[AW] Party At The Waiting Mortuary

edited October 2010 in In-Game
Marlene, you and Tum Tum arrive at the surgeon Crutch's place.

The morgue doubles as the infirmary, but there's this big furnace down in there that's also doubles as a forge for the blacksmith shop where dead bodies are burned after that whacknut Crutch finishes doing whatever it is he does to them.

When you arrive, there's a horse-drawn cart outside. Daff is there too. Pamming is sitting on the end of the cart and you see two bodies laid up in it. He's sitting on his pile of firewood, sipping on his mug.

The two iron cellar doors to the bunker are wide open and Spector is coming up out of there pushing a gurney.

Everybody looks solemn as fuck.
«1

Comments

  • Marlene's the type to try to take stock of things when she can, but I'm not sure this is a situation worth reading, just yet. If there are any good questions to ask, I'd be happy to roll and give them a shot. Marlene will definitely have some questions once Crutch appears.
  • As I turn the gurney toward my cart, I recognize Marlene off to the side and nod to her. "She's downstairs."

    Then I'm off to the cart and getting Pamming to help load the recently dead Matilda onto the gurney and heading back to the ramp.
  • Yeah, let's wait a bit before we read anything. It's not totally charged yet. About to be though. ;)
  • Spector, when you get over to the cart, you can see a mess of vomit at Pamming's feet. She's wiping her chin. Goddamn, she's been through a hell of a morning. She's drained, body and soul. She helps you load Matilda though and you guys head back down into the bunker.

    Marlene, Tum Tum has dismounted the bike and he's lifted the dead Rough Rider onto his shoulder. He turns to you, and nods to Spector.

    "What's he talking about? Who's downstairs?"
  • Marlene's been trying to hide her agitation over the fact that the best lead on her daughter's location is the morgue, but it breaks loose a bit with the confirmation. "Is she okay?"
  • Navarre, you arrive now, clean face and all. Here's the scene:

    Tum Tum has a dead, swollen waterlogged body over his shoulder. He and Marlene are walking toward the stairs leading down to the bunker where the mortuary/infirmary are located. Marlene's asking something of Spector.

    Spector meanwhile, is with Pamming, and they're loading the body of a young girl, maybe 14ish, onto a gurney.

    What do you do?
  • Navarre comes stomping up. Usually he's got a positive attitude, like, someone's gotta get this shit done, and I'm here, so I might as well do it. Right now, it's more like, someone's gotta get this shit done, and you're not doing it, so get out of my fucking way. He's stripped to the waist; his pants are covered in shit, and he's in serious fucking rubber boots. He's also noticeably armed: he's got a 9mm tucked in his belt, where it had been hidden by his shirt, and an ornate antique handgun in his right boot.

    "Hey, Tum Tum. What needs doing?"
  • edited October 2010
    Does Pamming's vomit look normal?

    "Dunno, Marlene. Crutch seems a little creepy and he's trying to hide the fact that Vera's with him, but she didn't seem upset when I caught sight of her -- kind of relieved, actually." Nodding to the body they're managing, "I heard a single shotgun a while back. That the victim?"

    I descend into the infirmary, braking the gurney so that Pamming doesn't have too much to do on her end.
  • edited October 2010
    Tum Tum nods in approval of your arrival, Navarre.

    "I'm gonna take this body downstairs, man. He's fucking dripping all over me."

    Tum Tum looks directly at Marlene talking to Spector.

    "Go make sure Marlene's alright. Then, we'll go see what the fuck Uncle is up to. Haven't seen him all morning. He didn't show up for morning formation."

    ---

    Spector, yeah her vomit looks normal as far as you can tell.

    You and Pamming push the gurney down the ramp into the bunker. Crutch takes one look at Matilda.

    "Yeah. She's dead. Where's the other?"
  • edited October 2010
    Navarre heads over to Marlene, and does his best to fake cheerfulness. "Hey Marlene, everything okay?"
  • edited October 2010
    "Feelin' a lot better now that I know my daughter's alive. Looks like you've had quite a day so far. If you need any help cleanin' those pants, bring 'em by later, 'n I'll see what I can do." She stares at shirtless Navarre and tries not to seem unduly pleased.
  • "Back in the cart still. Anything you can do to wake her back up? I tried to drain the fluid from her lung, but I probably fucked it up worse. She was dying."

    I'm opening my brain. I'd like to figure out how to make her damn soul stay put so Crutch can wake her back up -- sometimes when I commune like this, I get what I want and other times, the spirits tell me something else or nothing at all.

    Assuming that's OK: #DiceRoller( 2d6+2 )
  • edited October 2010
    Ok, lemme see. Hold.
  • I'm a bit out of sync. Is it something we can handwave away? If this were a wiki we could just correct the order of the posts.
  • If Marlene sees Vera, she tells her to come on up, and climbs the stairs after her. If not, she's not so quick to leave.
  • edited October 2010
    Alright, let's get Navarre's response and see if he and Marlene go into the bunker and then we'll pick up from there.
  • Seems right to me.
  • Navarre's following Marlene's lead - he's mostly on auto-pilot right now. See that Marlene's okay? Check.

    I smile at Marlene, but my eyes don't really participate. "Thanks, Marlene. Um, you heading down to the morgue? One of those bodies one of yours?"
  • edited October 2010
    "Thank the stars, no, but Vera's there for some reason, and I am to find out what."

    She then heads that way, if it's unclear.
  • edited October 2010
    Crutch doesn't seem interested in looking further at Matilda. He rests his hand on your shoulder and you feel a chill run through your spine.

    "She's gone. Now, there's someone else I might be able to help. You gonna bring 'em down or what?"

    Then, he walks over toward the waterlogged body that Tum Tum brought down. He kneels beside it, poking the body's flesh with some kind of instrument. You hear him say something under his breath.

    "Ah... no good."

    Spector, describe to me more in detail what it looks like when you commune?
  • When I'm deep in the fog, all I have to do is think about it and I'm able to slip into the spirit-world or whatever the hell. I can do that with an opinion on what my goal is or I can just do it to see what the lost souls need if there's some kind of disruption. Here, though, I have to sort of roll my eyes as far back into my head as I can and then I'm able to slip into it. In the fog it's really pleasant unless -- 'least when something isn't going wrong, but out here among people it's a bit of a chore, but not too bad.
  • edited October 2010
    Spector. There are these voices. Thousands of whispers. It's like they're calling out to you. Saying your name. Asking for things. Forgiveness. Revenge. Justice. It's a cacophony of voices fading in and out. They're coming from all around you. Throughout the forest.

    Matilda's there. She's by a fire. Leaning out of this maroon and gray pup tent. She's holding this thin stick, and there's a crispy thing, still on fire on the end of it. She's laughing. There's a boy there too.

    "Matilda! You're going to burn it! We'll probably never find these things again."

    She doesn't seem to care.

    "Frankie, it's alright! It was hard as a stone anyways. It's fun watching it burn."

    The boy, this scrawny kid with freckles and straight, reddish hair down to his shoulders, broken glasses with one arm taped on, just chuckles.

    "Well, I'm eatin' mine. I don't care how hard it is. This could be the last marshmallow ever."

    Matilda's blowing on the fiery thing now.

    "You never know. Could be a whole factory out there somewhere."

    They seem happy. Probably their last happy moment ever.

    The boy lies back, tucking himself under a blanket.

    "We should get to sleep. We gotta reach that guy dad told us about. Spector or whatever. I'm gonna sleep out here by the fire tonight, keep it going so we're warm."

    Matilda smiles.

    "If you get too cold, or scared," she adds, jokingly. "Come on in."

    The boy smiles.

    "I'll be fine."

    Matilda disappears into the tent. Frankie draws this pistol out of his coat. Examines it briefly, aims it into the woods and then sets it down near him.

    You get this sense of dread fall over you. Time passes. There's movement in the shadows just beyond the fire. The boy you knew as Frankie steps into the light of the fire. He's got these ragged clothes on. The real Frankie doesn't notice him as he sneaks up, take some kind of wire, slips it around his neck and pulls hard, dragging his victim over the log he was leaning against.

    The two struggle briefly. The real Frankie trying to reach out for something, flailing, trying to call out for Matilda. It's no use. The boy from the shadows hangs on until the real Frankie goes limp.

    The ragged looking boy starts taking his clothes off. Putting on the dead boy's clothing. He picks up the pistol. And, shit goes black. You hear Matilda scream.

    Her scream seems to mix with a low, echoing, ethereal voice that is also hers.

    "Please. My brother and I are gone. You're the only one who can help my family."

    Your eyes roll forward. Matilda's corpse is already turning pale. Her arm has fallen, hanging off the side of the cot. This slow motion stream of her blood is sliding down her arm, falling from her hand, and splashing one drip at a time into this pool of blood on the concrete floor beneath the cot she's lying on. She has some glasses clutched in her hand you hadn't noticed before. One of the arms is taped on.
  • edited October 2010
    Marlene and Navarre waltz down into the bunker. Tum Tum's leaning up against one of the counters, arms folded. Pamming is standing near the stairwell, clearly distraught.

    Crutch is there and he spins around, arms waving in the air, addressing you all.

    "Now hold on a goddamn minute! This is waaay too many people in here. I cannot work like this. Now, unless you're carrying another body down, please exit the premises!"

    Marlene, you don't see any sign of Vera.
  • edited October 2010
    Navarre makes eye contact with Tum Tum. "Everything seems OK. I'll wait upstairs until you need me."

    He heads upstairs, sits down on the ground outside the infirmary/forge/morgue. Suddenly he has nothing to do to distract him from Gritch's news, and he leans back until he's lying down on his back, bent knees, feet flat on the ground. He's thinking about Ruby, and wondering if she's still asleep in his bed, if Gritch is going to tell her, if there's any way he could pretend he hadn't heard the news, if he could convince her nothing had changed. He doesn't realize he's crying until he feels tears collecting in the hollows of his ears.
  • Shortly after, Tum Tum follows behind Navarre. Anyone else heading outside, filter into the other thread.
  • edited October 2010
    Spector gives up. He rolls the gurney with Matilda back up the ramp, with Pammimg's help -- in order to get the sick man and bring him down.
  • Unless you want to do something besides transport the body, you and Pamming get the sick man loaded onto the gurney and bring him down into the bunker as well.
  • "Here's the other guy, Crutch. What do you think about these markings?" I'm gesturing at his swollen, discolored lymph nodes and the other markings.
  • If there's a non-obvious way to look around for Vera, Marlene will try that. If subtlety fails, she'll poke around for a bit before coming out and asking. Let me know if she's acting under the fire of Crutch's watchful eyes or anything.
  • Well, as of right now, Crutch is pretty intent on getting everyone out. Navarre and Tum Tum have left, and he's looking at everyone else to leave now too, except for maybe Spector, who brought in the sick man.

    Crutch responds to Spector's question.

    "I'm not looking at no markings until this place is cleared out. Now, you can stay, but the two ladies are gonna have to leave."

    He snaps his fingers at Marlene and Pamming.
Sign In or Register to comment.