Episode 510: St. Albans Secrets, Part Three - Revision history

Taimdala at 14:29, 7 April 2011

2011-04-07T14:29:34Z

← Older revision		Revision as of 14:29, 7 April 2011
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	Arden complies and steps out where they can see him. One of the guards comes up behind Rina and pulls her wrists down and zip ties them. She lets him, suppressing a flinch. Having people at her back where she can’t see them really ''really'' hinks her, but she doesn’t resist. He hauls her by the elbow to her feet. The angle and the pressure stresses her injuries and the pain is intense. She yells and staggers.<br><br>		Arden complies and steps out where they can see him. One of the guards comes up behind Rina and pulls her wrists down and zip ties them. She lets him, suppressing a flinch. Having people at her back where she can’t see them really ''really'' hinks her, but she doesn’t resist. He hauls her by the elbow to her feet. The angle and the pressure stresses her injuries and the pain is intense. She yells and staggers.<br><br>

	'''Rina:''' ''Aughh!'' Ow, ow, ow—(coughs)—''Bozhe moi!'' Ow! Aughh …<br>		'''Rina:''' ''Aughh!'' Ow, ow, ow—(coughs)—[[Episode 510: St. Albans Secrets, Special Features#HOW TO SPEAK RUSSIAN\|''Bozhe moi!'']] Ow! Aughh …<br>
	'''Guard:''' Shut up.<br><br>		'''Guard:''' Shut up.<br><br>

Taimdala at 14:16, 7 April 2011

2011-04-07T14:16:29Z

← Older revision		Revision as of 14:16, 7 April 2011
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	'''Guard:''' Put your gun on the floor where we can see it. Put your gun in the corridor and step out where we can see you.<br><br>		'''Guard:''' Put your gun on the floor where we can see it. Put your gun in the corridor and step out where we can see you.<br><br>

	Arden complies and steps out where they can see him. One of the guards comes up behind Rina and pulls her wrists down and zip ties them. She lets him, suppressing a flinch. Having people at her back where she can’t see them really really hinks her, but she doesn’t resist. He hauls her by the elbow to her feet. The angle and the pressure stresses her injuries and the pain is intense. She yells and staggers.<br><br>		Arden complies and steps out where they can see him. One of the guards comes up behind Rina and pulls her wrists down and zip ties them. She lets him, suppressing a flinch. Having people at her back where she can’t see them really ''really'' hinks her, but she doesn’t resist. He hauls her by the elbow to her feet. The angle and the pressure stresses her injuries and the pain is intense. She yells and staggers.<br><br>

	'''Rina:''' ''Aughh!'' Ow, ow, ow—(coughs)—''Bozhe moi!'' Ow! Aughh …<br>		'''Rina:''' ''Aughh!'' Ow, ow, ow—(coughs)—''Bozhe moi!'' Ow! Aughh …<br>
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	'''Guard:''' I can shoot you here or you can put your hands behind your back. I rarely miss at this range.<br><br>		'''Guard:''' I can shoot you here or you can put your hands behind your back. I rarely miss at this range.<br><br>

	Sucking down air against the pain, the thought wanders through Rina’s head that ‘rarely miss’ implies the guard might actually miss. She shoves the thought down. With ~~her~~ her injuries riled and pounded by pain, with her hands tied behind her and saddled with a partner who is clueless as to tactics, Rina knows the odds are stacked too high against her. It’s no longer a matter of trying to fight her way free. It’s all about buying her crew time to get away.<br><br>		Sucking down air against the pain, the thought wanders through Rina’s head that ‘rarely miss’ implies the guard might actually miss. She shoves the thought down. With her injuries riled and pounded by pain, with her hands tied behind her and saddled with a partner who is clueless as to tactics, Rina knows the odds are stacked too high against her. It’s no longer a matter of trying to fight her way free. It’s all about buying her crew time to get away.<br><br>

	Arden puts his hands behind his back. The guard relieves him of his flashlight, clipped on his belt for hands-free use.<br><br>		Arden puts his hands behind his back. The guard relieves him of his flashlight, clipped on his belt for hands-free use.<br><br>

Taimdala: Undo revision 176288 by Taimdala (Talk)

2011-04-06T21:34:20Z

Undo revision 176288 by Taimdala (Talk)

← Older revision		Revision as of 21:34, 6 April 2011
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	Also, the probability is they’re more likely to send repair crews out the front door instead of guards, who are more likely to come through the vent.<br><br>		Also, the probability is they’re more likely to send repair crews out the front door instead of guards, who are more likely to come through the vent.<br><br>

	While Nika, Kiera and Joshua start climbing down the mountain for the road again, Rina and Arden are divested of their backpacks and tool belts and suffer a thorough frisking. Rina’s injuries don’t take it kindly and the guards seem indifferent to her pain. They find her boot knife and her pocket tools. They also take Rina’s and Arden’s winter jackets, uncuffing them and ~~cuffing them again when they are done~~. Jackets dispensed, they are taken into the elevator and they go down. There are two sets of doors on this elevator, directly opposite each other, front and back. There are only four buttons on the controls: up, down, doors close, doors open. There is no indicator showing how many floors they go down on their trip and like elevator passengers everywhere, they all stand and stare at the doors they entered through. The ride is short, maybe one floor’s worth—assuming they are going at a normal speed—and the doors behind them open, necessitating some shuffling around before they step off into the corridor outside. <br><br>		While Nika, Kiera and Joshua start climbing down the mountain for the road again, Rina and Arden are divested of their backpacks and tool belts and suffer a thorough frisking. Rina’s injuries don’t take it kindly and the guards seem indifferent to her pain. They find her boot knife and her pocket tools. They also take Rina’s and Arden’s winter jackets, uncuffing them and leaving their hands free. Jackets dispensed, they are taken into the elevator and they go down. There are two sets of doors on this elevator, directly opposite each other, front and back. There are only four buttons on the controls: up, down, doors close, doors open. There is no indicator showing how many floors they go down on their trip and like elevator passengers everywhere, they all stand and stare at the doors they entered through. The ride is short, maybe one floor’s worth—assuming they are going at a normal speed—and the doors behind them open, necessitating some shuffling around before they step off into the corridor outside. <br><br>

	It’s a straight 20-foot run to another set of elevator doors, with a camera mounted above to record their approach. The guards nudge Rina and Arden to move forward. They do, walking for the doors opposite, and Arden notices that the guards tense up three feet into the corridor. He turns to look at them closely and the corridor is abruptly flooded with a blinding purplish-white light. Arden recognizes it as a decontamination protocol and waits the 15 seconds for the light to blink off. That explains the space separating the elevators, at least. Rina blinks spots from her vision and tries not to dwell on what might be waiting for them at the end of the journey. Putting all-comers through decon suggests either a clean room is coming up soon or … She tries not to dwell on the alternatives. <br><br>		It’s a straight 20-foot run to another set of elevator doors, with a camera mounted above to record their approach. The guards nudge Rina and Arden to move forward. They do, walking for the doors opposite, and Arden notices that the guards tense up three feet into the corridor. He turns to look at them closely and the corridor is abruptly flooded with a blinding purplish-white light. Arden recognizes it as a decontamination protocol and waits the 15 seconds for the light to blink off. That explains the space separating the elevators, at least. Rina blinks spots from her vision and tries not to dwell on what might be waiting for them at the end of the journey. Putting all-comers through decon suggests either a clean room is coming up soon or … She tries not to dwell on the alternatives. <br><br>

Taimdala at 21:31, 6 April 2011

2011-04-06T21:31:44Z

← Older revision		Revision as of 21:31, 6 April 2011
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	Also, the probability is they’re more likely to send repair crews out the front door instead of guards, who are more likely to come through the vent.<br><br>		Also, the probability is they’re more likely to send repair crews out the front door instead of guards, who are more likely to come through the vent.<br><br>

	While Nika, Kiera and Joshua start climbing down the mountain for the road again, Rina and Arden are divested of their backpacks and tool belts and suffer a thorough frisking. Rina’s injuries don’t take it kindly and the guards seem indifferent to her pain. They find her boot knife and her pocket tools. They also take Rina’s and Arden’s winter jackets, uncuffing them and ~~leaving their hands free~~. Jackets dispensed, they are taken into the elevator and they go down. There are two sets of doors on this elevator, directly opposite each other, front and back. There are only four buttons on the controls: up, down, doors close, doors open. There is no indicator showing how many floors they go down on their trip and like elevator passengers everywhere, they all stand and stare at the doors they entered through. The ride is short, maybe one floor’s worth—assuming they are going at a normal speed—and the doors behind them open, necessitating some shuffling around before they step off into the corridor outside. <br><br>		While Nika, Kiera and Joshua start climbing down the mountain for the road again, Rina and Arden are divested of their backpacks and tool belts and suffer a thorough frisking. Rina’s injuries don’t take it kindly and the guards seem indifferent to her pain. They find her boot knife and her pocket tools. They also take Rina’s and Arden’s winter jackets, uncuffing them and cuffing them again when they are done. Jackets dispensed, they are taken into the elevator and they go down. There are two sets of doors on this elevator, directly opposite each other, front and back. There are only four buttons on the controls: up, down, doors close, doors open. There is no indicator showing how many floors they go down on their trip and like elevator passengers everywhere, they all stand and stare at the doors they entered through. The ride is short, maybe one floor’s worth—assuming they are going at a normal speed—and the doors behind them open, necessitating some shuffling around before they step off into the corridor outside. <br><br>

	It’s a straight 20-foot run to another set of elevator doors, with a camera mounted above to record their approach. The guards nudge Rina and Arden to move forward. They do, walking for the doors opposite, and Arden notices that the guards tense up three feet into the corridor. He turns to look at them closely and the corridor is abruptly flooded with a blinding purplish-white light. Arden recognizes it as a decontamination protocol and waits the 15 seconds for the light to blink off. That explains the space separating the elevators, at least. Rina blinks spots from her vision and tries not to dwell on what might be waiting for them at the end of the journey. Putting all-comers through decon suggests either a clean room is coming up soon or … She tries not to dwell on the alternatives. <br><br>		It’s a straight 20-foot run to another set of elevator doors, with a camera mounted above to record their approach. The guards nudge Rina and Arden to move forward. They do, walking for the doors opposite, and Arden notices that the guards tense up three feet into the corridor. He turns to look at them closely and the corridor is abruptly flooded with a blinding purplish-white light. Arden recognizes it as a decontamination protocol and waits the 15 seconds for the light to blink off. That explains the space separating the elevators, at least. Rina blinks spots from her vision and tries not to dwell on what might be waiting for them at the end of the journey. Putting all-comers through decon suggests either a clean room is coming up soon or … She tries not to dwell on the alternatives. <br><br>

Taimdala at 05:37, 6 April 2011

2011-04-06T05:37:39Z

← Older revision		Revision as of 05:37, 6 April 2011
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	[[Episode 510: St. Albans Secrets, Special Features \| Special Features]]<br>		[[Episode 510: St. Albans Secrets, Special Features \| Special Features]]<br>

	Go back to: '''''[[Episode 509: Joshua Drake, This Is NOT Your Life ... \| Joshua Drake, This Is NOT Your Life ...]]''''' \| Go Foward to '''''~~The Next~~ Episode'''''<br>		Go back to: '''''[[Episode 509: Joshua Drake, This Is NOT Your Life ... \| Joshua Drake, This Is NOT Your Life ...]]''''' \| Go Foward to '''''[[Episode 511: A Matter Of Leverage\| A Matter Of Leverage]]'''''<br>
	Back to [[Mutineers Season Five \| Season Five: Realignment]]<br>		Back to [[Mutineers Season Five \| Season Five: Realignment]]<br>
	Back to [[EPISODES]] or [[Mutineers Timeline\|TIMELINE]]<br>		Back to [[EPISODES]] or [[Mutineers Timeline\|TIMELINE]]<br>

Taimdala at 17:09, 1 April 2011

2011-04-01T17:09:00Z

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2011-04-01T16:08:37Z

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