Play@YSDC

There is a big roller door along one side for the movement of cargo and a locked door at the end of the baggage car that would lead toward the locomotive.

Jonathan will quietly head to the roller door and see if it can be opened.

OOC:   If the roller door opens quietly, I'll try to sneak outside. If it makes noise, I'll run back to hide among the luggage, as there should still be a monster outside. With some luck, it could take care of the conductor. One can hope, right? If it doesn't open, I'll think of something else.

He puts his shoulder in it and manages to push it open an inch (a rattlingly noisy but not incredibly loud inch) before it's stopped by a chain. It seems that the roller door is secured with a padlock that can potentially be picked from the inside.

"Shit", Jonathan curses with a whisper. He doesn't know how to open the lock, and he's trapped. He can feel the fear rising like a tide inside him, and springs him to action. Jonathan starts running back towards the Dining Car, uncaring of the noise.

He glimpses the train conductor in his office, holding something wet and glistening red, smacking it against the mirror with a horrible wet sound. But he only glimpses it, only from the corner of his eye, and the horror of what it could be hardly enters his mind in the moment as he races for the door and opens it without trouble, entering into the connection between train cars. The lock on this door has been busted, who knows how long ago, and it hangs slightly ajar, allowing in tendrils of fog from the outside world. When he stops, seeing this, he nearly slips on something wet but perhaps he doesn't look down in the darkness. Perhaps he doesn't care to know what that could be.

Enter through running through the kitchen into the Dining Car.

Leave the train car and end up on the dirt near the platform.

OOC,If you choose the dining car you can just post in THAT threat running through the kitchen segment and I'll describe what you see. If you wish to peek outside or enter the platform, let me know by posting in THIS thread and I'll put up a new post regarding the area you're stepping out into as the fog narrows vision to a smaller range.

Jonathan stops for a second. He could leave the train. One step, and he'd be out of that madness. But there's a monster still out there. He could take the chance, maybe make it out into the wild alive. Ahead, the dining room, and perhaps more armed enemies.

Jonathan makes his choice, and he silently leaves the train for the platform.

Stealth Roll,In case it's needed, I rolled a 3. http://orokos.com/roll/499883

The connection between the Baggage Car and the Dining Car (with its kitchen sub-compartment) has unpainted flooring and yellow curtain walls which now have a gash in them leading back outside. Tendrils of fog curl creepily around its edges but seems to only hang low across the floor.

Artemis wriggled into the opening that was cut, having offered to go first when the opening was made. He pulled himself into the opening and took a place where he could offer a hand to the other two to help them through the cut in the boot.

"Once you get inside," says Kate when she sees Artemis squeezing inside, discarding the broken saw and drawing her scalpel, "find the bolt cutters and break the chain to let us in. If you run into trouble, scream and we'll follow you in."

Artemis looked about, pulled out his torch and scanned the floor of the boot for the bolt cutters that Ms. Kate mentioned.

There are no bolt cutters on the floor of this small covered connection between train cars. The door to the baggage car sits to your right, which is unlocked. The door to the left leads into the kitchen area of the dining car ... you can hear movement coming from inside.

Artemis looked about in growing frustration. There were no bolt cutters anywhere. Damn it, damn it, damn it, he thought aloud and then he heard the movement in the other car. He looked back at the hole and the to where he heard the movement. He leaned back to the cut hole and said, "No cutters here, but something is moving on the other side of the door. It could be one of our colleagues stuck in there."

Kate squeezes inside. "Did you check the baggage car?" she whispers. "That's where Mr. Hagan said he left them."

"Oh, alright, let me check," Artemis turned and entered the baggage car. He cast his torch about the floor.

The Baggage Car has a cheap grey-on-brown patterned carpet across the floor. This section of the car is quite broad and open, but for the crates and sacks of food for the Kitchen Car that sit in one stall in the corner (open one side, walled on the other with bar topped wooden panels) with passenger luggage in another stall and a large dog cage (empty) in the third stall. A narrow passageway extends down the length of the Baggage Car with the middle section containing an opening which reveals four bunks with space for staff luggage. Further down the aisle sits the Train Manager's office and a room where staff can sleep. Beyond that would lie the actual storage space for baggage.

The office door is locked, but as you draw nearer to it you can see that someone battered it down awhile ago. The door itself is mostly intact, but the wood around the jamb is splintered from the force. The office itself is quite cramped and very dark, just as with the rest of the baggage car, but there's enough stray light from the entry way's sole remaining light bulb (from where you entered) that you can make out most of the details. There is a chair pushed up against a desk that backs up against one wall which has three locked drawers. A bunk sits behind it with more cupboards underneath -- which is currently folded into its sofa position. A mirror hangs on the wall.

There is a big roller door along one side for the movement of cargo and a locked door at the end of the baggage car that would lead toward the locomotive.

Kate reaches through the slashed canvas and beckons for Jonathan to come join them.

"Oh dammit, too late to turn away now", Jonathan mutters to himself as he follows the others inside.

Artemis moved down the corridor to the office and it's bashed open doorway. He heard movement behind him, glanced back and saw Miss Kate working her way off the floor and standing. Then she knelt down and was speaking through the opening. He presumed she was talking to Jonathan, and so he stepped into the office. He swept the beam of light from his flashlight across the desk top looking for anything that might explain the train's origins. He glanced up and over at the mirror, then back at the desk.

Train car example. The office is that little box. You have entered from the left. Ignore the dots, that's just to remove the weird spacing issue that occurs without them.
___________________________________________
|........................................................ |
| . . . . |------| ....................................... |
|______|____|_____________________________|

There's a translucent and shimmering document that sits upon the desk, seemingly out-of-phase with reality, winking out of existence the moment the light passes it by. For a moment you think it's an optical illusion, but when you return the light across it the document shimmers back into partial existence. Something labelled A2186 EYES ONLY.