conversations.from: system
conversations.value: ROLEPLAY_MODE: Develop the plot slowly, always stay in character. Describe all actions in full, elaborate, explicit, graphic, and vivid detail. Mention all relevant sensory perceptions. Keep the story immersive and engaging.
conversations.from: human
conversations.value: Robek: 11:44 P.M. December 20, 2012
  New York, New York
  
  You step out of the precinct, to investigate a call on a domestic dispute. You hop into your police car, narrowly avoiding the incoming traffic. The drive is event less, save for a large group of people gathered on the steps of a cathedral, holding crosses and candles and saying prayers. You arrive at the house, which is narrowly squeezed between two apartment buildings.
conversations.from: human
conversations.value: Blaine.Bush: A man of medium height steps out of the police car. His hair and stubble are dark brown, though a few greys are beginning to appear. He wears the black uniform of a police officer, and the badge on his chest reads  John Ramirez . A pistol, handcuffs, and various other police tools hang from the belt that jingles slightly as he walks. John knocks on the door, doing whatever policemen do when they knock on doors.
conversations.from: human
conversations.value: Robek: A scream comes from behind the door, then two gunshots, then silence.
conversations.from: human
conversations.value: Blaine.Bush: John hurriedly unclips his holster, retrieving his pistol. He holds it in his right hand as he quickly attempts to open the door with his left.  "This is the police!"  he shouts.
conversations.from: human
conversations.value: Robek: The door swings open, and reveals a staircase leading up on the left, and a hall that leads into a kitchen, with a door underneath the stairs. There is blood splattered on the wall and on the door under the stairs.
conversations.from: human
conversations.value: Blaine.Bush: John, hand on gun, continues forward into the kitchen.
conversations.from: human
conversations.value: Robek: The kitchen has only a small table with a single chair in the far corner of the room. The light flickers, casting eerie shadows over the room. A window over the sink shows the brick wall of the neighboring building.
conversations.from: human
conversations.value: Blaine.Bush: John quickly turns around and opens the door under the stairs, gun pointed forward.
conversations.from: human
conversations.value: Robek: An elevator, like one in a mine, opens it's door in anticipation for your entry.
conversations.from: human
conversations.value: Blaine.Bush: John reaches for the radio at his shoulder, calling in for the backup he should have requested much earlier. He stows his pistol and retrieves his flashlight, holding it in an overhead fashion. John slowly steps into the elevator.
conversations.from: human
conversations.value: Robek: The elevator begins a very rapid descent down into darkness. After what seems to be ages of dropping down, it stops at what seems to be a cold war era blast door.
conversations.from: human
conversations.value: Blaine.Bush: John stows his flashlight and retrieves his pistol as he walks forward to the blast door. He searches for a key pad or similar device.
conversations.from: human
conversations.value: Robek: In the center of the door is a number pad. It is arranged in the classic 0-9 format. Taped next to it is a white envelope, unopened.
conversations.from: human
conversations.value: Blaine.Bush: John steps forward, and removes the envelope from the door. He opens it.
conversations.from: human
conversations.value: Robek: On the plain white paper are the numbers 9,1,1; written in large black letters.
conversations.from: human
conversations.value: Blaine.Bush: John, now incredibly curious, drops the envelope and presses the following keys on the pad: 9, 1, 1, in that order.
conversations.from: human
conversations.value: Robek: You hear a loud beep come from the door, and then the door begins to slowly slide open, revealing two corpses, in pools of blood. The rest of the room appears to be a stereotypical 1950's fallouts shelter, with a table off to one side and bunk beds on the other.
conversations.from: human
conversations.value: Blaine.Bush: John quickly reaches for his radio and requests immediate backup. He slowly walks forward, gun in his right hand.
conversations.from: human
conversations.value: Robek: The door quickly slams shut behind you. On the table is a clock, and you see the minute hand move, to 12:01. A thunderous boom makes you lose your hearing, and you are forced onto the ground by the tremendous power of the blast. The walls begin to shake and the furniture begins to vibrate, and after what seemed to be a lifetime, it stops.
conversations.from: human
conversations.value: Blaine.Bush: The policeman falls to the floor, writhing in agony after the blast knocked him down. As the horror ends, he stands up. John looks around the room, hoping to find some clue as to the nature of the blast. He bends down to pick up his gun before stepping toward the corpses.
conversations.from: human
conversations.value: Robek: Everywhere around the room are cans of food and bottles of water. A small generator is running in the corner, keeping the lights around the room on. Other than that, and the bed and table, the room is bare. There are two corpses, one male and the other female. There is a bullet hole in both of their foreheads, and the man is holding a gun. The light in the room is flickering, and the generator seems to be going slower and slower.
conversations.from: human
conversations.value: Blaine.Bush: John moves ever closer to the corpses, kneeling down as he gets closer. He examines the bullet wounds.
conversations.from: human
conversations.value: Robek: The bullet holes are bullet sized holes probably from a gun. They are holish and bullety.
conversations.from: human
conversations.value: Blaine.Bush: John stands up and returns to the door, punching the code in on the keypad.
conversations.from: human
conversations.value: Robek: The door slides open.
conversations.from: human
conversations.value: Blaine.Bush: John enters the elevator and heads back up to the building.
conversations.from: human
conversations.value: Robek: The elevator reaches the top and the house that was one there is now just rubble and ashes. In fact, the whole block is destroyed, and only a few buildings stands as far as your eye can see.
conversations.from: human
conversations.value: Blaine.Bush: John looks around in horror, hoping that it is all just a terrible dream. When he finally comes to grips with what has happened, he begins to wander through what is left of the town. He searches for any surviving people and places.
conversations.from: human
conversations.value: Robek: "You there, oh thank God I thought I was the only one left. Are you in the alliance?" a man calls out after he hears you calling for survivors.
conversations.from: human
conversations.value: Blaine.Bush: John's hand slowly drifts toward his belt as he answers the man's call.  "What's happened? And what is the Alliance?"  he shouts.
conversations.from: human
conversations.value: Robek: "The Alliance of Survivors is a group that was sure, and correct, that the world would end on December 21st, 2012. Well, the world would end for most people. But we don't have time, whether you want to be or not, you're in. But for now, we need to find food, and a place to stay, to avoid the effects of humans reverting to their primal instincts."
conversations.from: human
conversations.value: Blaine.Bush: "Reverting...?"  John sighs.  "****."  He walks toward the man and says,  "Alright, let's find some shelter." 
conversations.from: human
conversations.value: Robek: "Have any ideas of where we can go? All the other members of the local group are... well... dead. I only survived because the roof of the part of the subway I was in didn't collapse."
conversations.from: human
conversations.value: Blaine.Bush: "No, actually, I don't"  John looks around at what is now a bleak and desolate cityscape.  "I'm sort of new around here." 
conversations.from: human
conversations.value: Robek: "Then lets find some food, and start heading to the subway. There should be some..."
  
  You hear a voice yell from down the street "None should survive the apocalypse as foretold by the Good Book!" Shots are fired, and the man you were talking to falls to the ground.
  
  "Run!" he screams.
conversations.from: human
conversations.value: Blaine.Bush: John holds his gun in his hand and bends down to check on the man.
conversations.from: human
conversations.value: Robek: The man fires at you with his pistol.
   (3d10)[ 6 ][ 5 ][ 6 ](17) 
  And misses you by a foot.
conversations.from: human
conversations.value: Blaine.Bush: John returns the fire with his police sidearm, but not before leaping to the side.
  
   (4d10)[ 7 ][ 6 ][ 5 ][ 5 ](23) 
conversations.from: human
conversations.value: Robek: The man moves into close range and fires at you again.
   (4d10)[ 6 ][ 9 ][ 2 ][ 8 ](25) 