Play@YSDC

High above him was 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.

Elena makes her way down the narrow corridor towards compartment C.

Johnny ducked into the corridor and took in the scene as other men and women began to push into the car. He nodded to and introduced himself to just about any one with an accent "Howdy, names Johnny." He was fishing for a name he knew the name and was hoping the ego of the German man would be enough for Johnny to catch the Germans full name and sight of one of the participants of the arms deal.

Elena has no problem finding her way into Compartment C where she can put her things away (please PM me on where they go).

Elena,Sorry if I told you that your compartment was B, turns out it's C. If you meant to go into Johnny's compartment which was B, feel free to ignore my urging and proceed.

Johnny waits by the door to the WC and the outside world as that's a bigger spot about as wide as the carriage, thus allowing him to introduce himself to people without blocking up the rather narrow walkway. This gives him the chance to quickly shake hands with folk as they come onboard though it also means he hasn't had the chance to put his things down.

A family of four bustle in behind them and hurriedly head to their sleeping car compartments. The around-ten-year-old boy and around-twelve-year-old girl whisper in each other's ears, giving each other little shoves (the girl seems as rough as the boy!). They seem very eager and excited to be on the train and both children's eyes nearly bug out of their skulls at the sight of a cowboy standing there. Their mother and father watch them with gentle enough smiles but don't appear to be giving them the correct discipline. Hopefully the children aren't so rowdy during the rest of the trip and will soon settle down! The father quickly shakes Johnny's hand, introducing himself as Alexander Roby (he's British) before trying to manuevre his family down the tight corridor to Compartments E and F.

A few moments later, the Yennifer Sleeping Car attendant leaves for about a minute and when he returns he is assisting a rather drowsy but pretty-looking woman. The attendant helps her across into the train and up the steps.
The woman seems a little unresponsive to Johnny's greeting.

Another man who seems a bit out of it also waits by the entrance to the door for the sleeping car attendant to return. Johnny recognises him as the fellow from the cafe.

Elena emerges from her compartment shortly after she entered it and heads down the corridor towards the exit to the social cars. She has to stop to wait for the attendant to help the other woman into her compartment. "Good evening," she says to her with a nod, trying English first.

High above him was 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 woman weakly nods at her in greeting before being bustled into her compartment and assisted to lay down on the couch. The conductor then returns to lock Elena's compartment (if she requests it) and then to assist Fernand with his booking and get him on the train before it begins moving. It seems everyone on the checklist is now in the Sleeping Car and everything is ready. The conductor stands in the open door gesturing out across the platform and with a squeal the train begins to move off with a steadily increasing chuf-chuf-chuf sound. Johnny is still by the door not far from Fernand and the conductor while Elena stands in the corridor.

Elena asks the conductor to lock her compartment. After thanking him, she proceeds down the corridor and through the connecting doors to the Lounge Car as the train starts to move.

Johnny stepped into his compartment briefly enough to drop off his saddle bags and knapsack. Having a bit of an idea of what may come he stuffed a few pigging strings into his pockets and then made his way to the social cars.

High above him was 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.

Fernand has just entered his compartment to drop off his things before stepping out into the corridor again.

Fernand heads toward the lounge car.

High above him was 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 is currently assisting a new passenger with their luggage to board the train.

"H, compartment 'H', bless you and do please be carefull with that" he says in a rich Irish brogue.

A slim man dressed in immaculate evening wear, and another in more American fashion, step into the corridor of Yennifer car. The first espies the attendant helping with a new passenger and says, in a plum English accent. "I say, sorry to butt in and all that, but we desperately need to retrive Dr. Bedal's medical bag from," He looks at the American and smiles wryly, "Compartment G. He needs it to help with a passenger who has fallen ill. Could you let us in; we'll only be moment?"

Michael turns to the conductor,
"I'm sure I can manage now if you wish to see to these gentlemen"

"Very good, sir," says the conductor, stepping out of his compartment. He turns to regard the others. "Ahh, Bedel. He is in compartment G with Monsieur Vergil Caine." He approaches the compartment and knocks on it a few times.
The door opens and a tired-looking man peers out. "Oh hello. Is there something the matter?"
"No, nothing's the matter. Monsieur Bedel just requested his doctor's bag."
The man nods and shuts the door briefly, opening it a moment later and holding out a rather stiff-sided bag. "Is this it? I had a quick check inside. It did appear to have medical bits and bobs."
"Thank you, Monsieur Caine. I do believe this would be it." As the compartment door closes, the conductor turns to pass the doctor's bag over to the slim man. "Is this what you need?"

"Absolutely, thank you Monsieur." Cecil takes the bag. "Saddle up, Belanger, onwards and upwards!" He throws a casual salute at the new passenger in thanks and then returns towards the social cars with Belanger in tow.

"Ah tis a busy life to be sure" says the irish Priest in his strong Irish brogue.
Turning back to the conductor he reaches into his pocket and produces two francs which he surrepticiously places into the conductors hand. "Thank you, and God bless. I'm sure I can manage from here".

He opens the door to comartment H and slips inside.

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor. Someone can be heard vomiting in the WC (toilet cubicle) at the end of the corridor.
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.

A young woman in a dark dress is all but invisible behind the bigger man she follows. Her eyes are shut, and she grips his hand tightly. Together, they make their way to the corridor exit.

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor. Someone can be heard vomiting in the WC (toilet cubicle) at the end of the corridor.
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.

There's a sudden giggle in Compartment I followed by two low voices speaking breathlessly in French.

French & Listen Check,"Oh my word," says a woman. "You know precisely where to lay your hands." "What sort of a husband would I be if I couldn't find the soft spots of my newly wed wife?" says a male voice. "You must be very well-experienced," breathes the woman. "Hush and enjoy it," says the man.

There's a far less enjoyable sound coming from the Water Closet which is currently locked. The sound of retching.

Listen Check,Between retches comes the sputtering sound of two words: "Praise him!" The retching sounds almost like sobs as well.

Two men are at the other end of the aisle and are heading into the next sleeping car and are in quiet conversation.

Spot Hidden,Oddly enough, the man who walks behind (an Arabic gentleman) seems to be playing with what at first appears to be a crucifix on a leather thong but soon becomes apparently is an inverted ankh. He holds the necklace in a bunched fist, idly toying with the ankh sub-consciously yet still attempting to keep it hidden.

Charles Belanger tuts. "I think we have a splendid array of Germans before us. An archaeologist who is most assuredly a Nazi ... and an early joiner judging by his card. A doctor who may be a Jerry but seems a good enough sort. And a Communist Hun! How perfectly interesting, wouldn't you say? And we have yet to traverse Germany yet."
Amadi Al-Rassam stares at him. "What exactly are you driving at?"
"Oh, you shall see, my friend." Charles claps him on the shoulder, drawing him on. "You shall see. Now is your compartment in the next Sleeping Car?"
"Uh, yes?"
"Marvellous! Lead the way, old chap."

The two leave the sleeping car.
Nico silently stands in the corridor only a few feet beyond the door, staring at their departing backs, otherwise silent though seeming to be listening to something that perhaps only she can hear.

PRESENT: Conductor, Someone in the WC, Giggler in Compartment I, Charles Belanger, Nico, Amadi Al-Rassam.

Lily stumbles into the car, teary-eyed and reckless. She stops behind Nico, takes a breath, looks up--and is immediately captivated by one of the flyers. Blinking rapidly, she raises her hands to her temples and grits her teeth. "No, no, no," she mutters to herself, unable to hear anything but the static in her head.

Dr Bedel enters the compartment and approaches Nico carefully. He spots one of the flyers but after looking at it for a brief moment pays it little mind.

French,"Are you ok. What is wrong?

Listen,[url=http://invisiblecastle.com/roller/view/4337871/]Fernand fails to notice anything.[/url]

Lord Horfield enters Yennifer Car, "More damn posters!" He keeps his eyes averted and is only mildly phasedby the ghastly swirling imagery. He hurries down along the corridor, not worrying about appearing to be drunk, and comes to a stop where Dr. Bedal is talking to Nico and a woman in black. Then he realises that Nico, at least, isn't moving. "Not you as well madam! Dr. Bedal, we must move these women out of the corridor; these symbols are causing seizures in some people. Quickly, man, is your compartment in this carriage?"

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor. Someone can be heard vomiting in the WC (toilet cubicle) at the end of the corridor.
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.

There's a sudden giggle in Compartment I followed by two low voices speaking breathlessly in French.

French & Listen Check (may retry),"Ooh, lovely," says a woman. "I do so enjoy that." "I am so glad to hear of it, my lovely," says a male voice. "You must tell me where you learned to do that," breathes the woman. "Shh, relax," says the man.

There's a far less enjoyable sound coming from the Water Closet which is currently locked. The sound of retching.

Listen Check,Between retches comes the sputtering sound of two words: "Praise him!" The retching sounds almost like sobs as well.

Nico silently stands in the corridor only a few feet beyond the door, staring at their departing backs, otherwise silent though seeming to be listening to something that perhaps only she can hear. "It's too late ... too late."

PRESENT: Dr. Bedel, Someone in the WC, Giggler in Compartment I, Lily, Nico.

Cecil hears what's going on behind the doors. "Ugh! This train is going to pot." and he realises he's going to need help urgently. "Madame, I must get past! Excuse me, Sir, Madame, terribly sorry, what." And he politely but firmly squeezes himself past everyone. He tries one last time before leaving the car and says to Nico, "What's too late?" Looking into her eyes to see if she's in a trance.

Listen,In case I need a second listen check for something else... [url=http://invisiblecastle.com/roller/view/4339122/]1d100=89[/url] (fail)

"I'm in compartment G we will be able to talk in there."

Listen,[url=http://invisiblecastle.com/roller/view/4351392/]Dr Bedel continues to fail to hear anything. He is obviously to absorbed by the events in front of him.[/url]

Lily sucks in a breath and lowers her arms, still trembling, still unable to focus on anything. She balls her hands into fists and goes the way of the well-dressed gentleman, breath catching in her throat as she squeezes past Nico.

Swiftly, she disappears into the first class sleeping car.

Keeper,[i]Let her have him, you damned fool, she surely hates you! Hold it together, you stupid girl, don't let anyone see you cry.[/i]

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor.
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.

There's a sudden giggle in Compartment I followed by two low voices speaking inaudibly in French syllables.

The Water Closet is currently locked.
Nico is gently led by Bedel into his compartment muttering, "It's too late ... too late."

Nafy Hijazi, Minoo Hijazi, Waleed Hijazi and Sulamen Hijazi keep their eyes downcast, shading the sides of their vision with their hands. Nafy ]covers her eyes and is guided by her shoulders by Sulamen. They leave the compartment, entering the Agatha Sleeping Car.

Two children rush down the corridor to their rooms, then reappear dragging a lightweight but largeish case between them as they head back into the Jeanette Sleeping Car

PRESENT: No one now.

Lily flounces into the Yennifer Sleeping Car, and stops short when she realizes there is no one around. She grabs the nearest yellow flyer and tilts her head at the strange image.

Jonathan Parker slams open the door to the compartment as he enters. He is pale and has a panicked, haunted look about his face.

Parker strides past his cabin, seems to consider his options, and moves towards First Class compartments.

"How- I mean, hello miss," he says to Lily, stopping momentarily.

Lily's Flyer It seems a little ... childish ... on multiple levels. Yet the image on the front of the flyer seems seared into your very mind.[/spoiler-button]

"Oh, hello again," Lily says, not looking away from the flyer. "Do you have the time, Mr. Parker?"

She hangs the flyer neatly back on the door handle, notices Mr. Parker is leaving, and heads for the Jeanette Sleeping Car.

"Actually miss..." Parker pauses. "I don't... recall what your last name was... but Miss, I would appreciate your help in some matter."

"Hmm?" Lily looks over her shoulder at him, hand on the door. "My name is Lily Gavigan, sir."

She turns around to face him and smiles coldly. "Is something wrong, Mr. Parker? You don't look well."

"Yes, well, The conductor got insane and tried to lead me into the wrong compartment, a cowboy choked, I mean, caught a thief with a lasso, people are talking to invisible people and certain people are making rather poor fashion choices as if they never bought a single pantyhose since the bloody 1890s. Pardon me if I look a little exhausted," Parker snapped before composing himself.

"Do you know where Dr...Bedel was it? Where Dr. Bedel went? The friendly-looking doctor with the Frenchwoman. He is... Well," he seems lost for words.

"Wanted for questioning. No, wait, just wanted in the Drinking room. By the other people taking care of the conductor, I mean. I didn't mean to imply that the authorities want him just that other people had questions to ask him. About how to take care of a man not right in his head, I mean, and... I should stop talking."

He stays silent and stares across the compartment towards Lily.

Lily's eyebrows arch and she tilts her head at him, a playful glint coming into her unblinking eyes. Her smile broadens but it doesn't look happy, it doesn't look right. "I think you're right, Mr. Parker. It would serve you well to stay silent."

"Now, why would I know where the good doctor went? He left the car with her, I'm sure you can figure it out yourself." She lays a hand on her collarbone and closes her eyes, as though she's an actress monologuing under the lights.

French Conversation,[color=#800080]"Do you suppose they're dying? Just a little?"[/color]

She suddenly bursts into a peal of overwrought, forced laughter.

Jonathan opens his mouth to say something before shutting it.

"You headed towards the social cars, miss?" He says, his voice as neutral as the color of his coat. "I might as well head back towards it. Conductor be damned."

Lily nods, looking innocent as though nothing strange ever happened. "Yes, Mr. Parker. I was hoping to see the sock puppet show."

"Oh. Sock Puppet Show. Good. Good," Jonathan Parker says, speaking as if trying to calm down a rampaging tiger.

"Let's...uhh... Go watch some... Sock puppets... Miss Gavigan."

Lily beams at him, clasping her hands together girlishly. "Yes, let's. After you, sir." She gestures with her purse toward the door.

"Follow me, please," he says, nervously looking behind him towards her as he squeezes past her.

He opens the door and walks into Jeanette compartment.

Lily follows him into the Jeanette Sleeping Car. When he looks back at her, she smiles again.

Jonathan enters Yennifer Second Class Sleeping Car and swiftly takes a look around the corridor.

The conductor has returned to his chair and is watching two children standing in the middle of the corridor. The little boy seems upset and his older sister is comforting him with a quick cuddle. They look up when Parker enters and the boy pulls back, looking instantly embarressed at being caught out in a moment of weakness by a man.

Cecil enters from the Agatha car end, followed by two men. He stops at the children, "I say, has the puppet show started - and are you allowed to watch?" He sees Jonathan coming along and makes room for him to pass.

"We're the performers but we're...." She looks over at her younger brother. "A bit nervous. Give us a moment and we'll be there soon."

"Ahhh," Parker mumbled. "So the suitcase contains puppet show tools? I was wondering why you were lugging such heavy suitcases about."

Parker makes no indication that he is about to move,

"Oh really? I say, how devillishly exciting, what?" Cecil looks down at the children. "Well I'm sure you'll be marvelous! Break a leg and all that. Who's the ringmaster of the show, you know, the one who directs it? Have you done many of them before?"

"Oh, our father wrote the screenplay," she says. "We've performed it a few times before but only for family and friends. It's very good. It's about the King in Yellow who lives in Carcosa but you'd have to watch it to truly understand."

"This all... seem very interesting," Jonathan said. "Perhaps I will see you two at the puppet show. Good day, sirs."

Jonathan moves...almost runs really, back to Jeanette Sleeping Car.

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor. Someone can be heard vomiting in the WC (toilet cubicle) at the end of the corridor.
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.
"We'd best be getting on then," says Harriet. "We're already late enough as it is."

PRESENT: Henry & Harriet Roby, Cecil, Charles & Amadi Al-Rassam.

"Yes indeed, we'll be along soon!" Cecil calls after the departing children. "Well that all seems innocent enough." He says to Amadi and Charles. As he passes the closet, he knocks on the door. "Are you okay in there? Can we get you anything?"

OOC,If the attendant is there: As he passes the attendant he says,[color=#0000BF] "Is that chap in the closet okay? He sounds like he's having rather a miserable time. Be a good fellow and get him a brandy for when he comes out - always does me the world of good when I have a dicky belly."[/color]

The children nod, pick up their case, and move along.

The compartment is silent yet still locked. There's no sign of the sleeping car attendant.

Cecil frowns, "I could have sworn I heard someone retching in there, didn't you?" He asks Amadi and Charles. He bangs on the door again. "I say! Are you okay? Do you need help?"

"For someone who was suddenly so afraid of a performance, you are really quite distractable and willing to let those children move on," says Amadi. He seems quietly bemused. "Do you want someone to pick the locks now?"

"No, no; you know me; any opportunity to play the shining knight for a damsel in distress. It's probably an fat old man with gastric problems anyway. Let us not tarry but be away thither!" Cecil leads the other two into the next car.

High above him was 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. There is no sign of the conductor though his clipboard and pen have been left sitting on the fold up seat in the corridor. The WC at the end of the corridor is locked.
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.

PRESENT: No one.

Wolfgang enters the corridor from the Jeannette car,Elena on his arm.

Sanity roll -Success!,[dice]0[/dice]

His frown deepens as he sees the flyer and he removes the one hanging from Compartment B, crumples it and shoves it into his pocket.


Turning around at Elena, he smiles again.

Russian,"[color=#0000BF]I have indeed heard something similar. But I think there is more going on than those flyers.[/color]"

He looks around and lowers his voice.

Russian,"[color=#0000BF]The American you boarded the train with in Paris. Is he a close friend?[/color]"

Elena groans when she sees the flyers, but she isn't as badly affected this time.

Russian,[color=darkred]"[b]Johnny Rheticus[/b]?"[/color] asks [b]Elena[/b]. [color=darkred]"No, I just met him on the platform in Paris. I hardly know him at all. Why? Do you suspect he is not merely a cowboy...or do I detect a hint of jealousy?"[/color]

She winks as she says this last.

Wolfgang smiles, but you clearly sense he's holding something back.

Russian,[color=#0000BF]I can safely say that I have no desire whatsoever to change places with Johnny Rheticus.[/color]

He looks around the corridor and then leans closer to Elena, his voice deep and sincere.

Russian,[color=#0000BF]I do not wish to be indiscreet...but I need to tell you something and I think it is best down inside your cabin. There are too many potential prying ears and eyes here.[/color]

Elena looks up and down the corridor.

Russian,[color=darkred]"There's no one here right now,"[/color] she says, [color=darkred]"but someone could enter at any moment or even overhear from a compartment. The only problem is that the conductor too is missing, and my compartment is locked. What about yours?"[/color]

OOC,Did the conductor leave keys behind?

Russian,"[color=#0000BF]My cabin is open, I don't keep it locked, but maybe I should considering what's going on on this train.[/color]"

Wolfgang moves over to the conductor's seat and takes a look at the passenger list (if it is there), looking for Rheticus's compartment.

Russian,"[color=#0000BF]My cabin isn't really safe either, there's someone called Kieran Mclaugherty who I've yet to meet, that shares my cabin.[/color]"

Elena looks at the conductor's clipboard to see if he wrote or drew anything interesting.

Russian,[color=darkred]"I last saw [b]Kieran[/b] in the Bar Car,"[/color] she says, [color=darkred]"but it will be closing soon, and then he'll likely head back."[/color]

There are doodles of a pair of exotic and luscious womanly eyes, drawn in repetition on the back of the page.

[Spoiler-Button]OOC: Updated.[/Spoiler-Button]

Wolfgang frowns again as he sees how close Reticus's, Elena's and Parker's cabin are and puts down the clipboard.

Russian,"[color=#0000BF] Interesting drawings, they don't seem to belong to anyone on board I've met so far. [/color]"

He smiles at Elena and looks into her eyes.

Russian,"[color=#0000BF]They certainly lack the lustre of the most entrancing eyes I have seen in my life.[/color]"

Wolfgang slowly squeezes past Elena and walks down the corridor to the B compartment. If the corridor is still empty, he will try the door.

Elena blushes, positioning herself between Wolgang and the door to the Yennifer Car so that anyone entering from that direction will not see what he is doing. She keeps an eye out to make sure the hall stays clear.

Russian,[color=darkred]"You are too kind,"[/color] she says.

The corridor remains empty ... thus far.

Wolfgang tries the door to Compartment B.

OOC:,Does the door open?

He looks approvingly as Elena uses her body to shield him and says in a very quiet whisper.

Russian,[color=#0000BF]I'm afraid I have some very bad news regarding our friend.[/color]

Elena whispers back.

Russian,[color=darkred]"What is it?"[/color] she asks. [color=darkred]"Does he support the Fascists?"[/color]

The door is locked. The only way through will be with a pick.

Wolfgang smiles sardonically and cotinues, his voice still low.

Russian,[color=#0000BF]I don't think it's that bad, Elena. He's dead.[/color]

He slowly extends his hand towards her and in brushing against her cheek, he pulls out one of her hair pins.

Russian,[color=#0000BF]Do you mind if I use this for a moment?[/color]

He turns to the door again, takes out his pocket knife and in combination with the hair pin, tries to pick the lock.

Roll-Fail:,http://invisiblecastle.com/roller/view/4399068/

He stands up again,a grave expression on his face.

Russian,[color=#0000BF]I'm sorry I bent your pin, but the lock is too resistant. I found [b]Reticus [/b]tied and dead in my compartment. Well, [b]Parker [/b]did. So I'm thinking [b]Johnny[/b]'s death is either a message to me or to this [b]McLaugherty [/b]who's sharing my cabin.[/color]

Elena's eyes go wide, understanding finally dawning on her. She roots around in her large handbag and pulls out a high quality lockpick kit, which she hands to Wolfgang, her eyes twinkling.

Russian,[color=darkred]"Try this instead,"[/color] she says, [color=darkred]"and don't ask why I have it. Now I see what you mean. At least you have an alibi. You were with me the whole time before you left with [b]Parker[/b]. Otherwise the authorities might be stupid enough to suspect you."[/color]

OOC,The kit gives a +20 bonus to Locksmith rolls, or +40 if this is considered a simple lock.

He takes the kit, raises his eyebrows in amazement at the quality of the set and looks at her with concern carved into his features.

Russian,[color=#0000BF]It's not about alibi's, I fear it might be far worse. If the body was put there as a message to me, whoever did it must have thought that Reticus and I knew each other and that his death would have a deeper impact on. He or she must have seen us sitting together. But Reticus wasn't the only one I was sitting with.[/color]

He pauses a moment to let the gravity of the message sink in. He takes her hand with his free hand and looks her deep in the eyes.

Russian,"[color=#0000BF]I fear I may have put you in a very dangerous situation, Elena, and I am deeply sorry. As much as I have enjoyed meeting you, I hope that meeting won't prove to be your undoing.[/color]"

Before the moment gets too intense, he lets go and turns his attention to the lock again.
After a few turns, the lock lets out a resounding "Click" and he stands up again.

Russian,"[color=#0000BF]Ready?[/color]"

Lockpick Success!,[url]http://invisiblecastle.com/roller/view/4400517/[/url]

OOC:,This is my first ever picked lock in CoC campaign! Yay!

Elena smiles at Wolfgang and squeezes his hand.

Russian,[color=darkred]"Thank you for your kind concern,"[/color] she says, [color=darkred]"but none of this is your fault. I am glad I have met you as well, and we shall face the danger together. You must wear gloves in the compartment, so as not to leave fingerprints. Do you wish me to go in with you, or shall I stand watch in the hall and speak loudly if anyone enters the car?"[/color]

Wolfgang nods gratefully and doesn't let go of her hand.

Russian,[color=#0000BF]We should go in together, it will be easier to pretend we entered by accident if we're both inside than when someone is keeping watch.[/color]

He opens the door and enters cautiously.

Elena follows Wolfgang into the compartment.

Parker moves through the hall, ripping out the flyers from the door and stuffing them into his pockets.

He enters Compartment D.

High above him was 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.

Mr Roby and his family passes through the corridor. Alexander goes into Compartment E with a friendly farewell to his children. Caroline accompanies them into Compartment D, mentioning something about getting them ready for bed. Henry Roby loudly states that he doesn't need any assistance to get changed but goes along with her anyway when hushed by his sister for being loud after bed time. The corridor is now empty of all except for the conductor who, after unlocking the two compartment doors, goes to take his seat. He is ready and waiting to unlock the door for anyone else who needs it.

Jonathan wordlessly emerges from Compartment D and heads towards Jeanette.

The conductor locks the door behind him.

High above him was 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 sits on his seat, getting ready to nap with his clipboard against his chest. The train begins to slow to a halt.

Johannes Sprech, Lily Gavigan, Charles Gavigan, Amadi Al-Rassam, Farooqi Al-Rassam and Cecil Linscott enter the corridor and continue along relatively silently.

Everyone,please let me know if you decide to do anything during this corridor. If not, simply post your behaviour until you hit the last sleeping car.

Lily finally seems to realize someone was addressing her, and looks vaguely in Lord Linscott's direction. "I... Good evening, sir."

Cecil smiles pleasantly and continues with the others to the Agatha car.

Johannes Sprech, Lily Gavigan, Charles Gavigan, Amadi Al-Rassam, Farooqi Al-Rassam and Cecil Linscott leave the sleeping car.

Wolfgang leaves compartment B, he looks somewhat rumpled, his shirt a bit askew and his hair somewhat unkempt. A sheepish grin is on his face as he looks around the corridor.

High above him was 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 sits on his seat, napping with his clipboard against his chest. The train has pulled free of the station and is rumbling along the tracks. There is no one else in this corridor.

Elena quietly closes the door behind her, replaces her strap, and whispers to Wolfgang, positioning herself between the conductor and Wolfgang so the conductor won't see what he's doing with the door in the event that he wakes up.

Russian,[color=darkred]"We're in luck,"[/color] she says. [color=darkred]"You should lock the door again, like we found it."[/color]

He whispers, a sly grin on his face:

Russian,"[color=#0000BF]Yes, indeed, it's almost a shame that we didn't have to resolve to our cover story.[/color]"

Wolfgang uses the tools to try to relock the door.

Locksmith,[dice]0[/dice]

He lets out a soft curse.

Russian,[color=#0000BF]Looks like I'm better at opening than closing...[/color]

Elena whispers back.

Russian,[color=darkred]"Switch places,"[/color] she says. [color=darkred]"I'll give it a try."[/color]

She takes back the lockpicking kit and, once Wolfgang is in position blocking the conductor's potential view of her, she fiddles with the lock, but she cannot make it engage.

Wolfgang shields Elena with his body and shrugs as she fails to produce any result either.

Whispered Russian,[color=#0000BF]Leave it be, if try any more we might attract unwanted attention.[/color]

Elena nods and returns the lockpicking kit to its hidden compartment in her handbag. Once it is safely stowed away, she moves down the hallway to the door to her own compartment, whispering to Wolfgang.

Russian,[color=darkred]"Shall we wake the conductor so he can unlock my compartment?"[/color] she asks.

Wolfgang smiles cheekily.

Russian:,[color=#0000BF]I could try to pick the lock for you, but that would a bit cumbersome, wouldn't it?[/color]

Elena smirks.

Russian,[color=darkred]"Let's not push our luck,"[/color] she whispers. [color=darkred]"The good news about him being asleep is that anyone could have borrowed his keys to unlock the other door. I wouldn't want to chance it myself, though."[/color]

Wolfgang tucks his shirt back in and straightens his hair a bit.

Russian,"[color=#0000BF]You're right, let's wake him up and get an alibi.[/color]"

Elena leads Wolgang quietly back to the entrance to this car from the Jeanette Car, making it appear as though they had just entered from that direction. Once they are in position, she says: "Pardonnez-moi, monsieur."

French,[color=darkred]"Excuse me, sir."[/color]

Monsier Cyril Patenaude awakens simply and easily, by merely opening his eyes. "Oui, mademoselle?"

French,[color=darkred]"Could you please unlock my compartment?"[/color] asks [b]Elena[/b]. [color=darkred]"I'd like to get back inside."[/color]

High above him was 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 rises and unlocks her door, allowing her inside.

French,[color=darkred]"Thank you very much,"[/color] says [b]Elena[/b].

Elena smiles at Wolfgang.

Russian,[color=darkred]"Would you like to come inside for a bit?"[/color] she asks.

Wolfgang returns her smile.

Russian,[color=#0000BF]It would be my pleasure.[/color]

Elena enters Compartment C and holds the door open for Wolfgang.

The conductor makes a point to keep his face neutral. Odds are he's seen far more wanton happenings in his time as conductor aboard this train.

Wolfgang leaves Compartment C, closes the door and heads to the Jeanette car.

Jonathan enters the Corridor and motions the conductor to open his compartment.

The conductor blearily opens his eyes as Jonathon strides down the corridor, before rising from his seat with a friendly smile and unlocking the door, letting him through.

High above him was 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 is quite clearly asleep, though unless you make a successful Sneak roll, he will awaken within moments of you entering this corridor.

Keeper,Sneak Roll: [url]http://invisiblecastle.com/roller/view/4457586/[/url] Ambrose's thoughts: It was a simple matter, really. Just a few keys that he stole when the conductor was...ah...not of sound mind. Not that it would have mattered either way. He had planned this for far too long for some... yellow pieces of papers and minimum security trains to stop him now. He nods once towards the conductor lying asleep in the corridor. This was the flaw with security. They either expected the passengers to go to their cabins quietly and sleep without causing disturbances... or they expected that their security would fail completely with huge bang and a flourish. Well, he supposed. He could provide the bang, at least... He stuck his hands inside his coat pockets. The walk to the baggage car, he hoped, would be uneventful.

One of the compartment doors silently open, revealing a man in grey with a tilted hat, a dusty grey coat, and a mess of crumpled hair. He glances towards the conductor lying aslee and nods once before silently stepping out into the corridor. The door closes soundlessly behind him.

The man sticks his hands inside his coat pocket and begins to walk down the hall towards Jenniffer.

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 is quite clearly asleep, though unless you make a successful Sneak roll, he will awaken within moments of you entering this corridor.

The train slows as it pulls into the station.

Keeper,Sneak roll vs 40% [url]http://invisiblecastle.com/roller/view/4480775/[/url]

Man in grey sneaks his way into the Corridor before walking towards his own compartment.

He passes through to his compartment without interruption or delay.

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.

Frances LeGrand's FRENCH,"I'm not so sure about our two day visit to Germany. What if there's war?"

Gabrielle LeGrand's FRENCH,"Nonsense. There won't be war for weeks and even if there is, we will have plenty of time to cross back over the border, I'm sure. We are not very far from France. Besides, in two days time we will take the Orient Express again to reach the next country and there we shall have a pleasant few days as well." She pouts. "You would not wish me to miss out on visiting Germany, would you?"

The conductor exits the train with them.

A man in a Nazi SS greatcoat almost leaps out of Compartment D before walking brisquely out of the train.

Wolfgang enters from the Jeanette Car and walks towards compartment C, where he quietly knocks on the door.

"Who's there?" asks Elena through the door.

Wolfgang leans closer to the door and says in a forceful whisper:

Russian,"[color=#0000BF]It's Wolfgang, let me in. Quickly.[/color]"

The door opens to reveal a sleepy Elena, moments before there is the Bang! Bang! Bang! of small explosives in the distance.

Elena, who is still in her nightgown, steps back and to one side, beckoning Wolfgang with one hand and whispering in Russian.

Russian,[color=darkred]"Quickly, inside!"[/color] she hisses.

The conductor rises from his chair and gestures to the two of them, even as there's noises as a few others rouse within their compartments. "It is fine. Those are the emergency warning devices that would be laid by the tracks. It merely means another train has had trouble on the tracks and is giving any other trains on the tracks fair warning."

Wolfgang nodded his thanks for the explanation to the conductor, took Elena's by the arm and went inside.
He looked rather dishevelled, as if he hadn't slept much and got dressed in a bit of a hurry. He's also carrying the German occult book Roby gave him.

Once Wolfgang joins her in the compartment, Elena closes the door.

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 has gone to each door to calm the questioning looks of the various passengers and has now returned to his seat, though he does look pensive and concerned. The conductor rises with an "Excuse moi," as Cecil passes on his way to the next sleeping car. A young girl, around ten or twelve, stands pressed against the wall and staring out through the windows on the corridor side. She sees something that makes her shudder then simply turns away to gaze down the corridor.

Fernand leave room G and heads to the nearest exit to the platform.

A young girl of around 12 stands just inside of the doorway, peeking out at the platform. She looks white as a sheet and very nervous as she watches the Germans bustle about. Reaching into her pocket, she pulls out a wad of Germany money before stepping forward to Fernand as he enters the train carriage.

German,"Please, sir, are you a doctor? Could you please give me some sleeping pills? I'm ever so tired."

Her eyes are wide and studded with tears.

German,"Are you ok dear? Were are your parents?"

She draws in a deep breath as though to calm herself.

German,"Dead, sir, in an industrial accident involving my father's place of work. I'm just now returning to Germany because I didn't do my citizenship when they did theirs and so it's time to return home soon. I'm just finding it so very hard to get some decent sleep. Could I get a prescription? I'd enough for when I get into Germany as well and disembark. It can be hard to find a decent prescription around. I have money. I can pay."

She holds a fistful of deutschmarks out in her hands as she eyes you hopefully.

German,"Yes I understand but why have you been crying?"

Medicine,[url=http://invisiblecastle.com/roller/view/4556947/]Is there any evidence of sleep deprivation?[/url]

The girl seems confused for a long moment, then considers something, but then merely says,

German,"I am home sick, sir."

Medicine,she does appear to be sleep deprived, yes, but that's not surprising considering her obvious mental distress. Her muscles are tight, her eyes are red, and she's even trembling a little bit though she tries to hide it.

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 has gone to each door to calm the questioning looks of the various passengers and has now returned to his seat, though he does look pensive and concerned. The conductor rises with an "Excuse moi," as Cecil passes on his way to the next sleeping car. A young girl, around ten or twelve, stands pressed against the wall and staring out through the windows on the corridor side. She sees something that makes her shudder then simply turns away to gaze down the corridor.

The girl seems confused for a long moment, then considers something, but then merely says,

German,"I am home sick, sir."

Medicine,she does appear to be sleep deprived, yes, but that's not surprising considering her obvious mental distress. Her muscles are tight, her eyes are red, and she's even trembling a little bit though she tries to hide it.

The train blows its whistle and then begins to put-put-put away from the station.

German,"Well I can give you something to sleep, but it will not solve what ever is worrying you. As a doctor I can only conclude you have a severe case of worryitis and its no wonder. traveling is not a past time I would like to undertake on a regular basis. Little lone so young alone. It may be a sign of the strange times but one that is sad to behold. I shall guide you to your compartment and then fetch what I need."

He will give her a warm smile.

She looks worried for a moment, then brightens.

German,"May I see inside your doctor's bag? I've always been awful amazed by doctors."

German,"I'm sorry but a doctors bag is not a toy."

Her eyes fill with tears and she looks like she's about to burst into a full fit of tears, but she balls her hands up into fists and asks in a strained tone:

Anxious German,"Maybe I could come with you to your compartment? I ... I don't have anyone else on this train. I ... I just don't want to be...."

Then she does burst into tears, from a slight lip tremble to a total collapse as she flings herself away from him and rushes down the corridor toward the next sleeping car, weeping as she goes.

The conductor watches all of this from his chair and seems about as lost as the good doctor is. He stands up as though meaning to go after her, then hesitates. Tearful girl children obviously aren't a common occurrence aboard the train.

Durante steps out of the WC and gives Fernand a sly smile. "An anxious little creature, isn't she? How interesting that she wishes to see inside your compartment? I would be careful, you know, you wouldn't want to be found to be mingling with a Jew aboard this train. Why, a nice German man like yourself might draw the ill attention of the SS officers I saw board the train at Stuttgart. Perhaps consider a word of advice, hmm? Perhaps you should leave the young girl alone?" His English holds a heavy Italian accent.

"I am sorry, but I have failed to see how it is your business. I understand your desire to be my guardian angel, but I think it best if we all keep our selves to our selves. There is far too much nosiness on this train for my liking."

"I see," he says, visibly taken aback. "Then I suppose I should return to my compartment. Good day."

He leaves the sleeping car for the Jeanette Sleeping Car.

Jonathan walks into the sleeping car with Magdalena in tow, visibly distressed.

"Is the poor girl alright she seemed very distressed?"

"Yes, she is calm now but..." Jonathan shrugs. "She is being deported to Germany, getting off at the last station. We both know what will be her fate if that is allowed to pass."

Fernand goes very still for a moment before he seems to decide something. "Well we can't allow that can we. Any idea how we are to proceed?"

"Very dangerous thing to be speaking outside in the corridors with the SS prowling about," Jonathan nods. He leads the girl down towards his compartment and motions for Fernand to follow. Compartment D.

Fernand takes a look around suddenly aware of how foolish he is not paying more attention and follows him promptly.

Wolfgang heads out of Compartment C and continues on to the Jeanette Sleeping Car - leaving this sleeping car empty of anyone but the conductor.

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 rises to lock your compartment door behind you before returning to his seat.

Elena makes her way down the length of the car to the Jeanette Sleeping Car on the way to the Lounge Car.

Lord Cecil Linscott passes through carrying two glasses of apple juice.

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 rises to lock your compartment door behind you before returning to his seat.
Nico leaves one of the compartments and heads towards the Jeanette Sleeping Car, standing with her back to the wall for a moment so that Cecil can pass before continuing on.

"Thank you, madame. I trust you slept well?" Cecil raises an eyebrow.

Jonathan steps out of the compartment and walks towards Jeanette Sleeping Car.

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 rises to lock your compartment door behind you before returning to his seat.
Nico gives him a light smile. "Of course, monsieur." She continues into the next car with a light blush upon her cheeks.

Cecil raises an eyebrow and continues on his way, the young lady was obviously not giving anything away. He nods to Jonathan and continues into Agatha car.

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 rises to lock your compartment door behind you before returning to his seat.

Two individuals pass quietly through the corridor on their way to the Smoking Car.

The corridor is empty of all but the conductor.

Lily pays the conductor no mind as she walks down to the Jeanette sleeping car.

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. Two German men head down the corridor toward the Agatha Sleeping Car. The door to Compartment F is open, revealing a handsome woman in her early thirties reading a children's story with a lilting Irish accent to a young girl and boy who both look spellbound.

The door to Compartment H is slightly ajar. Those passing by can hear the faint creak of a rope inside.

Khan enters the hall, and calmly looks for a member of staff to jaunt his memory as to the location of Mr. Parker.

Spot Hidden/Psychology,Khan appears calm at first sight- but is pretty clearly freaked the hell out. Beads of sweat on his face and a look of great concern adorning him.

The conductor approaches him, looking concerned, but speaking in English. "Sir? Do you need some assistance, sir?"

It takes him a moment to switch to German,

German,"Sir, is there anything I can do to help you? Can I be of assistance in any way?"

Khan stares at the man blankly for a few moments, before coughing and regaining himself,
"Yes, I'm needing help getting to a Mr Parker."

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. Two German men head down the corridor toward the Agatha Sleeping Car. The door to Compartment F is open, revealing a handsome woman in her early thirties reading a children's story with a lilting Irish accent to a young girl and boy who both look spellbound.

The door to Compartment H is slightly ajar. Those passing by can hear the faint creak of a rope inside.

The conductor nods.

German,"I believe he has gone to the Lounge Car."

German,"On through the Jeanette Sleeping Car and then further on into the Lounge Car."

viewtopic.php?f=275&t=4221&start=460#p167859

Khan follows his instructions, and approaches the lounge car

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 door to Compartment H is slightly ajar. Those passing by can hear the faint creak of a rope inside. The conductor sits on his seat, but rises for those who wish to pass.

Cecil and Farooqi enter from 1st class and walk up the corridor towards the social cars. As they pass 'H', Cecil frowns and pushes the door open to see what's inside.

"Good God!" Cecil exclaims as he sees inside. He looks back into the corridor and calls to the conductor, "Come here, man. How can you sit there with this just feet away!" He says to Farooqi, "Poor devil, looks like they've got to him. Murder or suicide do you reckon?"

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. Two German men head down the corridor toward the Agatha Sleeping Car. The door to Compartment F is open, revealing a handsome woman in her early thirties reading a children's story with a lilting Irish accent to a young girl and boy who both look spellbound.

The conductor hurries over and takes a look between them, his face paling as he gasps, pressing his hand to his mouth to prevent him from vomiting. "Monsieur ... I never! We will need to contact the German authorities at the next stop. This culprit must be caught!"

Cecil pulls the door to and says to the conductor, "And what would that do to the scheduling? We'd be trawled up at some god forsaken branch-line station for hours if not days. Maybe we can catch the murderer and hand him to the authorities as we pull into Istanbul. Have you been on shift all night? Did you see anyone enter this compartment?"

"I am the conductor for this entire trip, Monsieur, and I saw no one enter or leave. I-I'm not sure if we should avoid ... perhaps I should speak to our Train Manager? Are you ... are you a private investigator or other Poirot figure?" He asks this last bit hopefully.

Cecil looks both ways and then whispers to the conductor,

Conductor,"I'm something even better than that but it's top secret don't you know. I'm already on a case and I'm fairly sure this is directly linked to it. We already have our suspects on board this very train. Would you be prepared to help us?

The conductor's eyes widens and he nods a few times in rapid succession, seeming to take heart in his words.

conductor,[color=#0000BF]"Good chap. Well, keep this door closed and don't let anyone know what's behind here. If someone asks to be let in, tell them you need to get the key and come and find us. If you'll get into trouble then just let them in but get their names for me. See if you can gauge their reaction. If they're not surprised then we know what that means -heh?"[/color]

Cecil grasp's the man's hand and then has a thought. "Farooqui, I rather feel we should take a photograph as evidence. I just have a feeling the corpse will be magically disappeared by the time we get back. However, I also feel pressured to race after Amadi. Which would you rather I did?"

Cecil and Farooqui hurry on after Amadi to the social cars.