Into the Darkness 1

Credits Special Thanks

Written By: Zachery Naldrett
Character Sheets By: Chris "MrGone" Leland
https://mrgone.rocksolidshells.com/
My stepbrother Dan whose copy of Vampire: The
Masquerade Second Edition came on that trip to
Grandma’s condo and brought me into the World of
Darkness.
Kindred the Embraced for being a cheap buy at
Blockbuster, surviving in my DVD collection through
countless moves, and eventually reigniting my interest
in playing Vampire.
Stef “Malevolence” and the rest of the Storytellers at
www.sanguinus.org for welcoming and supporting a
me on my return to Vampire after not playing for
nearly twenty years.
Matthew Dawkins whose praise on a Kickstarter sub-
mission gave me the confidence write this.
Ashely Warren and the rest of the Write Your First
Adventure staff at www.rpgwriterworkshop.com for
providing me the tools to get started.

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2 Zachery Naldrett
Introduction 5
The Diner 8
The Hunt 11
The Chase 15
The Finale 18
Pre-generated Characters 21

Into the Darkness 3

4 Zachery Naldrett
 Introduction

In the dark when your blood is calling

In the dusk when the fever’s crawling
In the night came the killers with the cross
Powerwolf “Killers with the Cross”

Introduction NPCs and conditions for how they can achieve posi-
tive, neutral, and negative reactions from the NPCs.
About the World of Darkness Positive outcomes should add to the player’s Planning
Dice Pool (HH2, p. 55), neutral will give them infor-
In Hunter’s Hunted II (HH2) characters play as mor-
mation but not add to their planning dice, negative
tals hunting the undead from Vampire the Masquer-
can increase the difficulty of the final encounter (addi-
ade 20th Anniversary Edition (V20). The mechanics
tional adversaries, the target knows they are coming,
used in this scenario will come from rules found with-
etc.). With that being said, no story survives the first
in V20 and specifically calls for at least one vampire
encounter with the players. Be prepared to let the
discipline to be used. HH2 introduces the Plan Dice
players drive the outcome of the story and avoid rail-
mechanic which is optional. Older editions may be
roading them into what has been laid out on these
used, see the sidebar below for a suggested stat conver-
pages.
sion. If you do not have any addition of Vampire or
Hunters Hunted, they are available as a PDF through
Storytellers Vault.
About the Scenario
This scenario is designed with flexibility in mind. If
your players are using the pre-generated characters in
this PDF, then how they got to where they are will be
noted in the first chapter. If you decide to use this
scenario in a pre-existing campaign or have your play-
ers come up with characters on their own it will still
work with the scenario. Each scene has an outline of
outcomes based on how the characters interact with

Into the Darkness 5

 The final encounter is left for you to come up with
the details. While suggestions have been given if they
do not fit in with your plan, adapt the ending to fit
the story you are telling.
V20 to older editions
There are a handful of Abilities in V20 that did
not exist in earlier editions. Dodge is the only one
that was merged into an existing ability. Below is
an easy conversion that can be used for older edi-
tions. Cap at original V20 stat value.
Revised
Awareness -> Alertness, Empathy, or Occult
Athletics -> Athletics and Dodge
Larceny -> Security
Technology -> Crafts
1st/2nd Edition as above unless noted
Academics -> Any
Crafts -> Repair
Expression/Performance -> Acting or Music
Technology -> Repair/Security
Themes
Into the Darkness is designed to be the beginning or
near beginning of the hunters’ story. Some may have
never seen a vampire themselves, but they know, or at
least think they know, what they are hunting. The
world they are entering is foreign and unknown to
what they have experienced up to this point in their
lives. How will they ultimately deal with the vampire
they hunt when confronted with it face to face? Do
they show mercy or vengeance? At this point each
hunter is still learning about themselves and their
motivations for hunting, and just how far they are
willing to go when it comes to vampires.
What’s In This Book
Each chapter in this book is set to be a different
scene or scenes in the scenario. Essentially the story
you are telling should break down into set points: The
6 Zachery Naldrett
Opening Hook, Intermediary Scenes, Confrontation,
Climax, and aftermath. Chapter One brings the char-
acters together to plan out how they will find their
target and what they will do when that happens. Here
the Storyteller should provide the basic details of what
the characters know at the beginning of the story.
Chapter Two is the investigative phase of the story.
These intermediary scenes are meant to give the char-
acters enough information to confirm that who they
are looking for is in fact a vampire and the where or
how to find him. Chapter Three throws an unex-
pected twist at the characters with the intention of
finding out just how far they will go. They certainly
can choose to confront the vampire here, but there
will be moral challenges to overcome to do so. Chap-
ter Four is where it all comes to an end. Choices the
characters make will most certainly impact how the
action plays out. If continuing the story and making
into a larger game, the potential aftermath to build on
that is included. If running a One Shot, the aftermath
can be told narratively by the Storyteller. Appendix
contains four pre-generated characters and a blank
character sheet.
Generic NPCs
Throughout the scenario, the characters will en-
counter Non-Player Characters (NPCs) who have not
been assigned stats. This is intentional as they are
not designed to be adversarial and come into con-
flict with the characters. They will generally avoid
conflict unless given no choice. As Storyteller,
should the need arise to roll dice for them, use
standardized dice pool ranging from 3-5 dice to re-
duce the number of NPC stats that need to be
tracked.
Into the Darkness 7
 The Diner
Do you ever get the feeling that there’s something going on that we don’t know about?
Timothy Fenwick Jr. The Diner

Setting the Scene ter seating options. The menu is typical for a diner
with a touch of Tex-Mex flair. At this time of night
The goal of the Scene there are few customers, two men in black suits sit at a
table nearby discussing mundane housework, a older
The characters have gathered in a neighborhood diner man in flannel sits alone at the counter reading the
just before dusk. They present what information they paper, and two waitresses make their way around re-
have found about the vampire who is their target, filling coffee and pushing the desserts. Occasionally a
although they are still missing a few details. Through busboy will come out and clean a table or set silver-
teamwork, they hope to get the final pieces they need ware.
to find and confront the creature of the night. Op-
tional but recommended, each piece of the plan the
players come up with on their own will add a dice to
their Plan Dice Pool. If the players are unfamiliar with
Hunters Hunted II take a moment to review with
them how plan dice are used. This scene is about the
players working together to develop a plan of action.
NPC encounters here will provide no aide to the
characters at this time nor will such encounters fur-
ther the plot development. They can be future plot
hooks by connecting them to various hunter factions
or spies for the vampires of the city, but for the pur-
poses of this scenario that will not come into play.
Koko’s Diner
The scene takes place at Koko’s Diner. It is a pretty
standard 24-Hour diner with booth, table, and coun-

8 Zachery Naldrett

What they know
Going into the scene, there characters will have
already gathered information about their target
based on details gathered from a recent attack. It’s
up to the Storyteller if each piece of information is
handed out to individual characters or provided as
a whole to the group. If using pre-generated char-
acters, the suggested character is listed below.
• The victim worked at Tassels And Tails Adult
Saloon and was walking home. (Reverend Ro-
bles)
• The scene of the crime is in what is considered
a safe part of an otherwise high crime neigh-
borhood. (Tamika)
• A string of similar attacks has been reported
but the local news has not been covering it.
(Ichabod)
• The strip club she worked at is suspected to
have connections to organized crime. (Shady)
NPC Interactions
One of the waitresses will come by checking on the
table. She has a bit of Texas charm and is perky almost
to the extent of being annoying. Without much prod-
ding she’ll happily go into detailed discussion of how
the local sports team is doing (they have spirit at least,
bless their heart), how the shift is boring until the bars
close and the drunks start pouring in, or various nee-
dle point or knitting projects she’s completed. At any
given time either of the men in the cheap suits can be
noticed watching the table with three successes on a
Wits + Alertness roll. If the characters raise their voic-
es or throw around terms such as “vampire” the num-
ber of successes needed will be lowered to 1. If the
characters attempt to interact with them, they will
quickly change the subject and will discuss remodeling
one of their bathrooms. Any attempts to interact with
the older man at the counter are met with grunts and
mumbling about “ …well back in my day”.
Locations to Investigate
Scene of the Crime
Into the Darkness
The alley where the attack occurred is between
Wings and Pizza, a late-night take-out restaurant and
Salvatore and Sons butcher shop. Wings and Pizza
does a fair amount of business, particularly after the
bars have closed, while the butcher shop is only open
during the day. The floors above both businesses
house numerous low rent apartments. The end of the
alley has a fence that blocks the view of a small tire
shop. There were no witnesses to the attack and the
victim herself does not remember any of the details.
The police wrote it off as an unsolved mugging. The
walls of the alley are heavily covered with graffiti and
the ground is littered with trash and broken glass.
Tassels And Tails Adult Saloon
(T.A.T.A.S.)
The victim worked at TATAS and was walking
home from her shift at the time of the assault. From
the outside, the brick building has blacked-out win-
dows with tacky neon signs for Woody Creek, Blue
Stripe, and Ten Tickle’s Ale in addition to the tacky
silhouette images of naked women on the sign over
the awning. After passing through a small hallway
where a bouncer checks IDs, the main room contains
a large stage with at least three dancers at any given
time. The DJ booth is elevated and behind the stage,
to the left is a large bar and to the right bathrooms,
the private dance area, and a stairway that leads up to
the dancer’s changing room. Every room is darkly lit
and there is noticeably more security than what one
would think necessary for a place this size.
Development
The scene ends when the characters have developed a
plan of action for the night. The locations do not have
to be examined in order. Each scene will have its own
unique piece of information that can be uncovered
but will also have an NPC that can provide additional
information that will be determined on when the visit
occurs. The order information is revealed is a physical
description, name, and finally the location of the
vampire’s haven. Details on the vampire they are look-
ing for are provided in Chapter 4.
9
10 Zachery Naldrett
 The Hunt
Guess it’s not a good day to be a bad guy, huh, Skank?
Erik Draven, The Crow
Scenes
The characters explore the previously identified lo-
cations to get confirmation that they are on the hunt
for a vampire and details on their target. Each location
will have an NPC which will provide a piece of infor-
mation to help the characters confirm their target is a
vampire, details on who he is, and how to find him.
Regardless of the order the characters choose, the first
location will provide a physical description to be able
to recognize him and his name through conversation.
The second place the characters visit should be able to
uncover the location of his haven from a dropped
wallet found by an NPC. An additional encounter
with the vampire’s ghoul can result in the location of a
warehouse the vampire is meeting someone the next
night.
Scene of the Crime
Searching the alley, the characters can find a home-
less man going by the name Jax-Broken-Dream. He
will insist that he is an urban survivalist and claims
that he saw the attack and ran the suspect off. It
should become obvious that he knows more than
what he is telling but is reluctant to speak with the
party. If the subject does not come up naturally in the
conversation, a player can make a Perception + Empa-
Into the Darkness
thy roll to figure out that Jax does not like vampires.
One success is enough to get the impression of Jax
anti-vampire feelings, while three will be enough to
figure out he will be more forthcoming with what he
knows and may even offer some assistance in the fu-
ture if he is convinced the characters plan to kill the
vampire. Any attempt to physically intimidate him
results in hostility and if they succeed in an intimida-
tion roll the storyteller should describe an overwhelm-
ing feeling of terror causing them to flee. The charac-
ters will be unable to recall why they ran off once the
overwhelming feeling of terror fades and they find
themselves several blocks from the alley. If they look
for him again, he is gone.
NPC Interactions
There is little opportunity to interact with anyone
from Wings and Pizza. There is one woman working
the counter and two cooks. They were busy at the time
of the attack and did not hear a thing. If asked they
will not recognize any details provided of the charac-
ters’ target. The butcher shop on the other side of the
alley was closed at the time the victim was assaulted.
Jax-Broken-Dream (Werewolf)
Jax-Broken-Dream is an apparently homeless man
dressed in dirty jeans, boots, and a flannel shirt. physi-
cally intimidated will shift into a man-wolf form and
trigger a status known as Delirium (see sidebar below)
11
in the characters which causes them to flee in terror
and not remember what it was that scared them off.
Attributes (Human Form): Strength 3, Dexterity 3,
Stamina 3, Charisma 2, Manipulation 2, Appearance
2, Perception 3, Intelligence 2, Wits 3
Abilities: Academics 1, Alertness 3, Animal Ken 2,
Athletics 2, Awareness 2, Brawl 3, Crafts 2, Intimida-
tion 3, Investigation 2, Leadership 1, Occult 1, Stealth
3, Streetwise 4, Survival 3
Equivalent Disciplines: Celerity 3, Potence 1, Protean
4
Advantages: Humanity: 7, Willpower: 5, Gnosis 4
Werewolves
*Hunters Hunted II is designed around the
Vampire the Masquerade system. With the in
mind treat Half-Man/Half-Wolf form as double
physical stats, Delirium causes all mortals to flee
in terror and rationalize/forget what they saw,
and Gnosis is used like a Vampire uses their
Blood Pool
Tassels And Tails Adult Sa-
loon (T.A.T.A.S.)
At TATAS the characters can speak with the bar-
tenders (if they buy a drink and tip), dancers (if they
purchase a private dance), and bouncers (if they slip
them an extra $20) about their target. Bartenders will
comment that he never really drinks, just buys a drink,
and holds it to look cool or whatever. Dancers will
reveal that his hands are always cold, and he is very
handsy. The bouncers will confirm that they have
thrown him out for getting too rough with some of
the girls. The characters should be there to talk with
Putanesca, who will come down if asked for. The man
they are looking for spends well which is why he is
allowed to come back in. The players should be able
to determine he started coming in around the same
time the disappearances started, if they inquire how
long he has been coming there. Putanesca does not
seem to care about the missing dancers, they quit
without saying a word all the time. He will need to be
negotiated with to provide any information on his
12
customer but will eventually be with flattery can be
persuaded to share information. He has got a temper
and will take any threat, real or perceived, as cause to
throw the characters out. If the characters initiate
combat with him, for each round of combat a bouncer
enters the fight to protect Putanesca until the charac-
ters are overwhelmed and carried out. Putanesca will
warn the vampire should he come out of the fight
looking weak or if seriously hurt in combat.
NPC Interactions
As mentioned earlier, much of the staff knows the
target from his prior visits and can provide vague de-
tails that should go to confirming any suspicion that
the characters are in fact on the trail of a vampire, that
is as long as they pay the right price. The bartenders
and dancers are used to customers hitting on them
and any attempt to seduce them to get information
should be rolled at +2 difficulty.
The DJ comes off as energetic and distracted. A suc-
cessful Perception + Medicine or Streetwise (which
ever is higher) will allow the character to recognize
him as being on drugs of some sort, with three suc-
cesses identifying the drug as cocaine. The customers
really do not have much to say and are clearly annoyed
at the characters attempt to distract them from the
dancers.
Zachery Naldrett
 Bouncers without a physical confrontation, they won’t tell the
Bouncers at TATAS all have an olive complexion vampire of the events, but if there’s a fight of any type
and are dressed in matching black t-shirts with the the ghoul will report it if he is able to leave on his own
word “SECURITY” written in white across the back. two feet

Attributes: Strength 3, Dexterity 3, Stamina 3, Cha- NPC Interactions

risma 2, Manipulation 3, Appearance 2, Perception 3,
Intelligence 1, Wits 2
Abilities: Alertness 2, Athletics 3, Brawl 3, Drive 2,
Firearms 1, Intimidation 2 Larceny 2, Melee 2, Stealth
2, Streetwise 3, Subterfuge 2
Advantages: Humanity: 5 to , Willpower: 5
Equipment: Earpiece and mic to communicate with
the rest of the security team, handheld flashlight,
handcuffs
Christopher Anthony Putanesca
Christopher Anthony Putanesca is a lean Italian
man in his mid-twenties. He is dressed in an expensive
but off the rack pinstripe suit.
Attributes: Strength 2, Dexterity 2, Stamina 2, Cha-
risma 3, Manipulation 4, Appearance 3, Perception 2,
Intelligence 3, Wits 3
Abilities: Alertness 2, Athletics 3, Brawl 3, Drive 2,
Finance 2, Firearms 2, Intimidation 2 Larceny 3, Me-
lee 2, Stealth 2, Streetwise 3, Subterfuge 2
Advantages: Humanity: 6, Willpower: 6
Equipment: Money clip, luxury sedan, knife, brass
knuckles
Brodie Bruce (ghoul)
Brodie Bruce is slightly below average height and
dresses in dirty jeans and a T-Shirt. His hair is dishev-
eled, and it’s clearly been a few days since he’s show-
ered or used deodorant.
Attributes: Strength 2, Dexterity 2, Stamina 2, Cha-
risma 2, Manipulation 3, Appearance 2, Perception 3,
Intelligence 2, Wits 3
Abilities: Awareness 1, Athletics 1, Brawl 2, Crafts
(Photography) 3, Computers 2, Drive 3, Firearms 1,
Larceny 1, Melee 2, Streetwise 2 Subterfuge 1, Tech-
nology 2
Disciplines: Fortitude 1, Potence 1
Advantages: Humanity: 7, Willpower: 5
Equipment: Digital SLR camera, Cheap Smartphone,
car keys, Light Pistol, Notepad
Development
By this point, the characters should have gathered
enough information to make a move on the vampire.
A quick regrouping should occur to allow for creating
a plan of action before moving on to the climax.

Picked up a Tail
After leaving the first location, the characters will
have picked up a tail. Prompt all the players to roll
Perception + Alertness for their characters with three
successes needed to realize they are being followed by
a non-descript tan sedan (one if any of the players
state they are actively looking). If the characters at-
tempt to chase, trap, or otherwise confront the tail
they will discover it is a ghoul, should they attempt to
lose the ghoul and succeed, they will “randomly” run
into it at the next location. The ghoul will not actively
betray its domitor but can be tricked into providing
details of a meeting at a warehouse if the players can
convince it that they are on the vampire’s side. If there
is any physical confrontation the ghoul will drop his
cellphone and will receive a text with a time and place
for a meet the next night which is the location of the
warehouse as well. If the ghoul leaves the encounter

Into the Darkness 13

Into the Darkness 14
 The Chase
We are scanning the scene in the city tonight
We are looking for you to start up a fight
Metallica, “Seek and Destroy”
Stake Out
This scene requires that the characters have been
successful in getting the vampire’s haven location and
go to investigate it. When they arrive at the location it
quickly becomes apparent that there is a multigenera-
tional family living there. Grandma, Grandpa, Mom,
Dad, Auntie, and a collection of kids of various ages.
Clues indicating that this is the vampire’s mortal fami-
ly should be obvious, the last name on the mailbox
matches, as does the registration on any of the cars in
the driveway. If a member of the family is asked about
the vampire, they will talk about how proud they are
of him, getting his life together, and getting a good
job. Sure, work keeps him away at night and he is too
tired to do anything but sleep during the day, and the
money he is bringing in helps support the family.
There is nothing to indicate that anyone in the family
knows that he is now a vampire. There’s potential for
the characters to wrestle with the ethical and moral
consequences of taking him out here now during the
day, knowing that his mortal family will be put at risk.
Do they take the chance now and put seemingly inno-
cent and oblivious mortals in harm’s way or do they
wait for him to come out and act then? The storyteller
should remind the players that these appear to be
Into the Darkness
innocent people and any actions taken against them
will result in potential humanity loss. Below are situa-
tions on how to proceed that the characters may come
up with.
Wait him out
He is got to come out of there some time. The vam-
pire is not going anywhere while the sun is up and the
characters can take the day to rest up, stock up on
supplies, and generally better prepare themselves.
Shortly after dusk, the vampire will get into his car
and head for the warehouse. They can follow him
easily enough and he will not notice them unless they
take action to make themselves known. Without any
interference from the characters, he heads straight
there. Should the characters attempt to take him while
driving to the warehouse a chase scene is in order.
Chase Scene
A chase scene draws unwanted attention from law
enforcement regardless of almost any outcome, even if
that means a second chase scene where they flee from
the police. Ordinary people who consist of both pe-
destrians and other drivers are put at risk. Make this
known to the party early on by narrating a near miss
or having the vampire clip someone in a crosswalk.
Should the party decide to continue the pursuit, call
15
for a conscience roll and risk losing humanity with the
careless disregard for life. If the party disengages from
the chase, they can avoid police interaction and the
vampire will feel that he lost the characters, allowing
him the confidence to continue to the warehouse. The
chase is a contested and extended Dexterity + Drive
roll with the vampire to five. Win and they catch the
vampire causing him to crash. The injured vampire
should be an easy target for the party. Lose and the
vampire gets away and the party sees flashing blue
lights in the rear-view while a botch should result in a
crash that takes them out of the pursuit. Either way by
the time the party is finished with the police, they
arrive at the warehouse to find it empty.
Head Him Off
The party knows where the vampire is going to be
later and decides to head there first. During the day,
the warehouse is active, people loading and unloading
trucks 9-5. The warehouse itself does not have its own
security but the property is patrolled by a private secu-
rity company. There are three entrances, a loading
dock in the front and two side doors, which will re-
quire the party to split up to be able to cover each of
them. If the party attempts to enter the warehouse
while in operation they will be turned away, and if
they aren’t cautious about finding a good place to
watch, they will be confronted by private security and
asked to leave the property. While this should not be
much more than a nuisance, the distraction will pro-
vide an opportunity for someone waiting in the dark
to slip inside unseen. To avoid security, they should
make a Perception + Stealth roll to find a suitable spot
to watch where the security guard will not find them.
Take Him Out
The party can take him out here and now while he
sleeps, but there is a high risk of putting, what from all
appearances, is an innocent family in danger. Whatev-
er the methods used, burning the house, going in on
their own, swatting, etc., puts a mortal family member
at high risk of injury or death and this should weigh
on the characters. Should an innocent family member
die as a result of taking the vampire out here, charac-
ters with Humanity 7 or above would need to roll a
Humanity check, 6 if the character is directly respon-
sible for the death. Putting aside the ethical and moral
issues that arise with putting the family at risk, there is
also the legal consideration. Unless extreme care is
taken, there will be someone who witnesses or calls
16 Zachery Naldrett
the cops. If they go in themselves or burn the building
the police will be after them. Swatting the house (hav-
ing the police raid it) will cause the police to want to
question them after not finding what they were look-
ing for and will provide the characters no proof the
vampire was killed.
NPC Interactions
Should any of the characters interact with any of the
family members, they will be friendly up to a point. If
the conversation begins to let on that the characters
have less than pure interest in the vampire, which ever
member of the family will politely ask them to leave
and then go inside the house. Should the characters
stay in the vicinity, a successful Wits + Alertness roll
will allow them to notice they are being watched from
a window of the house by a young child. If they still
do not leave a pair of police officers will arrive and
begin to question them about why they are there. Po-
lice the players encounter who are on patrol from
being reported by the family or involved with a poten-
tial chase scene will be in a standard blue uniform,
should they attempt to take the vampire out them-
selves they will find SWAT who are in black padded
armor waiting for them. Stats will be the same in ei-
ther situation.
Attributes: Strength 3, Dexterity 3, Stamina 3, Cha-
risma 2, Manipulation 3, Appearance 2, Perception 2,
Intelligence 2, Wits 3
Abilities: Alertness 3, Athletics 3, Brawl 3, Com-
puter 1, Drive 3, Firearms 3, Intimidation 2, Investiga-
tion 1, Melee 2, Stealth 2
Advantages: Humanity: 5 to 7, Willpower: 6
Equipment: Heavy pistol, Kevlar Vest (class 3 ar-
mor), Nightstick (+2 bashing damage), Taser (5 bash-
ing damage, overages do not add to the damage dice-
pool)
Development
If the characters do not take out the vampire, the next
stop logical is the warehouse. It can still be an option
if they have already killed him, but the police will
make things much more difficult. If they took action
to take the vampire out, the police will be looking for
them (see The Hunters Become the Hunted in the
next chapter)
Into the Darkness 17
 The Finale
I hear you been looking for me. I’m flattered
Deacon Frost, Blade
Conclusion
What happens from here depends on the actions
the party has taken and what your plans are after the
session.
The Hunters Become the
Hunted
If the actions from the prior scene resulted in char-
acters being wanted by law enforcement, the clock is
ticking. The warehouse will be empty, giving no clues
of who the vampire was supposed to meet up with
should the characters attempt to go there. If it is not
clear that the police are after the characters, a breaking
news story that comes over the radio or seeing their
faces flashing on a random TV can tip them off. The
initial reports might just have a physical description of
the characters (or just the car if the police are after
them as a result of a car chase) but as time progresses
the reports will state the police have identified the
suspects, to the point where the news will report their
names and that the police are considering them armed
and dangerous. This can all be done narratively with
quick questioning of what the players do. This will
help to speed up the pacing, ramp up the tension, and
convey a sense of urgency for the characters to get out
18 Zachery Naldrett
of the city or go into hiding. Have a tail follow the
characters and police sirens in the distance if they stay
in any location for more than a few minutes. Portray
the sense that the city is closing in on them until they
decide to flee the city. The longer they wait the more
obstacles they encounter, roadblocks and check
points, closed roads, traffic jams. When they go to
leave let them see blue lights in the rear-view. Escape
should be the goal and it should be obtainable. They
will be able to hunt again, but they will need to get to
another city and either start over or find a way to clear
their name.
Aftermath
If continuing the story, the following sessions can be
about the characters clearing their name and return-
ing to the city. If they can do so, they will find it diffi-
cult to hunt vampires after being on the news. Should
the characters decide not to return to the city, the next
session can be about how they go about living life on
the run. Do they travel city to city, hunting vampires
then moving on? Do they settle in a new city and live
there hunting vampires while staying out of the eye of
local law enforcement? Do they cut ties with their
friends and family or do they keep in touch with
them?
Confront the Vampire
Should the characters plan to scout out the warehouse
ahead of time, they may have the opportunity to con-
front the vampire before he gets inside. If they did not
take positions out of view of security, an untimely
interaction will distract the characters preventing
them from seeing the vampire go inside. Should they
arrive after the vampire, be distracted by security, or
choose not to confront them, they will be able to slip
inside easily.
If confronted outside of the warehouse the vampire
will attempt to negotiate with the hunters. He was not
always a vampire, and someone made him that way.
This is all new to him and when another vampire
came to him and threatened his family, he agreed to
work for him and spy on Putanesca saying that he
works for something called the Giovanni. His inten-
tions are to convince the party that he is not the bad
guy and there are worse vampires out there. He will
activate Awe (V20 p. 193) if he feels it necessary to
win the party over to his side. The vampire he is meet-
ing with inside is what is called a “hound” is the one
that is blackmailing him, and she is a much worse
vampire than he is. Should the characters go along
they can either agree to stay outside or help him fight
this Hound.
If they do not agree to let the vampire live, he will try
to escape instead of fighting. The characters should be
able to overtake him. If not taken out when first met,
Brodie will return to defend his domitor giving him
an additional chance to get away. Should the hunters
succeed in combat, after killing Wallace and Brodie
they can go after the “Hound”.
Aftermath
If the characters agree to work with Wallace and do
not accompany him inside, they will begin to receive
information about various vampires as long as he and
his family are safe.
Entering the warehouse aligned with Wallace will
result in the Hound fleeing faster than their eyes can
follow. Wallace will disappear soon after and they are
on their own for new sources to continue hunting
vampires. Should they decide to kill Wallace and Bro-
die and still enter the warehouse, the Hound will still
flee faster than they are able to follow. In addition,
they have now gained the attention of the Hound and
which can lead to complications in the future.
Follow the Vampire
Into the Darkness
If the party waits and follows him inside, when they
find him, he is meeting with a woman who runs off
and disappears in the blink of an eye. The vampire
will use the same strategy to win the party over to his
side as if they confronted him outside. Being left be-
hind by the vampire he was supposed to meet with
will add a sense of desperation to his appeal for leni-
ency.
Aftermath
If they allow Wallace to live the character will begin
receiving files on other vampires within the city. They
will be dropped off through intermediaries with the
subtle hint he is the one providing the information.
Should anything happen to Wallace’s family or should
the characters go after him again, the information that
is being delivered stops coming. Killing Wallace has
no negative consequences.
NPC Interactions
The Hound from what the characters can tell, appears
to be a woman dressed in jeans and a hoodie. Her
hood is up covering most of her face and she moves
faster than can be seen getting away.
Wallace Jackson (Vampire, Caitiff)
Wallace Jackson is a tall man with an athletic build.
He is dressed in a fashionable black turtleneck and
designer jeans.
Attributes: Strength 2, Dexterity 3, Stamina 2, Cha-
risma 3, Manipulation 3, Appearance 3, Perception 3,
Intelligence 2, Wits 2
Abilities: Academics 1, Awareness 1, Athletics 1,
Brawl 2, Drive 2, Empathy 2, Expression 2, Finance 1,
Firearms 1, Larceny 1, Melee 2, Performance (acting)
3, Streetwise 2, Subterfuge 2
Disciplines: Fortitude 1, Obfuscate 1, Presence 1
Advantages: Humanity: 7, Willpower: 6
Equipment: Pocket Knife, Smartphone, Used econo-
my car, Wallet with about $100 in cash.
It All Goes Wrong
If the characters were unsuccessful in gaining infor-
mation in previous scenes, particularly if the encoun-
ter with Putanesca went bad, the players will find
themselves walking into a trap. There is no sign of the
vampire inside, but after some searching, they do find
drugs. Just as they do, a SWAT team shows up and
19
raids the location. If the characters attempt to fight
the police, there are about a dozen in SWAT gear, and
they have the stats from the previous chapter. They
will not be able to talk their way out of an arrest and
they will be woefully outgunned should they try to
defend themselves. Should they manage to hide and
escape, the police will be after them as listed above in
The Hunters Become the Hunted. Should they get
captured the characters will spend the night in jail but
will be released once the police realize it is a wrong
place wrong time situation. However, that gives the
vampire plenty of time to escape and the trail to go
cold.
What’s worse than jail? For a vampire hunter it is
becoming the thing you hate. An alternate version of
the trap is not that the characters were sloppy allowing
the vampire to find out they were hunting him, but
the entire thing was a set up to lure in vampire hunt-
ers and embrace them to turn them against an oppos-
ing Sect.
Aftermath
Should the characters allow themselves to be arrested
they will spend a night or two in jail before being re-
leased. The trail of Wallace will have gone completely
cold and his family will have packed up and left town
without a forwarding address. Should they continue to
hunt they will find various difficulties popping up in
the characters’ lives.
Fighting back against the police is a lost cause. They
have an itchy trigger finger and significantly out num-
ber the characters. The newspapers will applaud the
officers for killing these four drug dealers who were
hiding in plain sight. Total party kill, end of story…
unless you decide to turn it into a Wraith: The Obliv-
ion game.
Should the characters get embraced the Storyteller
should discuss with the players what clans they are
interested in playing beforehand. Get at least three so
from each player to have some flexibility and lay out
ground rules beforehand if there are any clans that
don’t fit with the stories to be told in sessions to
come. Having them as part of a Sabbat shovelhead
party can quickly shove them into vampire action with
a siege of a Camarilla city. For a Camarilla story it
could be a rule of the Prince that prospective sire’s
must agree to raise their childer together and that is
why they were all embraced at the same time. Anarchs
don’t need a reason, they’re fucking Anarchs.

20 Zachery Naldrett
Into the Darkness 21
 Pre-Generated
Characters
These evil streets iz rough
Ain’t no one we can trust
Either roll with the rush or get rushed ‘
Cause all we got iz us]
Onyx “All We Got Iz Us”

Pre-Generated Character
This scenario is designed to introduce new players into the World of Darkness through the eyes of vampire
hunters. While the Storyteller should have at least a basic knowledge of the Storyteller system, there is no need
for the player to do so. For that reason, the following four pre-generated characters have been included. The
stats given to them can be modified to fit the story you are looking to tell, customized by players by giving them
additional freebie/experience points, or disregarded entirely to fit the needs of your table..

22 Zachery Naldrett
Reverend Antonio Robles Description:
Reverend Robles is slightly above average height.
Antonio Robles grew up in a religious household. His dark hair is curly and thick, and his mustache is
Growing up he did not quite understand why but he kept neat and trim. Due to his time spent volunteer-
enjoyed the social aspect and the sense of belonging ing with Habitat for Humanity and other various
he felt being part of the church community. Robles community revitalization projects he is developed an
was active in church youth programs and developed a athletic build that few get to see. Antonio dresses con-
close circle of friends and it nurtured his faith. servatively in dark colors when outside of pastoral
Throughout his developing years, the social came first robes. He stands tall and exudes confidence when
and the spiritual came second. speaking. When not in his church he always has a
In his senior year of high school after a party, Anto- silver cross worn on a thin chain around his neck.
nio crashed his car totaling it and killing his girlfriend Role-playing tips:
who was with him. Robles walked away from the inci- You serve God above all else and believe that hu-
dent without a scratch on him. He saw this as a sign mans being made in his image are good at heart by
from God and he refocused his life in service to God nature. Sins are the failing of mortals, and all have the
instead of this service of his social circle. opportunity for redemption. God has recently put you
After graduation, he attended seminary school on this path, but you are unsure of how to best walk
where he explored various aspects of religion and spe- it. Are these monsters you encounter capable of salva-
cifically Christianity. His calling was one of service to tion or have their souls already been doomed? How
God, and in his view, the appropriate way to show this much of your convictions are you willing to sacrifice
service was in service to others. Several years of mis- in battling them?
sionary work followed before he returned home and
took a position within his family church. He has been
active in the community and pushing others into ser-
vice to God through community service since his re-
turn. Reverend Robles’s first interaction with the su-
pernatural occurred when a parishioner came to him
concerning a family member who had gone missing.
The Reverend helped find the missing family member
only to discover they had been turned into a vampire.
Antonio’s devotion to God gave him the belief that
the family member could be saved. The vampire was
subdued and killed in the attempted exorcism that
followed.
His belief in God’s plan has kept him going. It is
God’s will that he has been shown the existence of
vampires at this time, and that God has chosen him to
protect the faithful. Antonio still fulfills his duties to
the congregation as he slowly learns more about the
undead. He views vampires as a test of fate. He thinks
redemption is possible and that he just needs to learn
more about them to properly exorcise the corrupting
spirit from them.
To this end Antonio seeks out knowledge where he
can find it, church literature has almost no infor-
mation to find and what he has found has not proven
to be accurate. Through investigation into vampires he
hopes to learn more, although should it come down to
it, he has told himself that his duty to God and his
parishioners is more important than saving the un-
dead.

Into the Darkness 23

24 Zachery Naldrett
 ture snarled and showed it’s demonic face, freezing
her in her tracks and allowing it to flee into the night.
Tameka Jackson After her first run-in, she is cautious about going it
Tameka Jackson grew up in a quiet suburb just out- alone, but she cannot ignore the signs when she sees
side of the city. The youngest of four and the only them. Tameka considers vampires to be criminals
daughter, sports quickly became a focus for her. She outside of the reach of the legal system. The nature of
liked the comradery she had had with her teammates what they are and their crimes calls for vigilante jus-
and provided her structure. When she was old enough tice.
to join little league, she wanted to follow in her broth- Description:
ers’ footsteps and play baseball instead of softball. Tameka stands just shy of six feet tall. She was clear-
Through sheer determination and the promise from ly an athlete in her youth. She dresses in neutral col-
Varrell, her brother closest in age, to be on the same ors that go well with her dark complexion and help
team, Tameka was the first girl in the city’s history to her blend in with the crowd. Tameka has a scar on the
play little league baseball. back of her head from an incident in the police acad-
By the time she made it to high school, Tameka had emy and wears a shawl most of the time to cover it up.
begrudgingly transitioned to softball, was a starter on She often carries a small camera bag with a digital SLR
the varsity basketball team as a freshman and started and extra memory cards with doubles as her purse.
playing soccer just to separate herself within the family Role-playing Tips:
as it’s a sport none of her brothers had played. During When push comes to shove you are a protector, but
her junior year during a career day event, she heard a you have learned the consequences of speaking out
police officer speak of the comradery officers had with against public opinion. The standard of evidence you
each other on the force and decided to pursue a career usually use in your private investigation work will not
in law enforcement. Tameka was able to attend college be enough to get law enforcement involved, so putting
on a full athletic scholarship to play basketball and a stop to the ones you encounter along the way will
softball. By redshirting she was able to obtain a Bache- need to be enough. You bind your time and strike
lor’s in Criminal Justice and an MBA in public ad- when the moment is right
ministration within five years and remain on scholar-
ship.
In the police academy, Tameka discovered her pas-
sion was for investigative work. Once she became an
officer, she took the detectives exam the first chance
she got and made it on her first try. She spent a few
years in the sex crimes division before being promoted
to the homicide unit.
Tameka was first introduced to vampires as a detec-
tive on the police force. A case led her directly into
the path of one. No one in the department believed
her, and an obsession developed. Pursuing details
about potential a vampire, against department orders,
ended up costing her position and resulted in a demo-
tion to the stolen property unit. When an investiga-
tion leads to another vampire this only intensified her
resolve. Unfortunately, it also led to a questionable
psychiatric evaluation that had her released from the
department. Tameka feels a duty to serve and protect,
despite no longer being on the force. Her work as a
private investigator has shown that creatures of the
night still haunt the city. She successfully tracked one
down that was feeding regularly from a married man
she had been hired to follow and obtain proof of adul-
tery. However, when she went to confront it, the crea-

Into the Darkness 25

26 Zachery Naldrett
Ichabod Rabinowitz grey. As he is advanced into middle age, he has devel-
oped a slight paunch and his once taut face has begun
Ichabod Rabinowitz was always in awe of the news to droop. Once they were worn for the sake of appear-
business. His father worked in running the presses at ing more intelligent, but these days Ichabod is nearly
the local newspaper and he would often visit him at blind without his glasses. He dresses in a professional
the office growing up, sneaking into the newsroom, manner, at least what passes for professional in the
and asking the reporters, editors, and the rest of the newsroom. His trench coat nearly always has a note-
papers’ staff about what they did. By the time he was a pad or two tucked into one of the various pockets.
freshman in high school he was heavily involved with Role-playing Tips:
the school paper and his writing earned him a journal- You do not have all the answers, yet. Your tradi-
ism scholarship. tional way of uncovering information through talking
After graduation he started his career in investiga- to people and digging through records will not work
tive journalism. Ichabod was really enjoyed his work when it comes to vampires, and you are a bit of a fish
and built a solid reputation amongst the staff. Work- out of water when it comes to this type of stuff. Intel-
ing the City Desk, he would often come across weird lectual curiosity drives you, although the thought of
and unusual stories that he couldn’t tie together one day publishing what you will discover has crossed
enough to hit the deadline. He began to keep detailed your mind. Learning more about vampires has come
notes and began to research on his own time. Ichabod at a cost. You have become reclusively and paranoid
became obsessed and began digging deeper into the about what might happen if someone behind the cur-
stories beyond what was being published on his own tain found out what you knew and might aim to shut
time. It was an unpublished story about a rash of stu- you up permanently.
dents being hospitalized for anemia that led Ichabod
to a confrontation with a vampire stalking the cam-
pus.
Ichabod wanted to run, but his need to uncover in-
formation about the unknown overrode the fear. Like
any good reporter, Ichabod knows there’s more to the
story. He hopes to be able to get close enough to a
vampire willing to speak with them. Until that time,
killing them will need to have to suffice until he is
confident enough to approach one. Ichabod does not
know what to think about vampires currently. Their
portrayal in the media and literature is a mixed bag of
truths and falsehoods. There is more to them than
what is known, and he needs to keep an open mind
until he knows more.
This obsession certainly hasn’t made things easy for
him. Icahabod knows that there is someone pulling
the strings, covering up these incidents. It’s caused a
strain on his personal life; his wife Mary left and took
their daughter Samantha with her. In his mind it is
for the best because it reduces the risk of harm coming
to them if a vampire ever comes after him. Icahabod
recognizes there are monsters out there and that he
can be the person to let the world know, but he has to
survive long enough to gather enough proof to con-
vince the world.
Description:
Ichabod is of average height but seems shorter due
to his slouching from decades behind the news desk.
What is left of his hair has become a mix of black and

Into the Darkness 27

28 Zachery Naldrett
Shady With no crew left Shady must start over. He knows
he cannot go to the police with what he knows, it is
Mauricio Spina was raised by a single father with a up to him to get these vampires off the streets so that
gambling problem. With his father at either at work or proper criminals can do their thing in peace without
off somewhere gambling, he found he spent a lot of the threat of supernatural interference. Still doing
time with the older kids in the neighborhood. They petty jobs for the same crime family that his crew
got into a bit of trouble, mostly petty theft, and fights kicked up to, Shady has an eye out for signs that there
with kids from other areas. For most of them it was are more vampires out there. He will never be able to
something they would grow out of when they grew up get revenge on the one who took out his crew, so he
For Mauricio it was not the case. Instead of getting a will take it from any monster who crosses his path.
real job he went to work with a small-time crew in- Description:
volved in organized crime and picked up the nick- Shady is tall and lean, with a skin tone that only
name Shady. hints at his ethnicity. His hair is kept short, and his
It was early on that Shady picked up something was beard stylized to be up on the latest trend. His clothes
not right. Someone who was not part of the crew and are simple yet stylish enough to show he is a some-
was not affiliated with the family would come in boss- body. The name Shady comes from the sunglasses that
ing people around and taking a cut. This would go on are always found on his face regardless of the situa-
for a few weeks, sometimes even months, before that tion. Brass knuckles and various other weapons of
person would disappear. He brought up his concern questionable legality would easily be found were he to
with the members of his crew. The next morning the be searched.
police were at the door with a warrant to search for Role-playing Tips:
stolen property. It had to have been a set up because Throughout your life, you have learned that project-
Shady was smart enough to never keep anything he ed strength and power are enough to get things to go
stole at his apartment. The police found what they your way. After so many years of playing the tough
were looking for and Shady spent the next six months guy, you’ve finally convinced yourself of it, and you
upstate as a guest of the Department of Corrections. aren’t ready to give that up, whether it be another
After serving his time Shady returned to the neigh- gang, the cops, or even a vampire that stands in your
borhood and he fell into his old ways. Things were way.
back to normal for the first few months until another
random guy showed up demanding the crew pay up to
him without proving himself. This guy had not put in
the time, this guy was not connected and didn’t bring
anything to the table to help the crew or the organiza-
tion. Remembering what happened the last time
Shady went with a different plan. He called this new-
comer out in front of the crew. For his efforts he got
hit harder than he ever had in his life.
The crew had his back and jumped on the guy, and
he proceeded to rip through the lot of them. Shady’s
life was nearly over until two connected guys in track-
suits burst in and lit the guy up with shotguns. He
brushed off the first few but eventually dropped to the
ground. Half conscious, Shady could do nothing but
watch as the duo chopped his head off. He must have
had a concussion or something because the body van-
ished into ashes. He passed out.
When Shady came to, he found himself in the hos-
pital handcuffed to the bed. The cops wanted answers
that Shady could not give. Even if he could give an-
swers, he would not have. Eventually they gave up and
let him go.

Into the Darkness 29

30 Zachery Naldrett
Into the Darkness 31
32 Zachery Naldrett