[The Island] Inside Relay [Rh 4.5] [Ga 4.7] [Pi 4.6]

edited December 2012 in In-Game
I think you guys are just past the back of the room where you found Staple in the orange van; out in this eight-foot wide hallway with some weird cracked-stone(?) flooring and flickering lights in the ceiling. It looks like before this started, that Staple was leading you toward this big metal door up maybe 20 feet. You'd only barely started moving when this thing about the disease that's going around came up and you've lost a bit of momentum. So Staple wants her brother Playground seen to and Gabe's promising to do that after Pandora's safe. I assume that Rhyme's just frustrated at this delay.

"So wait, how fast does this disease move? It came on like a mother-fucker and for all I know he's going to be dead in an hour. And what about the rest of us? And your sis is going to take a long time to deal with -- we can't just scoop her up and take off. I don't even know that you'll survive messing with Babcock...what assurance do I have that you'll both be able to help my bro and take the time? Oh shit!"

"Wait, I know, we can swing by his room and drop you off and then I'll take Rhyme to the IC." She looks at the whole crowd, "I dunno how you want to divide up..."

Anyone who cares can tell that MB's getting hot at the delay. "Your brother doesn't matter one bit; you take us to Pandora!" And he's maybe going to get physical with Rhyme's new little friend. He's normally a pretty cool customer but this is some bullshit.


  • edited December 2012
    I make a short gesture, that kind of chopping with the edge of my hand, cutting off the argument.

    "Nobody splits up. E'rybody here's my responsibility, and I ain't leavin' any of 'em where I can't see. Not Pandora, either. You take us to the IC, and you leave us there. Then it's your call; there's gonna be trouble I bet, but if you wanna take that risk, get your brother to us there and Gabe'll look. Your choice, but it's the same kinda trouble you'd get if Babcock came at us if we went t' his place."

    "And I'll handle Babcock, however I have to."
  • Gabe looks to Staple apologetically, "Listen, I gotta prioritize. First, we take back my sister and destroy whatever. I'm not saying we intend to do that, its just a thing that happens. Then I promise I will help your brother. If you were me, I know you'd do it that way, too, right?"
  • To be clear, that's not what I'm promising. I'm promising that if she shows us to the IC room, then if she can even just strap her brother to a plank and get him to the IC room as well, we'll do what we can for him then and there. I just refuse to break up our group or to give Babcock a chance to corner us somewhere away from Pandora.
  • edited December 2012
    She's looking between you and at the others and tears are welling up. She reaches out and touches your arm, Rhyme, it's a weird gesture but then she's off, jogging to that door I mentioned previously as she wipes at her eyes.

    It's a sturdy, steel door -- this whole place is all institutional and in amazing shape, though there are certainly signs of want, but this door is heavier than the others you've seen. Assuming you're following her, you find that it leads into a stairwell and she's moving down into the basement pretty quickly.
  • edited December 2012
    Yeah, following her, staying sharp.
  • edited December 2012
    There are two basements and y'all head into the bottom one. It's a single pretty big room, musty and cool. There are these old-school florescent light fixtures all over the ceiling but only one in a hundred is casting light. At the far end are these two black steel hatches -- obviously not original construction, about twenty feet from each other. Around them are work-benches covered with equipment and supplies, batteries and cables and even odder things. To one side are several barrels with bubbling liquid and tubes and stuff. And most important, at least for now, standing at the two hatches are a pair of guards. Two figures in black combat armor with assault rifles that are coming down to face you guys. You can't see them well for the dim light but their posture looks serious.

    Staple stops, waves her arms, "It's me; don't shoot!"

    They haven't started shooting yet, but they also haven't lowered their weapons. Just a second later, a woman's voice comes out of the one on the right. "Get out of here Staple, what are you thinking?!"

    You think that the other one is mumbling something but it's pretty quiet and distant.
  • Maybe clarify what you mean with the black combat armor. What kinda armor we talking 'bout here? Also, what's "pretty big"? Specifically, how far are they from me? And how'd we get in here? What's the entrance like, what's outside the entrance? No other exits, just this one room and a coupla hatches?

    Well, and I'm pickin' through this stuff in my head, so probably I'm readin' the sitch, and I'll get to that in a sec.

    So describe the doorway here, but I block it off and brush back whoever's followin' closest so's they're out of the line of fire. That's probably Merry, right? So that means Staple's in the room, I'm in the door, the others are behind.

    Softly, at MB: "Watch our six, man. And stay down e'ryone. Merry, be cool unless I move, okay? You got my back?"
  • I'm going to do the read, 'fore I push on:

    #DiceRoller( 2d6 )

    xp (3) / hold (34)
  • edited December 2012

    Huh. So, maybe this is a stupid question, and feel free to give me a stupid answer, but what should I be on the lookout for?

    Also, to get some technical questions out of the way, in case this turns into a fight:

    (1) I have Leadership, but we won't be needing that, right? Merry's here, and MB, but that's not really a gang, and I don't view the rest here as fighters.

    (2) Would Indomitable (see it in my character thread) kick in? With the battle armor and assault rifles like this, I reckon it'd be pretty definitely "going into battle", but you may disagree.
  • edited December 2012
    Yeah, and I take a few steps into the room, barely past Staple, and I'm still just speakin' softly:

    "Staple? Go get you brother, okay?"

    So I'm unfamiliar here, looks like. I'm a bigger guy, not like Brick is, but still taller than most, wider 'cross the shoulders. Really still, most the time, still and chill. I'm wearing a pair of canvas pants, sandals, and that camo jacket of mine, loosely buttoned across my chest. The jacket's kind of bullet-proof, but only kind of. It used to have these ceramic plates in it, I guess, but probably not since before I was born. There's a big utility knife on my leg, but no real weapon, and I've got my hands spread a little away from my sides, showin' them my palms.

    Saying it so they can hear: "This sister didn't have no choice comin' here. But I'm lettin' her go now, see? Now I'm just here looking for someone, my own sister. She got stolen away maybe an hour 'go. I dunno what your gig is, but I guess she's down here? And she's a pain in the ass, but I do want her back, okay?"
  • OK, they look equipped something like this with 'real' manufactured in some distant factory equipment. I mean, there aren't four of them and they don't have a shield, but they do have kevlar under-armor and plates of composite and bits of equipment strapped here and there along with helmets.

    I decided to sketch the room out in case that's helpful. (Can you see that or only if you're in my circles? I'm trying to figure out how to manage that...)

    So, you came down the stairs into the subbasement and the stairs just lead down into that room. The way I have it, you followed Staple a little ways from the base of the stairs toward the soldiers. There's no doorway and you were in a somewhat clear position before it was apparent that there's trouble. Clearly, you'd be expecting trouble though, so if we need to back up a bit, we can do that.

    There's nothing else that looks like an exit, though there are manholes and utility covers in the floor and walls. Those might function as some definition of exit if push comes to shove.

    You should be on the lookout for high-velocity rounds puncturing you and your companions. (I mean, there's nothing more subtle or goofy that I should be telling you about.)

    I agree that the people you're with aren't your gang and so Leadership isn't appropriate. I think it's likely that indomitable will be appropriate, but only if you go into battle.
  • Staple addresses them right after Rhyme stops talking, "Guys, she's his sister, you get that? What would you do? Also, playground's real sick and they can maybe help him once they get her out..." It's easy to read in her voice that she doesn't know what to do or have any hope.
  • The woman up front speaks again, "Not sure what's going on, but you folks have about two seconds to follow your tracks outta here."

    I presume you're not doing that, right?
  • [Gabe]

    While Rhyme's taking a read of the situation, Gabe slips in front of him and the others, interposing himself in front of the group. He stands near Staple, hands out to his sides, obviously not carrying a weapon, "Hey now, let's keep calm here. No need for wasting bullets. Not like they can make more too easy, right? We want to see our sister and surely there's some way we can talk this out. There's no need for shooting and stuff, you guys already made a mess at my sister's place, ok? Let's talk like people. Mine name's Gabe, what's yours?"
  • Quick:

    The room map is visible. I'm not sure which particular bits are the two hatches (those two flat bumps?), but that doesn't really matter: they're down on that wall, twenty feet apart, and that's good enough. It looks like the two guards are pretty close together, though, which could be tactically important. How far apart are they?
  • edited December 2012
    MC, if the above Gabe post is sufficient for a Read Person on the lady, I'd like to make that roll.
  • edited December 2012
    Let's not go back, but just, I waved people back at the stairs, asked MB to keep an eye out from the landing, and maybe Merry's just a couple steps over from me. Well, and obviously Gabe came down on his own. If some of the group is more exposed than I'd like, I guess that's what we've got to work with.

    Gabe, I'd already moved forward, up a step past Staple. So that's not quite right with what you said, but figure we're just both up there. Except now I'm goin' to step sideways some, so we're not all clustered for a burst a fire, and MC? If shooting does start, I'm going t' take action and draw fire. You warned me on that, and I'm coiled 'n ready.

    I reckon one of 'em is trackin' me, I'm not bein' sneaky or anythin'.

    But look, Gabe, I'm jus' gon' let you talk for a sec. I mean, hell, maybe you'll get somewhere? I'm drawin' a blank, is the thing. They got a job t' do, and I'm not sure what we got to convince 'em not to.

    As I'm moving across in front of her, I repeat to Staple, voice low:

    "Get goin', girl. Get your brother! He's what you need to worry 'bout, now. I'm telling you Gabe'll be here to help."
  • edited December 2012
    The two guards are about six or seven feet apart. Those two beveled bumps on the wall, twenty feet from center to center are the hatches. Oh, a square is five feet.

    Gabe, There needs to be a conversation with two sides for you to read. I'm not yet sure if that's going to happen. You can roll now, if you want to, but it would be too early to apply the questions to her.

    I think there's a window of just a second or two before my side takes some action. Don't bother narrating much more than that. Ask any other tactical or whatever questions you need answered, of course.
  • Staple decides you're making sense and with raised hands, starts backing toward the stairs.
  • Dammit. Well, at least the girl is gettin' clear. I trade a glance with you, Gabe. If you got somethin' else to say, I'll throw in a word with it, to back you up. I'm just not seein' our leverage.

    But tactically, MC, I think I'm where I need t' be. I think I moved across Staple and closer to them workbenches, so I might as well ask, are those benches pretty solid, or just all open underneath? Would they stop bullets? Jus' in case I need to take cover.
  • [Gabe]

    Gabe keeps moving closer, slowly, hands out to the sides. He catches Rhyme's look but doesn't acknowledge it. "Like I said, my name is Gabe. I came through here a while back, maybe one of you guys recognize me? I'm a doctor. I learned about it from The Vet, remember him? He got gunned down, now there are more sick people out on The Island. I need to see my sister, guys."

    Gabe's intention is that if he has to take a bullet to make a point, he will. He doesn't really fear death like he should. He knows it will hurt, but he's pretty sure he can heal himself. Pretty sure. And if things go pear-shaped, he will use his stun gun to try and keep one of these guys alive. Probably the woman, because you know, it's Gabe.

    By the by, MC, is this lady cute?
  • Ah, hell, Gabe. I'm not gonna let you take a bullet. That's crazy, the doctor's the person we don't want shot. Besides, if someone's getting shot at, it's me. I can't do nothin' but fighting and talking anyway, and plus I'm the only one with anything like protection on. So:

    "This business, stealing people out of their homes, throwing them into your machines, that's fucked, it can't go on. And we need to see our sister. You drop those guns and let us by."

    Though I'm still empty-handed, palms showing, that last bit comes out like an order, a warning. Maybe an ultimatum. Somehow, they feel like they have to take it seriously.
  • Towering at them, my presence grown large in the room:

    #DiceRoller( 2d6+4 )

    +1 because I'm trying to draw fire away from my companions (read a sitch)
  • edited December 2012
    So they can shoot at me, freeze up, back off, or ... well, drop the guns and let us by. I'm guessing it's the first one, but hey.

    Also, I take +1forward, on account of them being kind of rocked back and uncertain.
  • edited December 2012
    It feels like you're each interfering with each other but that roll is high enough that it doesn't matter. And it looks to them, with you two vying to get closer than each other like a moderately clever attack. But yeah, they are kind of rocked by your force of personality, Rhyme. They open up, first shooting you, Rhyme. Gabe's their second target of choice.

    So hey, I sketched stuff and never told you all what you were seeing. That's kind of a repeated weakness on my part, it seems. So the thing right next to you is twenty feet of steel shelving that's sagging with age and covered with a variety of stuff -- cans of paint, rags, tools, odds and ends. The dotted lines are all fences that enclose areas. There are sliding panels or gates and we can figure out where they are if it ever matters. The circles in the far corner are the barrels I first described and the other circles spread around the perimeter are large pipes that run floor to ceiling. The long row of 3x10 foot rectangles are also shelves, wood and metal. They're relatively flimsy things and if you had several of them between you and incoming buckshot, it would be a substantial thing, but not against these automatic rifles. It's reasonable to think that you could use them to block line of sight, though (not perfectly, but pretty well). The workbenches are all down at that end of the room, behind your adversary.

    So, Rhyme, retcon a little if you need to based on the layout. And describe your action as the bullets start to fly. I assume your primary goal is to draw fire. Gabe, will you be interfering? Either way, describe your actions.
  • I don't need to retcon. I'm goin' at them, to close up distance so those guns aren't such a dominating advantage. I'm going t' roll Indomitable first, though.

    Going into battle: #DiceRoller( 2d6+5 )

    +1 from Towering, +1 from reading the sitch
  • 3 hold, and I spend one right now: name a character on the scene, but outside your reach. You cross the distance between you before they have time to adjust or react

    I live on the beach, but I won't say they're a good place. They're the home of exiles, last refuge of the desperate. People go there to die, or to be lost. But I was born on the beach, grew up there. When I was just little, I met Clarity and Gabe and Hurricane, and we made a fam'ly out a that. And for the next twenty years, I been protectin' my family as it grew and changed. I been exploring th' island on my own, gettin' to know its people ... and some of its people ain't so nice.

    People don't know this, I guess, but I'm pretty good in a fight. I think people only really see the big forces, you know? The bike gangs, the Police, the old man's gang at Two Boat. They forget what one person can do.

    So they're focusing their sights on me and opening fire, but I'm not there anymore. There's thirty feet between me and them, and I cross it in a blink, darting on the diagonal towards them and away from the others, leaping, wall-jumping off the end of the last of those shelves, and taking the last fifteen feet without touchin' the ground, twisting through the air and dropping down not quite between them. I'm just in front of them, landing low in a crouch, and they're close enough together that they're both in my reach.

    It's too fast, faster than they can adjust or react. And this close, their guns aren't their friends, not wit' me. They must be tracking me, and I know I only got a split second, but one of 'em is got to be just a fraction faster than the other, right? The one who reacts faster, I spend a second hold (name a character within your reach. You redirect their attack to another character within your reach).

    I'm followin' the guns, and when one of 'em lines up a shot and pulls the trigger (or even if they're just following me with automatic fire), I snatch the barrel a the gun, my palm slapping against the steel, fingers hooking, and the faster one dumps his or her fire into the slower one.

    That assumes they're still shootin'. I figure they are, since everything's movin' so fast, but if they're switching to tryin' to beat me down, then that's different and I'll handle that different.
  • [Gabe]

    Gabe knows better than interfere in a situation like this, when stopping Rhyme could get them all killed. But there will certainly be words later.
  • edited December 2012
    Oh Gabe, I forgot to answer: it's pretty hard to tell if she's cute. Bad light and an annoying amount of slightly bulky armor.

    OK, as Rhyme darts forward and to the side, they start squeezing off short bursts, trying to catching him but they're failing to lead properly. Rhyme, moving so quickly; amazingly, really, you don't see this thing behind you, but Gabe, you do. You've seen Merry work before, she's terrible y'know. This is the first time anyone's seen her behind the 8-ball. Rhyme moves to attack and she's right with him only, not keeping up. As the bullets start whizzing past, she's doing this amazing sort of spinning dance. Afterward some time, you'll put your memories of it together and realize she was dodging the bullets. Even after the first one tore through her shoulder and she was pitching backward, she was doing her thing, minimizing the damage. And I know you've seen it all before, right? But that's quite a bit of blood that's come out of her.

    Rhyme, as you get to your final destination, they're doing half the damn job for you. They're finally training in on you and where you are you're half-way to being between them, so it's just easy as you'd like it to redirect the barrel of the one into the other. The only problem is that they're both firing, not just the one that was a little faster. They still haven't really figured out what's up and where you are and what's going on but they've got training screaming in their heads, telling them to shoot you even though the sitch is all wrong. So the fella on your left dumps his rounds into the gal on your left right, that's fine, but we're not sure where her bullets are going. I think you're acting under fire to avoid being in that stream of lead. Yeah?
  • Yeah, it was just: one thing at a time. That one was faster, so I dealt with that then, now I gotta deal with this one. I'm divin' forward, which'd put me against the wall but kind of behind them (not exactly behind, since they're turning to follow me, but you know what I mean).

    #DiceRoller( 2d6+2 )

    +1 for the sitch read, 'cause it's more bullets
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