Play@YSDC

This Dining Car is an exercise in exquisite luxury. Its carpet stretches across the floor. The teak wall panelling, inlaid with rosewood, are suffused with the scents and memories of bygone meals. The carved scrolls, cornices, and scallops at the friezes and borders, are adorned with gilded metal flowers and that reach up but never reach the arched ceilings. The racks, resting upon hand-wrought gilded brackets, into which diners may desposit small articles run the length of the car on both sides.

The Dining Car has group tables with four seats on one side and couple's tables with two seats on the other allowing for a few configurations to dine in peace while sitting upon comfortable red seats with a mahogany frame. Flowered-damask drapes are held back with gold thread and tassels, revealing a cream-coloured spring-loaded roller blind that can be pulled up or down to allow or obscure the outside world. Each table is lit by a single, flickering flame on a heavily burned down candle. All the other candles are gutted and weak. There are others here, sitting and talking in quiet voices, wearing rich fabrics and hairstyles that are just a little bit old-fashioned.

The napkins are folded like butterflies perched tenderly upon the pure white table cloths. A delicate lamp with a pink shade rests upon the middle of the table, beside a slim glass vase, weighted against the movement of the train or sudden knocks against the table. The vase contains a single red flower, a splash of colour matched only by the gold-rimmed porcelain plates that are adorned with the Compagnie crest. Solid silver cutlery flank the plates and sit below the wine glasses.

The head waitor approaches to seat you.

Go backward for the Smoking Car.
Go forward past the curtain to the Kitchen half of the Dining Car.

Ilona gives a sigh of relief as she's greeted by the waiter. "Oh, thank goodness, there are other people on this train! The First few cars looked quite abandoned, apart from one very rude and unhelpful piano man. We need help! Something terrible is going on!"

"My apologies, mademoselle, I will be sure to pass along your complaints to the conductor," says the waitor in a French accent. "Would you care to be seated and then perhaps we could discuss whatever it is your complaint may be?"

Ilona allows herself to be lead to a seat by the waiter. "You must have a way of contacting the police from this train right? Awful things have been happening, we need to contact them immediately!"

She finds herself seated before an elderly woman in a stunning old-fashioned gown. Was the woman sitting there before she sat down? She must've been. Perhaps Ilona was just distracted by the waitor and hadn't been paying any attention. This room is also quite cold, very cold. Not comfortable at all. The woman across the table from her sounds quite normal, however, when she says, "There, there, my dear, you mustn't let yourself get upset. You wouldn't want to sprout any wrinkles on that delicate young skin of yours, now would you?" She reaches across the table, aiming to pat Ilona's hand with her own gloved one.

The waitor merely passes them both menus, seeming to ignore Ilona's anxious requests.

"W-wait a moment, you aren't going to help me?" She asks the waiter as she takes a seat, glancing at the woman and back to the waiter and sighs in defeat. "Could I at least get a cup of tea?"

The waitor nods, giving her a menu. "Of course I will help you. I will get you your water right away." And with that he vanishes through the red curtain divider into the kitchen at the other end of the dining car.



"It isn't very polite to ignore the lady you are dining with, though I suppose given your dress you haven't been among the first class long or I presume you simply saved up for your ticket?" asked the woman. "But where are my manners. I am Lady Madeleine Moreau. And who might you be?"

Jonathan enters the Dining Car and remains frozen in place seeing the unexpected crowd of people. So there are passengers on this train. Why only here, though?, he thinks. Jonathan quickly searches for Miss Aston and walks towards her.

"Miss Aston, here you are.", he then turns towards the older woman, "Good Evening Madam"

Charlie follows Jonathan into the car, almost running into him as he suddenly stops. As Jonathan continues on Charlie stays back and takes in the room.

The conductor enters the train from the kitchen segment of the dining car and approaches the new passengers with a friendly smile. He looks at Ilona first, "Tickets please."

Ilona stands up and faces the conductor. "Tickets? I don't have one! Something awful happened at the station and I couldn't get one! Now, will you help us contact the authorities or are you going to be unhelpful, just like everyone on this train!"

Spending 1 on a Sense Trouble roll

[dice]0[/dice]

Charlie backs up and slips out of the carriage.

Spending 1 on Stealth [dice]0[/dice]

Jonathan prepares his ticket to show the conductor.

The conductor pauses before Ilona, frowning thoughtfully at her tale of woe. Then he says, quite simply, "You're very loud." And slits her throat.

[dice]0[/dice] to hit.
[dice]1[/dice] for damage.

Jonathan screams in shock, then throws himself against the conductor, trying to immobilize him. "Help!", he screams, hoping that someone else in the car will help him with this dangerous madman.

Scuffling,I spend two points and roll a seven: http://orokos.com/roll/469063 Assuming that he's armed with a knife or something like that, I'll try to disarm him. Also, do we have to roll Stability? (I know I'm going to regret asking :D )

Ilona steps back in shock; one hand coming to her neck where the conducter tried to slit her throat, the other frantically searching the table for a weapon. She grabs hold of a small knife and waves it at the conducter.
"Don't... D-don't you dare come near me!" She shouts between sobs.

The conductor's face doesn't change, doesn't shift, as Jonathon grabs him, barely managing to wrench his arms behind his back. The man is superhumanly strong and seems to care little for the risk of tearing tendons in his shoulders. Jonathon can hold him, but barely.

OOC,At the end of the scene when in combat. I like the "adrenaline covers a multitude of sins," angle when dealing with human-on-human violence. The aftershocks can be more amusing and realistic, too. You'll need to roll again soon as well. You'll get one more post apiece. I'll put your scream in the next car over.