the end of it.",
+  "RINGBRP.Death.LocationVital": "{name}'s {location} is destroyed. They go down and they are not getting up on their own.",
+  "RINGBRP.Death.StableTag": "stable — the count has stopped",
+  "RINGBRP.Death.CountTag": "round",
+  "RINGBRP.Death.Entry.recorded": "Recorded properly. A death in service, a form, a pension to a next of kin, and a name that stays where it was put.",
+  "RINGBRP.Death.Entry.queried": "Recorded, and queried. Two dates of death are on file and Registry has asked which is correct. Nobody has answered.",
+  "RINGBRP.Death.Entry.unclosed": "The file will not close. Correspondence continues to arrive for them, and it is answered.",
+  "RINGBRP.Death.Entry.transferred": "Not recorded as dead at all. They are filed as transferred, to a section the department cannot produce an address for. Somebody will meet them again.",
+  "RINGBRP.Death.Stabilising": "Stabilising {name}",
+  "RINGBRP.Death.Stabilised": "{name} is stable. Still at zero, still unconscious, but the count has stopped.",
+  "RINGBRP.Death.NotStabilised": "It does not hold. {name} is still going.",
+  "RINGBRP.Death.TooLate": "They are dead. There is nothing medical left to do.",
+  "RINGBRP.Death.NotDying": "They are not dying. Ordinary First Aid will serve.",
+  "RINGBRP.Death.WrongSkill": "Stabilising takes one of: {list}.",
+  "RINGBRP.Condition.up": "up",
+  "RINGBRP.Condition.down": "down",
+  "RINGBRP.Condition.dying": "DYING",
+  "RINGBRP.Condition.dead": "DEAD",
+  "RINGBRP.Sheet.Stabilise": "Stabilise",
   "RINGBRP.Heal.BleedStopped": "The bleeding is staunched. {name} is no longer losing blood.",
   "RINGBRP.Heal.Medicine": "Medicine",
   "RINGBRP.React.ReadinessSkill": "from training",
@@ -658,7 +756,7 @@
   "RINGBRP.Sheet.OutOfFight": "Out of the fight",
   "RINGBRP.Sheet.Overloaded": "Overloaded",
   "RINGBRP.Sheet.Physical": "physical skills",
-  "RINGBRP.Dialog.Range": "Range to target",
+  "RINGBRP.Dialog.Range": "How far away?",
   "RINGBRP.Range.Impossible": "out of range",
   "RINGBRP.Defence.dodge": "Dodge",
   "RINGBRP.Defence.parry": "Parry",
@@ -666,10 +764,10 @@
   "RINGBRP.Flavour.Defending": "Defence {n} this round: {mod}%",
   "RINGBRP.Notify.DefenceLocked": "Already defending with {kind} this round.",
   "RINGBRP.Sheet.Defend": "Defend",
-  "RINGBRP.Sheet.DefendHint": "Roll a defence. The first this round is free; each one after is 30% harder.",
+  "RINGBRP.Sheet.DefendHint": "Answer the blow that was just aimed at you.",
   "RINGBRP.Sheet.ThisRound": "this round",
   "RINGBRP.Sheet.NextAt": "next at",
-  "RINGBRP.Sheet.FirstIsFree": "first is free",
+  "RINGBRP.Sheet.FirstIsFree": "first defence is free",
   "RINGBRP.Notify.NoParryWeapon": "Nothing in hand to parry with.",
   "RINGBRP.Sheet.Mass": "Weight",
   "RINGBRP.Folder.era.antique": "Antique",
@@ -738,5 +836,94 @@
   "RINGBRP.Salvage.Title": "Salvage",
   "RINGBRP.Salvage.Found": "Left lying about — {era}",
   "RINGBRP.Salvage.None": "Nothing of that era in the catalogue ({era}).",
-  "RINGBRP.Gen.Cancel": "Cancel"
+  "RINGBRP.Gen.Cancel": "Cancel",
+  "RINGBRP.Fire.Shot": "Single shot",
+  "RINGBRP.Fire.Rounds": "{n} rounds, {hits} connect",
+  "RINGBRP.Fire.Adds": "adds {dice} damage",
+  "RINGBRP.Fire.Second": "Two shots",
+  "RINGBRP.Fire.SecondEffect": "both hurried",
+  "RINGBRP.Fire.Reloading": "{name} — reloading, {n} round(s)",
+  "RINGBRP.Fire.slow.Label": "Slow",
+  "RINGBRP.Fire.single.Label": "Single",
+  "RINGBRP.Fire.fast.Label": "Fast",
+  "RINGBRP.Fire.rapid.Label": "Rapid",
+  "RINGBRP.Fire.beam.Label": "Beam",
+  "RINGBRP.Fire.slow.Note": "One shot, then work. Nothing about this weapon rewards haste, and it is fired by somebody who knows that.",
+  "RINGBRP.Fire.single.Note": "One aimed shot a round. The ordinary case, and the baseline everything else is measured against.",
+  "RINGBRP.Fire.fast.Note": "The action will give you a second shot if you will accept both of them being worse.",
+  "RINGBRP.Fire.rapid.Note": "Bursts. One roll, and how well it went decides how much of the burst arrived.",
+  "RINGBRP.Fire.beam.Note": "No recoil, no lead, no drop — and it can be held on the target for damage instead of hits.",
+  "RINGBRP.Sustain.tap": "Tap",
+  "RINGBRP.Sustain.hold": "Held beam",
+  "RINGBRP.Sustain.lock": "Locked beam",
+  "RINGBRP.Sight.none": "No sight",
+  "RINGBRP.Sight.irons": "Aperture sights",
+  "RINGBRP.Sight.reflex": "Reflex sight",
+  "RINGBRP.Sight.telescopic": "Telescopic sight",
+  "RINGBRP.Sight.thermal": "Thermal sight",
+  "RINGBRP.Sight.Revealed": "{name} shows them exactly where you are",
+  "RINGBRP.Lighting.lit": "Lit",
+  "RINGBRP.Lighting.dim": "Dim",
+  "RINGBRP.Lighting.dark": "Dark",
+  "RINGBRP.Lighting.pitch": "Pitch dark",
+  "RINGBRP.Dialog.Fire": "How are you firing?",
+  "RINGBRP.Dialog.Lighting": "How much can you see?",
+  "RINGBRP.Dialog.Fitted": "Working for you already",
+  "RINGBRP.Notify.NoBurst": "{name} cannot fire bursts — it only fires one shot at a time.",
+  "RINGBRP.Notify.NotEnoughCharge": "Not enough charge left to hold the beam that long.",
+  "RINGBRP.Notify.SecondUsed": "You have already taken your second shot this round.",
+  "RINGBRP.Chat.Damage": "damage",
+  "RINGBRP.Chat.Sustained": "sustained",
+  "RINGBRP.Chat.DamageMod": "damage mod",
+  "RINGBRP.Notify.GearFitted": "Fitted {n} item(s) that were carried before sights and lamps did anything.",
+  "RINGBRP.Sight.LampOwn": "yours, {reach} m of it",
+  "RINGBRP.Sight.LampNear": "{holder}'s, {m} m away — you are in it",
+  "RINGBRP.Sight.SomeLamp": "The light you are standing in",
+  "RINGBRP.Dialog.InLight": "I am standing in the light",
+  "RINGBRP.Dialog.InLightHint": "Already ticked if a lit lamp is close enough to your token. Tick it yourself if you are not using tokens.",
+  "RINGBRP.Sheet.Ready": "Ready",
+  "RINGBRP.Sheet.ReadyToggle": "Ready this weapon — it appears in the strip at the top of the sheet",
+  "RINGBRP.Sheet.ReadyHint": "Click the fist to ready a weapon. Readied weapons show in the strip under the characteristics, where you can roll them without opening this tab.",
+  "RINGBRP.Sheet.BodyHead": "The body, and where it gets hit",
+  "RINGBRP.Sheet.MiniBodyHint": "Every part of the body: damage taken, and the armour covering it.",
+  "RINGBRP.Coverage.all": "all of you",
+  "RINGBRP.Coverage.torso": "torso",
+  "RINGBRP.Coverage.torsoArms": "torso and arms",
+  "RINGBRP.Coverage.torsoLimbs": "torso, arms and legs",
+  "RINGBRP.Coverage.head": "head",
+  "RINGBRP.Sheet.Unarmoured": "bare",
+  "RINGBRP.Sheet.ByLocation": "depending where you are hit",
+  "RINGBRP.Item.Coverage": "Covers",
+  "RINGBRP.Shield.Raised": "raised — {n} points where it covers",
+  "RINGBRP.Shield.InTheWay": "raised — you are shooting around it ({mod}%)",
+  "RINGBRP.Shield.Wear": "{name} takes the blow — {n}/{max}",
+  "RINGBRP.Shield.Broken": "{name} comes apart. {n}/{max} — it is firewood.",
+  "RINGBRP.Sheet.RaiseHint": "Raise or lower this shield. Raised, it protects what it covers and you can defend with it; lowered, it is just weight.",
+  "RINGBRP.Sheet.ShieldUp": "raised",
+  "RINGBRP.Sheet.ShieldDown": "slung",
+  "RINGBRP.Sheet.ShieldBroken": "broken",
+  "RINGBRP.Sheet.ShieldHint": "Take it on the shield. The shield wears down against anything better than an ordinary hit.",
+  "RINGBRP.Notify.ShieldBroken": "{name} is broken. It cannot be raised again.",
+  "RINGBRP.Item.IsShield": "Is a shield",
+  "RINGBRP.Item.Raised": "Raised",
+  "RINGBRP.Item.Wear": "Wear",
+  "RINGBRP.Item.WearMax": "Breaks at",
+  "RINGBRP.Gen.Source": "Where do they come from?",
+  "RINGBRP.Gen.SourcePosting": "A posting — career department",
+  "RINGBRP.Gen.SourceTrade": "A trade — recruited from an ordinary job",
+  "RINGBRP.Gen.Trade": "Which job did they do before?",
+  "RINGBRP.Gen.PlusInduction": "Plus six weeks of training",
+  "RINGBRP.Gen.PlusIssue": "Plus issued kit",
+  "RINGBRP.Gen.HandRoll": "I want to roll the characteristics myself",
+  "RINGBRP.Gen.HandRollHint": "Eight rolls, one at a time, shown in chat. You keep exactly what you roll — no adjusting the best one, no species bonus.",
+  "RINGBRP.Gen.RollTitle": "Roll them yourself",
+  "RINGBRP.Gen.RollFor": "Roll them yourself — {name}",
+  "RINGBRP.Gen.RollHint": "One at a time. Once a characteristic is rolled, it stands.",
+  "RINGBRP.Gen.RollIt": "Roll",
+  "RINGBRP.Gen.RollRest": "Roll the rest",
+  "RINGBRP.Gen.RolledCount": "{n} of {of} rolled",
+  "RINGBRP.Gen.RolledChar": "{ch}",
+  "RINGBRP.Gen.TakeThem": "Keep these",
+  "RINGBRP.Gen.Nth": "agent {n}",
+  "RINGBRP.Dialog.Circumstance": "How are the circumstances?"
 }

package.json

@@ -1,14 +1,15 @@
 {
   "name": "ringbrp",
-  "version": "0.7.0",
-  "description": "The Custodians \u2014 a Basic Roleplaying game of crossings, for Foundry VTT",
+  "version": "0.9.0",
+  "description": "The Custodians — a Basic Roleplaying game of crossings, for Foundry VTT",
   "main": "ringbrp.mjs",
   "scripts": {
-    "build": "node tools/build-packs.mjs",
+    "build": "node tools/build-packs.mjs && node tools/update-readme.mjs",
     "icons": "node tools/make-icons.mjs",
     "dice": "node tools/make-dice-textures.mjs",
-    "check": "node tools/check-rules.mjs && node tools/check-kits.mjs && node tools/check-lang.mjs",
-    "test": "npm run check"
+    "check": "node tools/check-rules.mjs && node tools/check-kits.mjs && node tools/check-lang.mjs && node tools/check-templates.mjs && node tools/check-behaviour.mjs",
+    "test": "npm run check",
+    "readme": "node tools/update-readme.mjs"
   },
   "keywords": [],
   "author": "Tim Evans (slaguru666)",
@@ -16,5 +17,8 @@
   "type": "commonjs",
   "dependencies": {
     "classic-level": "^3.0.0"
+  },
+  "devDependencies": {
+    "handlebars": "^4.7.9"
   }
 }