[AW] Home is Where The Heart Is

edited November 2010 in In-Game
Spector, you and Pamming have arrived home. To get cleaned up and maybe get some rest, relief. The ride back to your bunkhouse was quiet. Pamming is cleary upset and your attempts to communicate were met with a nod, or the shake of her head, but not much else. The rain has subsided somewhat, but the trek is slow, due to the muddy trails leading to and from the Chateau. Matilda's body, cold and lifeless, rests on the back of the cart. Occasionally, you notice Pamming sneaking glances back toward it.

When you finally arrive at your place, you immediately notice something ain't right. The door is slightly ajar, the window on it broken. The goats seem riled up too, making all sorts of noises.

Tell me more about the bunkhouse. What's it look like inside? How do you get to the cellar? Is the door to your workspace locked? What sort of security measures, if any, do you have?


  • The shrine building (pictured on my character "sheet" thread) is the central building and where we sleep. There are a couple of wooden bunkhouses, a chicken coop, a small barn and some fenced paddocks immediately surrounding. The entrance to the lab is a metal vault door (I was imagining that it no longer locks or I don't know how or something) in the shrine that opens to a metal stairway down a shaft through the bedrock into the lab proper. The door at the bottom of the steps is a metal door (not like the vault or anything but sturdy and from Before), is always locked and opens to a numeric code being punched in. There is a video camera security system in place but it stopped recording forty years ago; before I took stewardship of this place.
  • It looks like someone has broken into the central building, where the shrine is located. Pamming appears to notice it also.

    "Someone's inside."

    What do you do?
  • Does this count as a charged situation?
  • I'd say so. If you wanna read the sitch, gimme the roll.
  • edited November 2010
    For sure! #DiceRoller( 2d6+1 )
  • I scan the scene, taking in all the details and cross-checking with the intimate knowledge that comes from living in a place for three decades and I can tell a lot about what's going on.

    What is my enemy's true position?
    What should I be on the lookout for?
    Where is my (Pamming's) best escape route?
  • As you scan the scene, you notice there is someone standing just inside your place, a silhouette of someone through the window on the right side. Whoever it is, it looks like they are ready to pounce on anyone who enters through the front door. If either you or Pamming head off right now back down the mountain, following the trail on foot through the wooded area toward Backwater, you could probably lose whoever this is in the thicket, if they chased you for some reason.
  • Wait, are there more than one?
  • You can't be certain, but at the moment, you're only noticing one.
  • Handing the reins to Pamming, "Take the cart up to the boneyard and unhitch Mendel, we can prepare the graves later." It'll be good for her to have something to do.

    Since I can see the silhouette, I have something at which to aim. I step down from the cart, steady myself, take aim through the window and shoot -- hoping to ruin only one of the panes of glass. Ideally, he'll be grievously wounded, but dead is an acceptable alternative.
  • edited November 2010
    The shot rings out across the mountain. Pamming flinches as she's walking the cart. You hear glass clatter to the floor, along with the heavy thump of the silhouette falling and hitting the ground. Whatever, or whoever, it was, they ain't standing anymore.

    Pamming reaches the boneyard. She's helping Mendel get situated and they both disappear into the barn.

    What do you do?
  • I'll chamber another bullet and approach the shrine with caution. I'll look in the front door first and then the windows -- I want a feel for what's going on inside before I get jumped by someone. I'm also keeping my ear our from problems from the barn -- that would be just my luck.
  • It's dead silent at the shrine. The bunkhouse is exactly as you left it, outside of a few things. For one, the broken glass on the floor beneath the front door. It's just a small crack, enough for an arm to fit through, but shattered into tiny pieces at the foot of the door. A puddle of thick blood is crawling its way across the floor and mixing in with the glass. You can't see the shot person from this angle, but you presume it is their blood.

    You can step inside to see more.

    Also, the steel vault door that leads down into your lab - it's open.
  • I'll peek around the corner real quick like -- my head lower than someone waiting for me would expect, take a quick glimpse and back out again. If I don't encounter any resistance at that point, I'll head for the barn staying aware of my surroundings.
  • You peer into the main little entryway into your place. There's a body lying on the floor. It's the body of a middle-aged man, maybe late-40s. His skin is all cracked and leathery, with a strange looking jailhouse tattoo on his neck. The back half of his head seems to have just had a bullet pass violently through it. He's dead. A knife, crudely fashioned, is lying on the floor beside him like he was holding it when he died. There's something else. Looks like a coin, hanging from his neck by a thin strip of leather. It stands out to you for some reason.

    Other than that, there's nothing else at the shrine.

    When you reach the barn, Pamming is sitting down outside, leaning her back against the side of it.

    "Did you kill them?"
  • "One. There maybe more. I was just checking on you before going underground." If the outbuildings seem safe, I'll go back to the shrine and check out the entrance to the lab.
  • Pamming stands up.

    "I think there were more, but they're probably gone now. Look."

    She points at the ground nearby. Motorcycle tracks in the mud. Maybe, four or five different tracks.

    "Whoever they were, they had gas."

    You're back at the metal staircase that leads down to the lab. The door into the lab is shut. Clearly, they couldn't access the numlock, but that didn't stop them from trying. There's a strange high-tech looking device hooked up to the keypad. It has a glowing screen that casts a faint bluish tint on the stairwell and lots of numbers and letters running across the screen. It's not hooked up to anything. Fucker must be battery powered. You wonder to yourself, "How?"
  • Cool! I'll go investigate the device. Does it look like there's any reason not to detach it? If not, I'll do so. And then enter the lab, just to make sure no one got in. I wonder what they were after.
  • You detach the device easily enough you think without breaking anything. The lab looks like it has not been tampered with since you were last in here. They couldn't get in.

    What's it look like down here? What's it feel like? What's it smell like?
  • A large dim room -- almost a warehouse, with equipment, nutrient baths, frozen seed banks, growing trays, gene-sequencing apparatus, etc. The electric equipment universally sheds light from their displays, LEDs, etc. The air is heavy with moisture and chemicals. A faint hum is ever-present.

    I relock the door and head upstairs. After dragging the corpse outside, I'll go to bury Matilda under a cairn of field stones in the boneyard.
  • That sounds awesome. I'm getting a great image in my head. :) How do you power the electric equipment?

    You and Pamming pitch in together to dig the grave. When you finish, both of you standing over the stones where Matilda lies, Pamming kneels down and tucks the glasses Matilda had in her hand under a few of the stones. She stands and without looking at you, asks a simple question.

    "What now?"
  • "Now we feed the goats. And we keep working on those carrots -- they aren't supposed to be acidic. And we read stories to each other and play a game. Right?" I'm watching her to get a sense of whether a answered what she was really asking.
  • What about that power?

    She takes your answer in stride. You can tell that's not really what she was asking about. But, she nods none-the-less. Pamming takes your hand and leads you back down to the warmth of your house.

    We can gloss over the pleasantries, or you can describe them here if you like. What happens next though is up to you. Stories and games? Sure. Pamming prefers working with the animals over the plants down in the basement, but she doesn't mind doing her part down in there. Or, we can skip to right after you guys make love and wake up later in bed.
  • Oops, power: There are plugs in the floor. There is power. There must be a source, I know that, but it's just always been there. I don't know what we'll do if...I mean, when...it stops. I guess we'll have to gerry-rig something.
  • No point in playing through the bucolic country life or the porn, either. At some point, I'll strip the dead guy of everything he owns/wears -- waste not, want not, and leave him propped against one of the big rocks along the road to my place. If nothing happens (Lars' scouts arrive, etc), we'll be waiting here a few days for the bikers to return and see who want's to get shot the most and maybe what the source of their gadgets is. Our default security plan is that Pamming can hide in the lab (and in the tunnels beneath the lab, need be) if bad folks come.
  • I'm imagining some Rough Riders will be summoning you before days pass. Probably just after the lovely time you and Pamming have to try and reconcile the morning's events.

    When you search the dead man, you only find a few things of interest. He has that necklace he was wearing. It's strange enough. Appears to be a coin of some sort, but the faces on both sides seem worn - almost as if with a tool or something, purposely - except for one phrase... "In God We Trust..." He has a pack on. Inside, you find several accessories, including a screwdriver, some magnetic stripping, a pair of broken binoculars (only one side seems to actually function - more like a monocular now), an unopened brown package labeled as an 'MRE (Meal-Ready-to-Eat) Chicken Breast with Veggies', and some pretty nice boots.
  • I'm cool just waiting for the timeline to catch up. Also, this place was somehow hit too often for the comfort of the proxy/firewall thing, so it's a bitch to post at work. I'll have to post from my iPhone and so I'll be slowing down.
  • Pamming's nude body has always stunned you. My god, she must have some amazing fucking genes in her. And, she's yours. All yours.

    She's sleeping. You're lying there watching her. It's getting into midday now and you hear something outside. Sounds like the clod of horse hooves trampling the mud. Then, a voice.

    "Spector? You in there? If so, come on out."
  • I'll quietly -- hoping not to wake Pamming, get up and go to the door. As usual, there's a rifle handy. Who's there?
  • Outside, you see several men, maybe six all total, mounted on a few horses. The one in the front you know as this cat named Exit who usually runs with Uncle's boy, Kirk. They don't seem to be in any threatening posture, no weapons drawn or none of that.

    Exit pushes forward on the horse, moving closer to the front of your shrine.

    "Come on out, old man. Uncle wants to see you, and I don't wanna be the one keeping him waiting. Not a good morning for that."
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