Corridor

[Laraqua]

Paris, 18:45

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.

[aine]

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.

[Laraqua]

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.

[aine]

"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...?

[aine]

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?"

[Laraqua]

"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?"

[aine]

"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?"

[Laraqua]

"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."

[aine]

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.

[Laraqua]

"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."

[Laraqua]

Paris, 19:45

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."

[aine]

"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.

[Laraqua]

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.

[Laraqua]

France, 21:41

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.

[Laraqua]

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."

[Kadael]

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.

[Laraqua]

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

[Laraqua]

France, 21:45

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.

[Kadael]

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

[Laraqua]

France, 22:45

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?"