checkingout | sit yourself down, and meet the best inn keeper in town ( O P E N )

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sit yourself down, and meet the best inn keeper in town ( O P E N )

Who: Everyone!
Where: The initial arrival rooms, the main lobby, all over the place.
When: February 3rd
What: Welcome, newbies.

ARRIVAL.

you wake up when you hit the floor in a dark room, and the air is knocked out of your lungs. the carpet is threadbare, worn with use, kind of dusty. and you're not the first person to endure this crash landing. nor will you be the last.

once your vision rights itself, you can see the well-lit hallway through the doorjam straight ahead of you. not to say there’s monsters in the shadows, but something propels you towards that door and out into the bright hallway beyond.

and once outside your room, you can hear it: the steady thrum of rain outside.

MAIN LOBBY.

there's a staircase at the end of the lengthy hallway you tumble out of. grab your suitcase and follow the dull green exit signs on the ceiling until you reach the disappointingly bland stairs that lead you down to the ornate old fashion hotel lobby.

to your left is a warmly crackling fireplace, to your right is a lobby desk. straight ahead are three large sets of doors, though only one of them is open to the public. and outside the few (curtained, permanently dark) windows is the continually steady hiss of rain.

welcome to the hotel.

FRONT DESK.

though there is a bell and a plaque designating the desk to be the main desk, the customer service desk, there are currently no staff members behind it. none shall answer your calls, either.

terribly sorry for the inconvenience.

SCREENING ROOM.

on a tall pull-down screen, a silent version of nosferatu will be playing on loop. at the back of the room, between the neat rows of fold out chairs, mounted on a wobbly table is the old timey projector, and mounted on the walls are some rather old speakers that warble out "terrifying" old timey music.

along the curtained windows is another long table, with a large bowl that looked like it once would have held popcorn. but is now unfortunately empty. same for the large hot drink dispensers labeled "hot chocolate" and "coffee".

OTHER.

the ballroom and breakfast hall are currently closed, grand doors locked.

there is no main door leading to the outside, good luck trying to find one.

the door to the courtyard is locked.

ROOMS.

you've a room key with your assigned room number on it. all the new guest residences will be located on floors one & two. while there is an open elevator in the main lobby, and the buttons light up inside, the doors will not close. all in all, you'd be better off taking the stairs.

while they're the same stairs you undoubtedly came down to get to the lobby, the door to the endless hall everyone woke up in will not reappear between the main floor and the subsequent residential halls.

there are twenty rooms per floor. feel free to get to know your surroundings; or your neighbors as they trickle in around you.

Flat | Top-Level Comments Only

(LOBBY)

[the decision to leave her suitcase right where she found it had come for various reasons and was, in her opinion, pretty wise. for one, there was just no way in hell she was dragging a suitcase up the drab looking staircase with her current situation re: walking. secondly, the contents of the suitcase itself, that astronaut suit? a poor joke that made her want to burn the whole contents instead. third, she did not trust getting presents, she did not trust the suitcase, she did not trust having to carry something that would slow her down even more than the brace on her left leg would. (a relief, that she'd been allowed to keep that, by whomever.)

instead, she stripped the contents of the suitcase that were of use to her -- the tablet, the note, the keycard -- and made her way up the stairs. she reached the conclusion that she prefered trekking in the woods to climbing stairs, at least the ground was softer than this faded...whatever it was.

once in the lobby, she took in her surroundings: the empty reception, the crackling fireplace, the strangers she didn't know and didn't trust enough to ask anything yet. the elevators.

that was a good idea, for one. she'd been given a key to a room. she could go to her "room" and check what was inside it for clues, maybe see if she could escape via the window, maybe find some discarded weapon. people always left shit behind hotels, or so she'd heard. clarke and finn had found art supplies inside a bunker, it wasn't that unlikely to find something up there. besides, sticking around in one place and asking just made her feel...angry. so the elevator it was.

or...not.] Fucking -- really?

(SCREENING ROOM)

[so after a few attempts, elevator was not it. climbing stairs could leave her vulnerable, so maybe it wasn't the best idea to try it out now. maybe later, maybe with someone else with her just in case. so the ground floor it was. between checking for doors (worrying: no doors that were of use, some locked doors) she ended up inside the screening room.]

...creepy... [can i get an amen?]

Edited 2015-02-02 14:12 (UTC)

[ while Derek faintly hears the music wafting out of one of the doors, he doesn't check it out right away. he runs into familiar faces, he questions new ones, and he generally gets a sense that nobody knows what's going on. but, eventually, between 'meet-cute's,' Derek lets his curiosity take over. the walk into the screening room is foreboding thanks to the bone-chilling over-the-top music. it really does set the scene.

he recognizes the movie as it plays on the screen.

there was a small movie theatre in New York in Greenwich Village that showed older silent movies. sometimes, comedies. ] It's Nosferatu.

[ because, that matters ]

[the fact that she's holding one hand in the pocket of her red bomber jacket has nothing to do with wanting to appear nonchalant and everything to do with how she's been rubbing the hilt of her wicked-sharp blade for the past five minutes as a mechanism to take away the edge of growing anxiety. little, small details.

she doesn't bring it out right away, though it's tempting to lash out; she's not blind, however, she has noticed a lot of the people ambling about are in the same situation, trying to get out or get answers.

she gives the guy sideglance, then a longer one (because he fine) to make sure there's no threat. not that she can make sure, to be fair -- she just doesn't know what kind of guests this hotel harbours so far.

on the screen, the pasty looking guy looms over someone and raven scrunches up her nose.]

It can be yesferatu for all I care - still creepy.

[ raven has all the subtlety of a rock, but she can look all she wants. it comes off as both flattering and understanding - people should be wary of one another here. if whomever did this has the power to take down and capture werewolves, everyone should be on their guard. ]

The music doesn't help. [ derek's sure the music is doing all the work. he doesn't remember nosferatu ever being scary in the traditional sense, but he knows when it came out, it was. horror has come a long way since then. most monsters resemble men, too, the fact that nosferatu's face is gnarled and pasty, it makes it easier to separate himself from it. ] Has this been on the whole time?

[she doesn't have time to be subtle, just take it and roll with it. whatever it is. this time, she doesn't pay attention to him, but walks over to the projector, leaning over it to study it. it casts her shadow across the projection screen, and nosferatu plays on her shirt, but whatever.]

It's just one roll... [she keeps this in mind, it's the first apparatus she's found of any sort, and she might need to destroy and dismantle it at one point.

for now, the end credits roll across her shirt and she steps aside to let it play out on the screen. there's the trepidation: if the movie ends, who'll come to replace it? but the movie ends-

and then it begins.] That makes no sense, these things don't do loops.

[ derek watches the screen on her chest, before moving beside her and taking a look himself. she's right. one roll unspools, the film finally coming to an end. he turns to face where the film has resumed on the screen, waiting with less trepidation. he doesn't see how what the movie does all much matters. yes, it means somebody put it on - and maybe that's a glimmer of some kind of hope. maybe.

but, the movie doesn't end.

his frown returns, looking back at the projector. ] They usually run out. [ the film just flies off. he watches as the credits in the beginning replay. ] Someone locked us all in here. It's not a stretch to think they could [ his eyes travel upward, trying to find a digital projector. the one on the ground could be for show. but, he finds nothing. he looks behind them at the back wall. of course, he doesn't share his thoughts with the class. so, he might look crazy.

not that all of this isn't crazy. his gaze falls again. ] Could it be configured to play over again? [ he's not some film projector expert ]

[that look that she directs at him states clearly you're not pretty well, although it's a reasonable question. she pokes the side of the projector, gently. it's warm.]

These old-school things don't come with microchips you can configure to do anything for you. Which I guess doesn't exactly explain how it's looping, but that's tech for you. I could take it apart and see...[and for a moment there's the temptation, a project; but no, she has bigger priorities and bigger needs.]

But I won't.

raven "fucking stairs" reyes | ota

screening room ]

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lobby/elevator

yis yis yis

sorry for the delay!!

hello!

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screening room.

yis yis (everything in the screening room is pre clarke)

aight we good we good

we super fly

i feel really sorry for raven right now she is in old crusty tech hell

screening room

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lobby>>somewhere else (locked to octavia blake)

so late w/much starbucks

you're making me go back to emotional hell two weeks later