Play@YSDC

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.

A young man, early thirties and dressed in immaculate evening dress, leaves compartment four, then goes to compartment five and knocks on the door. While he waits briefly here, he looks up and down the corridor, hoping to see the car attendant.

Monsier Stephane Thayer is certainly out in the corridor and he gives a warm smile while Cecil knocks on the compartment door, getting a belated "One minute," in response from his good friend Amadi.

"Aha, jolly good. I'm Lord Horfield, compartment four. My luggage is ready to go to the baggage car. " He frowns, " I don't think I've seen you before, Monsieur...?

Cecil looks more carefully as the attendant walks, with practiced ease, up the lurching corridor towards him. "Ah, Monsieur Garcon! I'm sorry, I didn't recognise you with the new hair-cut. How are you? And Madame Garcon, with the beautiful fair tresses? Are there any little Garcons on the way yet?" In a more serious tone he adds, "Have you made any plans for the family should war break out?"

"I have no fear that France would fall," says Garcon. "And my wife is doing quite well, thank you. So what is it you needed taken down to the Baggage Car?"

"Oh just two cases that you will find on the floor in my cabin. Leave the spirits case where it is on the rack, and the writing case on the shelf, thank you Garcon. Oh, and if a bigger cabin comes up, let me know will you? I realise I jumped on at the last minute but No. 4 is dashed small. I don't suppose the private car is free?"

"The private car does not belong to the Orient Express, monsieur," says Garcon with a friendly smile. "It belongs to a Mademoselle Roasch. I do not believe she would be too please to have her private car taken out from under her. At present the double cabin at the end is vacant but that will soon change tomorrow morning."

ooc,[quote]"The private car does not belong to the Orient Express, monsieur,"[/quote] Dur! Of course. Sorry. :roll: I was thinking it was 'private' because the person had the whole thing to herself. Garcon, and all servants who know him, would call Cecil "My Lord" even in France, I think. Even though 'monsieur' is my lord in French. Could be wrong though.

" Roasch, Roasch, Roasch. No I can't place it, German maybe? Is Mademoselle Roasch pretty, would you say Garcon? Nubile, graceful and bluebirds follow in her wake? Cecil is tempted by the larger cabin but can't face the hassle of moving tomorrow morning and he thinks he may be in the bar most of the night anyway.

"She is very beautiful," said Garcon, then speaks in a softer voice that would be harder for anyone in any of the compartments to overhear. "An Egyptian woman though very friendly with the Germans. She has a very regal air to her movements and has a manner that expects smart obedience. Her private car was delayed which delayed the entire Orient Express in its arrival at the Parisian station. She is ... quite unmarried though I doubt she is looking for, not expecting, a suitor. One can never be sure, however."

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.

The conversation between Garcon and Cecil is interrupted by Amadi stepping out of his compartment with a curt nod. "Shall we go?"

Garcon smiles at Cecil. "I have taken the liberty of ordering for you, monsieur, but unfortunately I did not know Sayyid Al-Rassam's preference...."

"My father will have ordered for me," says Amadi. "Let us get over there to be sure we'll be in time for our entrees! I hear the chef they have currently employed does a wondrous job with seafood."

"Thank you Garcon, you are a veritable mine of information as always. Come on, Amadi, let's get some dinner. Have I got some juicy gossip for you - oh, and I think I might be in love already!" Cecil grins, bubbling with excitement and follows Amadi down the corridor towards the social cars.

ooc,If nothing else happens in Agatha, Cecil will proceed to the corridor thread in the next car and so on to the dining room.

Cecil and Amadi head into the dining car. They don't see who they are looking for on the way. The corridors and the lounge car are thus far empty.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. Garcon sits on his chair, clutching at his head and looking quite nauseas.
There is a flyer hanging from the handle of each of the compartment doors that show images which seem to blur when you gaze upon them even though they should, by rights, be clear. The sight of them draws your eye and inflames the imagination. There is something exciting happening here. Some possibility which you are inspired to write down. (SAN Loss 1 / 1d6 - keep rolling for each corridor you pass until you have either passed all three or lost 6 Sanity. If you go temporarily insane, you become obsessed with the imagery or consumed by a bizarre bout of creativity for 1d10 minutes.) There may be more information attached were you to open the flyer and read it.

Charles steps into the corridor, tearing down the flyer on the door to Compartment 9 and crumpling it up in one hand. "Who put these up anyway?"
"An Alexander Roby," said the conductor, lip curling slightly as though the flyers disgusted him as well. "He wishes to conduct a performance in the Smoking Car involving sock puppets and used these as advertisements for his little entertainment. While they should be innocent enough...."
Charles scoffs. "You can tell that they are not, regardless of how innocuous the wording. Take them down at once. Ridiculous things. A sock puppet show! Whatever will they think of next?" He chuckles then. A low, dark sound. "Now mind you don't look at any of them. They're not fit for such sweet eyes."

Lily stays close to Charles, the brim of her hat pulled down to nearly cover her eyes as she gazes firmly at the floor. "Is a sock puppet what it sounds like?" she asks, ready to follow Charles into Compartment 9--if he doesn't decide to tear all the flyers down himself.

He gestures for her to enter first, holding open the door for her.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. Garcon sits on his chair looking quite calm.

Lily emerges from Compartment 9 behind Charles, and follows him out of the corridor.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. The conductor, Garcon, rises from his seat at a glance from the two men striding into the corridor and he quickly goes over to unlock Compartment 5.
Amadi Al-Rassam gives Charles an awkward look. "I really hope that what you say is as interesting as you claim."
"Well, I can promise you won't be bored," says Charles. He gestures toward the open door, "Please, if you would indulge me?"

Cecil arrives from the other sleeping car and nods to Garcon. He notices yet more posters; his head reels and his stomach churns; he says to Garcon,"mind if I just rest here a mo, I feel lousy."

sanity roll,[url=http://invisiblecastle.com/roller/view/4347201/]1d100=67, 1d6=1[/url]

Once Cecil has recovered he makes his way to compartment five and knocks on the door, "I'm glad there are no posters in here, ghastly things - it wouldn't do for a lady to see them." He says to Garcon while he waits.

Lily enters the corridor without so much as a glance at anything around her. She puts her hand on the doorknob to Compartment 9's door and lets out a shallow exhale.

Keeper,Has Charles thought to have the compartment door locked?

Cecil, waiting outside compartment 5, turns round and watches the lady further down the corridor, then he says to Garcon, "Is Mr. Al-Rassam the Younger in residence do you know?" He nods to the door in front of him.

Garcon unlocks the door for Lily before turning to Cecil. "Yes, he has just entered with another fellow whom I don't recognise. A British chap."

Lily barely acknowledges Garcon's presence at all, only flicking her gaze in his direction before stepping into Compartment 9 and shutting the door firmly behind her.

Cecil looks alarmed, "Then why isn't he answering the door? I hope the old bean's tickerty boo." He knocks harder on the door, "Amadi, you old codger, shake a leg and open the door! It's me, Cecil!"

Amadi Al-Rassam opens the door. "What's wrong, Cecil?"
Another fellow can be seen sitting on the bed as though it were still a couch.

Cecil looks at Amadi with obvious relief and he is very surprised to see the other man. "Nothing yet but calamity is imminent. May I come in; I have some interesting... and alarming...propositions." Very quietly he whispers, a tad theatrically, "This Belanger fellow on the bed - is he friend or foe?"

"Well, I'd like to be considered a friend," says Belanger, holding out his hand. "My names is Charles, Charles Belanger. I recognise you, I think, Mr. Linscott though only dimly. Perhaps we've been in a similar line of work or attended a similar set of gatherings?"
Amadi Al-Rassam gestures for Cecil to enter and takes a seat to give the man some room to stand, even if they are pretty much now knees to knees. "I don't know this gentleman but he seemed to want to talk to me."

Cecil enters compartment 5.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. The conductor sits on his chair, musing and watching those who enter the corridor.

The door to Compartment 9 opens and Lily enters the corridor with a flying leap, managing to stay upright as she lands on her feet. She skips down to the sleeping car door with similar reckless abandon, her face devoid of any joy or enthusiasm one might expect.

The conductor politely averts his gaze to his clipboard.

Cecil leaves compartment 5 and waits with Charles until Amadi is ready to leave towards the smoking car. He says to both of them, "I know you both think I'm a little batty but would you humour an old man? If any of us feel like we are walking into peril of some sort or want to alert the other two to some sort of dastardly mischie, can we use the word 'marmalade' as a codeword warning?" He shrugs. "It's all probably nonsense - but just in case..."

Charles turns and smiles at him. "Very well, then. Looks like there's something that's really got you worried."
Amadi Al-Rassam just smiles and shrugs. "Marmalade...."

Cecil grins, "Mature or thin cut - your choice." He leads them towards the next sleeping car, nodding to Garcon as he goes.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. The conductor sits on his chair, musing and watching those who enter the corridor.

The train has stopped at another station and the conductor is outside on the platform with the sleeping car door to the outside world left open. He's currently bent over, lifting an attractive woman's large suitcase. As those folks filtering through the passageway cross, they notice that she is peering dispassionately at them as they go.

Lily sees,that the woman's gaze sharpens the moment Charles stops looking in her direction. You don't believe anyone else caught it because you're behind him in the Conga line and therefore the only one with line of sight to him at that moment.

Cecil sees,that the woman's gaze seems to rake Lily's form in an oddly masculine way once Lily isn't looking at her. Lusty, perhaps? Or ... something else? It's hard to say. The only vivid part of her at this moment includes her eyes.

Cecil notes the beautiful woman standing on the platform and points her out to Amadi. "There's a woman with fire in her eyes. I imagine everyday with her would be akin to playing Russian roulette - but it could be worth it. At least a man would die happy with her. I wonder what she is doing getting on here, in the middle of nowhere it seems." He turns to the attendant, "Arnaud, where are we? As in the station, nothing metaphysical what." He also takes note of which compartments the other passengers enter.

Lily looks away from the platform, staring resolutely at the opposite wall as she follows Charles.

Charles and Lily wait by Compartment 9 as Arnaud is busy returning with the suitcase. Farooqi & Amadi Al-Rassam wait by the door to Compartment 5 though Amadi tries to hide his smirk at Cecil's comments. Johannes Sprech in Compartment 3
"We're at Nancy," says Arnaud as he reenters the corridor. "It's a city in the north-eastern French department of Meurthe-et-Moselle and formerly the capital of Lorraine." He pauses, and lowers the case for a moment as the woman steps up beside her. "Gospoja Svetlana Altukhov, this is Lord Cecil Linscott, Earl of Horfield. Now, if you'll forgive me, madam, I must unlock these doors for the others if you are to reach Compartment 2." He moves along to unlock Compartment 9 first, admitting Lily and Charles.

Knowledge of Russian cultures you can click if you'd know it,Gospoja is the Russian word for Miss.

"Charmed, I'm sure," says the woman in a velvety Russian accent, holding out her hand to Cecil. Her gaze seems to pin him, dissect him, understand him.... She must have a will of iron to have a gaze that strong.

"Madame, the pleasure is all mine. Please, allow me to offer you an arm." Cecil helps the lady into the carriage. "You'll have to forgive the compact nature of the corridor; we're rather like sardines in a can, what." He smiles affably. "Altukhov, is that a Russian name?" Out of the corner of his eye he watches the others.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions. The train pulls away from the Nancy platform and Arnaud closes the door before opening Compartment 9 for Lily and Charles Gavigan. Charles enters without a backwards glance.

Farooqi & Amadi Al-Rassam wait by the door to Compartment 5 though Amadi tries to subtly ogle out of the corner of his eye. Johannes Sprech stands by in Compartment 3.
"Yes, it is," she says, her voice full of utter sweetness and light even as her eyes rake over the others within the corridor like a scientist viewing a slide beneath a microscope. "Although I call Mother England home ever since she opened her arms to me all those years ago. I retain my accent, however, in respect to my parents. And you are a Lord? Isn't it fascinating the sorts of people you can meet aboard a train?"

"Absolutely, train travel is fascinating. There are all sorts of wonderful characters on board this train. And I am but a lowly earl, one day to inherit a veritable heap of a mansion and positively acres of cows, cottages and hillsides. Although the town house in Bloomsbury is alright. Useful for a stop over. But it is late, Madame. Maybe we could continue over a light repast in the morning?"

The conductor unlocked Compartment 5 and Amadi and Farooqi Al-Rassam enter their compartment for the night. Charles gestures for Lily to enter after him.
"There'll be plenty of time for conversation later, I am sure," she says with a brief nod.

Lily blinks in apparent surprise, her facial expression a touch less pensive, and follows Charles into Compartment 9.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.

Johannes Sprech enters Compartment 3 when the conductor opens it and then Svetlana Altukhov enters Compartment 2 once unlocked. Finally, the conductor gives Lord Cecil a friendly smile before unlocking his own compartment, Compartment 4.

Cecil nods goodnight, "Thank you Arnaud." he turns back from inside his compartment. "Let me know if anything untoward happens during the night, there's a good fellow. Otherwise, see you in the morning."

Now the corridor is empty, the conductor returns to his seat.

Leaving his compartment, "That's strange, it's never stopped before." Cecil tries winding his watch up and then knocks at the Al-Rassams' door.

Farooqi's voice can be heard with abrupt suddenness as he knocks on the door, "ينقذني من الموت والركود، يا أسود فرعون، وقال انه من الفوضى الزحف، لأنني أعرف أنه في غضون ضعف الجسد والطبيعة كسر الحمقاء من العقل أنا التراجع."

Arabic Translation,Deliver me from death and stagnation, oh Black Pharoah, he of the crawling chaos, for I know that within the weakness of the flesh and the foolish broken nature of the mind I am undone.

As his words peter out, the door slowly creaks open, revealing a splintered lock, to reveal the skeletal remains of two suited men. The chest of one has been exploded inwards, the vest ruptured outwards, around the skeletal arm of the other, as though one had died when the other thrust his hand through to his heart. How the other one died is a mystery.

"Lord preserve me." Whispers Cecil as he is confronted by the scene. "Surely..." He is disbelieving of what he sees and looks wonderingly around the cabin before entering slowly. "...It can't be..." Fearing the worst he looks closer at the suits to see if they are Amadi's and Farooqui's. He also looks for Amadi's ankh if he can't tell them apart.

The skeleton with its hand thrust through the other appears to be Amadi judging by both its suit and the ankh it wears around its neck bones.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.

(Moved here for posterity and edited due to triggered events....)

"Amadi, old fellow, what have you done?" Cecil is horrified and terribly saddened at the inexplicable loss of his two friends. He leans against the wall for a few moments to gather himself. "This must be supernatual - I can't think of any other theory. And somehow related to the evenings' general weirdness, I'll be bound." "I'll find out what's gone here - if I can. Good luck, old friends, I hope you're both in a more promising place than this hellish pit we seem to have landed in." After looking fruitlessly in the suitcases, Cecil reaches forward to gingerly remove Amadi's Ankh which he looks at closely before putting in his pocket.

ooc,I can remember compartment 2, but which carriage? Also, I won't be posting until Wednesday so please npc me if necessary.

Before his very eyes, he sees the skeletal head of his former friend begin to turn towards him and he feels a sudden jolt of fear. There is only one thing for it but it is a terrible possibility to consider. He realises, with a start, the weight of the gun in his hand. He can feel its heavy weight and the stubbled metal of its grip in his hand. Before he can consider his next action .... Cecil feels a jolt pass through him and, with several quick blinks, finds himself standing in front of the door to Compartment 9 with a gun in one gloved hand. His other hand is upraised, as though about to knock, or having just finished knocking. Glancing sidelong (instinctively) toward the conductor lying in his chair, he can see the man is quite clearly unconscious by the way his head lolls in the upright position and his arms are slack. His own face is hidden behind wool, his scarf wrapped around his head to hide it.

The door to Amadi's compartment is closed and a few doors down though Cecil can hear the muted strains of Farooqi's snores coming, reassuringly, from within it.

The train is slowing to enter the next train station.

Extremely perturbed, Cecil drops his hand and looks around himself. "I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man. Was that all just a vision? How confoundedly confusing." He hears the train slowing down and hurriedly puts the gun in his inside pocket. He is about to go to knock at compartment 5 when he sees the attendant. He goes over to Garcon to see if the man is just asleep or otherwise.

Cecil finds the small gun fits well within the internal pocket. He tilts up the man's head and hears him draw in a sudden breath. It seems that the man has passed out on his chair. Perhaps his tongue had rolled back to block his throat? Whatever the reason, he seems to be breathing better now that his head is lifted. He's alive, at least, and there's no sign of any injury.

Of course, there's an odd lump in his thigh pocket as he leans down that wasn't there beforehand.

(Listen Check)

"Come along old chap. Réveillez-vous !" Cecil undoes Garcon's collar and pats him sharply on the cheek. Then he's alerted by a sound and looks around.

The train moves off from the station. The conductor seems to be quite asleep. Looking around, he can see a woman standing in the doorway to Compartment 9.

Cecil turns round as Lily opens the door. "Oh, sorry. Did I knock?" He looks a little confused. "Well, either way, um, I tell you what: do you have some smelling salts for Garcon here; he's a little under the weather one might say." He gestures to the unconscious attendant lolling in his seat. "Er, did I wake your husband too? Very sorry if I did. It's all been a bit odd, what."

Lily cocks her head, regarding Cecil curiously. Her features are much less striking without her makeup, though her long nightdress is notably diaphanous and perhaps not the sort of thing a young woman should be wearing on a train. "Yes, you knocked. I'm afraid I don't have any smelling salts, what's happened...?"

She trails off and flushes slightly, her eyes widening. "Sir, I-- I'm not married. The man sharing my compartment is my brother."

"Oh, really? Yikes. I do apologise Miss er… sorry, have we been introduced yet? It's been such a night I can't remember. Old brain's got befuddled you know. Well, I'm Cecil Linscott, from compartment four. A pleasure to meet you even if it might be a second time around."
Cecil smiles and gives a short bow whilst still propping up the attendant in his chair. He looks in his early thirties, seems very English and is wearing a well-tailored suit but looks like he dressed in a hurry. "I say, have you been asleep all this time? Nothing odd been happening?" He's also wondering why a lady sleeping in the same cabin as her brother is wearing such a lovely nightdress.

"I don't believe we've met, no, but I think I've heard your name mentioned. I am Lily Gavigan, and the pleasure is all mine, despite the strange circumstances." She smiles wryly.

"I have indeed been asleep, but I've heard of strange things happening. Seizures caused by obscene flyers and all that. I thought they'd all been taken down by now, though."

The train rattles to a halt once more. The conductor sways in his seat but doesn't appear to be any closer to waking.

Cecil peers out of a window to see if it is a normal looking station. "Well, this chap doesn't look he's going to wake at any time soon. Do you think it could be one of those seizures?" Cecil pulls at Garcon's body and lies him on the floor so he can breath safely. "Hopefully he won't choke or anything now. Is your brother still asleep, Miss Gavigan?"

"He must still be asleep, because he hasn't come looking for me yet." Lily shrugs, and glances down briefly at the conductor. "I don't know if there's anything we can do for him. I should probably be going back to bed."

Cecil looks rather disappointed. Talking to a nice lady in a diaphanous nightgown has certainly topped his previous experiences this evening. "Um, quite, of course. So sorry to wake you, 'He that sleeps feels not the tooth-ache.' and all that. Maybe I'll see you at breakfast time?"

Both feel their eyes grow momentarily heavy. Then it passes.

Cecil shakes his head, "Lack of sleep." He mumbles and then walks down the corridor to Compartment 5 again. He turns to look at Lily, "At length I saw a lady within call, Stiller than chisell'd marble, standing there;A daughter of the gods, divinely tall, And most divinely fair." He says to himself under his breath. And then he steels himself and knocks on the door to Amadi's cabin.

There is no response.

"Damn it, man, I heard you snoring just a minute ago." Cecil tries the door handle. If it is locked, he'll try Garcon's pockets for a key.

The door is locked. Garcon does have a key, however. As he fetches it, he notices that there's dawning light coming in from the windows outside. Boy, he'd slept longer than he'd thought!

As Cecil approaches the unconscious man, the door to Compartment 6 opens.
"Oh dear," says Kliment, pulling his luggage out into the corridor. He has a slight Russian accent. "Please tell me he isn't unconscious or dead. Considering I need to give up my room in this car to an SS officer, I would hope we don't have a criminal case on our hands which could justifiably let the German government detain us." He pauses to look Cecil up and down, seeming to read nothing from his face. His eyes linger on the place where Cecil is hiding his gun, however. "You're not a murderer, are you?" He pauses, then deadpans, "Though that'd make the German investigations a damn sight easier."

Cecil drops the key surreptitiously in his pocket. "You don't beat around the bush, do you?" He raises an eyebrow. 'No I'm not a murderer. And the chap is unconscious. I've no idea why but there's been some dashed odd occurrences happening on this train. Perhaps it's connected to one of those. I suppose you slept like a babe all night?" Cecil asks, a little enviously. He is rather worried about the german officer arriving. "This SS chappie - is he inbound imminently? They always mean trouble even when there isn't any. And where are you bunking instead? That's a bit steep, turfing you out."

"Oh, they were upfront about it all when I first booked in," said the man. "I don't mind. I wouldn't want to stand up to Adolf while passing through his terrain either." He looks at Garcon, then picks him up in a fireman's carry and takes him down the corridor. "Here, let me drag him into the bathroom. You can go out there say there was an incident in there that he's had to help with and that he'll be out shortly. Then I'll wear his costume for a bit. I speak decent German and French, so that shouldn't be a problem. I think the train manager would approve. Anything is better than an investigation!"

Cecil nods, 'Good thinking, what. Do you want to store your bags in my cabin until you get re installed? I'll loiter here and stall the officials!' He grins and leans nonchalantly out of the door window to view the upcoming platform.

(Please don't read the Stuttgart Platform thread at this point)

The man puts the conductor in the bathroom and shuts the door behind him. At present the two SS officers are looking increasingly annoyed but barely look at Cecil when he gazes out at them.

There is a sudden series of gun shots, one after the other. At least, he's pretty sure they are gun shots. The two SS officers look at each other and then the one with the more elaborate uniform hurries to the open door of the train, pushing past Cecil unceremoniously while the other man heads to the end of the platform to peer down the track, gun in hand.

There is a sudden series of gun shots, one after the other. At least, he's pretty sure they are gun shots. The two SS officers look at each other and then the one with the more elaborate uniform hurries to the open door of the train, pushing past Cecil unceremoniously while the other man heads to the end of the platform to peer down the track, gun in hand.

French,[color=#0000BF]'What's happening?[/color]'

Cecil asks the officer. If he ignores Cecil, Cecil will lean out as far as possible to see if he can see down the track but he doesn't leave the train.

The officer doesn't seem to speak any French and simply looks at him crossly before looking down the corridor in obvious search of the conductor. His eye twitches in obvious displeasure and suspicion when he can't see him.

french,[color=#0000BF]"If you're looking for the attendant, he had to sort out a problem and will be along shortly. Can I help at all?"[/color]

Cecil smiles winningly and then tries in basic English. "The attendant will be back soon. Can I help? I may not look it but I can be quite useful you know."

High above you is a white marble ceiling with small bright lights inserted. The walls were made of rich teak and mahogany wood with green and brown doors for each compartment. There were also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor was quite narrow with only the space for one person moving at a time. The conductor gently knocks on Frances LeGrand & Gabrielle LeGrand's door and helps the groggy newlyweds with their luggage.

The stranger stares at him crossly before saying in terse and badly accented English: "Where ... is ... conductor?" His gaze narrows in suspicion.

"Oh I think it was some poor chappie had too much to eat or drink - made a devil of a mess - and our esteemed conductor had to go sort it out. I'm sure he'll be back in a jiffy. I say, did I hear gun shots just now? Are you after a nefarious rascal?"

The German stares at him for a long moment before Kliment steps out of the bathroom, dressed in the conductor's uniform and starts speaking in friendly German, soothing him with a few choice words. He seems rather casual and unconcerned, which seems to perplex the Nazi soldier, then soothe him. Kliment unlocks the door to his compartment for him and lets him inside before shutting the door and heading out onto the platform to fetch in his baggage.

Cecil steps down onto the platform and holds the door open for the luggage. He nonchalantly looks up and down the platform.

Kliment returns with the luggage and a few moments later he is followed by the lower ranking officer who enters his leader's compartment. Once the two were safely tucked away, Kliment gives Cecil a wan smile. "Here's hoping we're given the all clear to move on soon," he says in a low voice. "Would you be so kind as to fetch two glasses of complimentary apple juice from the Kitchen Car. I would but I'd really rather not having to explain myself in case the Train Manager gets an attack of the honesty."

"You seem to know a lot about how this train is run." Murmurs Cecil but then he shrugs and says, "Okydokes, two apple juices in a jiffy." And he sets off good naturedly to the dining car.

ooc,I'm going to be away until 3rd July so please npc me as necessary.

High above you is a white marble ceiling with small bright lights inserted. The walls were made of rich teak and mahogany wood with green and brown doors for each compartment. There were also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor was quite narrow with only the space for one person moving at a time. Kliment wears the conductor's uniform and stands in the open doorway of Compartment 9. When the door to the sleeping car opens, he takes a step back and out of view of the doorway before heading forward.

Cecil,He holds out his hand in a gesture for you to stop and then keep your mouth shut, before pointing back to the compartment, then to Cecil, then running his index finger across his neck before taking the plate of apple juice from him and gesturing with his head back the way Cecil came. He looks quite worried.

Cecil frowns as he hands the juice over. "What's happened?" he mouths and steps back to allow Klimnet room to maneuver and answer.

Kliment just gestures back to the compartment - which is the same compartment whose door opened late last night when the woman spotted him standing over the conductor - and then he does another gesture toward the door out of the compartment and merely mouths, Hide.

Laraqua,Cecil is getting a little tired of being ordered around; it may be good for his cover but not for his morale. Plus he'll never solve the train's mysteries being on the defensive all the time. So he pretends not to understand and steps forward, alert for any surprises.

Cecil looks a little puzzled. He steps properly into the corridor towards Kliment and the compartment and smiles slightly idiotically, not understanding.

Kliment just gives him a look that is profoundly apologetic and profoundly sad before gently reaching forward to grasp his elbow. "Mr. Charles Gavigan was hoping to have an introduction with you ... if you could come right this way, please."

"Just a minute old chap, there's a good fellow." Cecil resists the pressure on his arm and tries to walk so he can see into the open doorway. "Just want to check that the lady I met last night is still alright. You know how it is. Then I'll be along like a snake."

Kliment steps to one side and lets him pass. The lights flicker briefly overhead.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.
"Hmm, this train appears to have bypassed Ulm," says the lady in a warm and velvety voice that couples a high class British and Russian accent.
"Regrettably so, but this train does need to catch up on lost time," says the fellow in the conductor's uniform.
"You were not the conductor when I first arrived," says the lady.
"The initial conductor is feeling rather poorly so it fell to me to step into his place. He should soon be well enough to assist."

A pause as a door opens.

German,"Good evening, fraulein. I hope you have found the breakfast to your liking."

German,"Of course, Dr. Heydrich. The cuisine aboard this train is superb."

German with a hopeful tone,"I hope you might share a cigarette with me in the Smoking Car."

German voice with a carefully neutral tone,"I do not share, Dr. Heydrich, but I am willing to accompany you."

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.
Kliment just gives Lily a sad look as she enters the train corridor. He then turns his attention back to the clipboard on his lap as he takes his seat on the conductor's chair.

"Just the man I wanted to see," says Lily, either not noticing or not caring about whatever he might have on his mind. "My dear brother has sent me out to fetch some tea. I don't suppose you'd know how I could do that? If I come back without it, he'll be very annoyed with me."

Kliment shakes out a cigarette and puts it rather daintily between his lips before answering, "Try the Lounge Car. Knock on the door to the Smoking Car if you've no luck." He pulls out a lighter and draws the flame to the cigarette, his eyes coolly upon her. He's never given her that look before. It's appraising and professional.

She nods, smiles at him, and then heads over to try the door to the water closet.

The door is locked. If she glances sidelong down the corridor at him, she will see him move the cigarette an inch away from his mouth and exhale slowly, eyes heavy-lidded as the very picture of nonchalance.

Lily steps away from the door and moves to enter the Yennifer sleeping car.

Keeper,[i]Well, it was worth a try. I shouldn't be away too long.[/i]

The Yennifer sleeping car is unlocked at least.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.
Kliment doesn't even look up from the clipboard on his lap as he takes his seat on the conductor's chair.

Cecil closes the door to No. 9 behind him and regards Kliment. "So, are you going to tell me what all that was about? What was so hairy about No.9 and what's happened to the conductor - is he still in the w.c.? And who are you exactly? Those German chappies have vanished now have they?" Cecil is adamant with his questioning but keeps his voice low.

Kliment gives Cecil a strange and indecipherable look. "I'm sorry? Did your meeting not go well? As for the conductor, he appears to be sedated. I found a small needle on his wrist when I removed his attire. He just seems to be sleeping it off though I rather hope he will wake up before the Train Manager finds me. As for who I am...." Kliment just smiles. It's not a very nice smile. It also seems rather sad. That expression, at least, is easily deciphered.

Cecil raises an eyebrow and looks down on Kliment. "Ahh, the enigmatic ploy. Well, watch it doesn't give you hiccups." He shrugs, smiles wryly and goes to knock on No. 5.

The door opens a short while later to reveal Amadi. His father, Farooqi sits on the sofa eating breakfast from a tray.

Cecil looks mildly surprised, "Good morning! May I come in?"

"Sure, why the surprise?" He gestures toward the sofa.

Cecil enters compartment 5 and closes the door.

There is a white marble ceiling above you with small bright lights inserted. The walls are made of rich teak and mahogany wood with green and brown doors for each compartment. There are also complicated patterns painted finely on the doors, each having a golden flower on the front. The corridor is quite narrow with only the space for one person moving at a time and thus you have to turn side on to allow others to squeeze past whenever there are two of you walking in opposite directions.

Farooqi charges through the corridor, in a hurry to find the new love of his life.

(Amadi chasing his new love)

Cecil follows his headstrong friend rather more slowly, keeping pace with Farooqi. "I'm rather afraid, Sir, that someone got to poor Amadi before I had anything to do with it. We can now only hope to minimise whatever trouble Amadi is about to land himself in." In a much lower voice, hidden below the noise of the clattering wheels he says,

Farooqi,[color=#0000BF]"I had a dream last night. I came to your cabin and heard you shout out to a 'black pharaoh' in Arabic. And then I came into your cabin and the two of you were just skeletons. The worst thing of all, Amadi's skeleton had his fist in your chest, like he'd ripped out your heart. It was terribly vivid. I pulled out my gun and then I woke up; I was in the corridor. Must have sleep walked I suppose but I never have done in the past."[/color]

Farooqi shoots him a look, though since they must walk single file it's almost missed until Cecil looks back over his shoulder. The moment Amadi steps out of the corridor and into the next one, he speaks: "I hate to sound superstitious but it seems dark magics are afoot..."

"I know I came across magic in old Arabia but I could always explain it away with old wives' tales, but this? It's fabulously hard to believe but I think you are right, Farooqi; those sad old baggages were right all along." Cecil reaches the compartment door.

"Look here, I don't know what we're stepping into but I've got your back, Sir, and I'll do my damnedest to get Amadi clear. I have a gun here and don't forget the old 'marmalade' ploy. Just watch that man Charles, Lily's brother, he's a nasty slice of trouble." He pushes through the door into the next compartment.