DARK*MATTER: Midnight at Milwood Morgue

*gets some water from behind the bar, muttering*
"Well, this is one hell of a way to spend vacation. Send me back to the war zone."

*checks the windows to see if there is anyone outside*
 

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Tom sits at the bar and tries to engage the others in conversation and finds that he is ignored by everyone except Joyce. Jim, Joyce, and Adam search for another way out of the pub while Jimmy Barnes remains seated, sipping his beer. Finally Tom, seeing that only Joyce has any social skills, gives up trying to introduce himself and joins in the search of the pub.

The pub is old and stale and unremarkable. [At this point I'm going to use compass directions to avoid confusion in descriptions.] The huge oak door, which is now securely locked, is on the N wall, flanked on both sides by thick, barred windows. Adam glances through these windows but they are so dirty, and it is so dark and rainy outside, that he sees nothing. The W wall contains several dart boards, and a large fireplace burns lazily in the SW corner. The bar runs along the E wall, and at the end of the bar, in the E wall, you see a small black door marked, in official letters, "Private." Below this someone has written in white paint, "THIS MEANS YOU BLOKE!"

In the corner of the S wall, near the fireplace, is another door, with an unlit EXIT sign set over it.

The office door is locked, but shouldn't be hard to force open as it is obviously a poorly made wooden door. The S exit door is a dingy, half-rusted metal and is secured bolted shut from the outside.

As you rummage behind the bar you find the following items (in addition to a wide array of drinks, napkins, and mugs): a baseball bat that has the phrase CROWD CONTROL carved into the handle, the cash register, and a book of matches.

As you step behind the bar in your search, Jimmy Barnes yells out, "What the hell you doin'? This is private property, bub!"
 
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Jim picked up the baseball bat appraisingly. "Crowd control," he chuckled abit. A sense of apprehension washed over him, and he decided that keeping the bat company wouldn't be a bad idea. He turned to the office door. "Keep out, huh?" He said. "Well, I didn't ask you to lock me in here, so ...." He kicked at the door.
 



"Need help?" Tom asks, once again pushing his glasses on his face and resituating his cap on his head. "I can't guarantee I'll be He-Man, but I'll give it a shot."

[Throwing my weight into breaking down the door, too]
 

The door snaps off the hinges without much difficulty. The office inside is small and dingy, containing a battered old roll-top desk, various empty beer cans and half-full coffee cups, and an ashtray full of crushed-out butts. A fire axe is mounted on one wall; on the opposite wall is a mounted wolf's head taken from an animal that was obviously diseased, undernourished, or both.

The room stinks of urine and another scent, hard to identify, but somehow more disturbing, almost alien in its strangeness.

There are no windows in this wretched space; a small, narrow door on the far wall is the only apparent exit. Carved into the wood of this door in harsh, jagged strokes: CELLAR.

At that moment, you hear a pounding on the bar's heavy front door: BAM BAM BAM. From the other side, barely audible through the storm outside, a voice yells out: "This is the British army! We are coming inside! You are being detained! Step away from the door!"

At that you can hear more voices outside, talking excitedly, some yelling. The pounding intensifies.

"We're being rescued," Jimmy Barnes calls out, leaning back in his chair, sipping his beer. Impossible to tell if he's being ironic.
 

"The army? Why the hell would the army be in a dump like this?" Tom asks, keeping his voice low. He scratches the spot where his hair sticks out the back of his cap. "I've got a bad feeling 'bout this. Army + weird apathetic guys = something bad, I think." He steps towards the roll-desk. "Let's look in here."
 


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