This Sleeping Car connects between a Sleeping Car and the Lounge Car. Rooms A - D are Single Cabins, E - H are Double Cabins, and I is a Cabin Suite with a double bed.
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.
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.
John Adams was a farmer. Abraham Lincoln was a small-town lawyer. Plato, Socrates were teachers. Jesus was a carpenter. To equate judgment and wisdom with occupation is at best... insulting.
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.
John Adams was a farmer. Abraham Lincoln was a small-town lawyer. Plato, Socrates were teachers. Jesus was a carpenter. To equate judgment and wisdom with occupation is at best... insulting.
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.
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.
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?"
"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.
We do not see things as they are, we see things as we are.
- Anais Nin
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.
I'm a smooth criminal and a neurotic lawyer with a crush on a pretty-boy author, and I'm being controlled by my creepy older brother (twice!) while I worry about not having a can opener.
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.
