TEXT: By Morrie Mullins 
  With the Band
  A Free Star Wars Miniadventure 
  For Any Era
  
  WITH THE BAND
  002
  DESIGN
  MORRIE MULLINS 
  EDITING
  RAY AND VALERIE VALLESE
  TYPESETTING
  NANCY WALKER
  WEB PRODUCTION
  JULIA MARTIN 
  WEB DEVELOPMENT
  THOM BECKMAN
  ART DIRECTION
  ROB RAPER
  LUCAS LICENSING EDITOR
  LELAND Y. CHEE
  STAR WARS RPG DESIGN MANAGER
  CHRIS PERKINS
  DIRECTOR OF RPG R&D
  BILL SLAVICSEK
  “With the Band” is a Star Wars Roleplaying Game miniad-
  venture for four heroes of 9th level. The era-independent
  scenario takes place well outside the bounds of what most
  would consider polite society. The current political situation
  in your campaign matters very little, except insofar as you
  elect to tie the Gamemaster characters in this adventure to
  your ongoing storyline.
  “With the Band” can be modiﬁed for heroes of higher
  level by increasing skill check DCs by one point for every
  level the average hero exceeds 9 and by making the crowd
  more violent. By default, the crowd at a Distraction concert
  is only prone to violence against one another, though you
  are always free to have them act against the heroes as is
  cinematically appropriate. For a greater challenge for groups
  well above 9th level, feel free to include a particularly
  vicious gang in the crowd (using the stats for mid-level
  pirates from the Star Wars Roleplaying Game revised core
  rulebook).
  “With the Band” can be modiﬁed for characters of lower
  level by minimizing the involvement of the crowd, lowering
  skill check DCs proportional to average character level, and
  reducing Cories’s VP. Note that logistical issues (such as
  payment) are intentionally left vague; shape the rewards to
  what is appropriate in your era and game.
  Background
  Niklas Cories is young and ﬂashy, the son of a prominent
  Outer Rim businessman. He is also rapidly becoming one of
  the most feared assassins in the galaxy. When he makes a
  hit, people know—but it’s often unclear exactly who his
  target was, since Cories’s favored means of execution is the
  (rather indiscriminate) thermal detonator. He has left a trail
  of bodies all around the Outer Rim, but his precise where-
  abouts remain unknown.
  Cories has been doing what any young, insane aristocrat
  might do. He’s been traveling with a musical group called
  “Distraction,” a curious mix of individuals described in
  Scene 1. Over the past several months, he has ingratiated
  himself with the band’s manager, Zim Zimley, and been put
  on the payroll under the assumed name “Aphus Polix.” He’s
  done everything from hauling gear to working the door to
  singing backup, and he’s fed his pathological need for
  violence in perhaps the safest of all venues—the pits where
  concert-goers ﬂing themselves about to Distraction’s discor-
  dant, morose music.
  While Cories has managed to avoid full-blown thermal
  detonators for a few weeks, the last one he used was at a
  Distraction show, and several other concert-goers have died
  from much smaller explosives that somehow ended up in
  their pockets. In the meantime, he’s been stockpiling ther-
  mal detonators and plans to exact a long-awaited revenge
  when Distraction plays an upcoming show on the Hutt-
  owned yacht, Sleemo Poya Jeedai (roughly, “The Drooling
  Jedi”).
  Cories has a long-standing grudge against the Hutts, who
  have a number of contracts out on his head. However,
  Cories is more concerned with a certain audience member
  who’ll be in attendance, a 16-year-old Human girl named
  Aquella Firth. She once dated Cories, dismissing him when
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  003
  she rightly decided that she was too young and Cories was
  too dangerous. But now he’s determined to make her pay
  for the pain she inﬂicted on him. The show on Sleemo Poya
  Jeedai is in her home system, and Cories arranged for her to
  win tickets, certain that she’d want to go.
  The girl’s father, Quoltus Firth, is less convinced of the
  cultural value of a Distraction show. More importantly, he
  knows his daughter’s history with Niklas Cories, and he has
  been doing his best to track down the insane aristocrat. But
  Quoltus made the mistake of forbidding Aquella to go to
  the Distraction concert without telling her that he suspected
  Cories might be there. When he went to her room to explain
  his reasoning, he found her gone. That was two nights ago.
  He hasn’t found her yet, but he knows where she will be
  soon. Now Quoltus needs someone to take temporary
  employment with Distraction to watch out for his daugh-
  ter’s safety. He’s conﬁdent that Cories has been traveling
  with the band, and he wants the man kept as far away from
  his daughter as possible. He knows that Aquella will return
  on her own and doesn’t want anyone to drag her home; he
  just wants her safe.
  Note that this general backstory can be applied to GM
  characters who already exist in your campaign. Giving exist-
  ing GM characters children does wonders to ﬂesh out the
  experience for the players.
  Getting the Heroes Involved
  Quoltus Firth was once a singer/musician who went into
  event promotions and management before retiring to raise a
  family in the Outer Rim. He remains somewhat involved in
  the industry, always keeping an eye out for new talent, and
  as a result he knows a great many people in the Astal
  Sector, where he’s made his home. He doesn’t broker infor-
  mation, but he has access to a great deal of it; even in
  retirement, there are still those to whom he owes favors, or
  who owe favors to him. Now, Firth has called in one of
  those favors, either from the heroes or from someone with
  whom they’ve worked in the past.
  Firth explains the situation in very straightforward terms.
  His daughter has run off to a concert that he forbade her to
  attend. Normally, that wouldn’t be a big deal, but he has
  reason to believe that the assassin Niklas Cories has been
  tracking (or traveling with) the band she’s going to see, a
  mish-mash group known as “Distraction.” He doesn’t think
  much of their music and thinks even less of Cories, whom
  Aquella dated for a very short period of time last year and
  then dumped. He doesn’t want his daughter brought back;
  he just wants the heroes to make sure nothing happens to
  her at the concert. The trick is, they can’t let her know
  they’re present.
  Firth has pulled some strings to get them assigned as on-
  site security personnel for the band. Zim Zimley, the band’s
  manager, is a Bith who believes he is employing special secu-
  rity personnel to resolve a favor he owes Quoltus, and he has
  no knowledge of any real danger involved. The heroes
  should expect to be treated no differently by Zimley than he
  would treat any other security guards on special duty.
  Firth gives the heroes a picture of Cories. The man is
  young and handsome, a Human with olive skin and a ready
  smile. He looks to be around 18 years old, though no one
  actually knows his date of birth. He’s of middle build and is
  around 1.8 meters tall. Quoltus expects that Cories will get
  close enough to plant explosives on his daughter (or some-
  one she’s with), but no closer. If pressed, Quoltus admits
  that the yacht Sleemo Poya Jeedai is Hutt-owned, but that
  the Hutts themselves merely rent the extravagant ship for
  spectacles like this one. Hutt employees may be on board,
  but unless the ship itself is in danger, they will do nothing
  to protect the concert-goers.
  The heroes may be sent to Quoltus by a GM character
  with whom they are already acquainted. The reason for the
  introduction can be anything at all. For example, if the
  heroes need something from a Hutt, the price can be doing
  this job for Quoltus, to whom the Hutt owes a debt. If the
  heroes want to convince a hidden Jedi Master of their
  worthiness, he may have sent them to Quoltus as a test. If
  the heroes are bounty hunters, they may have heard of (or
  be tracking) Cories and ﬁnd an ideal means of engaging
  him through this employment opportunity.
  Ultimately, you have a lot of ﬂexibility. Use the elements
  of this adventure that work best with your campaign, and if
  something doesn’t ﬁt, just remember that you are the GM,
  and if you don’t like it, it doesn’t happen.
  Scene 1: Meet the Band
  Whenever new security personnel are hired by Distraction’s
  management, they are required to meet the band. This
  serves two purposes. First, it allows them to see whom they
  will be protecting and to become acquainted with the likely
  behavior of the various band members. Second, it lets the
  band know who they should turn to if things go bad. The
  musicians have a cadre of security personnel who travel with
  them, but they recognize the need to know all of the indi-
  viduals who will be protecting their lives.
  Of course, the heroes might try to do something not
  covered by the shaded text. There’s little they can do about
  the spice-heads who are playing bumper ships outside. It
  doesn’t become clear that someone may be on mind-altering
  You dock with the Sleemo Poya Jeedai eight standard
  hours prior to the concert’s scheduled start time.
  Already, a swarm of ships hover around the enormous
  yacht, waiting for a chance to dock and ofﬂoad their
  passengers. Some of the ships bob and weave danger-
  ously, and more than a few of them bump up against
  the hull of the yacht before spinning off and righting
  themselves.
  You are met at the airlock by a trio of Trandoshans,
  each of whom wears a blaster pistol on both hips.
  Form-ﬁtting body armor covers their torsos. They check
  your credentials and motion for you to follow.
  After a few twists and turns, you arrive at a triple-
  sized blast door. One of the Trandoshans steps forward
  and enters a combination in a keypad to the right of
  the door. The doors slide open. Then the doors behind
  them slide open. Then two more sets of doors slide
  open before you ﬁnally see ﬁve individuals seated in
  thick chairs, watching as you step across the threshold.
  WITH THE BAND
  003
  
  substances until they’ve already docked. Beyond that, they
  may want to converse with the Trandoshans. The trio are
  brothers named Xydge, Rydge, and Stydge. Chiefs of security
  for Distraction, they have traveled with the band for over a
  year. None of them have observed anything out of the ordi-
  nary at recent concerts; some people have died, but that’s
  not uncommon at large gatherings in the Outer Rim. If the
  heroes are uncomfortable with that reality, Stydge suggests
  that they may be in the wrong line of work. The
  Trandoshans have not seen anyone matching Cories’s
  description. Finally, a hero can try to learn the access code
  by peeking over Rydge’s shoulder as he punches the keypad
  (DC 23 Spot check). But Xydge and Stydge get Sense Motive
  checks (opposed by the Bluff check of the hero trying to see
  the code) to realize what’s going on; all three Trandoshans
  have a +9 bonus to Sense Motive checks.
  Inside the room are Zim Zimley, Ushka Et, Enni Anni,
  Va’Lonis, and Tzeel. Descriptions of each individual, what
  they do, and what they know appear below. The band and
  Zim are happy to have the heroes present. They want to
  know who the heroes are, why they’ve been hired (“What
  good are you for security?”), and anything else that can be
  taken care of in a few minutes’ time. Basically, though, the
  band is bored, sitting around and waiting for the show to
  start. By the time the meeting concludes, the concert is 6
  hours away.
  Zim Zimley
  Male Bith, manager of Distraction. Zimley is concerned with
  money above all else. “The show must go on” is his mantra;
  the heroes will ﬁnd it exceedingly difﬁcult to convince
  Zimley to postpone the concert for any reason. Distraction
  is his meal ticket, and if anything were to happen to them,
  he would be ruined. He speaks in a high, nasal voice, inter-
  rupts when it pleases him, and gets bored far too easily. Key
  skill modiﬁers: Bluff +13, Diplomacy +20 (+23 if he’s
  buying or selling something illegal), Listen +8, Sense Motive
  +14, Spot +8. Runs and hides at the ﬁrst sign of combat.
  Ushka Et
  Female Devaronian, lead singer of Distraction. Ushka has
  had half her face tattooed to look like she was in a horribly
  disﬁguring accident from a distance, but up close, she’s
  actually very attractive. She tends to turn the tattooed side
  of her face away from individuals to whom she is speaking
  and is very self-conscious about what she’s done for the
  sake of attention. She’s not ashamed of it, but she prefers
  that people not stare at her tattoos unless she’s performing.
  She’s soft-spoken and enjoys Rodian ale over ice, which she
  drinks with a sprig of something green in it. She zones out
  completely if anyone mentions violence at Distraction’s
  shows, humming softly to herself until the subject is
  changed.
  Enni Anni
  Male Herglic, kloo horn player for Distraction. Enni is
  known both for his bizarre musical style (he inserts the kloo
  horn in his blowhole and plays while destroying pieces of
  the set with one hand) and his compulsive ﬁdgeting. He has
  a hard time sitting still, quickly growing bored with any
  conversation that doesn’t involve playing music or breaking
  things. He tends to encourage violence at Distraction shows
  merely by being present. He’s not exactly a font of informa-
  tion; quite to the contrary, he pays little attention to
  anything that goes on outside his own head.
  Va’Lonis
  Male Tarasin, keyboardist for Distraction. The inclusion of a
  Tarasin in any band means one of two things: Either the
  Tarasin is exceptional, well outside the norms for his (tone-
  deaf) species, or the band has a bizarre, avant-garde sound
  and actually enjoys the discordant bleets, braaps, and clicks
  that Tarasin music frequently contains. In this case, Va’Lonis
  could not be more tone-deaf if he were a tree stump. He
  has an ego the size of a Hutt’s lunch budget and believes
  he knows what’s best for the band much better than Zimley.
  He also claims knowledge of almost anything, from the
  whereabouts of Niklas Cories (“His name gives him away, of
  course; he’s on Coriesant. It’s named for his family, you
  know.”) to the existence of a pair of Sith training academies
  (“There are two academies, of course; that’s what the
  legend means, two Sith academies. One of them is the
  Master Academy, the other is the Apprentice Academy. Leave
  it to the Jedi to misinterpret something so obvious.”). He’s a
  blowhard. He often has trouble ﬁnding his own head-fan
  with both hands.
  Tzeel
  Female Human, percussionist for Distraction. Tzeel wears
  white make-up caked all over her face. This makes her face
  glow when the lights are on her during concerts, and she
  loves the effect. She loves it so much, in fact, that she never
  takes the make-up off. She speaks in jerky words and
  motions frequently with her hands. Watching her is like
  watching someone play drums on a living creature. She’s
  fairly disconcerting.
  Scene 2: Backstage Pass
  While waiting for the concert to begin, the heroes can make
  whatever preparations they want. They receive full coopera-
  tion from the Trandoshans (as long as the heroes make it
  clear that they know who’s in charge) and have free rein to
  implement whatever elaborate scheme they concoct.
  The heroes have full access to the security system and
  can read all of Distraction’s personnel ﬁles with a DC 17
  Computer Use check. There are no records of anyone named
  “Niklas Cories” or anything similar in the band’s personnel
  ﬁles. Each of the 73 members of Distraction’s touring
  entourage has an individual ﬁle that the heroes can peruse.
  This ﬁle contains a picture of each person, and none of the
  pictures match Cories. But a DC 28 Computer Use check
  reveals that all images have been updated within the last
  three days, and the old ﬁles have been purged with no trace
  remaining. Individuals perusing the ﬁles may notice (DC 16
  Spot check) that the images sometimes do not correspond
  to the species described. Enni Anni’s ﬁle, for example,
  includes a picture of a Woostoid rather than a Herglic. In
  fact, each band member’s ﬁle contains an incorrect picture.
  This is part of Cories’s plan to confuse anyone who might
  be trying to ﬁnd him. To protect his identity, he had some-
  one slice the computer system and change the images in
  WITH THE BAND
  004
  
  every personnel ﬁle. Given that he’s about to terminate his
  employment with Distraction once he takes care of Aquella,
  he is being as careful as he can about covering his tracks.
  It takes some work, but the heroes can locate every indi-
  vidual in the personnel ﬁle except for six. One is Xydge. He
  is currently escorting four individuals named Veris, Gindo,
  Essara, and Rossi Kildaon off-ship. Those four are the public
  appearance doubles for the members of Distraction—a
  tattooed female Human (with surgery to make her look like
  a Devaronian), a Herglic, a Tarasin, and a white-faced
  Human. The sixth missing individual is a Human male
  named Aphus Polix who was hired three months ago as an
  instrument-handler and who has done some work on the
  band’s pyrotechnics and security system.
  Murderous Misdirection
  Polix’s quarters are in the cargo freighter that hauls
  Distraction’s equipment. If the heroes enter, the scene is
  gruesome. Someone was killed here, the body destroyed
  with a thermal detonator. Because of the extensive sound-
  prooﬁng and thick hull of the freighter, and because
  everyone has been aboard the Sleemo preparing for the
  show, no one heard the blast.
  Searching the scene (DC 25 Search check) allows the
  heroes to ﬁnd a smashed datapad in one corner. It can be
  ﬁxed well enough to play back the most important contents
  (DC 29 Repair check), a recording from a security camera
  aboard the Sleemo. There is no sound.
  Cories wanted the heroes to deduce that Tzeel had been
  killed and replaced by her public-appearance double, Rossi
  Kildaon, who could take Tzeel’s place onstage and be in a
  prime position to kill anyone in the audience. But this is a
  misdirection. Cories actually disguised himself as Tzeel, killed
  the double, and dumped the body out the airlock, making
  sure to capture it all on a lone security camera. (This feed
  can be accessed through the regular security system on the
  ship with a DC 25 Computer Use check once the heroes
  know what they’re looking for.) He then killed Ushka Et’s
  Human double, Veris, and blew her body up in his own
  quarters, where no security camera was present. A medically
  skilled hero can identify (DC 25 Treat Injury check or
  Knowledge [Anatomy or related skill] check) that the corpse
  in Polix’s room is not male and so could not be Polix.
  Lastly, Cories modiﬁed Xydge’s transmission log to make
  it seem as though the Trandoshan escorted all four public-
  appearance doubles off the ship. In reality, Xydge only had
  three doubles with him. Tzeel’s double never showed up for
  the “smile and wave at the docking ships” tour. Cories
  himself took Veris’s place on that run, but by the time the
  heroes realize that someone was missing and start to piece
  things together, the doubles and Xydge are back on board.
  Perhaps more troubling, the band didn’t feel like waiting
  any more and decided to make their fans happy. They’ve
  started their concert an hour early.
  Scene 3: Concerto in Red
  Getting through the throng of people backstage is a chal-
  lenge. Going through the crowd would be almost
  impossible. To gain stage access, the heroes could try to
  bowl over crew and fans (DC 17 Strength check) or talk
  their way through (DC 23 Diplomacy check). Pulling
  weapons is an option, but a good chunk of the audience
  has concealed weapons as well, and starting a riot would be
  a bad thing. (Treat any concert-going combatants as low-
  level thugs and use the stats in the Star Wars Roleplaying
  Game revised core rulebook.)
  When the heroes reach a point where they can see the
  stage, everyone needs to make Spot checks (DC 18). Anyone
  who succeeds should be taken aside and presented with the
  following information.
  Any heroes who get a result of 30 or more on their Spot
  checks manage to overcome the DC of Cories’s Disguise
  check and realize that the lead singer is not Ushka Et, but
  instead is a thin Human, probably male, made up to look
  like a Devaronian. The real Ushka Et is bound and uncon-
  scious in one of the numerous ships that docked with the
  Sleemo to ofﬂoad passengers for the concert.
  If the drummer seems the most suspicious, the heroes
  may attempt to subdue her ﬁrst. However, the drummer
  really is Tzeel; she just happens to be hopped up on spice
  and isn’t playing very well right now. Cories had planned on
  this—he made sure Tzeel got the spice prior to the show—
  but he hadn’t realized that in learning Distraction’s music,
  he often counted on the percussionist for cues. Now he’s
  forced to refer to a datapad embedded in his microphone
  stand to keep up, and he’s having some trouble.
  How the heroes handle this depends on whether they
  conclude that Cories is masquerading as Tzeel, is
  masquerading as Ushka Et, or is somewhere else entirely. If
  they rush the stage and take down the drummer,
  Ushka/Cories is gone by the time they turn around and look.
  It’s easy to verify that Tzeel actually is who she claims to be.
  It’s also easy to ﬁnd the pretender; Cories is shoulder-surf-
  ing the crowd, a thermal detonator clutched in one raised
  hand. If the heroes go straight for Cories, things get dicey,
  as a ﬁreﬁght in front of a typical Distraction crowd is similar
  in many respects to an arena battle on Geonosis—except
  that the audience is armed.
  Aquella Firth (if needed, use the stats for the Low-Level
  Administrator in the Star Wars Roleplaying Game revised
  core rulebook) is in the front row. Given a chance, Cories
  lobs a thermal detonator on a six-second delay in her direc-
  tion, though he doesn’t do this until he feels threatened by
  As you watch, the Devaronian singer casts a worried
  glance over her shoulder at the percussionist. Tzeel
  ﬂails wildly, and the rhythm doesn’t correspond at all
  to the music being played by the rest of the band.
  A woman with a ghost-white face sits atop a crate,
  twirling percussion sticks. From behind her, another
  individual appears—an exact duplicate of the ﬁrst
  woman. The new arrival pulls a vibro-dagger from her
  belt and jabs it into the base of the ﬁrst woman’s skull.
  There’s hardly a twitch as the woman drops her percus-
  sion sticks and collapses. The assassin pulls the dagger
  free, slips something into the dead body’s pocket, and
  tosses her into the airlock. The door slides shut, the
  airlock expels the body, and you see an explosion
  through the airlock’s window. The screen goes blank.
  WITH THE BAND
  005
  
  the heroes. The six-second delay is because he knows that
  anything a member of Distraction throws into the crowd
  immediately becomes an object of desire, and his sense of
  irony ﬁnds the idea of people scufﬂing over a thermal deto-
  nator appealing. This also means that the heroes have a
  round’s worth of actions to remove the detonator or other-
  wise stop it from going off and killing Aquella. (During that
  round, the detonator is not treated as “held” by anyone, so
  the easiest thing to do is simply use Move Object to get it
  away from the crowd.)
  Niklas Cories, Male Human Scoundrel 4/Soldier
  4/Infiltrator 4: Init +6 (+2 Dex, +4 Improved Initiative);
  Defense 20 (+2 Dex, +8 class); Spd 10 m; VP/WP 84/12; Atk
  +8/+3 melee (2d6-1, vibroblade) or +11/+6 ranged (3d6 or
  stun DC 15, blaster pistol) or +11 ranged (8d6+6, thermal
  detonator); SQ Ambush, covert movement (full speed), illicit
  barter, lucky (1/day), precise attack +1, skill mastery (Disable
  Device), sneak attack +1d6; SV Fort +8, Ref +11, Will +6;
  SZ M; FP 1; DSP 9; Rep +2; Str 8, Dex 15, Con 12, Int 14,
  Wis 10, Cha 16. Challenge Code E.
  Equipment: Blaster pistol, thermal detonator x 5,
  comlink, datapad, Devaronian disguise.
  Skills: Balance +16, Bluff +19, Computer Use +9,
  Demolitions +22, Disable Device +9, Disguise +15, Entertain
  (singer) +5, Escape Artist +7, Forgery +4, Gather
  Information +5, Intimidate +11, Knowledge (music) +3,
  Knowledge (streetwise) +5, Listen +2, Move Silently +17,
  Repair +6, Search +5, Spot +7, Tumble +6, Read/Write
  Basic, Read/Write Devaronian, Speak Basic, Speak
  Devaronian, Speak Herglic, Speak Jawa Trade Language.
  Feats: Armor Proﬁciency (light), Cautious, Dodge, Heroic
  Surge (3/day), Improved Initiative, Iron Will, Persuasive,
  Quick Draw, Skill Emphasis (Demolitions, Disguise), Stealthy,
  Weapon Group Proﬁciency (blaster pistols, blaster riﬂes,
  heavy weapons, simple weapons, vibro weapons).
  Scene 4: Curtain Call
  No matter how they resolve the situation with Cories, the
  heroes have one other problem to handle. The concert’s
  ﬁnale includes an enormous pyrotechnic display. If the char-
  acters investigate the pyrotechnics, they ﬁnd (DC 20
  Demolitions check) that someone has wired four thermal
  detonators into each of the ﬂash-pots at the corners of the
  stage. In addition, a string of detonators has been rigged
  across the catwalks that crisscross the ceiling of the hall. All
  of the explosives have been made up to look like standard
  concert pyro.
  Cories planted a total of 32 detonators: four in each of
  the four ﬂash-pots and 16 strung along the ceiling.
  Locating all 32 requires a DC 28 Search check. The heroes
  can disable each ﬂash-pot detonator with a DC 32 Disable
  Device check, but failing even one check activates a
  countdown that gives the characters 24 seconds (4 rounds)
  to disable all detonators in that particular ﬂash-pot before
  they explode. The other 16 detonators can be disabled by
  making three separate DC 20 Disable Device checks.
  If the heroes aren’t inclined to look for the pyro after
  subduing Cories, give the most explosive-minded of the
  group an Intelligence check (DC 12) to realize that this may
  have been too easy, and perhaps they should be looking for
  more explosives. Failing to think of this can lead to extra
  opportunities for heroics as girders come crashing down
  toward the crowd and Cories (if alive) howls with sick glee.
  Cories is insane, not suicidal. The structural damage done to
  the Seemo is internal but substantial, and a squad of Hutt
  enforcers arrives within 2d4 minutes. Use stats from the
  Star Wars Roleplaying Game revised core rulebook appro-
  priate to the heroes’ prior interactions with Hutts (if any).
  One More Search
  Cories won’t reveal what he did with the real Ushka Et.
  However, a focused search of the security ﬁles for the last
  two hours (DC 25 Search check or Computer Use check)
  reveals an image of someone tossing Et’s limp body into a
  ship that is still docked with the Sleemo. Et is still aboard
  that ship, alive but unconscious.
  Wrapping Up
  The primary job of the heroes was to keep Aquella Firth
  safe. Once they’ve captured or killed Cories and located
  Ushka Et, the concert continues. Aquella remains in the
  front row, where she’s been all along. She’s a smiling,
  round-faced girl who may never realize how close she came
  to getting killed.
  What the heroes do with Cories is up to them. The Hutts
  would love to have him, and they may insist on getting
  custody if his thermal detonators damaged their ship. Quoltus
  has a few ideas about what to do with the assassin as well. In
  addition, the heroes can turn Cories over to any other legiti-
  mate (or illegitimate) body. It’s also possible that Cories died
  or managed to escape. But as long as Aquella survived,
  Quoltus doesn’t really care what happened to the assassin.
  His daughter is, and will always be, his main concern.
  About the Author
  Morrie Mullins is a psychology professor who saw Star Wars
  in theaters in 1977 and fell hopelessly in love. He began
  playing RPGs in elementary school and started writing for
  the RPGA in 1999, culminating in a two-year stint as Plot
  Director for the Living Force campaign. He has written over
  20 modules for the RPGA and contributed extensively to the
  Living Force Campaign Guide. Currently, he teaches and
  does research during the day, does freelance and other writ-
  ing at night, and is ﬁrmly convinced that sleep is a crutch.
  WITH THE BAND
  006
  
SOURCE: textdata/thevault/Star Wars [multi]/SWD20/SWD20 - Adv (lvl 09) - With the Band.pdf