Lady Thalia and the Case of Clephan

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/* Increments player score and max score possible To call: <<scoreTracker args[0] args[1]>> arg0: player score increment arg1: max finesse increment */ <<widget 'scoreTracker'>> <<silently>> <<set $finesse += $args[0]>> <<set $maxFinesse += $args[1]>> <</silently>> <</widget>> /*Reset variables To call: <<reset>> No arguments needed*/ <<widget 'reset'>> <<set $finesse = 0>> <<set $maxFinesse = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $time = 0>> <<set $tries = 0>> <</widget>> /*do end of night finesse calculations */ <<widget 'finesseCalc'>> <<if $slow >= 3 or $messy >= 3>> <<set $finesse -= 1>> <</if>> <<set $delta = $slow - $messy>> <<if Math.abs($delta) <= 1>> <<set $finesse += 2>> <<set $gwenComplaint = "">> <<elseif $slow > $messy>> <<set $gwenComplaint = "slow">> <<elseif $messy > $slow>> <<set $gwenComplaint = "messy">> <</if>> <<if $finesse > $maxFinesse>> <<set $finesse = $maxFinesse>> <</if>> <<set $totalFinesse += $finesse>> <<set $maxTotalFinesse += $maxFinesse>> <</widget>> /*Processes text for fill-in puzzles to call: <<answerTrim>> */ <<widget 'answerTrim'>> <<set $answer to $answer.toUpperCase()>> <<set $answer to $answer.replace(/ /g, "")>> <<set $answer to $answer.replace(/-/g, "")>> <</widget>> /*shorthand for conversation branching to call: <<conv args[0]>>*/ <<widget 'conv'>> <<set $convVar = $args[0]>> <</widget>> /*shorthand for adding strikes to call: <<strikes>>*/ <<widget 'strikes'>> <<set $strikes += 1>> <</widget>> /*shorthand for incrementing time to call: <<time n>>, where n is the time increment*/ <<widget 'time'>> <<set $time += $args[0]>> <</widget>> /*shorthand for adding slow points*/ <<widget 'slow'>> <<set $slow += $args[0]>> <</widget>> /*shorthand for adding messy points */ <<widget 'messy'>> <<set $messy += $args[0]>> <</widget>> <<widget "watchmanCount">> <<set $watchmanCount += 1>> <<if $watchmanCount >= $watchmanTrack.length>> <<set $watchmanCount = 0>> <</if>> <</widget>> <<widget "watchmanLoc">> <<set $watchmanLoc = $watchmanTrack[$watchmanCount]>> <<if $watchmanCount === 0>> <<set $watchmanLocNext = $watchmanTrack[$watchmanCount + 1]>> <<set $watchmanLocPrev = $watchmanTrack[$watchmanTrack.length]>> <<elseif $watchmanCount == $watchmanTrack.length>> <<set $watchmanLocPrev = $watchmanTrack[$watchmanCount - 1]>> <<set $watchmanLocNext = $watchmanTrack[0]>> <<else>> <<set $watchmanLocNext = $watchmanTrack[$watchmanCount + 1]>> <<set $watchmanLocPrev = $watchmanTrack[$watchmanCount - 1]>> <</if>> <</widget>> <<widget "passCheck">> <<if $watchmanLocNext == $currentRoom && $watchmanLoc == $args[0]>> <<if !$watchmanOff>> <<set $watchmanPass = true>> <</if>> <</if>> <</widget>> <<widget "watchman">> <<if !$watchmanOff>> <<watchmanCount>> <<watchmanLoc>> <</if>> <</widget>> <<widget "watchmanSound">> <<if ($currentRoom === $watchmanLocNext) || ($currentRoom == $watchmanLocPrev)>> <<if !$watchmanPass && !$watchmanOff>> You hear heavy footsteps coming from somewhere nearby. <</if>> <</if>> <</widget>> /*widget for totalling up relationship points */ <<widget "melCalc">> <<set $melDelta = $nice - $mean>> <<if Math.abs($melDelta) <= 1>> <<relation "MelPoints" 1 1>> <<else>> <<relation "MelPoints" 0 1>> <</if>> <</widget>> <<widget "interludeEnd">> <<melCalc>> <<if $MelPoints > $maxMelPoints>> <<set $MelPoints = $maxMelPoints>> <</if>> <<if $OscarPoints > $maxOscarPoints>> <<set $OscarPoints = $maxOscarPoints>> <</if>> <<if $YorkiePoints > $maxYorkiePoints>> <<set $YorkiePoints = $maxYorkiePoints>> <</if>> <<if $GwenPoints > $maxGwenPoints>> <<set $GwenPoints = $maxGwenPoints>> <</if>> <<set $totalMelPoints += $MelPoints>> <<set $maxTotalMelPoints += $maxMelPoints>> <<set $totalOscarPoints += $OscarPoints>> <<set $maxTotalOscarPoints += $maxOscarPoints>> <<set $totalYorkiePoints += $YorkiePoints>> <<set $maxTotalYorkiePoints += $maxYorkiePoints>> <<set $totalGwenPoints += $GwenPoints>> <<set $maxTotalGwenPoints += $maxGwenPoints>> <</widget>> <<widget "interludeReset">> <<set $OscarPoints = 0 >> <<set $maxOscarPoints = 0>> <<set $YorkiePoints = 0>> <<set $maxYorkiePoints = 0>> <<set $GwenPoints = 0>> <<set $maxGwenPoints = 0>> <<set $MelPoints = 0>> <<set $maxMelPoints = 0>> <</widget>> /*to run all necessary resets at the end of an act */ <<widget "actEnd">> <<reset>> <<interludeEnd>> <<interludeReset>> <</widget>> /* relationship points widget - call with <<relation "CharPoints" x y>> where args[0] is the name of the character's basic points variable (as a string, sans $), args[1] is the number of points added to the current score, and args[2] is the number of points added to the max. */ <<widget "relation">> <<set State.variables[$args[0]] += $args[1]>> <<print "<<set $max" + $args[0] + "+= $args[2]>>">> <</widget>> /*used for stowing gear in Night 2 to call: <<gearDrop args[0] args[1]>>, where args[0] is the item to stow and args[1] is the location*/ <<widget "gearDrop">> <<run $toolLocs.push($args[1])>> /*<<run $toolLocs.push($args[1])>>*/ <<run $toolList.delete($args[0])>> <<set $currentItem = $args[0]>> <</widget>> /*used to check time to trigger timed events, in this case Mel's calls in Night 3. Could adapt to be parameterized for any time triggered event? */ <<widget "melCall">> /*could change <<include>> for <<goto>> instead if it gets funky */ <<set $melCall += 1>> <<set $timeInc = 4>> <<if $time === $timeInc>> <<goto [[melRadio1]]>> <<elseif $time === 2*$timeInc>> <<goto [[melRadio2]]>> <<elseif $time === 3*$timeInc>> <<goto [[melRadio3]]>> <</if>> <</widget>> <<widget "returnSet">> /*in case multiple passages can lead to the same passage and you need to remember which one you came from - call this in the passage you want to return to then use the variable $return as the destination for the link markup*/ <<set $return = passage()>> <</widget>> <<widget prev>> <<set $prev = $convVar>> <</widget>> <<widget searchReset>> <<set $A = false>> <<set $B = false>> <<set $C = false>> <</widget>> /* Sample conversation structure (for re-use across daytime segments)

<<set $strikes = 0>> <<set $convVar = 0>> <<set $DEFAULTConv = true>> This is a person you want to talk to. <<link [["Friendly option." (F)|DEFAULTConv2]]>><<conv 1>><</link>> <<link [["Direct option." (D)|DEFAULTConv2]]>><<conv 2>><<strikes>><</link>> <<link [["Leading option." (L)|DEFAULTConv2]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> Friendly consequence. <<case 2>> Direct consequence. <<case 3>> Leading consequence. <</switch>> The conversation continues. <<link [["Friendly option 2." (F)|DEFAULTConv3]]>><<conv 1>><</link>> <<link [["Direct option 2." (D)|DEFAULTConv3]]>><<conv 2>><<strikes>><</link>> <<link [["Leading option 2." (L)|DEFAULTConv3]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> Friendly consequence. <<case 2>> Direct consequence. <<case 3>> Leading consequence. <</switch>> <<link [["Friendly option 3." (F)|DEFAULTConv4]]>><<conv 1>><</link>> <<link [["Direct option 3." (D)|DEFAULTConv4]]>><<conv 2>><<strikes>><</link>> <<link [["Leading option 3." (L)|DEFAULTConv4]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> Friendly consequence. <<case 2>> Direct consequence. <<case 3>> Leading consequence. <</switch>> Resulting text. [[Return.|dayXHub]] */

<<run Config.passages.nobr = true;>> <<run Config.ui.stowBarInitially = true;>> <<set $debugMode = false>> <<set $dark = false>> <<set $dual = false>> <<set $finesse = 0>> /*current finesse per night*/ <<set $totalFinesse = 0>> /*player's total finesse score at any given time*/ <<set $deduction = 0>> /*current deduction score per day */ <<set $totalDeduction = 0>> /*total available deduction points per day */ <<set $convVar = 0>> /*0-3, controls conversation choices*/ <<set $strikes = 0>> /*conversation failure tracker */ <<set $time = 0>> /*turn tracker for timed tasks */ <<set $tries = 0>> /*counter for code/combination entry attempts */ <<set $timeout = 7>> /*turn limit for timed tasks */ <<set $maxTotalFinesse = 0>> /*max finesse available cumulatively*/ <<set $maxFinesse = 0>> /*max finesse currently available per night*/ <<set $slow = 0>> <<set $messy = 0>> <<set $delta = 0>> <<set $gwenComplaint = "">> <<set $marshallConv = false>> <<set $melConv = false>> <<set $gwenConv = false>> <<set $oscarConv = false>> <<set $francesConv = false>> <<set $return = "">> /*relationship values with Mel*/ <<set $MelPoints = 0>> <<set $maxMelPoints = 0>> <<set $totalMelPoints = 0>> <<set $maxTotalMelPoints = 0>> <<set $nice = 0>> <<set $mean = 0>> <<set $melDelta = 0>> /*relationship values with others */ <<set $GwenPoints = 0>> <<set $maxGwenPoints = 0>> <<set $totalGwenPoints = 0>> <<set $maxTotalGwenPoints = 0>> <<set $OscarPoints = 0>> <<set $maxOscarPoints = 0>> <<set $totalOscarPoints = 0>> <<set $maxTotalOscarPoints = 0>> /*day 1 specific variables */ <<set $convCount = 0>> <<set $cabinet = false>> <<set $note = "">> <<set $francesConv = false>> <<set $potterConv = false>> <<set $wifeConv = false>> <<set $potterInfo = false>> <<set $prev = 0>>

<<link "Toggle Dark Mode">> <<set $dark = ! $dark>> <<run Engine.show()>> <</link>>

<<if $dark == true>> <<addclass "#passages" "dark">> <<addclass ".passage" "dark">> <<addclass "a" "dark">> <<addclass "body" "dark">> <<if tags().includes("dual")>><<if $dual>><<addclass "#left" "dark">><<addclass "#right" "dark">><</if>><</if>> <<else>> <<removeclass "#passages" "dark">> <<removeclass ".passage" "dark">> <<removeclass "a" "dark">> <<removeclass "body" "dark">> <<if tags().includes("dual")>><<if $dual>><<removeclass "#left" "dark">><<removeclass "#right" "dark">><</if>><</if>> <</if>> <<if $debugMode == false>> <<addclass "body" "hidehistory">> <</if>>

@@font-size:400%;Lady Thalia and the Case of Clephan@@ <center> @@font-size:x-large;A Play in Four Acts@@ [[Start|Intro]] [[About|About]] <<if $debugMode === true>> [[Debug tools|Debug]] <</if>> </center>

This game is the latest entry in the //Lady Thalia// series. Knowledge of the previous games is not required to understand this game, but may enrich the experience. You can find more information about the other games [[here|https://ifdb.org/search?sortby=old&searchfor=series%3ALady+Thalia]]. This game was written in [[Twine 2|https://twinery.org/]] using the SugarCube format, with the aid of [[Tweego|https://www.motoslave.net/tweego/]]. Cover images are from publicdomainvectors.org and are used under the Creative Commons 1.0 license. Thank you very much to our playtesters: Drew Cook, Piergiorgio D'Errico, Max Fog, Josh Grams, Tabitha, and DemonApologist. <<return>>

You are Theodora Knight, once known as Lady Thalia, the most notorious thief in all of Europe. (Well, maybe not //all// of Europe. But surely Great Britain, at least.) Tales of your daring exploits--stealing everything from jewellery to manuscripts to an entire fresco--regularly filled the papers. However, in what you are beginning to suspect was a fit of madness, you agreed to leave that behind you and join your sometime-ally, sometime-enemy Margaret "Melpomene" Williams in opening a detective agency. She promised you that in the process of gathering clues, you would still be able to exercise your two great talents: getting information out of people, and getting into places that you are not, strictly speaking, supposed to be. But there has been rather less of those things than you had hoped, and rather more... //typewriters//. You're almost glad your mother isn't alive to be smug about this. She always did think you should learn typing and become a secretary: a perfectly respectable job for the upwardly mobile New Woman. Your decision to become an actress instead rather tried her Victorian sensibilities, no matter how much you insisted the profession was //barely// scandalous any more. [[At any rate, you've always found respectability rather dull.|day1Part1]]

<center>@@font-size:x-large;ACT I@@</center> Today is a dreadfully normal day at the agency, which is situated in an apartment above a shop and consists of a small and cluttered room with your and Mel's desks in it and an even smaller antechamber where your clients wait to be seen. (You've offered to bankroll better digs, but Mel won't hear of it, which, if you're being honest, was not a surprise.) Mel is out doing some sort of actual investigation, while you are here to handle whatever needs handling at the office. (How did you get saddled with the less interesting parts of the job? Mel used to be a policewoman; surely she's no stranger to paperwork, and her tolerance must be higher than yours. But then, she's the one who has name recognition as a detective, and you can't exactly tout your own credentials without landing yourself in the dock.) You currently have on your desk a stack of case notes that need to be typed up into proper reports. You could also go out into the antechamber and wait to receive clients. No one is scheduled to meet with you for another twenty minutes, but you do get walk-ins sometimes. [[Work on the reports.|reports]] [[Wait for clients.|convIntroCheck]]

You contemplate the reports for a long moment. Surely they aren't //that// urgent, are they? No, you're really almost completely certain that they can wait. Being prepared to receive clients in a timely fashion is much more important, isn't it? It's not as though your notes will get up and walk away if you take too long to attend to them. <<return>>

Before you go out there, you could take a moment to mentally review your conversational strategies--the methods by which you coax information out of people who may or may not be reluctant to give it. Perhaps you've become rusty, considering the amount of time you've spent on tedious office work lately. [[Contemplate your strategies.|conversationIntro]] [[No need; this is as natural to you as breathing.|day1Hub]]

<<if visited() == 1>> You position yourself on a sofa in the antechamber and wait. After fifteen minutes, the bells on the door chime and your client, a tired-looking young housewife, walks in. Five whole minutes early! Of course you've made the right choice after all--it would hardly do to be mid-report when she entered and be caught off-guard. Your wisdom is further confirmed when your scheduled client is followed by two people you weren't expecting--Frances Gallop, a professional contact of Mel's who sometimes helps with your cases, and a rather dishevelled, anxious man who is unfamiliar to you. You greet all of them briefly and consider whom to meet with first. <<else>> You look around the antechamber and consider what you should do next. <</if>> <<if !$francesConv>>[[Talk to Frances.|francesConv1]] <</if>> <<if !$potterConv>>[[Talk to the agitated-looking man.|potterConv1]] <</if>> <<if !$wifeConv>>[[Talk to the housewife.|wifeConv1]] <<elseif !$cabinet>>Something about the housewife's story sounds familiar. [[Perhaps you should check the records?|fileCabinet]] <</if>> <<if $francesConv && $potterConv && $cabinet>>All your visitors have gone. Now you really can't avoid it any longer.... [[Type up your notes.|typewriter]] <</if>>

/*direct*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $francesConv = true>> Frances is an old friend of Mel's from the girls' grammar school she attended. Like Mel, she has pursued an interest in detection, but her focus is more scientific--fingerprinting and analysis of chemical compounds and other materials. Presumably she is here to deliver information on one of your ongoing cases, but you have been rather hoping to have the chance to talk to her alone--that is, without Mel present--about certain more personal matters. You've been flirting with Mel for quite a while, but she's been rather hot and cold in her responses. You initially believed this was because you were on opposite sides of the law, but hanging up your thief's tools and going into business with her does not seem to have made a difference to this, and you're beginning to wonder whether you misread her interest entirely. As Frances is the closest thing to a personal friend (rather than a professional acquaintance) you've known Mel to have, you're hoping she may be able to shed some light on past amours. Unfortunately Frances is not the type to enjoy idle gossip, but you're sure you can figure something out. You greet her and lead her into the back office, sitting down at your desk as she takes the chair across from it. <<link '"How lovely to see you, Frances." (F)' 'francesConv2'>><<conv 1>><<strikes>><</link>> <<link '"All right, what have you got for me?" (D)' 'francesConv2'>><<conv 2>><</link>> <<link '"Remind me--are you here about a case?" (L)' 'francesConv2'>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Yes. Er, thank you," she says, and then after a pause she adds, "Lovely to see you too." You'd forgotten that she doesn't care for small talk. Rather awkward, but you decide the best solution is to move along and ask her about her business here. "It's about the Cottrell case," she says. "I've finished analysing the fingerprints." <<case 2>> "I've finished my analysis of the fingerprints for the Cottrell case," she says, seeming pleased to be able to get straight to the point. <<case 3>> Frances gives you an odd look. "Yes. Why else would I be here?" The point of the question, of course, was to get her to tell you //which// case, but you do recall now that she prefers questions to be phrased more straightforwardly, so you try again, saying what you mean this time (what an idea!). "Oh," she says. "It's about the Cottrell case. I've finished my fingerprint analysis." <</switch>> The Cottrell case is an infidelity case--one of many, as unfortunately they are the agency's bread and butter--in which the wife came to you with a torn piece of a mysterious billet-doux she'd found carelessly dropped in the foyer. Frances's contribution, of course, was to analyse the fingerprints on the scrap of love letter to see if it had been handled by the husband. <<link '"I do so appreciate your help with these cases--tedious though they must be." (F)' 'francesConv3'>><<conv 1>><<strikes>><</link>> <<link '"What did you find?" (D)' 'francesConv3'>><<conv 2>><</link>> <<link '"And...?" (L)' 'francesConv3'>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> Frances shrugs. "A fingerprint is a fingerprint," she says. "It makes no difference to me if it's on a love letter or a stolen item or a murder weapon. It's the analysis itself that interests me." You rather envy her this, but perhaps better not to dwell on it. You ask her what she found. "Well, Mrs Cottrell's fingerprints are on it, of course," she says, looking relieved to be back on topic. "Since she brought it in, that is. And there are also prints from what I believe to be at least two other people, but none of the clear prints I could get from it matched the husband." <<case 2>> "Well, Mrs Cottrell's fingerprints are on it," she begins, "but that's to be expected as she's the one who brought it in, and of course she didn't think to handle it with gloves." (Frances sounds a little put out about this.) "There are also fingerprints belonging to, I believe, at least two other people, but none of the clear prints match the husband." <<case 3>> Frances gives you a bit of an odd look and doesn't respond. Well, fair enough; that was perhaps rather rude of you. You apologise and ask her what she found. "Well, Mrs Cottrell's fingerprints are on it, of course," she says, "since she brought it in, that is. And there are also prints from what I believe to be at least two other people, but none of the clear prints I could get from it matched the husband." <</switch>> You thank her for the information and make a note of this. "If you ask me, the letter probably belonged to one of the servants, and Mrs Cottrell has got herself worked up over nothing at all," Frances says with a sigh. "Honestly, your clients are often so paranoid about these things. I can't say I understand it." Aha, an opening at last--not the most elegant one, but you're unlikely to find better. "Some people are inclined to be unreasonable where affairs of the heart are concerned," you observe. "But I suppose I'm the only one working on these cases who would know that first-hand." "What do you mean?" Frances asks. <<link '"You\'ve mentioned before that you haven\'t much experience in these matters, right?" (F)' 'francesConv4'>><<conv 1>><<strikes>><</link>> <<link '"Well... //has// Margaret ever been in love?" (D)' 'francesConv4'>><<conv 2>><</link>> <<link '"I\'m a married woman, but you and Margaret..." (L)' 'francesConv4'>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Right," says Frances. "Though if I did, I'd like to think I still wouldn't jump at shadows that way." She doesn't seem inclined to draw the connection to the third member of your investigatory group on her own, so you ask her whether Margaret is similarly inexperienced. <<case 2>> "I don't think she's ever had a... a serious courtship," Frances says. "She's quite committed to her work, and I'm sure it puts men off. But...." Frances trails off, seeming uncertain about whether to continue. You encourage her to go on. <<case 3>> "If being married makes you inclined to paranoia, I suppose I'm just as happy not to be," Frances says. That wasn't quite what you were getting at, but you suppose you'll have to be more straightforward. You ask whether Mel (Margaret, rather--you do stop yourself from using the nickname aloud, though you find it hard not to think of her by it) has ever had a romance. <</switch>> "Well, perhaps it's not quite the same thing, but when we were at school lots of the girls had pashes on each other--you know how schoolgirls are," Frances says. "And there was one girl she spent quite a lot of time with, though they hadn't much in common--Margaret was so serious and studious, and this other girl was, well, a bit of a troublemaker. All of our friends teased her about it, but Margaret would insist she was just helping the girl with her schoolwork." Frances shrugs and shakes her head. "Maybe she was. Goodness knows I've never been very perceptive about these things, one way or the other." Well, that's quite a lot of new information, but you're not sure any of it is useful. In an effort to pretend that this was at all related to the topic at hand, you suggest that one way or another, Mel would probably be too sensible to consult detectives over probably-meaningless torn scraps of paper, to which Frances readily agrees. You thank her for her help (with the case, of course), and she takes her leave. [[Return to the antechamber.|day1Hub]]

Being a detective is a lot like being a thief, in that it often involves trying to get information out of people who do not want to give you information (or, alternatively, trying to get information without people realising that this is what you are doing). As such, you find that the set of conversational approaches you honed in your criminal past is still quite applicable to your present occupation (although you and your rival-turned-business-partner disagree on some of the particulars). The first is being ''Friendly (F)''. You can turn on the charm, be disarming, lend a sympathetic ear--whatever will get people to let their guard down and chat as if to a long-time confidante. It also helps if it will get them to underestimate you (though it stings your vanity if you make yourself look //too// silly). You can also be ''Direct (D)''. Some people appreciate a no-nonsense discussion in which you get straight to the point. In your new rôle as a detective, sometimes you don't even need to //pretend// you have the authority to ask about whatever it is you're asking about. (But of course, sometimes you still do.) Finally, you can be ''Leading (L)''. There are people who are simply looking for an excuse to natter on about whatever interests them, so you need only point them at a topic and stand back. Of course, if they get too far in the weeds, you may need to gently redirect their attention. You try to size people up quickly and make guesses about what may work before going into a conversation, but the secret you keep close to your chest is that it's //mostly// a matter of trial and error--you pay attention to how people react and adjust your approach accordingly. It's often surprisingly easy to salvage a conversation that's got off to a bad start, as long as you don't make //too// many mistakes. [[Simple, really.|day1Hub]]

/*leading */ <<set $strikes = 0>> <<set $convVar = 0>> <<set $potterConv = true>> You escort the man into the back office and ask what brings him here. As he didn't write to secure an appointment in advance, you assume it's fairly urgent. "Well, ah," he says, not meeting your eyes, "I had a-- a concern. Which I hoped you could help me with." You manage to refrain from pointing out that this is, in fact, true of all of your clients, and really tells you nothing at all. <<link [["Well, we are here to help." (F)|potterConv2]]>><<conv 1>><<strikes>><</link>> <<link [["What is it, then?" (D)|potterConv2]]>><<conv 2>><<strikes>><</link>> <<link [["That sounds quite difficult. Can you tell me more about it?" (L)|potterConv2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Yes, I suppose so." He gives a long, loud sigh. Apparently this hasn't reassured him one bit. "So, what brings you here today?" you ask. <<case 2>> Something about your tone causes him to take a step back. You didn't think you were //too// harsh, so perhaps his problem has him well and truly rattled. You put on a smile to hopefully settle his nerves a tad. <<case 3>> The man relaxes a fraction and runs a hand through his already-mussed hair (with predictable results). "Yes, of course! <</switch>> "My name is Zachariah Murray--of Murray Ceramics?" He waits a beat to see if you respond to the name, which you don't, so he carries on. "I've a pottery business on the other side of town. It was featured in the paper recently? If you read the article you'd know I have quite the selection of upscale wares, and I'm working on a new and exciting idea I'm hoping to release soon. It's not quite ready though, and, well..." Mr Murray pauses here to look around, and then takes a step closer and drops his voice to a whisper. "I think someone is trying to steal it first!" he says. <<link [["That sounds dreadfully upsetting." (F)|potterConv3]]>><<conv 1>><<strikes>><</link>> <<link [["What makes you think so?" (D)|potterConv3]]>><<conv 2>><<strikes>><</link>> <<link [["That's terrible, Mr Murray. Can you tell me more?" (L)|potterConv3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "It is! It truly is!" he says in a shrill tone. Usually, acknowledging a client's distress tends to calm them down, but with him it seems to paradoxically do the opposite. You gently prompt him to tell you more about it. <<case 2>> "Don't tell me you don't believe me!" he says wildly. Which isn't what you said nor meant to imply, but the man's jumpy enough that he's clearly reading any kind of frankness on your part as a threat. You swallow the urge to retort in kind and instead reassure him that you do believe him, you'd just like him to please elaborate on his situation. <<case 3>> "Yes, quite terrible. There's been all kinds of strange goings-on, and there's simply no other explanation!" he says with relief. You get the impression that you may not be the first person he's told this tale to, but you're certainly the first to (appear to) take him seriously. <</switch>> Mr Murray shifts his weight from one foot to the other. "You see, I'm positive someone's been in my studio. Someone who oughtn't be there, I mean--I have apprentices, but they're quite tidy and know to put everything back at the end of the day. But ever since that article was published, when I arrive in the morning all my tools are out of place!" You try to interject with a question, but he barrels onward before you can get a word in. (Perhaps you look a bit sceptical.) "The price cards in the front shop have been moved around too, I'm sure of it! And whoever it is has been messing with the door." <<link [["Is the door all right?" (F)|potterConv4]]>><<conv 1>><<strikes>><</link>> <<link [["What door?" (D)|potterConv4]]>><<conv 2>><<strikes>><</link>> <<link [["Is this an important door?" (L)|potterConv4]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Well, it is for now." He hangs his head in despair. <<case 2>> "The door to my private workspace!" he says in frustration. <<case 3>> Mr Murray nods furiously. "Yes, quite important! <</switch>> <<if $strikes >= 3>> "My... idea is securely locked behind that door so that nobody can work on it except for me. I thought if anyone else knew what I was working on, they might pip me at the post--but someone could also be trying to take the... the object itself," he says. "Either way, I've put a lot of resources into this project, and if I can't unveil it as planned, I'll be ruined!" There are clearly things here that he's too paranoid to tell you. Not that you care a fig about stealing his idea, of course (even if you were still stealing things, which you're not), but you haven't quite put him at ease enough for him to let his guard down. Still, he's given you enough to get started with. <<else>> <<set $potterInfo = true>> "You see, I have the prototype and all information about it securely locked away behind that door. It has two locks of my own design, and they're not easy to get through!" Mr Murray briefly puffs his chest out in pride, and then deflates again once he remembers what he's talking about. "I've noticed scratches on both the locks, and the messes I've found are... well, they're close to things that might be useful for breaching the door. I can't afford a night watchman, but perhaps if I knew how the intruder was getting in, I could put a stop to it?" <</if>> "Yes, I think that's something we--I mean, something Miss Williams can look into," you say. (Your involvement beyond secretarial work is supposed to be a secret, after all.) "It would be best to drop by at night to avoid disrupting your regular work, and perhaps even catch the thief in the act. Are there any particular days you'd prefer?" "I'd prefer as soon as possible!" Mr Murray says, and you tell him you'll try to arrange something for tonight. [[You then sort out the payment and send Mr Murray on his way.|day1Hub]]

/*Friendly*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $wifeConv = true>> The woman is elegantly dressed and beautifully coiffed, and her light brown skin is almost flawless, but the bruise-like circles under her eyes mar the air of perfection that she is clearly trying hard to cultivate. You confirm that she is indeed your scheduled client, Mrs Meera Atherton, and lead her into the office. She sits down opposite you. Some clients launch into an accounting of their problem as soon as you get them back here, but this one seems to be waiting for you to speak. <<link [["What seems to be the matter, Mrs Atherton?" (F)|wifeConv2]]>><<conv 1>><</link>> <<link [["Tell me what you're here about." (D)|wifeConv2]]>><<conv 2>><<strikes>><</link>> <<link [["Are you quite well?" (L)|wifeConv2]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> You think you can see her rigid posture relax just a fraction. "I can count on your utmost discretion, I am sure?" she says. You assure her that she can. <<case 2>> Mrs Atherton's eyes narrow. "I can't say I think much of your manners," she says. "I would expect better of a society lady playing secretary." You apologise and assure her that you only want to help her as efficiently as possible. (You also wonder, privately, whether you ought to start dressing down a bit for work.) <<case 3>> "Well enough, thank you," she says stiffly, holding herself very straight. Evidently she's not the type to take that as an invitation to enumerate her woes. You ask instead what she's seeking your help with. <</switch>> "It's about my husband," she says. "Jonathan Atherton. He works for a bank, and before we wed he warned me that he was often away on business, and that while on such trips he was often too busy to keep in contact. I fancy myself rather self-sufficient, so I said that that was all right with me, and it //has// been all right, for many years, but now...." She trails off and looks away. <<link [["Has something happened with him lately that's causing you concern?" (F)|wifeConv3]]>><<conv 1>><</link>> <<link [["Let me guess: the business trips were fake?" (D)|wifeConv3]]>><<conv 2>><<strikes>><</link>> <<link [["Go on." (L)|wifeConv3]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Well, yes," she says. "Or, not with him, exactly, but...." You put on your most sympathetic expression and wait for her to collect herself. <<case 2>> Her mouth turns down very slightly at the corners. "Well, you didn't have to be so blunt about it." You apologise for your lack of tact. <<case 3>> She sighs. "I was simply trying to get my thoughts in order. Forgive me--it's a difficult subject." You apologise for rushing her and wait for her to continue. <</switch>> Mrs Atherton takes a deep breath--she seems to be steeling herself--and then begins. "Recently, while he was on one of his trips, our son took ill--he's well now, but it was quite concerning for a time. I wanted to let my husband know, but he had not let me know where he was staying, so I telephoned the bank to see if they could get a message to him, and they said that, although he was not in his office just at that moment, he had been in London all week!" She presses her lips together and looks down at her hands in her lap. "There were some things I always thought were odd--he never brought home as much money as it seemed like he ought, given his position, and occasionally I was even obliged to rely on support from my own family. But I never thought.... Well, of course I don't know for certain what is going on, but at the very least he has unquestionably been lying to me." <<link [["This must be terribly hard for you." (F)|wifeConv4]]>><<conv 1>><</link>> <<link [["I'm going to need all the information you can provide on your husband." (D)|wifeConv4]]>><<conv 2>><<strikes>><</link>> <<link [["Not just on this one occasion, then?" (L)|wifeConv4]]>><<conv 3>><<strikes>><</link>>

<<if $strikes === 3>> "I must say I'm not terribly impressed with your conduct," Mrs Atherton says. "I would terminate my business with your agency here, except that your colleague Miss Williams has been highly recommended and I trust that she is more competent than you." You apologise yet again and offer the weak defence that you are still rather new at this. "Well, I hope that you improve rapidly," she says. "In any case, you may find this useful." She tosses a photograph on your desk. Then she stands up and sees herself out. <<else>> <<switch $convVar>> <<case 1>> "It's hardly anything, really," she demurs. "The women in my family have borne worse." But a little more of the tension does leave her shoulders. You ask if she can tell you anything else about her husband. <<case 2>> "If I may offer a suggestion," she says coldly, "you should really learn to treat clients with more delicacy." This seems hardly fair--some clients respond well to this approach, after all. But it is true that you should have realised you needed to treat //her// with more delicacy. Perhaps all this time at a desk really has made your skills rusty. You apologise<<if $strikes > 1>> again<</if>> and repeat your request, more politely phrased. <<case 3>> "Well, that's what I'm paying you to find out, isn't it?" she says crisply. You assure her that you have no doubt Miss Williams can discover that information, and explain that you were only wondering what she thought. She looks away. "I am withholding judgement for the moment." You ask if she can tell you anything else about her husband. <</switch>> Mrs Atherton gives you the name and address of the bank her husband works at, her own address (in a somewhat shabbier neighbourhood than you would have guessed from her appearance), her telephone number (though telephone service for the office is another one of the things that Mel won't let you pay for), and the Harley Street address and telephone number of her parents, "just in case". She also offers you a photograph of her husband--of the two of them together, actually. Her photographic counterpart looks significantly less careworn, and despite the tedium of the case you feel a stab of genuine sympathy. But you do have other things to attend to, as well, so you thank her for the information, and she takes her leave. <</if>> [[You return to the antechamber.|day1Hub]]

<<set $cabinet = true>> This case is giving you a certain sense of déjà vu, and you know that if you could just find the right information to jog your memory, you could crack the thing wide open. But searching through your own files proves fruitless. Assuming you aren't just imagining things, the information you need must be in Mel's personal file cabinet, which is locked. And of course you don't have the key. You don't know when she'll be back, and the feeling that you are just inches away from an important discovery is gnawing at you unbearably. [[The only thing for it is to break into the cabinet.|fileCabinet2]]

It is a keyed lock, not a combination lock, and you are fairly certain that Mel keeps the key on her person, so you have two options here: you can pick it or you can break it. This is the kind of choice you are often faced with when you are engaging in a bit of light breaking and entering: you must weigh the possibility of someone catching you in the act if you are slow and careful against the evidence left behind by the quick, messy option. A large-scale theft of the kind that used to be your bread and butter would involve many such decisions over the course of an evening, and in such situations you generally find it best to attempt to balance the two. But this is more of a single-step process, so you'll just have to take your chances. <<link [[Pick the lock.|fileCabinet3]]>><<conv 1>><</link>> <<link [[Break the lock.|fileCabinet3]]>><<conv 2>><</link>>

<<switch $convVar>> <<case 1>> You set to work picking the lock, glancing over your shoulder at intervals for any sign that Mel might be returning. Luckily, it's not a particularly complex lock, so you make fairly short work of it. <<case 2>> You smash the lock with a paperweight. It's not very difficult--clearly not a very high-quality lock. Mel will definitely notice this, but at least she can't show up in time to stop you from getting your hands on the files you want. <</switch>> You page through the papers and before long you've found what you're looking for. A woman from the suburbs came in last week with a similar case: a husband named Jonathan, long business trips, a confusing interaction with his supposed employer. In that case, the surname given had been "Smith" and the employer had said there was no one by that name working there, but... a-ha, this woman, too, supplied a photo! Looking between the two, there's no doubt that it's the same man. This should save you some effort (though you wonder whether it is quite fair to charge both women your full usual fee). [[Now to continue with your work.|day1Hub]]

You return to the back office and sit down in front of the typewriter. "All right," you tell it, "we have a lot of work to do, so you had better behave yourself." It doesn't respond, of course. You feel it is regarding you balefully. With a deep sigh, you begin typing up your notes from this morning's conversations. It would be easier if your handwriting were better. It's quite lovely when you're making an effort, if you do say so yourself, but you never quite got the hang of writing //fast//. Nevertheless, you manage to get through the notes on the first two cases without serious incident. It feels agonisingly slow, and you make more mistakes than you'd like, but at least you're making progress. Nearly done, in fact! (Well, there are the reports still to do... but perhaps those can wait just a little longer.) Then as you're typing up the final set of notes, you have to erase a word, and despite your best efforts, some of the debris from the eraser gets into the machine--it's hardly any, really, but somehow it's still enough to gum up the typebars, and the machine jams. [[Bother.|endOfDay1]]

As you are painstakingly un-gumming the typewriter, the bells on the door chime again. You briefly wonder if this is another client (maybe you shouldn't have wasted your time typing, after all!), but a moment later, Mel walks through the door into the office. "Peggy!" you exclaim. "Welcome back." "Thank you, Theodora," she says with a weary sigh. (The papers nicknamed her Melpomene to go along with your thief moniker of Thalia, which she didn't care for, and then you nicknamed her Mel, which she cared for even less. She has extracted from you a promise not to use //that// nickname anymore, but you are currently experimenting with alternatives. She, meanwhile, insists on using your full first name, which no one else does--but you suppose it was a victory to convince her that the two of you could be on a first-name basis at all.) You give her brief updates on the Cottrell and Atherton cases, and [[confess that you broke into her file cabinet|endofDay1a]].

To your surprise, she laughs. "Do you think I really thought that lock would keep you out?" she says. "I have met you, after all." "Then why did you bother locking it at all?" you say (only a little petulantly). "I have to keep you on your toes somehow, don't I?" She shrugs off her coat and hangs it on the rack. "Who knows what you might do if you got bored?" "Try harder next time, then. That was barely a challenge!" you volley back. You may be business partners now, but you bantered quite a lot, back when you were on opposite sides of the law, and old habits are hard to break. "Duly noted," she says with a laugh. "Was there anything else?" You explain the case of Mr Murray, the potter. "Hmm," she says, tilting her head thoughtfully. "He sounds like a nervous sort, so there may be nothing to it, but I don't think there's any harm in taking a look. Shall we meet in front of Murray Ceramics at 8?" [['"I\'ll be there."'|night1Start]]

/*set up all variables for night 1 here */ <<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $timeLimit = 3>> <<set $tries = 0>> <<set $comboLockOpen = false>> <<set $toolLockOpen = false>> <<set $lockCode = "2170">> <<set $inventory = []>> <<set $rib ={ name: "potter's rib", description: "thin piece of wood curved like a man's rib", trueLocation: "dryingShelves", lockKey: true, interacted: false }>> <<set $dryingShelvesItem = $rib>> <<set $wire = { name: "wire", description: "wire with a wooden handle at either end", trueLocation: "potteryTable", lockKey: false, interacted: false }>> <<set $potteryTableItem = $wire>> <<set $needle = { name: "needle", description: "thick needle that comes to a sharp point", trueLocation: "potteryWheel", lockKey: false, interacted: false }>> <<set $potteryWheelItem = $needle>> <<set $returnItemText = false>> <<set $lockDetail = false>> <<set $correctTool = false>> <<set $currentTool = "">>

Potter info gotten? <<listbox "$potterInfo" autoselect>> <<option false>> <<option true>> <</listbox>> [[night1Start]]

<<include "night1Setup">> Later that evening, you're standing outside Murray Ceramics in the company of Mel. You don't know if it's the fresh air, the proximity to your colleague, or simply the opportunity to do something detective-like that doesn't involve bloody //typewriters//, but you're feeling invigorated for the first time today. You're so distracted by the feeling that you've completely missed whatever question Mel has just asked you. And now she's waiting for you to respond. After an uncomfortably long moment, you ask her to [[repeat the question|night1Start2]].

Mel sighs in frustration. "I said, are you ready?" You don't respond, as you're not quite sure what you're supposed to be ready for. Mel rubs her temples and backs up further. "For tonight's job, I'm going to keep watch for suspicious characters while you investigate and see if you can find out how the thief's getting in. Are you ready?" "I'm always ready," you respond. You are in fact, itching to get on with it! Mel nods, satisfied. "Good. And remember, you're not actually supposed to break in tonight." You pout a little at that. "Unless there's a good reason?" "//Unless// there's a good reason," Mel concedes. Then she walks away, presumably to find some shadowy hidey-hole from which to keep watch. [[Well, time to get to it. |investigate1]]

<<if visited()===1>> Murray Ceramics is a squat brick building with a number of large windows. They're all shuttered at the moment, but even so it doesn't look terribly secure. You're positive that if you spend enough time you can discover how the thief is getting in. You start by inspecting the window shutters. Sure enough, one of them wobbles when you press on it. It wouldn't take too much effort to pry it open, and as long as your mystery person is careful they could close it at the end of the night and leave Mr Murray none the wiser. <<else>> You're at the front of Murray Ceramics. The front door is secure, but one of the windows has a loose shutter--perhaps the intruder has made use of it? <</if>> <<if $time < $timeLimit>> <<link [[Check the right side of the building. |investigate2]]>><<time 1>><</link>> <<link [[Check the left side of the building.|investigate3]]>><<time 1>><</link>> <<else>> [[You see a flash of light through a crack in the shutters.|inside1]] <</if>>

<<if visited()===1>> There are fewer windows on this side of the structure. A beehive-shaped structure with a tall chimney blocks access to the rear of the pottery studio, which you suppose must be the kiln. You busy yourself with investigating the parts of the building you can reach. This side of the building is overgrown with ivy, which an enterprising intruder such as your previous self could easily climb and access the roof. You can see a chimney from here, which is a theoretically possible if unpleasant entry point (Mr Murray certainly would have mentioned if there was soot all over his floor) but there might be other ways in from the top of the building that you can't see from here. You make a mental note to climb up and check if you can't find a more promising entrance. <<else>> The right side of the building is covered in ivy, which a person could climb in order to reach the roof. You know from experience that roofs are frequently an excellent way into a locked building, after all. The kiln blocks your access to the rear of the studio, so it's unlikely the thief is getting in that way. You could check the other sides of the building to see what you can find (or what you might have missed). <</if>> <<if $time < $timeLimit>> <<link [[Go back to the front of the building. |investigate1]]>><<time 1>><</link>> <<link [[Check the left side of the building instead.|investigate3]]>><<time 1>><</link>> <<else>> [[You see a flash of light through a crack in the shutters.|inside1]] <</if>>

<<if visited()===1>> There are practically dozens of windows on this side of the building--how many could they possibly need?--as well as a rickety-looking door. There's a path from this door to the kiln looming behind the building so this must be the service door. You're given to understand that pottery is rather grubby work so it makes sense that they'd use this instead of getting clay all over the nice front door. A close inspection of the service door reveals that it's secured by a comically unsophisticated lock. If you were to break in this would hardly take you a minute to pick! But of course you promised Mel that you're //not// going to break in, so your theoretical speed is purely academic. (Unless you can think of a very good excuse for it not to be.) Regardless, unless the thief is an actual child this door wouldn't be much of a barrier to them. <<else>> The shutters on this side of the building are secure, but the lock on the service door isn't. An intruder could easily pick it and gain access to the interior. The kiln blocks your access to the rear of the building. You could (re)investigate the front or right sides. <</if>> <<if $time < $timeLimit>> <<link [[Return to the front of the building. | investigate1]]>><<time 1>><</link>> <<link [[Investigate the right side of the building. | investigate2]]>><<time 1>><</link>> <<else>> [[You see a flash of light through a crack in the shutters.|inside1]] <</if>>

Your heart freezes in your chest. Could the thief already be inside? You dash up to the nearest set of shutters and peer through the gap, just to be sure. You barely catch the flash of a torch and the silhouette of a person before everything goes dark again. There's no time to waste! You have to get inside before this person gets their hands on Mr. Murray's new idea. So you hurtle around to the service door, pick the lock, and [[dash inside. |insideHub]]

<<if visited()===1>> You shut the door behind you and look around frantically. The large pottery studio stretches out before you, empty. To your right a narrow corridor leads to the front shop, which is also empty. There's a large door near the corridor to the shop, which is the only place your mysterious visitor could be hiding. You go to open the door, but no luck--this stranger has locked it behind themselves. (You can hear faint noises from behind it, though, so at least the thief is in there and not waiting to ambush you out here.) You'll have to get through the hard way, and hopefully not alert them in the process. <<if $potterInfo>> From what Mr. Murray said about the break-ins, there might be a key or something else useful hidden around the building. Perhaps if you dig around you'll find something. <<else>>Maybe if you take a look around you'll find something helpful.<</if>> <<else>> The pottery studio stretches out before you, and the front shop is off to your right. The door to Mr Murray's private office is securely shut and locked. Faint sounds emanate from behind the door. <</if>> <<if !hasVisited('nightExplanation')>>Now that you're doing a proper break-in, you should refresh your understanding of [[best practices.|nightExplanation]] <</if>> [[Go to the front shop. | frontShop]] [[Investigate the pottery studio. | potteryStudio]] [[Take a closer look at that door. | doorHub]]

Breaking into places is a tricky business! If you make too much of a mess, you'll leave evidence behind, which might get you into trouble (for property damage, if nothing else). If you're too slow and methodical, on the other hand, you risk getting caught by whoever is trying to stop you. Over the course of your previous career you've found the best tactic is to strike a balance between the two--i.e., to be neither too slow nor too messy. You're not stealing anything tonight, but you think the principle ought to be broadly applicable to all sorts of nocturnal mischief. <<return>>

This is the shop area, where the potter's wares are displayed for sale. There are three sets of display shelves here holding a variety of hand-crafted, hand-glazed pieces, each neatly labelled with its price in pounds, shillings, and pence. In one corner there's a small desk with a till. [[Check the front display.|frontDisplay]] [[Check the side display.|sideDisplay]] [[Check the rear display.|rearDisplay]] [[Look at the till.|night1Desk]] [[Go back. |insideHub]]

This display holds plates, most decorated with different types of flowers. In pride of place on little stands are a large violet-patterned plate labelled "£3-15-6", a somewhat smaller rose-patterned plate labelled "£2-17-0", and a clover-patterned plate labelled "£2-19-5". <<return>>

This display holds tea sets--only two, since they take up quite a bit more space than the individual pieces on the other displays. There is a diamond-patterned one labelled "£5-0-0" and a solid mint-green one labelled "£4-15-7". <<return>>

This display holds vases. There is one painted with a pattern of gold swirls labelled "£3-0-0", a white pseudo-Greek vase labelled "£1-20-9", and a tall blue vase labelled "£2-13-4". <<return>>

The desk is messy, which contrasts starkly with the upscale surroundings. But among the discarded receipts, bills, and newspaper clippings you find [[an interesting note.|potterNote]] [[Look around the shop some more. | frontShop]]

The note reads as follows: Blue vase (pounds) Rose plate (shillings) Diamond-patterned tea set (pence) <<return>>

The studio is large and has a dusty, earthy smell. Points of interest include a [[large table|potteryTable]], several [[potter's wheels|potteryWheel]], and a long set of [[shelves|dryingShelves]] covering one wall. You could investigate any one of them. [[Do something else instead.|insideHub]]

<<if visited()===1>> The table is sturdy, and runs practically the width of the room. Judging by the clay smears present it must see heavy use. <<else>> The pottery table is long and sturdy. <</if>> <<if $potteryTableItem>> Near the edge of the table is a <<if $potteryTableItem.interacted>>$potteryTableItem.name<<else>>$potteryTableItem.description<<set $potteryTableItem.interacted = true>><</if>>, which you could <<link [[take|potteryStudio]]>> <<set $inventory.push($potteryTableItem)>> <<set $potteryTableItem = "">><</link>> if you wanted. <<elseif $inventory.length > 0>> Your old thief's instinct says you should put these pottery tools back once you're done with them, preferably close to where they started. <<if $toolReturnText === false>> <<set $toolReturnText = true>> (After all, tonight was supposed to be strictly a surveillance job. Having not got permission you could always beg forgiveness later, but you strongly believe in asking for neither if you can get away with it.) <</if>> What would you like to leave on the table? <<for _i = 0; _i < $inventory.length; _i++>> <<capture _i>> The <<link $inventory[_i].name "potteryStudio">> <<set $potteryTableItem = $inventory[_i]>> <<run $inventory.deleteAt(_i)>> <</link>> <</capture>> <</for>> <<else>> The table is clear and free of any debris. There's nothing you can do here for now. <</if>> [[Look around the studio.|potteryStudio]]

<<if visited()===1>> You've always been vaguely aware that potters use a device called a wheel to make their pots, but you've never had cause to see one up close before. Unfortunately, now is not a good time to learn more about them. <</if>> <<if $potteryWheelItem>> A <<if $potteryWheelItem.interacted>> $potteryWheelItem.name <<else>> $potteryWheelItem.description <<set $potteryWheelItem.interacted = true>> <</if>> has been left on one of the wheels. You could <<link [[take it|potteryStudio]]>> <<set $inventory.push($potteryWheelItem)>> <<set $potteryWheelItem = "">><</link>> if you wanted. <<elseif $inventory.length > 0>> Your old thief's instinct says you should put these pottery tools back once you're done with them, preferably close to where they started. <<if $toolReturnText === false>> <<set $toolReturnText = true>> (After all, tonight was supposed to be strictly a surveillance job. Having not got permission you could always beg forgiveness later, but you strongly believe in asking for neither if you can get away with it.) <</if>> What would you like to leave by the wheel? <<for _i = 0; _i < $inventory.length; _i++>> <<capture _i>> The <<link $inventory[_i].name "potteryStudio">> <<set $potteryWheelItem = $inventory[_i]>> <<run $inventory.deleteAt(_i)>> <</link>> <</capture>> <</for>> <<else>> The wheels are empty. There's nothing you can do here for now. <</if>> [[Look around the studio some more.|potteryStudio]]

<<if visited()===1>> You can tell the shelves have objects on them, but you can't see quite what they are until you take a closer look. Said look reveals that the objects are various pieces of unfinished pottery--some freshly made, while others have dried out almost completely. You surmise that the drying must be an important step of pottery production. <<else>> The shelves are sparsely populated with clay items in various stages of drying. <</if>> <<if $dryingShelvesItem>> There's a <<if $dryingShelvesItem.interacted>> $dryingShelvesItem.name <<else>> $dryingShelvesItem.description <<set $dryingShelvesItem.interacted = true>> <</if>> tucked behind a still-wet vase--you could <<link [[take it|potteryStudio]]>> <<set $inventory.push($dryingShelvesItem)>> <<set $dryingShelvesItem = "">><</link>> if you wanted. <<elseif $inventory.length > 0>> Your old thief's instinct says you should put these pottery tools back once you're done with them, preferably close to where they started. <<if $toolReturnText === false>> <<set $toolReturnText = true>> (After all, tonight was supposed to be strictly a surveillance job. Having not got permission you could always beg forgiveness later, but you strongly believe in asking for neither if you can get away with it.) <</if>> What would you like to leave on the shelves? <<for _i = 0; _i < $inventory.length; _i++>> <<capture _i>> The <<link $inventory[_i].name "potteryStudio">> <<set $dryingShelvesItem = $inventory[_i]>> <<run $inventory.deleteAt(_i)>> <</link>> <</capture>> <</for>> <<else>> At the moment, there's nothing else here of note. <</if>> [[Leave things be for now.|potteryStudio]]

<<if visited() ===1>> The door to Mr Murray's office is completely unremarkable, except for the fact that it's secured with not one but two locks. One of them appears to be a standard four-digit number lock, but the other is strangely shaped and quite unlike anything you've ever seen. <<if $potterInfo>> Mr Murray said the thief had made messes in both the studio and the front shop, and implied that they were on the trail of something that could get them through the door. Perhaps if you investigate those areas you'll find something too. <</if>> <<else>> The door to Mr Murray's office is shut, and you can hear strange rustlings coming from behind it. <</if>> <<if $toolLockOpen && $inventory.length > 0>> You're still carrying those tools you picked up in the pottery studio. You ought to put them back if there's a chance to do so. <</if>> <<if $comboLockOpen == false>>[[Look at the combination lock.|doorLock1]] <</if>> <<if $toolLockOpen == false>>[[Look at the oddly-shaped lock.|doorLock2]] <</if>> <<if $comboLockOpen && $toolLockOpen>>[[Open the door.|backRoom1]] <</if>> [[Look around some more. |insideHub]]

Enter a four-digit combination: <<set $answer = " ">> <<textbox "$answer" "">> <<button "Check">> <<answerTrim>> <<if $answer === "">> <<script>>UI.alert("You did not supply a combination!");<</script>> <<else>> <<if $answer === $lockCode>> <<if $tries === 0>> <<scoreTracker 3 3>> <<else>> <<scoreTracker 2 3>> <<slow 1>> <</if>> <<replace '#response'>><<if $dark>><<link [[The lock pops open.|doorHub]]>><<set $comboLockOpen = true>><</link>><<else>><<link [[The lock pops open.|doorHub]]>><<set $comboLockOpen = true>><</link>><</if>><</replace>> <<else>> <<set $tries += 1>> <<replace '#response'>>The lock remains irritatingly shut. You must have got something wrong.<</replace>> <</if>> <</if>> <</button>> <<if hasVisited("potterNote")>>[[Consult the note you found.|potterNote]] <</if>> <<link [[Give up and force the lock.|lock1Force]]>><<messy 1>><<set $comboLockOpen = true>><</link>> [[Take a step back and think for a bit.|doorHub]]

You grab the lock and pull as hard as you can on it, taking care to make as little noise as possible. To your surprise, the lock stays intact, but the chain it's attached to begins to pull its anchors out of the wall. You work it back and forth until it comes loose entirely. That took a bit longer than you liked (and additionally showered plaster all over the place), but the person behind the door seems undisturbed so [[you'll worry about the consequences later.|doorHub]]

<<if $lockDetail === false>> You consider the lock. From a distance, this seemed like a typical keyed padlock, but now that it's right in front of you, something seems odd about it. [[Take a closer look at the lock.|lock2Detailed]] <<elseif $inventory.length > 0>> The lock is strangely shaped, with a odd curved groove down the middle. Perhaps <<if $inventory.length > 1>>one of these tools<<else>>this tool<</if>> you've found will work as a key? You could try: <<for _i = 0; _i < $inventory.length; _i++>> <<capture _i>> <<set _article = "the " + $inventory[_i].name>> <<link _article "lock2Processing">> <<set $currentTool = $inventory[_i].name>> <<if $inventory[_i].lockKey>> <<set $correctTool = true>> <<else>> <<set $correctTool = false>> <</if>> <</link>> <</capture>> <</for>> <<else>> The lock is strangely shaped, with a odd curved groove down the middle. Perhaps there's something around here that's meant to open it? <</if>> <<link [[Give up and force the lock.|lock2Force]]>><<messy 1>><<set $toolLockOpen = true>><</link>> [[Take a step back and think for a bit.|doorHub]]

A brilliant idea strikes you! You run back into the studio and grab the freshest project you can find on the shelves (it's a bowl, as it happens), and then go back to the lock. You pinch off some of the damp clay from the bowl and push it into the lock's groove. Once you've packed enough in to depress all the pins, the lock pops open. You've mangled someone's hard work and left clay all over the lock, but [[at least it's open.|doorHub]]

<<set $lockDetail = true>> This is, without a doubt, the strangest lock you've ever seen in your life. For the most part it looks like a regular padlock, but instead of a keyhole it has a strange curved groove. You can see pins inside the groove, so if you depress them correctly it ought to open, but due to the strange shape you can't quite manage it with your lockpicks. Perhaps there's an oddly shaped key around, or at least some other object you can use as one. <<return>>

<<if $correctTool>> <<scoreTracker 2 2>> <<set $toolLockOpen = true>> It's a bit finicky, but after a few tries you manage to push the potter's rib into the lock at just the right angle. The lock makes a satisfying click and pops open. If this odd man's current venture doesn't work out, you think he could have a go as a lock-maker. Not that you'd ever tell him so [[for the sake of your own job.|doorHub]] <<else>> <<set $slow += 1>> You fumble around a bit with the $currentTool, but you can't quite seem to make it fit in the lock's groove. You must not have intended item--perhaps you can try [[something else?|doorLock2]] <</if>>

You push open the door gently so as not to make a sound, and poke your head through. Mr Murray's office doesn't look like any kind of office you're familiar with, and appears to be more of a private studio with its own table, wheel, and shelves. There's also a cabinet on the far wall, which a shadowy figure has just [[thrown open.|backRoom2]]

The figure's torch illuminates the contents of the cabinet, and your breath catches. You may not know much about pottery, but you //do// know about antiques, and apparently so does Mr Murray, as he's been keeping a particularly fine specimen of a pitcher locked up in here. Based on the similar-looking shapes on the nearby shelves, his "great idea" must be to make copies and sell them //en masse//! (Which is perhaps not so ground-breaking as he's made it out to be--replicas are quite popular these days.) But before you can get too excited about this development, the shadowy figure turns around. The torchlight reveals a woman of about your height and build, dressed all in black with a matching black domino mask. Her blonde hair is pulled back in a sensible bun, just like yours. You'd recognize that getup anywhere. It was on every sketch of the mysterious thief Lady Thalia in the papers. You wore it out every night. Faced with this impossible situation, you do something you've never done before. You [[scream for Mel.|backRoom3]]

The thief--your doppelgänger--drops her torch, grabs the pitcher, and rushes towards the nearest window. She must have unlatched it beforehand to secure her escape route! You rush towards her, but you only manage to brush the (all-too-familiar) fabric of her shirt with an outstretched hand before she's cleared the sill. You'll never catch her now. Instead, you grab the discarded torch and shine it through the window, hoping to draw Mel's attention to the fleeing thief. And indeed, you see her coming round the corner outside! But the thief is too fast, and quickly slips out of your torch beam and [[into the dark streets of London. |night1End]]

You climb through the window much less rapidly and walk over to Mel, who is doubled over and clutching a stitch in her side. She tries to straighten up as you approach and braces herself against a nearby lamp-post instead. "What on Earth...?" she gasps. Her tone tells you she saw exactly what you did: the famous thief, Lady Thalia. Yourself. But not you. <<finesseCalc>> <<if $debugMode>> For playtesters: <<print "Current finesse is " + $totalFinesse + " out of " + $maxTotalFinesse >> <</if>> <<link '"I don\'t know."' 'interlude1Start'>> <</link>>

<<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $marshallConv = false>> <<set $melConv = false>> <<set $oscarConv = false>>

<<include "interlude1Setup">> [[interlude1Start]]

<<include "interlude1Setup">> The next day, the newspapers all run an article about the surprising return of Lady Thalia, the gentlewoman thief who has been dormant for some months. They speculate on what elaborate plans the master thief might have been drawing up during her hiatus--surely some spectacular thefts will soon be undertaken! You try not to grind your teeth. It should be obvious to anyone with eyes that this upstart's not you. Your technique is not the same //at all//. And yet they all fell for it! You thought your ardent admirers in the realm of journalism knew you better! It just makes you all the more desperate to know: <<link "who //is// this woman, actually?" "interlude1Hub">><</link>>

<<if visited()==1>> Perhaps you need to get a fresh perspective on the problem from outside the agency. You have a detective acquaintance who should be able to provide, should she feel like cooperating. Even Mel seems suspicious of you, though she of all people should be perfectly aware there's no way you could have had anything to do with whatever your imitator is up to. You'll need to talk to her about it if you want to get anything more done on the case, although the idea of confronting her about it makes you uncomfortable in ways you don't want to examine too closely right now. And then, of course, you could also try to distract yourself from it all. Perhaps that's what you need at the moment. <<else>> You consider what you should do next. <</if>> <<if !$marshallConv>>[[Get some advice about finding your imitator.|interlude1Marshall1]] <</if>> <<if !$oscarConv>>[[Do a bit of work around the house to try to take your mind off things.|interlude1Oscar1]] <</if>> <<if !$melConv>>[[Try to assuage Mel's doubts.|interlude1Mel1]]<</if>> <<if $marshallConv && $melConv && $oscarConv>>[[There's nothing more you can do for now.|interlude1End]]<</if>>

<<set $marshallConv = true>> Miss Letitia Marshall is one of London's foremost private detectives--in other words, the competition, or she would be if you and Mel had any faint hope of reaching her level. She almost unmasked you last year, and in return for her silence on this matter you promised her interesting cases (as the woman wants nothing more in life than a steady stream of sufficiently complicated intellectual puzzles to solve). Well, this one ought to fit the bill. During your lunch break you hire a cab and head over to her flat, hoping that she'll be in and willing to talk--which, luckily, she is. Indeed, when you describe to her your encounter with the false Thalia, her eyes light up (which is an expression that looks almost alarming on her hawklike features). "Yes, I can certainly look into that for you," she says. "I can see it's of a calibre that you would be hard-pressed to solve yourself." "Where //would// I be without your brutal honesty, Miss Marshall?" you say sweetly. "Where indeed," she says. "Your friend Gwendolyn was here just now, by the by. She asked me to do her a favour. She says she hasn't time to give an evaluation of your latest antics, so she has shared with me her rubric so that I may determine your score on her behalf." [['"She asked you to do what?!"'|interlude1Marshall2]]

You and your friend Gwen have had a long-standing tradition of meeting up the night after your thefts to discuss how things went. (It dates back to your years in the theatre together, really, when you'd meet up to look over last night's reviews.) It has been her private little joke to assign a score to your feats based on a system known only to her. Years of cajoling have not convinced her to disclose any detail of the scoring rubric to you. And now she's handed it to Miss Marshall, just like that?! "Since, in the pursuit of finding the person infringing upon your identity, you have already offered me the details of your actions last night, that makes this rather easy," Marshall goes on. She even has a plate of scones at the ready, which Gwen must have told her was an important part of the ritual. [['"All right then, give me your evaluation. And a scone, please."'|interlude1Marshall3]]

<<if $finesse === $maxFinesse>> "According to Gwendolyn's system, you have scored full marks," Miss Marshall announces. (Just when did they start using one another's first names?) "Mind you," Marshall adds after a moment, "I am not saying //I// would award it full marks according to any system of my own." You assure her solemnly that you completely understand. She really is rather funny! Though you can never tell if she's trying to be. <<elseif $finesse >= ($maxFinesse * 0.7)>> "According to Gwendolyn's system, you've done fairly well--$finesse points out of $maxFinesse." (Just when did they start using one another's first names?) "Her system does however identify several failures on your part, and I must concur in this," she goes on. Well, what does //she// know about it? On second thought, given the number of crimes she's foiled, maybe a lot. <<else>> "According to Gwendolyn's system, you've earned $finesse points out of $maxFinesse, which she describes as, I quote, 'a worrying level of failure'," Miss Marshall says sternly. You protest (through a mouthful of crumbs) that, yes, you made one or two mistakes, but you think that's a bit harsh. Surely some leniency can be afforded to someone who's a tad bit out of practice? Miss Marshall peers at you over her spectacles. "The rubric doesn't account for that," she says. You are almost sure it's a joke. <</if>> <<if $gwenComplaint is "slow">> "You left few traces of your presence," Miss Marshall continues, "but the care you took slowed you down. You must move a little faster if you hope to get anything done." <<elseif $gwenComplaint is "messy">> "You moved quickly, but left many traces of your presence," Miss Marshall continues. "Police detectives can do a lot with those, you know--although not as much as I can, naturally. Anyway, after all that time evading their capture as a thief, it would be quite anticlimactic if you went down for mild trespassing, don't you think?" <<else>> "According to Gwendolyn's system, you maintained a perfect balance between speed and delicacy," she says. "Although I am not certain I would agree." <</if>> <<link [['"I\'ll take that under advisement."'|interlude1Marshall4]]>><<conv 1>><</link>> <<link [['"Honestly I don\'t care what you think."'|interlude1Marshall4]]>><<conv 2>><</link>> <<link [['"I still can\'t believe she told you about her system."'|interlude1Marshall4]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "I am sure Gwendolyn will be glad to hear it," Miss Marshall says. <<case 2>> "I am simply working on Gwendolyn's behalf," she says primly. "My own opinion does not come into it." <<case 3>> "She seemed to care deeply about ensuring you received this evaluation," Miss Marshall says, with what might or might not be dry humour. <</switch>> You request<<if $convVar != 1>>, with only a little sarcasm,<</if>> that she give your regards to Gwen should she see her before you do. "Of course. In any case, I'll look into the matter of your double," Miss Marshall says. "Quite intriguing!" [[You thank her and take your leave.|interlude1Hub]]

<<set $oscarConv = true>> You share this modest but well-appointed terraced house with Oscar Knight, your husband-in-name-only, and his paramour (or personal secretary, as far as most people know), Yorkie. Your marriage is a convenient fiction to confer a veneer of respectability on both of you and keep others from looking too closely at your personal lives, but to maintain the fiction you do have to put in a certain amount of the work expected of a society wife. And for today, that means decorating. It has been positively //ages// (by society standards) since you've redecorated the sitting room, and if you don't get on it soon you know there //will// be talk from the other members of your social circle. And since talk brings scrutiny and insinuations, and frankly because you can't stand to be considered second-best at anything, it's time for you to pick out some new wallpaper from the catalogue. Nothing is catching your eye though, and you can't be sure whether it's because you're out of sorts or because this year's new fashions are simply atrocious. While you're contemplating patterns and colours, Oscar taps you on the shoulder. "Hullo, Theo," Oscar says. "Do you have a moment to chat?" It's obvious to anyone with eyes that you're busy, which means that if he's importuning you anyway, you're unlikely to be able to dissuade him. [[You sigh and leave your wallpaper swatches behind.|interlude1Oscar2]]

You sit down in an armchair, and Oscar and Yorkie settle onto a couch across from you. They're something of a comical couple--Oscar tall and ungainly, blustering through everything with great enthusiasm and little finesse, and Yorkie small and wiry, with the demeanour more of a rabbit than of the dog his schoolboy nickname refers to. (Really //you// aren't supposed to call him Yorkie, not being an old school chum yourself--but Oscar is, and you rarely hear anyone other than Oscar talking to or about him, so it's hard to think of him as "Matthew Barker".) "I was just hoping," Oscar says, "to get some advice. I know you've given up the criminal life, but you still have so much more experience than either of us." <<link [['"Well, all right, if you make it quick."'|interlude1Oscar3]]>><<conv 1>><<relation "OscarPoints" 2 3>><</link>> <<link [['"Of course, I\'m happy to share my wisdom."'|interlude1Oscar3]]>><<conv 2>><<relation "OscarPoints" 3 3>><</link>> <<link [['"Is it important? I wasn\'t finished with the wallpaper."'|interlude1Oscar3]]>><<conv 3>><<relation "OscarPoints" 1 3>><</link>>

<<switch $convVar>> <<case 1>> "Of course, of course," says Oscar. In all honesty, you're not sure he knows the meaning of "making it quick", but at least this way you can say you tried. <<case 2>> Oscar claps his hands. "Excellent!" he says. "We're just trying something a bit different," Yorkie chimes in, "and we want to make sure we're well prepared." <<case 3>> "I wouldn't ask if it wasn't important!" Oscar says, in tones of high offence. Yorkie puts a soothing hand on his arm. "We won't take up too much of your time, I promise," he says. <</switch>> "You see," Oscar explains, "we decided to join the Order of Poimandres, an ancient occult society--" Yorkie snorts. "If by 'ancient' you mean it's some thirty years old. But I suppose that //was// last century." "//Anyway//," says Oscar, "it's said they have mystical treasures in a secret location in their headquarters, but we don't know where. Our previous experience is more along the lines of breaking into bank vaults in the dead of night, rather than ingratiating ourselves with people the way you do. So we wondered if you might have any advice." <<link [['"I was a trained professional. I can\'t teach you what I know in a few minutes."'|interlude1Oscar4]]>><<conv 1>><<relation "OscarPoints" 2 3>><</link>> <<link [['"Are you sure this is a good idea?"'|interlude1Oscar4]]>><<conv 2>><<relation "OscarPoints" 1 3>><</link>> <<link [['"Well, I can give you a few pointers...."'|interlude1Oscar4]]>><<conv 3>><<relation "OscarPoints" 3 3>><</link>>

<<switch $convVar>> <<case 1>> On the one hand, subterfuge //is// your area of expertise; on the other hand, you worked as an actress for years, and it's frankly laughable that they think you can impart your knowledge in a brief moment between household duties. "We quite understand," says Yorkie, "but any little bit of advice you can offer would be welcome." <<case 2>> Oscar's expression clouds. "I wasn't asking your advice on //that//," he says. "We've already been initiated into the Order--we just want your help with getting information out of people." <<case 3>> "Oh, yes, that's really all I meant to ask for," Oscar assures you. <</switch>> You don't really have time to coach them on delivery, but you offer some of your best basic tips on lying: keep it simple, incorporate as much of the truth as you can, and do //not// give in to the urge to talk more when you're nervous. The two of them nod solemnly, taking it all in. "I appreciate the help," says Yorkie. "The less time we have to spend around those self-important frauds and deluded true believers, the better." "I think that's a bit unfair," Oscar says. "Perhaps there are powers at work that we know not of. There are more things in heaven and earth than are dreamt of in your philosophy, and all that, what?" Yorkie doesn't dignify this with a response, and you [[decide to stay out of it.|interlude1Oscar5]]

"Anyway," Oscar says, turning to you, "//I// thought the initiation ceremony was a jolly good time, and they gave us these lovely medallions." He takes the article in question out of his pocket and holds it up--it's gold, or more likely gold-plated, with an etching of an eye surrounded by some odd symbols. You don't think it's //that// impressive, but then as a former art thief you suppose you're more discerning than most. "Well, this has all been very fascinating, but I really must get back to the wallpaper," you say. Oscar looks a little disappointed, but Yorkie says, "Of course, we quite understand," and the two of them [[leave you to your catalogue.|interlude1Hub]]

<<set $melConv = true>> You're not looking forward to this conversation, as it will be difficult--all the more so since you can't use your system for it. The system is for manipulating people, after all, and you're trying to be sincere here. But that means you have to flounder about trying to figure out the best thing to say just as ordinary people do. Nevertheless, you have to get it over with. During a spare moment at the office, you take Mel aside and suggest that the two of you have a talk. "A talk about what?" Mel says, her expression wary. <<link [['"I can tell you don\'t trust me."'|interlude1Mel2]]>><<conv 1>><<relation "MelPoints" 2 3>><<set $mean += 1>><</link>> <<link [['"I just want to make sure we understand each other regarding the incident at the pottery studio."'|interlude1Mel2]]>><<conv 2>><<relation "MelPoints" 3 3>><</link>> <<link [['"You seem moody lately."'|interlude1Mel2]]>><<relation "MelPoints" 1 3>><<set $nice += 1>><</link>>

<<switch $convVar>> <<case 1>> "What am I supposed to think?" she says. "When a thief shows up who looks like you, and you just so happen to be there the same night...." You point out the existence of copy-cat criminals and also of coincidences. "But still, the chances of such a thing happening...." She shakes her head. "It's hard to believe." <<case 2>> Mel looks you in the eye. "Tell me honestly," she says, "did you have anything to do with it? Anything at all?" <<case 3>> She gives a short laugh. "I suppose that's one way of putting it." You say that you are just concerned for her well-being. "Just get on with it," she says. (She really is in a terrible mood!) "You know I'm wondering if you were involved with the incident at the studio, so if you want to discuss that, you might as well come out with it." <</switch>> <<link [['"I wouldn\'t break my promise to you."'|interlude1Mel3]]>><<set $nice +=1>><<relation "MelPoints" 2 3>><<conv 1>><</link>> <<link [['"I never thought you were an idiot, but if you can\'t see it makes no sense for me to have a hand in this..."'|interlude1Mel3]]>><<set $mean +=1>><<relation "MelPoints" 1 3>><<conv 2>><</link>> <<link [['"Really, what would be in it for me?"'|interlude1Mel3]]>><<relation "MelPoints" 3 3>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> You did tell her you'd leave your life of crime behind--apart from a little light breaking and entering in the service of finding things out--when you agreed to join in her private detective venture, and you're honestly a bit hurt that she thinks you didn't mean it. "That's easy to say," Mel says, "especially for you, with all your practice in delivering a line smoothly. But I'm not particularly convinced that your consideration for me alone would." <<case 2>> "Nothing you do has ever made sense to me, to be quite honest," she says mournfully. "Why would you start now?" This seems a tad harsh to you. There //is// some method in your madness, isn't there? <<case 3>> Mel shakes her head. "I don't know. The joy of living vicariously through her since you've given up your life of crime? I won't pretend I've ever understood why you do anything you do." On the one hand, anyone who really didn't understand you at all would never have come as close to catching you as Mel has on various occasions. On the other hand, in some ways she really doesn't understand you, nor you her. <</switch>> <<link [['"Haven\'t you any trust in me at all?"'|interlude1Mel4]]>><<set $nice +=1>><<relation "MelPoints" 2 3>><<conv 1>><</link>> <<link [['"I suppose it was a mistake to think we could work together."'|interlude1Mel4]]>><<set $mean +=1>><<relation "MelPoints" 1 3>><<conv 2>><</link>> <<link [['"I don\'t even have time to orchestrate something like this. I\'m too busy with that bloody typewriter."'|interlude1Mel4]]>><<relation "MelPoints" 3 3>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> Mel winces. "I wasn't just waiting for any opportunity to suspect you of something, I promise. But I know how attached you were to your 'Lady Thalia' persona, so it seemed to make sense that you would pass it along to someone." You assure her that the impostor's behaviour is entirely unauthorised, and that for this reason you are determined to catch her. <<case 2>> If she has so little trust in you, then you never should have agreed to do this. If she's so attached to her "once a thief, always a thief" mind-set, then the partnership was doomed to fail the moment she misplaced something around the office, and you tell her so. "That's not-- I didn't mean--" Mel pauses and takes a deep breath. "It's just that it's a thief specifically imitating //you//, and you've always been so attached to that 'Lady Thalia' persona. I didn't think you'd just let someone run around using it without your permission." You assure her that you have offered no such permission, and that this is //exactly// why you will do whatever it takes to find the identity of this impostor. <<case 3>> This startles a laugh out of Mel. "All right," she says, "I don't think I can argue with that." You take the opportunity to assure her slightly more earnestly that you have no intention of going back on your word, and that in any case you are //very// committed to finding this impostor, as you don't like anyone else to take credit for your work. <</switch>> Mel sighs and runs a hand through her hair. "I'm sorry," she says, "I've been rather beastly to you, haven't I? It's just... I know this--" she waves a hand at the office-- "doesn't offer as many thrills as your old life. I wouldn't--well, I wouldn't be //surprised// if you wanted to find some way to make things exciting again." Well, you can't pretend you're never tempted. And you do appreciate the apology. But saying either of those things feels a little too personal, so you settle for, "I don't think we'll be short of excitement for a while, at least." She chuckles a little at that, and you can feel the tension drain from the room. "That's certainly one way of putting it!" And with that, [[your working relationship is restored, more or less.|interlude1Hub]]

<<actEnd>> You've assuaged Mel's doubts, at least for now, and talked Miss Marshall into investigating the person who is pretending to be you; for now, you've probably done all you can do. Now you should put it out of your mind and try to relax. [[If only that weren't so difficult.|day2Start]]

<<set $friendlyConv = false>> <<set $directConv = false>> <<set $leadingConv = false>> <<set $articles = 0>> <<set $strikeThreshold = 2>> <<set $timeLimit = 5>> <<set $act2Rooms = []>> <<set $watchmanInfo = false>>

[[day2Start]]

<<include "day2Setup">> <center>@@font-size:x-large;ACT II@@</center> You arrive at the office in a rather bedraggled and exhausted state. Thoughts of your doppelgänger have been gnawing at you, and you've had difficulty sleeping. Imitation may be flattery, but this woman is //taking credit// for //your// work! And she's not as skilled as you are (you would never have bothered with a place as easy to break into as that pottery shop--and then she was sloppy enough to alert her target days in advance!), which means she is also //making you look bad//. This cannot stand. (Whether the conflict you've had with Mel has been contributing to your restlessness is a question you are not going to examine at this time.) Mel is already at her desk. She seems to be throwing herself into this case as well; whether this is for personal reasons or because Mr Murray has agreed to pay you to get his vase back (not wanting to involve the police for whatever odd reason of his own) is unclear. Her desk is covered in towering, precarious piles of newspapers. [["Catching up on current events, Maggie?" you ask.|day2Start2]]

Mel sighs. "I haven't got access to police records any more, so this is the best I can do for finding similar cases." "I'm sorry," you say, realising that she seems nearly as frazzled as you are. "I shouldn't have...." Mel shakes her head. "Oh, no, it's not you, really. It's just that I had to break the news to Mrs Smith and Mrs Atherton about their mutual husband's deception earlier, and I'm no good at that delicate emotional stuff. I wish you had been there...." She pauses, and looks more closely at your face. "Though it doesn't seem you're in the best condition to handle it either, today." Oh dear, is she providing an opening for you to discuss your feelings honestly? Better change the subject, fast. [['"Have you found any evidence of cases relating to the false Thalia?"'|day2Start3]]

Mel blinks in confusion at this conversational swerve, but then carries on gamely enough. "There are a few possible leads, although she doesn't seem as inclined to sign her work as you were. Something interesting, though--there was a small article about Murray Ceramics recently, mentioning they were about to unveil something noteworthy. And the other two art theft cases I can find in recent weeks are similar--a painting that was on loan to a minor museum and an Egyptian cat statuette about to go up for auction, both written up in the papers ahead of the theft." "So she's using the papers to choose her targets?" You try to lean over her shoulder to see the papers. "It's possible--not certain. But if it //is// true, then we may be able to get out ahead of her." Mel brandishes a stack of papers at you. "These are papers that have come out since the break-in at the pottery shop. If we assume she started looking for her next target right after stealing the vase, it's probably in one of these. We just have to find it." You take the stack of papers from her and your hands brush hers in the process. (Was it your imagination, or did Mel's hand linger just a little?) [[You take the papers and sit down at your desk.|day2Investigate]]

Looking through the recent papers, you find only a few articles pertaining to things that might be of interest to a thief (or at least to one who was imitating you specifically). There are brief notices about gallery shows in the //Herald// and the //Post//, and a mention of an auction in the //Star//. <<link "Look at the //Herald//." "day2Item1">><</link>> <<link "Look at the //Post//." "day2Item2">><</link>> <<link "Look at the //Star//." "day2Item3">><</link>> <<if $articles >= 3>>[[Make your decision.|day2ItemDecision1]] <</if>>

<<if visited()===1>> <<set $articles +=1>><</if>> The notice describes a series of Expressionist landscape paintings done by an up-and-coming young artist. London is not really the beating heart of any of today's most exciting artistic movements, so up-and-coming by local standards might not translate to very valuable paintings overall. But the paintings might be artistically interesting--or the ersatz Lady Thalia might not know enough to know what's worth taking. <<return>>

<<if visited()===1>> <<set $articles +=1>><</if>> The gallery show described in the //Post// features reproductions of Ravenscroft glassware--not a particularly impressive feat now, you can't help thinking, with centuries of development in the production of clear lead crystal since Ravenscroft's time. However, an authentic Ravenscroft glass bowl will also be present (not for sale; just so that everyone can compare the reproductions to the original and be impressed by how similar they are, you suppose). You do love an antique; perhaps your copy-cat does too. <<return>>

<<if visited()===1>> <<set $articles +=1>><</if>> The auction notice is for a necklace made of high-quality diamonds, but while the stones are valuable, it doesn't sound like the setting is anything special. You prefer to select pieces that are notable for their craft and not just the quality of the raw materials, but your double might not feel the same way. <<return>>

What should you investigate? <<link[[The necklace.|day2ItemDecision2]]>><<conv 1>><</link>> <<link[[The glass bowl.|day2ItemDecision2]]>><<conv 2>><</link>> <<link[[The landscape paintings.|day2ItemDecision2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> You show Mel the article on the necklace and suggest that this might be the thief's next target. Mel frowns. "Are you sure? It doesn't sound like it has much artistic value." "Yes, but it has monetary value, and this thief is clearly not as discerning as I am-- er, was." That slip probably didn't make you sound less suspicious, but it's hard to break a mental habit. "I don't know," Mel says (graciously letting your choice of words pass without comment). "So far she doesn't seem to be focussing solely on how much she can sell the pieces for." You show her the other two articles, and she suggests that the glass bowl is the more likely target. She makes a good point, and you concede with only a little argument. <<case 2>> You show Mel the article mentioning the glass bowl and tell her you think it's the likeliest option. She nods thoughtfully. "That //does// sound like the kind of thing you would steal." "Would //have stolen//," you correct her. It can't hurt to remind her that your days of larceny are in the past, the way things have been going between you. "Of course--er, my apologies!" She turns surprisingly red at this, and then hurries to move the conversation along. <<case 3>> You show Mel the article on the landscape paintings and suggest that they might be the thief's next target. Mel frowns. "Are you sure? They don't seem very valuable." "But she might not realise that," you suggest. "Fair point. Though I think you might be letting your dislike of her cloud your judgement, " Mel says. "She hasn't shown any sign thus far of going after things that aren't worth much, has she?" You show her the other two articles, and she suggests that the glass bowl is the more likely target. She makes a good point, and you concede with only a little argument. <</switch>> "Shall we check out the gallery, then?" Mel suggests. You stare at her for a moment. "You //want// me to come along?" She looks away from you, fiddling with the papers on her desk. "Well, we are investigating someone who's trying to copy you. You might have an advantage." After the confrontation you had, you suppose this is essentially an offer of a truce. Which means you probably shouldn't push your luck too far, but.... "This seems like a good time for disguises," you suggest. "I was afraid you might say that," Mel says. [[But is it your imagination, or does it sound almost fond?|day2Door]]

Several hours later, the two of you are approaching the gallery dressed as a husband-and-wife pair of art collectors. Mel is the husband, which makes you a little nervous--you have at least some experience playing trouser roles, and she has none--but given that she's much taller than you, it would be a bit comical (and more importantly, more memorable) the other way round. The gallery door is locked; you knock on it. A moment later, a young man pokes his head out. "Do you have an appointment?" Mel, who is in the midst of adjusting her tie for the nine hundredth time, [[glances at you nervously.|friendlyConv1]]

/*Friendly*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $friendlyConv = true>> "We do appreciate your patronage, of course," the young man adds hastily. (The expensive clothing you and Mel are wearing seems to be having the desired effect.) "Only, we're doing viewings strictly by appointment at this time." <<link [["Terribly sorry! We were just so excited when we saw that article..." (F)|friendlyConv2]]>><<conv 1>><</link>> <<link [["Are you sure you can't make an exception?" (D)|friendlyConv2]]>><<conv 2>><<strikes>><</link>> <<link [["That's a shame." (L)|friendlyConv2]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Of course! It's an excellent exhibition, and we'd be pleased for you to attend when--" The young man stops abruptly, seeming to realise something. "Wait, are they advertising it to the public already?" You confirm that the notice in the paper didn't mention the appointments. "Oh dear," the young man says, more to himself than to you. <<case 2>> "No, no exceptions. You'll have to make an appointment or come back when we are open to the public," the man says firmly. "But it was advertised in the paper!" Mel says, mustering a surprisingly convincing indignation. The young man stares at her. "What, already?" You add that the paper said nothing at all about appointments. <<case 3>> "Yes, but I'm afraid you'll have to come back when we've properly opened," the young man says firmly. "The paper didn't say anything about that," Mel says. You glance at her in surprise. "Oh dear," the man says. "They're advertising it to the public already?" You confirm that this is so. <</switch>> "Of course, we don't wish to make your job more difficult," Mel puts in. "Or get you in any trouble." "Er, yes, thank you, I appreciate that," says the man, running an agitated hand through his hair. <<link [["We were so hoping to see the glasswares, but if it isn't possible..." (F)|friendlyConv3]]>><<conv 1>><</link>> <<link [["So, may we go in?" (D)|friendlyConv3]]>><<conv 2>><<strikes>><</link>> <<link [["Is there anything you can do for us?" (L)|friendlyConv3]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "I do hate to disappoint a discerning couple such as yourselves," the man says. (Mel's expression does something odd at the word "couple", as if she had somehow forgotten that this is what the two of you are supposed to be. You put a hand on her arm to remind her.) The man doesn't seem to notice any of this; he's caught in his own dilemma of violating a directive from his superiors versus disappointing wealthy patrons who might not come back if they don't feel adequately respected. "If only the owner were in today..." he mutters to himself. <<case 2>> "I'm under strict instructions not to let anyone in without an appointment," he says, but he sounds less certain now. You express your deep regret at not being able to see the beautiful glasswares that you have so been looking forward to (you might be over-egging the pudding a tad, but the young man doesn't seem to notice). But you add that of course, as your husband (Mel twitches a little at this word) suggested, you completely understand if this isn't possible. The man doesn't seem to notice anything about Mel's behaviour, fortunately; he has his own troubles to contend with. "If only the owner were in today..." he mutters to himself. <<case 3>> "I don't know," he says unhappily. "I //was// under strict instructions not to let anyone in... but I didn't know there would be an advertisement... and this is probably just the start..." Now he seems to have gone off into a sort of nightmare-reverie of hundreds of hopeful guests arriving on his doorstep. "We do understand if it isn't possible," Mel says. You jump in to add that you would, however, be //very// sad not to get to see the glasswares, and make a mental note to talk to Mel later about being slightly too accommodating in these situations. The man hardly seems to notice that either of you has said anything. "If only the owner were in today..." he says, mostly to himself. <</switch>> <<link [["I'm sorry you've been put in this position." (F)|friendlyConv4]]>><<conv 1>><</link>> <<link [["It seems as though you'll disappoint your superiors either way." (D)|friendlyConv4]]>><<conv 2>><<strikes>><</link>> <<link [["What are you going to do now?" (L)|friendlyConv4]]>><<conv 3>><<strikes>><</link>>

<<if $strikes > $strikeThreshold>> The man sighs heavily. "All right, you can come in. Briefly. But don't tell anyone about this, and //don't// expect me to do it again." You seem to have antagonised him somewhat; he's let you in anyway, and that's what matters, but you won't be getting any useful information out of him, most likely. <<else>> <<switch $convVar>> <<case 1>> "Oh, no, no need to apologise..." says the man. "Look, I suppose you might as well come in. I'll tell the curator it's all right. We do have someone else just finishing up his appointment now, but he was set to leave soon anyway." <<case 2>> "Well, don't rub it in," he says, miserably. "We're very sorry you're in this position," Mel puts in. "It seems very difficult for you." "No, that's all right..." the man says. "Look, I suppose you might as well come in. I'll tell the curator it's all right. We do have someone else just finishing up his appointment now, but he was set to leave soon anyway." <<case 3>> "I don't know," the man says unhappily. "It seems as though I might get in trouble either way." "We're very sorry you're in this position," Mel puts in. "It seems very difficult for you." "No, no, it's not your fault..." the man says. "Look, I suppose you might as well come in. I'll tell the curator it's all right. We do have someone else just finishing up his appointment now, but he was set to leave soon anyway." <</switch>> You thank the man warmly, and Mel follows suit. <</if>> [[Then you head inside the gallery.|day2Hub]]

You are standing in the gallery. Replica glasswares surround you. They're all right, but not really the kind of thing that, well, that you would want to steal. If you were still stealing things, that is. Mel stands by, fidgeting nervously with her necktie. <<if $directConv>> You can't think of anything else to say to the curator. <<else>>The curator is standing by attentively. [[Perhaps one of you could distract him....|directConv1]]<</if>> <<if $leadingConv>> The other patron has left. <<else>> [[A rotund older man is inspecting the glasswares.|leadingConv1]] <</if>> <<if $directConv && $leadingConv>> [[You think you're done here.|endOfDay2]] <</if>>

/*direct*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $directConv = true>> The curator is a rail-thin, soberly dressed man of middle age. He's standing by the wall, out of the way, but his eyes are tracking every movement you make. "If you distract him," you say, //sotto voce//, to Mel, "I can probably get into the back rooms and poke around." Mel grimaces. "I'll do my best," she says, "but I'm not nearly as good at this as you are, so, well, don't say I didn't warn you." "I'm sure you'll be fine," you say, and [[watch her go|directConv1A]].

<div aria-label="Mel"> You, Margaret Williams, approach the curator. "Good afternoon, sir," he says. "How are you enjoying the exhibition?" (You are exerting a conscious effort not to automatically correct people when they refer to you as "sir".) <<link '"It\'s lovely!" (F)' 'directConv2'>><<conv 1>><<strikes>><</link>> <<link '"Well enough, but what I\'m really interested in is that Ravenscroft piece." (D)' 'directConv2'>><<conv 2>><</link>> <<link '"It must have been interesting to put together." (L)' 'directConv2'>><<conv 3>><<strikes>><</link>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> Something in his expression shifts minutely--it might be your imagination, but you feel he's grown just a fraction colder towards you. But he says, very smoothly, "Glad to hear it, sir." You mention that you are particularly taken with the Ravenscroft piece, and this seems to improve the curator's opinion of you. "It isn't for sale, I'm afraid," he says. "But it is an excellent piece. The best here, if I may say so." <<case 2>> "It's not for sale, you know," he says. Then he lowers his voice and adds, "But between you and me, you've a good eye--it's far better than the imitations." You agree that this is so. "I suppose it makes me a poor salesman to say so, but no matter. I'm always pleased to meet a gentleman with taste, not just an interest in the price tag." You tell him that art has been a lifelong passion of yours. It makes you feel better to say something that's actually true in this strange play-acting scenario. <<case 3>> "All exhibitions are, of course," he says. "That's why I'm in this line of work." He doesn't seem inclined to offer further details on this particular exhibition, though, so you mention your interest in the Ravenscroft piece. This seems to get his attention; he's too professional and restrained for any very obvious expression of enthusiasm, but he is looking at you with renewed interest. "It is a beauty, isn't it? The craftsmanship is on another level compared to these reproductions, to be quite honest with you." <</switch>> <<link '"You\'re a very discerning individual." (F)' 'directConv3'>><<conv 1>><<strikes>><</link>> <<link '"Why display these other pieces if you don\'t think much of them?" (D)' 'directConv3'>><<conv 2>><</link>> <<link '"What makes the Ravenscroft so special?" (L)' 'directConv3'>><<conv 3>><<strikes>><</link>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> "I can't sell you the Ravenscroft even if you flatter me," the curator says sternly. "It's only on loan." You assure him you were sincere and not attempting to sway him. (Though it bothers you to say this, because you //do// have ulterior motives, just not those particular ones.) "Well, it is my job to be discerning," he says. "Unfortunately, it is also my job to ensure the gallery turns a profit, and reproductions are quite popular these days." <<case 2>> "Well, one has to consider financial matters," he says. "Reproductions are all the rage at the moment for people with more money than taste. And there are always plenty of those, so I feel quite secure in telling you not to waste your money." <<case 3>> The curator's eyes narrow. "You don't know? You picked it out specially amongst all the reproductions--//something// about it must have caught your eye." Put on the spot, you awkwardly admit that you could see the marks of superior craftsmanship, but were just trying to make conversation. (How does Thalia--er, Theodora--how does she //do// this?) The curator goes on to explain the additional difficulties of making lead crystal in the 1600s and the lengths to which Ravenscroft went to maintain the secrecy of his techniques, which you pretend not to have known about in order to get yourself out of the conversational hole you're in. "It's rather an impressive accomplishment, in a way that these latter-day imitations simply aren't," he concludes. "But wealthy patrons are mad for a reproduction right now, so here we are." <</switch>> <<link '"It must take a lot of care and effort, having such an old and valuable piece here." (F)' 'directConv4'>><<conv 1>><<strikes>><</link>> <<link '"Does the Ravenscroft require any extra security?" (D)' 'directConv4'>><<conv 2>><</link>> <<link '"What is it like having the Ravenscroft here?" (L)' 'directConv4'>><<conv 3>><<strikes>><</link>> </div>

<div aria-label="Mel"> <<if $strikes > $strikeThreshold >> <<set $timeLimit = 7>> "I'm sorry," the curator says, in a tone that brooks no argument, "I can't chat any longer. I must make myself available to other patrons." He moves a bit away from you and returns to scanning the room. It's a very transparent excuse to get out of the conversation, under the circumstances; you must have made him suspicious, or at least uncomfortable. You really aren't any good at this incognito business. You wish you could get back to telling people you're a detective. In any case, now Thalia--Theodora, rather--won't have as much time for her explorations as you had hoped, but if you're lucky you'll have bought her enough time to find //some// useful information. <<else>> <<set $timeLimit = 10>> <<switch $convVar>> <<case 1>> "I suppose so," says the curator. No other information seems forthcoming, so you ask whether the piece has required extra security. "Well, we do take it off display at night," he says. "But otherwise, not particularly. Everything we display here is valuable, after all. Our locks are quite secure, and we have a night watchman patrolling the building after closing every day." <<case 2>> "We've found our current measures to be adequate so far," he says. "Our locks are quite secure, and we have a night watchman patrolling the building after closing every day. But we do take it off display at night, just to be on the safe side." <<case 3>> The curator raises an eyebrow. "What do you mean?" he says. "I enjoy seeing it, but in most ways it's no different from any other piece we display." You ask if it has required any extra security. "Well, we do take it off display at night," he says. "But otherwise, not particularly. We're used to handling valuable items, of course. Our locks are quite secure, and we have a night watchman patrolling the building after closing every day." <</switch>> You make a mental note to tell Thalia--//Theodora//--about this night watchman business. <<set $watchmanInfo = true>> <</if>> [[Meanwhile....|day2MapStart]]. </div>

/*leading */ <<set $strikes = 0>> <<set $convVar = 0>> <<set $leadingConv = true>> While Mel is taking stock of the gallery, you approach the portly man and ask him what he thinks of the artwork. "Oh, very nice, very nice," he says. "But--can I tell you a secret?" Without waiting for a response, he adds, in a theatrical whisper, "That's not really what I'm here for!" <<link [["I'm not that fond of art either. My husband is the collector." (F)|leadingConv2]]>><<conv 1>><<strikes>><</link>> <<link [["What would you come to an art gallery for if not art?" (D)|leadingConv2]]>><<conv 2>><<strikes>><</link>> <<link [["Oh?" (L)|leadingConv2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> You wave a hand at Mel to indicate that she's the one who has dragged your reluctant self along on this outing. "I never said I wasn't fond of art," the man says crossly. "It's just not what I'm interested in this gallery for." You apologise and ask what he //is// here for then. <<case 2>> The man scowls at you, although his round spectacles and generally harmless appearance make the effect less than intimidating. "Well, there's no need to put it so rudely as that," he says. You apologise, but emphasise that you really would like to know what his interest in the gallery is. <<case 3>> He chuckles. "Scandalous of me, I know! To come to an art gallery--making an appointment, no less--with no interest in the current exhibition and no intention of buying anything!" You probably do six things more scandalous than that before breakfast each day, but you want to know where he's going with this, so you laugh along. <</switch>> "I'm here--" he switches to the theatrical whisper again-- "because I've heard that this gallery is //haunted//!" <<link [["Oh dear, how frightening! I'm not sure I want to stay here." (F)|leadingConv3]]>><<conv 1>><<strikes>><</link>> <<link [["Where did you hear that?" (D)|leadingConv3]]>><<conv 2>><<strikes>><</link>> <<link [["Haunted? Goodness!" (L)|leadingConv3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "I wouldn't have told you if I'd known you were made of such delicate stuff," he says, sounding not so much apologetic as miffed that you don't seem enthusiastic about this haunting. You assure him that you do, nevertheless, wish to know more. <<case 2>> "My sources," he says, drawing himself up to exaggerate the minimal height difference between the two of you, "are confidential. Pray do not ask again." You apologise and ask him to tell you more about the haunting. <<case 3>> "Yes!" he says, forgetting the theatrical whisper. "Haunted!" Then he realises he's speaking rather loudly and looks around to see if anyone has noticed. You can't imagine the curator has missed it, but at least he seems not to care. <</switch>> The man leans towards you conspiratorially. "There have been reports from the night watchmen of mysterious noises! Items moving around on their own! Traces of ectoplasm! And most eerily of all... but no, perhaps I shouldn't say..." <<link [["Oh, no, please don't leave me hanging!" (F)|leadingConv4]]>><<conv 1>><<strikes>><</link>> <<link [["What is it?" (D)|leadingConv4]]>><<conv 2>><<strikes>><</link>> <<link [[Wait silently for him to continue. (L)|leadingConv4]]>><<conv 3>><</link>>

<<if $strikes >= $strikeThreshold >> The man looks at you gravely (or as gravely as he is capable of while looking like some sort of small jolly owlet). "Hmm, no, I don't think I can trust your discretion. This is a sensitive matter." You insist that you can be //very// discreet, but he's hearing none of it. With a sigh, you give up on getting anything more out of him. <<else>> <<switch $convVar>> <<case 1>> "This is a sensitive matter!" he says. "Whether you can be trusted with the information has nothing to do with how nicely you ask." You apologise and insist you will keep his secrets. "Well..." he begins. <<case 2>> "Well, now you've ruined my dramatic pause," he says irritably. You apologise. You can appreciate the value of a good dramatic pause. "Well..." he begins. <<case 3>> After a suitably dramatic pause, the man goes on. <</switch>> "One of the guards was in the office one night when he saw hands pressed against the window! But when he went out to see who it was, there was no one there!" You thank the man for sharing this with you. You're not sure how useful this information was--it might simply be nonsense invented by people with vivid imaginations. But all that business with the noises and things moving around at night //is// similar to what Mr Murray experienced. You're not sure where the ectoplasm would fit in, though. <</if>> [[Conversation over, you look around the gallery.|day2Hub]]

<div aria-label="Thalia"> While Mel is keeping the curator occupied, you begin your exploration, making notes with pencil and paper as you go. (Having discreet pockets sewn into all your dresses really has been handy.) [[Go through the door into the back rooms.|day2LargeItem]] </div>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("largeItem")>> This room holds several large statues, presumably from a previous exhibition. They're all labelled "SOLD" and seem to be waiting to be retrieved. <<else>> You're back by the statues. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("breakArea")>>[[Go through the door to the break area.|day2BreakArea]]<<else>>[[Go through the simple wooden door.|day2BreakArea]]<</if>> <<if $act2Rooms.includes("guardOffice")>>[[Go through the door to the guard office.|day2GuardOffice]]<<else>>[[Go through the door with a frosted glass window.|day2GuardOffice]]<</if>> [[Stop exploring and head back.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("breakArea")>> This seems to be a room for employees of the gallery to relax in when they are not on duty. It has a small stove and a table with chairs. <<else>> You're back in the break room. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("largeItem")>>[[Go through the door to large item storage.|day2LargeItem]]<<else>>[[Go through the simple wooden door.|day2LargeItem]]<</if>> <<if $act2Rooms.includes("workArea")>>[[Go through the door to the work area.|day2WorkArea]]<<else>>[[Go through the heavy door.|day2WorkArea]]<</if>> [[Stop exploring and head back.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("workArea")>> This seems to be an area for sorting items and readying them to go on display. Empty frames lean against the walls and there is a long table littered with pens and papers and glue and whatnot. <<else>> You're back in the work area. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("breakArea")>>[[Go through the door to the break area.|day2BreakArea]]<<else>>[[Go through the heavy door.|day2BreakArea]]<</if>> [[Stop exploring.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("guardOffice")>> This seems to be the central area for guards. There is a desk, a chair, and a rack that seems like it ought to hold keys (but is currently empty). <<else>> You're back in the guard office. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("largeItem")>>[[Go through the door to large item storage.|day2LargeItem]]<<else>>[[Go through the door with a frosted glass window.|day2LargeItem]]<</if>> <<if $act2Rooms.includes("vestibule")>>[[Go through the door to the vestibule.|day2Vestibule]]<<else>>[[Go through the white-painted door.|day2Vestibule]]<</if>> [[Stop exploring and head back.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("vestibule")>> You are in a small vestibule with doors on either end. It's rather dusty and the carpet is worn. <<else>> You are back in the vestibule. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("guardOffice")>>[[Go through the door to the guard office.|day2GuardOffice]]<<else>>[[Go through the white-painted door.|day2GuardOffice]]<</if>> <<if $act2Rooms.includes("generalStorage")>>[[Go through the door to general storage.|day2GeneralStorage]]<<else>>[[Go through the worn wooden door.|day2GeneralStorage]]<</if>> [[Stop exploring and head back.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("generalStorage")>> This room has shelves holding a jumble of things that the gallery uses in the course of its business, from blank receipt slips to cleaning supplies. <<else>> You're back in the storage room. <</if>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("vestibule")>>[[Go through the door to the vestibule.|day2Vestibule]]<<else>>[[Go through the worn wooden door.|day2Vestibule]]<</if>> <<if $act2Rooms.includes("secure1")>>[[Go through the door to secure storage 1.|day2Secure1]]<<else>>[[Go through the scuffed metal door.|day2Secure1]]<</if>> <<if $act2Rooms.includes("secure2")>>[[Go through the door to secure storage 2.|day2Secure2]]<<else>>[[Go through the dented metal door.|day2Secure2]]<</if>> [[Stop exploring and head back.|day2ExplorationEnd]] <<else>> [[You're running short on time. |day2ExplorationEnd]] <</if>>

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("secure1")>> This seems to be a room for items that require extra security. Among the locking storage cases here is one that's about the right size for the Ravenscroft bowl, and is conspicuously empty. <<else>> You're in the secure storage room with the empty case. <</if>> [[Go back to the storage room.|day2GeneralStorage]] [[Stop exploring.|day2ExplorationEnd]]

<<time 1>> <<if visited()===1>> <<run $act2Rooms.push("secure2")>> This seems to be a room for items that require extra security. There are a number of locked storage cases here. <<else>> You're in a secure storage room full of locked cases. <</if>> [[Go back to the storage room.|day2GeneralStorage]] [[Stop exploring.|day2ExplorationEnd]]

You don't think you can fit any more exploration in. You pocket the map you made and slip back into the public area of the gallery. Mel spots you and waves you over, looking greatly relieved. [[You consider what to do next.|day2Hub]]

Back at the office, you and Mel compare notes; she tells you what she heard from the curator and you tell her what you heard from the eccentric old man. She agrees that the "haunting" described sounds similar enough to Mr Murray's experience to be suspicious, if not necessarily conclusive. She suggests that the two of you should return to the gallery at night. [[Of course, you're only too happy to do so.|night2Start]]

/*set up all variables for night 1 here */ <<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $timeLimit = 15>> <<set $watchmanTrack = ["guardOffice", "largeItem", "breakArea", "workArea", "breakArea", "largeItem", "gallery", "vestibule", "generalStorage", "vestibule", "guardOffice"]>> /*list rooms he patrols in order */ <<set $watchmanCount = 0>> <<set $watchmanLoc = "">> <<set $watchmanLocPrev = "">> <<set $watchmanLocNext = "">> <<set $watchmanFate = "">> <<set $watchmanEncounter = false>> <<set $currentRoom = "">> <<set $watchmanPass = false>> <<set $watchmanOff = false>> /*this marks the watchman as "dealt with" ("offstage", if you will) once encountered */ <<set $keys = false>> <<set $messyKeys = false>> <<set $bowl = false>> <<set $door1Locked = true>> <<set $door2Locked = true>> <<set $failed = false>>

Watchman info gotten? <<listbox "$watchmanInfo" autoselect>> <<option false>> <<option true>> <</listbox>> <<set $act2Rooms = []>> [[night2Start]]

<<include "night2Setup">> You are once again out in the street, facing a dark and quiet building. Nothing out of the ordinary for you except for the presence of Mel by your side, coat collar turned up to hide her face. Doing this with a partner is something you could almost get used to--and then you remember your argument from earlier, and remind yourself to not get too comfortable. The two of you might have formed a truce for now, but if you make a mess of this you might not get another chance, much less time to get used to anything. You ask Mel to repeat the plan, more to distract yourself than to [[jog your memory.|night2Start2]]

You expect Mel to sigh or to rub her temples again, but instead she jumps at the question as if you've startled her. (Was she also thinking about...? No, of course not.) "You'll break in and try to find the bowl before our thief does," she says with only a hint of fluster. "I'll patrol outside and see if I can intercept her when she shows up." You nod, and then frown as a thought occurs to you. You don't want to make a fuss about this, but.... [['"What if I get to the bowl and she\'s not there? I can hardly hang around in the gallery all night waiting."'|night2Start3]]

Mel's brows crease as she contemplates this--apparently she hadn't thought of that either. "I suppose you'll have to bring it out for safekeeping," she says. Your face must have done something at that, because she adds "Only for the night! We'll put it back once the sun rises." You inform Mel that this is a compromise you can //certainly// accept, and she sighs but smiles a bit anyway. Maybe you really are back to business as usual. [[Enter the gallery.|night2Gallery]]

/*this is a passage that can be included whenever the watchman should be encountered */ <<set $watchmanEncounter = true>> <<if $watchmanPass>> As you're about to go through the door, you realise the night watchman is on the other side of it! You step back and flatten yourself against the wall, trying to think what to do now. <<else>> Stepping into the room, you realise to your horror that the night watchman is there! At least the beam of his electric torch has yet to fall on you. <</if>> <<if !$watchmanInfo>> <<link [[Hide and wait for him to pass by.|watchmanOutcome]]>><<slow 1>><<scoreTracker 2 3>><<set $watchmanOff = true>><<set $watchmanLoc = "">><<set $watchmanFate = 1>><<set $watchmanPass = false>><</link>> It will take time, but leave no trace. You may be small, but with the element of surprise, you can get the upper hand. <<link [[Ambush and restrain him.|watchmanOutcome]]>><<messy 1>><<scoreTracker 2 3>><<set $watchmanOff = true>><<set $watchmanLoc = "">><<set $watchmanFate = 2>><<set $watchmanPass = false>><</link>> <<else>> Fortunately, you prepared for this--you left some brandy in his office, with a little something extra in it, and he is now quite drunk. <<link [[He doesn't see you.|watchmanOutcome]]>><<scoreTracker 3 3>><<set $watchmanOff = true>><<set $watchmanLoc = "">><<set $watchmanFate = 3>><<set $watchmanPass = false>><</link>> <</if>>

<<switch $watchmanFate>> <<case 1>> You hide yourself as best you can and wait a long time. When you cease to hear his footsteps--you think he's stopped patrolling--you emerge. <<case 2>> You take the watchman by surprise and quickly tie him up. Without a second pair of hands or a way to seriously incapacitate him (such as chloroform, if you'd thought to bring any), you can't avoid him making some noise before you have the chance to gag him, but hopefully no-one heard. <<case 3>> He stumbles past you and then stumbles back in the direction of his desk. Moments later, you begin to hear loud snores issuing from that area. <</switch>> [[Get back to your mission.|$return]]

<<if !$watchmanOff>><<watchman>><</if>> /*if the watchman is offstage then we no longer want to trigger him moving */ <<set $currentRoom = "gallery">> <<returnSet>> /*this widget is necessary for the proper functioning of watchmanEncounter */ <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if visited() == 1>>You pick the lock to the front door and step into the gallery. (If you //had// been interested in buying anything, the shoddiness of said lock puts the idea straight out of your mind.) <</if>> Your surroundings are both familiar and not--you recognise the general layout from earlier that day, but the various exhibits have either been brought into the back or had large cloths draped over them. The result creates pools of shadow that could hide anything, even a person (or, as your mind helpfully suggests, a ghost). But a quick check reveals nobody but yourself. <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<link [[Go through the door into the back rooms.|night2LargeItem]]>><<passCheck "largeItem">><</link>> /*if you run into the watchman you should be forced to deal with him and not just be like "whoops" and walk out of the room, so the exit options only appear if the watchman is not there */ <</if>>

<<time 1>> <<if !$watchmanOff>><<watchman>><</if>> <<set $currentRoom = "largeItem">> <<returnSet>> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom) || visited() > 1>> You're back by the statues. Their silhouettes in the dark are putting you on edge--no wonder people think the place is haunted. <<else>> <<run $act2Rooms.push($currentRoom)>> This room holds several large statues, presumably from a previous exhibition. They're all labelled with signs that you can't quite make out in the dark. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("breakArea")>><<link [[Go through the door to the break area.|night2BreakArea]]>><<passCheck "breakArea">><</link>><<else>><<link [[Go through the simple wooden door.|night2BreakArea]]>><<passCheck "breakArea">><</link>><</if>> <<if $act2Rooms.includes("guardOffice")>><<link [[Go through the door to the guard office.|night2GuardOffice]]>><<passCheck "guardOffice">><</link>><<else>><<link [[Go through the door with a frosted glass window.|night2GuardOffice]]>><<passCheck "guardOffice">><</link>><</if>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<time 1>> <<if !$watchmanOff>><<watchman>><</if>> <<set $currentRoom = "breakArea">> <<returnSet>> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom)|| visited() > 1>> You're back in the break room. <<else>> <<run $act2Rooms.push($currentRoom)>> This seems to be a room for employees of the gallery to relax in when they are not on duty. It has a small stove, some chairs, and a table upon which someone has left a deck of cards. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("largeItem")>><<link [[Go through the door to large item storage.|night2LargeItem]]>><<passCheck "largeItem">><</link>><<else>><<link [[Go through the simple wooden door. | night2LargeItem]]>><<passCheck "largeItem">><</link>><</if>> <<if $act2Rooms.includes("workArea")>><<link [[Go through the door to the work area.|night2WorkArea]]>><<passCheck "workArea">><</link>><<else>><<link [[Go through the heavy door.|night2WorkArea]]>><<passCheck "workArea">><</link>><</if>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "workArea">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom) || visited() > 1>> You're back in the work area, which stinks of glue. You wrinkle your nose and hurry on. <<else>> <<run $act2Rooms.push($currentRoom)>> This seems to be an area for sorting items and readying them to go on display. Empty frames lean against the walls and there is a long table littered with art supplies. Someone's left the lid off a glue pot and the fumes fill the air. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("breakArea")>><<link [[Go through the door to the break area.|night2BreakArea]]>><<passCheck "breakArea">><</link>><<else>><<link [[Go through the heavy door.|night2BreakArea]]>><<passCheck "breakArea">><</link>><</if>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "guardOffice">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom)>> <<if visited() == 1>> You're back in the guard office. Everything is as you left it earlier, except that the rack now contains [[an awful lot of keys.|night2KeyPuzzle]] <<else>> You're back in the guard office. <<if $keys === false >>There's a lot of keys hanging off the rack that [[might be useful.|night2KeyPuzzle]] <</if>> <</if>> <<else>> <<run $act2Rooms.push($currentRoom)>> This seems to be the central area for guards. There is a desk, a chair, and a rack with a set of keys on it. <<if $currentRoom !== $watchmanLoc && !$watchmanPass>> Keys are always useful but there's an [[awful lot of them|night2KeyPuzzle]] here. <</if>> <</if>> <<if $watchmanFate == 3>> The night watchman is slumped over on his desk, fast asleep and smelling like he's spilled some of the brandy you thoughtfully left for him. In your professional opinion he's no longer a problem. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("largeItem")>><<link [[Go through the door to large item storage.|night2LargeItem]]>><<passCheck "largeItem">><</link>><<else>><<link [[Go through the door with a frosted glass window.|night2LargeItem]]>><<passCheck "largeItem">><</link>><</if>> <<if $act2Rooms.includes("vestibule")>><<link [[Go through the door to the vestibule.|night2Vestibule]]>><<passCheck "vestibule">><</link>><<else>><<link [[Go through the white-painted door.|night2Vestibule]]>><<passCheck "vestibule">><</link>><</if>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<conv 0>> The keys are all on one massive ring, each with a small hastily scrawled label. It'll take ages to sort through them in the dark, but if you take the whole lot even <<if $watchmanFate == 3>>this watchman will notice they're gone should he wake up.<<else>>the sleepiest watchman will notice they're gone.<</if>> What will you do? <<link [[Sort through the keys one by one.|night2KeyPuzzle2]]>><<slow 1>><<conv 1>><<set $keys = true>><</link>> <<link [[Grab the whole lot.|night2KeyPuzzle2]]>><<messy 1>><<conv 2>><<set $keys = true>><</link>> [[Come back to this later.|night2GuardOffice]]

<<if $convVar === 1 >> You sort through the massive ring of keys one by one, cursing the author's poor penmanship all the while. Eventually you find a few labelled "Val Str 1" and "Val Str 2", which you hope stand for "Valuables Storage". Nothing else looks promising, so you slide the two keys off the ring and pocket them before putting everything back more-or-less as you found it. <<elseif $convVar === 2>> You take the whole ring of keys and, when they jangle, quickly wrap them in a handkerchief before stowing them away. The night is quiet around you<<if $watchmanFate == 3>> (minus the guard's quiet snoring)<</if>> so you don't think anyone heard, but you ought to move somewhere else just in case. <<set $messyKeys = true>> <<else>> Error - invalid value. Please contact the authors! <</if>> [[Time to move on.|night2GuardOffice]]

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "vestibule">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom) || visited() > 1>> You're back in the vestibule. The dust in here tickles your nose rather fiercely, and you fight a sneeze. (You'd never hear the end of it from Gwen if //that// blew your cover.) <<else>> <<run $act2Rooms.push($currentRoom)>> You are in a small vestibule with doors on either end. It's quite dusty and the carpet is distressingly lumpy under your feet. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $act2Rooms.includes("guardOffice")>><<link [[Go through the door to the guard office.|night2GuardOffice]]>><<passCheck "guardOffice">><</link>><<else>><<link [[Go through the white-painted door.|night2GuardOffice]]>><<passCheck "guardOffice">><</link>><</if>> <<if $act2Rooms.includes("generalStorage")>><<link [[Go through the door to general storage.|night2GeneralStorage]]>><<passCheck "generalStorage">><</link>><<else>><<link [[Go through the worn wooden door.|night2GeneralStorage]]>><<passCheck "generalStorage">><</link>><</if>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "generalStorage">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom) || visited() > 1>> You're back in the storage room. The little light coming through the window makes the shelves cast unsettling shadows across your path. <<else>> <<run $act2Rooms.push($currentRoom)>> This room has shelves holding a jumble of things that you can't quite see in the dark. You presume this is where all the odds and ends for the gallery are stored. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<if $time <= $timeLimit>> <<if $keys>> <<if $act2Rooms.includes("secure1")>><<link [[Unlock the door to secure storage 1.|night2Secure1]]>><<passCheck "secure1">><</link>><<else>><<link [[Unlock the scuffed metal door.|night2Secure1]]>><<passCheck "secure1">><</link>><</if>> <<if $act2Rooms.includes("secure2")>><<link [[Unlock the door to secure storage 2.|night2Secure2]]>><<passCheck "secure2">><</link>><<else>><<link [[Unlock the dented metal door.|night2Secure2]]>><<passCheck "secure2">><</link>><</if>> <<else>> <<if $act2Rooms.includes("secure1")>><<link [[Try the door to secure storage 1.|night2Door1Puzzle]]>><<passCheck "secure1">><</link>><<else>><<link [[Try the scuffed metal door.|night2Door1Puzzle]]>><<passCheck "secure1">><</link>><</if>> <<if $act2Rooms.includes("secure2")>><<link [[Try the door to secure storage 2.|night2Door2Puzzle]]>><<passCheck "secure2">><</link>><<else>><<link [[Try the dented metal door.|night2Door2Puzzle]]>><<passCheck "secure2">><</link>><</if>> <</if>> <<link [[Go back to the vestibule.|night2Vestibule]]>><<passCheck "vestibule">><</link>> <<else>> [[You're running short on time. |night2ExplorationEnd]] <</if>> <</if>>

<<conv 0>> You try the handle, but the scuffed door is firmly locked. What do you do? <<if $door1Locked>> <<link [[Pick the lock.|night2Door1Result]]>><<slow 1>><<conv 1>><<set $door1Locked = false>><</link>> <<link [[Force the lock.|night2Door1Result]]>><<messy 1>><<conv 2>><<set $door1Locked = false>><</link>> <<else>> [[Try this later. |night2GeneralStorage]] <</if>>

<<if $convVar === 1>> You pull out your lockpick kit, put your ear to the door, and get to work. It's painstakingly slow work, but you've had enough practice that the lock pops open after a minute. <<else>> Time is of the essence, so you'll have to take a risk and break the lock (which you do with a few solid kicks). You hope nobody heard that, but you can't stick around to find out. <</if>> [[Proceed into the next room.|night2Secure1]]

<<conv 0>> The dented door is, annoyingly, locked up tight. You consider what to do. <<if $door2Locked>> <<link [[Pick the lock. |night2Door2Result]]>><<slow 1>><<conv 1>><<set $door2Locked = false>><</link>> <<link [[Force the lock. |night2Door2Result]]>><<messy 1>><<conv 2>><<set $door2Locked = false>><</link>> <<else>> [[Try this later. |night2GeneralStorage]] <</if>>

<<if $convVar === 1>> With practiced hands, you slide your lockpicks into place and get to work. Before long the dented door swings open. <<else>> Judging by the dents, this door is no stranger to being forced. It no longer sits quite flush in its frame, and with some carefully placed pressure you manage to pop it open (although not without leaving some noticeable new scratches). <</if>> [[Proceed to the next room.|night2Secure2]]

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "secure1">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom) || visited() > 1>> You're in the secure storage area that most likely holds the Ravenscroft bowl. <<else>> <<run $act2Rooms.push($currentRoom)>> <<time 1>> Judging by the locked door, this must be a room for securing valuable items. It's full of locking cases of all shapes and sizes, which for anyone else might be a problem. But you've had //quite// a lot of practice with this, and only pick up a small delay identifying which case most likely holds the bowl. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<link [[Go back to the storage room.|night2GeneralStorage]]>><<passCheck "generalStorage">><</link>> [[Take the case.|night2GauntletIntro]] <</if>>

<<time 1>> <<watchman>> <<returnSet>> <<set $currentRoom = "secure2">> <<if $currentRoom === $watchmanLoc || $watchmanPass == true>> <<include "watchmanEncounter">> <</if>> <<if $act2Rooms.includes($currentRoom)>> <<if visited()==1>> You're in the secure storage area with nothing interesting. (Or at least, that's what you'd tell anyone who asks. ) <<else>> You're in a secure storage room full of locked cases, none of which are quite the right size to hold the Ravenscroft bowl. Best to look elsewhere. <</if>> <<else>> <<run $act2Rooms.push($currentRoom)>> <<time 1>> This room is full of locked cases of all shapes and sizes, which must contain the gallery's most valuable pieces. Visions of what might be in each case dance through your head as you scan the room, making you a bit giddy--but unfortunately none of them are the right size to hold the bowl. It's tempting to break into one of the cases just to check (and decidedly //not// to do a bit of window-shopping), but you've already spent enough time in here and ought to move along. <</if>> <<watchmanSound>> <<if $currentRoom !== $watchmanLoc && $watchmanPass == false>> <<link [[Go back to the storage room.|night2GeneralStorage]]>><<passCheck "generalStorage">><</link>> <</if>>

<<set $failed = true>> <<slow 1>> Time's running short. You need to find the bowl, and fast. [[Cut to the chase.|night2Gauntlet1]]

<<if $failed>> You hurry towards the back of the building and eventually make your way into a large room with two secure-looking doors. <<scoreTracker 1 3>> <<else>> You emerge from the back room with the case tucked under your arm, feeling satisfied but also slightly ill at ease. <<scoreTracker 3 3>> <</if>> <<if !$watchmanOff>><<scoreTracker 3 3>><</if>> Nothing out of the ordinary has happened yet, which makes you worried. What if you and Mel have guessed wrong, and the fake Thalia's absence means she was never targeting the Ravenscroft bowl to begin with? It'll be a huge blow to your burgeoning agency's reputation, not to mention make it difficult to explain why //you've// broken in here. (You are technically supposed to have given this whole burglary thing up, after all.) Absent anything else to do, you resolve to make your way back out of the building and confer with Mel about what to do next. But before you can take more than a couple of paces, a man's scream splits the air, and then a pair of handprints appear on the nearest window [[with a loud slap.|night2Gauntlet1]]

<<conv 0>> There's no sign of any person outside, but the prints remain despite the stark absence of hands (or arms) they could belong to. You've broken into quite a few places in your day, but you've never seen anything like this--could it be related to the haunting the man in the gallery mentioned earlier today? As you're contemplating this, the locked door to <<if $failed>>one of the small back rooms<<else>>the front showroom<</if>> bursts open and someone hurtles through it. You have to think fast: ghost or not, they're heading straight for you! <<link [[Meet them head-on.|night2Gauntlet2]]>> <<messy 1>> <<conv 1>><</link>> <<link [[Dodge and assess the situation.|night2Gauntlet2]]>> <<slow 1>> <<conv 2>>>> <</link>>

<<conv 0>> <<if $convVar === 1>> You launch yourself towards the interloper and crash into them right in front of the newly decorated window. The moonlight allows you a glimpse of a black mask and blonde hair before the two of you crash together to the floor in a tangle of limbs. You roll away from her to try and recover--<<if $failed>>she dropped something important-looking<<else>>you dropped the case<</if>> on impact, and you need to <<if $failed>>grab it<<else>>get it back<</if>> //now//. <<else>> <<if $failed>> You throw yourself backward clumsily and manage to mostly avoid the mysterious stranger. But the stranger is carrying something bulky and clips you with the edge of it, which sends the two of you off-balance. You catch yourself on a shelf (putting one hand in some glue) while she loses her grip on the case and stumbles, right in front of the newly decorated window. Despite the shadow of the handprints, you catch an all-too-familiar glimpse of a black mask and blonde hair. <<else>> You throw yourself backward clumsily and manage to mostly avoid the mysterious stranger--you unconsciously hold up the Ravenscroft bowl's case as a shield and the stranger clips the edge of that instead. The force of impact rips the case from your hands and sends your attacker stumbling towards the newly decorated window, where you catch an all-too-familiar glimpse of a black mask and blonde hair. <</if>> <</if>> "You again?" the fake Thalia cries out in surprise. (Good news--at least she wasn't expecting you!) You rack your brain for a suitably witty retort, but she grabs the case from the floor and bolts before you get the chance to say anything. //Drat!// <<link [[Chase after her.|night2Gauntlet3]]>> <<messy 1>> <<conv 1>><</link>> <<link [[Make a commotion and try to attract help.|night2Gauntlet3]]>> <<slow 1>> <<conv 2>><</link>>

<<if $convVar === 1>> As you discovered last time, the impostor Thalia is //obnoxiously// fast. You can't overtake her running in a straight line, so instead you run full tilt at the open door to the gallery, hoping to cut her off. The impostor sees what you're doing and clearly doesn't like it, as she closes the distance and swings the case at your head. You throw yourself forward and feel a breeze as the hard corner barely misses your head. You stumble a little as you try to regain your bearings. But it looks like the combination of your wild dodge and her taking time to swing has worked out in your favour, since you're now between her and the gallery door. <<else>> Judging by the scream, your impostor has taken care of one of the night watchmen, but there should hopefully still be one about<<if $watchmanFate == 3>> (even if he is sloshed)<</if>>. You raise your voice and shout, "Over here! She's got the Ravenscroft! In the back room, quickly!" Your powers of projection, finely honed by your years on the stage, do their job. You hear another set of footsteps and then the remaining watchman <<if $watchmanFate == 3>>stumbles<<else>>leaps<</if>> onto the scene, right as the fake Thalia tries to run back into the main gallery. He takes a swipe at her and she responds by ducking under his blow and driving the hard corner of the case right into his solar plexus, which causes him to crumple and land in the doorway to the main gallery. (You wince in sympathy for both the man and the bowl.) <</if>> With her planned exit path blocked, your opponent instead dashes into the vestibule, in the direction of the guard office. <<link [[Give chase.|night2Gauntlet4]]>> <<messy 1>> <<conv 1>><</link>> <<link [[Take a shortcut and try to intercept her that way.|night2Gauntlet4]]>> <<slow 1>> <<conv 2>><</link>>

<<if $convVar === 1>> You're not used to chasing people, rather than being chased, but you quickly realise that despite the impostor's speed and head start, you have the advantage. You can see her, while she can't see you without turning her head, and while she has far less respect for the contents of the case than you would, she's still having trouble manoeuvring its bulk in the crowded building. You're already gaining on her by the time she reaches the guard office, where the edge of the case clips the desk and causes her to stumble. As the two of you emerge from the office you can almost brush her with your fingertips--and the door to the gallery is shut. If she stops to open it, you'll have her! Clearly she's realised this too, as she halts and pivots so fast you almost fly past her. <<else>> Instead of following the intruder, you run through the door to the gallery. You didn't spend all that time memorising the layout of this blasted building for nothing--from what you recall, you can cut through the main display room and cut her off at the back door you originally entered through. Your shoes squeak on the highly polished floor as you sprint through, and you worry that it's loud enough to give away your plan. But either it's not as loud as you thought or she didn't study the building layout as much as you did: when you throw open the rear door to the gallery, it nearly hits her in the face. <</if>> The impostor stares at you, eyes wild through her mask, and then pulls a baton from her waistband and smashes the nearby window. Before you can react she's thrown the case through the frame, presumably to clear the remaining shards, and jumped out into the night. Why didn't you think about the window? That's your favourite trick when cornered! <<link [[Throw yourself out the window after her.|night2Gauntlet5]]>> <<messy 1>> <<conv 1>><</link>> <<link [[Follow her carefully out the window instead.|night2Gauntlet5]]>> <<slow 1>> <<conv 2>><</link>>

<<if $convVar === 1>> You throw caution to the wind and jump straight through the window after the impostor. Luckily you're on the ground floor and she's knocked most of glass from the frame already, but you tear your sleeve going through and nearly slip on the shards in the grass below. You're still able to gain your bearings fast enough to see your enemy though, and you take off after her before she can disappear. <<else>> You've dealt with enough windows to know exactly how dangerous broken glass can be, so despite the urgency you step through the frame as quickly as you're able. There's some blood on the frame so the fake Thalia has clearly learned this the hard way, and when you catch sight of her again she's clearly slowed. <</if>> Your doppelgänger rounds the corner of the building and you briefly lose sight of her, and your blood freezes until you spot her again. Unfortunately, during that split second another tall figure has joined her. Your heart skips a beat, thinking it might be Mel, but no--this person is acting far too friendly with your quarry. He's in the process of loading the case into a horse-drawn carriage (perhaps he and the false Thalia thought that would be stealthier than a motorcar, or perhaps they simply can't afford one). Even if you weren't already tired, you have no chance of running down a horse while on foot, so you have to stop them now! <<link [[Try to scare the horse.|night2Gauntlet6]]>> <<messy 1>> <<conv 1>><</link>> <<link [[Call for help.|night2Gauntlet6]]>> <<slow 1>> <<conv 2>><</link>>

<<if Math.abs($slow - $messy) <= 1>> <<scoreTracker 3 3>> <<else>> <<scoreTracker 2 3>> <</if>> <<if $convVar === 1>> You let out an awful scream as you sprint towards the pair, hoping that it might scare the horse (at the cost of your dignity). It works, but not quite as well as you hoped--the horse whinnies and rears, but the false Thalia grabs the reins before it can bolt. You've bought yourself perhaps a half second. <<else>> The biggest change between being a solo thief and being a detective working with a partner, you've learned, is that the latter sometimes needs to be rather loud. You've been getting an awful lot of practice with that lately, so once again you draw in a deep breath and scream for Mel. The unexpected noise startles the man and he fumbles the case--maybe that will buy you enough time for the cavalry to arrive. <</if>> Summoned by your cry, Mel appears out of the night. You're too winded to give her any direction, but she clearly doesn't need it. She immediately launches herself at the man, knocking both him and the case to the ground. The impostor turns towards them and raises her baton. [[You have to stop her!|night2GauntletEnd]]

Time slows down as you sprint toward your partner and the mystery woman, her baton curving in a wicked arc towards Mel's face as Mel tussles with the man. You will your legs to go faster, your lungs to breathe harder, anything to prevent what you feel certain will be a fatal blow should it land, as the baton hurtles ever closer.... And, improbably, you manage to stretch one hand out and shove the thief right as her blow connects. She stumbles and her blow goes sideways, catching Mel's cheek instead of her temple. [[Mel cries out in pain.|night2End1]]

Mel rolls away from her opponent, one hand to her cheek as blood runs through her fingers. Your heart stops--//How bad is it? Did you fail?//--but Mel sees you and gestures with her other hand before you can get closer. "Just a graze--get the case!" she shouts, and you obey. The man has stumbled to his feet and is trying to pick up the case, but drops it again when he sees you coming toward him. The impostor Thalia has already jumped into the carriage, and while you pick the case up he follows her and they take off into the night. You could watch them go and try to figure out where they might be going, but you have [[other things to attend to.|night2End2]]

<<finesseCalc>> <<if $debugMode>> For playtesters: <<print "Current finesse is " + $totalFinesse + " out of " + $maxTotalFinesse >> <</if>> You turn back to Mel, who is now holding a handkerchief to her face. You mean to interrogate her about how badly she's hurt, and if she's //sure// it's just a graze, but she's looking at you with an expression just as concerned as your own and cuts you off. "Is the bowl all right?" she gasps. Your blood runs cold //again//, and you try to open the now very scratched and dented case. Your hands are shaking and you almost can't pick the lock, but eventually you pop the case open and against all odds the fully intact Ravenscroft bowl sparkles up at you. "At least something went well tonight?" you say, a bit ruefully. "More than one thing!" Mel says, and holds out her other hand (the one without a bloody handkerchief). "That man lost something important." It's a gold medallion with an etching of an eye. You take it from her and then [[you both head home.|interlude2Start]]

/*set up all variables for night 1 here */ <<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $melConv = false>> <<set $gwenCov = false>> <<set $francesConv = false>> <<set $oscarConv = false>>

[[interlude2Start]]

<<include "interlude2Setup">> Last night was quite tiring, but on the bright side, you have more leads now. Of particular interest is the mysterious handprints left on the gallery windows--you took a sample before leaving last night. Perhaps figuring out what it's made of will tell you something about the culprit? Frances should be able help with that--she's done far harder work for Mel's business before. After that's done you ought to investigate the medallion Mel pulled off the false Thalia's accomplice. You recognise it from your earlier chat with Oscar and Yorkie as an insignia of the Order of Poimandres, which means that the two of them may know something useful. There are also the usual matters of meeting with Gwen for your score, and figuring out the path forward with Mel. You find yourself oddly reluctant to talk with either of them (albeit for completely different reasons), but these //are// important conversations, so you'd best not put them off too much. <<if !$gwenConv>>[[Meet with Gwen for your usual morning-after-theft discussion.|interlude2Gwen1]] <</if>> <<if !$francesConv>>[[Give the mysterious handprint substance to Frances.|interlude2Frances1]] <</if>> <<if !$oscarConv && $francesConv>> [[Talk to Oscar and Yorkie about the Order of Poimandres.|interlude2Oscar1]] <</if>> <<if !$melConv>>[[Talk to Mel about what to do next.|interlude2Mel1]]<</if>>

What will you do next? <<if !$gwenConv>>[[Meet with Gwen for your usual morning-after-theft discussion.|interlude2Gwen1]] <</if>> <<if !$francesConv>>[[Give the mysterious handprint substance to Frances.|interlude2Frances1]] <</if>> <<if !$oscarConv && $francesConv>>[[Talk to Oscar and Yorkie about the Order of Poimandres.|interlude2Oscar1]] <</if>> <<if !$melConv>>[[Talk to Mel about what to do next.|interlude2Mel1]]<</if>> <<if $gwenConv && $francesConv && $oscarConv && $melConv>>[[There's nothing more you can do for now.|interlude2End]]<</if>>

<<set $gwenConv = true>> You go over to Gwen's flat to discuss last night's events. She offers you a plate of muffins, which you nibble on while explaining events. She takes notes and asks occasional questions. (This was all a bit easier when she was more involved, but she's been off on business of her own lately.) When you finish, she takes a moment to do some calculations, then looks up at you. <<if $finesse === $maxFinesse>> "Well done," she says. "$finesse points out of $maxFinesse. You haven't lost your touch, I see." You are more flattered by this than you would like to admit. <<elseif $finesse >= ($maxFinesse * 0.7)>> "Not bad," she says. "$finesse points out of $maxFinesse. There's room for improvement, but then I suppose you are out of practice." Well, at least she's being nice about it. <<else>> "Honestly, that was rather poor," she says. "I would give it $finesse points out of $maxFinesse. I'm sure you can do better than this." She missed a calling as a schoolteacher, the way she can wield that look of disappointment. You become very occupied with buttering a muffin. <</if>> <<if $gwenComplaint is "slow">> "You dawdled a fair bit," Gwen goes on. "You had better try to speed things up. There is such a thing as //too// careful, you know." <<elseif $gwenComplaint is "messy">> "You were particularly untidy," Gwen adds. "Speed is important, but don't get //too// impatient. You don't want to leave too much evidence behind. Don't forget you're still going places where you're not supposed to be." <<else>> "You did adequately balance speed and care //this// time around," Gwen adds. You preen a little, although the emphasis on "//this// time" keeps you from getting too excited. <</if>> <<link [['"I\'ll take that under advisement."'|interlude2Gwen2]]>><<conv 1>><<relation "GwenPoints" 3 3>><</link>> <<link [['"Thank you. Honestly, I feel like I don\'t know what I\'m doing any more."'|interlude2Gwen2]]>><<conv 2>><<relation "GwenPoints" 2 3>><</link>> <<link [['"Never mind all that; why did you tell Miss Marshall about your scoring system?"'|interlude2Gwen2]]>><<conv 3>><<relation "GwenPoints" 1 3>><</link>>

<<switch $convVar>> <<case 1>> "I appreciate that," Gwen says. "Even if I don't necessarily //believe// you until I see it happen." You assure her that you mean to make an earnest attempt. "Yes, well, you always say that," she says. <<case 2>> "Then perhaps you shouldn't be doing it," Gwen says darkly. You assure her you were merely exaggerating for dramatic effect. "I can never tell with you," she says. You wonder what that's supposed to mean. <<case 3>> Gwen shrugs. "I hadn't exactly kept my day clear for your triumphant return, and I wanted to make sure //someone// let you know how you were doing. Your ego would become unmanageable without the input of an objective observer, and I thought she seemed like she could be relied upon for it." You protest that she hasn't known Miss Marshall very long, and couldn't possibly know what she can be relied upon for. "I know she's not impressed by you," says Gwen, "which is the key thing." <</switch>> <<link [['"I\'m glad you continue to tolerate me."'|interlude2Gwen3]]>><<conv 1>><<relation "GwenPoints" 2 3>><</link>> <<link [['"Must you be so hard on me?"'|interlude2Gwen3]]>><<conv 2>><<relation "GwenPoints" 1 3>><</link>> <<link [['"What have you been up to lately, anyway?"'|interlude2Gwen3]]>><<conv 3>><<relation "GwenPoints" 3 3>><</link>>

<<switch $convVar>> <<case 1>> "Sometimes I wonder why I do," she says, "but thank you." You respond that sometimes you wonder why //you// tolerate //her// given that she is so cruel to you, which you mean to be lightly teasing, but it comes out unfortunately petulant. Gwen does you a favour and laughs anyway, though. <<case 2>> "Someone has to be," she says. "You get so overly pleased with yourself otherwise." That's true, but lately you feel like everyone you talk to regularly has taken that duty upon themselves. There's no way to say that without sounding petulant, though. <<case 3>> "Just building sets, now that you don't need any strange devices made. Nothing too exciting. Though I appreciated you telling Letitia to ask me when she was looking for help with an invention. She's a fascinating woman." You can't imagine calling Miss Marshall 'Letitia'. It seems somehow unfair that the two of them are so close now when they wouldn't even know each other if not for you. <</switch>> Gwen glances at her watch. "I should go," she says. "I'm supposed to be meeting with a director who's been trying to interest me in working on his latest opera production, except that his idea for the set isn't //interesting//, it's just //big//." You thank her for the chat and the muffins and [[take your leave|interlude2Hub]].

<<set $francesConv = true>> You meet Frances at her home, which is really more of a makeshift laboratory with a screen in one corner behind which, you assume, is whatever passes for her bed. You explain your recent adventures and the incident of the handprints on the gallery windows, and then give her the scrapings you took from them. Frances takes one hard look at the scrapings and them sniffs them. "I think this is flour," she says matter-of-factly. <<link [['"Are you quite certain?"'|interlude2Frances2]]>><<conv 1>><</link>> <<link [['"That can\'t be right."'|interlude2Frances2]]>><<conv 2>><</link>> <<link [['"How fascinating!"'|interlude2Frances2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Well, not //quite// certain," she says, "but fairly certain. If you'll give me just a moment, though, I'll confirm." You gesture to her to go ahead. <<case 2>> Frances raises an eyebrow. "Why not? I mean, I'm not completely certain yet myself, but I'm curious as to how you would have ruled out the possibility." Realising that you are not the expert here, you apologise and say that you were merely surprised. "Right," Frances says. "Anyway, if you'll give me just a moment, I can confirm my initial assessment." You tell her you're happy to wait while she does so. <<case 3>> "Is it?" Frances says. "I mean, it's rather a commonplace substance." That, you explain, is exactly what is so fascinating about encountering it in a not-very-commonplace situation. "I see," says Frances, a bit vaguely. "Anyway, if you'll give me just a moment, I can confirm my initial assessment." You tell her you're happy to wait while she does so. <</switch>> She places the substance between two thin sheets of glass and slides it under a microscope, which she peers through intently. After a long moment, she looks up. "Definitely flour," she says. "Unmistakable." <<link [['"And what does that mean, do you know?"'|interlude2Frances3]]>><<conv 1>><</link>> <<link [['"I suppose that doesn\'t narrow things down any. Anyone could have access to flour."'|interlude2Frances3]]>><<conv 2>><</link>> <<link [['"All right, well, thank you for your help."'|interlude2Frances3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Well, I've dabbled a bit in debunking Spiritualist tricks," she says, "and this is one that they like to use. Flour and water to make ghostly handprints. It's not common knowledge, so you may be looking for some sort of a fake medium." <<case 2>> Frances raises a finger. "Yes, but what //not// everyone has is the knowledge to use it for the 'ghostly handprints' trick. It's a favourite of fake mediums, which of course means they don't want the information spread around too widely. So you might try looking for someone who has experience with that sort of thing." <<case 3>> "Glad to be of assistance," she says. "One more thing before you go--this particular trick is a favourite of false mediums, so maybe your culprit is one of those, or is working with one." <</switch>> [[You thank Frances and leave.|interlude2Hub]]

<<set $oscarConv = true>> You ask Yorkie and Oscar to join you in the sitting room after dinner. "Well then, Theo," Oscar says, once you're all situated, "what are you up to now?" <<link [['"Why must you assume I\'m up to something?"'|interlude2Oscar2]]>><<conv 1>><<relation "OscarPoints" 2 3>><</link>> <<link [['"I\'m curious about your work at the Order of Poimandres."'|interlude2Oscar2]]>><<conv 2>><<relation "OscarPoints" 3 3>><</link>> <<link [['"Tell me everything you know about the Order of Poimandres."'|interlude2Oscar2]]>><<conv 3>><<relation "OscarPoints" 1 3>><</link>>

<<switch $convVar>> <<case 1>> "Perhaps because he's met you," Yorkie says dryly. Well, it's not an unfair point. Biting back any further retort, you explain the situation with the false Thalia<<if $francesConv>>, her assistant who appears to belong to the Order, and their use of tricks that mediums use to give the appearance of hauntings<<else>> and her assistant who appears to belong to the Order<</if>>. <<case 2>> Oscar breaks into a grin. "Oh, it's //fascinating// stuff. Such odd people! And the mystic secrets are //most// intriguing--I would love to know how they do all that business, you know, with the ghosts and whatnot, and manifesting small objects, and...." Seeing that Oscar is unlikely to get to any solid details any time soon, Yorkie intervenes. "Is this just professional curiosity, Theo, or is there something in particular you wanted to know?" You explain the situation with the false Thalia<<if $francesConv>>, her assistant who appears to belong to the Order, and their use of tricks that mediums use to give the appearance of hauntings<<else>> and her assistant who appears to belong to the Order<</if>>. <<case 3>> Oscar's eyes narrow. "You're not thinking of taking the treasure for yourself, are you?" he says. "We've worked very hard to ingratiate ourselves with the Order, and I must say I wouldn't appreciate it if you swept in at this late date to take the spoils for yourself." What kind of vulture does he take you for? There would be no challenge in that, anyway, and he should know very well that the challenge of it all matters a great deal to you. (Well, //mattered//, you should say.) You suppress your desire to snap at him and instead explain the situation with the false Thalia<<if $francesConv>>, her assistant who appears to belong to the Order, and their use of tricks that mediums use to give the appearance of hauntings<<else>> and her assistant who appears to belong to the Order<</if>>. <</switch>> "I say," Oscar says, "that seems rather rum of her, whoever she is." <<link [['"Quite."'|interlude2Oscar3]]>><<conv 1>><<relation "OscarPoints" 2 3>><</link>> <<link [['"Is that all you have to say about this?"'|interlude2Oscar3]]>><<conv 2>><<relation "OscarPoints" 1 3>><</link>> <<link [['"Never mind all that; I need to know if you\'ve seen anything suspicious at the Order."'|interlude2Oscar3]]>><<relation "OscarPoints" 3 3>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> Oscar nods sagely in response. "So, that being the case," Yorkie puts in, "what is it that you need from us, exactly?" You ask whether they've seen anyone at the Order behaving suspiciously. "Well, I haven't been looking out for it, but no, I don't think so," Oscar says apologetically. <<case 2>> "Er, yes?" says Oscar. "I don't know what more needs to be said." You explain that you were hoping he had some useful insights. "Oh," he says, a bit sheepishly. "Well, I haven't exactly been keeping an eye out for other suspicious figures while I've been concerned about trying not to look suspicious myself." "They're all frauds anyway," Yorkie puts in. "I don't know how you'd tell." Oscar gives him an annoyed glance. You'd better say something before they start to squabble. <<case 3>> "Well, we haven't exactly been looking out for others behaving suspiciously; we're rather focused on trying not to seem suspicious ourselves," Oscar admits. "Besides, they're such a strange lot I don't know if I could tell the difference." "Also, they're all frauds," Yorkie puts in. "I don't think they're //all//--" Oscar begins. "Yes, yes, I know," Yorkie says wearily. Clearly this is an argument that has been had several times before. "In any case," Oscar says, looking back to you, "I don't have any useful observations, I'm afraid." <</switch>> <<link [['"I don\'t know how you manage to be a successful thief when you\'re so unobservant."'|interlude2Oscar4]]>><<conv 1>><<relation "OscarPoints" 1 3>><</link>> <<link [['"Can you get me into the Order, then?"'|interlude2Oscar4]]>><<conv 2>><<relation "OscarPoints" 3 3>><</link>> <<link [['"Well, I suppose it was always a bit of a long shot."'|interlude2Oscar4]]>><<relation "OscarPoints" 2 3>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> Yorkie puts a hand to his temple as if he has a headache coming on. "I am not unobservant," Oscar says stiffly. "I simply wasn't looking for things I had no reason to believe I should be looking for." You apologise quickly and ask if he can get you into the Order instead. "I don't think it would be wise for you to also join," he says, "but I can tell them you're thinking of joining and take you on a bit of a tour. Although if you continue to be so rude to me I don't think I shall feel like it," he adds. <<case 2>> Oscar frowns thoughtfully. "I don't think it would be a good idea for you to also join," he says. "Riskier for our little endeavour, you know. But if I said you were thinking of joining and swore to your discretion, I might be able to get you in for a bit of a tour." <<case 3>> "Yes--I'm dreadfully sorry, only I really had no idea I should be looking for anything of that sort." Oscar sighs and runs a hand through his hair. You assure him it's all right and ask if he can get you into the Order instead. "Well, I don't think it would be a good idea for you to //join// the Order," he says. "It would jeopardise our little endeavour." "Between you and me, I don't think you'd care for the type of man who's drawn to this sort of organisation, anyway," Yorkie adds. "But if I were to vouch for your discretion and say you were //considering// joining," Oscar goes on, "I think I could get you a small tour of the headquarters." <</switch>> "That sounds wonderful," you say. "Don't say that before you've actually had to suffer through a day there," Yorkie mutters. Oscar pats his arm. "Come now, it's not so bad as all that, is it?" "I'm just saying, it wears on the nerves!" You don't particularly wish to get in the middle of this lovers' spat, so you [[make your excuses.|interlude2Hub]]

<<set $melConv = true>> You meet up with Mel at your shared office. She has a bowl of water and a rag on her desk, presumably to treat the spectacular bruise spreading across the left side of her face. You feel a little guilty, looking at it, as silly as that is. (If anything, she would be in worse shape if not for your intervention--but then, if she hadn't been working with you, would she have been in harm's way at all?) She catches you looking at it and angles her head away a little. "Don't worry about it," she says. "I've had worse." <<link [['"Really? I didn\'t think your old job was so dangerous."'|interlude2Mel2]]>><<conv 3>><<set $mean += 1>><<relation "MelPoints" 2 3>><</link>> <<link [['"Are you sure you\'re all right?"'|interlude2Mel2]]>><<conv 1>><<set $nice += 1>><<relation "MelPoints" 1 3>><</link>> <<link [['"I could show you how to cover that up."'|interlude2Mel2]]>><<conv 2>><<relation "MelPoints" 3 3>><</link>>

<<switch $convVar>> <<case 3>> "What, do you think art thieves are a kinder and gentler class of criminal?" she says, with a one-sided smile. "They're not all like you, you know. Our private work has been more sedate up to now, but I certainly took my share of blows when I was working with the Yard." You apologise and offer to show her how to cover up the bruise. <<case 1>> "I'm perfectly fine," she says with an edge to her voice. "I had worse in my time at the Yard, you know." You apologise and offer to show her how to cover up the bruise. <<case 2>> Mel frowns. "What do you mean by that?" You explain that if you two are to continue to investigate, she will probably not wish to invite questions regarding the bruise. Fortunately, your theatrical history has given you a great facility with cosmetics. <</switch>> Mel hesitates a bit and then says, "All right." <<link [['"I can explain how to do it."'|interlude2Mel3]]>><<conv 3>><<relation "MelPoints" 2 3>><</link>> <<link [['"I can demonstrate on myself."'|interlude2Mel3]]>><<conv 2>><<relation "MelPoints" 3 3>><</link>> <<link [['"I can apply the make-up for you."'|interlude2Mel3]]>><<conv 1>><<relation "MelPoints" 2 3>><</link>>

<<switch $convVar>> <<case 3>> "I'm not certain I would be able to do it myself, even with instruction," Mel admits. "I... have little experience with cosmetics." You've noticed, of course, that she rarely employs them, but you assumed it was simply that she preferred not to, not that she didn't know how. You offer to do the make-up for her instead. <<case 2>> Mel looks a little pale at this. "All right, I suppose if you go slowly and I watch very carefully I may be able to pick it up," she says. "Although I, er, haven't much experience applying cosmetics. Well, none at all, actually." You've noticed, of course, that she rarely employs them, but you assumed it was simply that she preferred not to, not that she didn't know how. You offer to do the make-up for her instead. <<case 1>> "That, er, that would be... much appreciated," she says, looking down at the floor. "I know it's a bit-- well, I don't like to trouble you, of course. But I haven't much experience applying cosmetics. Well, none at all, actually." <</switch>> You pull out your make-up kit. Mel raises her eyebrows. "Do you bring that everywhere with you?" "Of course," you say matter-of-factly. "One never knows when one might need it." You take up your brushes and lean towards her. Your face and hers are quite close together now, you realise. But best not to think too much about that. You apply several paints of slightly different tints to the area around Mel's eye, evening out the colour and using some theatre tricks for changing the appearance of the shape of one's face to disguise the swelling. As you're doing this, you keep up an explanation of what you're doing, on the pretence of teaching her to do it herself, although you're not entirely sure she's listening. You endeavour to be gentle, but several times you have to press just slightly too hard and she flinches a little. At last--it feels like it has taken a very long time, although the clock on the wall suggests that's not true--you finish your work and pull away. <<link [['"There you go, Greta, good as new."'|interlude2Mel4]]>><<conv 3>><<relation "MelPoints" 1 3>><<set $mean += 1>><</link>> <<link [['"I\'m sorry for hurting you."'|interlude2Mel4]]>><<conv 2>><<set $nice += 1>><<relation "MelPoints" 2 3>><</link>> <<link [['"Just tell me whenever you need me to do that again."'|interlude2Mel4]]>><<conv 1>><<relation "MelPoints" 3 3>><</link>>

<<switch $convVar>> <<case 3>> Mel sighs with frustration. "Why do you always-- well, never mind." You mean the nicknaming business to be in good fun, and as far as you were aware Mel was responding with playful annoyance, but it seems you've touched a nerve in truth this time. Sometimes when things get so serious and earnest between you it rather makes your skin itch and you have to resort to quips to get the situation back under control, but Mel perhaps does not appreciate this. <<case 2>> Mel shrugs. "It was unavoidable," she says. "I hope I didn't make things too difficult for you--I did my best not to move too much." "It was no trouble at all," you assure her, feeling somehow as though this interaction has got away from you. "And if you need me to do this again, you have only to ask." "I will," says Mel, flushing slightly. <<case 1>> Mel flushes slightly (at least on the side of her face not covered with make-up). "I will," she says. You're not doing this to create a pretext to be close to her, but you can't say you don't care for that outcome. <</switch>> To distract yourself you flip open your compact and hand it to Mel so that she can observe your handiwork, which she does for a long minute. "This is quite impressive," she says, and finally looks you in the eyes. "Thank you, Theodora." You are too flustered to make further conversation, so you make excuses to get back to your paperwork. (Now, there's a rare occurrence.) [[The day goes on.|interlude2Hub]]

<<actEnd>> /*<<if $debugMode>> <</if>>*/ That's all the business you have to take care of for now. All that's left is to wait for Oscar to make arrangements for your visit to the headquarters of the Order of Poimandres. [[Hopefully it won't be too long.|Day3Start]]

<<set $friendlyConv = false>> <<set $leadingConv = false>> <<set $seance = false>> <<set $strikeThreshold = 2>> <<set $bailout = false>> <<set $toolLocs = []>> <<set $toolList = ["tool 1", "tool 2", "tool 3"]>> <<set $names1 = false>> <<set $names2 = false>> <<set $theoLeft = false>> <<set $dualIntro = false>>

[[Day3Start]]

<<include "Day3Setup">> <center>@@font-size:x-large;ACT III@@</center> Oscar has assured you that it will be no trouble to get you and Mel (you've asked to also bring her along) into the headquarters of the Order of Poimandres, but you can't help feeling a little nervous as you approach the building. It is a secret society, after all--can you really just walk in? Or maybe you're just nervous because, due to the connection to Oscar, you can't use a false identity here. (Why //he's// not using a false identity when he's ostensibly infiltrating the organisation to rob them is a question that has occurred to you, but you can't really get into it now.) They've secured a suitably imposing old building for their society; Oscar knocks on the door in some kind of elaborate pattern and a window opens in it. A bearded man peers out at you. "Ah, Brother Knight and Brother Barker," says the man. (You wonder whom he's addressing for a moment before remembering that Barker is Yorkie's surname.) "And who are these ladies?" "My wife, Theodora, and her friend, Miss Margaret Williams," Oscar explains. "They're here for the séance." "I see," says the man. The little window in the door closes, and then the door opens and the bearded man ushers you inside. (Fortunately he doesn't ask any questions about the large bag Mel is carrying, which contains your thief tools, just in case.) "Thank you, Brother Venable," Oscar says. "This way, ladies." [[You follow him.|Day3Hub]]

Much of the ground floor of the Order of Poimandres headquarters has been converted into a sort of event hall. A large table in the centre of the room is surrounded by chairs, but most of them are currently empty. <<if visited() == 1>> "What's this about a séance?" you ask, quietly. "It seemed the easiest excuse to get you in here," Oscar replies, fortunately taking the cue to keep his voice down as well. "Most of their rites aren't open to the public, but the séances are. They do a lot of recruiting that way. I could have asked to give you a tour of the building as prospective members on some other day, but that might have been a little more suspicious, especially if you never came back after, and I don't want to ruin all the work Yorkie and I have put into ingratiating ourselves here." Mel frowns. "That doesn't seem like it will afford us much opportunity to look around." "You have a little time before it starts," Oscar replies, a bit testily. "I made sure of that, at least." Well, then, you should probably get to it--better not to stand around and waste the time you have. Or let your husband and your... business partner?... have a spat over planning, for that matter. <</if>> <<if $friendlyConv && $leadingConv>> You've got all the information you're likely to get on who might be the false Thalia's accomplice, but you don't have time to rifle through people's belongings to find more information before the séance--and that sort of thing is best done when there are fewer people in the building, anyway. Since you've got your thief tools on you, you can secrete them around the premises now--you'll have more options for how to get in later if you aren't carrying anything. The only wrinkle in this plan being, of course, that you'll need to hide the objects during the séance. You take Mel aside and explain your plan. She agrees to hide the tools for you if you'll create distractions at certain intervals. This seems like the best plan you're going to be able to put together under the circumstances. <</if>> <<if !$friendlyConv>>[[An older woman wearing a lot of scarves|friendlyConv1Day3]] is sitting at the table, sorting through a velvet bag of strange objects. <</if>> <<if !$leadingConv>>[[A young man wearing reading glasses|leadingConv1Day3]] is sitting at a smaller table to the side of the room, looking at some papers. <</if>> <<if $friendlyConv && $leadingConv>>[[It's time for the séance.|seance1]]<</if>>

It occurs to you that you will, for the first time, both be participating in this conversation simultaneously. This is something of a new experience for you, and it may feel a bit odd to have to consider when you should say something and when you should let Mel speak. There may be benefits to this, however--if one of you makes a mistake, the other might be able to smooth things over. <<set $dualIntro = true>>

/*leading */ <<set $strikes = 0>> <<set $convVar = 0>> <<set $leadingConv = true>> <<set $bailout = false>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> <<if !$dualIntro>> <<include "dualIntro">> <</if>> The man scribbles notes on his papers in an illegible scrawl, muttering darkly to himself. When he notices you and Mel standing over him, he startles visibly. "Do you, er, need something?" he says. <<link [["Would you like a break from that ghastly paperwork?" (F)|leadingConv2Day3]]>><<conv 1>><<strikes>><</link>> <<link [["I have a few questions about the Order." (D)|leadingConv2Day3]]>><<conv 2>><<strikes>><</link>> <<link [["We're prospective members, just getting the lay of the land." (L)|leadingConv2Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> The man is totting up figures of some sort and cursing them as if they had insulted his mother. He jumps a little when he realizes you and Thalia are there, apparently unhappy he had an audience for that. "Do you, er, need something?" he says. <<link [["We're just trying to get to know people." (F)|leadingConv2Day3]]>><<conv 4>><<strikes>><</link>> <<link [["I'm curious about this organization." (D)|leadingConv2Day3]]>><<conv 5>><<strikes>><</link>> <<link [["You seem like you must know a lot about this place."(L)|leadingConv2Day3]]>><<conv 6>><</link>> </div> </div>

<<switch $convVar>> <<case 1>> <<set $dual = false>> <div aria-label="Thalia"> "What I would //like// doesn't matter," the man says irritably, adjusting his glasses. "The paperwork must be done either way. Now, do you //need// something, or are you going to stop pestering me?" <<prev>> <<link [[Appeal to Mel for help.|leadingConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day3]]>><<conv 7>><</link>> </div> <<case 2>> <div aria-label="Thalia"> <<set $dual = false>> The man's eyes narrow. "Why? What use is the knowledge to you? You know, we've had members of rival groups come in before, try to ferret out our secrets--" "Oh, no, no, I'm only curious!" you assure him. "That's just the sort of thing they always say," he replies. <<prev>> <<link [[Appeal to Mel for help.|leadingConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day3]]>><<conv 7>><</link>> </div> <<case 3>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "We're prospective members, just getting the lay of the land," you say. "Oh, I see," says the man, breaking into a relieved smile. "Well, always happy to help a newcomer out." You seem to have done him a favour by giving him a valid excuse to put the paperwork aside. <<link [["What is it like here?" (F)|leadingConv3Day3]]>><<conv 1>><<strikes>><</link>> <<link [["What were those figures you were working on?" (D)|leadingConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What do you do here?" (L)|leadingConv3Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "We're prospective members, just getting the lay of the land," Thalia says. "Oh, I see," says the man, breaking into a relieved smile. "Well, always happy to help a newcomer out." The man seems entirely too happy for an excuse to avoid paperwork. Reminds you of someone you know. <<link [["Do you enjoy being a member?" (F)|leadingConv3Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Were those the organisation's finances you were working on?" (D)|leadingConv3Day3]]>><<conv 5>><<strikes>><</link>> <<link [["You seem to have an important position here." (L)|leadingConv3Day3]]>><<conv 6>><</link>> </div> </div> <<case 4>> <<addclass "body" "mel">> <div aria-label="Mel"> <<set $dual = false>> He sighs. "Look, one way or another, I have to finish this work. Do you actually //need// something, or may I get back to it?" <<prev>> <<link [[Appeal to Thalia for help.|leadingConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day3]]>><<conv 7>><</link>> </div> <<case 5>> <<addclass "body" "mel">> <div aria-label="Mel"> <<set $dual = false>> The man's eyes narrow. "Why are you curious?" You probably //should// say "Because we are thinking about joining," since that is the cover story you've established and it is not strange to ask questions about an organisation you are looking to join, but your brain doesn't quite communicate this to your mouth in a reasonable fashion and instead you sort of stand there for a moment gaping like a fish. You really are rotten at this sneaky play-acting stuff. <<prev>> <<link [[Appeal to Thalia for help.|leadingConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day3]]>><<conv 7>><</link>> </div> <<case 6>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "You must know a lot about this place," Mel says. One of the oldest techniques in the book for getting people to tell you things, and so clumsily deployed here, before one could even get a sense of-- "Oh, a fair bit," he says airily, sitting up straighter in his seat. "Why -- is there something you need to know?" Oh, //really//? <<link [["What is it like here?" (F)|leadingConv3Day3]]>><<conv 1>><<strikes>><</link>> <<link [["What were those figures you were working on?" (D)|leadingConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What do you do here?" (L)|leadingConv3Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "You must know a lot about this place," you say. A classic gambit, that, and this man falls for it without hesitation. "Oh, a fair bit," he says airily, sitting up straighter in his seat. "Why -- is there something you need to know?" <<link [["Do you enjoy being a member?" (F)|leadingConv3Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Were those the organisation's finances you were working on?" (D)|leadingConv3Day3]]>><<conv 5>><<strikes>><</link>> <<link [["You seem to have an important position here." (L)|leadingConv3Day3]]>><<conv 6>><</link>> </div> </div> <<case 7>> <div id="dual"> <div id="left" aria-label="Thalia"> <<set $dual = true>> <<if $prev <= 3>> "I'm so sorry," you say, "I didn't mean to offend, I suppose I'm just so excited to be here that my mouth's got away from me! I'm a prospective new member, you see, so..." <<else>> You watch Mel apologise. You ought to feel annoyed with her for making a mistake, or perhaps smug that there's still at least one domain in which your skills are undoubtedly superior, but somehow you don't. <</if>> "Oh!" says the man, looking somewhat relieved. "Yes, well, I'm always happy to help out a newcomer." <<link [["What is it like here?" (F)|leadingConv3Day3]]>><<conv 1>><<strikes>><</link>> <<link [["What were those figures you were working on?" (D)|leadingConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What do you do here?" (L)|leadingConv3Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> <<if $prev <= 3>> You watch Thalia apologise. Er, Theo. Theodora. Why is it so hard for you to think of her by her real name? (If Theodora even //is// her real name. It's suspiciously apropos.) <<else>> "I'm sorry, we seem to have got off on the wrong foot," you say. "May we try again? My friend and I are hoping to join your organisation, and since you seem so knowledgeable..." <</if>> "Oh!" says the man, looking somewhat relieved. "Yes, well, I'm always happy to help out a newcomer." <<link [["Do you enjoy being a member?" (F)|leadingConv3Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Were those the organisation's finances you were working on?" (D)|leadingConv3Day3]]>><<conv 5>><<strikes>><</link>> <<link [["You seem to have an important position here." (L)|leadingConv3Day3]]>><<conv 6>><</link>> </div> </div> <</switch>>

<<switch $convVar>> <<case 1>> <<set $dual = false>> <div aria-label="Thalia"> "In what way?" says the man. "I mean, it's a broad question." "Just whatever comes to mind?" you suggest. He shakes his head. "No, now I can't think of anything at all. You'll have to be more specific." <<if !$bailout>> <<prev>> <<link [[Appeal to Mel for help.|leadingConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 2>> <<set $dual = false>> <div aria-label="Thalia"> The man regards you narrowly. "Why are you interested in that?" His voice is sharp. <<if !$bailout>> <<prev>> <<link [[Appeal to Mel for help.|leadingConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 3>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "What do you do here?" you say. "I'm the treasurer," the man says, sounding simultaneously proud and exasperated. "Oh--I haven't introduced myself, have I? Harold Lee. Pleased to meet you." You introduce yourself and Mel in return. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["Oh my, a reporter? How exciting!" (F)|leadingConv4Day3]]>><<conv 1>><<strikes>><</link>> <<link [["Do any new recruits stand out to you?" (D)|leadingConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["You've had many other recruits recently? Oh dear, I hate to be behind a trend...." (L)|leadingConv4Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "What do you do here?" Thalia asks. "I'm the treasurer," the man says, sounding simultaneously proud and exasperated. "Oh--I haven't introduced myself, have I? Harold Lee. Pleased to meet you." Theodora introduces herself and you. Maybe you should be annoyed, but frankly you prefer when she does most of the talking. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["That's impressive." (F)|leadingConv4Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Are any of these new recruits particularly troublesome?" (D)|leadingConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["That must be a lot of work for you." (L)|leadingConv4Day3]]>><<conv 6>><</link>> </div> </div> <<case 4>> <<addclass "body" "mel">> <div aria-label="Mel"> <<set $dual = false>> "That's a complicated question," he says. "Is it?" you say. It seemed rather straightforward to you. The man fidgets with his glasses. "The word 'enjoy' may not, er, accurately sum up my feelings, but that's not to say that said feelings are //negative//, precisely. I mean, of course they're not negative! It's just, ah, I have a lot of responsibilities, and they're not always, er..." Well, now you've set him off. You feel a little bad. <<if !$bailout>> <<prev>> <<link [[Appeal to Thalia for help.|leadingConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 5>> <<addclass "body" "mel">> <<set $dual = false>> <div aria-label="Mel"> "That's a strange thing for a prospective member to ask about," the man says. "Are our finances some concern of yours?" It's difficult sometimes not to approach these conversations as if you were still with the Yard. Thalia--Theodora--is probably going to make fun of you later for interrogating this man, even though she ought to know how hard it is to break out of old habits. <<if !$bailout>> <<prev>> <<link [[Appeal to Thalia for help.|leadingConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 6>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "You seem to have an important position here," Mel says. It's really //such// a basic bit of deception. Lucky for both of you that this particular man is so very susceptible. "Well, 'important' may be overstating it, but I do my bit to keep things running!" the man says with a carefully studied modesty. "I'm the treasurer. Oh, I haven't introduced myself, have I? Sorry about that. Harold Lee." You introduce yourself and Mel in return. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["Oh my, a reporter? How exciting!" (F)|leadingConv4Day3]]>><<conv 1>><<strikes>><</link>> <<link [["Do any new recruits stand out to you?" (D)|leadingConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["You've had many other recruits recently? Oh dear, I hate to be behind a trend...." (L)|leadingConv4Day3]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "You seem to have an important position here," you say, feeling proud of your smooth delivery. Maybe this deception stuff isn't so hard, after all! "Well, 'important' may be overstating it, but I do my bit to keep things running!" the man says modestly. "I'm the treasurer. Oh, I haven't introduced myself, have I? Sorry about that. Harold Lee." Thalia introduces herself. You open your mouth to do the same, but she barrels on and introduces you too. Apparently she's decided she's in charge of this conversation now. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["That's impressive." (F)|leadingConv4Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Are any of these new recruits particularly troublesome?" (D)|leadingConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["That must be a lot of work for you." (L)|leadingConv4Day3]]>><<conv 6>><</link>> </div> </div> <<case 7>> <div id="dual"> <div id="left" aria-label="Thalia"> <<set $dual = true>> <<if $prev <= 3>> You flutter your eyelashes and try to look convincingly bird-brained. "Oh dear, I really am so flustered I don't know if I'm coming or going! I'm so terribly sorry. I just wanted to know what it is you do here." <<else>> You watch Mel apologise. She seems to feel rather awkward about this, even though it wasn't so terrible a mistake that this would be warranted. Making these mistakes as you figure out your approach is a normal part of the information-gathering process, really. But then again, maybe her evident sincerity will go over well with this man. <</if>> "Oh," says the man, "yes, of course. I'm the treasurer. Wait, I haven't introduced myself, have I? I'm Harold Lee." You introduce yourself and Mel in return. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["Oh my, a reporter? How exciting!" (F)|leadingConv4Day3]]>><<conv 1>><<strikes>><</link>> <<link [["Do any new recruits stand out to you?" (D)|leadingConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["You've had many other recruits recently? Oh dear, I hate to be behind a trend...." (L)|leadingConv4Day3]]>><<conv 3>><</link>> <div id="right" aria-label="Mel"> <<if $prev <= 3>> You watch Thalia pretend to be stupid. It bothers you somehow. It must be that it's still hard for you to swallow all this play-acting. It gets results, but you just don't feel right about it. <<else>> "I'm sorry," you say, with some genuine embarrassment, "I'm... a bit graceless in conversations sometimes." At least when you're out of your element like this, anyway. "I'm just curious about what you do here." <</if>> "Oh," says the man, "yes, of course. I'm the treasurer. Wait, I haven't introduced myself, have I? I'm Harold Lee." Thalia introduces herself. You open your mouth to do the same, but she barrels on and introduces you too. Apparently she's decided she's in charge of this conversation now. "Goodness," says the man, half to himself, "we really have had so many new recruits since that reporter came here. I can hardly keep up!" <<link [["That's impressive." (F)|leadingConv4Day3]]>><<conv 4>><<strikes>><</link>> <<link [["Are any of these new recruits particularly troublesome?" (D)|leadingConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["That must be a lot of work for you." (L)|leadingConv4Day3]]>><<conv 6>><</link>> </div> </div> <</switch>>

<<if $strikes > $strikeThreshold>> <<set $dual = false>> "I'm sorry," Mr Lee says irritably, "I really do need to get back to my paperwork. Perhaps someone else will be able to answer your questions about membership, but I haven't the time just now." To show that his decision is final, he turns back to his paperwork and begins scribbling again. <<else>> <<set $dual = false>> <<set $names1 = true>> <<switch $convVar>> <<case 1>> <div aria-label="Thalia"> "Exciting is one way of putting it," Mr Lee says. "Perhaps not the first one I'd choose." "What would you choose?" you ask innocently. "I don't know," says Mr Lee. "Trying, maybe. Well, not the reporter herself--I didn't speak to her, she might have been lovely for all I know. But some of those new recruits she's brought in have been rather... difficult. Brother Whitby is constantly late on his dues, though he's always talking about the notable personages with whom he is acquainted and the lavish parties he's attending, so you'd think he could scrape together the money. Brother Blackery is claiming to be a better medium than Madame Celestine and they're always squabbling about it. Brother Jacobs gained the Grandmaster's favour immediately somehow and now he orders us all about as if he hasn't only been here two months. And Brother Wilkington..." </div> <<case 2>> <div aria-label="Thalia"> "Why do you ask?" says Mr Lee. You seem to have got his hackles up<<if $strikes > 1>> again<</if>>. In retrospect, it wasn't really germane to your cover story of wanting to join the organisation, but somehow you didn't think of that //before// you said it, so here you are now. "Well, you see, I like to stand out myself, so I just want to see what I'm up against!" you extemporise, throwing in a little laugh for good measure. "I don't think you've anything to worry about in that regard," Mr Lee says. "There are a few I particularly remember, but not for their exceptional graces, shall we say. Brother Whitby is constantly late on his dues, though he's always talking about the notable personages with whom he is acquainted and the lavish parties he's attending. Brother Blackery is claiming to be a better medium than Madame Celestine and they're always squabbling about it. Brother Jacobs gained the Grandmaster's favour immediately somehow and now he orders us all about as if he hasn't only been here two months. And Brother Wilkington..." </div> <<case 3>> <div aria-label="Thalia"> "Oh, I think you'd still have a chance to stand out," he says. "There are a few newcomers I particularly remember, but not for their exceptional graces, shall we say. Brother Whitby is constantly late on his dues, though he's always talking about the notable personages with whom he is acquainted and the lavish parties he's attending. Brother Blackery is claiming to be a better medium than Madame Celestine and they're always squabbling about it. Brother Jacobs gained the Grandmaster's favour immediately somehow and now he orders us all about as if he hasn't only been here two months. And Brother Wilkington..." </div> <<case 4>> <<addclass "body" "mel">> <div aria-label="Mel"> Mr Lee pushes his glasses up his nose and frowns. "The recruits? No, not particularly. //We// didn't do anything--it was all that reporter's idea." He sighs. "Frankly, sometimes I wish she hadn't had it!" "Why is that?" you ask. "Well, some of them have been... difficult. Brother Whitby is constantly late on his dues, though he's always talking about the notable personages with whom he is acquainted and the lavish parties he's attending. Brother Blackery is claiming to be a better medium than Madame Celestine and they're always squabbling about it. Brother Jacobs gained the Grandmaster's favour immediately somehow and now he orders us all about as if he hasn't only been here two months. And Brother Wilkington..." </div> <<case 5>> <<addclass "body" "mel">> <div aria-label="Mel"> Mr Lee squints at you through his glasses as if trying to read your true purpose on your face. "Why do you ask?" "I'd... like to know what not to do?" you try. "You seem a reasonably level-headed sort," he says. "I think you'll be all right. As long as you're not late on your dues like Brother Whitby--though with all his wealthy friends you'd think he could find the money somewhere--or picking fights with Madame Celestine like Brother Blackery, or acting like we're all your servants like Brother Jacobs, and where to even //start// with Brother Wilkington..." </div> <<case 6>> <<addclass "body" "mel">> <div aria-label="Mel"> "I'll say," Mr Lee says fervently. "Some of them are so //difficult//, too. Brother Whitby is constantly late on his dues, though he's always talking about the notable personages with whom he is acquainted and the lavish parties he's attending. Brother Blackery is claiming to be a better medium than Madame Celestine and they're always squabbling about it. Brother Jacobs gained the Grandmaster's favour immediately somehow and now he orders us all about as if he hasn't only been here two months. And Brother Wilkington..." </div> <</switch>> You wait for him to go on, but it seems he's realised that he's doing a poor job of advertising membership. "I'm sorry," he says, "I shouldn't be telling you all this. Most members of the group are esteemed scholars of the arcane and I am honoured to be among their number." You assure him it's quite all right and thank him for his time. You don't think you'll be getting anything further out of him. <</if>> [[You step away and look around the room again.|Day3Hub]]

/*Friendly*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $friendlyConv = true>> <<set $bailout = false>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> <<if !$dualIntro>> <<include "dualIntro">> <</if>> The woman looks up as you and Mel approach. "Good afternoon," she says. "I am Madame Celestine, the Order's foremost spirit medium. You are here for the séance, I take it?" Her French accent isn't bad, but it's still clearly fake to your theatrically trained ear. <<link [["Goodness, a real spirit medium! How very exciting!" (F)|friendlyConv2Day3]]>><<conv 1>><</link>> <<link [["What is it that you do, exactly?" (D)|friendlyConv2Day3]]>><<conv 2>><<strikes>><</link>> <<link [["We are considering joining the Order and want to see what things are like." (L)|friendlyConv2Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> The woman looks in the general direction of you and Theodora, seeming to be focusing on something just beyond you. The effect is unsettling, which is probably the intention. "Good afternoon," she says. "I am Madame Celestine, the Order's foremost spirit medium. You are here for the séance, I take it?" Madame Celestine, being a small older woman, can't be the accomplice you saw at the gallery unless she's //very// good at disguises, but she must know who else in the Order dabbles in channelling spirits. You get the impression you'll have to work her round to that gradually, though. <<link [["Yes, we're very much looking forward to it!" (F)|friendlyConv2Day3]]>><<conv 4>><</link>> <<link [["You channel spirits? How do you do it?" (D)|friendlyConv2Day3]]>><<conv 5>><<strikes>><</link>> <<link [["That sounds like a position of great responsibility." (L)|friendlyConv2Day3]]>><<conv 6>><<strikes>><</link>> </div> </div>

<<switch $convVar>> <<case 1>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> The woman smiles. "One meets many frauds, of course, and those who overstate their ability--even here within the Order--but I am indeed the genuine article." She picks up some sort of crystal from among the detritus on the table and makes a show of inspecting it. "I am rather busy preparing for my journey into the realms beyond, but if you have any questions, I shall do my best to answer." <<link [["Does it take a lot of training to do what you do?" (F)|friendlyConv3Day3]]>><<conv 1>><</link>> <<link [["I've heard mediums sometimes work together; do you ever do that?" (D)|friendlyConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What can you tell me about the séance?" (L)|friendlyConv3Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> A smug, catlike smile spreads over the woman's face. It's almost Thalia-esque. "One meets many frauds, of course, and those who overstate their ability--even here within the Order--but I am indeed the genuine article." She pauses for an unnecessarily long time to study a cheap-looking crystal from among the ostensible tools of her trade. (You expect most of her //real// tools are elsewhere.) "I am rather busy preparing for my journey into the realms beyond," she says at last, "but if you have any questions, I shall do my best to answer." <<link [["Your abilities sound quite impressive." (F)|friendlyConv3Day3]]>><<conv 4>><</link>> <<link [["You said you're the foremost medium; does that mean there are others?" (D)|friendlyConv3Day3]]>><<conv 5>><<strikes>><</link>> <<link [["What brought you to work with the Order?" (L)|friendlyConv3Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <<case 2>> <<set $dual = false>> <div aria-label="Thalia"> The woman's brows draw together. "What do you mean by 'exactly'? You're not one of those //sceptics//, are you?" (She says the word in a tone most people would reserve for language far more colourful.) "No, no, I--" you begin. "I can't abide a sceptic," she goes on, as if you had not spoken. "So self-satisfied, so convinced that the universe could not hold secrets of which they are not aware. And the spirits don't like to appear with that type present. The negative energy is quite enervating to them. So if that is what you are about, I will have to request that you leave at once." <<prev>> <<link [[Appeal to Mel for help.|friendlyConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 4>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv2Day3]]>><<conv 7>><</link>> </div> <<case 3>> <div aria-label="Thalia"> <<set $dual = false>> "I'm sure there are many members here today who would be pleased to tell you of their experiences. My own position is rather unique, so it wouldn't bear much resemblance to your own, I'm sorry to say." She doesn't sound sorry at all. "In any case, I'm quite busy with my preparations for the séance." <<prev>> <<link [[Appeal to Mel for help.|friendlyConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 4>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv2Day3]]>><<conv 7>><</link>> </div> <<case 4>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "Yes, we're very much looking forward to it!" Mel says brightly. "My dear, I am so pleased to hear it," Madame Celestine says. "We are always honoured to welcome new seekers of the truth that lies beyond the veil." You are trying to concentrate on what she is saying, but a part of your mind is insistent on trying to puzzle out what her actual accent is under the fake French. Welsh, perhaps? The vowels sound a bit Welsh. <<link [["Does it take a lot of training to do what you do?" (F)|friendlyConv3Day3]]>><<conv 1>><</link>> <<link [["I've heard mediums sometimes work together; do you ever do that?" (D)|friendlyConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What can you tell me about the séance?" (L)|friendlyConv3Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> "Yes, we're very much looking forward to it!" you say. You hope your enthusiasm doesn't sound too forced. "My dear, I am so pleased to hear it," Madame Celestine says. "We are always honoured to welcome new seekers of the truth that lies beyond the veil." It rather rankles that she's referring to you as "my dear"--she doesn't know you and you're hardly a child--but you attempt to keep a smile on your face nonetheless. <<link [["Your abilities sound quite impressive." (F)|friendlyConv3Day3]]>><<conv 4>><</link>> <<link [["You said you're the foremost medium; does that mean there are others?" (D)|friendlyConv3Day3]]>><<conv 5>><<strikes>><</link>> <<link [["What brought you to work with the Order?" (L)|friendlyConv3Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <<case 5>> <<set $dual = false>> <<addclass "body" "mel">> <div aria-label="Mel"> "Why do you ask?" Madame Celestine says frostily. "Are you hoping to steal my secrets? Or are you one of those... //sceptics//?" She actually shudders in the pause before the word, which you think is over-egging the pudding a little, to be honest. <<prev>> <<link [[Appeal to Thalia for help.|friendlyConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 1>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv2Day3]]>><<conv 7>><</link>> </div> <<case 6>> <<set $dual = false>> <<addclass "body" "mel">> <div aria-label="Mel"> "It is," Madame Celestine says, her tone perfectly matter-of-fact, "and as such I have much to do to prepare for my excursion beyond the veil, so if you haven't any particular questions for me, I'm afraid I shall have to ask you to depart." <<prev>> <<link [[Appeal to Thalia for help.|friendlyConv2Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 1>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv2Day3]]>><<conv 7>><</link>> </div> <<case 7>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> <<if $prev <= 3>> "Please excuse my friend," Mel says. "She's simply beside herself with excitement at meeting a real medium and has forgotten her manners." You're not sure Mel has ever referred to you as a friend before. That's //quite// interesting. But maybe it's only because "colleague" would raise unwanted questions under the circumstances. "Yes," you say, "I'm terribly sorry." <<else>> "My dear companion Miss Williams meant no harm," you say, smiling sweetly. "She can be somewhat lacking in social graces, but I assure you she is thrilled to be taking part in the séance." Mel gives you an annoyed glance. You're not sure if it's the part about social graces or being referred to as your dear companion that she objects to. Perhaps it's both? <</if>> <<link [["Does it take a lot of training to do what you do?" (F)|friendlyConv3Day3]]>><<conv 1>><</link>> <<link [["I've heard mediums sometimes work together; do you ever do that?" (D)|friendlyConv3Day3]]>><<conv 2>><<strikes>><</link>> <<link [["What can you tell me about the séance?" (L)|friendlyConv3Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> <<if $prev <= 3>> "Please excuse my friend," you say. (It feels sort of presumptuous to refer to Theodora that way, but, well, it //is// how Mr Knight introduced you two, isn't it?) "She's simply beside herself with excitement at meeting a real medium and has forgotten her manners." You half expect her to protest, but of course she is ever the consummate actress, and unlikely to say anything that might endanger the goal of information-gathering, so she instead gives her most ingratiating smile and says "Yes, I'm terribly sorry." <<else>> Theodora gives her most ingratiating smile. "My dear companion Miss Williams meant no harm," she says. "She can be somewhat lacking in social graces, but I assure you she is thrilled to be taking part in the séance." You suppress a scowl, but your irritation is probably still visible to someone as unnervingly perceptive as Thalia. Lacking social graces, indeed! At least you're not the one who deliberately needles people all the time. <</if>> <<link [["Your abilities sound quite impressive." (F)|friendlyConv3Day3]]>><<conv 4>><</link>> <<link [["You said you're the foremost medium; does that mean there are others?" (D)|friendlyConv3Day3]] >><<conv 5>><<strikes>><</link>> <<link [["What brought you to work with the Order?" (L)|friendlyConv3Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <</switch>>

<<switch $convVar>> <<case 1>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "Does it take a lot of training to do what you do?" you ask, trying to sound as innocent as possible. "Training is important, of course," Madame Celestine says, "but not as important as having the Gift." (You can hear the uppercase letter in the way she says it.) "Many come to me hoping to learn the medium's ways, but if you simply do not have the aptitude, the spirits will never make themselves known to you." You feel like it's taking you an awfully long time to come to the point of the thing. Perhaps you're using too light of a touch, being too circuitous. If Mel were here on her own she'd probably have got the information she needed by now. (Or maybe you're just wasting too much of your mental efforts on figuring out her accent. As she's continued talking you've become almost certain she grew up somewhere in the vicinity of Swansea.) <<link [["I feel fortunate to witness such rare abilities." (F)|friendlyConv4Day3]]>><<conv 1>><</link>> <<link [["Who else here can do this?" (D)|friendlyConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["It must be a great burden to have such powers." (L)|friendlyConv4Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> "Does it take a lot of training to do what you do?" Thalia asks, with a wide-eyed ingenuousness that you don't like seeing on her. "Training is important, of course," Madame Celestine says, "but not as important as having the gift." You are still doing your best not to look irritated or disbelieving. How //does// Thalia do this? You're thinking so hard about your facial expression you can barely take in any actual information. "Many come to me hoping to learn the medium's ways," Madame Celestine goes on, "but if you simply do not have the aptitude, the spirits will never make themselves known to you." <<link [["And you're the only one here with the Gift, I take it?" (F)|friendlyConv4Day3]]>><<conv 4>><</link>> <<link [["How many mediums are there in the Order?" (D)|friendlyConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["Goodness, this is all quite beyond me." (L)|friendlyConv4Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <<case 2>> <<set $dual = false>> <div aria-label="Thalia"> "Certainly not," Madame Celestine snaps. "I find that it quite muddies the spiritual communications to work with a lesser practitioner." Clearly this was not the way to get information on other mediums out of her; you'll have to appeal to her ego instead. <<if !$bailout>> <<link [[Appeal to Mel for help.|friendlyConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 4>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|friendlyConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 3>> <<set $dual = false>> <div aria-label="Thalia"> "The séance cannot be explained," Madame Celestine says airily. "You must witness it for yourself; only then will you understand." You suppose you'll have to aim more specifically at your point if you want to get her to talk about other mediums. <<if !$bailout>> <<link [[Appeal to Mel for help.|friendlyConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 4>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|friendlyConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 4>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "Your abilities sound quite impressive," Mel says, quickly and smoothly. She's really doing rather well! Madame Celestine smiles. "Well, one doesn't like to say so oneself. But I think my results speak for me, as you will see if you join us this afternoon." <<link [["I feel fortunate to witness such rare abilities." (F)|friendlyConv4Day3]]>><<conv 1>><</link>> <<link [["Who else here can do this?" (D)|friendlyConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["It must be a great burden to have such powers." (L)|friendlyConv4Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> "Your abilities sound quite impressive," you say. It sounds very false to your ears, but what can you do? Madame Celestine smiles. "Well, one doesn't like to say so oneself. But I think my results speak for me, as you will see if you join us this afternoon." This woman is so insufferable. You are thinking very hard about not grinding your teeth. <<link [["And you're the only one here with the Gift, I take it?" (F)|friendlyConv4Day3]]>><<conv 4>><</link>> <<link [["How many mediums are there in the Order?" (D)|friendlyConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["Goodness, this is all quite beyond me." (L)|friendlyConv4Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <<case 5>> <div aria-label="Mel"> <<set $dual = false>> Madame Celestine's expression grows cold. "Of course," she says, "but why would you wish to speak about the lesser talents when the greater one is before you?" You suppose you'll have to try a different tack to get her to speak about the other mediums. <<if !$bailout>> <<link [[Appeal to Thalia for help.|friendlyConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 1>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|friendlyConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 6>> <<set $dual = false>> <div aria-label="Mel"> Madame Celestine waves a hand. "It is a long and rather dull story," she says. "You need not concern yourself with it." You suppose you'll have to be more direct if you want her to speak about the other mediums. <<if !$bailout>> <<link [[Appeal to Mel for help.|friendlyConv3Day3]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 1>><</link>> (You can only do this once!) <<link [[Take your lumps.|friendlyConv3Day3]]>><<conv 7>><</link>> <<else>> <<link [[Continue|friendlyConv3Day3]]>><<conv 7>><</link>> <</if>> </div> <<case 7>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> <<if $prev < 4>> "I'm so sorry," you say, "I don't know what's come over me. I'm usually quite charming, I promise!" <<else>> "My apologies," Mel says, "I honestly didn't mean to offend. This is all just so unfamiliar to me!" Which is very tactful of her, but you don't think the unfamiliarity is the problem. Madame Celestine is merely an unpleasant individual. <</if>> Madame Celestine looks unimpressed, but says, "Well, all right, then, you may ask another question if you wish. But if you trouble me much further I'm afraid I shall have to take my leave to avoid contaminating myself with negative energies before the séance." <<link [["I feel fortunate to witness such rare abilities." (F)|friendlyConv4Day3]]>><<conv 1>><</link>> <<link [["Who else here can do this?" (D)|friendlyConv4Day3]]>><<conv 2>><<strikes>><</link>> <<link [["It must be a great burden to have such powers." (L)|friendlyConv4Day3]]>><<conv 3>><<strikes>><</link>> </div> <div id="right" aria-label="Mel"> <<if $prev < 4>> "I'm so sorry," Theodora says, "I don't know what's come over me. I'm usually quite charming, I promise!" You don't think she's been any less charming than usual, quite frankly; this woman is just difficult. It's been taking everything you have not to leap to Theodora's defence, if you're honest. <<else>> "My apologies," you say, "I honestly didn't mean to offend. This is all just so unfamiliar to me!" <</if>> Madame Celestine looks unimpressed, but says, "Well, all right, then, you may ask another question if you wish. But if you trouble me much further I'm afraid I shall have to take my leave to avoid contaminating myself with negative energies before the séance." <<link [["And you're the only one here with the Gift, I take it?" (F)|friendlyConv4Day3]]>><<conv 4>><</link>> <<link [["How many mediums are there in the Order?" (D)|friendlyConv4Day3]]>><<conv 5>><<strikes>><</link>> <<link [["Goodness, this is all quite beyond me." (L)|friendlyConv4Day3]]>><<conv 6>><<strikes>><</link>> </div> </div> <</switch>>

<<if $strikes > $strikeThreshold>> "I do apologise," says Madame Celestine, in the tones of one who is not apologetic at all, "but I must take my leave. I cannot trouble myself further with petty affairs of this earth before I enter my trance." You both protest, but her mind is made up; it seems you've offended her one time too many. <<else>> <<set $names2 = true>> <<switch $convVar>> <<case 1>> <div aria-label="Thalia"> "They are rare indeed," says Madame Celestine with evident pride. "Few others in the Order have any talent at all, and none reach my level, if I may say so myself." Finally feeling you've won her over sufficiently, you ask who the other mediums are. "The perpetual thorn in my side is Brother Blackery," she says. "He thinks his gifts are equivalent to mine and will not be dissuaded from telling people so, though he remains a rank amateur. Brother Wilson has some little talent and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off. Her accent has been slipping, you've noticed. "Forgive me," she says, French accent and mask of tranquillity back in place. "I may have got, er, carried away." </div> <<case 2>> <div aria-label="Thalia"> "What I do? No one," she says testily. "There are a few with some small talent, but no one on my level." You dare to ask her who the small talents might be. "Well, there's Brother Blackery," she says, "although if you ask him he'll tell you his gifts rival mine, which is //not// true. Brother Wilson has shown some aptitude and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off. Her accent has been slipping, you've noticed. "Forgive me," she says, French accent and mask of tranquillity back in place. "I may have got, er, carried away." </div> <<case 3>> <div aria-label="Thalia"> "It is not!" Madame Celestine says firmly. "It is, rather, an honour to have such a connection with the spirit world. Anyone with the slightest bit of spiritual sensitivity would know this--even that fool Brother Blackery." You apologise and ask if Brother Blackery is the only other medium in the Order. "Would that he were!" Madame Celestine exclaims. "There are far too many, if you ask me. Brother Wilson has shown some aptitude and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off. Her accent has been slipping, you've noticed. "Forgive me," she says, French accent and mask of tranquillity back in place. "I may have got, er, carried away." </div> <<case 4>> <<addclass "body" "mel">> <div aria-label="Mel"> "The only one with a gift this strong, certainly," she says, holding her head high. "There are many other pests around me with some small talent, but they barely count for anything." You make some sympathetic noises, encouraging her to complain further. "Brother Blackery is a perpetual thorn in my side," she says. "He thinks his gifts are equivalent to mine and will not be dissuaded from telling people so, though he remains a rank amateur. Brother Wilson has some little talent and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off, clearly having dropped the mystical persona more than she wishes to in front of guests. (And was it your imagination, or did she suddenly start to sound Welsh?) She draws a deep breath and regains her composure. "Forgive me," she says. "I may have got, er, carried away." </div> <<case 5>> <<addclass "body" "mel">> <div aria-label="Mel"> "Only one worth speaking of," she says sternly. "But there are a few other //minor// talents. Though sometimes I wish there were not." You make some sympathetic noises, encouraging her to complain further. "Brother Blackery is a perpetual thorn in my side," she says. "He thinks his gifts are equivalent to mine and will not be dissuaded from telling people so, though he remains a rank amateur. Brother Wilson has some little talent and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off, clearly having dropped the mystical persona more than she wishes to in front of guests. (And was it your imagination, or did she suddenly start to sound Welsh?) She draws a deep breath and regains her composure. "Forgive me," she says. "I may have got, er, carried away." </div> <<case 6>> <<addclass "body" "mel">> <div aria-label="Mel"> "Yes," she says dryly, "I can see that." She doesn't seem inclined to go on, so you try asking her about other mediums in the Order. "There are several who regard themselves that way, though I would not rate their talents highly," she says. "Brother Blackery is the worst of the lot. He thinks his gifts are equivalent to mine and will not be dissuaded from telling people so, though he remains a rank amateur. Brother Wilson has some little talent and is always pestering me to train him. Brother Andrews has run some séances at his home, but I think it is in fact his wife doing most of the work. And Brother Jacobs impressed the Grandmaster with his automatic writing in what he says is ancient Greek, although if he truly has an ancient Greek spirit guide, I'm the queen of--" She cuts herself off, clearly having dropped the mystical persona more than she wishes to in front of guests. (And was it your imagination, or did she suddenly start to sound Welsh?) She draws a deep breath and regains her composure. "Forgive me," she says. "I may have got, er, carried away." </div> <</switch>> You both thank her for her generosity in answering your tedious and trifling questions. <</if>> [[Then you look around the room and consider your next move.|Day3Hub]]

<<set $seance = true>> Madame Celestine seats you all around the table--there are six others besides her and your own coterie, four in the robes and pendants of the Order and two in ordinary apparel like you and Mel. You manage to slip into a seat next to the stately chair clearly intended for the medium. Celestine closes the curtains, lights a single candle placed in the centre of the table, and turns out the lights. Then she takes her seat and instructs you all to hold hands. Fortunately, you can see fairly well in the dark--at least well enough to make out some details of what Mel is doing on the other side of the table. You know she has your tools in a bag next to her chair, and as Madame Celestine begins to chant an invocation to the spirits, you see Mel examining the area near the table. <<link [[Knock something over.|seance2]]>><<conv 1>><<strikes>><</link>> <<link [[Scream.|seance2]]>><<conv 2>><<strikes>><</link>> <<link [[Pretend to notice something behind you.|seance2]]>><<conv 3>><</link>>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> Theodora moves her arm forward and dislodges some sort of glass orb that Celestine had balanced on the table. It rolls towards the edge and Celestine makes a move to catch it. This certainly has her attention for the moment, but unfortunately she's still rather focused on the table itself, which limits your opportunities to hide these lockpicks in the vicinity. <<case 2>> Theodora screams suddenly. "My dear," Madame Celestine says, "you must remain calm! The spirits are just now beginning to gather, and you will scare them off!" "I'm sorry," says Theodora, "it's only--I thought I felt a chill...." Madame Celestine pats her on the shoulder and praises her extraordinary sensitivity; the others around the table look at them, which means they're not looking at you, but you still don't have much leeway to move without being seen, which limits your options for how to dispose of these lockpicks. <<case 3>> Theodora turns her body as much as possible to look over her shoulder, directing the attention of your fellow séance-goers that way too. "My dear, you must stay still!" Celestine chides. "The spirits do not appreciate such disturbance!" "I thought I felt a hand on my shoulder!" Theodora explains. While Celestine is praising her extraordinary sensitivity to the spirits and explaining that she nevertheless must remain calm and everyone else is glancing between them and the area where Theodora claims to have felt a ghostly presence, you have plenty of time to consider where to put her lockpicks. <</switch>> <<link [[Put them under your chair.|seance3]]>><<conv 1>><<gearDrop "tool 1" "location 1A">><</link>> <<if $convVar > 1>> <<link [[Put them on the floor beneath the table.|seance3]]>><<conv 2>><<gearDrop "tool 1" "location 1B">><</link>> <</if>> <<if $convVar > 2>> <<link [[Fasten them to the underside of the table.|seance3]]>><<conv 3>><<gearDrop "tool 1" "location 1C">><</link>> <</if>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> You quickly fish the lockpicks out of the bag--luckily your neighbour is distracted by Theodora's antics--and kick them under your chair. Hopefully they're not planning on putting the chairs away after the séance. <<case 2>> You quickly fish the lockpicks out of the bag--luckily your neighbour is distracted by Theodora's antics--and kick them further under the table. Hopefully no one will spot them there. <<case 3>> Using some adhesive that you found among Thalia's things, you stick the lockpicks to the underside of the table--a lip around its lower edge makes them quite invisible unless you happen to be lying on the floor underneath it. <</switch>> [[Continue|seance3a]] </div>

<div aria-label="Thalia"> Madame Celestine finishes her invocation to the spirits and begins "conversing" with the first spirit, supposedly the deceased husband of one of the normally-dressed guests. The ghost communicates by means of patterns of knocking on the table. You hardly follow this sort of thing very closely, but from seeing articles in the papers about mediums exposed as frauds, even you know that this is one of the oldest tricks in the book. Other mediums are out there constructing ghosts out of papier-mâché or hiring accomplices to dress up as a ghost--if Celestine is going to brag so much of her abilities, you think she ought to put a little more effort in. Mel is glancing at the area behind her. <<link [[Make some extra knocking sounds yourself.|seance4]]>><<conv 2>><<strikes>><</link>> <<link [[Lose your glove.|seance4]]>><<conv 3>><</link>> <<link [[Pretend to see something on the other side of the table.|seance4]]>><<conv 1>><<strikes>><</link>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> Theodora jerks her head in your direction and cries, "W- what's that over there?" Unfortunately everyone is now looking at you, so that doesn't leave you many options for where to stash her pry bar among the furnishings and decorations directly behind you. <<case 2>> The "ghost" has so far been making its rapping sounds in very distinct groups, but now it's interrupted by a flurry of additional rapping sounds--Theodora must be doing something to produce them, you realise. "An additional spirit must be trying to make contact," Madame Celestine extemporises, only mostly managing to keep the annoyance out of her voice. This has drawn the sitters' attention to Madame Celestine, but not so strongly that you can take //too// much time hiding Theodora's pry bar among the furnishings and decorations directly behind you. <<case 3>> Theodora jerks strongly, as if in fright, and as she moves her arm, her glove comes right off in Madame Celestine's hand. "Oh dear," she says, "I'm so sorry! I don't know what came over me..." This draws the sitters' attention--and Madame Celestine's--strongly enough that you are able to take your time hiding Theodora's pry bar among the furnishings and decorations directly behind you. <</switch>> <<link [[Stash it under the radiator.|seance5]]>><<conv 1>><<gearDrop "tool 2" "location 2A">><</link>> <<if $convVar > 1>> <<link [[Hide it behind a small statue.|seance5]]>><<conv 2>><<gearDrop "tool 2" "location 2B">><</link>> <</if>> <<if $convVar > 2>> <<link [[Put it in a large decorative vase.|seance5]]>><<conv 3>><<gearDrop "tool 2" "location 2C">><</link>> <</if>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> With little time to spare, you nudge the pry bar with your foot until it's under the radiator right behind your chair. It's not the subtlest hiding place, but the colour of the metal is more or less the same, and perhaps no one will look too closely. <<case 2>> There's a small plaster statuette of Hermes Trismegistus (not, it must be said, a very good one) behind you and a little to the left. Reaching back as if stretching while the séance is briefly disrupted, you manage to drop the pry bar behind the podium. The noise of it falling to the ground is covered up by the ghostly knocking. <<case 3>> While everyone is worrying over Theodora, you manage to stand up and quietly slip the pry bar into an ornamental vase to your right. The vase conceals it completely as long as no-one peers directly into it (which you think is unlikely). <</switch>> [[Continue|seance5a]] </div>

<div aria-label="Thalia"> Madame Celestine has begun to produce ectoplasm from her mouth and hands. Sitting next to her, even in the dark, it is //quite// clear that it's simply fabric soaked in some sort of slimy substance. It's a wonder anyone is fooled, but then, perhaps it's simply your eye for stagecraft that makes this trickery so apparent. Mel has run out of nearby hiding places and is now scanning the wider room. You'll have to do something interesting to buy her time. <<link [[Start an argument with Madame Celestine.|seance6]]>><<conv 2>><<strikes>><</link>> <<link [[Grab the ectoplasm.|seance6]]>><<conv 1>><<strikes>><</link>> <<link [[Faint.|seance6]]>><<conv 3>><</link>> </div>

<div aria-label="Mel"> <<if $strikes > 2>> Madame Celestine stands up. "That is quite enough!" she says. "I simply cannot work with such disruptive people about. This séance is at an end." Disappointed murmurs break out among the other sitters. You suppose that Thalia will have to carry in anything else she needs, or else do without. <<link [[Continue|seance7]]>><<conv 4>><</link>> <<else>> <<switch $convVar>> <<case 1>> Theodora reaches out to grab the ectoplasm exuding from Madame Celestine's hand (or more likely her sleeve.) "My dear, you must not touch that!" Celestine scolds. "And did I not say we must all stay holding hands? The circle //must not// be broken!" Theodora apologises and discreetly wipes her glove on the side of her chair. It doesn't look like this disturbance is going to last long, so you will have to hurry to stash this electric torch. (It's probably the hardest item to hide; while offering many advantages over a traditional lantern, this wonder of modern technology is almost the size of your forearm and quite heavy.) <<case 2>> "Hold on a minute," Theodora says, "this is just fabric!" "Ah, so you are a sceptic after all!" Celestine says. "I knew it! I will //not// be allowing such a person to interfere with my séances! Out, out!" She gets up to escort Theodora toward the door, affording you a little bit of time to stash this electric torch, but not too much. (It's probably the hardest item to hide; while offering many advantages over a traditional lantern, this wonder of modern technology is almost the size of your forearm and quite heavy.) <<set $theoLeft = true>> <<case 3>> Theodora slumps in her chair, appearing to have fainted in fright. Madame Celestine leans towards her. "My dear, are you all right?" When Theodora doesn't respond, the other sitters start to get up and crowd round her. This means you can get up and move about the room yourself without inviting suspicion, which should be a good opportunity to stash this electric torch. (It's probably the hardest item to hide; while offering many advantages over a traditional lantern, this wonder of modern technology is almost the size of your forearm and quite heavy.) <</switch>> <<link [[Put it under the small table.|seance7]]>><<conv 1>><<gearDrop "tool 3" "location 3A">><</link>> <<if $convVar > 1>><<link [[Wedge it behind a bookshelf.|seance7]]>><<conv 2>><<gearDrop "tool 3" "location 3B">><</link>> <</if>> <<if $convVar > 2>> <<link [[Hide it in a vent.|seance7]]>><<conv 3>><<gearDrop "tool 3" "location 3C">><</link>> <</if>> <</if>> </div>

<div aria-label="Mel"> <<switch $convVar>> <<case 1>> Not having much time to work, you hastily shove the torch under the small table where Mr Lee was doing his paperwork earlier. It's not the most inconspicuous place, but it will have to be good enough. <<case 2>> Having only a moderate amount of time to work, you spot a bookcase nearby full of important-looking tomes and wedge the torch behind it. It should be fairly well-hidden there, though maybe not the easiest to get back out without moving the case. <<case 3>> As everyone's standing over Theodora, you have time to take the cover off a nearby vent (it's not well secured) and slide the torch in there. Hopefully no-one else should be peering into the vents any time soon, other than Theodora herself. <<case 4>> You head for the door, feeling just as disappointed as the rest of the crowd, if not for quite the same reasons. <</switch>> You leave the main room<<if $theoLeft>>, meeting up with Theodora in the corridor<</if>>. Brother Venable, who must have some sort of guard duty, returns to escort the two of you to the front door, Oscar and Yorkie trailing behind. [[You step out into the setting sun.|endOfDay3]] </div>

<div aria-label="Thalia"> In just a few hours, you will return here to try to find information on the false Thalia's accomplice. You hope you have prepared adequately. <<if $names1 && $names2>>At least you have a few strong possibilities for whom it could be.<<elseif $names1 || $names2>>At least you have some vague idea whom it might be.<<else>>You're not sure whom it might be, but you'll have to do your best to figure it out.<</if>> <<if $convVar == 4>>You don't think Mel was able to hide all your tools, but you'll have to do your best.<<else>>Mel was able to hide all your tools, so at least that should help.<</if>> [[You wait for night.|night3Start]] </div>

/*set up all variables for night 1 here */ <<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $searched1 = false>> <<set $searched2 = false>> <<set $searched3 = false>> <<set $spir1 = false>> <<set $spir2 = false>> <<set $spir3 = false>> <<set $loc = "">> <<set $tool1 = false>> /*lockpicks */ <<set $tool2 = false>> /*pry bar */ <<set $tool3 = false>> /*torch */ <<set $searchTarget = "">> <<set $numTools = 0>> <<set $informationGot = false>> <<set $tries = 0>> <<set $A = false>> <<set $B = false>> <<set $C = false>>

/*Name 1 info gotten? <<listbox "$names1" autoselect>> <<option false>> <<option true>> <</listbox>> Name 2 gotten? <<listbox "$names2" autoselect>> <<option false>> <<option true>> <</listbox>> */ <<set $toolLocs = []>> <<set $toolList = ["tool 1", "tool 2", "tool 3"]>> /* lockpicks, pry bar, torch */ Lockpicks location: <<listbox "$toolLocs[0]" autoselect>> <<option "under the chair" "location 1A">> <<option "on the floor under the table" "location 1B">> <<option "fastened under the table" "location 1C">> <</listbox>> Pry bar location: <<listbox "$toolLocs[1]" autoselect>> <<option "under the radiator" "location 2A">> <<option "behind a statue" "location 2B">> <<option "in a vase" "location 2C">> <</listbox>> Torch location: <<listbox "$toolLocs[2]" autoselect>> <<option "under the small table" "location 3A">> <<option "behind a bookshelf" "location 3B">> <<option "in a vent" "location 3C">> <<option "Nowhere" null>> <</listbox>> [[night3Start]]

<<include "night3Setup">> You've broken into quite a few venerable buildings in your time (up to and including the actual British Museum) but the Order's headquarters is somehow more intimidating than any of them. You suspect it's because nobody else has taken the time to deliberately cultivate such an aura--you could tell earlier that the gargoyles were definitely //not// part of the original construction, but that doesn't make their shapes in the dark any less ominous. They don't seem to bother Mel though, or at least she's not letting it show. "Are you ready?" she asks, and the reminder that for once you're breaking in //together// gives you a quick thrill. The two of you are dressed (rather ridiculously) in cloaks and robes that you've borrowed from Oscar and Yorkie, as well as their medallions. The hope is that you'll be able to use those to bluff your way in through the entrance while pretending to be them--Mel and Oscar are quite tall and Yorkie and yourself quite short, so if you keep your hoods up it's not as silly an idea as it sounds. And you've been practicing your Sheffield accent all night, just in case. You nod at Mel, and then stride up to the front door with exaggerated confidence and knock in the special rhythm Oscar told you about. A small window in the door opens and a man peeks through. <<link [[Hold your medallions up so the man can see.|night3BreakIn]]>><<conv 1>><<slow 1>><</link>> <<link [[State your business.|night3BreakIn]]>><<conv 2>><<messy 1>><</link>>

<<if $convVar === 1>> You hold the medallions up to the small window. The man stares at them for a solid thirty seconds, and then back at the two of you. He ducks away from the door and for a moment you fear you've been rumbled already, but you hear the sound of rummaging and then he returns with a pair of spectacles on. The next look he takes clearly satisfies him as he closes his window and then opens the door for the two of you. <<else>> "We're here for the new moon ritual," you say confidently. (Your accent is superb, if you say so yourself.) The man at the window frowns. "Isn't that tomorrow?" Drat. You assure him that what you meant was that you are here to //prepare// for the new moon ritual, which of course is tomorrow and you simply misspoke. His brow unfurrows and he opens the door for you. <</if>> "Please stand still for the security check, gentlemen," he says after you've crossed the threshold, and then proceeds to pat down you and then Mel. Luckily Oscar has warned you about this too and you've taken steps to make sure he'll find nothing unexpected in addition to hiding your tools earlier. (Your chest feels a bit constricted under the bindings, but you've done worse for the stage before.) Finding nothing amiss, the guard [[waves the pair of you onwards.|night3GearRetrieve]]

<<if visited() === 1>> Now that the two of you are safely inside, you'll need to retrieve the tools Mel stashed earlier. Hopefully finding them won't be too much of a trial for her? Luckily the Order appears to be somewhat lax about tidying, as everything from the séance appears to have been left in place. <<else>> Where to look next? <</if>> <<if $toolLocs.length > 2>> <<set $numTools = 3>> <<else>> <<set $numTools = 2>> <<scoreTracker 0 2>> <</if>> <<if !$tool1>> [[Mel: Search for the lockpicks. |night3Loc1]] <</if>> <<if !$tool2>> [[Mel: Find the pry bar. |night3Loc2]] <</if>> <<if !$tool3 && $numTools === 3>> [[Mel: Look for the torch.|night3Loc3]] <</if>> <<if $tool1 && $tool2 && ($tool3 || $numTools === 2)>> [[You have everything now. You should continue deeper into the building.|night3Investigate]] <</if>>

<div aria-label="Mel"> <<conv 0>> <<set $loc = "night3Loc1">> <<if visited() === 1>> <<set $tries = 0>> <</if>> You step forward to the area where you remember leaving the lockpicks. (Thalia hangs behind, presumably not wanting to distract you.) <<if !$A>><<link [[Search under the chair.|night3Loc1a]]>><<conv 1>><<set $searchTarget = "location 1A">> <</link>> <</if>> <<if !$B>><<link [[Search the floor under the large table.|night3Loc1a]]>><<conv 2>> <<set $searchTarget = "location 1B">><</link>> <</if>> <<if !$C>><<link [[Search the underside of the table itself. |night3Loc1a]]>><<conv 3>> <<set $searchTarget = "location 1C">><</link>><</if>> </div>

<div aria-label="Mel"> <<set _index = 0>> <<set $tries += 1>> <<if $toolLocs[_index] === $searchTarget>> <<set _correct = true>> <<else>> <<set _correct = false>> <</if>> <<switch $convVar>> <<case 1>> <<set $A = true>> You get down on your knees and feel around under the chair, aware that you must look ridiculous. Thalia thankfully doesn't say anything--you don't think you could handle her teasing right now. <<if _correct>> <<set $tool1 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Luckily, the lockpicks are exactly where you've left them under the chair! You straighten up and hand them to Thalia. <<else>> <<slow 1>> Unfortunately, despite a thorough search (perhaps //too// thorough), you don't find anything. <</if>> <<case 2>> You get down on your knees and feel around under the table, taking care to not bang your head. (Maybe you should have asked Thalia to do this? She's much smaller.) <<set $B = true>> <<if _correct>> <<set $tool1 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Luckily, the lockpicks are exactly where you've left them under the table! You straighten up and hand them to Thalia. <<else>> <<messy 1>> Unfortunately nothing's there, //and// you clip your head on the table while standing up. <</if>> <<case 3>> You lean over the table and run your hand along the underside. It's a surprisingly cheap table for the opulence of the Order and the underside is quite splintery. <<set $C = true>> <<if _correct>> <<set $tool1 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Luckily, the lockpicks are exactly where you left them under the table! You straighten up and hand them to Thalia. <<else>> <<messy 1>> You find nothing except, of course, more splinters. You step back and put your pricked finger in your mouth while you reassess the situation. (Hopefully you didn't bleed on anything obvious.) <</if>> <</switch>> <<if $tool1>> [[Look for the rest of your gear. |night3GearRetrieve]] <<else>> [[Try another spot.|night3Loc1]] <</if>> </div>

<div aria-label="Mel"> <<conv 0>> <<set $loc = "night3Loc2">> <<if visited() === 1>> <<set $tries = 0>> <<searchReset>> <</if>> You move to the area near where you hid the pry bar. Thalia adjusts her position to better watch what you're doing, which makes you sweat a bit. <<if !$A>><<link [[Check under the radiator. |night3Loc2a]]>><<conv 1>><<set $searchTarget = "location 2A">> <</link>> <</if>> <<if !$B>><<link [[Look behind the statue. |night3Loc2a]]>><<conv 2>> <<set $searchTarget = "location 2B">><</link>> <</if>> <<if !$C>><<link [[Search the vase. |night3Loc2a]]>><<conv 3>> <<set $searchTarget = "location 2C">><</link>><</if>> </div>

<div aria-label="Mel"> <<set _index = 1>> <<set $tries += 1>> <<if $toolLocs[_index] === $searchTarget>> <<set _correct = true>> <<else>> <<set _correct = false>> <</if>> <<switch $convVar>> <<case 1>> <<set $A = true>> You bend over to check under the radiator, hissing a bit as your back complains. Thalia makes a concerned noise, but doesn't say anything. <<if _correct>> <<set $tool2 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Success! You pull the pry bar out from under the radiator and stow it in your belt. <<else>> <<slow 1>> You find nothing, and with your back hurting it takes you longer than you'd like to stand back up again. <</if>> <<case 2>> <<set $B = true>> You reach behind the statue of Hermes Trismegistus and start feeling around for the pry bar. The rough texture of the plasterwork snags your sleeve and you utter something rude about the workmanship, which earns a quickly stifled laugh from Thalia. <<if _correct>> <<set $tool2 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Success! You retrieve the pry bar from behind the statue and stow it in your belt. <<else>> <<slow 1>> It takes you a long time to search behind the statue as there's many crevices the pry-bar could be hiding in, but unfortunately it doesn't seem to be there. <</if>> <<case 3>> <<set $C = true>> You stick your hand into the vase and feel around for the pry bar, taking care not to knock it over in the process. (You'd never live it down if you did that.) <<if _correct>> <<set $tool2 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> Success! You carefully remove the pry bar from the vase and stow it in your belt. <<else>> <<messy 1>> The pry bar isn't here, and you knock the vase slightly off-balance when you remove your hand. It doesn't fall over, thank goodness, but you can see you've disturbed some dust that's gathered at the base. <</if>> <</switch>> <<if $tool2>> [[Look for the rest of your tools. |night3GearRetrieve]] <<else>> [[Try another spot. |night3Loc2]] <</if>> </div>

<div aria-label="Mel"> <<conv 0>> <<set $loc = "night3Loc3">> <<if visited() === 1>> <<set $tries = 0>> <<searchReset>> <</if>> You walk to the corner where you hid the torch and try to focus on where you might have left it (and not on your partner). <<if !$A>><<link [[Look under the small table. |night3Loc3a]]>><<conv 1>><<set $searchTarget = "location 3A">> <</link>> <</if>> <<if !$B>><<link [[Investigate the bookshelf.|night3Loc3a]]>><<conv 2>><<set $searchTarget = "location 3B">> <</link>> <</if>> <<if !$C>><<link [[Check the vent.|night3Loc3a]]>><<conv 3>><<set $searchTarget = "location 3C">> <</link>><</if>> </div>

<div aria-label="Mel"> <<set _index = 2>> <<set $tries += 1>> <<if $toolLocs[_index] === $searchTarget>> <<set _correct = true>> <<else>> <<set _correct = false>> <</if>> <<switch $convVar>> <<case 1>> <<set $A = true>> You squat down and check under the small table. <<if _correct>> <<set $tool3 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> The torch is still there, thankfully. You try to hand it to Thalia, but she motions for you to keep it. Perhaps she wants to keep her hands free in case you run into an obstacle? <<else>> Nothing is there, and you stand back up again. <</if>> <<case 2>> <<set $B = true>> You peer around the bookshelf, trying to find where you hid the torch. Meanwhile, Thalia is looking at some of the titles with interest. <<if _correct>> <<set $tool3 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> The torch is still there, thankfully. You try to hand it to Thalia, but she motions for you to keep it. Perhaps she wants to keep her hands free in case you run into an obstacle? <<else>> <<messy 1>> You don't see anything, and when trying to peer behind the bookshelf you accidentally dislodge several books. Thalia helps you put them back--hopefully they weren't in any kind of order before. <</if>> <<case 3>> <<set $C = true>> You get down on your hands and knees and peer into the vent. Thalia makes an approving noise, as if that's the hiding place //she// would have chosen. <<if _correct>> <<set $tool3 = true>> <<if $tries <= 1>> <<scoreTracker 2 2>> <<else>> <<scoreTracker 1 2>> <</if>> The torch is still there, thankfully. You try to hand it to Thalia, but she motions for you to keep it. Perhaps she wants to keep her hands free in case you run into an obstacle? <<else>> <<slow 1>> You stick your arm in the vent as far as it will go, but no amount of feeling around turns up anything but debris. After a minute you withdraw your arm and stand back up. <</if>> <</switch>> <<if $tool3>> [[See what else you can find.|night3GearRetrieve]] <<else>> [[Try another spot. |night3Loc3]] <</if>> </div>

<div aria-label="Thalia"> <<if visited() === 1>> <<set $tries = 0>> With tools firmly in hand, you and Mel set off into the depths of the building. Hopefully there might be something in here that can shed light on your doppelgänger problem, if she really is working with someone in the Order. The two of you find yourselves in a cramped corridor with several doors. There are nameplates on each, so they must be offices belonging to some of the higher-level Order members--surely one of these should have some information? <<else>> Which office will you check next? <</if>> <<set _score = 3 - $tries>> <<if !$searched1 && !$informationGot>> [[Check Brother Sholto's office.| night3Office1]] <</if>> <<if !$searched2 && !$informationGot>> [[Check Brother Jacobs's office.|night3Office2]] <</if>> <<if !$searched3 && !$informationGot>> [[Check Brother Pike's office. |night3Office3]] <</if>> <<if $informationGot>> <<link [[You've got a promising lead—move on before anyone can stumble in.|night3DuoDoor]]>><<scoreTracker _score 3>> <</link>> <</if>> </div>

<<conv 0>> <<set $tries += 1>> <<set $loc = "night3Office1">> You crack open the door to Brother Sholto's office and check to make sure it's empty, which it is. You slip in and Mel follows, leaving the door cracked so she can keep an eye on the hallway. Brother Sholto doesn't seem like the most organised man--his office is, frankly, a mess. Piles of paper are stacked everywhere, including in open drawers and on the floor. Could there be anything useful hidden in this mess? <<link [[Methodically comb through the piles.|night3Office1a]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Skim as much as you can.|night3Office1a]]>> <<messy 1>> <<conv 2>> <</link>>

<<set $searched1 = true>> <<if $convVar === 1>> You carefully sort through the stacks of papers, with Mel's help (much to her chagrin, as she'd clearly rather keep watch). There's some quite interesting family drama going on in Brother Sholto's life (something about an inheritance from India?) but unfortunately nothing relevant to the false Thalia. <<else>> You quickly rifle through the stacks of paper, dropping most of them to the floor once you've skimmed them. (Mel gives you a disapproving look from the door, but doesn't say anything.) There's some quite interesting family drama going on in Brother Sholto's life (something about an inheritance from India?) but unfortunately nothing relevant to the false Thalia. <</if>> You do, however, find a golden headband in one of the drawers under one of the innumerable stacks of paper. It was clearly once encrusted with pearls and is now missing half of them, which is a right shame! Clearly the current owner isn't taking good enough care of it, and-- Mel shoots you a look and you put the headband back where you found it. [[Go back to the corridor.|night3Investigate]]

<<conv 0>> <<set $loc = "night3Office2">> You slip into Brother Jacobs's office, leaving Mel at the door to keep watch. <<if $names2>>(Didn't Madame Celestine mention him earlier? Something about him having the ear of the Grandmaster?)<</if>> His desk is obnoxiously tidy, with only an empty inkpot and a blank sheet of paper left out. Maybe there's something in one of the drawers? They're locked, of course, but that's never an obstacle for you. <<link [[Pick the locks.|night3Office2a]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Use the pry bar.|night3Office2a]]>> <<messy 1>> <<conv 2>> <</link>>

<<set $searched2 = true>> <<set $informationGot = true>> <<if $convVar === 1>> You pull out your lockpicks and get to work, only //occasionally// getting distracted by the glances Mel is sending your way. Eventually you succeed at opening both drawers, despite your obstacles. <<else>> You gesture to Mel and she walks over, pulls out the pry bar, and gets to work on the drawers. After only a little splintering both are wide open. (It's really unfair how much more leverage she can get with that thing than you can.) <</if>> Inside you find stacks upon stacks of... newspapers? Which is quite strange, until you recognize some of the headlines. In addition to the article on the Order, there are the articles on Mr Murray's ceramics and the Ravenscroft bowl, several other articles on local crafts, assorted gossip articles, and most strangely a yellowed article about some of your early exploits as Lady Thalia. How curious! Mel, who has moved to look over your shoulder, turns on the torch to look at the newspapers further and you spread them out on the table to oblige her. Under the faint yellow torchlight, one fact jumps out at you--all of these articles have been written by the same person! "This Kitty King has an awfully similar series of interests to our thief," Mel remarks dryly. What exactly Brother Jacobs's connection is to Mrs (Miss?) King is unclear, as is her connection to the fake Thalia, but this newspaper collection is proof that there definitely is one. You should be able to follow up on this in the daytime. [[Go back to the corridor.|night3Investigate]]

<<set $loc = "night3Office3">> <<set $searched3 = true>> You slowly enter Brother Pike's office--the lights are off and the door is shut, but one can never be too careful. The room looks rather lived-in, with a coat on the back of the door and a men's shaving kit left out on the desk next to what looks like an open social planner. As Mel follows you in, she closes the door with a soft //click//--and at the sound <<link [[a figure stirs on the floor.|night3Spiritualist1]]>> <</link>>

<<conv 0>> The figure sits upright and reveals itself to be a man, presumably Brother Pike, who has been sleeping on the floor of the office. He squints at you and Mel in surprise as he rubs the sleep from his eyes. "Er, can I help you two?" he asks blearily. <<link [[Pretend to be spirits.|night3Spiritualist1a]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Jump him before he gathers his wits.|night3Spiritualist1a]]>> <<messy 1>> <<conv 2>> <</link>>

<<set $spir1 = true>> <<if $convVar === 1>> You make your voice go high and thin and wavery, yet simultaneously piercing. "We have come from the realm beyond, Brother Pike," you say. Mel gives you a startled glance. For a moment you wish you truly had psychic abilities, but you are forced to make do with attempting to use your eyebrows to silently communicate that she should play along. You're lucky the light is poor and Brother Pike is half-asleep. The man in question stares blearily at you. "Beyond...?" "Beyond the Veil, Brother Pike," you say. "We have business here, but you must not witness it. Close your eyes, and it will be as if naught had occurred." "Close them now, lest a curse fall on you!" Mel puts in. (Her "spirit" voice is not as good as yours, and you would probably have said "befall" rather than "fall on", but it's very solid for an amateur.) Apparently this, combined with the fact that you knew his name and were able to enter his office, is enough to convince Brother Pike of the veracity of your ghostly nature. He closes his eyes and curls up in a little ball, badly feigning sleep. <<else>> You make uneasy eye contact with Mel while the spiritualist stretches and begins to rise, at which point the two of you pounce. One messy minute later he's bound, gagged, and rolled into a corner of the office not visible from the doorway, where he should be firmly out of your hair for the rest of the night. <</if>> And with that, the two of you beat a hasty retreat. [[Hopefully Brother Pike didn't know anything useful about your mystery.|night3Investigate]]

You and Mel have enough information now that you could leave--and in fact you would, if you hadn't taken a wrong turn somewhere. Which is frankly embarrassing. You don't usually have this problem, but the headquarters of the Order are unusually maze-like. (You suspect that's why they chose this building for their operations in the first place.) You are quite frustrated and about to suggest to Mel that you break a window and jump out when you [[hear muffled voices coming from down the hall.|night3DuoDoor2]]

The voices are muffled enough that you can tell you're not in any immediate danger, so you put a finger to your lips and gesture for Mel to follow you towards the sound. You don't have to go far before you are stopped by a very ornate door, behind which is clearly the source of the conversation. You put your ear up to it to listen. Mel is clearly uncomfortable with this course of action, but she joins you at the door with one ear pressed up against it. She's facing you so you can see her expressions--is that wise? One of you ought to watch the hall, surely? But your thoughts are quickly set askew by what you hear inside. <<link [["... with the pleasantries, Brother Jacobs. I have questions for you about that reporter," a deep voice says. |night3InnerSanctum]]>> <</link>>

Mel's eyes go wide in surprise, an expression which is surely mirrored on your own face. What luck this is! The voice behind the door continues. "Her articles have brought us great fortune, but if the current path continues, they will also bring us great misery. Don't you agree?" "Of course, Grandmaster," says a second voice (reedier and more northern than the first). "But wouldn't you like to discuss this over a brandy?" And at that, the voices trail off and become indistinct. They must have moved away from this door, and you have to follow them! Of course, the door is locked with some asininely complicated system involving two locks (both with mystical symbols carved below them). One looks fragile and like it might be easily forced if pressure is put on the door, but the other is more complicated and needs to be picked. <<link [[You apply pressure while Mel picks the lock.|reposition1]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[You pick the lock while Mel applies pressure.|reposition1]]>> <<messy 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> You hand Mel the lockpicks and brace yourself against the door, ready to push the second she's opened her lock. She's clearly been practising--it takes her longer than it would you, but not by nearly as much as you'd expect, so it catches you a bit off guard when she finishes. Once you gather yourself and apply pressure to the door, the second lock makes a low grinding noise and then the door slowly opens. <<else>> You get to work on the first lock while Mel readies herself with the pry bar. Once you've picked it (remarkably quickly, you might add), she gets to work--some small bits of stone crumble off the edge while she does so, but she has it open in record time, so you'll worry about that later. <</if>> The two of you slip through the open door and into an opulent lounge. There's an open door leading off to the side--presumably where Brother Jacobs and the Grandmaster have gone. You can hear the small //thunk// of a bottle being set down on a hard surface. "... were you saying about Miss King?" says Brother Jacobs. There's an awkward pause, and then a sound of smacking lips. "Ah! Good stuff." You get the sense that he's delaying the answer on purpose. "About Miss King? I have to say I'm quite unhappy with her of late, especially given her demands on your time. Wouldn't you agree?" Brother Jacobs begins to splutter at this, but the Grandmaster cuts him off before he can form any words. "Now Reginald, don't be hasty!" he says jovially. "Let's sit down and discuss this like gentlemen, shall we?" And with that you hear the unmistakable sound of his footsteps heading your way. The two of you need to hide, now! <<link [[Retreat into the shadows.|reposition2]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Hide behind the sofa.|reposition2]]>> <<messy 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> It's the middle of the night and the room is poorly lit (presumably for the mystical ambiance), so you look around for any convenient shadowy areas you might hide in. There's one shadow next to a grandfather clock nearby, but the only other reasonably dark area is next to the curtains on the other side of the room. You're paralysed, wondering if you can possibly make it before the Grandmaster crosses the threshold--but then Mel is leaping across the room towards it, and that snaps you out of your daze. You crouch down next to the clock and Mel's cloak hem vanishes into the shadows right as the two men enter the room. <<else>> You gesticulate wildly at the very nice sofa (or is it more of a //chaise longue//?) and then fling yourself behind it. Luckily Mel gets the message and stuffs herself in beside you--it's a tight fit, and you're only hidden from certain angles, but it will have to do. <</if>> The Grandmaster strides by your hiding place, completely oblivious to your presence, and settles himself down on a chair. Brother Jacobs awkwardly settles himself on the couch, and bounces his leg nervously while he waits for the Grandmaster to strike up the conversation again. The Grandmaster (who you can now see is a tall man with greying hair) takes another swig of his brandy and then sets it down on the side table with a //clink//. He stares at Brother Jacobs. Wilting under his gaze, Jacobs frantically begins to speak. "I thought we were quite happy with Kitty's article? Recruitment is up two hundred percent, and since we raised the dues beforehand they're all paying double. And I'm doing no more than I agreed to for our end of the bargain! The little tricks she's been having me do aren't terribly difficult or expensive. I think it's quite a good deal, actually." He looks up and makes eye contact with the Grandmaster at this last statement, a show of confidence that is undercut by the fact that he's still bouncing his foot. The Grandmaster clearly does not like the challenge and stands up to loom over Brother Jacobs. "Oh, I'm quite pleased with the article," he booms. "But do you know what I call it? //A. Good. Start.//" He enunciates every word for emphasis. This power play is fascinating, but you realise with horror that from his current vantage point the Grandmaster could see you if he turns away from Brother Jacobs. What do you do? <<link [[Stay in place.|reposition3]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Throw something to draw his attention elsewhere.|reposition3]]>> <<messy 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> You hold your breath and stay as still as you possibly can. The Grandmaster is staring daggers down at Brother Jacob and the air is thick with tension, and you feel like the littlest thing could upset the balance and catch their attention--but nothing does. <<else>> You quickly pull a coin out of your pocket and lob it through the open doorway. It makes a //ping!// sound that briefly draws both men's attention in the opposite direction. There's one awkward stretched-out moment where you fear you've made a mistake, and then they get right back to their (rather tense) conversation. <</if>> Satisfied that he has Brother Jacobs cowed, the Grandmaster continues. "One article and she gets whatever support she wants for her silly little adventures? I don't think that's a good deal at all. Quite the opposite--I don't see why she shouldn't be doing more for //us// if she wants any help from the ancient and sacred Order of Poimandres. A whole series of articles sounds closer to fair, don't you think?" "But that's not what we agreed to! I don't think I can convince her to--" "Ah, Brother Jacobs, I'm sure you can be //quite// convincing if you put your mind to it. It's just a matter of applying the correct leverage. And she's given us plenty, hasn't she? I'm sure there's something you can use to remind her how important we are." He leans in to punctuate this. "There is that Clephan business she's so worked up about. I'm sure I could use it to twist her arm, if it's absolutely necessary." Jacobs's shoulders slump as he says this. The Grandmaster leans in to clap him on the shoulder (which causes Jacobs to flinch). "There you go! I knew you were resourceful." Then he pulls a watch out of his pocket and makes a show of checking the time. "Ah, I simply must be off--important mystical business, you know! Tomorrow's a new moon and all that. I trust you'll take care of the King matter shortly?" [[Then he leaves before Brother Jacobs can respond.|night3End]]

<<finesseCalc>> <<if $debugMode>> For playtesters: <<print "Current finesse is " + $totalFinesse + " out of " + $maxTotalFinesse >> <</if>> Brother Jacobs sits in silence for several more minutes and listlessly sips and his brandy. Then he stands up, tidies up the glasses, and leaves as well. Your head buzzes with everything you've learned tonight. Kitty and the Order are connected, and they've been helping her with something that's almost certainly the thefts! You don't know what the "Clephan business" is, but you're sure you can find out once you've had a good night's sleep. Now that the room is empty, Mel helps you get one of the large windows open and the two of you [[make a hasty departure.|interlude3Start]] /* To-do: figure out what to do with these, if anything*/

<<conv 0>> <<link [[slow|night3Spiritualist2a]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[messy|night3Spiritualist2a]]>> <<messy 1>> <<conv 2>> <</link>>

<<set $spir2 = true>> [[Get back to it.|$loc]]

<<conv 0>> <<link [[slow|night3Spiritualist3a]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[messy|night3Spiritualist3a]]>> <<messy 1>> <<conv 2>> <</link>>

<<set $spir3 = true>> [[$loc]] */

<<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $gwenConv = false>> <<set $oscarConv = false>> <<set $melConv = false>> <<set $marshallConv = false>>

<<include "interlude3Setup">> [[interlude3Start]]

<<include "interlude3Setup">> You wake up the morning after your little adventure at the Order feeling rather good about how things are progressing. It all comes back to that reporter somehow, you're certain of it. You just need to nose around at the paper and see if you can figure out exactly what she's doing. You take your breakfast while idly paging through the newspaper. You're not paying all too much attention, but upon reaching page three, you see something that makes your good mood [[vanish instantly|interlude3a]].

"EXCLUSIVE INTERVIEW WITH LADY THALIA", a headline trumpets. "Gentlewoman Thief's Secrets Revealed!" The by-line, of course, is Kitty King. You don't know what she's playing at with this fabricated interview, but whatever it is, you don't like it. (You are also faintly chagrined that you didn't merit the front page.) You read through the article. She claims to have received a letter from Lady Thalia indicating that, as Miss King was her foremost chronicler and so clearly a cut above the other journalists (nauseating stuff, this), she would like to offer Miss King a unique opportunity to find out more about her. In the hopes of acquiring valuable information to help to catch this dastardly thief (really!), Miss King agreed (or so she writes). She claims that when she went to the place appointed, someone sprang upon her and blindfolded her, and she was driven through the streets in a circuitous fashion until she quite lost her bearings. After more than an hour of this, she was finally brought inside a building, where she met with Lady Thalia. Here you stop skimming and read closely for a moment: //"Welcome, esteemed guest," she said, with perfect politesse, but I could tell that beneath those pleasant tones lay a will of steel. "I am so glad you could join me today. Now, I know you must be champing at the bit to remove that blindfold, but I must warn you that if you so much as move your hand in that direction, my associate will shoot you dead on the spot."// [[What rot.|interlude3b]]

She's not even writing good dialogue for you! You'd hate to have to recite this rubbish onstage. You start skimming again, looking for any concrete information she might have about you. For the first half of the article, there isn't much--it's largely overwrought stories about your supposed childhood. She's made you out to be a sort of Oliver Twist. (In fact you had a shabby but respectable working-class childhood; your mother died only a few years ago and your father is still alive, though you rarely speak to him.) The only remotely accurate information is that she says that you live in London (an easy conclusion, as the majority of your thefts took place in the vicinity) and describes you as a woman "past the first blush of her youth" (although you wouldn't say you're //much// past it, so frankly it's a little rude of her to say so). There are some scattered details of your thefts, but mostly nothing that couldn't have come from other newspaper accounts. A mention of using strange invented gadgets does raise your eyebrows, but that could be a case of invention to sell papers fortuitously coinciding with reality. But then-- //"One of my great advantages in the world of theft," the Lady said, "is the skills I have acquired from the theatre. Oh yes," she went on, evidently seeing my surprise, "I've had quite the successful career in that area. I was even involved in a well-regarded production of A Midsummer Night's Dream at the D------ Theatre some years ago..."// How in the hell did she know //that//? To have figured out the theatre connection at all, let alone to name a specific production you were in--you don't like it at all. Feeling a little sick, you [[put the paper down|interlude3Hub]].

<<if visited() == 1>> Well, regardless of any unpleasant articles, you must get on with things. You've got your usual appointment with Gwen, and you should talk to Oscar and Yorkie to see if you can learn any more about this Jacobs fellow. Furthermore, Miss Marshall has sent word that she has found some information on the false Thalia, so you should also meet with her. You should probably also speak to Mel about Miss King's article. You're hardly looking forward to that, however. At best she'll be furious with you for being so sloppy as to let Miss King find anything out, and at worst she'll probably think you really did kidnap the poor woman and force her to interview you at gunpoint. <<if $oscarConv && $gwenConv && $marshallConv>>You suppose you have no choice now, though--you've run out of other things to do.<<else>>Perhaps that can wait.<</if>> <<else>> You consider what to do next. <</if>> <<if !$gwenConv>>[[Meet up with Gwen.|interlude3Gwen1]] <</if>> <<if !$oscarConv>>[[Talk to Oscar and Yorkie.|interlude3Oscar1]] <</if>> <<if !$marshallConv>>[[Visit Miss Marshall.|interlude3Marshall1]] <</if>> <<if $oscarConv && $gwenConv && $marshallConv>>[[Talk to Mel; you've put it off long enough.|interlude3Mel1]]<</if>>

<<set $gwenConv = true>> You go to see Gwen. She makes tea for the both of you. A certain tension is hanging in the air, but you both endeavour not to acknowledge it. Under other circumstances, you'd relish the chance to regale her with a colourful account of the séance, but you find your heart isn't in it today. You run through your experience at the Order quickly and with only the most pertinent details. [[Gwen sips her tea thoughtfully.|interlude3Gwen2]]

<<if $finesse === $maxFinesse>> "Well done," she says. "From your account, it sounds like there isn't anything in particular that I think you should have done differently. I give it $finesse points out of $maxFinesse." You know she'll never miss a chance to criticise you, so this is high praise. <<elseif $finesse >= ($maxFinesse * 0.7)>> "You did well enough," she says. "There's certainly room for improvement, but nothing too egregious. I would give it $finesse points out of $maxFinesse." You suppose that will have to do for now. <<else>> "It sounds like you made rather a hash of things," she says. "I would give it $finesse points out of $maxFinesse. Are you sure this is a good idea, what you're doing?" You're not, of course, but you //must// find that ersatz Thalia, whatever it takes. You're not sure Gwen would be sympathetic to that reasoning, however. <</if>> <<switch $gwenComplaint>> <<case "messy">> "I do worry about the amount of evidence you left behind," she goes on. "Perhaps try breaking fewer things next time." <<case "slow">> "I do worry about how much time you took," she goes on. "Perhaps you shouldn't be so fussy next time." <<case "">> "You struck an adequate balance between speed and care, which is always nice to see," she goes on. "Thank you for not giving me headaches on that score, at least." <</switch>> She's going through all the correct motions, but you can't help feeling that she's a little bit distant, and not really enjoying this process the way she used to do. <<link [['"Are you acting oddly around me because you think I kidnapped a reporter?"'|interlude3Gwen3]]>><<conv 1>><<relation "GwenPoints" 1 3>><</link>> <<link [['"Do you ever feel like this is becoming a bit repetitive?"'|interlude3Gwen3]]>><<conv 2>><<relation "GwenPoints" 2 3>><</link>> <<link [['"Do you want to talk about that newspaper article?"'|interlude3Gwen3]]>><<conv 3>><<relation "GwenPoints" 3 3>><</link>>

<<switch $convVar>> <<case 1>> Gwen snorts. "Of course not. The whole thing was obviously nonsense. You're not even really an orphan. Honestly, I'm a little hurt that you think I'd believe it, knowing as much about you as I do." You apologise and explain that the article just has you a bit on edge. <<case 2>> "Sometimes," Gwen admits. "Especially now that we're not actually working together, whether on theatre or crime. But--well, I do think you need someone who really knows you, and I'm not sure anyone else fits that bill." You're not sure what to say to this, so you change the subject entirely and ask her about the newspaper article. <<case 3>> Gwen pours herself more tea. "I thought //you// wouldn't want to talk about it, but since you're asking--yes, it has been rather eating at me." You ask her to elaborate. <</switch>> "Well, it's //mostly// rubbish, but what bothers me is--I do remember that production of //Midsummer// you were in at the D------. I built the forest set, and all. How did she know about that?" You shrug helplessly. "What does your Miss Williams think about it?" Gwen asks suddenly. "Has she read it?" <<link [['"That\'s hardly any of your business."'|interlude3Gwen4]]>><<conv 1>><<relation "GwenPoints" 1 3>><</link>> <<link [['"She\'s not \'my\' Miss Williams."'|interlude3Gwen4]]>><<conv 2>><<relation "GwenPoints" 2 3>><</link>> <<link [['"I, er, don\'t know."'|interlude3Gwen4]]>><<conv 3>><<relation "GwenPoints" 3 3>><</link>>

<<switch $convVar>> <<case 1>> "There's no need to get shirty with me," Gwen says mildly, setting her teacup on its saucer. "I was just asking as a concerned friend." You apologise. This whole business has really fouled your mood. "If it had caused any awkwardness between you, I would of course want to offer help, or at least a sympathetic ear," Gwen goes on. You admit that you have no idea how Mel reacted, since you have not in fact seen her yet today. <<case 2>> "You could have fooled me," Gwen says, setting her teacup on its saucer. You ask what that's supposed to mean. "Well, you seem rather attached to her. But that's beside the point. Did she read the article?" You admit that you have no idea. <<case 3>> Gwen raises an eyebrow. "You didn't ask? It seems like the first thing one would want to discuss with one's fellow detective or close personal friend or... whatever you'd consider her to be to you." You admit you have not, in fact, seen her yet today. <</switch>> "Ah," says Gwen. "You're avoiding her." "I am not," you protest, but it sounds weak even to you. "It's what you always do when things become awkward," Gwen says. "That's probably why things didn't work out between us. As soon as any problem arises, you skulk off to hide in a dark corner like an injured cat." You stare down at your teacup. "I'm sure you've attributed the failure of our romance to at least three or four different things by now." "Maybe there were a lot of reasons it failed," she says. "Maybe you should think about that before you try it again with someone else." "I think I should be going," you say firmly. "All right," says Gwen. [[She doesn't see you to the door.|interlude3Hub]]

<<set $oscarConv = true>> You meet with Oscar and Yorkie in the sitting room again. "How was your adventure at the Order?" Oscar says. From anyone else you'd assume this wording was meant to be somewhat patronising, but Oscar is a painfully earnest sort. "Please tell me you didn't break anything or make any kind of noticeable mess," Yorkie adds. <<link [['"Well... not many things."'|interlude3Oscar2]]>><<conv 1>><<relation "OscarPoints" 1 3>><</link>> <<link [['"It was quite enlightening."'|interlude3Oscar2]]>><<conv 2>><<relation "OscarPoints" 3 3>><</link>> <<link [['"Don\'t worry, I didn\'t ruin your plans."'|interlude3Oscar2]]>><<conv 3>><<relation "OscarPoints" 2 3>><</link>>

<<switch $convVar>> <<case 1>> "I suppose that's the best one can hope for," Yorkie says forlornly. Oscar puts a hand on his arm reassuringly. "I'm certain she was very professional. She has much more experience than you or I do, in any case." <<case 2>> Oscar leans forward. "Oh? Do tell!" "Don't think I didn't notice you avoiding the question," Yorkie mutters. <<case 3>> "I don't see how you could possibly know that," Yorkie says. Oscar puts a hand on his arm reassuringly. "I'm sure her professional instincts are sound." Sometimes you wish Oscar hadn't decided to take up with someone so nervous about everything. Then again, Oscar is never nervous about anything even when he should be, so you suppose they must balance each other out. <</switch>> <<link [['"What do you know about the Order\'s connection to the Post?"'|interlude3Oscar3]]>><<conv 1>><</link>> <<link [['"What do you know about Brother Jacobs?"'|interlude3Oscar3]]>><<conv 2>><</link>> <<link [['"Why did you decide to get involved with the Order?"'|interlude3Oscar3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Connection?" Oscar repeats, tilting his head. "I know there was an article that brought a lot of interest to them, and I'm sure the Grandmaster or someone else in the upper echelons either proposed that or at least worked closely with the author, but I'm not aware of anything more than that." "I believe there may have been more than one article?" Yorkie says. "Or perhaps talk of that happening? The reporter came around a few times shortly after we first joined." <<case 2>> "Personally? Not much," Oscar says. "The long-time Order members seem to see him as part of our cohort of new recruits, but actually I think he's been with the Order a little longer, since before that newspaper article came out that got so many people's attention." "In any case, he doesn't mingle with the riffraff very much," Yorkie puts in. <<case 3>> "I told you," says Oscar, "we're trying to steal their Sacred Treasures." Given your experiences at the Order, you suspect the Sacred Treasures might just be gilt and paste, but you decide not to comment on this, and instead explain that you would like to know how they found out about it. "From the newspaper article," says Yorkie, "same as all the other recent recruits. Except Brother Jacobs, that is. He's been there a little longer, I believe." <</switch>> You thank them for this information, paltry though it is, and start to stand up. "I say," says Oscar suddenly, "speaking of newspaper articles, did you see the one this morning? 'Interview with Lady Thalia'? Rather amusing, I thought." <<link [['"It was poorly written melodrama."'|interlude3Oscar4]]>><<conv 1>><<relation "OscarPoints" 1 3>><</link>> <<link [['"That journalist knows too much about me."'|interlude3Oscar4]]>><<conv 2>><<relation "OscarPoints" 2 3>><</link>> <<link '"It //was// rather amusing, actually."' 'interlude3Oscar4'>><<conv 3>><<relation "OscarPoints" 3 3>><</link>>

<<switch $convVar>> <<case 1>> "I quite agree," says Yorkie. "It was overwrought. Although the bit about you living in the gutters and eating old shoe leather, or whatever it was, was rather diverting in a way." "But that's what I meant!" Oscar says. "It's such a wild flight of fancy one can't help but laugh." Unfortunately, your desire to be petty aside, there are bigger problems with the article. <<case 2>> "Does she?" says Oscar. "I know all that nonsense about your tragic youthful years isn't true." "Ah, but it did mention the theatre, didn't it?" Yorkie says. "And named a particular production of... //A Midsummer Night's Dream//, was it? Was that a production you performed in?" You nod glumly. <<case 3>> "The melodrama of it is impossible to take seriously," Yorkie says. "That business about you living in the gutters and eating shoe leather, or whatever it was. I wonder if anyone believes it?" "The public is very gullible," Oscar says sagely--as if he hadn't himself been arguing that not all spiritualists were frauds just a few days ago. <</switch>> "Most of the details are a complete fabrication," you say, "but the fact that she knows anything at all is quite concerning." On an impulse, you add, "If she unmasks me, I promise I'll say you knew nothing about it." Oscar stands up and pats you awkwardly on the shoulder. "I'm sure it won't come to that," he says. He's not very good at being reassuring, but you thank him anyway and [[go on with your day.|interlude3Hub]]

<<set $marshallConv = true>> You meet Miss Marshall at her flat and ask what she's got for you. "I looked into the recent thefts attributed to 'Lady Thalia'," she says, "and I noticed that the majority of them followed articles running in the //Post// that in some way discussed the object or the institution that housed it. Moreover, when I looked at the by-lines on the articles, one name came up more frequently than the others--a Katherynne 'Kitty' King." <<link [['"Is that all? I already know of her involvement."'|interlude3Marshall2]]>><<conv 1>><</link>> <<link [['"Were you able to discover anything else about her?"'|interlude3Marshall2]]>><<conv 2>><</link>> <<link [['"Rather foolish of her to attach her name to things she was going to steal, or help someone else steal."'|interlude3Marshall2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Of course that's not all," Miss Marshall says. "Do have a bit of patience, please." You ask what else she found. <<case 2>> "A few more things, yes. Although what's nearly as interesting is what I //didn't// discover about her." You ask what she means by that. "I'll come to that in time," she says. "Be patient--there is an order to these things, you know." Appropriately chastened, you nod and wait for her to continue. <<case 3>> "I'm inclined to agree," Miss Marshall says, "although the police have yet to notice, as far as I'm aware, so perhaps she was correct not to be concerned about that." You ask whether she found anything else about Miss King. <</switch>> "She's been working at the //Post// for the last five years, initially in the society pages," Miss Marshall says. "Before any of Lady Thalia's really spectacular thefts took place, when the thief was just a sort of rumour among society ladies, Miss King wrote an article about her, which seems to have been her ticket to more interesting material and better article placements. Of course, once Thalia retired, it seems that didn't last." Well, that certainly explains her interest in engineering more thefts. "I did note, however," Miss Marshall goes on, "that prior to five years ago there is no record of a 'Katherynne King' or 'Kitty King' fitting her description at all." <<link [['"So it\'s a false name?"'|interlude3Marshall3]]>><<conv 1>><</link>> <<link [['"Well, sometimes a woman wants to reinvent herself."'|interlude3Marshall3]]>><<conv 2>><</link>> <<link [['"Who do you think she is really?"'|interlude3Marshall3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Almost certainly," she says. "Though one might guess that from the spelling alone. K-A-T-H-E-R-Y-N-N-E--have you ever seen the like?" She waves one finger in the air for emphasis, as if she's spelling out the word on an invisible chalkboard. You admit that you have not ever seen anything of the sort. "Granted, I don't think who she was before that or what name her mother gave her matters terribly much. I don't think she is a criminal mastermind trying to cover up past misdeeds, simply someone trying to distance herself from a humble background. But looking at her career and the identity she's created for herself does tell us something about her motivations." <<case 2>> "I suppose you'd know," Miss Marshall says dryly. "Yes, I think she is quite like you--someone distancing herself from a humble background, rather than trying to cover up some more dire secret. But looking at her career and the identity she's created for herself does tell us something about her motivations." <<case 3>> "Oh, no one of consequence, I suspect," she says. "I don't think she's a lifetime criminal trying to cover up a nefarious past, or anything of that sort. I think she's merely trying to distance herself from a humble background, not unlike yourself. But looking at her career and the identity she's created for herself does tell us something about her motivations." <</switch>> <<link [['"She\'s looking for riches?"'|interlude3Marshall4]]>><<conv 1>><</link>> <<link [['"She\'s looking for fame?"'|interlude3Marshall4]]>><<conv 2>><</link>> <<link [['"She wants to be a different and more interesting person?"'|interlude3Marshall4]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "That's part of it, I'm sure," Miss Marshall says. "Anyone who has struggled to make ends meet dreams of security, at least. I don't think that's the entirety of it, however." You ask what else she thinks Miss King is after. <<case 2>> "Unquestionably," Miss Marshall says. "She can't abide an assignment that garners a lower readership--and gives her less opportunity to make herself a prominent figure in her reportage." You think of the "interview" and wince a little. <<case 3>> "Yes," says Miss Marshall, "you have hit the nail on the head precisely." You feel a bit proud of yourself for having made a deduction that meets with Miss Marshall's approval, and then feel faintly foolish for being proud. <</switch>> "Whatever her involvement in this may be, she clearly wishes for attention--indeed, adulation," Miss Marshall says. "I believe this morning's article shows that she is ascending toward some grand climax, possibly involving unmasking you. Be careful. I'll let you know if I find anything more." [[You thank her and leave.|interlude3Hub]]

<<set $melConv = true>> You slink into your office hours later than your usual time. It's a good thing you have no clients to meet with today--you're still on retainer for Mr Murray, but he seems content to let you carry out your investigation without too much interference. You pass through the waiting area into the back and shut the door behind you. Mel is sitting stiffly at her desk, on which the offending paper lies. "Good of you to finally show up," she says. <<link [['"Yes, well, I was out rather late last night."'|interlude3Mel2]]>><<conv 1>><</link>> <<link [['"Is something bothering you?"'|interlude3Mel2]]>><<conv 2>><</link>> <<link [['"Don\'t tell me you believe a word of that article."'|interlude3Mel2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Do me the favour of assuming I'm not stupid," she says. "I don't for a moment believe that you just woke up." You open your mouth to say something, but she goes on. "That's the crux of the problem, really," she says. "I want to trust you, but you're so... slippery. And nothing's ever serious with you, so I can never be sure what you actually //mean// and what's some sort of elaborate joke. Especially when it comes to-- er, well, never mind." <<case 2>> "Oh, don't pretend to be stupid," she says. "This is exactly the problem with you. You're so... slippery. And nothing's ever serious with you, so I can never be sure what you actually //mean// and what's some sort of elaborate joke. Especially when it comes to-- er, well, never mind." <<case 3>> Mel sighs. "I don't know what to believe, honestly," she says. "I //want// to trust you, but you're so... slippery. And nothing's ever serious with you, so I can never be sure what you actually //mean// and what's some sort of elaborate joke. Especially when it comes to-- er, well, never mind." <</switch>> <<link [['"No, do tell—when it comes to what?"'|interlude3Mel3]]>><<conv 1>><</link>> <<link [['"Maybe if you weren\'t so prone to assuming the worst..."'|interlude3Mel3]]>><<conv 2>><</link>> <<link [['"Even so, I hope you don\'t think I would kidnap a reporter."'|interlude3Mel3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Well--to //me//," she says, going a bit pink as she says this. "I can't tell what you really think of me. You gave up a much more exciting lifestyle to work with me, but some days I'm not even sure whether you-- whether you enjoy my company. I often think you'd be happier if you were still Lady Thalia, so with all that's been going on, well, I can't help wondering." Her voice quavers a little. <<case 2>> Mel puts her head in her hand. "I'm sorry," she says. "It's not that I think you're a-- a fundamentally untrustworthy person or anything of that sort. It's just that I can never really tell what you're thinking or feeling. You gave up a much more exciting lifestyle to work with me, but some days I'm not even sure whether you-- whether you enjoy my company. I often think you'd be happier if you were still Lady Thalia, so with all that's been going on, well, I can't help wondering?" Her voice quavers a little. <<case 3>> Mel looks down at her desk. "No, I don't really think you would," she says. "But that doesn't mean you might not be... collaborating in some way. Some of the details about you were accurate, so I thought perhaps you might be in communication with her." You demand to know what you have ever done to give her reason to think this. "It's nothing you've //done//, exactly," she says, still not looking at you. "Only I often think you'd be happier if you were still Lady Thalia, so I-- I can't help wondering?" Her voice quavers a little. <</switch>> <<link [['"I do enjoy working with you."'|interlude3Mel4]]>><<conv 1>><</link>> <<link [['"You\'re being quite unkind whether you intend to or not."'|interlude3Mel4]]>><<conv 2>><</link>> <<link [['"Well, you should stop wondering."'|interlude3Mel4]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Yes, well, of course you'd say that," Mel says miserably. "At least at this particular time. I just-- I always wonder if you're //managing// me the way you do when you're investigating and the way you used to do to your marks. Shepherding me towards some inscrutable goal of your own." Her voice is noticeably cracking now, and you think she might be about to cry. (If you were manipulating her, you'd have achieved whatever your goal was long before now, but saying so doesn't seem like a good idea.) <<case 2>> "I know," she says miserably. "I'm sorry. When I say these things out loud I realise how terrible they sound, but I really don't think you're an incurable criminal, I just-- I can't figure out why you're here. What you want from me." Her voice is noticeably cracking now, and you think she might be about to cry. (If you're entirely honest with yourself, that's probably because you haven't been very certain of what you want, either. Yes, you've been flirting, but you do tend to pull away whenever things start to get too serious.) <<case 3>> "I do try," she says, "but still, I just-- I can't figure you out. I don't know why you agreed to this or what you want from me!" Her voice is noticeably cracking now, and you think she might be about to cry. (If you're entirely honest with yourself, that's probably because you haven't been very certain of what you want, either. Yes, you've been flirting, but you do tend to pull away whenever things start to get too serious.) <</switch>> Words alone seem not to be fully getting through to her, and she's clearly hurting. A very stupid and unhelpful alternative occurs to you, and once it does you can't think of doing anything else: [[Kiss her.|interlude3Mel5]]

She looks like she hasn't slept properly in several days, and some of her hair has escaped its bun and is falling in her face, and there's still a yellowing bruise around her left eye, and of course she's also currently angry with you. Nevertheless, some part of you is still convinced that she's the most attractive woman you've ever seen, simply because she's Mel. (For someone whose dalliances are usually short-term and entirely based on appearance, it's an odd feeling.) You lean across the desk, cupping her face in one hand, and kiss her, very gently, on the mouth. She stiffens for a moment, and you think she might pull away, but then she relaxes and leans forward a little, and reaches out to take your free hand in hers. Warmth floods through you, and visions of what else you might do begin to fill your head--but now isn't the time for any of that. Reluctantly, you break the kiss and stand up. (You're not sure how long you could have maintained that position with the desk between you, anyway. It was a bit uncomfortable.) "Ah," says Mel faintly. "So you did mean it, after all." [['"I suppose I did."'|interlude3Mel6]]

Mel laughs a little at this, even as tears begin to run down her face. "You suppose? You weren't sure?" "I was perhaps, er, ambivalent," you admit. "I'm not actually //good// at this, you know?" Your voice goes a bit higher in the middle there than you meant it to. You take a deep breath to attempt to steady yourself and go on. "Most of my //affaires du coeur// have been short-lived by design, and when I tried one that wasn't, it didn't end particularly well!" You wave one hand (the one not currently occupied) around for emphasis. "Well, I've never had any," Mel says, and tries to wipe her eyes with her free hand. "And I suppose I was also... trying not to notice, or not to believe you were serious? I just-- well, the whole idea of romance seems very complicated, so I've spent most of my life avoiding thinking about it. Or making excuses not to." She sighs, but no more tears are coming. "I suppose neither of us really knows what she's doing, then," you say. "But we can do our best to make a go of it?" And to emphasise, you walk around the desk and grab her other hand with yours as well. "I-- I think I'd like that," Mel says, and finally begins to smile. "But, er, perhaps we should deal with this fake Thalia business first?" "That does seem reasonable," you admit. [[But you don't let go.|interlude3End]]

<<actEnd>> Well. That was exciting, and rather terrifying, and you really have to resist the urge to run and hide under the nearest sofa. But Mel is right--you have to focus on finding the false Thalia. You can figure out the specifics of what is going on between the two of you later. /*<<if $debugMode>> <</if>>*/ [[In the meantime, you've got a newspaper office to visit.|day4Start]]

<<set $friendlyConv = false>> <<set $directConv = false>> <<set $leadingConv = false>> <<set $explored = false>> <<set $articles = 0>> <<set $strikeThreshold = 2>> <<set $caseInfo = false>> <<set $mapInfo = false>> <<set $distinguishing = false>> <<set $comboInfo = false>>

[[day4Start]]

<<include "day4Setup">> <center>@@font-size:x-large;ACT IV@@</center> All right. Here you are. Investigating Kitty King and //not// getting distracted by anything in your personal life. The obvious thing to do now is to investigate the //Post//, so you telephone them and tell them that you, the wealthy Mrs Knight, are interested in making a donation to the paper. They are, of course, only too happy to see you. You also let them know that you will be bringing along your personal secretary. Now you'll just have to let Mel know you've introduced her thus. [[Hopefully she won't mind.|day4Hub]]

<<if visited() == 1>> You arrive at the offices of the //Post//, dressed in your finest daytime outfit. Mel, dressed much more typically, follows, holding a bag with some odds and ends that you thought might be useful. (She expressed only minor annoyance about her assigned role, which seems like a good sign.) A man with rolled-up sleeves and ink-stained hands greets you when you arrive. "Michael Ford," he says. "Editor of this little outfit, and may I say, we are so honoured that you would consider..." He goes on in this obsequious vein for a bit, but you stop paying attention. <</if>> You look around the office and consider what you might do next. (You are very aware of Mel's presence by your side, although you are trying not to let yourself be distracted by this.) <<if $directConv>> The typesetter has gone back to his Linotype machine. <<else>> There's a man hanging around who doesn't seem to be occupied with anything in particular. Perhaps you could [[talk to him?|directConv1Day4]] <</if>> <<if $friendlyConv>> Mr Ford has returned to his desk and seems to be busy with something, or at least pretending to be. <<else>> [[Mr Ford is hovering nearby, clearly eager to be of some assistance.|friendlyConv1Day4]] <</if>> <<if $directConv && $friendlyConv>> <<if $leadingConv>> You don't think you're likely to get anything more out of Kitty. <<else>> A small blonde woman has come into the office. [[Could this be Kitty?|leadingConv1Day4]] <</if>> <</if>> <<if $directConv && $leadingConv && $friendlyConv>> [[You suspect there's nothing more to do here.|endOfDay4]] <</if>>

/*direct*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $directConv = true>> You approach the man, introduce yourself, and ask what he does here. "Edward Collier," he says. "I work on the Linotype machines downstairs. I was just up here to discuss the exhibition." <<link '"That sounds like fascinating work!" (F)' 'directConv2Day4'>><<conv 1>><<strikes>><</link>> <<link '"Tell me more about this exhibition." (D)' 'directConv2Day4'>><<conv 2>><</link>> <<link '"Is that so?" (L)' 'directConv2Day4'>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> Mr Collier shrugs. "I enjoy it well enough," he says, "but I'm sure the details wouldn't be of interest to a lady like yourself." He's wrong about that, of course--you make a bit of a practice of collecting odd bits of information, as one never knows what might be useful, and that's just as true now that you're a detective as it was when you were a thief. But it doesn't seem worthwhile to try to argue, so you instead ask him about the exhibition. "Something about the art of type and printing," he says, "only because the fools who work up here don't know anything about either thing, they asked me to suggest something for it." <<case 2>> "The //Post// is sponsoring a part of the Arts and Crafts Exhibition Society's latest show in order to demonstrate the art of type and printing," he says, "and since the fools who work up here don't bother themselves to learn anything about type or printing, they asked me to suggest something for it." <<case 3>> He narrows his eyes. "What are you getting at? If I were lying to make myself seem more important, I think I could do better than that." You hastily change the subject and ask him about the exhibition. Something about the art of type and printing," he says, "only because the fools who work up here don't know anything about either thing, they asked me to suggest something for it." <</switch>> <<link '"What an honor that must be!" (F)' 'directConv3Day4'>><<conv 1>><<strikes>><</link>> <<link '"What did you suggest?" (D)' 'directConv3Day4'>><<conv 2>><</link>> <<link '"Is it interesting to be involved with it?" (L)' 'directConv3Day4'>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Mm, I suppose," says Mr Collier, seeming unimpressed by your flattery. "Although I don't for a moment think it's going to get me an extra shilling or any more respect to have spent a few minutes suggesting that they display a case of type commissioned by the famous editor James Clephan." <<case 2>> "A case of type commissioned by the famous editor James Clephan," Mr Collier says, not bothering to explain who that is. "It's of some historical interest, but mostly it's just a nice set." <<case 3>> Mr Collier snorts derisively. "It was a few minutes' work, no more. I suggested a case of type commissioned by the famous editor James Clephan. It's of some historical interest, but mostly it's just a nice set." <</switch>> You nod knowingly, as if this meant very much to you. "It's funny," he adds, "that reporter, Miss King, was asking me this morning what I was going to recommend, but I don't think she has anything to do with the exhibition at all." <<link '"Are you and she friends?" (F)' 'directConv4Day4'>><<conv 1>><<strikes>><</link>> <<link '"Did you tell her?" (D)' 'directConv4Day4'>><<conv 2>><</link>> <<link '"I wonder why she would be interested?" (L)' 'directConv4Day4'>><<conv 3>><<strikes>><</link>>

<<if $strikes >= $strikeThreshold>> Mr Collier makes a big show of looking at his watch. "Look, I really should be getting back to work," he says. "I can't just hang about here all day." It seems you've irritated him enough that he doesn't want to talk to you anymore. There doesn't seem to be anything you can do about this, so you let him go. <<else>> <<switch $convVar>> <<case 1>> "Hardly," says Mr Collier, with a humourless laugh. "We on the printing floor are normally beneath her notice, and while she might have changed her mind as soon as I was asked to do something she thinks is important, I'm not going to forget that." <<case 2>> "Absolutely not," Mr Collier says. "We on the printing floor are normally beneath her notice, and while she might have changed her mind as soon as I was asked to do something she thinks is important, I'm not going to forget that." <<case 3>> "Well, I wouldn't know, would I?" Mr Collier says irritably. "I suppose she's probably taking a sudden interest in a lowly printing-floor worker now that I'm involved in something she thinks is important. Although...." He pauses for a moment, apparently considering whether he should go on. <</switch>> Mr Collier glances briefly around the room, then leans forward a little and lowers his voice. "Honestly, I don't trust her not to tamper with the case somehow--to try to make us look bad because the exhibition isn't about her kind of work, or some such. It might sound a bit mad, but I've put a lock on the case." You assure him that a bit of caution never hurts. "She could probably guess the combination if she tried," he says, "but I don't think she cares to do research on anything that won't contribute to her own self-aggrandisement. Though I probably shouldn't be troubling you with our little dramas," he adds. "I should get back to work, actually." You thank him for his time and he leaves the newsroom, presumably to go back downstairs. <<set $comboInfo = true>> <</if>> [[You look around the office and think about your next move.|day4Hub]].

/*Friendly*/ <<set $strikes = 0>> <<set $convVar = 0>> <<set $friendlyConv = true>> You turn to Mr Ford, intending to say something to him, but before you can, he's already talking. "Mrs Knight, if I can help you with anything, or answer any questions, you have only to say the word," he says. (You were trying to, but pointing this out does not seem like it would go over well.) <<link [["I'm very impressed by the quality of this paper." (F)|friendlyConv2Day4]]>><<conv 1>><</link>> <<link [["Tell me about your reporters." (D)|friendlyConv2Day4]]>><<conv 2>><<strikes>><</link>> <<link [["What can you tell me about the paper?" (L)|friendlyConv2Day4]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "It's very kind of you to say so, Mrs Knight!" he says. "Of course, we are nothing particularly special, but we do our best. Right now we are contributing some exhibits to the latest Arts and Crafts Exhibition to celebrate the art of the newspaper--a very underrated art, though I say it who shouldn't. You should come see it!" <<case 2>> "Of course our reporters are only of the highest calibre--I select them myself," he says. He goes on to run down an extensive list of notable reporters they have had. Miss King is not among their number, though her articles on Lady Thalia must bring in a certain number of readers. Hoping to elicit something of this nature, you ask whether the paper has anything interesting going on lately. "Well, we are contributing some exhibits to the latest Arts and Crafts Exhibition to celebrate the art of the newspaper. You should come see it!" <<case 3>> Mr Ford launches into a lengthy disquisition on the paper's history (decades' worth of it!) and everyone who has ever been involved in it. None of it is very useful. After an awkwardly long time, you manage to slip a word in edgewise and ask what the paper is up to //these// days. "Well, we are contributing some exhibits to the latest Arts and Crafts Exhibition to celebrate the art of the newspaper. You should come see it!" <</switch>> This isn't exactly what you were looking for, but it does seem like something the false Thalia might be interested in. Moreover, you've noticed that Mel seems to have spotted something on Ford's desk; she's taken out a pencil and paper and is scribbling notes. You should probably try to buy her some time so that Ford doesn't notice what she's up to. <<link [["How fascinating! I would love to see it." (F)|friendlyConv3Day4]]>><<conv 1>><</link>> <<link [["What are you contributing to the exhibition?"(D)|friendlyConv3Day4]]>><<conv 2>><<strikes>><</link>> <<link [["Tell me more about the exhibition." (L)|friendlyConv3Day4]]>><<conv 3>><<strikes>><</link>>

<<switch $convVar>> <<case 1>> "Good, good! I think I speak for all of us here when I say we would be so pleased to have you there. The exhibition is at the New Gallery, and it opens--goodness, is it the ninth of February already?" You confirm that this is so. "In that case," he says, "it opens tomorrow! You could see our grand opening." <<case 2>> "Oh, I'm not entirely sure of the details--my domain is more the contents than the appearance, so I've asked for contributions from the relevant departments. Mostly illustrations and nicely laid-out pages, I believe, although there's also a case of type commissioned by the well-known editor James Clephan. Of course, we can only put it on display because we don't use it anymore--we're all Linotype these days, as any modern paper should be." He starts in on praising the efficiency of hot metal typesetting, but you manage to interrupt to ask him when the exhibition will be. "It's--goodness, is it the ninth of February already? Tomorrow is our grand opening! It's at the New Gallery, if you would like to come see it." <<case 3>> Mr Ford begins trying to impress upon you the long history and illustrious nature of the Arts and Crafts Society (which runs the exhibitions), making certain to emphasise how honoured he is that they would consider including his little paper. "Of course, we did offer them some small amount of money in consideration of their important work," he goes on, "but I never thought..." This is not the kind of information you need, so you once again cease to listen to him, waiting for an opportunity to change the subject. Finally, he pauses to breathe, and you promise to come to the exhibition in the hopes that this might get him on a more useful track. "Wonderful!" he says. "It's at the New Gallery, and it opens tomorrow." <</switch>> You glance at Mel; she's still scribbling. While the conversation feels like it's run its course, you probably need to give her a few more minutes if you can. <<link [["You've been so very helpful, Mr Ford. I greatly appreciate it." (F)|friendlyConv4Day4]]>><<conv 1>><</link>> <<link [["I'm also interested in knowing more about one of your reporters, a Kitty King?" (D)|friendlyConv4Day4]]>><<conv 2>><<strikes>><</link>> <<link [["Is there anything else interesting going on around here lately?" (L)|friendlyConv4Day4]]>><<conv 3>><<strikes>><</link>>

<<if $strikes === $strikeThreshold>> "I'm terribly sorry, but I must get back to work," says Ford. It seems he may have noticed that you haven't really been listening to his monologues. He turns towards his desk; Mel steps away from it and hastily shoves her pencil and paper back in her bag, looking disappointed. You take her aside briefly to ask about this. "There was some information on the exhibition on his desk," she says, "including a map of how to get to the //Post//'s section. I thought it might be useful later, but I didn't have time to copy much down, and I thought he'd notice if I just took it." You let her know that you appreciate her efforts regardless. <<else>> <<set $mapInfo = true>> <<switch $convVar>> <<case 1>> "Anything for a person who recognises the vital importance of journalism," he says. "In fact, if you're interested, I can get you admission to the exhibition for free! Although I probably can't arrange it for tomorrow." You assure him that that won't be necessary. (You have your own methods of getting into galleries for free, after all.) <<case 2>> Mr Ford frowns. "The woman who writes for the society pages? Why?" You start to answer, but he appears to put two and two together himself and keeps talking. "Oh, I suppose she did have articles about that lady thief lately. Honestly, it's not of much interest to //me// if some society lady wants to steal trinkets from her friends, but readers do seem to like those." He obviously hasn't been reading the articles too closely if he thinks that's all that you've been up to--or even all that your copy-cat has been up to--but arguing this point seems like folly, so you bite your tongue. <<case 3>> "Nothing else out of the ordinary besides the exhibition, but of course the day-to-day business of journalism is never dull!" He goes on for a bit about what his top reporters--all men, you note--are doing; he does not say anything about Miss King, although one would think a reporter alleging she was kidnapped by a famous criminal would rate a mention. Perhaps he doesn't read her articles very closely. <</switch>> Out of the corner of your eye, you see Mel finish writing and put the paper and pencil back into her bag, so you're now free of the need to think of any way to keep Mr Ford talking. "I'm afraid I should be getting back to work," he says. You make noises of understanding and take this opportunity to take Mel aside and ask her about what she was up to. "There was some information on the exhibition on his desk," she says, "including a map of how to get to the //Post//'s section. I thought it might be useful later. Thank you for keeping him distracted." <</if>> [[You look around the office and consider what to do next.|day4Hub]]

/*leading */ <<set $strikes = 0>> <<set $convVar = 0>> <<set $leadingConv = true>> <<set $bailout = false>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> You approach her and greet her, introducing yourself. Her face registers no particular recognition when you give your name. That might be a good sign, or might just mean she's a decent actress. Now that you see her in person, it seems likely she is the false Thalia and not a mastermind behind some other thief; she has the right hair and stature, in any case. "Is there something I can help you with, Mrs Knight?" she says, very politely and in an accent that has //almost// no Cockney left in it at all. <<link [["Are you the one who wrote those fascinating articles on Lady Thalia? I do so enjoy them!" (F)|leadingConv2Day4]]>><<conv 1>><<strikes>><</link>> <<link [["You're Miss King, right?" (D)|leadingConv2Day4]]>><<conv 2>><<strikes>><</link>> <<link [["Do you work here?" (L)|leadingConv2Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> Theodora approaches the woman and greets her. You hang behind, as a good secretary should, and say nothing. On the one hand, the menial role rankles; on the other hand, it does reduce the total amount of play-acting you have to do. "Is there something I can help you with, Mrs Knight?" she says, very politely. She's reacting as if Theodora is a perfect stranger; you wonder what to make of that. <<link [["Mrs Knight has a great interest in the paper. She's thinking of making a donation." (F)|leadingConv2Day4]]>><<conv 4>><<strikes>><</link>> <<link [["Are you involved in the Arts and Crafts Exhibition?" (D)|leadingConv2Day4]]>><<conv 5>><<strikes>><</link>> <<link [["We'd love to know more about the paper." (L)|leadingConv2Day4]]>><<conv 6>><</link>> </div> </div>

<<switch $convVar>> <<case 1>> <<prev>> <<set $dual = false>> <div aria-label="Thalia"> Kitty's eyes narrow. "I am indeed," she says, "but I wonder how you know that, as I'm certain we've not met before." Surely anyone at the paper could have pointed an enthusiast towards the writer of their favourite articles? She must already be suspicious of you in some way. You'll have to tread carefully. You claim Mr Ford told you, but she still seems wary. <<link [[Appeal to Mel for help.|leadingConv2Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day4]]>><<conv 7>><</link>> </div> <<case 2>> <<prev>> <<set $dual = false>> <div aria-label="Thalia"> Kitty's eyes narrow. "I am indeed," she says, "but I wonder how you know that, as I'm certain we've not met before." Surely anyone at the paper could have told you her name? She must already be suspicious of you in some way. You'll have to tread carefully. You claim Mr Ford told you, but she still seems wary. <<link [[Appeal to Mel for help.|leadingConv2Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day4]]>><<conv 7>><</link>> </div> <<case 3>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "Do you work here?" you ask. "I do indeed," she says. "I handle the //Post//'s coverage of the thief Lady Thalia--you may have seen some of my articles lately." No mention of the society pages, you note. <<link [["Oh, yes, I love those articles!" (F)|leadingConv3Day4]]>><<conv 1>><<strikes>><</link>> <<link [["Did she really kidnap you?" (D)|leadingConv3Day4]]>><<conv 2>><<strikes>><</link>> <<link [["That must be exciting work." (L)|leadingConv3Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "Do you work here?" Theodora asks. "I do indeed," she says. "I handle the //Post//'s coverage of the thief Lady Thalia--you may have seen some of my articles lately." She says this with evident pride. <<link [["We've been following them with great interest." (F)|leadingConv3Day4]]>><<conv 4>><<strikes>><</link>> <<link [["How did you get involved with that?" (D)|leadingConv3Day4]]>><<conv 5>><<strikes>><</link>> <<link [["No, but I'd like to know more about them." (L)|leadingConv3Day4]]>><<conv 6>><</link>> </div> <<case 4>> <<prev>> <<set $dual = false>> <<addclass "body" "mel">><div aria-label="Mel"> "How nice," says Miss King. "But you should really talk to Mr Ford about that. I'm quite busy with other matters." <<link [[Appeal to Thalia for help.|leadingConv2Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day4]]>><<conv 7>><</link>> </div> <<case 5>> <<prev>> <<set $dual = false>> <<addclass "body" "mel">> <div aria-label="Mel"> Miss King gives you an odd look. "No, not at all," she says. "It's more for the printers and the typesetters and the illustrators and whatnot. I'm sure you can ask one of them if you want to know more about it. Or ask Mr Ford, since I think he's organising it." <<link [[Appeal to Thalia for help.|leadingConv2Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps and apologise.|leadingConv2Day4]]>><<conv 7>><</link>> </div> <<case 6>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> "We'd love to know more about the paper," Mel says. "Oh, it's just like any other paper, for the most part," she says. "But lately we've had some exclusive articles on Lady Thalia--written by me, of course--perhaps you've seen them?" <<link [["Oh, yes, I love those articles!" (F)|leadingConv3Day4]]>><<conv 1>><<strikes>><</link>> <<link [["Did she really kidnap you?" (D)|leadingConv3Day4]]>><<conv 2>><<strikes>><</link>> <<link [["That must be exciting work." (L)|leadingConv3Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "We'd love to know more about the paper," you say. "Oh, it's just like any other paper, for the most part," she says. "But lately we've had some exclusive articles on Lady Thalia--written by me, of course--perhaps you've seen them?" <<link [["We've been following them with great interest." (F)|leadingConv3Day4]]>><<conv 4>><<strikes>><</link>> <<link [["How did you get involved with that?" (D)|leadingConv3Day4]]>><<conv 5>><<strikes>><</link>> <<link [["No, but I'd like to know more about them." (L)|leadingConv3Day4]]>><<conv 6>><</link>> </div> </div> <<case 7>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> <<if $prev <= 3>> "I'm very sorry," you say, "I don't mean to come on so strong. I'm just very intrigued by what you do here!" "Oh, no, no, I should apologise. I shouldn't be so rude to a devotee--it's only natural that people would be excited about my recent exclusive Lady Thalia articles!" <<else>> "I'm sorry," Mel says, looking rather abashed. "I don't mean to trouble you about things that aren't of interest to you. We're just quite interested in the paper." "Oh, no, I should apologise; I've been rather rude," says Miss King. "It's only natural that you'd be interested in the paper with the //most// exclusive scoops on Lady Thalia!" Goodness, she really is quite conceited! It's as if there's nothing else in the paper at all as far as she's concerned. <</if>> <<link [["Oh, yes, I love those articles!" (F)|leadingConv3Day4]]>><<conv 1>><<strikes>><</link>> <<link [["Did she really kidnap you?" (D)|leadingConv3Day4]]>><<conv 2>><<strikes>><</link>> <<link [["That must be exciting work." (L)|leadingConv3Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> <<if $prev <= 3>> "I'm very sorry," Theodora says, "I don't mean to come on so strong. I'm just very intrigued by what you do here!" "Oh, no, no, I should apologise," Miss King says. "I shouldn't be so rude to a devotee--it's only natural that people would be excited about my recent exclusive Lady Thalia articles!" <<else>> "I'm sorry," you say, "I don't mean to trouble you about things that aren't of interest to you. We're just quite interested in the paper." You really aren't any good at this play-acting stuff. Perhaps you should have kept your mouth shut. "Oh, no, I should apologise; I've been rather rude," says Miss King. "It's only natural that you'd be interested in the paper with the //most// exclusive scoops on Lady Thalia!" <</if>> <<link [["We've been following them with great interest." (F)|leadingConv3Day4]]>><<conv 4>><<strikes>><</link>> <<link [["How did you get involved with that?" (D)|leadingConv3Day4]]>><<conv 5>><<strikes>><</link>> <<link [["I'd like to know more about those." (L)|leadingConv3Day4]]>><<conv 6>><</link>> </div> </div> <</switch>>

<<switch $convVar>> <<case 1>> <div aria-label="Thalia"> <<set $dual = false>> "Always lovely to meet someone who enjoys one's work!" she says. "Though I really am rather busy. Perhaps I could sign you an autograph and you could be on your way?" She seems perhaps a bit less suspicious of you, but she's still trying to hurry you out of the office. <<set $distinguishing = true>> "In fact, as I am so generous, I would sign one for you, too," she adds, to Mel, and when she turns her head you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <<if !$bailout>> <<prev>> <<link [[Appeal to Mel for help.|leadingConv3Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day4]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day4]]>><<conv 7>><</link>> <</if>> </div> <<case 2>> <div aria-label="Thalia"> <<set $dual = false>> "Of course," she snaps, drawing herself up to her full height to look down her nose at you (to the best of her ability). "Are you implying I would lie about something like that?" Well, yes, you are, since in fact she did, but admittedly it was not a good conversational move. "I might generously take some time out of my day for a supporter of my work, but not for someone who questions my journalistic credibility," she says. She looks away for a moment, and you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <<if !$bailout>> <<prev>> <<link [[Appeal to Mel for help.|leadingConv3Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 6>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day4]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day4]]>><<conv 7>><</link>> <</if>> </div> <<case 3>> <div id="dual"> <div id="left" aria-label="Thalia"> <<set $dual = true>> "That must be exciting work," you say. "Much more interesting than covering someone's soirées, you can be sure of that," she says. There's a hint of genuine frustration in her voice--the first actual unvarnished emotion you've elicited, you think. <<if $distinguishing == false>>She turns her head a little and you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <<set $distinguishing = true>><</if>> <<link [["I wish I could do what you do!" (F)|leadingConv4Day4]]>><<conv 1>><<strikes>><</link>> <<link [["So Lady Thalia's return has been good for you?" (D)|leadingConv4Day4]]>><<conv 2>><<strikes>><</link>> <<link [["A reporter of your calibre could be doing quite a lot more." (L)|leadingConv4Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> "That must be exciting work," Theodora says. "Much more interesting than covering someone's soirées, you can be sure of that," Miss King replies. She really must be unhappy with her assignments to say this so openly. You can sympathise a little--you left Scotland Yard for similar reasons. <<if $distinguishing == false>>She turns her head a little and you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <</if>> <<link [["Well, it's been so kind of you to take the time to explain things to us!" (F)|leadingConv4Day4]]>><<conv 4>><<strikes>><</link>> <<link [["What's that behind you?" (D)|leadingConv4Day4]]>><<conv 5>><<strikes>><</link>> <<link [["It is quite difficult when your talents aren't fully appreciated." (L)|leadingConv4Day4]]>><<conv 6>><</link>> </div> </div> <<case 4>> <<addclass "body" "mel">> <<set $dual = false>> <div aria-label="Mel"> "Always lovely to meet someone who enjoys one's work!" she says. "Though I really am rather busy. Perhaps I could sign you an autograph and you could be on your way?" She seems perhaps a bit less suspicious of you, but she's still trying to hurry you out of the office. <<set $distinguishing = true>> "Of course, I would sign one for you, too, Mrs Knight," she adds, and when she turns her head you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <<if !$bailout>> <<prev>> <<link [[Appeal to Thalia for help.|leadingConv3Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day4]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day4]]>><<conv 7>><</link>> <</if>> </div> <<case 5>> <<addclass "body" "mel">> <<set $dual = false>> <div aria-label="Mel"> "Oh, it's a long story, and I don't think it's very interesting at all," she says airily. "Really, I should be getting back to work..." She looks in the direction of what must be her desk, and when she turns her head you notice something at the back of her neck--some sort of a birthmark? If you could keep her talking a little longer, one or the other of you could get a look at it, which may help you to identify her later. <<set $distinguishing = true>> <<if !$bailout>> <<prev>> <<link [[Appeal to Thalia for help.|leadingConv3Day4]]>><<set $strikes -= 1>><<set $bailout = true>><<conv 3>><</link>> (You can only do this once!) <<link [[Take your lumps.|leadingConv3Day4]]>><<conv 7>><</link>> <<else>> <<link [[Continue|leadingConv3Day4]]>><<conv 7>><</link>> <</if>> </div> <<case 6>> <<set $dual = true>> <div id="dual"> <div id="left" aria-label="Thalia"> Mel tells Miss King that she would love to know more about the Thalia articles. "Well, recently I was able to get an exclusive interview with her--or one might say forced to. I can find you a copy of the issue if you're particularly interested. It was quite one of the more nerve-wracking episodes in my life!" she says, with a dramatic shiver. She's not a terrible actor, but she does have the amateur's tendency to overdo it a bit. <<if $distinguishing == false>>The movement does, however, make something at the back of her neck catch your eye--a birthmark, perhaps? If you can keep her talking a little longer maybe one of you can get a better look at it.<<set $distinguishing = true>><</if>> <<link [["I wish I could do what you do!" (F)|leadingConv4Day4]]>><<conv 1>><<strikes>><</link>> <<link [["So Lady Thalia's return has been good for you?" (D)|leadingConv4Day4]]>><<conv 2>><<strikes>><</link>> <<link [["A reporter of your calibre could be doing quite a lot more." (L)|leadingConv4Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> You tell Miss King that you would love to know more about the Thalia articles. "Well, recently I was able to get an exclusive interview with her--or one might say forced to. I can find you a copy of the issue if you're particularly interested. It was quite one of the more nerve-wracking episodes in my life!" she says, with a dramatic shiver. It seems so obvious to you that she's lying that you're surprised she fools anybody, but then perhaps it's your detective's instinct--or just that you already know that this, in particular, is false. <<link [["Well, it's been so kind of you to take the time to explain things to us!" (F)|leadingConv4Day4]]>><<conv 4>><<strikes>><</link>> <<link [["What's that behind you?" (D)|leadingConv4Day4]]>><<conv 5>><<strikes>><</link>> <<link [["It is quite difficult when your talents aren't fully appreciated." (L)|leadingConv4Day4]]>><<conv 6>><</link>> </div> </div> <<case 7>> <div id="dual"> <div id="left" aria-label="Thalia"> <<set $dual = true>> <<if $prev <= 3>> "I really am so sorry to be taking up your time," you say, "but of course no one else has the insights into Lady Thalia that you do, and I am quite interested in hearing more about them!" <<else>> "We're sorry to keep you from your work," Mel says. "I understand you must be quite busy." <</if>> Miss King doesn't say anything, but she also doesn't turn to leave, so perhaps you can manage to say one more thing. <<link [["I wish I could do what you do!" (F)|leadingConv4Day4]]>><<conv 1>><<strikes>><</link>> <<link [["So Lady Thalia's return has been good for you?" (D)|leadingConv4Day4]]>><<conv 2>><<strikes>><</link>> <<link [["A reporter of your calibre could be doing quite a lot more." (L)|leadingConv4Day4]]>><<conv 3>><</link>> </div> <div id="right" aria-label="Mel"> <<if $prev <= 3>> "I really am so sorry to be taking up your time," Theodora says, "but of course no one else has the insights into Lady Thalia that you do, and I am quite interested in hearing more about them!" The absurdity of the situation strikes you suddenly, and you fight to keep from bursting into laughter. <<else>> "We're sorry to keep you from your work," you say. "I understand you must be quite busy." <</if>> Miss King doesn't say anything, but she also doesn't turn to leave, so perhaps you can manage to say one more thing. <<link [["Well, it's been so kind of you to take the time to explain things to us!" (F)|leadingConv4Day4]]>><<conv 4>><<strikes>><</link>> <<link [["What's that behind you?" (D)|leadingConv4Day4]]>><<conv 5>><<strikes>><</link>> <<link [["It is quite difficult when your talents aren't fully appreciated." (L)|leadingConv4Day4]]>><<conv 6>><</link>> </div> </div> <</switch>>

<<if $strikes > $strikeThreshold>> "I'm sorry, I really must be going," Miss King says, and walks briskly away to her desk. You catch only a momentary glimpse of the birthmark as she does so--you'll have to hope that's enough. <<else>> <<switch $convVar>> <<case 1>> <div aria-label="Thalia"> "Oh, it's really not as much fun as it looks," she says. "You seem like a woman of leisure; I don't think it would be worthwhile for you at all. And there are really very few women who can manage it." As she's saying this, you gesture to Mel, trying to indicate that she should position herself to get a better look at the back of Miss King's neck. She nods and immediately complies. "I know I make it look easy," Miss King adds, "but it is //quite// a lot of work. Speaking of which, I should be getting on with things." </div> <<case 2>> <div aria-label="Thalia"> "I don't know what you're implying," she says primly. "I do what I'm assigned to do, no more. But, well, I suppose I do consider myself fortunate to have ended up with this particular scoop. Which, by the way, may be having some exciting developments in the //very// near future--but you didn't hear that from me." As she's saying this, you gesture to Mel, trying to indicate that she should position herself to get a better look at the back of Miss King's neck. She nods and immediately complies. "Speaking of which," Miss King adds, "I really should be getting on with things." </div> <<case 3>> <div aria-label="Thalia"> "Well, perhaps," she says, ducking her head in a show of modesty. "I understand that women often are too soft to make good reporters, but I'm made of different stuff myself, and I think that ought to be clear by now." As she's saying this, you gesture to Mel, trying to indicate that she should position herself to get a better look at the back of Miss King's neck. She nods and immediately complies. "Anyway, it's been lovely talking to you," Miss King says, "but I should be getting on with things." </div> <<case 4>> <<addclass "body" "mel">> <div aria-label="Mel"> "Anything for an admirer," she says. "Of course, I do hope you can find someone to answer more of your questions, it's just that with the return of Lady Thalia I've had quite a lot of work to do, you understand. And I suspect there may be more exciting developments in that case in the //very// near future." As she's saying this, you gesture to Theodora, trying to indicate that she should position herself to get a better look at the back of Miss King's neck. She shifts to a subtly different angle. "Anyway, it's been lovely talking to you," Miss King says, "but I should be getting on with things." </div> <<case 5>> <<addclass "body" "mel">> <div aria-label="Mel"> Theodora looks at you a bit incredulously for this, but, well, it //is// the most efficient way to achieve your goal. Even if it is a bit of a cheap trick and obviously suspicious when nothing proves to actually be there. Miss King does turn, on reflex, and you do manage to get a decent look before she turns back around and says, "I don't know what you're trying to do, but I don't think it's very funny." </div> <<case 6>> <<addclass "body" "mel">> <div aria-label="Mel"> "I'm glad you understand," Miss King says. "Of course, I do realise that most women are too soft for the life of a journalist, but it should be clear to them by now that //I// am made of sterner stuff." Your sympathy vanishes at once. But no time to dwell on that now--you gesture to Theodora to indicate that she should position herself to get a better look at the back of Miss King's neck. She shifts to a subtly different angle. "Anyway, it's been lovely talking to you," Miss King says, "but I should be getting on with things." </div> <</switch>> Miss King takes her leave, presumably heading to her desk. <</if>> [[You step away and look around the room again.|day4Hub]]

You take a moment to thank Mr Ford again and leave the offices of the //Post//, Mel following a few steps behind. You've learned some interesting things about Kitty King, but the most pressing of them is that the Arts and Crafts Exhibition is playing host to an artefact that she has shown unusual interest in. You don't get the impression that Miss King is very patient, so you suspect she will waste no time in going after the type. Which means you will need to prepare to meet her [[tonight|night4Start]].

/*set up all variables for night 1 here */ <<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $doorLocked = true>> <<set $loc = ''>> <<set $inventory = []>> <<set $trapCount = 0>> <<set $mistakes = 0>> <<if $mapInfo>> <<set $night4Map = ['night4Atrium', 'night4Metalwork', 'night4Wallpaper', 'night4Furniture', 'night4SpecialExhibition']>> <<else>> <<set $night4Map = []>> /*leave this one empty */ <</if>>

Case info gotten?: <<listbox "$caseInfo" autoselect>> <<option "yes" true>> <<option "no" false>> <</listbox>> Map info gotten?: <<listbox "$mapInfo" autoselect>> <<option "yes" true>> <<option "no" false>> <</listbox>> [[night4Start]]

<<include "night4Setup">> The Exhibition is being held in the New Gallery, which is a luxurious two-story building on the very fashionable Regent Street, where you and Mel are now standing. You can tell she feels especially uncomfortable being here late at night--there's no good explanation for being in such a nice part of town so late, and if Mel's former police colleagues show up you'll be in a world of trouble. You resist the urge to pat her shoulder about it and instead survey the building. A sign over the entrance announces the presence of the Arts and Crafts Society's sponsored exhibition, opening tomorrow. It's been painted in a quaintly medieval style. [[Now, how to get in?|night4BreakIn1]]

You're loath to damage such a nice building (both on principle and because that's the kind of thing that gets other people investigating), so the two of you canvass the building for quite a while looking for a suitable entry point. You can tell it's wearing on Mel's patience as you keep shooting down her various suggestions, until she points out a broken window on the first floor. "Our friend precedes us, I see," she mutters darkly. But at least the thief (who may or may not be Kitty King) has done the dirty work for you. <<link [[Have Mel boost you up through the window so you can unlock a door for her.|night4BreakIn2]]>> <<slow 1>> <<conv 1>> <</link>> <<link [[Both of you climb through the window.|night4BreakIn2]]>> <<messy 1>> <<conv 2>> <</link>>

<<if $convVar ===1>> Mel kneels down and cups her hands in order to boost you up to the window. (The physical contact sends a tingling through your body even though it's through several layers of fabric, and you have to forcibly wrench your mind back to the task at hand. You feel like a schoolgirl again--namely, ridiculous.) Luckily there's a side entrance that's easy to find from the window, which you promptly unlock to let Mel in. <<else>> The two of you climb up a drainpipe and enter through the window. It's a tight squeeze for you and Mel is forced to break it further in order to get in herself, but you assure her that it's still the thief's fault for breaking it in the first place and as such the two of you are morally blameless. <</if>> <<scoreTracker 1 1>> [[Observe the inside of the New Gallery.|night4Atrium]]

/*need to make a map */ /*rough template: https://en.wikipedia.org/wiki/New_Gallery_(London), where the 1910 exhibition was actually held */ <<set $loc = passage()>> <<if visited() === 1>> <<if $night4Map.includes($loc)>> <<else>> <<run $night4Map.push($loc)>> <</if>> The atrium is a large and airy room with a high glass ceiling, held up by large marble shafts. If it were daytime, the lighting would be perfect for viewing art--but tonight the moon is a sliver, providing only a hint of shape to the darkness around you. By its light you can just make out a set of doors around the edge of the atrium<<if $mapInfo>>, just as it shows on your map. <<else>> which presumably lead to various exhibits. <</if>> There's also a small fountain set into the floor, which you hope not to fall into in the dark. Hopefully someone ropes it off before they open tomorrow? <<if $mapInfo>>You've got to find the thief, and fast--but where could she be?<<else>>You've got to find the thief, and fast--you should locate the printing exhibit.<</if>> <<else>> You're back in the atrium. /*(You make sure to give the fountain a wide berth.)*/ <<if hasVisited("night4Door1") && !hasVisited('cache1')>>Is there something here that can help you with that locked door? If you're going to search, you'd better be quick about it. <</if>> <</if>> <<if visited() === 4>> /*trigger a trap on the 3rd trip into the atrium or whatever number we decide is best for pacing */ <<include "trap2">> <<else>> <<if $trapCount > 0 && !hasVisited('cache1')>> [[Search the atrium for evidence of the thief.|cache1]] <</if>> <<if $night4Map.includes('night4Metalwork')>> [[Go to the metalworking exhibit.|night4Metalwork]] <<else>> [[Go through the door to the east.|night4Metalwork]] <</if>> <<if $night4Map.includes('night4Furniture')>> [[Go to the furniture exhibit.|night4Furniture]] <<else>> [[Go through the door to the northeast.|night4Furniture]] <</if>> <<if $night4Map.includes('night4Wallpaper')>> [[Go to the wallpaper exhibit.|night4Wallpaper]] <<else>> [[Go through the door to the north.|night4Wallpaper]] <</if>> <<if $doorLocked>> [[Try the door to the west.|night4Door1]] <<else>> [[Go through to the special exhibition.|night4SpecialExhibition]] <</if>> <</if>>

<<run $inventory.push('hammer')>> You and Mel take a look around to see if the thief has hidden anything in the atrium (traps or otherwise). Your eyes are immediately drawn to a set of vases near the locked door. Inside one of them you find a ball-peen hammer! The thief presumably used this to break the glass upstairs and then discarded it here. Now that she's done with it you're sure you can put it to good use. <<return>>

/*in the atrium, once you get a bit too comfortable */ <<set $trapCount += 1>> As you head back into the atrium you decide to take a shortcut through the pillars to your next destination rather than go through the centre of the atrium. This was a mistake, as the thief has spread something sticky in this corner, which has now thoroughly ensnared you. What will you do? (Besides ask Mel for help--she can't come any closer without getting stuck herself, after all.) <<link[[Unstick your boots, whatever the cost.|trap2a]]>><<conv 1>><<slow 1>><</link>> <<link[[Give them up for lost.|trap2a]]>><<conv 2>><<messy 1>><</link>>

<<if $convVar ===1>> The boots you're wearing are your favourite for nocturnal activities, and they've been with you through thick and thin. You're not about to let this ruin them! With great effort you work one foot loose, and then another. You have to take a big awkward step backwards to avoid getting caught in the mess again, but Mel reaches out to let you hold her hand for balance. It takes several more steps for the stick to wear off enough for you to walk normally, but the only lasting damage appears to be to your pride. <<else>> There's only one way out of this situation, and that's to leave your boots behind. It hurts your heart to do so--they're your absolute favourite pair for breaking and entering--but some things are more important than footwear. You bend down and unlace your boots, and then gesture at Mel for help. She holds out her hand; you grab it to steady yourself and then step out of your shoes. The only thing for it now is to move on (and to hope that your doppelgänger hasn't left any caltrops lying around the New Gallery). <</if>> <<if hasVisited('cache1')>> You grumble a bit that this trap escaped your notice during your and Mel's previous inspection of the atrium. <</if>> [[Bravely soldier on.|night4Atrium]]

<<set $loc = passage()>> <<if visited() === 1>> <<if $night4Map.includes($loc)>> According to the map, this is the metalworking exhibit. You're used to seeing ornate objects of gold and silver on display, but there are also fantastic examples of iron, bronze, and lead-work. You wish you had time to admire them, but you've got to find the thief. <<else>> <<run $night4Map.push($loc)>> This room is full of unnerving twisted shapes that, when investigated further, just turn out to be everyday metal objects like candelabras. They're quite ornate and look to be very well crafted (despite mostly being made of base metals and not precious ones), so this must be an exhibit devoted to metalworking. You wish you had time to admire the objects further, but you've got to find the thief. <</if>> <<else>> You're back in the metalworking exhibit. <<if hasVisited("night4Door1") && !hasVisited('cache2')>>You're all too conscious of time ticking away as you consider whether there might be anything in here you can use to deal with that locked door. <</if>> <</if>> <<if $trapCount > 0 && !hasVisited('cache2')>> [[Search the room for evidence of the thief.|cache2]] <</if>> [[Return to the atrium.|night4Atrium]]

<<run $inventory.push('window jam')>> You and Mel start a thorough search of the exhibit, looking for anything that's been disturbed. Eventually Mel signals to you that she's found something at the window. The something turns out to be a small piece of wood, stuck in the window frame so that the shutters can't quite be closed all the way. You confiscate it, shut the windows fully, and latch them for good measure. This window faces out onto the street, so it would have been quite noticeable if left open, but would provide a much quicker escape than the broken window upstairs--perhaps this is your doppelgänger's escape route? (Or //was//, if you have anything to say about it.) <<return>>

<<set $loc = passage()>> <<if visited() === 1>> <<if $night4Map.includes($loc)>> You step into the room labelled "Furniture" on the map, where indeed you find some furniture. The chairs and ottomans are quite extravagant, but the item that's calling to you most right now is a plain but well-stuffed couch. (It's been a //very// tiring few days.) But there's no time to try it out now, so with a final wistful glance, you turn your attentions back to locating <<if hasVisited("night4Door1")>>anything that might help you with <</if>>the thief. <<else>> <<run $night4Map.push($loc)>> You step into a room filled with chairs, ottomans, and all other manner of extravagant furniture. You've been forced to develop an eye for such things as part of your façade as a society wife, so you can admit that whoever curated this exhibit knows their stuff, even if their taste is rather more medieval than yours. But you have more important concerns right now than appreciating furniture. <</if>> <<include "trap1">> <<else>> You're back in the furniture exhibit. <<if hasVisited("night4Door1") && !hasVisited('cache3')>>Could there be anything helpful here? <</if>> <<if $trapCount > 0 && !hasVisited('cache3')>> [[Search the room for evidence of the thief.|cache3]] <</if>> [[Return to the atrium.|night4Atrium]] <</if>>

You search the room but don't find anything. The trap must have been the thief's only contribution to //this// exhibit. <<return>>

/*in the furniture room */ <<set $trapCount += 1>> You do a quick circuit of the room and turn to leave when you feel something catch your ankle. Suddenly, a stack of furniture topples towards you! <<link[[Get out of the way!|trap1a]]>><<conv 1>><<messy 1>><</link>> <<link[[Try to right the stack before it falls.|trap1a]]>><<conv 2>><<slow 1>><</link>>

<<if $convVar === 1>> You jump backwards on instinct as the pile falls towards you, but you're not happy--all that furniture is going to be destroyed once it hits the ground! (And it'll make a terrible mess and alert the thief and any accomplices she might have, but that can be dealt with.) Suddenly, Mel dashes past you and gets a hand on the pile right before it tips over! A chair is dislodged from the top of the stack and lands on the floor with a //thud//, but it's not the wholesale furniture destruction you expected. You breathe a sigh of relief and whisper a "thank you" to Mel as she gingerly restores the balance of what was assuredly a trap. <<else>> You rush forward and try to steady the pile of furniture--you can't let someone's hard work to go to waste like this! (And you'd prefer not to make a mess or alert the thief to your presence, but you do have //priorities//.) You manage to get a hand on the stack and keep it from falling, although your angle isn't fantastic and the whole thing is now resting on you. If you move one muscle wrong, the whole thing will surely come crashing down--and then Mel reaches in to lend you a hand. She lifts chairs and end-tables off the pile one by one until there's little enough left that you can tip it back upright without issue. <</if>> If the thief has had time to set traps for you in the New Gallery she must have had quite some time to prepare. You should keep an eye out. [[Go back to the atrium.|night4Atrium]]

<<set $loc = passage()>> <<if visited() === 1>> <<if $night4Map.includes($loc)>> Despite your best efforts as a society wife, you've never cared much for wallpaper, so you were somewhat surprised to learn there was a whole exhibit dedicated to it. But now that you're in it, you're forced to reconsider--the exhibit is full of highly detailed swatches that must be a delight to look at in the daytime. Perhaps you've just been perusing the wrong catalogues? Mel tugs at your arm. You feel slightly foolish for getting caught up contemplating wallpaper when such pressing matters are at hand. <<else>> <<run $night4Map.push($loc)>> This exhibit is full of what at first appears to be paintings in frames, although the paintings are intricately patterned and don't appear to be of any traditional subjects. It isn't until you pass the third one that you realise they're actually wallpaper! None of the catalogues you've looked at for your and Oscar's sitting room ever had anything like this--perhaps that's what you get for only ordering from the cheap ones. Mel tugs at your arm. You feel slightly foolish for getting caught up contemplating wallpaper when such pressing matters are at hand. <</if>> <<else>> You're back in the wallpaper exhibit. <</if>> <<if hasVisited("night4Door1") && !hasVisited('cache4')>>Could there be anything helpful here? <</if>> <<if $trapCount > 0 && !hasVisited('cache4')>> [[Search the room for evidence of the thief.|cache4]] <</if>> [[Return to the atrium.|night4Atrium]]

<<run $inventory.push('wire')>> One of the framed wallpaper examples is noticeably crooked. You try to straighten it out of habit and find it won't sit flush to the wall--almost as if something's been attached to the back! You take it down and sure enough, you find a piece of rough wire. You don't know what the fake Thalia was planning with it, but it's yours now--perhaps you can put it to good use. <<return>>

<<if visited() === 1>> You approach <<if $night4Map.includes("night4SpecialExhibition")>>the door to the print exhibit<<else>>one of the doors<</if>> and try to open it, only to see that someone has thrown a lock on it! The lock is new and expensive-looking and very much stands out among the surroundings. Mel leans in to peer at it. "Do you think the thief put this on?" she asks. You nod your head vigorously. You're sure the false Thalia must be using it to keep people out while she works. It's a four-digit combination lock (too many digits to guess) and far too strong to force. You let out a sigh of frustration--you're not going to be able to intervene before she gets the case, at this rate! Mel puts a hand on your shoulder. "I'm sure we can manage this somehow," she says, her voice low. "Let's look around the gallery and see if there's anything we can use." <<else>> You're back at the locked door. The shiny new lock still sits there, taunting you. <</if>> [[Look around and see if you can find anything to help get past the lock.|night4Atrium]] [[Try opening the door.|night4Door2]]

What would you like to try? <<if $inventory.includes('wire')>><<link [[Try the wire rope.|night4Door2a]]>><<conv 1>><<slow 1>><</link>> <</if>> <<if $inventory.includes('hammer')>><<link [[Try the hammer.|night4Door2a]]>><<conv 2>><<messy 1>><</link>> <</if>> [[Look around some more, just in case there's anything you missed.|night4Atrium]]

<<if $convVar === 1>> You thread the wire through the lock's shackle and get to work sawing through it. It's painstakingly slow work and you have to trade off with Mel when your arms get tired, but between the two of you you're making steady progress. Eventually Mel saws through the shackle entirely and quietly removes the lock from the door. <<else>> You grip the hammer and size up the lock--you don't need to destroy it entirely, just damage the internal mechanisms enough to make it open. It's going to be loud so you'll want to do this as quickly as possible lest the false Thalia escape while you're still hammering. You swing one, two, three times--//BANG! BANG! BANG!//--and then the lock pops open. (The door under it is only slightly dented.) Mel reaches out and removes the damaged lock from the door. <</if>> "Ready?" she whispers. <<scoreTracker 2 2>> [[Open the door and confront the thief.|night4SpecialExhibition]]

/*this is where the Case is */ You open the door to the writing exhibition. You'd ordinarily take an interest in whatever the Society has decided to show off in here, but for now you're focused on the blonde woman in the centre of the room. She has her back to you<<if $convVar === 2>>, despite the racket you made getting in,<</if>> and appears to be bent over one of the exhibits. From this angle you can clearly see the back of her neck, and due to the angle of her head you can see a birthmark that would otherwise be covered by her collar. "Stop right there, Kitty King!" Mel barks in her best policewoman's voice. The thief startles (as do you, just a little) and whirls around. She's holding a bulky case labelled "CLEPHAN" in large letters. It's quite scratched around the number lock holding the clasp shut. You expect Kitty to try to bargain her way out, or threaten you with her spiritualist accomplices, or at least say //something//, but instead takes you by surprise and rushes at the gap between the pair of you. You try to step into her path but she just knocks you off balance and then escapes out the door behind you. <<if $inventory.includes('wire')>> <<scoreTracker 1 1>> <<else>> <<scoreTracker 0 1>> <</if>> <<if $inventory.includes('hammer')>> <<scoreTracker 1 1>> <<else>> <<scoreTracker 0 1>> <</if>> <<if $inventory.includes('window jam')>> <<scoreTracker 1 1>> <<else>> <<scoreTracker 0 1>> <</if>> [[Give chase!|night4GauntletStart]]

Mel regains her balance slightly faster than you do, so she's ahead of you when the two of you make it into the atrium. She is //still// obnoxiously fast so you doubt Mel will be able to catch up with her either if things hold as they are. You need to do something to gain the upper hand! <<if $comboInfo>><<link [[Distract Kitty with information about the case.|night4Gauntlet1]]>> <<conv 1>> <</link>> <</if>> <<link [[Throw something at her.|night4Gauntlet1]]>> <<messy 1>><<conv 2>> <</link>> <<link [[Yell.|night4Gauntlet1]]>> <<set $mistakes += 1>> <<conv 3>><</link>>

<<if $convVar ===1>> You spent years honing your projection skills on the stage, and while that time in your life is over you can still put them to good use. "Wouldn't you like to know the combination, Kitty?" you yell at the top of your lungs. "We could give you a hint if you'd like!" This catches her so off-guard that she turns her head to look at you, and nearly trips over her own feet in the process. She rights herself and sprints onward, but this trick of yours has allowed Mel to gain quite a bit of ground. <<elseif $convVar === 2>> You didn't bring much with you tonight, so when it comes to projectiles you're a bit short-handed. <<if $inventory.includes('hammer')>> The best you have is the hammer that Kitty left lying around. <<else>> Luckily, Kitty has dropped some of her tools in her haste to flee, including a hammer, which you scoop up as you run past. <</if>> It could do quite a bit of damage if it hits (or, frankly, if it misses) but you'll have to take your chances. With a grunt, you send it flying towards your quarry. Unfortunately, throwing accurately while running is //hard//. The hammer harmlessly sails past her head. She jerks away from it on reflex, though, which causes her to stumble a bit. Not enough to trip and fall, but enough for Mel to gain on her somewhat. <<else>> Mel may have a policewoman's practiced bark, but you spent years on the stage honing your projection technique. "This is your last chance, Kitty!" you shout at what you feel is an impressive volume. She jumps and stumbles a bit--not very much, but enough for Mel to gain on her a little. <</if>> Mel is still too far back to grab her before she can duck into the metalworking exhibit, though, so the two of you follow her in. <<link [[Hang back in case she tries something.|night4Gauntlet2]]>> <<set $mistakes += 1>> <<conv 1>> <</link>> <<link [[Split up from Mel to cut off her potential escape routes.|night4Gauntlet2]]>> <<conv 2>> <</link>>

<<if $convVar ===1>> You hang back in the doorway, unsure of what Kitty's about to do. This turns out to be a mistake: Kitty is clearly more familiar with the layout of the metalworking exhibit than you are, and leads Mel on a merry dance through the forest of candlesticks before you can figure out she's heading for the window. You curse and run over, hoping you can intercept her first. <<else>> Kitty dodges right through the maze of wrought iron and Mel follows, while you go left instead. She clearly intended this as a ruse to loop around through the exhibit and confuse the pair of you, so it's a shock for her when she tries that and nearly runs smack into you. You try to grab her, but she manages to dodge at the last second. She turns instead towards the window. <</if>> <<if $inventory.includes("window jam")>> She makes it there before you can catch up to her and tries to open the sash, but of course you've made sure it's shut up tight. She whirls around and comes face to face with the two of you closing in and cutting off any other possible escape route. You have her now! Of course, she does something unexpected //again// and hurls the case of Clephan straight through the window to create an opening that she then dives through. Does this woman have //any// respect for the objects she's trying to steal? <<else>> She makes it there before you can catch up to her and effortlessly throws open the sash. (How--? She must have prepared it ahead of time. Of course.) Your fingertips brush the back of her shirt as she hops through the frame. <</if>> You can easily jump out after her, but what should Mel do? <<link [[Have her leave through a different exit and try to intercept.|night4Gauntlet3]]>> <<conv 1>> <</link>> <<link [[Tell her to follow you out the window.|night4Gauntlet3]]>> <<set $mistakes += 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> You gesture wildly to Mel in a way that you hope conveys the message "Go out the side door!" and then launch yourself through the window. You land effortlessly and quickly locate the direction Kitty fled in. She hasn't made it as far as you expected--did she hurt herself jumping out the window?--and you're able to gain on her quickly. She tries to shake you by ducking and weaving, but then Mel appears out of the darkness in front of her. <<else>> You gesture wildly to Mel in a way that you hope conveys the message "Follow me!" and then launch yourself through the window. Mel follows you a second later and stumbles--you hang back on instinct to steady her, but this lets Kitty get further ahead. She's not doing so well herself, though. She's slowed down considerably (did she sprain an ankle trying to land?) and you're able to catch up to her quickly. <</if>> Kitty slows and turns to face you, placing the case on the ground before raising both hands. Perhaps she's surrendering? But no, there's a knife gleaming in one hand, and she wants to make sure you can see it. <<link [['"Put that down, and we can talk this out rationally. Not like your dealings with the Order."'|night4Gauntlet4]]>> <<conv 1>> <</link>> <<link [['"Now that's not very sporting of you, is it?"'|night4Gauntlet4]]>> <<set $mistakes += 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> Kitty flinches at this--clearly her recent dealings with the Order haven't gone well and it's struck a nerve. But she quickly regains her composure. "Of course," she says. "From one lady thief to another?" <<else>> Kitty's face twists up under her mask at that, and for a second you think she's going to jump you. "Do you think I care a fig about sport, just because you did?" <</if>> You startle. It's one thing for her to know uncomfortable facts about the real Lady Thalia, but for her to know it's you? That's not good at all! Mel shifts her position and puts one hand on your shoulder, as if to tell you not to do anything rash (yet). She continues on. "Oh, I know you're the //real// Thalia. You had your fun with the persona and moved on without a care in the world, and now you're jealous that I've taken it over! No thought whatsoever to whoever else you were dragging up or down with you with your silly little games--and now you can't stand that someone else has taken your spotlight. Isn't that right, Gwendolyn Hughes?" Suddenly, everything clicks into place. She's done a commendable job with her sleuthing--//but she's fingered the wrong woman!// <<link [['"I have no idea who that is."'|night4GauntletEnd]]>> <<conv 1>> <</link>> <<link [['"You have entirely the wrong woman of the theatre, I'm afraid."'|night4GauntletEnd]]>> <<set $mistakes += 1>> <<conv 2>> <</link>>

<<if $convVar === 1>> "I have no idea who that is." You put every single piece of your acting training behind the words and try to convey absolute bafflement at the name, and not dread that she's managed to identify Gwen as involved in your mess. <<else>> "You have entirely the wrong woman of the theatre, I'm afraid," you say, and Mel lightly cuffs you on the shoulder. You suppose that //did// give away that she's at least close to the mark, if not exactly correct. <</if>> The three of you are locked in an awful, tense standoff as Kitty considers your words. Then all the tension falls out of her, and she drops the knife. "I thought I was so close," she muses as Mel gets a grip on her arm. "How could I have got it wrong?" "It doesn't matter one fig," says Mel. [['"We\'re taking you to the police, and they\'ll arrest you for the many crimes of Lady Thalia."'|night4End]]

<<switch $mistakes>> <<case 0>> <<scoreTracker 4 4>> <<case 1>> <<scoreTracker 3 4>> <<case 2>> <<scoreTracker 2 4>> <<case 3>> <<scoreTracker 1 4>> <</switch>> <<finesseCalc>> <<if $debugMode>> For playtesters: <<print "Current finesse is " + $totalFinesse + " out of " + $maxTotalFinesse >> <</if>> You feel as if you've been struck by a thunderbolt. Kitty, meanwhile, is protesting. "You of all people know I'm not the genuine article!" she protests as Mel begins to march her down the street. "I have alibis for everything before the last month! It'll never hold up in court!" "And who will come to your defence, those bastards at the Order? They've already gone back on your deal once, what makes you think they'd support you at all?" Mel fires back, and Kitty shuts up. In the meantime, you contemplate what's just happened. Someone arrested and unmasked for your crimes would never escape from the reputation of being a famous (and cheeky) thief, even if they were technically found not guilty. Everyone would know the identity of Lady Thalia. And because of that she'd simply cease to be. [[One way or another, this spells a true end to this chapter of your life.|night4End2]]

But just as you're walking through the door of the nearest police station, Kitty makes a last, desperate bid for freedom. She wrenches her arm out of Mel's grip (a shame that as a private investigator, Mel no longer carries handcuffs) and makes a mad dash out the door down the street. Mel is thrown a bit off-balance, but Kitty is tired and possibly injured, and there's a moment when Mel //could// launch herself at her and prevent her escape--you can see it very clearly. Yet she doesn't. Is it a lapse in judgment, or...? The officer on duty rushes over you, having caught a glimpse of the famed Lady Thalia, and the two of you tell him your story. (Kitty wasn't wearing gloves, so you're sure Frances can back it up with quite a lot of interesting fingerprints from the New Gallery.) You give him names of anyone who might corroborate any part of your story or be able to provide more information on Kitty. [[The rest you'll have to leave up to the Yard.|endStart]]

<<set $time = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $gwenConv = false>> <<set $oscarConv = false>> <<set $melConv = false>>

[[endStart]]

<<include "endSetup">> You wake up the following morning feeling decidedly odd. The threat of being unmasked, which has been hanging over you for years, is gone. Well, much reduced, at least. The people you care for--Gwen, Oscar, Yorkie, and of course Mel--are no longer in danger of ruin by associating with you. On the other hand, however, your Lady Thalia days are now officially over--and Kitty King did get to take credit for your work after all. You go to the office, but you keep getting up to pace around the room or unnecessarily rearrange the files, and after a few rounds of this, Mel tells you to go home and perhaps take a few days off. [[Now you can pace at home instead.|endHub]]

You consider your social calendar for the next little while. <<if visited()== 1>>You have much to discuss with Gwen. Talking to Oscar and Yorkie is a bit less pressing, but it never hurts to know what they're up to. And then there's Mel--you do have a discussion with her that you need to finish properly.<</if>> <<if !$gwenConv>>[[Talk to Gwen.|endGwen1]] <</if>> <<if !$oscarConv>>[[Talk to Oscar and Yorkie.|endOscar1]] <</if>> <<if !$melConv>>[[Talk to Mel.|endMel1]]<</if>> <<if $gwenConv && $melConv && $oscarConv>>[[Time to get back to business.|endEnd1]]<</if>>

<<set $gwenConv = true>> You visit Gwen and tell her of your final encounter with Kitty King--including the fact that Kitty had mistakenly identified //her// as Lady Thalia. Gwen seems more sanguine about this than you would have expected. "There was a time when she was nearly half-right," she muses, "in that I was frequently aiding and abetting in person. But even before you gave it all up, that hadn't been true in a while." She falls silent for a moment. Her head turns towards the window of her flat, but her gaze seems to be on something more distant than the buildings on the other side of the street. The moment passes, however, and she turns back to you. "Anyway, I suppose you'll be wanting your score?" [['"Well, all right, why not?"'|endGwen2]]

"I'd give your performance $finesse points out of $maxFinesse," she says. <<if $finesse === $maxFinesse>> "No room for improvement as far as I can see." <<elseif $finesse >= ($maxFinesse * 0.7)>> "Good enough, but with some aspects that were less than ideal." <<else>> "Not your best work, it must be said." <</if>> You nod, accepting this assessment silently. <<if $gwenComplaint == "messy">> "I would say that you've been rather sloppy," she adds. "Brute force and speed all the way." <<elseif $gwenComplaint == "slow">> "You really were dawdling quite a bit," she adds. <<else>> "Your careful balance of speed and delicacy was quite impressive<<if $finesse <= ($maxFinesse * 0.7)>>, though<</if>>," she adds. <</if>> You look at her and wonder when she stopped having fun with this. Is it that she moved on during your hiatus, or did it start before that? [['"You don\'t have to do this any more, you know."'|end2Gwen3]]

"Well, I suppose if you're putting the Lady Thalia identity on the shelf for good, then there will be no more thefts for me to score," she says. But that isn't it, really; all of the things you did this time were under the auspices of the detective agency (questionably legal though many were). It's just that you've gone your separate ways, and your little ritual has stopped making sense. <<link [['"I don\'t need the scores."'|end2Gwen4]]>><<conv 1>><</link>> <<link [['"Perhaps Miss Marshall can take over."'|end2Gwen4]]>><<conv 2>><</link>> <<link [['"I just don\'t want you to have to do something you\'ve clearly wearied of."'|end2Gwen4]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> You explain that although you're still engaging in the occasional break-in, the game of assigning numerical values to your performance has got old for you. "There's something a little childish about it, I suppose," Gwen says thoughtfully. You didn't mean it //that// way and now you're annoyed at the implied judgment of your maturity, but probably better not to say so. <<case 2>> Gwen raises an eyebrow. "Really? I thought you didn't care for her very much." You explain that it's more that you thought //she// didn't care for //you//, but you're beginning to think she just comes off that way with everybody. "Well, if she agrees to it, I have no objections," Gwen says with a shrug. <<case 3>> Gwen sighs. "Yes, I suppose that has been obvious. We've been doing it for a number of years now, and I suppose I'm ready to move on." You assure her that that seems reasonable. <</switch>> <<if $totalGwenPoints >= $maxTotalGwenPoints * 0.7>>"I hope you'll still come round now and then, though," she says. "Perhaps we can talk about things other than your latest reckless adventures, too." "Yes," you say, "I think that would be nice." <</if>> Impulsively, you pull Gwen into a quick embrace. This may not be farewell forever, but you won't be seeing as much of her from now on. She seems surprised for a moment, but goes along. After this you say your good-byes and [[head for home.|endHub]]

<<set $oscarConv = true>> You go to look for Oscar and Yorkie and find them in the midst of packing some valises. "Oh, hullo, Theo," Oscar says. "Is there something you need to talk to us about? Only we're a bit busy just now." <<link [['"What\'s this, then?"'|endOscar2]]>><<conv 1>><</link>> <<link [['"How did things go with the Order?"'|endOscar2]]>><<conv 2>><</link>> <<link [['"Were you going to tell me you\'re leaving town?"'|endOscar2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Well, we've carried out our plans regarding the Order, but things got a //little// difficult at the end," Yorkie explains. "We decided it would be best if we were to leave London for a bit." <<case 2>> "It's rather a long story, but I promise we'll tell you all about it someday," Yorkie says. "Suffice to say we thought it best to leave London for a bit." <<case 3>> "I meant to," Oscar says quickly, crossing his arms, "but you seemed so busy, and then, well, I forgot." "Things got a little chancy for us at the Order," Yorkie explains, "and we decided it would be best to leave London for a little while." <</switch>> Oscar has returned to packing, having paused only briefly to greet you. He stares into his armoire and then looks over his shoulder at Yorkie and says, "Have you seen my green necktie?" "No," Yorkie replies. "Why, do you need it?" "Not strictly, no, but it //is// my favourite." <<link [['"Well, best of luck with your adventures."'|endOscar3]]>><<conv 1>><</link>> <<link [['"It will be nice to have the house to myself."'|endOscar3]]>><<conv 2>><</link>> <<link [['"I think your tie is under the bed."'|endOscar3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "Thank you," says Oscar, a bit absently, opening and shutting drawers in search of the errant tie. "Really, I don't mind a bit of a holiday," Yorkie says, tucking a final shirt into his valise and closing it. "I haven't ever been to the Continent. We're leaving for France tonight, and from there, who knows?" <<case 2>> Oscar gives you a wounded look. "You won't miss my company at all?" You're always forgetting that he sometimes doesn't take teasing well. Then again, you really //are// looking forward to having the house to yourself--you consider him a friend, but he can be a bit exhausting--so perhaps your sincerity was too obvious. "Well, we'll also enjoy not having a fellow lodger coming in and out at all hours the way you have been these last weeks," says Yorkie, who is much more amenable to your tendency towards playful barbs. "And I'm rather excited to see France. I've never been." <<case 3>> You point to where the end of something green seems to be sticking out. "Oh!" says Oscar. "Thank you." He snatches it up and puts it in his valise. "We're heading for France tonight," Yorkie explains, "and from there we might travel around the Continent a bit. I'm rather looking forward to it--I've never been." <</switch>> <<if $totalOscarPoints >= $maxTotalOscarPoints * 0.7>>Finishing his packing, Oscar turns to you. "I'm glad that this business with Miss King resolved so neatly," he says, "and that you aren't in danger any more. I, er, I did worry, and not just for the consequences to myself." "I'll write while we're away," Yorkie adds. "And I'll make sure he does too." <</if>> You wish them //bon voyage// and [[take your leave|endHub]].

<<set $melConv = true>> You invite Mel to come over so that you can talk somewhere other than the office for once. Of course, as soon as she's settled in your sitting room she starts talking about work. "Mr Murray came by this morning to drop off his final payment," she says. "In the end it was the Yard that returned his vase, not me, but he still seems happy with our efforts." "Margaret," you say, gently, "I didn't invite you here to talk about the agency." "Er, yes," she says, ducking her head. "I did suspect as much." <<link [['"Do you still want to make a go of a romantic attachment?"'|endMel2]]>><<conv 1>><</link>> <<link [['"How do you want things to be between us from now on?"'|endMel2]]>><<conv 2>><</link>> <<link [['"I hope you\'re not planning to resort to talking about work whenever you get flustered."'|endMel2]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> Mel blushes. "I, er... yes, I... I suppose I do. Although I do worry that I might be rubbish at it." Well, you //know// you're rubbish at it, but the two of you will have to do your best. <<case 2>> Mel blushes and looks down. "I-- I haven't changed my mind since the other day, if that's what you're asking." It is, in part, but there are other questions about how exactly this might go, as well. <<case 3>> There are certain situations in which that would //quite// ruin the mood--but saying more in this vein at the moment seems like it might make the problem worse. Mel puts her face in her hands briefly, then looks up and takes a deep breath. "I'll try not to," she says. "I suppose I'll have to get used to, er... this sort of thing if we're going to be, er... companions." <</switch>> <<link [['"May I call you Mel sometimes?"'|endMel3]]>><<conv 1>><</link>> <<link [['"Do you want to move in here?"'|endMel3]]>><<conv 2>><</link>> <<link [['"Why did you let Miss King go?"'|endMel3]]>><<conv 3>><</link>>

<<switch $convVar>> <<case 1>> "I certainly prefer it to Madge or Molly or anything else you might come up with in that vein," she says, a bit acidly. You offer a quick apology. "Really, though, odd as it is, I find that I miss it a bit," she says. "And I can't pretend I don't still think of you as Thalia often--though I shouldn't actually call you that, of course." "Perhaps when we're not in public," you say, "as long as you don't get too accustomed to it. Or you could try 'Theo'." <<case 2>> Mel's mouth drops open. "I-- er-- well... no, I don't think I do. I know it would be a very sound economic decision, but I just... I think I would prefer to have a space of my own. For now. I'm sorry. Are you very hurt by that?" You let out a sigh of relief. "To be honest, I don't think I'm prepared for that either. I just thought I ought to offer." Mel laughs. "Well, I'm glad our feelings are as one on the matter." <<case 3>> This question has been rather gnawing at you. Of course, she often let //you// slip away before, but you thought you were special. Surely she doesn't have any particular interest in Kitty? Mel blushes more furiously than you've ever seen her do, and you've seen her blush rather a lot lately. (This does nothing to allay your jealousy.) "You'll think it's silly, I'm sure," she says, looking away. "Tell me anyway," you reply. "I just... I didn't like the idea of people thinking Lady Thalia was in prison," she says, "even if it isn't really you. I'd rather they thought she was still out there somewhere." You lean forward and put a hand on her shoulder. "I'm touched," you say. She finally turns her gaze back to you. "Are you really?" You nod. Of course, you can't say it //isn't// a little silly, but you don't mind. <</switch>> [['"Is there anything else we should clear up?"'|endMel4]]

<<if $totalMelPoints <= $maxTotalMelPoints * 0.7>> Mel takes a deep breath. "I must say that I do hope you'll be a little more serious and more honest with me. I don't think this is going to work out, otherwise. It's not that I don't enjoy a bit of repartee, of course," she adds quickly, "just that there's a time and a place, you know." You promise to be a bit more careful in the future, at least when the situation calls for it. <</if>> "One more thing," Mel says. "I suppose it's about our work again, but I think you'll want to hear about it." She pauses, and you wait for her to go on. "I... I think that it would make more sense to make you my partner in the detective agency, instead of pretending you're a secretary. You've done so much for this latest case; I think we could call that a sort of apprenticeship and stop worrying about questions regarding where your skills come from." "Goodness," you say, "my first promotion." You never thought you'd have the sort of job that allowed for that. Mel laughs. "Don't let it go to your head!" You talk a little while longer, and then walk her to the door. Just out of sight of the windows, you kiss her good-bye. It's brief but deep, and offers the promise of [[much more to come.|endHub]]

<<actEnd>> A few days later, you go back to work at the newly renamed Williams & Knight Detective Agency. The papers picked up on the part you played in capturing "Lady Thalia" (while the Yard got most of the blame for not being able to keep her), and so business has been better than ever. Mel finally agreed to let you pay to have a telephone installed, which helps! And some of the new cases are even interesting. Unfortunately, however, someone does still need to do the typing, and it turns out Mel has even less facility with it than you do. So for now you remain stuck on that duty, although you're slowly getting better at it. One day some weeks after the incident at the New Gallery, you are unjamming the typewriter yet again when Mel comes in holding an envelope, an odd expression on her face. [["You'll want to read this," she says.|endEnd2]]

You take the letter from her. The envelope is postmarked from Vienna, and the letter, when you take it out, is in an unfamiliar hand. //Dear Mrs Knight and Miss Williams,// it begins, //I am ever so grateful for your allowing me to avoid being bothered by Miss Williams's old associates. I thought you would like to know that I am well, though living a bit of an itinerant lifestyle at present...// It goes on to discuss the writer's adventures on the Continent in a familiarly self-aggrandising style and is signed simply "K". You squint at the letter as if doing so will make it yield up its secrets. Why would Kitty write this? Does she think you are concerned for her well-being? Is it some sort of veiled threat? But before you can discuss this with Mel, the telephone rings--another case, it seems, is on its way. Your worries will have to wait. @@font-size:400%;<<link "//Fin//" "end">><</link>>@@

Thank you for playing //Lady Thalia and the Case of Clephan//! Your final Finesse score, demonstrating your ability to break into buildings and locked rooms with panache (but only for the most virtuous of reasons, usually), was $totalFinesse out of a total of $maxTotalFinesse, earning you a rank of <<if $totalFinesse == $maxTotalFinesse>>master<<elseif $totalFinesse >= $maxTotalFinesse * 0.7>>skilful<<elseif $totalFinesse >= $maxTotalFinesse * 0.5>>perfectly average<<else>>rather inept<</if>> thief-detective. We hope you have enjoyed the show! <center><<button "Play again">> <<run Engine.restart()>> <</button>></center>