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.

Wolfgang marvels at the luxury of the train, painfully reminded about the less than comfortable trek to Paris. He gradually makes his way to cabin 5 and enters it.

Charles thanks the attendant in fluent French and steps up onto the train, bags in hand. He pays no real attention to the late-arriving couple, but remembers their faces for later. Inside the gorgeous hallway of the car, he nods at one of the German-speaking men from outside and moves towards Cabin 2. After much shuffling through the narrow corridor and the carrying of a briefcase and suitcase, Charles eventually makes it to his quarters and enters. After ten or fifteen minutes, Charles exits his quarters with a hard cover book beneath his arm and his pipe still in his mouth. He walks through the corridor and makes his way to the Lounge Car.

High above them 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. As the train begins to pull out of the station, the conductor went to sit on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

Wolfgang exited his compartment and closed the door. He smiled kindly at the attendant and went into the lounge wagon.

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. As the train begins to pull out of the station, the conductor went to sit on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

Schiller steps out into the corridor and gives a nod to the conductor as he hurriedly moves to the socializing 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. As the train begins to pull out of the station, the conductor went to sit on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

Dominic was feeling shaky on his legs at this point. The narrowed walkway was uninviting to one with fears of tight spaces and he gathered his strength as he used the sidewalls to support him as he wobbled along with the trains' motions. He felt sick and trapped. His face was ashen and he started perspiring uncontrollably, small comfort that he was wearing a dark colored suit and the signs of his fear would not leave much evidence. He slowly made his way toward the Lounge car, at least he thought he had gone the correct way. He was thankful none were moving about the corridor at this time. Such a public compromise would certainly ruin his day and he meant to get through this ordeal as quickly and as unnoticed as possible.

Moved into the Lounge Car,[url=http://www.callofcthulhu.org.uk/pbp/viewtopic.php?f=275&t=4221&start=20}Lounge Car[/url]

Dominic Pius,[img]http://i7.photobucket.com/albums/y271/vivamort/9a744e86-6041-4877-9939-8b09618a763f_zps1aa96268.jpg~original[/img] Dominic Pius,Ph.D., Reverend-Professor of Psychology, Boston College on Holiday Description: Male, Age 38, 5'8" Tall, 165 lb., Blonde Hair, Blue Eyes, wears modest attire Demeanor: Mild mannered, speaks little among strangers, always polite, good listener

The corridor is empty but for the conductor who sits on his chair by the door.

Colman exits his compartment and walks to the neighboring compartment 5, nodding politely to the sitting conductor sitting by the door. Despite the gentle shaking of the train and Colman's slight limp, he got around amiably through the corridor. He then raps gently onto the door with his cane and listens for anyone who might be inside.

"Excuse me, Monsieur, but there is no one currently in that compartment," says the conductor, standing respectfully as he addresses Colman. "Both of the gentlemen are currently elsewhere."

Colman gives a slight sigh before thanking the conductor for the information. He then walks to the dining car for nibbles and a drink.

High above you is a white marble ceiling 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. The conductor sits on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

"Good evening, monsieur," says Charles Belanger, approaching the sleeping car conducter who stands at their approach and almost jogging to get in front of Cecil and reach him first. He speaks with a rapidity normally only heard on the silver screen. "Did someone pass this way regarding a fellow called Schiller's illness? An employee from the Dining Car headed down this way to do just that."
The conductor seems taken aback. "No, there has been no word of this."
Charles speaks quickly in response. "Which compartment is Schiller's? We wish to look for his medication. Or, failing that, which one is Doctor Bedel's so we can fetch his doctor's bag. Hurry up, man, we haven't got all day. The man is seriously ill."
"Only Schiller's compartment is on this sleeping car and it is next to yours, monsieur," says the conductor, gesturing toward the compartment beside his fold up chair at the end of the sleeping car. Compartment 1. "But I am afraid that I can't allow others to enter inside it. I will have a quick look myself."

"That's very kind of you, thank you." Cecil follows hot on the attendants heels to compartment 1, hoping he'll be allowed in if the steward is in attendance. "And if we can't find any medication, we'll take the doctor's bag back to him.

High above you is a white marble ceiling 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. The conductor sits on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

The cabin steward carefully unlocks the door before entering Compartment 1 (read before continuing). As he shakes his head and returns to the corridor, locking the door behind him, Cecil feels an acute pain behind the eyes and a sudden of flash of images that seems somehow connected to that compartment. A flash of shovels biting into soils, voices calling out in German, the opening of an engraved dark stone lid to reveal the eerie darkness of a well below, and within there is an eerie lighting that glows ever brighter until it fills his entire vision. Then as quick as it hits him, the vision is gone.

Cecil staggers and grabs the side of the corridor. "What the devil!" He holds his other hand over his eyes until the pain is past. He shakes his head. "Very strange---I---hmm." He looks back into the room as the Attendant closes the door and then glances at Beranger. He asks the attendant, "Monsieur, has there been anything odd happening in this compartment?"

ooc,Persuade roll if needed, [url=http://invisiblecastle.com/roller/view/4258699/]1d100=91[/url]

"No, of course not," says the conductor. "Are you all right? You don't look quite well?"

"I've had rather a funny turn." Says Cecil. 'I hope whatever it is, isn't catching. Can we pick up the doctor's bag from compartment 4; he asked us to collect if if we couldn't find any medicine."

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. As the train begins to pull out of the station, the conductor went to sit on the fold out chair on the other side of the sleeping car, ready to assist the passengers with any of their needs.

The train begins to slow with a slight squeal of brakes before chugging slowly to the station.

Mr. Roby passes the trio in the aisle as he heads in from the social cars and heads out to the next sleeping car with little more than an, "Excuse me," as he passes.

The door to the social cars opens shortly after him as the train conductor begins his walk, "Attention, we have arrived at Epernay train station. Attention, we have arrived at Epernay train station." He tips his hat to the men as he passes them by, continuing on to the next sleeping car.
The sleeping car attendant unlocks the door to Compartment 4. "I wasn't aware that Colman was a doctor," he says thoughtfully.

Cecil and Belanger pass along the corridor; Cecil is carrying a heavy leather bag. He nods to the attendant, and they pass into 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 conductor sits on the fold out chair on the other side of the sleeping car, grinning wildly and nodding to you as you come in, one hand clutching a pencil as he rapidly draws something on a loose sheaf of his passenger manifest.
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.

Wolfgang stumbles into the Sleeping Car, following Elena and the doctor and carrying Schiller's limp form.

He gazes at one of the flyers as he passes, but the weight of Schiller is enough to keep his mind on more pressing matters.

Sanity Check: Success -1 Sanity,[dice]0[/dice]

Following the group Michael is attracted to one of the flyers.

Sanity Roll,65% 1d100 → [90] = (90) Failed. http://invisiblecastle.com/roller/view/4291650/. 1d6 Sanity loss 1d6 → [2] = (2) http://invisiblecastle.com/roller/view/4291652/

As Dr Bedel follows the two men carrying his patient, his eyes are drawn to one of the posters.

Sanity,result of 32, PS I don't know what I roll for this. http://invisiblecastle.com/roller/view/4292558/

OOC: Sanity. If you roll below your sanity score, you only take 1 sanity damage.

Wolfgang looks at the compartment attendant, waiting for him to open the door to Schiller's room.

French,"[color=#0000BF]Please, you can opening this man, Dr. Schiller, 's room?[/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 sits utterly straight and stares straight down the corridor as people enter the corridor. He hardly reacts unless specifically spoken to.

The train begins to slow with a squeal of brakes as it approaches the next station.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The image seems to [url=tp://invisiblecastle.com/roller/view/4295042/]seer itself[/url] into Elena's mind, leaving an after-image each and every time she shuts her eyes. She understands that there is something terribly inspirational about the sign. Something so very, utterly important. Not within the sign itself naturally but within the sensation that it evokes. During this train ride, there will most assuredly be something of grave importance. If only she could somehow lay her finger upon what that would be.... The fixation will end in 2 minutesthough the strange feeling it evokes will likely last a lot longer.

Cecil also seems entranced for a moment by those flyers and understands on a deeper level the significance within the image. Suddenly who put those flyers there seems to be more significant than anything else and he instinctively releases Schiller's feet to free himself from the burden. Though he can at least tear his mind free from the image's fascinating grasp after 1 minute.

OOC,everyone gains one Cthulhu Mythos point from the encounter. Those who lost more sanity gain 2 Mythos points. Those who become entranced gain 3 Mythos points as their mind gains a very slight but permanent kink towards the direction of recognising The Mythos ... even though they don't necessarily *know* anything about it. Because of the difficulty of telling time here, we will go by a Hollywood-esque logic that the number of minutes you would normally be affected will instead be posts x 2. Therefore Elena will be fixated for four of her own posts while Cecil will be fixated for 2 of his own posts.

The conductor silently arises from his seat to unlock Compartment 1 to reveal the made bed within. Luckily once Schiller's feet are dropped he automatically stands so it should be a relatively simple matter to walk him over to the bed and force him down upon it. Only three people can stand in his compartment at the same time and even then they will be standing side by side. Two others can stand in the aisle and gaze inside. The conductor returns to his seat.

PRESENT: Conductor, Elena Orloff, Wolfgang Ritter, Alphonse Bedel, Father Michael O'Hanlon, Dr. Gerhard Schiller, Lord Cecil Linscott.

Elena picks up the flyer from her own compartment's door as though entranced. She voraciously examines it, hungry to learn more about it.

OOC,Ah, nuts, I got caught up just a little too late to roll for myself. :(

"Not again!" Cecil groans. "Sorry old chap, but I don't think you're worth this!" He backs away from Schiller, leaving the body with Wolfgang. He shakes his head, as if trying to clear it , grins weakly to Elena, who doesn't see him being too busy reading, and heads back towards the dining cars with a very thoughtful expression.

"If you help him to the bunk, I'll speak to him for a while and try to bring him comfort." Michael steps aside for the Englishman, then continues "If that is alright with you doctor?"

OOC,it turns out you had all jumped into the wrong corridor two cars down so I'm split the thread and put it back in Jeanette which is the first one connected to the Lounge Car. The trick of it is that the list of sub-forums are in the order of the train itself: Private Car, Agatha Car, Yennifer Car, Jeanette Car, Social Cars, and then the business end of the cars which includes baggage car and locomotive. It's all good. This changes nothing except for the conductor who spends his spare time doing this: The conductor sits on the fold out chair on the other side of the sleeping car, grinning wildly and nodding to you as you come in, one hand clutching a pencil as he rapidly draws something on a loose sheaf of his passenger manifest.

Elena finds that the flyer speaks of,a sock puppet performance based on the King in Yellow production to be held in the Bar Car at eleven o'clock tonight. A story of drama, the anguish of solitude and suicide, the romantic misery of the aristocratic classes and the needfulness of dreams.

"Sure thing just let me give him a muscle relaxant and recheck his vitals. Then you may sit with him. I'll return and check him on the hour." He says as he moves around people to the bedside administering an injection.

"There we are. He should sleep soundly for now and that should insure he doesn't hurt him self when he awakens."

Wolfgang assisted in the process of transferring Schiller to his bunk, but doesn't appear to enthusiastic about the religious part of the experience, not does make a very big effort to hide it.

"Zanking you for ze helping, doctor. Maybe ve can knowing vat iz wronk vhen he vake up."


Wolfgang nods his goodbye to the two men and moves out of the room and towards Elena.

Russian,I am curious what [b]Schiller [/b]will have to say when he comes around. And didn't you think it rather suspicious that the fop left in such a hurry?

Noticing Elena's engorgement with the flyer, he puts his hand on her shoulder.

Russian,[color=#0000BF]Lena, is something wrong?[/color]

Elena's eyes light up with excitement, and she shows the flyer to Wolfgang.

Russian,[color=darkred]"Have you seen this?'[/color] she asks, showing him the yellow sign. [color=darkred]"I think it's important somehow...very important. I must write something down. Do you have a pencil?"[/color]

"Wonderful day isn't it?" Jonathan Parker said as he flashed a smile at the train conductor. He had a loud and boisterous voice that seemed to draw others to attention. He was a man of some wealth. This was evident through his choice of attire: a suit complete with a bowler cap which he now took off, revealing well-combed brown hair without a single streak of grey hairs despite his age.

Despite the noble air that he carried, he still seemed somewhat distant. His brilliant blue-grey eyes would sometimes wander out the window at a far distance, as if contemplating a distant memory that he longed to remember...or perhaps to forget.

"Please carry my luggage to my compartment if you will, dear sir," he said to the conductor. He turned right towards the lounge.

Mr. Roby enters the sleeping car from Yennifer carrying an oversized deck of cards and three books in his hands. He pauses when he sees the open door with Bedel stepping inside it before looking down the corridor at Father Michael, Elena and Wolfgang Ritter. "I say but there appears to be some kind of roadblock," says Mr. Roby, seeming to have an almost mesmeric appeal himself at the moment. Although his demeanor hasn't changed at all, he stands somewhat taller and it has re-cast him in a rather more impressive glow.

Elena & Homosexuals Only,please roll Pow x 5 to avoid gaining a crush on him. Yeah, I know, but it will only need to be a little crush if you fail.

Elena manages to resist Mr. Roby's new aura. "Herr Schiller was taken ill," she explains, "so the doctor took him back to his compartment." She returns her attention to the flyer.

The conductor suddenly seems to come to himself for a moment. "Ah, Dr. Bedel, I forgot to mention that Mademoselle Boyana Buchvarov has been placed in a shared compartment with Mademoselle Nico Dubois to ensure that she has a safer trip."

Successful Psychology roll,determines that there is some minor shameful matter that also underlies that decision which he doesn't want to mention.

There's a sharp click of heels and a rush of fabric as a young woman boards the train, excitement buzzing in the air around her. She glances briefly around the corridor, with such wonder on her face it's as if she's never even seen a train before. That may not be too hard to believe, though, considering how out of place she looks: with her strangely pale skin and purple and black gown, she seems as though she's stepped straight out of a painting from Victorian England. She turns and peers out the doors, cocking her head with an oddly sharp movement. "Come on, come on!" she shouts impatiently. "I want to go somewhere!"

She doesn't seem to be carrying any luggage; it must be with whomever she's shouting at.

Charles Gavigan steps up onto the train beside her as, upon the platform, the porter passes the luggage to the first class conductor alongside the tickets. "Calm down, Lily." His eyes latch onto one of the flyers and he grabs her roughly by the arm, dragging her quickly into their compartment. "There's filth on those corridor doors, Lily. You'll need to avert your eyes."

"Wait!" says another conductor, heading up onto the corridor. "This is not the Agatha Sleeping Car. I am afraid that the car you are seeking is three cars down."
Gavigan steps back out. "Why didn't you say so more clearly? What kind of operation is this?"
"I, uh, my apologies," says the conductor automatically.
Gavigan glares at him. "Let's go, Lily, and hope there's no more mistakes." He peers down the corridor at the crowd. "It would be quicker to go out via the door and come back in from the station."
The conductor gives everyone a helpless look before following the two out onto the cold platform.

Doctor Bedel adjusted the blankets on Schiller, before checking his breathing and pulse one more time. He pauses for a moment contemplating whether this man would show him the same kindness.

Bedel gave a brief "thank you" and nod of acknowledgment as the conductor explained Boyana's new quarters. He feared he would have to visit her soon.

Out in the corridor it sounded like more people were boarding the train. At least one rather angry sounding man. Just what they needed.
Bedel squeezed past the priest and stepped out into the corridor, before travailing back in the direction of the lounge car.

Wolfgang produces a battered notebook with a pencil and gives it to Elena. With a smile he addresses Roby.

You are look well refreshing, perhaps we must removing ourselves from this corridor and to your wife?


Wolfgang gently takes Elena's hand, not really understanding the nature of her confusion, and guides her to 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 returns to sit on his chair utterly straight-backed and stares straight down the corridor as people enter the corridor. He hardly reacts unless specifically spoken to. The train begins to gain speed as it leaves the station.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The door to Compartment 1 is open, revealing Schiller lying on his bed and staring over at the wall. Father Michael O'Hanlon stands in the room with him, keeping vigil. Unbeknownst to anyone else in the corridor, as they can't see such a minor action, Schiller's eyes rise to meet Father Michael O'Hanlon's gaze although his face remains passive and his muscles slack.

Wolfgang Ritter,you will need to wait until Elena posts before you can enter the Lounge Car as there is a chance she won't go with you.

PRESENT: Conductor, Elena Orloff, Wolfgang Ritter, Father Michael O'Hanlon, Dr. Gerhard Schiller.

Lily and Charles are back again, moving toward the Social Cars. Lily sees nothing going on, as her head is down and her eyes are closed tight.

Elena takes the pencil and begins scribbling madly on the flyer, oblivious to everything else, though she allows Wolfgang to slip her arm into his and lead her away. She writes furiously and automatically, not really giving any thought to the words that pour from her brain onto the page.

The door to the Lounge Car opens and footsteps can be heard in the aisle. The WC door opens and closes, followed by the sound of racking nausea as someone dry retches loudly.

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 returns to sit on his chair utterly straight-backed and stares straight down the corridor as people enter the corridor. He hardly reacts unless specifically spoken to. The train begins to gain speed as it leaves the station.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The door to Compartment 1 is open, revealing Schiller lying on his bed and staring over at the wall. Father Michael O'Hanlon stands in the room with him, keeping vigil. Unbeknownst to anyone else in the corridor, as they can't see such a minor action, Schiller reaches out a hand towards Father Michael O'Hanlon.

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 have a feeling that Lord Cecil is an interesting type of busybody."
Amadi Al-Rassam pauses in the aisle. "What do you mean?"
"Oh, don't get defensive, old chap." Charles claps him on the shoulder, drawing him on. "I like him. I really do. I think it might be worth us putting our heads together over this little situation. Don't you just get the sensation of a storm brewing in the air? An electric sparkle to the air? Something is about to happen and it involves our German friends. I'm sure of it."

PRESENT: Conductor, Charles Belanger, Amadi Al-Rassam, Father Michael O'Hanlon, Dr. Gerhard Schiller, Kieran.

Kieran walks in from the adjoining car, upon seeing the first flyer, he shivers slightly and rubs the back of his neck for a moment. Muttering in English "the trip must have drained more out of me than I thought". Being the inquisitive type, he picks up the flyer to look at it further on both sides to see if there's some kind of ink or different type of material to see if there's something to cause the front of it to change & blur with the passing lights while the train moves along.

It seems a little ... childish ... on multiple levels. Yet the image on the front of the flyer seems seared into your very mind.

Kieran looks to the others in the corridor and asks anyone nearby "hello, is this something that's normally done on this train? This is my first time on this train & I personally never heard of anything like this before.It seems odd at this late hour but it does sound like it might be interesting or some new thrill that's catching on throughout Europe."

Charles Belanger glances back over his shoulder. "Interesting indeed. Each journey on this train is unique but this train journey seems more unique than the others. I imagine folk might be remaining awake longer than most considering what's happening in Europe."

And with that, he and Al-Rassam leave the sleeping car and head into the next one.

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 chair utterly straight-backed and stares straight down the corridor. He hardly reacts unless specifically spoken to.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The door to Compartment 1 is open, revealing Schiller lying on his bed and staring over at the wall. Father Michael O'Hanlon stands in the room with him, keeping vigil. Unbeknownst to anyone else in the corridor, as they can't see such a minor action, Schiller reaches out a hand towards Father Michael O'Hanlon.
The conductor suddenly seems to come to himself, rises from his seat and approaches Kieran once the other two have left. "Good evening, I am Monsier Stephane Thayer, the conductor for this Sleeping Car. Would you like me to unlock the door to your room so that you can prepare for the evening's festivities?"

PRESENT: Conductor, Father Michael O'Hanlon, Dr. Gerhard Schiller, Kieran.

Kieran looks to the conductor "Are you alright? You seemed a little, well dazed would be the only thing I could think of."

I will wait for a response from the conductor as it's a really bad idea to get the train staff mad at you. After making sure that the conductor will be okay, Kieran says, "As for the sleeping car and considering the nature of this event going on in the Smoking car, I feel what I'm wearing should be good to see a small theatrical performance. Is this something that is normally done on this train?"

Kieran then proceeds back to the Smoking car to see the show.

Monsier Stephane Thayer slowly blinks at him. "Have you seen the Yellow Sign? It's all I can see ... every time I close my eyes." He shakes his head slowly from side to side to clear it. "Am I ... well? Yes, sir. Yes, I am. As for the performance, our usual entertainment involves our pianist but occasionally some of the guests will take it upon themselves to put on a little performance. Mr. Roby put up these flyers as he returned with his ... his books ... on his way to the social cars." He pauses, his eyes resuming their glazed appearance. "There was ... a ... guest who ... is awaiting you ... in your ... compartment ... shared compartment ... your guest or that of the ... the man who is ... sharing your ... compartment. Perhaps he is happy to ... to wait ... a little ... longer." With that the conductor stands very still as though waiting to see if you would like him to unlock your compartment (Compartment 5) or whether you will continue on through 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. The conductor sits on his chair utterly straight-backed and stares straight down the corridor. He hardly reacts unless specifically spoken to.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The door to Compartment 1 is open, revealing Schiller lying on his bed and staring over at the wall. Father Michael O'Hanlon stands in the room with him, keeping vigil. Schiller lays still with one hand slightly outreached toward Father Michael O'Hanlon though with no further movement.
Nico reacts rather badly to the flyers. She utters a high-pitched scream and falls back against the wall, scratching at her own face, pulling at her hair, and heaving great big ugly sobs.

French Conversation,"No! Why here?! Why here?!"

PRESENT: Conductor, Father Michael O'Hanlon, Dr. Gerhard Schiller, Nico, Dr. Bedel.

French,"It's ok, just relax. Lets get to my compartment and we will talk about. Lets get away form here."

Sobbing, Nico merely turns toward him and buries her head against his chest.

The door to the Lounge Car flies open and Lily rushes into the corridor, barely managing not to trip over the hem of her dress. Her eyes are immediately drawn to one of the yellow flyers, but all that registers on her face is frustration. She then turns her attention to Nico and Dr. Bedel, and awkwardly fidgets with the book she's holding.

She takes a breath, and steps closer.

French Conversation,[color=#800080]"M-miss? I'm sorry, I thought I heard you screaming, a-are you all right?"[/color]

She shoots a worried glance at Dr. Bedel.

Keeper,[i]Damn it! I[/i] knew [i]not to look at the flyers, how could I forget?! Oh, Lily, how can a woman make you so[/i] stupid? [i]You don't even know her name![/i]

French,"She will be fine, she just needs to lay down it has been a shocking and confusing day for all of us."

Nico lifts her face from Bedel long enough to give a lip-quivering, red-eyed, mascara-running look of abject woe at Lily.

Lily frowns and furrows her brow.

French Conversation,[color=#800080]"Shocking and confusing? Oh, what happened?"[/color]

She locks eyes with Nico, swallows nervously, and holds out a trembling hand.

French Conversation,[color=#800080]"Er... there, there... you'll be all right, please don't cry."[/color]

Nico bares her teeth and hisses at her.

Wolfgang enters from the Lounge Car and looks at the people in the corridor with a puzzled expression on his face.

"Iz somezink ze matter? Iz anyone hurt?"

Laraqua,Do I have to roll Sanity again, or does the roll from the previous time still count?

French,"Don't hiss at her, if nothing else its rude. Listen were is you're compartment, I'll take you there.

Elena enters right behind Wolfgang. "Is everyone all right?" she asks.

The crowding at that end of the aisle seems to upset her and she pushes past Bedel, running into the next sleeping car.

Lily steps back in shock, eyes round as saucers as she watches Nico leave. "I-- I didn't mean--" She falls silent, and her lips tremble.

Choking back a sob, she hikes up her skirt and dashes after her.

Wolfgang frowns and lets out a sigh of combined relief and frustration. This looked like nothing more than Dr. Bedel's love life getting out of hand.

If nozing is wrong, I vill going back to ze Lounge car....

He nods at the doctor and turns around, raising a meaningful eyebrow at Elena.

Russian,[color=#0000BF]Well, that was fairly unspectacular. I hope it is a premise for our journey through Germany.[/color]

French,"What is with people having nervous brake downs on this trip. I'll go check on her."

Russian,[color=darkred]"So do I,"[/color] says [b]Elena[/b].

Elena heads back into the Lounge Car with Wolfgang.

Cecil barges through the lounge car door, sways, and almost bumps into Elena, "By Jove! I'm terribly sorry!" He grins foolishly and seems a little drunk. He keeps his eyes lowered but says so everyone can hear him, "I don't suppose you've seen Mr. Amadi Al-Rassam by any chance - young, suave, handsome and Arabic? It's devilishly important I find him."

sanity rolls,Do I need to roll again as I've already seen the posters?

"I'm sorry, I haven't seen him lately," says Elena. "You might check the Smoking Car, but that's just a guess. He wasn't in the Lounge Car." She heads back into the Lounge Car.

Wolfgang follows Elena back into the Lounge Car.

"Fine, fine." Cecil murmurs after the retreating backs and he hurries down the corridor to the next carriage, keeping his eyes lowered to avoid the ghastly posters.

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 returns to sit on his chair utterly straight-backed and stares straight down the corridor as people enter the corridor. He hardly reacts unless specifically spoken to. The train begins to gain speed as it leaves the station.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

The door to Compartment 1 is closed.

PRESENT: Conductor.

Nora and George Rimwald enter the Lounge Car and make their way down to the Jeanette Sleeping Car with a brief "excuse me" to the other two passersby. Nora is shocked by the flyers but only a little while George is more greatly struck yet manages to keep himself calm and collected as they head into Compartment 9.

Nafy Hijazi, Minoo Hijazi, Waleed Hijazi and Sulamen Hijazi leave the Smoking Car and make their way down the aisle as well. Nafy keeps herself together, as does Minoo and Waleed. Sulamen manages to withstand the flyers as well. Thus it's almost as though the flyers don't have much of an effect beyond Minoo quietly covering her daughter's eyes with her hand.

Harriet Roby and Henry Roby both follow on their way down as well, seeking out their compartment.

Jonathan Parker catches sight of the flyers and frowns. There is...just...something about them... so oddly fascinating... so...

He shakes the thought from his mind and walks up to the conductor. "Excuse me sir, but who put up these flyers?"

The conductor waits until the corridor has cleared, the various individuals taking a brief look at the flyers and then ignoring them, perhaps considering it too bizarre to comment on.
Monsier Stephane Thayer slowly blinks at him. "Have you seen the Yellow Sign? It's all I can see ... every time I close my eyes." He shakes his head slowly from side to side to clear it. "Am I ... well? Yes, sir. Yes, I am. As for the performance, our usual entertainment involves our pianist but occasionally some of the guests will take it upon themselves to put on a little performance. Mr. Roby put up these flyers as he returned with his ... his books ... on his way to the social cars." He pauses, his eyes resuming their glazed appearance. "There was ... a ... guest who ... is awaiting you ... in your ... compartment ... shared compartment ... your guest or that of the ... the man who is ... sharing your ... compartment. Perhaps he is happy to ... to wait ... a little ... longer." With that the conductor passes Parker to stand by Compartment 5 - which is most assuredly not his compartment.

"Right," Jonathan said, eyeing the corridor to see if anyone else was present.

Keeper,Jonathan pulls out a small rock with intricate engravings from his pocket. "My Good sir, could you please look very carefully into this stone and tell me what you see?"

There's no one in the corridor.\
Monsier Stephane Thayer stares at the rock. "It's ... a rock."

Jonathan clicks his tongue. "Worth a try. In any case, I'm afraid you have the wrong person. This is most assuredly not my cabin. "

Monsier Stephane Thayer smiles blankly at him.

"...Right, let's get you to a doctor," Parker mumbles, grabbing onto the man's shoulder. "You're obviously suffering from some illness."

Monsier Stephane Thayer gives him a confused look but doesn't pull away. "You've brought the stones ... but ... why?"

"Obviously you have gone la-la in the head and don't know what you are talking about," Parker said, tugging on him. "What stones, man, what stones? I do not see any stones here."

Monsier Stephane Thayer walks slowly after him as if in a dream. "Stones ... rich ... stones...." He follows wherever Parker thinks to lead him.

Parker leads the dazed conductor down the hall towards the Social Cars.

The corridor is now empty of people.

Parker walks down the corridor, pauses, seems to consider something, and enters compartment 5.

Jonathan Parker emerges from compartment 5 visibly shakened. He locks the door to the compartment and hurries down the corridor away from the social cars.

The corridor is still empty. It looks like no one saw him leave the compartment.

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 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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

There is no sign of any conductor. As Parker almost reaches the end of the corridor, the door opens and two children enter the corridor lugging a large case between them. They step to the side, near the angled wider point by the door to the WC, and set the case down so Parker can pass.

PRESENT: Parker, Henry & Harriet Roby.

Parker enters the corridor and almost runs towards the door of the social cars.

Lily follows close behind him, skipping merrily. "Why, Mr. Parker, slow down!" she laughs.

"Why I don't know what you are talking about!" Parker shouts as he walks even faster than before, slamming open the door to the social cars and rushing through.

Lily cackles as she hikes up her skirt and chases after him, into the Lounge Car.

Wolfgang enters from the Lounge Car and heads to room #5.

German,[color=#0000BF]The American? Maybe someone thought his clothing was too garish after all. Did you know him?[/color]

His voice is surprisingly cool.

German,Never seen him before in my life. Although I do admit that I suspected he wasn't an American when I heard of him. The outfit looks like what a comedian would wear while making fun of Eagleland.

Jonathan Parker looks around the corridor.

The conductor is still in the Dining Room.

"Strange," Jonathan mumbles in English. "There were two boys carrying a large suitcase coming into Jeanette when I last came through here. They didn't go to the lounge, it seems. I wonder where they could have gone?"

He enters compartment 5.

Wolfgang's shared compartment appears to be unlocked.

Wolfgang steps into the compartment.

German,"[color=#0000BF]I think you had best find those children. Ask the other wagon managers, or listen intently. They should still be making some noise and these walls are all very thin. I'll be here in case someone returns.[/color]"

[Spoiler-Button]Keeper: http://invisiblecastle.com/roller/view/4371863/: listen check fails.[/Spoiler-Button]

"Children? What am I supposed to do with children?" Jonathan mutters before heading towards the Second Class cabins further back of the train.

Wolfgang steps out of room 5 and into the corridor. He looks around for a moment hoping to find the conductor.

There is no one in the corridor.

Wolfgang goes to the conductor's seat and looks around for a passenger list of the Jeannette sleeping car, hoping to find some clue as to the identity of his room mate.

There is a clipboard sitting on the conductor's seat.

Jeanette Sleeping Car - Second Class - 1 to 9
Dr. Gerhard Schiller in Compartment 1.
Charles Belanger in Compartment 2.
Dominic Pius in Compartment 3.
Colman in Compartment 4.
Wolfgang Ritter and Kieran McLaughtery in Compartment 5.
Nico Dubois and Boyana Buchvarov in Compartment 6.
Durante Pontarelli and Erminia Pontarelli in Compartment 7.
No one in Compartment 8. (OOC: Someone might be listed from a future stop but it's open for players at this stage.
George & Nora Rimwald in Compartment 9.

Jonathan runs in from Yenniffer and almost runs into Wolfgang. "Found the children, but I don't think they are responsible for whatever that happened," he said. "Oh hello, what do we hav-"

Jonathan raises an eyebrow. "Wait a second, that was your room?"

Wolfgang looked up at Jonathan, taking the man in with his cold eyes. (and trying to see if he really didn't know)

Psychology 60%,[dice]1d100[/dice]

Balls,Apparently the dice roller hasn't been activated in this corridor and invisible castle is down. I made the roll in Chit Chat. ;)

German,[color=#0000BF]Really? I thought you knew and that that was at least part of the reason why you came to get me. But I believe your problem is solved for now.[/color]"

Wolfgang,Jonathan genuinely seems alarmed. OOC: yeaah...it was a strange coincedence.

German,Wolfgang, I sought you out because, according to Roby's descriptions, you seemed to be the most likely person to help me out. You aren't without altruism for you helped a Nazi, who would surely be hateful to you, and also because you were a communist with a Russian friend. I supposed that you were fleeing to the Soviets or somewhere in the Balkans before whatever the leader plans come to pass.

Jonathan taps his feet.

German,Uhh... I didn't mention this before because i thought it was an inappropriate time but... You seem oddly at ease with uhh... Solving problems discreetly. Do you...uhh...have much experience in the field?

Wolfgang looks Jonathan in the eyes and speaks in a soft voice.

German,"[color=#0000BF] I've been in a very nasty war for the past years, Jonathan, a neatly dressed and tied-up body is a welcome change from those torn to shreds by mortars or ones whose innards are slowly seeping out.[/color]"

He puts the passenger list back and lets Jonathan lead the way to cabin 5.

German,"[color=#0000BF]I didn't survive because I'm some sort of great warrior. I survived because I learned to keep cool in any situation.[/color]"

Wolfgang opens the door to the cabin, showing the empty room inside.

German,"[color=#0000BF]And besides, why wouldn't you remain calm when there is no problem to worry about?[/color]"

For the shortest moment he smiles affectionately.

German,"[color=#0000BF]You seem to be a smart man, Jonathan, how do you end up in situations like this?[/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.
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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.

PRESENT: Conductor.

German,In my line of work, I do not tend to encounter problems of such nature.

Jonathan frowns.

German,I'm sorry-I never had to deal with problems of this nature before. I do not think I'll be watching this puppet show. I am not a superstitious man, but there's something about this train and the flyers that disturbs me greatly. I believe I will remove them all while everyone else is away. Please keep the fact that I can speak German from the other passengers-especially the English nobleman and his associates. They have a gift for tongues and a habit of eavesdropping on conversations that should be kept a secret. They are not normal people. The Englishwoman seems to be fine, if a bit childish and unafraid of a scandal.

Jonathan shrugs.

German,I wish us all the best of luck through Germany. May we only stay for the briefest amount of time in that godforsaken nation.

He moves towards Yennifer

German,[color=#0000FF]Do you think they are up to something? You said you had a way to get through Germany, care to share it?[/color]

German,Initial Plan is to act like an Englishman, as I have been doing. The leader fancies a delusion that all of Germanic race will assist him in his Kingdom. Thus, he believes that the English, being Anglo-Saxons, will ally with him. His cronies will not bother a man of this nationality too much, espescially ones which cannot communicate very well with them due to his unfortunate ignorance of the German language.

Jonathan grins.

German,I would not advise you on pretending to be Russian though. I have given you my word that I will try and protect you through Germany. If something happens,I will do everything in my ability to do so. I can always become someone else, and the Nazis do love obeying authority.

Cecil arrives with Amadi and Charles Belanger in tow from the Yennifer car. He sees two men, including that shifty Russian fellow, standing in conversation; he raises his eyebrows.
"Excuse me chaps, may we pass through? Confounded corridors don't give room for a fellow to breath let alone swing a cat, haw, haw. Are you going to visit this odd puppet performance in the smoking car?"

German,As much as I look forward to your performance, I hope you won't have to resort to it.

Wolfgang's smile fades as the other men enter and he is visibly making an effort to understand Cecil.

English roll,http://invisiblecastle.com/roller/view/4385442/

"Vhat? Cats? My apolow-gees, please passing you by..."

Wolfgang moves out of the way so the men can pass.

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 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 x 2 of your own posts.) There may be more information attached were you to open the flyer and read it.
"Considering the Piano Car will be closing in fifteen minutes, I highly doubt that," says Amadi wryly. "Well all be ushered into bed soon enough."

PRESENT: Conductor, Wolfgang, Parker, Cecil, Amadi, Charles Belanger.

"Well, we'd better hurry then. Excuse me gentlemen, must dash!" Cecil hurries along to the next car.

Wolfgang looks on as the men leave.

"Enjoying your evening."


He then looks at Parker and says,

"I thinking I will going to beds. Let us hoping zhat ve passing through Germany vithout problems."

Having said goodbye to Parker, Wolfgang returns to his cabin. He stops, his hand on the knob, and seems to think of something and then heads down the corridor towards the Lounge Car.

"Quite," Parker smiles. He rips off the flyer from the nearest door, scrunches it, and shoves it into his pocket.

"Dear Conductor," Parker said. "Since the play is about to begin anyways, you would not mind if I tore these flyers off these doors, no? The color yellow do make my eyes hurt."

Wolfgang re-enters from the Lounge Car, Elena on his arm. He appears to be chatting casually.

Russian,[color=#0000BF]I am glad to have found you unoccupied. There are many things going on this train and I will sleep much sounder in the knowledge that you are safely in your cabin. [/color]

Wolfgang stops, turns to Elena and smiles.

Russian,"[color=#0000BF]Where am I taking you exactly?[/color]"

Elena smiles back.

Russian,[color=darkred]"You were gone so long I was a little worried about you too,"[/color] she says. [color=darkred]"I am glad to see you're all right. I'm in the Yennifer Sleeping Car, the next one, in Compartment B. The puppet show ended up not happening tonight. The [b]Roby[/b] children were planning to perform it, but apparently [b]Lord Linscott[/b] and [b]Amadi al-Rassam[/b] prevented them from doing it. I overheard [b]Farooqi[/b] talking about it to [b]Kieran[/b]. [b]Amadi[/b] delayed the children by continually talking at them, until the bar was about to close and it was too late. [b]Mr. Roby[/b] said the children will put on the show tomorrow after lunch, but we shall see if those who want to stop it find another way. Those flyers advertising it did make several people react oddly, including me and that conductor."[/color]

Wolfgang listens intently to what Elena is saying, guiding her through the corridor and squeezing past Parker and the conductor, greeting them as they pass.
He then enters the Yennifer Sleeping Car.

Elena heads into the next sleeping car with Wolfgang.

OOC,Whoopsy. Silly me.

Stephane Thayer enters the sleeping car (my bad for including him under Present), and Parker asks him the question. "I wouldn't mind, no. In fact, you would be doing me a favor."

"Very well,"

He begins to rip off every single poster in the hallway towards the social cars.

"What's the littering law in France again?" Jonathan mumbles to the conductor as he comes back, carrying a pile of leaflets. "I have half a mind to just toss these godforsaken pamphlets out the window."

Stephane Thayer looks thoughtful. "I really couldn't say. Perhaps the sleeping car's boiler might be a better place as it would ... help heat the Sleeping Car."

"Ah, the boiler," Jonathan nodded. "Where is this boiler 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 walks over to the end of the sleeping car and unlocks a panel which reveals a small water boiler with a wood fire beneath it which he must open, using a set of thick gloves to open it.

PRESENT: Conductor, Parker.

Paker puts the flyers into the fire.

"And that takes care of that," he says.

The flyers burn rapidly.

"We'll, that should keep the fire going for..ahh.. 5 seconds," Jonathan mumbled. "Say, conductor, how do you put more water into the boiler?"

"I don't." Stephane Thayer smiles and taps a few smaller, thinner pipes bracketed to the wall which lead up. "As we move along, a special half pipe is lowered into certain fresh water open topped tanks and the force of the train moves the water up that half pipe and down into our own internal reservoirs. Some of that is moved into this boiler."

"Ahh, the wonders of a modern day technology," Jonathan nods. "Well, I'll be off for now."

Jonathan heads into Yennifer.

Mr Roby and his family passes through the corridor and into the next 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. The conductor seems quite comfortable on his seat, though he immediately rises to let everyone into their turned down room as they enter. He seems ready for bed but remains polite if anyone has any further questions.

OOC Note,I totally forgot to post in this thread before moving to the social cars

Jonathan Parker moves down the hall towards the social cars.

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 seems quite comfortable on his seat, the clipboard placed beside his legs, though he immediately rises to let everyone into their turned down room as they enter. He seems rather tired but remains as courteous as always. As the group of individuals enters the sleeping car from the Lounge Car, he rises to his feet and unlocks Compartment 5 to allow Kieran to enter his double room. It looks like the other compartment person isn't currently inside. As he does so, the train begins to slow to a halt as it cruises on in to the next train station.
"All right, this is my stop," says Charles Belanger at the door to Compartment 2 to allow Charles Belanger to enter his single room. "We should discuss later our potential meeting with the mysterious Private Car's occupant."

Everyone,please post whether you wish to make small talk or not. Otherwise I will progress you to the next car.

PRESENT: The conductor, Johannes Sprech, Lily Gavigan, Charles Gavigan, Amadi Al-Rassam, Farooqi Al-Rassam, Cecil Linscott, .

Lily stares silently at Mr. Gavigan's back, her lips a thin, tight line.

"Yes indeed. We'll pick you up on the way to Breakfast. Sleep well." Cecil bids goodnight to Belanger and continues down the corridor, not wanting to say more with Sprech in the vicinity. He bows his head as he squeezes past Lily. "Good evening Maam."

The remaining passengers in the corridor move into the Yennifer Sleeping Car.

Jonathan walks into the corridor, nods to the conductor, and goes through to Yennifer

Wolfgang enters from the Jennifer car, greets the conductor and enters compartment 5.

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 seems quite comfortable on his seat, the clipboard placed beside his legs, though unless you successfully sneak out he will awaken, ready to help you.

Keeper,Sneak ROll: [url]http://invisiblecastle.com/roller/view/4457599/[/url] Ambrose's Thoughts: Another compartment, another guard. Too much sound-he knew he couldn't sneak past this one. "Sorry for waking you," he said in French. A good cover. As long as he maintained the illusion that he could not speak French, this should stave off some suspicion.

A man in grey with crumpled hair and a scarf around his face emerges from Yenniffer Car, floorboards creaking softly as he walked past.

French,Sorry for waking you up, sir.

The man in the mask mumbles something in French towards the bleary-eyed conductor before walking away towards the social cars.

The conductor seems too tired to make much out of it and simply maintains a polite facade while waiting to go back to sleep after locking his door.

Wolfgang leaves cabin nr 5, looking dishevelled and carrying a sizeable book.

He looks left and right and decides upon heading towards the social cars.

The Lounge Car door is unlocked, at least. It appears the others would still be locked.

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 stands with a German passport officer and the Train Manager in the slightly broader triangular space between the diagonal toilet door, the corridor opening, and the doorway to the closed compartment between train cars. The passport officer goes over the passports meticulously and compares it to the Train Manager's list.

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 German passport officer leaves the train and the Train Manager heads back out into the Lounge Car as Cecil enters the corridor and starts striding down it. The train blows its whistle and then slowly moves out from the station. Cecil has made it most of the way down the corridor and is at the door to the Lounge Car when a little girl comes rushing down the hallway, pausing behind him to turn toward the window, weeping fitfully as she draws a well-used handkerchief from her pocket. She's weeping so hard she can hardly breathe. The conductor gives Cecil an apologetic look when he turns to regard the crying child and moves to intervene.

Jonathan enters the cabin from the direction of the Lounge Car, supported by the train manager. Looking at the crying girl, Jonathan taps his chin thoughtfully before shrugging off the train manager and walking towards the child.

"What is wrong, little girl?" He asks. "Is the Butzemann after you?"

Keeper,Butzemann is the German word for the Bogeyman

She looks up at him, seemingly confused, and puts a finger to her lips in deep consideration.

German,"Blutzemann....? No, I'm sorry. I'm just so glad to be going home soon."

She turns her head to one side as though to shield her tears from him with a curtain of loose hair.

German,"I didn't mean to bother you. You can go past now, sir."

She moves past him into the triangular space between the door to the communications compartment, the exterior door, the WC door and the corridor.

Jonathan watches her leave for a few seconds and bites his lower lip. That girl is not one of the old puppeteers so whose was she?

Jonathan nods to the train manager to signal that he would be alright and moves to check out the girl.

"I... Don't suppose you speak English?" Jonathan says. After a sharp glance towards the train personnel and Cecil, Jonathan quickly begin to whisper something to the girl.

Whispered German,It's a sign of an ugly world when a little girl need to lie to hide her sorrow

She gives him a mournful look, but seems to take him for the Englishman he pretends to be because she says,

German,"I'm a Jew, sir, and I have no parents nor French citizenship and so I must return home. I don't speak any English but I do speak French."

German,That... Oh those French assholes

Jonathan looks up and into the distance.

Keeper,Ambrose's Thoughts: ... I can't just leave this girl... maybe if I can get my hands on that dead American cowboy's passport and tickets... I can forge her one.

German,I... What's your name? My name is Jonathan.

To make matters worse, he can even make out a French accent on her German which suggests she'd been there awhile.

She tries a cheerful smile, but it just doesn't sit right on her.

German,"Magdalena Bartenstein. Please don't feel too poorly for me, sir. I'm getting off at the last stop in Germany. When my parents died I received their life insurance. It wasn't much but it got me aboard this train which was something I always really wanted to do. I even managed to get some really nice dresses in Paris before I had to leave and I got to stay in a very nice hotel. It really is lovely feeling so rich. I mean, I was never a pauper but, well, middle class.... (she pauses, seeming embarrassed) It has been a very nice trip."

Muttered German,You are too young to be faking a smile...

. He pauses...

German,I'll... try and see what I can do. Would you like to stay in my compartment for at least a short while?

Keeper,Ambrose thinks that stealing a Jewish girl from the train in Nazi Germany will be a challenge: a bragging rights reward that also motivated him to steal the emerald necklace many years ago. Besides maybe she will reward him with her family jewels or something. Whether or not he actually feels for the Jewish girl and made up the above excuse in his mind to convince himself or if he actually thinks this is a good idea (it's not) I have not decided yet.

The Train Manager seems equally sorrowful for the girl (as in a sort of ambivalent pity one might feel when one isn't too sure of one's own motives but is pretty sure that it is a very sad tale, at the very least).

German,"If either of you need anything, please do not hesitate to let me know."

Then he turns and heads back into the Lounge Car.
A fellow re-enters the Jeanette Sleeping Car and pauses when he sees Ambrose speaking to Magdelena, a clear scowl crossing his features. Rather than say anything, however, he bids the conductor unlock his compartment door.

German,"Thank you, sir, I should like some company."

She follows him with the sort of trusting naivete one would expect from a child who has led a good life until now.

Jonathan looks up to the fellow and smiles sweetly.

"Guten Tag," he says. He leads the girl towards Yennifer

Cecil frowns and then calls over to the little girl before she is led away.

French,[color=#0000BF]Are you alright Miss? Do you know this gentleman? Are you sure you should be walking off with him? If you like, I can fetch your parents for you.[/color]

French,"I'm sorry, sir, but my parents are dead. This man is a friend of the family. I almost didn't recognise him."

She gives Parker a grateful look and continues on with him.

Cecil nods to the little girl and, after giving the gentleman a rather hard stare, he then continues on his way to the lounge car.

Wolfgang enters the corridor from Yennifer and enters his compartment.

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 sits at his seat.

Elena makes her way through the Jeanette Sleeping Car to the Lounge Car.

The door to the lounge car is unlocked.

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 heads down the corridor and enters the Lounge Car.

Jonathan follows the woman down the corridor into 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 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.

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 let you pass before returning to his seat.

Lily nods politely at the conductor as she proceeds down the corridor to the Lounge Car.

She makes her way through with ease.

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 let you pass before returning to his seat.

German,"I am surprised that there are two archaeologists aboard this train alongside our fair [b]Fraulein Shefira Roasch[/b] and yet you weren't aware of her. How far will you be travelling aboard the train in one journey? Will you be stopping elsewhere before returning?"

As he speaks, the train slows as it enters Munich.

The two continue on to the next sleeping car corridor.

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 let you pass before returning to his seat.

Khan enters the hallway, and immediately goes towards the dining car- asking everybody who seems to work here where it is on the way, even if he was already told. He smiles at any passengers he sees, showing off his not so pearly whites.

At present there is only the conductor in the same corridor as him.

French-accented German,"Good evening, [b]Herr Khan[/b]. It is good to see you are enjoying your trip thus far. Have you found your room to your liking? How about your ... err, wash bowl? As to the dining car, it is that way, good sir, though it will not be open until First Service. The smoking car will be open in five minutes, however, and the lounge car is open from early until late."

He pauses as though just remembering something.

German,"[b]Mr. Alexander Roby[/b] requested to meet you in Compartment E of the Yennifer Sleeping Car - which is the other way."

Moving,you'll be able to find the Lounge Car in the Social Car sub-forum if you wish to continue onward. The order of social cars basically goes Lounge Car, Smoking (i.e. Bar) Car and Dining Car. It's easy to remember if you think of it in order of openness. The Lounge Car is open the most and unstaffed but for polite enquiries from staffers passing through. The Smoking Car has drinks available and so opens from 11 til midnight, generally. The Dining Car is only open as needed. You will find the Lounge Car quite bustling with activity - two chairs oppose each other over a table on either side of the aisle. Alternatively you can go down into the Yennifer Sleeping Car corridor after the two Germans and just keep quiet. On the plus side, you might see what compartment they enter.

Thanks,for winning me that other player.

Khan, against his better judgement, decides to go meet this 'Alexander Roby' and politely thanks the conductor with a small bow and heads the other direction soberly.

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 let you pass before returning to his seat.

Wolfgang leaves his cabin and heads towards the social cars.