bakerstreet | To put it plainly:

the film noir meme

-Post with your character and fandom, as well as any preferences.
-Go here and generate a random number between 1-10 for the setting
-If you want, you or the person tagging you can roll a number between 1-8 for relationship as well!
- You know what to do next, honey. Do hurry up, the night's not getting any younger.

Possible settings:

1. Crime Scene: Dead body? Burglary? Whatever the crime, the area's been sectioned off for officers to investigate this nefarious deed, and you're getting front row seat.

2. Bar: There's always some hole-in-the-wall frequented by all sorts. The bartender keeps an eye out for trouble, and other things. Of course he keeps an ear to the ground, but it'll cost ya. Perhaps a cop or two will show up demanding answers, but no one ever takes that seriously.

3. Docks at Night: The breeze caressing your face, the sound of the water, the boats passing by...maybe you were called here, or maybe you just like the peace it brings.

4. Alleyway: There's only one way in and out of this little corridor, and what happens in it is up to you and the other character. Just watch for the shadows, if you can see through the fog.

5. Detective's Office: Not too clean, not too messy. Just perfect for the person that's needed to get this mystery cleared up.

6. Rooftop: The wind dramatically blowing about, it's the perfect place to get that person to come and meet you so you can tell them what you want. Or if you're evil, why not kill them up here? It'll be hard to escape you.

7. Dressing Room: For some reason, you're backstage after a performance, and you've gotten into one of these. The mirrors, the costumes, the flowers from fans and the various personal affects...all are present and will be your silent witnesses to whatever occurs.

8. Hideout: You've gotten to the antagonist's spot of choice. Is this a glitzy nightclub with a private room, or is this an abandoned warehouse where they-or you-carry out their plot? The choice is yours.

9. Nightclub: Someone's showcasing their talent tonight, and you may or may not care about it. But it's classic, dimly lit, and it's easy to hide in here.

10. Free choice

Possible relationships:

1. Friends: Maybe you're an unstoppable team, or perhaps your relationship is getting strained. But whatever the situation, you know this person, and you'd be there for them.

2. Coworkers/teammates/classmates: You might not be friends, but you know this person well enough to remember their name. And right now you're being thrown together for a reason.

3. Lovers: This is the one you wanted to stay with for now. Married, dating, or maybe an affair, but you two care about each other enough.

4. Enemies: Utter hatred flows through your veins when you hear this person's name. This is the one you want to take down, and you just might stop at nothing to achieve your goal.

5. Family: Perhaps it's a sibling you're meeting. Or your parent, or some form of relative. Remember that phrase "blood is thicker than water"? It just might apply here.

6. Mysterious Stranger: Someone's been eying you from across the room, or you've been eying them. Will you two speak, or shall they float out of your life? Do they hold information you seek, or do they want something from you?

7. Femme Fatale: You are or have encountered a mysterious and seductive woman, whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. Watch out, you might just get yourself into a real mess of trouble, hot stuff.

8. Free Choice

Originally from

easycompany, with minor modifications.

Flat | Top-Level Comments Only

[ The little sigh from behind Stiles, out of the darkness of the bus shelter, belongs in the soundtrack of a movie, the platonic ideal of the wistful sound made by the freshly spurned romantic. ]

You've got to be the least inspiring detective I've ...

[ His voice trails off because in listening to city noises distant and near, it sounds like a lot of cars are coming. They're still several streets away. Traffic hasn't been heavy through this area thus far, but he's not really an expert on city traffic patterns. Also, he shouldn't 'help' Stiles in any way, so he merely finishes his sentence. ]

... ever harassed.

Somehow, I doubt that you need the inspiration.

[ He'd noticed the hesitation, and takes the time to make a more detailed sweep of the area. ]

I could take that as a confession.

[ He adds, absently. All the lights are off in the brownstone, even the lobby - those are never supposed to be off.

As much as he wants to check it out, he's got to consider his tag-along, and the fact that he has no back up. There's the mover's entrance, it's easy enough to walk past it, even if they can't stop and see. ]

No night's ever complete without a trip down an alley.

[ The engines on the approaching cars sound ... good? Well, he's not a mechanic either. They sound better than, for instance, most of the taxis. Anyway, Stiles will hear them soon if he doesn't already, and it's his show, at the moment. Peter manages to mentally replay the commentary of the last few moments. ]

I could take that as a confession, too.

[ He can't follow his own rules, though. He's not a long term plotter yet, it's just too irresistible to follow his instincts and see this out. ]

We should get off the street.

That the people of this city need to be less predictable?

[ He picks up the pace, turning into the side street leading back towards the loading zones for a couple of the buildings here.

It's not surprising that one of the doors is propped open, and he'll bet there's someone standing right by the doorway. Judging by the sounds of approaching traffic, he's not going to get any license numbers tonight. ]

Keep going, then take the second left, it should lead to Grover.

Don't ruin my jokes.

[ The objection is purely reflexive; that conversation is mostly over, and the new one, where they're not actually discussing the possibility of being shot by men in cars with well-tuned engines, is ever so slightly more important. Maybe being shot isn't quite as pressing a concern for Peter, but it's not fun either. ]

But you're going in?

[ The stress on "you're" is unkind, a little arrogant, and utterly Peter. He tries not to be the guy going on and on about how fragile and squishy humans are, but he totally did it in his head a few minutes ago and is clearly doing it now. Not that Stiles has ever given any indication he knows exactly what Peter is. ]

[ He snorts, there's no way he's going in there, he's not suicidal. ]

Hale, I told you I'm a gambling man. Figure out the odds on that one.

[ No, he's just going to circle back out front, see if he could catch one of the vehicles that way. There's no way he'll beat the cars going the long way around - they would be long gone. ]

[ He comes to roughly that conclusion after a moment. In Peter's opinion, if you don't already know the identity of the people in cars (with guns?) that you have to avoid, you've stepped too deeply in it to be doing further investigation here and now. This is because he is not a detective, and usually is one of the thing people like to try to avoid. ]

Good luck with that. If you get caught, I'll light a candle for you.

[ He doesn't follow Stiles' directions, though. There's a fire escape he thinks he can reach, but he'll wait for Stiles to circle out of sight. ]

If it'll make you feel better.

[ If he gets caught, it's not like he'll be around to care. See, that's the thing about funerals - they're for the living.

He tips an imaginary hat at Peter, heading back down the street they came from, speeding up into a job once he's sure he can't be seen from the apartment. ]

[ He has to rebound off the wall, but it's doable; it takes him longer to reach the roof, as he's making an effort to be quiet as he climbs. Now he has a good view of the street, where the last of the cars are arriving. Stiles isn't in sight, but he's confident he'll be able to find the detective again if necessary. Unless, of course, he's caught.

Would he make a rescue attempt? Peter plays with the idea while watching, effortlessly still. He'd have to kill a lot of people, probably. This is not a deterrent in and of itself, but it sounds like a lot of work, and his family would probably yell at him, which is so boring.

The men below are getting out of their cars, examining the premises. Some guns, he thinks, but nothing submachine-looking, at least. ]

[ He'd stayed near the wall as the cars had driven past. White text on green plates, one reading --X886. Too bad he didn't have anything to write it down with. No matter, he's done what he can. Better to leave now, without pushing his luck too far.

Pushing himself off of the building, he heads down the emptier street - anyone with good sense for trouble found themselves with a pressing need to be elsewhere.

By all rights, Peter should have been long gone - even as he makes heads towards the road he'd directed him to. ]

[ Observing Stiles' exit, Peter notes what "gambling man" means to the detective, and wholly without irony thinks something along the lines of he's lucky I come around at all to make his life interesting. And he stays. These guys aren't going to come up to the roof unless he makes noises, and now he'll have some information which he can hang over Stiles' head in the near future.

Maybe when they're gone, he'll check the payphone too. Ask the operator using his best nice young man voice about the last number dialed. He didn't really get what he wanted tonight, but there are some prospects which, if properly cultivated, will keep Stiles interesting for at least another few months.

At some point, he probably will have to kill Stiles, it's true. But there's no hurry. ]

[ The payphone will only get Peter the number of the local police department, Stiles had let dispatch connect him to the phone. It shouldn't give any new information.

Given no sign of Peter, Stiles just shrugs. He'll either turn up, or he won't - and at the most inconvenient time, too. Finally, he makes his way away from the neighborhood in a pattern that would be nonsensical to everyone but himself; a precaution to anyone that tried to follow him, or guess at his destination.

He needs to check in with Danny, and a couple more contacts before he's willing to call it a night. ]

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