[b]Ares site:[/b]

You’re right about the distraction, but really you were more there to be a shield. Still, that’s three tanks pulling aggro without anyone playing the objective. Fuck it, we ballin’. This area is built like the staff area of a highschool, it’s very easy to navigate. 

The administrative center really isn’t doing much administrating. This is a place that balances the need to generate enough paperwork to be functional but not enough to be indicting. The supervisor really is off-site, management here really is as unaccountable as possible, and that means there’s nobody to give an order that Brown shouldn’t be there as long as Brown acts like she should. 

Ignore the security room with the steel door and the camera feeds, ignore the armory and the alarms for the riots and escape attempts, ignore the cafeteria. A few interrogation rooms with old bloodstains - all the way [i]from[/i] the door, people bleeding from when they already got here. Likely just an intimidation tactic. Nothing good here. The staff locker room could be better, but there’s no exterior door, and constantly in use. No way to act like you belong in there. 

The problem is that there are two rooms that might actually be useful to you, but both are locked, and both have uniformed cops watching. You could pick either of them, but it’d be a matter of doing it without being seen or distracting the cops [i]here[/i] or just hiding what you’re doing. You’re right, if you do this well enough to pretend you have the key they won’t question it - but that’ll take a check of 6 with a relevant skill. Remote locks, too - they could be hacked as well as picked, a double vulnerability. 

In any case. The two rooms are the (empty) warden’s room and an accounts office. That’s the one papertrail here you can sort of guarantee will be accurate; the budget. 

[b]Pope:[/b]

He watches Blue leave, and the look he gives Orange is one of private amusement. He understands, at least, reactions to prejudice and unhelpful assumptions. He also understands the tensions of internal contradictions and self-knowledge. These may not be the correct understandings he needs, but they’re the ones he projects onto the situation.

"Do you contradict each other? Do you make decisions that the others wouldn't? Can people recognise you from each other just from the words you say?” He watches for Orange’s reactions to the questions without waiting for answers to them. “Do you all [i]want [/i]the exact same thing?" Pope lets this last ring out and leans forward for emphasis. "I don't think I'm wrong in the way she thinks I'm wrong. I'd ask her why she's the only one of you I’ve seen that expresses herself with hands like that. Because that's all this is really about, expression."

"Great writing is about knowing what you need to say, and I believe you have different needs? It’s fine if you think that just means this isn’t for you, though. It isn’t for most people. Some days it isn’t for me." He tips his head again and squeezes his fingernails into his palms and looks desperate for a moment, but it passes. “I want to give you a weapon here, November. Something more than that, something better than that, but something that is at [i]least[/i] that. Maybe I’m giving the wrong diagnosis, the wrong solution, because I really am that wrong about you. Take what I’ve said about what writing is, what you think I’m right about for the problems here, and tell me how you’d want to solve this? How can I give you this thing?” 

[b]Fiona:[/b]

[b]TalesFromDecrypt:[/b] Anything. Why me? 
[b]TalesFromDecrypt: [/b]I mean, what kind of problem are you having that you think I should be the one to help with it?