Lost in Southeast Asia
Manila, Tourist District, 1600
Keiko keeps a smile that is as fake as the watches the street vendor near her hotel in Manila's tourist district is selling on her face as she passes through the lobby. Almost out... the young woman tenses as she passes the door, expecting some guard to shout out - or just tase or shoot her. The scanners at the doors do not alert anyone, so her SIN is still holding up.
Keiko doesn't know what happened, back at Renraku, but it's not good. First the scandal in the news, trying to link Renraku to an illegal operation gone bad in Neo-Toyko. Then some warnings from coworkers, interrupted, the private node of her section offline... her superiour dead... even a corporate-raised woman like herself knew there was something wrong. Especially if trained for covert ops. Without that training, she might have stayed in the hotel, waiting. But she knew enough to fear the worst in this situation. A purge to protect the corp, all data that could link Renraku to the crimes erased. And the operatives with it.
The young japanese woman, wearing a sundress, briskly walks away from the hotel, towards the border of the tourist zone. She needs to get away, and leave no trace. She's already deleted all the skillsofts she had from Renraku, and her Commlink, linked to a fake SIN - she has come to Manila for a clandestine meeting with a possible defector from Evo - will be next. At least her body armor - formfitting, a half-suit - and her ceramic knife are clean. Built for covert ops, they carries no tracer. And her gun, a Walter PB-120, licensed to her fake SIN, will be sanitized as well. If onyl money could be laundered as fast...
Keiko keeps her vacant tourist smile on her face until she leaves the district and can lose it, and her dress as well. Where she is going, she doesn't want to look like a tourist.
Full Version: Lost in Southeast Asia (IC)
You make your way out. As far as you can tell, nobody is watching.
Where are you going? What are you doing? How are you doing it?
Where are you going? What are you doing? How are you doing it?
Manila, Outskirts, 1700
Keiko makes her way to one of the district tourists are warned to stay away from. A haven - literally - for pirates and mercenaries, and other criminals, run by syndicates. A place she can disappear in, without leaving traces. She turns the expensive dress in at a street vendor for a pair of boots once there. The man probably thinks she stole it, but it doesn't matter. It means a better cover... Keiko winces. She is still thinking like she was working for Renraku... but this is not just a cover now...
Without a commlink - her implant she turned off, until she can get it checked for surprises left by Renraku - the city feels surprisingly empty. No AR, no electronic data. Archaic. But no electronic traces either. Keiko strolls down the streets, looking for an opportunity. Someone among those criminals who is hiring. She is hoping the openly carried weapons will scare of muggers and other criminals into looking for easier prey, trying to give a competent, even dangerous impression.
Keiko makes her way to one of the district tourists are warned to stay away from. A haven - literally - for pirates and mercenaries, and other criminals, run by syndicates. A place she can disappear in, without leaving traces. She turns the expensive dress in at a street vendor for a pair of boots once there. The man probably thinks she stole it, but it doesn't matter. It means a better cover... Keiko winces. She is still thinking like she was working for Renraku... but this is not just a cover now...
Without a commlink - her implant she turned off, until she can get it checked for surprises left by Renraku - the city feels surprisingly empty. No AR, no electronic data. Archaic. But no electronic traces either. Keiko strolls down the streets, looking for an opportunity. Someone among those criminals who is hiring. She is hoping the openly carried weapons will scare of muggers and other criminals into looking for easier prey, trying to give a competent, even dangerous impression.
The street vendor knows of several 16 year olds that would look amazing in that dress. He knows just the vendor to offer it to. And for a pair of boots! What a deal.
Making your way through the Emerald, this area of Manilla where the law rarely ventures, you see all the wonders and perils of this modern world.
A chaos of blinking lights and advertising offering everything from bars to mini-marts to trid theatres, prostitutes to math tutoring.
Though surely some do, it is common here to wear one's hardware in full view. The Wild East it is.
Where do you go? What do you do? Are you looking for something specific?
Making your way through the Emerald, this area of Manilla where the law rarely ventures, you see all the wonders and perils of this modern world.
A chaos of blinking lights and advertising offering everything from bars to mini-marts to trid theatres, prostitutes to math tutoring.
Though surely some do, it is common here to wear one's hardware in full view. The Wild East it is.
Where do you go? What do you do? Are you looking for something specific?
Manila, Outskirts, 1900
Keiko is looking for a "pirate bar", or a similar watering hole, where different criminals hang out. A place where she can get some information about hiring opportunities. She's got one hand on her hip, at the holster of her pistol.
Keiko is looking for a "pirate bar", or a similar watering hole, where different criminals hang out. A place where she can get some information about hiring opportunities. She's got one hand on her hip, at the holster of her pistol.
QUOTE (Fuchs @ Nov 23 2008, 04:56 PM) 
Manila, Outskirts, 1900
Keiko is looking for a "pirate bar", or a similar watering hole, where different criminals hang out. A place where she can get some information about hiring opportunities. She's got one hand on her hip, at the holster of her pistol.
Keiko is looking for a "pirate bar", or a similar watering hole, where different criminals hang out. A place where she can get some information about hiring opportunities. She's got one hand on her hip, at the holster of her pistol.
You poke your head into a couple different bars on the street, and determine that
A. this isn't a pirate section of town
B. if you want to look for work here in will be likely be with 'organized crime' elements. You have seen evidence of both organized crime and gangs the last 20 minutes you've been looking.
You're standing on the street looking tough. Do you want to head close to the water and look that way, or cruise for work here.
Manila, Outskirts, 1915
Keiko searches for a bar with a mixed crowd - as a japanese, she's not too confident of her chances with a more homogen crowd of philipinos or chinese. People hanging out with different nationalities might be more likely to hire her rather than shoot her. Getting a bit nervous, she makes an extra effort to be aware of her surroundings, missing the AR overlay or tac net she is used to, fed by spy drones and similar sources, and feeling terribly exposed.
I better get off this street.
Keiko searches for a bar with a mixed crowd - as a japanese, she's not too confident of her chances with a more homogen crowd of philipinos or chinese. People hanging out with different nationalities might be more likely to hire her rather than shoot her. Getting a bit nervous, she makes an extra effort to be aware of her surroundings, missing the AR overlay or tac net she is used to, fed by spy drones and similar sources, and feeling terribly exposed.
I better get off this street.
Like every coackroach, rat, and human, when exposed the instinct is to find cover.
You make yourself stay on the lookout rather than find a safe corner.
Being a perceptive woman with a trained eye, something about the movement of a trio ahead of you catches your attention. There are a lot of hard people on the street, but something about these three... definitely not gangers or street toughs. You can't put your finger on it but you have noticed them in a crowd.
They turn down an alley. as you pass and look intothe alley, you see them making their way past a troll bouncer into a doorway under a barely glowing sign, "Heads Up".
You make yourself stay on the lookout rather than find a safe corner.
Being a perceptive woman with a trained eye, something about the movement of a trio ahead of you catches your attention. There are a lot of hard people on the street, but something about these three... definitely not gangers or street toughs. You can't put your finger on it but you have noticed them in a crowd.
They turn down an alley. as you pass and look intothe alley, you see them making their way past a troll bouncer into a doorway under a barely glowing sign, "Heads Up".
Manila, Outskirts, 1915
How fitting...
Keiko waits a bit, then heads down the alley herself, walking up to the bouncer, nodding at him and heading for the door.
How fitting...
Keiko waits a bit, then heads down the alley herself, walking up to the bouncer, nodding at him and heading for the door.
A deeep voice from above says "Sure ya wanna go in there......?"
Manila, Outskirts, 1915
Keiko stops, and turns to the troll, hiding her disdain for the changed ones.
"Any reason I shouldn't?"
Keiko stops, and turns to the troll, hiding her disdain for the changed ones.
"Any reason I shouldn't?"
QUOTE (Fuchs @ Nov 24 2008, 01:32 PM)
Manila, Outskirts, 1915
Keiko stops, and turns to the troll, hiding her disdain for the changed ones.
"Any reason I shouldn't?"
Keiko stops, and turns to the troll, hiding her disdain for the changed ones.
"Any reason I shouldn't?"
The giant troll grins, tusks at odd angles, and crosses his massive arms.
"Plenty of em," he rumbles, and looks you over from his towering advantage.
He shrugs, with amusement, seemingly leaving the decision to enter or not up to you.
Manila, Outskirts, 1915
Probably just trying to intimidate me... trolls are like that...
"Better reasons to enter than to stay away."
Keiko nods, steels herself, and enters.
Probably just trying to intimidate me... trolls are like that...
"Better reasons to enter than to stay away."
Keiko nods, steels herself, and enters.
After you enter, the troll takes a deep breath and thinks "I hope that lil thing can take care of herself....."
You step out of the muggy heat of the alley way....into the muggy heat of the Heads Up.
It's dark in here. Real dark. Your cybereyes automatically adjust. Looking around just inside, you see a sizeable bar, with booths lining both sides, tables for 4 in the middle, a bar in back. It's smokey and there is just enough music to muffle conversation that everyone already seems to be having in muffled tones.
From your first scan, it's all human. All tough looking.
You step out of the muggy heat of the alley way....into the muggy heat of the Heads Up.
It's dark in here. Real dark. Your cybereyes automatically adjust. Looking around just inside, you see a sizeable bar, with booths lining both sides, tables for 4 in the middle, a bar in back. It's smokey and there is just enough music to muffle conversation that everyone already seems to be having in muffled tones.
From your first scan, it's all human. All tough looking.
Manila, Outskirts, "Heads Up" bar, 1915
Keiko looks the room over, but does not stand in the door for long, walking to the bar, trying to get a feeling for the crowd before she reaches the bar. She's got some hard coin from her deals, enough to buy a drink and some information.
Keiko looks the room over, but does not stand in the door for long, walking to the bar, trying to get a feeling for the crowd before she reaches the bar. She's got some hard coin from her deals, enough to buy a drink and some information.
On the way to the bar you notice the three you followed in sitting together in a booth. You don't get a good look unless you want to be obvious about it.
The bartender is an expressionless, one eyed philippino. He's finishing pouring at the end of the bar as you sidle up to the center of the bar. only 3 others are at the barm and they're indicating wanting to be alone.
The bartender is an expressionless, one eyed philippino. He's finishing pouring at the end of the bar as you sidle up to the center of the bar. only 3 others are at the barm and they're indicating wanting to be alone.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko waits until the bartender looks at her, then leans forward on the bartop, flashing a few coins to catch his attention. When he comes closer she gives him her best smile, orders a cheap beer, and, flashing more coins - her last ones - tells him in a low voice that she's looking for some work. She pats her holster, hoping he'll understand what work she is looking for.
Keiko waits until the bartender looks at her, then leans forward on the bartop, flashing a few coins to catch his attention. When he comes closer she gives him her best smile, orders a cheap beer, and, flashing more coins - her last ones - tells him in a low voice that she's looking for some work. She pats her holster, hoping he'll understand what work she is looking for.
The bartender's single eyes moves from the smile to the coins, and to her holster (Which being under her left arm, allows him a to take a visual inventory of her breasts.
He looks taken aback at first, then opens his mouth, revealing a toothless maw, and cackles noiselessly. He takes a few moments and seems to enjoy the moment. Then he leans forward and whispers conspiratorily over the bar, "That was -very- tactful and subtle! Well done." He cackles again and moves to get you a beer.
He looks taken aback at first, then opens his mouth, revealing a toothless maw, and cackles noiselessly. He takes a few moments and seems to enjoy the moment. Then he leans forward and whispers conspiratorily over the bar, "That was -very- tactful and subtle! Well done." He cackles again and moves to get you a beer.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko smiles back, showing perfect teeth.
This is going well.
She waits until she gets her beer - not open, of course, no one trusts the drinks among such scum - and then flashes both her coins and her smile again.
"So, who do you recommend as a prospective employer?"
Keiko smiles back, showing perfect teeth.
This is going well.
She waits until she gets her beer - not open, of course, no one trusts the drinks among such scum - and then flashes both her coins and her smile again.
"So, who do you recommend as a prospective employer?"
The toothless bartender looks confused for a moment. "Seriously?"
Manila, Outskirts, "Heads Up" bar, 1916
Keiko nods, keeping her voice low, and even.
"Yes. I am looking for work."
Keiko nods, keeping her voice low, and even.
"Yes. I am looking for work."
Gets a canny look, and nods. He reaches for the coins.
"Don't know you, so can't say how "hirable" you are. Best I can do is this....walk ta the door, walk back this way, take a seat in that booth right there (last booth on your right). Somebody's interested, they'll come by."
He slides a coin back at ya. "Might take a bit. You might get thirsty."
He then starts polishing the bar, and watches you, assumably to see what you do.
"Don't know you, so can't say how "hirable" you are. Best I can do is this....walk ta the door, walk back this way, take a seat in that booth right there (last booth on your right). Somebody's interested, they'll come by."
He slides a coin back at ya. "Might take a bit. You might get thirsty."
He then starts polishing the bar, and watches you, assumably to see what you do.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko nods, grabs the beer, and walks to the booth as the bartender instructed. She sits down there, feeling exposed, aware that her attire makes her stick out some. Nursing her beer, she looks over the room, and its occupants, missing her AR overlays, the ability to "tag" people, to make notes, to browse the matrix. At least her eye recording unit works.
Keiko's keeping her attention on the room, to spot trouble in time, but also to keep from thinking about her situation. She tries to project a confident attitude, sitting there as if it was the most natural thing to do.
Keiko nods, grabs the beer, and walks to the booth as the bartender instructed. She sits down there, feeling exposed, aware that her attire makes her stick out some. Nursing her beer, she looks over the room, and its occupants, missing her AR overlays, the ability to "tag" people, to make notes, to browse the matrix. At least her eye recording unit works.
[ Spoiler ]
Keiko's keeping her attention on the room, to spot trouble in time, but also to keep from thinking about her situation. She tries to project a confident attitude, sitting there as if it was the most natural thing to do.
[ Spoiler ]
On your stroll to the entrance, you notice the three you followed in, 2 humans and an elf, now sitting with a fourth human, a wiry, decently dressed woman. They are leaning together in conversation. Most of the booths on either side are occupied, some singles, some doubles, some full at 4.
Making your way back to the booth, you feel eyes upon you, but nobody is staring. In this age of contact lenses and cybereyes filled with enhancements, you still make the observation that nobody seems to be having trouble seeing through the darkness in the bar.
You settle into the booth, and sip your beer.
No trouble, or anything else, comes towards you. Over the first thirty minutes you observe various individuals make their way to the bar, getting drinks and having words with the bartender. Some keep their eyes to themselves as they leave the bar or return to their seats, some boldly look at you, for whatever reason.
The bartender seems to pay no attention to the world beyond proximity to his bar.
You sit and watch without the assistance of your usual programs.
It seems the bar begins to fill with more people.
Just as you are forced to take the last bit of beer (and start wishing that you had some water), a tall man of chinese decent, dressed in black street clothes and a large, flashy knife at his waist, steps from behind cover of the booth and stands facing you. A handsome man, he smiles broadly, showing clean teeth. He slides into the booth across from you.
Making your way back to the booth, you feel eyes upon you, but nobody is staring. In this age of contact lenses and cybereyes filled with enhancements, you still make the observation that nobody seems to be having trouble seeing through the darkness in the bar.
You settle into the booth, and sip your beer.
No trouble, or anything else, comes towards you. Over the first thirty minutes you observe various individuals make their way to the bar, getting drinks and having words with the bartender. Some keep their eyes to themselves as they leave the bar or return to their seats, some boldly look at you, for whatever reason.
The bartender seems to pay no attention to the world beyond proximity to his bar.
You sit and watch without the assistance of your usual programs.
It seems the bar begins to fill with more people.
Just as you are forced to take the last bit of beer (and start wishing that you had some water), a tall man of chinese decent, dressed in black street clothes and a large, flashy knife at his waist, steps from behind cover of the booth and stands facing you. A handsome man, he smiles broadly, showing clean teeth. He slides into the booth across from you.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko is taken a bit by surprise, but smiles back - ingrained habit and politness taking over. She greets the man with a half-bow of her head and upper body, stealing a closer look at him as well.
Keiko is taken a bit by surprise, but smiles back - ingrained habit and politness taking over. She greets the man with a half-bow of her head and upper body, stealing a closer look at him as well.
[ Spoiler ]
The man doesn't give you much of a chance to check him out, as he launches right into conversation, in Mandarin.
"Hello pretty flower. What brings you to such a sunless place?"
His smile is a little over done, his gaze a little too sharp for the friendliness he exudes. The hand he gestures with is rough and has seen hard work, with random scars across the back of his hand. It seems unlikely to you that he has much if any cyber/bio mods. His eyes are real, his movements don't look like they have any benefits from enhancements, none of the tell tale signs.
Other than what you have already seen, there is little yet to pull more information from.
"Hello pretty flower. What brings you to such a sunless place?"
His smile is a little over done, his gaze a little too sharp for the friendliness he exudes. The hand he gestures with is rough and has seen hard work, with random scars across the back of his hand. It seems unlikely to you that he has much if any cyber/bio mods. His eyes are real, his movements don't look like they have any benefits from enhancements, none of the tell tale signs.
Other than what you have already seen, there is little yet to pull more information from.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko answers in Mandarin, as polite as she can.
"I am looking for work."
Again tries to subtly draw attention to her pistol, to indicate what kind of work she is looking for, and strives to appear competent and more confident than she feels.
Keiko answers in Mandarin, as polite as she can.
"I am looking for work."
Again tries to subtly draw attention to her pistol, to indicate what kind of work she is looking for, and strives to appear competent and more confident than she feels.
QUOTE (Fuchs @ Nov 26 2008, 01:52 PM)
Manila, Outskirts, "Heads Up" bar, 1916
Again tries to subtly draw attention to her pistol, to indicate what kind of work she is looking for, and strives to appear competent and more confident than she feels.
Again tries to subtly draw attention to her pistol, to indicate what kind of work she is looking for, and strives to appear competent and more confident than she feels.
The man grins big, and apparently has a sense for subtlety.
"I see..." he says, continuing to try to be what you can only guess is his attempt at being charming. "It just so happens I have need of a gun. And a pretty gun such as yourself is even better. You don't mind...shooting someone, do you?"
Manila, Outskirts, "Heads Up" bar, 1916
A bit ago, the standard answer would have been "Not if it is in the interest of the corporation, sir", but this is the past now - Keiko is not part of Renraku anymore. Still, where in the past the need of the corporation dictated her actions, now her own need dictates her actions. Slowly she shakes her head.
"No, I do not mind."
A bit ago, the standard answer would have been "Not if it is in the interest of the corporation, sir", but this is the past now - Keiko is not part of Renraku anymore. Still, where in the past the need of the corporation dictated her actions, now her own need dictates her actions. Slowly she shakes her head.
"No, I do not mind."
Smiles even bigger. "Not sayin you'll need to do that, just inquiring."
"It's like this. Got a nice little job lined up. Should be easy, but I want another gun just to be sure. Pay is a thousand nuyen, double that if you actually do have to shoot someone."
He smiles again, and you get the sense he approves of how clever he is.
"You'll have to meet Pappa Qi first though. He's gotta approve you first."
He looks to your empty beer. "Go meet him now?"
"It's like this. Got a nice little job lined up. Should be easy, but I want another gun just to be sure. Pay is a thousand nuyen, double that if you actually do have to shoot someone."
He smiles again, and you get the sense he approves of how clever he is.
"You'll have to meet Pappa Qi first though. He's gotta approve you first."
He looks to your empty beer. "Go meet him now?"
Manila, Outskirts, "Heads Up" bar, 1916
Keiko glances at the beer, wondering who this Papa Qi was. She misses the background information she used to have on jobs. She could ask around, try to gather information, but she suspects "Papa Qui" has a lot of influence here, and would probably learn more about herself than she would learn about him if she asked around.
A polite smile masks her thoughts. A thousand nuyen is a lot of money in this area. It could be a trap, but then, she suspects the man has other means at his disposal if he wanted to harm her.
So Keiko nods, sneding a short, silent prayer up to any kami that might be watching over her.
"Yes, I would like to meet him."
Keiko glances at the beer, wondering who this Papa Qi was. She misses the background information she used to have on jobs. She could ask around, try to gather information, but she suspects "Papa Qui" has a lot of influence here, and would probably learn more about herself than she would learn about him if she asked around.
A polite smile masks her thoughts. A thousand nuyen is a lot of money in this area. It could be a trap, but then, she suspects the man has other means at his disposal if he wanted to harm her.
So Keiko nods, sneding a short, silent prayer up to any kami that might be watching over her.
"Yes, I would like to meet him."
The man smiles. "Wiz." he proclaims in Mandarin's equivalent.
He slides out of the booth, and stands. Looking at you, he takes the lead. "Let's go," and turns and walks to the door.
He slides out of the booth, and stands. Looking at you, he takes the lead. "Let's go," and turns and walks to the door.
Manila, Outskirts, "Heads Up" bar, 1916
Keiko nods, and follows him. She feels even more conspicious right then, since the chinese man is probably well known here, and she may get noticed more in his company. Not that she has much of a choice.
I hope this Papa Qi doesn't expect some traditional chinese dress... Keiko thinks, hoping her attire will not lead to trouble.
Keiko nods, and follows him. She feels even more conspicious right then, since the chinese man is probably well known here, and she may get noticed more in his company. Not that she has much of a choice.
I hope this Papa Qi doesn't expect some traditional chinese dress... Keiko thinks, hoping her attire will not lead to trouble.
QUOTE (Fuchs @ Nov 27 2008, 11:54 AM)
Manila, Outskirts, "Heads Up" bar, 1916
Keiko nods, and follows him. She feels even more conspicious right then, since the chinese man is probably well known here, and she may get noticed more in his company. Not that she has much of a choice.
I hope this Papa Qi doesn't expect some traditional chinese dress... Keiko thinks, hoping her attire will not lead to trouble.
Keiko nods, and follows him. She feels even more conspicious right then, since the chinese man is probably well known here, and she may get noticed more in his company. Not that she has much of a choice.
I hope this Papa Qi doesn't expect some traditional chinese dress... Keiko thinks, hoping her attire will not lead to trouble.
The man leads you down a maze of streets and an alleyway or two. He's clearly heading somewhere, and looks comfortable moving through the streets. He doesn't talk to you, though he says hi a few times to various people, not stopping to talk. He sets a good pace, but makes sure you are with him.
Following behind him to the degree that you do, you notice that he is lean and muscled in a wiry way, visible even under his now sweaty tank top. You don't change your observation that he is without modification. You also re-verify your conclusion that he has no other weapons on him besides the big knife on his front waist.
He slows and smiles, "You want something to eat? We're almost there, don't want your stomach rumblin. Pappa Qi hates that.
There are around you, and you've been passing, busy streets filled with vendors of various kinds.
Manila, Outskirts, "Heads Up" bar, 1925
Keiko didn't grow up on the streets, but she's not about to turn down free food, not in her current situation. Besides, it would be rude to refuse the gracious offer. So she smiles and thanks the man.
"Oh yes, very kind of you. I would very much like that. What would you recommend?"
Almost as an afterthought, she adds: "I never got your name, to properly thank you."
Keiko didn't grow up on the streets, but she's not about to turn down free food, not in her current situation. Besides, it would be rude to refuse the gracious offer. So she smiles and thanks the man.
"Oh yes, very kind of you. I would very much like that. What would you recommend?"
Almost as an afterthought, she adds: "I never got your name, to properly thank you."
The man smiles and moves to and gets two boxes of actual meat and rice noodles. Form the duck carcasses hanging in the stand, you assume you're eating duck.
He hands it to you and smiles, keeping eye contact. "Call me Ke-hei."
He hands it to you and smiles, keeping eye contact. "Call me Ke-hei."
Manila, Outskirts, 1928
Keiko smiles, and does a half-bow again.
"Thank you Ke-Hei, you're very kind. I am Keiko."
She realizes that she really is Keiko now. Yui Maeda has been erased. No SIN, no records, no name. She suspects even her father will pretend not to remember he had a daughter. All that is left of her is her training and skills as an operative - "Keiko". She has no past anymore, but Keiko will have a future.
She doesn't really think Ke-Hei is very kind, he has an agenda. She can imagine this routine used on others, make them feel obligated to him, or his friends, to make them easier to handle. Normal business practise. But respect and politeness would be returned by her, no matter how sincere they were - that has been ingrained into her.
Keiko smiles, and does a half-bow again.
"Thank you Ke-Hei, you're very kind. I am Keiko."
She realizes that she really is Keiko now. Yui Maeda has been erased. No SIN, no records, no name. She suspects even her father will pretend not to remember he had a daughter. All that is left of her is her training and skills as an operative - "Keiko". She has no past anymore, but Keiko will have a future.
She doesn't really think Ke-Hei is very kind, he has an agenda. She can imagine this routine used on others, make them feel obligated to him, or his friends, to make them easier to handle. Normal business practise. But respect and politeness would be returned by her, no matter how sincere they were - that has been ingrained into her.
Ke-Hei smiles and nods, and continues on his walk, a casual stroll through the crowd while eating. Assuming that you follow, you eventually wind your way to what looks like a small office next to a sit down thai restaurant. He punches in a code, tosses his empty carton on the ground, and walks in to a furnished but presently empty lobby. He holds the door open for you, and closes it behind you. It locks automatically.
(respond, and I will continue)
(respond, and I will continue)
Manila, Outskirts, small office lobby, 1938
Keiko feels trapped, but keeps smiling as she looks around, taking the lobby in, trying to gauge the owner's background from it.
Keiko feels trapped, but keeps smiling as she looks around, taking the lobby in, trying to gauge the owner's background from it.
The lobby is small. There is a short hallway with what looks like a small room off to either side of it, and a doorway at the end of the hall.
So far, without an obvious search, you have noticed no surveillance in the room, nor a camera outside. There is a secretary/computer setup at the front desk. It clearly is not set up for walk in traffic, and appears to more to be a spaced for private business operations.
Ke-Hei turns to you and puts his hands on his hips. "S'oka. Here's the deal. On the other side of that door (he motions his head towards the door at the end of the hallway) there's two guards. Nobody gets to take weapons in the room past that. That's Pappa Qi's office. They'll put your guns in a lockbox and hold them for you. Then we'll see Pappa Qi. I think he'll like you. You look sharp. He likes sharp tools."
He says this all matter of factly, and says the latter like a compliment, rather than a dig, insult, or joke.
He gives you a moment, raising an eyebrow, as if waiting for your consent.
So far, without an obvious search, you have noticed no surveillance in the room, nor a camera outside. There is a secretary/computer setup at the front desk. It clearly is not set up for walk in traffic, and appears to more to be a spaced for private business operations.
Ke-Hei turns to you and puts his hands on his hips. "S'oka. Here's the deal. On the other side of that door (he motions his head towards the door at the end of the hallway) there's two guards. Nobody gets to take weapons in the room past that. That's Pappa Qi's office. They'll put your guns in a lockbox and hold them for you. Then we'll see Pappa Qi. I think he'll like you. You look sharp. He likes sharp tools."
He says this all matter of factly, and says the latter like a compliment, rather than a dig, insult, or joke.
He gives you a moment, raising an eyebrow, as if waiting for your consent.
Manila, Outskirts, lobby of Papa Qi's office, 1940
Keiko nods, almost a bow, smiling politely still as she thanks him for the compliment. The security measures are sensible precautions, but she is sure those are not the only ways Papa Qi uses to keep himself safe.
"I understand. Important people have a lot of enemies."
With a small amount of self-irony, Keiko adds that she has just one gun.
Keiko nods, almost a bow, smiling politely still as she thanks him for the compliment. The security measures are sensible precautions, but she is sure those are not the only ways Papa Qi uses to keep himself safe.
"I understand. Important people have a lot of enemies."
With a small amount of self-irony, Keiko adds that she has just one gun.
Ke-Hei nods in a business-like way and turns and walks towards the back door. He opens it and steps in, holding it open to you. Following him, you see a mostly empty storeroom, well-lit, with shelves along the back wall. You see two human men sitting at a table playing cards. They look up as the door opens and stand, looking at you with serious expressions. They seem to be armed with only a large knife at their front, like Ke-Hei.
Manila, Outskirts, lobby of Papa Qi's office, 1941
Keiko bows, and removes her holster with the gun in it, handing it over to the guards, followed by her ceramic knife. Then she turns to Ke-Hei, singnalling that she's ready.
I sure don't carry any other weapons, as he should be able to see, she thinks, with some irony.
Keiko bows, and removes her holster with the gun in it, handing it over to the guards, followed by her ceramic knife. Then she turns to Ke-Hei, singnalling that she's ready.
I sure don't carry any other weapons, as he should be able to see, she thinks, with some irony.
A guard takes the holster and knife from you and turns towards a shelve lined wall with a large metal box. His movement is ordinary and expected, but as he turns away with your weapons in hand you notice he barely smiles in a way that just doesn't seem right.
With that guard two steps away from you, with the oddness of his restrained smile cycling through your brain, and the other guard slightly offset of the front of you, you turn to nod to Ke-hei.
He slowly (too slowly?) closes the door and it makes an ominous click, and he smiles at you in a pleased but newly unfriendly way, moving his hand to rest on the hilt of his big knife.
"You've made all the right choices..." he says slowly in a way that does not at all sound like he really means it, his smile gaining elements of a sneer.
Time seems to pause for a moment as your various assets, natural and enhanced, all conspire to the conclusion that suddenly you are in a very, very bad spot. Your blood pressure spikes and you feel adrenaline dump into your body.
You survival instincts and your training give you these variables:
Ke-Hei has quite likely lured you into a trap.
You walked into it.
Ke-hei is ten feet away in front of the only exit you have so far seen.
Your gun and knife are moving away from you, but only 4 feet away held by a man whose back is to you.
The other guard is positioned perfectly behind you for a quick twirl and elbow strike to the throat. He has a knife on him and you haven't yet heard or felt evidence of any movement from him.
What do you do?
With that guard two steps away from you, with the oddness of his restrained smile cycling through your brain, and the other guard slightly offset of the front of you, you turn to nod to Ke-hei.
He slowly (too slowly?) closes the door and it makes an ominous click, and he smiles at you in a pleased but newly unfriendly way, moving his hand to rest on the hilt of his big knife.
"You've made all the right choices..." he says slowly in a way that does not at all sound like he really means it, his smile gaining elements of a sneer.
Time seems to pause for a moment as your various assets, natural and enhanced, all conspire to the conclusion that suddenly you are in a very, very bad spot. Your blood pressure spikes and you feel adrenaline dump into your body.
You survival instincts and your training give you these variables:
Ke-Hei has quite likely lured you into a trap.
You walked into it.
Ke-hei is ten feet away in front of the only exit you have so far seen.
Your gun and knife are moving away from you, but only 4 feet away held by a man whose back is to you.
The other guard is positioned perfectly behind you for a quick twirl and elbow strike to the throat. He has a knife on him and you haven't yet heard or felt evidence of any movement from him.
What do you do?
Manila, Outskirts, lobby of Papa Qi's office, 1941
Traitorous honorless chinese bastard!
Mentally cursing, Keiko tries to jump the man in front of her, getting her pistol from him.
Traitorous honorless chinese bastard!
Mentally cursing, Keiko tries to jump the man in front of her, getting her pistol from him.
[ Spoiler ]
You dash toward your weapon, pursuing that action over other options such as elbowing the man right next to you in the throat, and/or taking his knife.
As you take the three fast steps towards your man, the assessment flashes through your thoughts that these men must have no modifications. The man receives no verbal warning from his partners as you move past him, grab your holster between his hands, and fall/dive to the floor, rolling over once to come up on your back.
There was a brief tug as you rip the holster rig from his hands. He clearly wasn't expecting this from you, as evidenced by the expression on his face and how his hands remain open and surprised that they no longer had a holster in him.
As you roll to a stop on the floor, you notice:
The holster and gun in your hands (holstered)
your knife hitting the floor.
The guard that had been next to you yelling out a curse at you and the now gunless man, and the sound of him drawing his blade and starting to rush at you.
The sound of ke-hei drawing his blade then yelling "Get that gun!"
As you take the three fast steps towards your man, the assessment flashes through your thoughts that these men must have no modifications. The man receives no verbal warning from his partners as you move past him, grab your holster between his hands, and fall/dive to the floor, rolling over once to come up on your back.
There was a brief tug as you rip the holster rig from his hands. He clearly wasn't expecting this from you, as evidenced by the expression on his face and how his hands remain open and surprised that they no longer had a holster in him.
As you roll to a stop on the floor, you notice:
The holster and gun in your hands (holstered)
your knife hitting the floor.
The guard that had been next to you yelling out a curse at you and the now gunless man, and the sound of him drawing his blade and starting to rush at you.
The sound of ke-hei drawing his blade then yelling "Get that gun!"
Manila, Outskirts, lobby of Papa Qi's office, 1941
Snarling, Keiko feels the smartlink ready the weapon, her field of vision getting overlaid with her smrtalink ARO information. There's no time to pull, the man is rushing her, so she points it at the man and pulls the trigger twice, dropping to one knee, with the "weapon still in holster" info blinking.
Snarling, Keiko feels the smartlink ready the weapon, her field of vision getting overlaid with her smrtalink ARO information. There's no time to pull, the man is rushing her, so she points it at the man and pulls the trigger twice, dropping to one knee, with the "weapon still in holster" info blinking.
[ Spoiler ]
Having putting all her focus on connecting with the gun, Keiko's grab and rush left her on her back on the floor. A steady position, her brain automatically notices and calculates, though not great for mobility.
Slipping her finger into the trigger and against the holster, she snarls and points her weapon with both hands at the man in front of her, who is just now thinking about how to react, which effectively leaves him a stationary target. Keiko unloads two rounds into his tshirt, while noticing the next guard starting to rush towards her from behind her first target.
Two holes appear in the tshirt, inches apart and centered on his solar plexus and the man's eyes go wide.
Slipping her finger into the trigger and against the holster, she snarls and points her weapon with both hands at the man in front of her, who is just now thinking about how to react, which effectively leaves him a stationary target. Keiko unloads two rounds into his tshirt, while noticing the next guard starting to rush towards her from behind her first target.
Two holes appear in the tshirt, inches apart and centered on his solar plexus and the man's eyes go wide.
Manila, Outskirts, lobby of Papa Qi's office, 1941
Keiko points the gun at Ke-Hei, yelling "Stop!", and getting ready to shoot if he does not stop.
I need to get out of here...
Keiko points the gun at Ke-Hei, yelling "Stop!", and getting ready to shoot if he does not stop.
I need to get out of here...
Ke-Hei is still standing at the door, his hand on the knob.
The guard you shot drops to his knees to the floor, his wide eyes starting to unfocus and redness quickly soaking into his green tshirt. Red and green really does make brown.
The other guard must have decided his chances of making it past the barrel of your pistol aren't good enough, and he comes to a fast, off balance stop, his hands in the air, one hand full of knife. His face looks hard and determined. He's not moving, but looks to have a harmful intent.
From Ke-Hei's mouth rolls an angry, hateful stream of words, "You...fragging....little....slitch." His grip on his knife handle is white knuckled.
The guard you shot drops to his knees to the floor, his wide eyes starting to unfocus and redness quickly soaking into his green tshirt. Red and green really does make brown.
The other guard must have decided his chances of making it past the barrel of your pistol aren't good enough, and he comes to a fast, off balance stop, his hands in the air, one hand full of knife. His face looks hard and determined. He's not moving, but looks to have a harmful intent.
From Ke-Hei's mouth rolls an angry, hateful stream of words, "You...fragging....little....slitch." His grip on his knife handle is white knuckled.
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