Another nicety of Rose's ability, Aria reflected as they vanished, was that the golems would likely have no idea<em>which</em>way they were going, even if programmed to follow 'mundanely' fleeing intruders...<br/><br/>They appeared in a room of grand dimensions: clearly the spacious front room of the house, and Aria recognized the front doors from the inside - as well as the spherical aura she'd seen from outside. The double doors they'd teleported 'through' faced a second floor landing and balcony, to which twin marble staircases snaked up from the floor below.<br/><br/>Well below. And they'd appeared just beyond that balcony's marble rail...<br/><br/>Aria gasped, snatched at the nearby rail but without the right grasp-hold or strength behind, and began to fall, preparing herself for the necessary tumble.<br/><br/>The great room's (rapidly approaching) true floor was of checkered marble, like a grand chessboard - rather reminding Aria of her own goddess and a common architectural feature in the halls of her faithful (oft used for friendly duels, life-size chess matches, and the occasional not-so-friendly duel).<br/><br/>The west and east walls flanking the keep's front doors each held two closed doors of her own: one each on the first floor, and a second, elevated pair connected by a catwalk which had a few aerial paces in front of herself ere her fall. A crystal chandelier hung so near the catwalk one could've reached out to tinkle its crystals or, with a torch-on-a-pole, lit all its candles.<br/><br/>The first floor also hosted a set of double doors almost exactly beneath the pair they'd teleported through, and of a similar high arched style. To either side, the marble stairways arched over the beginnings of two hallways which afforded glimpses of other doors. Down each hall, pairs of closed door faced one another. The east hall ended in a third, open midden door. The west hall ended in a spiral stone stairway (which probably ran back to to that one they'd seen in the second floor alcove beyond the further golem).<br/><br/>The chamber was quiet empty of any persons' presence or sight, but not their sound. Faroff through the first floor's double doors, the feline-keen ears of Rose would mark a wafting voice. It was male, and not particular masculine, but otherwise quite precise and confident, with no shortage of arrogance or self-satisfied erudition. It seemed to be giving a lecture, half scholar, half salesman.<br/><br/>"...and as so very many of this plane's more, aha,<em>typical</em>denizens will lament until thy ears bleed from it, whether pointed or nae, Cormanthor - or shall I say, Myth Drannor, to ears such as yours doubtless more steeped in the lore of treasure-plundering than ancient elven glory - was in its last days crowned and shrouded by one of the very few Mythals ever to grace the air of Faerun. 'Tis true that there was non-elf present at its working, the multi-millennial meddler Elminster-"<br/><br/>A dry-spitting punctuated the lecture, and was joined by the grunt of a nearer and vastly deeper, but female voice. The lecturing voice continued, "But just what part on it he may've played, none can truly say. What is of specific knowledge and greater important for our purposes is that,<em>yes</em>, this Mythal was only possible by<em>sacrifice</em>. The silver and gold elves, for all their high-pointed noses, consumed by necessity the life of one of their own archmages in its making - the spirit became a part of it. Indeed, 'twas from the elf's full name that the word 'Mythal' now derives. High magic, friend, demands much of us and has since Netheril before, and shall as many millenia hence and beyond. But the burden need not always be ours! By the...shall we say,<em>freeing</em>of certain souls - and not just any - may not only mythal-scope wards be raised. Also portals of unsurpassed distance, integrity, and even<em>secrecy</em>against common detections may be tunneled, so to speak, across worlds and between. Souls, my friends, may not merely depart to outer planes at the body's passing....they may become the woodspikes which drive forth new passages themselves! Death, friends, frees every soul. Leave not the meaning to the gods alone - my Art defines the final purpose of these chosen souls."<br/><br/>\<br/><br/>We appear in a 2-story high chamber, 15' in the air, adjacent to a 2nd floor balcony overlooking the floor below. Each girl can make a DC 20 Climb check, if desired, to immediately grasp the nearby balcony and not keep.<br/><br/>(DC concocted from Climb (http://www.d20srd.org/srd/skills/climb.htm) DC 0 for the base climb DC of the balcony lip and rail (a very easy to hold surface) then dangling by your hands." + 20 modifier "catching yourself while falling". It's a unique case and you might have an alternate thought on the relevant DC. One could also suggest that the blink half-speed fall reduces the while-falling modifier from say +20 to +10.)<br/><br/>The fall is 15'; potentially 1d6 falling damage. Blink would halve it, and a DC 15 Tumble check would reduce the effective distance by 10' (to 5', which is no damage). (The DC 15 Jump check requires deliberately jumping down and thus is probably not applicable, although a girl could do so after successfully grabbing the balcony.)<br/><br/>So damage is negligible and probably zero. Catching on is thus mostly a question of where your girl would prefer to 'end up' and-or what you think her split-second instinct would be.<br/><br/>Aria: climb check 2 mod + 8 roll = 10, fails. (But she could reliably tumble for no damage)<br/><br/>A character can also make a Climb check (DC 0+10 = 10) to catch a falling character while climbing. So if Rose takes and makes her Climb check, and wants to catch Aria, she can do so with a melee touch attack (19/20 chance I believe, especially as Aria could and would choose to not apply her Dex and dodge bonuses) and then the DC 10 (20/20 chance for Rose I think.)<br/><br/><br/>e = elf statues<br/>- = doors<br/>* = stairs (those at on Floor 1 Row 7 curve up into those at Floor 2 Row 8)<br/>. = open flooring<br/>blank = open air (blank squares -> drop to floor below)<br/>~ = spherical aura centered on front doors of keep (the north half of the aura is the one they observed from outside)<br/><br/>The 2nd floor crossection of the spherical aura is in the air - from these spaces it'd be a drop to the first floor from these spaces (which are also within the aura), like with the other blank spaces.<br/><br/>The 'A' and R' in the 2nd floor crosssection are where the girls appear (10' beyond the double doors) and likewise over the air. If they fall, they will be at the A and R shown on Floor 1.<br/><br/>The line of flooring on Floor 2 Floor 4 is a catwalk between two closed doors, all elevated 15' above the first floor's floor.<br/><br/><br/>Floor 2<br/><div class="codeheader">Code: <a class="codeoperation" href="javascript:void(0);" onclick="return smfSelectText(this);">[Select]</a></div><pre style="margin: 0; padding: 0;"><code class="bbc_code">                ~ ~ <br/>              ~ ~ ~ ~ <br/>            ~ ~ ~ ~ ~ ~<br/>          X X X X X X X X             1        <br/>          X   ~ ~ ~ ~   X             2<br/>          X     ~ ~     X             3<br/>          - . . . . . . -             4<br/>          X             X             5<br/>          X             X             6<br/>X X X X X X     A R     X X X X X X   7<br/>X * . . . X * . . . . * X e e . . X   8<br/>X X X . . X X X - - X X X e e . . X   9<br/>X e e . . . . . . . . . . . . . * X  10<br/>X e e . . . . . . . . . . . . . . X  11<br/>X X X X - X X - X e X - X X - X - X  12<br/>                  X           X . X  13<br/>                              X X X  14<br/></code></pre><br/><br/>Floor 1<br/><div class="codeheader">Code: <a class="codeoperation" href="javascript:void(0);" onclick="return smfSelectText(this);">[Select]</a></div><pre style="margin: 0; padding: 0;"><code class="bbc_code">          (front outside stairs)<br/>              ~ ~ ~ ~<br/>            ~ ~ ~ ~ ~ ~<br/>          ~ ~ ~ ~ ~ ~ ~ ~<br/>          ~ ~ ~ ~ ~ ~ ~ ~  <br/>          X X X - - X X X             1  <br/>          X ~ ~ ~ ~ ~ ~ X             2<br/>          X ~ ~ ~ ~ ~ ~ X             3<br/>          X . ~ ~ ~ ~ . X             4<br/>          - . . . . . . -             5<br/>          X . . . . . . X             6<br/>X X X - X X * . A R . * X X - X X X   7<br/>X * . . . . . . . . . . . . . . . X   8<br/>X X X - X X X X - - X X X X - X - X   9<br/>                              X . X  10<br/>                              X X X  11<br/></code></pre>