Lady Thalia and the Rose of Rocroi

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<<run Config.passages.nobr = true;>> <<run Config.ui.stowBarInitially = true;>> <<set $finesse = 0>> <<set $totalFinesse = 0>> <<set $deduction = 0>> <<set $totalDeduction = 0>> <<set $convVar = 0>> <<set $strikes = 0>> <<set $time = 0>> <<set $timeout = 7>> <<set $debugMode = false>> <<set $maxTotalFinesse = 0>> <<set $maxFinesse = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $melPoints = 0>> /*relationship value with Mel*/ /*Day 0 - Day*/ <<set $astleyConv = false>> <<set $willoughbyConv = false>> <<set $melConv = false>> <<set $backEntrance = false>> <<set $night0GuardInfo = false>>

<<if $debugMode == false>> <<addclass "body" "hidehistory">> <</if>>

@@font-size:400%;Lady Thalia and the Rose of Rocroi@@ <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 a sequel to //Lady Thalia and the Seraskier Sapphires//. It is not necessary to play the previous game in order to understand this one, but should you like to play it anyway it can be found [[here|https://ejoyce.itch.io/lady-thalia-and-the-seraskier-sapphires]]. This series draws inspiration from a number of works, including but not limited to the Arséne Lupin stories by Maurice Leblanc, the Lady Molly of Scotland Yard stories by Emma Orczy, and the 1915 Italian silent film //Filibus//. The games have been lovingly researched -- rest assured that all mistakes and anachronisms (or at least most) are intentional for the purposes of plot, comedy, genre convention, or sheer self-indulgence on the part of the authors. In particular, many liberties have been taken with the details of real buildings for more efficient and/or exciting heisting. Mistakes involving the French language, however, may be genuine, as the authors had the hubris to set a game in Paris despite not speaking a word of the language. They offer their sincere apologies. This game was written in [[Twine 2|https://twinery.org/]] using the Sugarcube format, with the aid of [[Tweego 2.1.1|https://www.motoslave.net/tweego/]]. Cover images are from publicdomainvectors.org and are used under the Creative Commons 1.0 license. The image of the tragedy and comedy masks is an edited version of a public domain image from OpenClipart. The font used for the title and in several other places in the game is the (rather appropriately named) Passions Conflict, a Google Webfont available under the Open Font License. Thanks to Rovarsson and Christopher Merriner for playtesting. <<return>>

Everyone who's anyone summers in France, and so here you are. Yes, you have a Paris flat that you're letting rather than a stately summer home in the country, but at least you can be here to put in appearances at all the most fashionable events of the season. Or such is your excuse, at least. In truth, you have several reasons for being here that you find far more compelling than any society party. First, Paris is home to a number of establishments -- cafes, bars, dance halls, and the like -- that serve as gathering places for women of (shall we say) a certain type. It's not that London is devoid of such establishments, per se, but Paris is on a whole different level. Its //demi-monde sapphique// has no equal in Europe as far as you're aware. Also, none of the women here have personal grudges against you (yet). The second reason is, of course, that there is //quite// a lot of art here that [[you could be stealing|day0Part1]].

<center>@@font-size:x-large;ACT I@@</center> You are once again at a garden party (being wealthy seems to involve an almost intolerable amount of garden parties) and are just about to claim a headache and beg off when you overhear something that catches your attention. "... the article," Lady Astley is saying to the Baroness Chudleigh, "about the theft?" "Of course," says the Baroness, "a terrible crime. Although... there is something rather impressive about it, wouldn't you say?" "One almost has to admire the audacity," Lady Astley agrees. "Not to mention the skill required to pull it off." <<link [['"Pardon me, but what are you talking about?"'|day0Part2]]>><<set $convVar = 1>><</link>> <<link [['"Are you talking about Lady Thalia?"'|day0Part2]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> "Oh, haven't you heard?" says Lady Astley. "There was a theft last week at an auction house in the city -- terrible, of course, but rather impressively done, I thought." Last week? But you weren't even here last week! <<case 2>> The Baroness frowns, apparently racking her brains to recall where she's heard the name before. "The lady thief who made a fool of Augusta some months ago? No, not her." Ugh. You hoped you'd left rather more of an impression than that. <</switch>> This is certainly something you need to find out more about. [['"What was stolen?"'|day0Part3]]

"A signet ring," the Baroness says. "A small piece, but still rather valuable on account of its age. It was to be auctioned as a set with some silver candlesticks. The papers said that it looked like he had tried to get to those as well, but had to leave them and flee when he heard the guards coming. I wonder if he plans to come back for them?" She sounds almost excited about it, and this is the thing that really infuriates you. You feel that Europe only has room for one celebrity thief, as it were, and by all rights it should be you! You were here first, after all. Metaphorically here in the position of famous gentleman or gentlewoman thief, that is, not here in Paris. An idea is beginning to occur to you. If //you// go and steal those candlesticks, that ought to show this upstart who the better thief is. However, if you're going to start trying to get information out of the Baroness as opposed to simply making conversation, you will need to take a moment to consider your approach. [[Refresh your memory of the possible approaches.|conversationIntro]] [[No, you're quite certain you know what you're doing.|day0Part4]]

You have a finely honed system for convincing people to give you what you want (information, physical objects, or otherwise). There are three basic approaches, and you've found that most people will respond better to one than to the others. Some people respond well to attempts to be ''friendly'' (F) -- a sympathetic ear, feigning a shared interest, or even flirting. This approach is, you feel, rather self-explanatory. You consider appealing to people's sympathies by seeming emotionally or physically fragile to fall into this general category as well, but this is rarely your first choice -- you do know how useful it can be to be underestimated, but to be quite honest it galls you to be seen as weak. Some people respond best to a ''direct'' (D) or forceful approach. Usually, this involves acting like you have authority to ask or command something; many people will then assume that you must indeed have it. Sometimes, however, this is more about getting to the point and not trying to dress anything up. It's surprising what some people will tell you if you ask them straight out. Finally, some people are very receptive to an interlocutor ''leading'' (L) them in a specific direction. Whether out of desire to impress, overwhelming passion for a particular topic, or simply a love of the sound of their own voice, they will tell you everything you want to know (and quite often more) without much prompting. All you need to do is gently nudge them and then stand back. [[There, now you're ready to get to work.|day0Part4]]

You quickly compose yourself and begin to plan your offensive. You don't know the Baroness Chudleigh particularly well -- you run in the same circles, but she has //rather// an annoying laugh and as such you avoid anything more than brief conversation with her. (And of course, you generally keep your peers at arms length lest they find out about your nocturnal activities.) You'll have to test the waters and see how she reacts. <<link '"I\'d love to hear more about this theft -- it sounds rather fascinating." (F)' 'day0Baroness1'>><<set $convVar = 1>><</link>> <<link [["What do you know about the candlesticks?" (D)|day0Baroness1]]>><<set $convVar = 2>><</link>> <<link [["You certainly seem to know a lot about the theft." (L)|day0Baroness1]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> The Baroness's eyes sparkle. "Isn't it, though? That is -- terrible, of course. Completely unconscionable. But it is rather the most excitement we've had all season." You agree that theft is, of course, inexcusable. <<case 2>> The Baroness frowns. "Why should I know anything about them?" You assure her that you were only asking since she seems so well-informed, but she is still eyeing you suspiciously. You will have to tread more carefully in future. <<case 3>> The Baroness frowns. "What are you implying?" You assure her that you only meant that she seems well-informed of the latest news, but she is still eyeing you suspiciously. You'll have to tread more carefully in future. <</switch>> "Well," she says, "I don't know much more than I've told you. But given that the candlesticks are large and made of pure silver, I should imagine they're more valuable than the signet ring, so I really //would// expect he'd come back for them." <<link '"But you must tell me more about the thief -- I\'m behind on the gossip." (F)' 'day0Baroness2'>><<set $convVar = 1>><</link>> <<link [["Who is the thief? That is, what do you know about him?" (D)|day0Baroness2]]>><<set $convVar = 2>><</link>> <<link [["Then, about the thief..." (L)|day0Baroness2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> You look at the Baroness quite sadly as you explain that you've only just arrived in Paris and missed out on all the details of his exploits. She takes pity on you. <<case 2>> The Baroness looks down her nose at you. "//I//? Why should I know anything about him?" You explain that you meant to ask what //is known// about him, by the public, in general. She huffs out a sigh, but doesn't question you further. <<case 3>> The Baroness raises an eyebrow in what you're fairly sure is disdain. "What //about// the thief? If you have questions, ask them -- don't play these silly guessing-games." You apologise and explain that you meant to ask what is known about him, since it seems his exploits have been a topic of great interest in her circles lately. <</switch>> "He calls himself the Baron d'Acanthe. Although I don't think they've actually got barons here," she adds. "Chopped all their heads off, didn't they? Anyway, the papers say he commits his thefts in some manner of elaborate historical costume, and leaves messages behind at the scene engraved on cards with gilded edges." You try to look impressed, but it all sounds rather wasteful and impractical to you. <<link [["And you think he'll strike again at the auction house soon?" (F)|day0Baroness3]]>><<set $convVar = 1>><</link>> <<link [["Are the candlesticks still at the auction house?" (D)|day0Baroness3]]>><<set $convVar = 2>><</link>> <<link [["What do you think he'll do now?" (L)|day0Baroness3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "He might," she says, "or he might wait until the candlesticks are elsewhere." You encourage her to elaborate. <<case 2>> "Why do you ask?" the Baroness says, narrowing her eyes. You explain that you were simply wondering if the thief would have to go back there -- surely his chances of getting caught are much higher now that they're on their guard? <<case 3>> "As I said," says the Baroness, "I believe he'll steal the candlesticks. //Do// try to pay attention." You bite back an irritated retort and instead ask if she thinks he will strike at the auction house soon or perhaps wait for the furore over the first theft to die down. <</switch>> "Despite the theft, the auction of the candlesticks went ahead," the Baroness informs you. "Lady Willoughby won. She's here today, as it happens. I could introduce you to her." You assure the Baroness that you've already been introduced to Lady Willoughby. ("Unfortunately," you do not add.) "She'll be taking the candlesticks home tomorrow -- I suppose she thinks it's safer," the Baroness sniffs. "If you ask me, it would be easier for him to steal them from her... but then, he does seem the type to want to show that he can best the auction house guards after they got the upper hand last time." That would be damned inconvenient if true, but it's not as if the Baroness knows him personally. Maybe she's wrong. At any rate, you think you've got everything useful you're going to get out of this conversation. [[You make your excuses and wander back into the fray.|day0Hub]]

<<set $strikes = 0>> You are at a garden party, standing near the refreshments. <<switch visited()>> <<case 1>> A tray is piled high with sandwiches. <<case 2 3>> The sandwiches look rather picked over. <<case 4>> The sandwiches look as though a horde of locusts descended upon them. <</switch>> <<if $astleyConv === false>> Lady Astley has finished her conversation with the Baroness and is refilling her drink. <<else>> Lady Astley has mercifully left the party. <</if>> <<if $willoughbyConv === false>> Lady Willoughby is sitting at a table, surrounded by curious women. She's clearly uncomfortable being the centre of today's attention. <<else>> Lady Willoughby has retreated to a corner, while her former admirers throng around the Baroness. You don't think you can talk to either of them again. <</if>> <<if $melConv === false>> There's a tall woman standing awkwardly near the edge of the party. Her back is to you, so you can't tell who she is, but you're reasonably sure she's not one of the usual party guests. How odd. <<else>> You very deliberately ignore whatever Mel is doing now. <</if>> <<if $astleyConv === false>>[[Talk to Lady Astley.|Astley1]] <</if>> <<if $willoughbyConv === false>>[[Talk to Lady Willoughby.|Willoughby1]] <</if>> <<if $melConv === false>>[[Talk to the mysterious woman.|day0Mel1]] <</if>> <<if $astleyConv && $willoughbyConv && $melConv>>[[Your work here is done. Time to go.|night0Start]]<</if>>

<<set $astleyConv = true>> You go over to refill your drink as well, to have an excuse to talk to her. "Oh, Mrs Knight!" she says, before you can say anything. "How have you been, dear? I feel I hardly had the chance to speak to you just now. The Baroness is lovely, of course, but she //does// rather monopolise a conversation." You assure her you've been well, although you are, of course, terribly sorry to have missed out on everything happening in Paris the past several weeks. <<link [["And how have you been?" (F)|Astley2]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["I want to know more about that theft." (D)|Astley2]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["So, what excitement have I missed while I was in London?" (L)|Astley2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> Lady Astley launches into a monologue spanning the health of her husband, the behaviour of her children, the state of her rose garden, and the details of a particularly awful soiree that she had the misfortune to attend last week. It takes you some time to get her back around to the subject of the theft, but she does at last offer to give you her insights on it. <<case 2>> "I'm very well, thank you, since you don't ask," Lady Astley says, sounding cross. "But I am a forgiving woman, so I would be happy to tell you all I know. <<case 3>> Lady Astley lights up, clearly delighted that someone is (for once) asking her to gossip instead of trying to make her stop. <</switch>> "Of course, the auction house theft is the talk of the town right now. I expect you've heard the basic facts from the Baroness?" (She does not pause here to give you a chance to reply.) "//She// doesn't know much more than that. Between you and me, her French is rather poor. Lovely woman, though, of course. But in any case, //I've// been following the accounts of Baron d'Acanthe in the papers for months." She leans in conspiratorially and lowers her voice for the last sentence, as if she wouldn't happily tell anyone who asked. <<link [["You seem very well-informed about the matter." (F)|Astley3]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["Will he succeed at stealing the candlesticks?" (D)|Astley3]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["It seems rather difficult for him to take the candlesticks now..." (L)|Astley3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "Oh, well, I wouldn't say I'm an //expert//, I simply know a thing or two because I read the papers. I do like to stay up to date on current events. You know, I read the other day about a strange incident that happened in Bordeaux..." As she regales you with the details of the incident, it rapidly becomes clear that it is completely unrelated to Baron d'Acanthe. You have to expend considerable effort to get her back on topic. <<case 2>> "Well, I'm hardly the authority on that. That sounds like a question for a security guard or perhaps a policeman. I don't even know any policemen, myself. Though there was the one my cousin Emily almost eloped with. She was very young and suggestible at the time, poor dear. She was lucky it didn't come off in the end. But anyway, I never met the man personally." You gently remind her that you were talking about Baron d'Acanthe's plans. <<case 3>> "Oh, yes, I should think it would be. The auction house is on high alert, I heard. They've hired extra security and a little bird told me the police themselves will be watching the building tonight!" She says this as though she is talking about a new play she's looking forward to and not a crime. (A crime committed by a lesser thief than yourself, at that!) <</switch>> "The auction house is quite an interesting place if you like art," Lady Astley continues. "Last year my husband bid five hundred pounds on a vase from Ancient Greece! He didn't win it, of course, but it was quite exciting nonetheless." You can't imagine being so content to lose out on a piece of art, but you try not to let your dismay show. <<link [["Do you know very much about the auction house?" (F)|Astley4]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["How do you get into the auction house?" (D)|Astley4]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["Have you been to the auction house before?" (L)|Astley4]]>><<set $convVar = 3>><</link>>

Distantly, a bell strikes the hour. It's later than you thought. <<if $strikes === 3>> "Oh my!" Lady Astley exclaims. "I did promise my girls that I'd be back half an hour ago. I'd best be off! Lovely talking to you, and if you see Roberta again can you ask her to return my parasol? She borrowed it a fortnight ago, you see, and--" [[You wave her off before she gets too far and head back to the party.|day0Hub]] <<else>> <<switch $convVar>> <<case 1>> Lady Astley doesn't notice, though, and instead perks up at your question. "Not a whit!" she says cheerfully. "But it's such an imposing building, I can't help but admire it every time I go past. Oh, speaking of majestic buildings, next year my husband and I might summer in Berlin instead of Paris! I've heard such lovely things about their architecture. And of course, their food!" Somehow, you doubt this. <<case 2>> Lady Astley ignores the bell in favour of looking at you pityingly. "Oh, you've never been to the Hôtel Drouot?" She appears to have misheard your question. "It's down by the Palais Garnier -- you know where that is, don't you? From there, head ten minutes east along the boulevard and you can't possibly miss it! It's such a //majestic// building," she sighs. You're angrier at her rude assumptions than you are at the uselessness of this answer. You may not have a title like she does, but that doesn't mean you're not cultured! (Also, you've already considered robbing both the auction house and the Palais.) <<case 3>> <<set $backEntrance = true>> Lady Astley is too entranced by your conversation to care about the time. "Oh, yes, I have. Never to the back room, though -- where they keep the lots, you know. They take the buyers back there afterwards to retrieve them, but I've never won an auction myself. I'm not really much of a collector in any case. I do hear it's quite secure. Partly because the corridors are positively labyrinthine, although I believe there's a back entrance..." <</switch>> Suddenly, Lady Astley sets her drink down and slaps a hand to her forehead. "Oh my, I just remembered -- I promised my poor girls I'd be back ages ago! Agatha has been so desperate to see a cow, you see, so I said I'd take them out into the countryside and find a nice farm this afternoon, and the coachman gets off at three so I had better--" [[You say a brief goodbye, and turn back to the party.|day0Hub]] <</if>>

/*Heist location: https://en.wikipedia.org/wiki/H%C3%B4tel_Drouot*/ /*I decided her first name is Constance for no particular reason*/ <<set $willoughbyConv = true>> You join the crowd of women surrounding Lady Willoughby, who looks unhappy to have attracted yet another gawker. The woman is a cantankerous twit (a terrible combination), but even so, you can't help feeling sorry for her. She just wanted to purchase some antique candlesticks, not to make herself into some sort of spectacle. If you can get her alone she'll probably be grateful enough to tell you what you want. That said, what you want to know is exactly what she's been hounded about all afternoon, so you'll have to be careful in your approach. <<link [["Oh, Connie, it's been ages! Fancy a chat to catch up?" (F)|Willoughby2]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link '"Excuse me, Lady Willoughby -- could I have a private word with you?" (D)' 'Willoughby2'>><<set $convVar = 2>><</link>> <<link [["Did you know, I just had the most fascinating conversation with the Baroness Chudleigh. Something about a Mr Acanthe?" (L)|Willoughby2]]>><<set $strikes += 1>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> Without waiting for an answer, you take Lady Willoughby by the elbow and lead her away from the crowd. The women mingle aimlessly for a moment and then disperse in search of more gossip. "I can't say I'm not grateful," grumbles the woman, "but if you ever call me Connie again -- or even Constance -- I shall have quite strong words for you! I mean no offence, of course, but if people thought we were intimates I should never hear the end of it!" You nod to show your understanding. Your past as an actress is generally only considered a //little// scandalous these days, but as part of the older set, Lady Willoughby takes particular exception. <<case 2>> Lady Willoughby meets your gaze with the relief of a drowning woman handed a life preserver. "Ah -- yes, of course, Mrs Knight. Ladies, will you give us a moment?" She waves away the last of her hangers-on and steps forward with you out of the crowd. Without fresh gossip to feed on, you suspect the women won't wait around for her to return. Two of them have already broken away and are heading for the sandwiches. Lady Willoughby purses her mouth. "That was very... thoughtful of you, Mrs Knight." She has always taken //particular// offence to your scandalous past as an actress, so you suppose this is the closest she'll come to thanking you. <<case 3>> You prattle on for a minute or two relaying your conversation about Baron d'Acanthe, leaning heavily on the most tantalizing details while being vague about the particulars. Soon the crowd takes the bait and departs, bit by bit, in search of the Baroness. Once enough women have left you guide Lady Willoughby to a quieter area of the party. "I'm not sure I should thank you for this," she grouses. "She doesn't know the first thing about this fiasco, and when they find her wanting they'll be right back in my lap! //And// they'll be twice as pushy this time, mark my words." You feel that this is rather pessimistic, but you did stretch the truth a little in your attempts to disperse the crowd. <</switch>> "Now, what do you want to know?" she says sharply. You begin to offer a token protest, but she cuts you off. "I wasn't born yesterday, Mrs Knight. Spit it out, before I change my mind!" She looks even unhappier than she did before. This is //exactly// why you've never liked Lady Willoughby. <<link [["Oh, no, I really did just want to help you!" (F)|Willoughby3]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["Do you think the thief will strike again tonight?" (D)|Willoughby3]]>><<set $convVar = 2>><</link>> <<link [["You must be very worried about the safety of the candlesticks." (L)|Willoughby3]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<switch $convVar>> <<case 1>> Lady Willoughby sighs heavily. "I'm not such a fool as you must think I am," she says. "You've hardly given me the time of day before." You apologise and admit that you wanted to know if she thought the thief would strike again tonight. <<case 2>> "Yes, I thought you might say that. At least you have the grace not to sound //excited// about the prospect," she says sourly. You assure her, quite sincerely, that you are not at all excited about the prospect of Baron d'Acanthe making an appearance and very much hope that he will not return for the candlesticks. <<case 3>> "Of course I am," she snaps. "Who wouldn't be? That lowlife already tried to steal them once." She regards you narrowly. "Not a friend of yours, I hope. He seems a //theatrical// sort." You're fairly certain that she only wants to get in a dig at your chequered past and doesn't actually think you and he have anything else in common, but that is still a little close for comfort. You quickly ask whether she thinks it is likely the thief will strike again tonight. <</switch>> "He may very well try," she says. "But the auction house is taking measures to keep everything safe, and I must hope that they are enough. Of course, I do think the candlesticks will be safer once I can watch over them myself, but I didn't have time to go into the city today, unfortunately." <<link [["I do so hope that everything turns out all right." (F)|Willoughby4]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["What measures are they taking?" (D)|Willoughby4]]>><<set $convVar = 2>><</link>> <<link [["Do you think it will be enough?" (L)|Willoughby4]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<if $strikes === 3>> "I think that's //quite// enough of that, thank you," Lady Willoughby says sternly, as if to a small child or misbehaving dog. Without waiting for you to respond, she stalks off. It seems you won't be getting any more out of her. <<else>> <<switch $convVar>> <<case 1>> "Thank you," she says stiffly, as if it costs her great effort to do so. You ask what the museum's security plans are. <<case 2>> "Guards, mainly," she says, sounding disdainful of the very concept. You give her an inquiring look, hoping she'll go on. <<case 3>> "Well, I don't know, do I?" she says. "But I am forced to rely on them regardless." You ask her what these plans she's forced to rely on might be. <</switch>> "They normally have a single night watchman patrolling the building, but they said that they would post extra men in the back rooms tonight, and the police have been there all day watching the front doors. It seems inadequate to me, but I suppose I'm not an //expert//," she adds, with some asperity. You assure her that this sounds like plenty of security to you, although you are not an expert either. "Will that be all?" she says, in a tone that implies that this had damn well //better// be all, but she wishes you to know that she's too genteel to say so. <<set $night0GuardInfo = true>> <</if>> [[Time to go back to the party.|day0Hub]]

<<set $melConv = true>> You approach the tall woman from the side, hoping to identify her before you start a conversation. Strangers aren't a usual occurrence at these parties, especially ones who look so uncomfortable. She shifts her weight awkwardly and scans the party, clearly looking for a way out of her current conversation, which allows you to get a look at her face. Your heart skips a beat. What is //she// doing here? This woman isn't a stranger at all. She's Margaret "Melpomene" Williams, Scotland Yard art detective and perpetual thorn in your side. Not that you dislike her -- your shared game of cat and mouse is //quite// stimulating -- but for goodness sakes, you're supposed to be on holiday! Mel is many things, but a relaxing presence is decidedly not one of them. You'll have to be careful. [[She notices your gaze and heads towards you.|day0Mel2]]

"Miss Williams," you say, with a strained smile, as she approaches. You risk a quick glance to see if she's armed, but her usual baton and handcuffs are nowhere to be seen among her garden party attire. No wonder she looks so uncomfortable: you've never seen her wearing a dress before. It's a lovely shade of green and it ought to look nice on her, but she has the pained expression of a monk wearing a hairshirt and it rather spoils the effect. (You, personally, tend to think of formal dresses as theatrical costumes. Actually, you can't recall when you last wore something you didn't think of that way.) "Mrs Knight," she says. "I didn't know you were in Paris." She seems more genuinely surprised than put out, which makes sense, because she is not actually aware that you are her nemesis, Lady Thalia. You would like to keep it that way. <<link [['"Were you looking for me? I\'m touched."'|day0Mel3]]>><<set $convVar = 1>><</link>> <<link [['"I arrived fashionably late."'|day0Mel3]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> You really shouldn't be flirting with her -- not in front of other people and //especially// not in your identity as semi-respectable society lady Theodora Knight -- but it's hard to resist. She's so easily flustered, which is very amusing. Indeed, she's gone a bit pink. "Er," she says. "Not-- not particularly. I was just surprised to see you here, that's all." You raise an eyebrow, by way of asking what that's supposed to mean. <<case 2>> "That must makes you the most fashionable person in this set," she says, grinning. Is that supposed to be an insult or a compliment? Or even a sort of shared joke? Well, no matter. You smile with all your teeth and assure her that //of course// you are. <</switch>> "I didn't take you for the type to have a summer home in France," she says. Usually when people say things like this to you, they're implying that you're not quite their sort, but you hear none of that in Mel's tone -- not surprising, really, since she's not quite these people's sort either. <<link [['"I don\'t, in fact, but I do so hate to miss a party."'|day0Mel4]]>><<set $convVar = 1>><</link>> <<link [['"Perhaps there are things you don\'t know about me."'|day0Mel4]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> "I'm not sure what you see in them, myself," she admits. "I would rather be almost anywhere than at a do like this. But I'm too unconventional as it is to be able to add 'rudely turning down every invitation' to my list of faults." She smiles ruefully. You can't help smiling back, in sympathy. You do know the feeling. <<case 2>> You were aiming for "alluringly mysterious and a bit coquettish" with that comment, but Mel just frowns slightly. "I'm sure there are many," she says. "But I do somehow doubt that possession of a summer home is one of them." You confess that she is correct about this. <</switch>> "Where //are// you staying, then, while you're here?" she says, looking at you with what seems to you, at least, to be keen interest. You can't deny that you enjoy being looked at with keen interest, but you are concerned that this may be the wrong kind. Why does she want to know where you're lodging? Is it friendly curiosity, or have your late arrival and unusual circumstances made her suspicious? You mention a flat in Paris, but are as vague as possible about the particulars. Mel cocks her head and regards you with an expression you can't read (which is not a problem you frequently have; you would rate your expression literacy very highly). "I see," she says. [['"Oh, but look at the time, I really must dash..."'|day0Hub]]

Back entrance info: <<radiobutton "$backEntrance" "true" autocheck>> true <<radiobutton "$backEntrance" "false" autocheck>> false Guard info: <<radiobutton "$night0GuardInfo" "true" autocheck>> true <<radiobutton "$night0GuardInfo" "false" autocheck>> false [[Night 0|night0Start]]

/*Declare Night 0 variables here*/ <<set $invEntrances = true;>> <<set $brochureRead = false>> <<set $safeTries = 0>> <<set $finesse = 0>> <<set $maxFinesse = 0>> /*End of Night 0 variables*/ You are standing on the pavement outside the Hôtel Drouot. At this hour the street is deserted, but you know how busy it must be when the sun is up. You have not had as much time to observe the building and plan your approach as you would prefer, but you're hoping that won't be a problem. You once spent a week staking out Christie's for a particularly difficult heist, and surely this auction house can't be //that// different, can it? (Oh, all right, you know very well that it can, but you're trying to keep your confidence up, here.) You adjust your mask (can't risk anyone identifying you) and survey the building. You spot a second floor window that has been left open a crack, a side door in a shadowy alcove, and a sturdy drainpipe leading up to the roof. It's not wise to go barging in unprepared, but being careful tends to use up your most valuable resource: time. Being a thief is all about walking the delicate tightrope between the two, which you've got rather good at over your career -- figuratively and, sometimes, literally. <<set $maxFinesse += 2>> <<link [[Investigate the visible entrances and plan your strategy.|investigateDrouot]]>><<set $invEntrances = true>><<set $slow += 1>><</link>> [[Break in quickly so as not to waste time.|messyDruout]] <<if $backEntrance === true>><<link "Go around back. Surely Lady Astley wouldn\'t let you down?" "night0Interior">><<set $finesse += 2>><</link>><</if>>

How would you like to break in? <<link [[Jemmy open the window.|windowDrouot]]>><<set $messy += 1>><</link>> <<link [[Pick the lock on the door.|sideDoorDrouot]]>><<set $messy += 1>><</link>> <<link [[Climb the drainpipe.|drainpipeDrouot]]>><<set $messy += 1>><</link>>

You take a minute to consider your options. No point making careless mistakes this early in the night. You can see a faint light flickering through the window. There could be a guard there, or merely some late-night clerk. You can handle them, if you're careful. A closer inspection of the door shows that the lock is rusty. You can still pick it, but it might be stuck anyway. The drainpipe is as sturdy up close as it looked from afar, but it makes an alarming groaning noise when you test your weight on it. You'll have to climb slowly or risk attention from whoever's inside. [[Go through the window.|windowDrouot]] [[Try the door.|sideDoorDrouot]] [[Trust the drainpipe.|drainpipeDrouot]]

The window slides open with no small effort (apparently, it was stuck). <<set $finesse += 1>> <<if $invEntrances === true>> You hang back and scout the dark corridor for the light you saw earlier. Sure enough, a guard rounds the corner and passes right by your illicit entry point, but it's child's play to duck behind the sill until he's past. Once he's gone, you make your way through the window and slip inside the Hôtel. <<else>> You're halfway into the building when you see a guard's torch shine around the corner. You throw yourself back out the window and cling to the sill with your fingertips until the light disappears. You don't know if he noticed anything amiss, but there's nothing you can do about it now. <</if>> [[Continue into the auction house.|night0Interior]]

<<set $finesse += 1>> You pull your lockpicks from your pocket and get to work. <<if $invEntrances === true>> The tumblers are as rusty as you thought, but a few well-placed thumps to the lock plate dislodge enough debris that you can turn them with some effort. It's agonizingly slow, but oh-so-satisfying when the lock clicks open. Best hurry onwards. You can't afford to spend more time here. <<else>> Picking this lock should be easy -- small wonder that dratted Baron had such success with security like this -- but the tumblers refuse to turn. Closer inspection reveals that the lock is rusted shut. You put all your weight into it, and suddenly the door flies open and clatters against the adjacent wall. You really hope nobody heard that. Best clear out of here fast before someone comes to investigate. <</if>> [[Continue into the auction house.|night0Interior]]

<<set $finesse += 1>> <<if $invEntrances === true>> You climb the drainpipe at a speed best described as glacial, with long pauses at every noise the pipe makes. But you don't hear any disturbances besides the small ones you're making, so you persevere. Eventually you reach the top and haul yourself over the gutter to catch your breath. <<else>> Shimmying up drainpipes is one of your favourite ways to break into buildings, but tonight things are not in your favour. Despite its sturdy construction, the pipe moans and groans with your every move. You have no choice but to fly up it as fast as possible, and hope the guards blame the building settling. <</if>> You're in luck -- there's a poorly secured door on the roof. You're through it in a trice. [[Descend into the auction house.|night0Interior]]

<<if $backEntrance === true>> You slink around to the back of the building, sticking to the cover of shadows just in case. You tend to take Lady Astley's gossip with a grain of salt, but for once she was dead on. You hop a fence and find a rather nice luncheon spot under some trees, with a few lovely benches and, most importantly, a path leading to a back door that looks like it hasn't been used in aeons. The door is locked, of course, but the lock is frankly //atrocious//. You could pick it in your sleep. <</if>> Once inside, you navigate a series of twisty corridors, taking care to avoid any patrolling guards you run across. The back rooms all look alike, but before you can worry about finding the right one you find a room [[under heavy guard.|night0Guards1]]

<<set $maxFinesse += 2>> <<if $night0GuardInfo === true>> <<set $finesse += 2>> These must be the guards that Lady Willoughby mentioned. Luckily, you came prepared. Knocking out guards isn't really your style, but sometimes you don't have a choice -- and when those times present themselves, some chloroform and a few lengths of rope tend to come in handy. (Knocking out guards with violence rarely works for you and tends to attract //rather// too much police attention anyway, so you consider that the furthest of last resorts. Also, you do have a conscience.) With these tools in hand, the task of getting into the room has become considerably more straightforward. You make a small noise to lure one of the guards away from the door, drug him from behind, and then drug the other when he goes to investigate why his partner hasn't returned. Once they're securely bound and gagged, you lift a keyring off one of them and [[open the door.|night0SafeHub]] <<else>> <<set $convVar = 0>> There are two guards here, and they look surprisingly alert for the hour. You'll have to get through them to get into the back room, unless there's a hidden entrance you don't know about. Knocking out guards isn't really your style, but sometimes you don't have a choice -- and when those moments roll around some chloroform and a few lengths of rope tend to come in handy. You wish you'd thought to bring some, but you hadn't thought the added weight would be worth it at the time. (Knocking out guards with violence rarely works for you and tends to attract the wrong kind of police attention anyway, so you consider that the furthest of last resorts. Also, you do have a conscience.) You'll have to get creative if you want those candlesticks. <<link [[Search for another entrance. |night0Guards2]]>><<set $convVar = 1>><<set $slow += 1>> <</link>> <<link [[Create a distraction. |night0Guards2]]>><<set $convVar = 2>><<set $messy +=1>> <</link>> <<link [[Start a wild goose chase. |night0Guards2]]>><<set $convVar = 3>><<set $slow +=1>><<set $messy += 1>><</link>> <</if>>

<<switch $convVar>> <<case 1>> <<set $finesse += 1>> If there's one thing you've learned over your career, it's that there's always another entrance to be found if you're determined, flexible, and in very good shape. A quick canvas of the area shows that none of the adjacent rooms are guarded, which gives you an idea. You find the closest door out of view of the guards, take a minute or two to pick the lock, and slip inside. A lit match reveals this room is full to the brim with paintings, stacked a little too haphazardly on top of one another for how expensive they look. Your fingers itch, but you resist the dual urges to steal and to tidy, and instead look around. Your eyes scan the room, looking for exits and then, aha! An air vent, your best friend. There are two large ones in this room, each apparently leading to the adjacent storage area rather than a duct system. You suppose the airflow this provides is probably best for the art. Luckily for you, neither looks well anchored. It requires some unfortunate (but very careful) use of the less expensive paintings as a step-stool, but you remove the vent cover and squeeze through the gap into the next room. This one is full of antique military attire so it's likely not where the candlesticks are, but [[the room beyond the next grate might be.|night0SafeHub]] <<case 2>> <<set $finesse += 1>> The fastest way to move these guards is to find them something more interesting to do -- that is, cause a distraction. Loud noises usually do the trick, so it's time to find something breakable. Surely an auction house has much to offer on that front. A few corridors over, you find an ornate vase in an alcove. It's probably here to impress any buyers heading back to claim their well-won goods, and you feel a little bad for what you're about to do to it. (At least, until you look at it more closely. Of course they wouldn't use authentic goods for decoration, silly you.) You take the vase off its stand, hurl it down the corridor, and run hell-for-leather down a side corridor. A thunder of booted footsteps follows, which lets you know your plan worked. You hurry back to the storeroom as quietly as you can, and [[pick the lock in record time.|night0SafeHub]] <<case 3>> This is probably the worst idea you've ever had (and you have had a few bad ideas in your time), but you're feeling rather put out right now and you need to vent your feelings somehow. Also, this will definitely show up the Baron d'Acanthe. Before you can think better of it, you jump out of the shadows in full view of the guards and put on a winning smile. "Good evening, gentlemen," you say brightly (in French, of course) as they gawp at you. "Fancy a chat?" They gawp for a second more and then, gathering their wits, immediately rush towards you. You take off running in the opposite direction and proceed to lead them on a merry chase around the building. There are so many ways this plan could go wrong, but all of them fail to materialise -- the regular night watchman does not appear, you don't hit any unexpected dead ends, and best of all these guards seem only slightly more familiar than you are with the building. One collides with a decorative corridor sculpture and goes down in a crash of French swearwords, while the other falls further and further behind until you lose him entirely. Once you're sure he's off your tail you make a beeline back to where you started. That was //extremely// stupid of you, but oh, will you have a great story to tell after this is over. You very smugly [[pick the lock to the back room.|night0SafeHub]] <</switch>>

<<if visited() === 1>>With your obstacles disposed of, you enter the back room at last. The candlesticks must be here somewhere. <</if>> The room is lined with various cases and cabinets; there's a particularly large safe against the back wall, and you have a feeling -- call it thief's intuition, if you will -- that that's where the candlesticks are. There is a door to the left leading into some sort of small [[office|guardOffice]]. <<link [[Crack the safe, in the usual figurative sense|safePuzzle]]>><<set $convVar = 1>><<set $slow += 1>><</link>> <<link [[Crack the safe, in the most literal sense possible|safePuzzle]]>><<set $convVar = 2>><<set $messy += 1>><</link>> <<link [[Enter a combination|safePuzzle]]>><<set $convVar = 3>><</link>>

This is a small office, with a desk and chair and not much else. A window in the door allows a view into the adjacent room. On the desk is a note that reads: //Remember, safe code changed DAILY!!!// (This last is underlined three times, which strikes you as a tad excessive). Under that is scribbled //Westerfield -- Minot -- Crandon//. <<set $noteSeen = true>> [[Search the office|officeSearch]] [[Return to the storage room|night0SafeHub]]

<<if $brochureRead === false>> You poke around a bit. On one of the shelves are some books and brochures; you flip through them, looking for anything the note could be referring to. One brochure, advertising an exhibit of mid-nineteenth-century artists, looks particularly promising -- it has a lot of names and dates in it //and// it has a suspicious amount of wear and tear for a pamphlet about a week-long special exhibition that happened last month. [[Read the brochure|artistBrochure]] [[Return to the storage room|night0SafeHub]] <<else>> You think you've seen everything there is to see in here. [[Return to the storage room|night0SafeHub]] <</if>>

<<set $brochureRead = true>> You mentally translate the brochure into English as you read. If you had truly mastered French you wouldn't need to do this, but unfortunately your education did not heavily feature language-learning. No one realised at the time that you were going to need it, not even you. You shouldn't contemplate the holes in your education for too long, though, as there are more pressing matters at hand. The first page of the brochure prominently features a section that reads: ''FEATURED ARTISTS'' //Paul Charpin// (1815-1882): French; Impressionist //Howard Crandon// (1838-1906): English; Impressionist //Friedrich Heidt// (1829-1891): Swiss; Romantic //Jacques Minot// (1832-1903): French; Pont-Aven School //Henri Renard// (1826-1901): French; Realist //Michael Westerfield// (1824-1899): English; etcher (This seems to you like a rather haphazard assortment of styles. You could have planned a better exhibition, honestly. Why does no one ever ask your advice about these things? It's much to their detriment, in your humble opinion.) <<return>>

<<set $safeTries = 0>> <<switch $convVar>> <<case 1>> <<set $finesse += 1>> You put your ear to the safe and commence turning the dial slowly and carefully, listening for the tell-tale "click." This method takes patience, but you are an expert at it; it's not //difficult//, only rather tedious. Eventually, however, [[you get the safe open.|safeEnd]] <<case 2>> <<set $finesse += 1>> You've come equipped with a crowbar, which you apply to the safe with great vigour. It's not a terribly quiet business, and it will make it very easy later for someone to determine at a glance what's missing, but in the absence of the safe combination, it's the fastest method of getting in. And indeed, before long [[the safe pops open|safeEnd]]. <<case 3>> Enter a combination: <<set _answer = " ">> <<textbox "_answer" "">> <<button "Check">> <<if _answer === "">> <<script>>UI.alert("You did not supply an answer!");<</script>> <<else>> <<set _answer to _answer.trim()>> <<if _answer === "24-32-38" or _answer === "24 32 38" or _answer === "243238" or _answer === "24 - 32 - 38">> <<if $safeTries === 0>> <<set $finesse += 3>> <<else>> <<set $finesse += 2>> <</if>> <<replace '#response'>>[[The safe opens.|safeEnd]]<</replace>> <<else>> <<set $safeTries += 1>> <<replace '#response'>>The safe remains obstinately closed. That must not have been the right combination.<</replace>> <</if>> <</if>> <</button>> <<if $brochureRead === true>>[[Look at the brochure again|brochureReference]] <</if>> <<if $noteSeen === true>>[[Look at the guard's note again|noteReference]] <</if>> <<return>> <</switch>>

''FEATURED ARTISTS'' //Paul Charpin// (1815-1882): French; Impressionist //Howard Crandon// (1838-1906): English; Impressionist //Friedrich Heidt// (1829-1891): Swiss; Romantic //Jacques Minot// (1832-1903): French; Pont-Aven School //Henri Renard// (1826-1901): French; Realist //Michael Westerfield// (1824-1899): English; etcher <<return>>

//Remember, safe code changed DAILY!!! Westerfield - Minot - Crandon// <<return>>

<<set $maxFinesse += 3>> Just as you expected, the safe contains a lovely pair of silver candlesticks. You grab them and prepare to flee into the night with them, like the bloke in that massive French novel your husband likes so much. (Or was it silverware the man stole? You can't recall; it's been years since you last attempted to read it.) Unfortunately, however, both your literary musings and your plans to make a run for it are rudely interrupted. "Who, in God's name, are //you//?" a voice says, in French, from somewhere behind you. You turn around and see a masked man in some sort of eighteenth-century getup, powdered wig and all. Ah. This must be the Baron d'Acanthe. The costume really does seem impractical for thievery, you can't help but notice. You may enjoy a bit of drama, but your only affectation costume-wise is the mask, which does serve a practical purpose in some situations. Situations exactly like this one, in fact. [['"I\'d love to stay and chat, but as you can see, I\'m rather busy right now..."'|night0final1]]

You try to dodge around him and make for the door, but he lunges at you and manages to shove you off-balance. You regain your footing and attempt to slip past him again -- you are only a couple of inches over five feet tall and weigh nine stone soaking wet, so you prefer to avoid fisticuffs -- but he grabs a nearby painting and attempts to bash you over the head with it. You just barely manage to duck out of the way. Well, that does it. You had little respect for this man to begin with, but now any shred of it you might have had is gone. You love and value art -- that's why you steal it -- but //he// clearly thought nothing of the possibility of damaging a painting by hitting you with it. Whatever this man's motives might be, he is clearly nothing like you. He grabs one of the candlesticks and wrenches it out of your hand. Though you feel a pang at this, you accept that escaping is a higher priority than getting it back. You kick him in the knee with all the force you can muster; luckily, this does succeed in momentarily staggering him. <<if $slow >= 3>> <<set $finesse -= 1>> <</if>> <<if $messy >= 3>> <<set $finesse -= 1>> <</if>> <<set $maxFinesse += 2>> <<set $delta = $slow - $messy>> <<if Math.abs($delta) <= 2>> <<set $finesse += 2>> <</if>> <<if $finesse > $maxFinesse>> <<set $finesse = $maxFinesse>> <</if>> <<set $totalFinesse += $finesse>> <<set $maxTotalFinesse += $maxFinesse>> At last, you have your chance to [[run for the door|gwenLetter0]].

<<set $researchChoice1 = false>> <<set $servantMap = false>> <<set $altEntranceN1 = false>> <<set $avoidServant = false>> <<set $extraGuards = false>> <<set $theoHelp = false>> <<set $theoConv = false>> <<set $servExplore = false>> <<set $housekeeper = false>> <<set $filesRead = 0>> <<set $actions = 3>> <<set $kitchenRooms = [ ]>> [[Research|day1Start]] [[Investigation|day1InvStart]]

/* Declare day 1 variables here */ <<set $researchChoice1 = false>> <<set $servantMap = false>> <<set $altEntranceN1 = false>> <<set $avoidServant = false>> <<set $extraGuards = false>> <<set $theoHelp = false>> <<set $theoConv = false>> <<set $servExplore = false>> <<set $housekeeper = false>> <<set $filesRead = 0>> <<set $actions = 3>> <<set $kitchenRooms = [ ]>> /*End of Day 1 Variables*/ <center>@@font-size:x-large;ACT II@@</center> You are Margaret Williams (emphatically //not// Melpomene or any variant thereof), special consultant to Scotland Yard on art crimes. (Technically, you are not an inspector, because Scotland Yard doesn't allow women to hold that position, but in practice what you are doing is not much different.) Currently, you are meeting with the Paris chief of police. Due to your expertise in the field, the chief specially requested your help with the Baron d'Acanthe situation, which is flattering -- it's a shame the rest of the Paris gendarmerie would rather you weren't here. "I'm sorry I haven't been able to devote more time to the Baron d'Acanthe case," the chief tells you. "The opera house matter has been taking up much of our resources, I'm afraid." You assure him that that's all right and you quite understand, horribly conscious all the while of how heavily accented your French is. You taught yourself, mostly out of books, and it shows. He picks up a small pile of papers from his desk. "I've found some possibilities for Baron d'Acanthe's next target. I'd like you to take a look through them and see what you think is most likely." You take the papers from him, and he takes out his pocket watch and squints at it near-sightedly. "I had better go," he says. "I'm expected back at the opera house." You take the papers back to your borrowed desk, ready to [[get to work|day1Research0]].

You spread the papers out in front of you. You wish the chief hadn't been too busy to explain to you //how// he determined that these items were the most likely targets. You also wish you had any help at all. But, all right, even with the lack of information and support, you've had harder cases than this, haven't you? What about the one with the man who bought an eighteenth-century oil painting at auction, then had four forged copies made and sold the painting privately to five different people (easily done since he had all the documents backing up its authenticity and his legitimate ownership of it), and //then// claimed he didn't know which buyer had the real one? You sorted that one out well enough, and this can hardly prove to be more complicated, can it? You've been given information about three items: [[A painting|day1Research1]] [[A vase|day1Research2]] [[A fragment of sculpture|day1Research3]] <<if $filesRead === 3>>[[Make your decision.|day1Research4]]<</if>>

/*Ceres (Summer), by Antoine Watteau https://useum.org/artwork/Ceres-Summer-Antoine-Watteau-1718 */ <<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> This is a rococo painting depicting a harvest goddess sitting on a pile of wool, holding a sickle and surrounded by wheat. It was painted by a French artist in the early 1700s for a wealthy banker. Upon the banker's death, it was inherited by his nephew and eventually sold to a museum in Russia. Its recent return to France has made quite the stir. <<if visited() === 1>><<set $filesRead += 1>><</if>> <<return>>

/*https://en.wikipedia.org/wiki/French_porcelain https://en.wikipedia.org/wiki/S%C3%A8vres_pot-pourri_vase_in_the_shape_of_a_ship This is the correct one*/ <<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> This object is a small but ornate white-and-gold vase meant for holding potpourri. The vase is shaped like a ship, right down to the sails and rigging on the lid. Due to the intricate nature of the shape, only a few of these were ever made, with most purchased by Louis XV and given as gifts to show favour. This ship was likely one of them, as it has a family crest on the side -- whoever it was given to must have made the king particularly happy. <<if visited() === 1>> <<set $filesRead += 1>><</if>> <<return>>

/*https://en.wikipedia.org/wiki/French_sculpture https://www.romeartlover.it/Lyon3.html */ <<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> This is a piece of sculpture depicting the head and left shoulder of a man, presumed to be the Roman god Mercury due to his headgear. This identification has been the subject of much scholarly debate since the artefact was found in a wheat field in 1892, as the piece is badly weathered, making it difficult to tell if the figure is wearing a winged hat or merely an ornate headband. The rest of the sculpture has never been found. <<if visited() === 1>><<set $filesRead += 1>><</if>> <<return>>

<<set $convVar = 0>> You glance over the three files one last time, turning the options over in your mind. Which of these is most likely to be of interest to the so-called Baron? <<link [[The painting|day1ResearchEnd]]>><<set $convVar = 1>><</link>> <<link [[The vase|day1ResearchEnd]]>><<set $convVar = 2>><<set $researchChoice1 = true>><<set $deduction += 1>><</link>> <<link [[The sculpture|day1ResearchEnd]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> You decide that the painting seems the likeliest option, and make plans to visit the museum that recently acquired it. Unfortunately, a few minutes later a policeman comes rushing in with the news that Baron d'Acanthe just sent a note announcing that he would be stealing the porcelain vase, taunting the police and daring them (you?) to try to stop him. The other policemen have a good laugh at your mistake, though you can't see what's so funny. It's not like any of //them// correctly guessed the next target, either. Not that they were trying to. <<case 2>> Given the Baron's apparent obsession with the eighteenth century and the aristocracy, you have the feeling that the vase is the strongest contender. You leave a note informing the chief that you are going to go investigate the vase's current situation further. You also let the other policemen know where you're going, as a formality, though none of them care what you do as long as you're not bothering them. <<case 3>> You decide that the sculpture seems the likeliest option, and make plans to visit the museum that recently acquired it. Unfortunately, a few minutes later a policeman comes rushing in with the news that Baron d'Acanthe just sent a note announcing that he would be stealing the porcelain vase, taunting the police and daring them (you?) to try to stop him. The other policemen have a good laugh at your mistake, though you can't see what's so funny. It's not like any of //them// correctly guessed the next target, either. Not that they were trying to. <</switch>> According to the file, the vase is privately owned, having been purchased by the wife of an industrialist who keeps it in the couple's country mansion (where the lady spends a lot of time while her husband is in Paris, the file says, citing some insinuating articles from the society papers; why that warranted inclusion is a mystery to you). It isn't on any kind of public display; at most, the lady occasionally shows it off to her friends. This should make Thalia's life easier -- a private home won't have the security of a museum -- but unfortunately not yours. If it were in a museum, you could walk right in and look at the thing, but in this case you'll have to talk your way in. [[Well, you'd best get started.|day1InvStart]]

You take a long, dull carriage ride into the country. You've heard that in the United States, police departments in some of the big cities have motorcars; previously this seemed like a pointless novelty to you (those Americans do seem to love their motorcars), but right about now you can see the utility. At last, you arrive at the mansion. It's, well, a mansion -- large, fancy, et cetera. When you were young and just starting out in your career, this kind of thing impressed you, but investigating art crime means dealing with quite a lot of rich people and the shine wears off before long. Before you knock on the door, you may want to take a moment to go over in your mind the conversational approaches that you use when investigating. [[Refresh your memory.|melConvIntro]] <<link "No need -- you could do this in your sleep." "butler0">><</link>>

Talking to people is a key element of your work as an investigator, and over the course of your career you've developed a feel for what approaches work best with what witnesses. Instead of trying to manipulate them (like some people you could name), you try to understand their personality and consider what is most likely to get them talking. You've found that people tend to fall into three general types: ''Familiar (F)'' people are generally affable and will open up to you if treated with warmth and respect. In these cases, you should do your best to keep the atmosphere convivial and take care not to come off as if you're interrogating them. ''Dutiful (D)'' people may not be inclined to offer up information on their own, but if you remind them of the authority granted you by the police, they'll answer straightforward questions in order to cooperate with the investigation, as a good citizen should. And finally, ''Loquacious (L)'' people like to chat; you only have to nudge them slightly towards your desired subject and then they're off to the races. They are in some ways the easiest kind of person to deal with -- the only difficulty is keeping them on topic. This system is //completely different// from however that exhausting thief likes to jerk people around, of course. [[Knock on the door.|butler0]]

<<set $convVar = 0>> <<set $strikes = 0>> You lift the handle of the ornate door knocker and rap on the door in a way that you hope conveys an air of brisk authority. After a moment, the door opens, revealing a French butler (not so very different from the English type). You greet him and introduce yourself. "I don't believe Madame Barbier was expecting any more guests," he says, somehow managing to convey the impression that he's looking down at you even though the two of you are about the same height. Any //more// guests? So she has at least one guest already, then. Inconvenient, but you'll have to carry on. You've come all this way, after all. <<link [["I know I haven't got an appointment, but if I could have just a moment..." (F)|butler1]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["I'm here on police business." (D)|butler1]]>><<set $convVar = 2>><</link>> <<link [["Is she very busy?" (L)|butler1]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<switch $convVar>> <<case 1>> The butler narrows his eyes. "For what, precisely?" You explain that you have been sent here by the police. <<case 2>> "You're with the police?" he says. "But you're... English." You explain that you are on loan, as it were, from Scotland Yard for a special case. <<case 3>> The butler eyes you suspiciously. "Why do you want to know?" You explain that you have been sent here by the police. <</switch>> "And for what reason do the police wish to speak to Madame?" he asks. <<link '"Don\'t worry, it\'s nothing serious -- I just have a few questions." (F)' 'butler2'>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["You've heard of the thief Baron d'Acanthe? She may be his next target." (D)|butler2]]>><<set $convVar = 2>><</link>> <<link [["Why do you want to know?" (L)|butler2]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<switch $convVar>> <<case 1>> "That is not an answer to my query," he says, levelly. You explain that you think Madame Barbier, or rather her precious vase, might be the next target of Baron d'Acanthe. <<case 2>> His brow furrows. "Is that so? Why?" <<if $researchChoice1 === true>> You explain your reasoning about the vase. <<else>> You explain about the note the police received regarding the vase. <</if>> <<case 3>> "Because," he says coldly, "it is my job to decide whether your business here is legitimate." You explain that you think Madame Barbier, or rather her precious vase, might be the next target of Baron d'Acanthe. <</switch>> "And what are you proposing to do about it?" he asks. (A tough customer, this one. Most people wouldn't bother to ask.) <<link [["Oh, I just wanted to warn her." (F)|butler3]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["I'd like to know what security measures are in place." (D)|butler3]]>><<set $convVar = 2>><</link>> <<link '"What do //you// think I should do about it?" (L)' 'butler3'>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<if $strikes === 3>> <<set $actions -= 1>> The butler regards you for a long moment and sighs. "Very well," he says at last. "Never let it be said that Madame and her household do not cooperate with the police. But you had better be quick about your business." It seems you should be careful not to wear out your welcome -- you may not have time to do everything you'd like to do here. <<else>> <<switch $convVar>> <<case 1>> The butler frowns slightly, but he says, "Very well. I suppose that shouldn't take long." <<case 2>> <<set $deduction += 1>> The butler nods approvingly. "Very well, you may come in." <<case 3>> "I should hope you don't need me to tell you how to do your job," he says. You tell him you just want to ask some questions about security. The butler heaves a long-suffering sigh. "Very well," he says. <</switch>> <</if>> He steps back from the door, [[motioning you inside|day1HouseIntro]].

The butler leads you to the drawing room, where you can hear two people conversing in French. Poking your head in the door, you are surprised to see that one of them is Mrs Knight, the socialite you occasionally run into at parties. (Her accent is very good, you note with a pang of envy.) There's always been an odd air to your conversations with her; you can't quite make her out. But you hadn't previously had the impression she was friends with many locals. Both women look up at you in surprise as you enter. (Mrs Knight seems, if anything, more startled than Madame Barbier.) The butler introduces you and explains what you are doing here. "Oh!" says Madame Barbier, her hand going to her mouth. "I-- I see. Well, I'll do whatever I can to help." [[You contemplate what to do next.|day1Hub]]

<<if $servExplore === true>> You don't dare go back to the servants' wing again. Too risky. <<else>> You could check out the servants' wing and look for a back entrance. <</if>> <<if $housekeeper === true>> The housekeeper has returned to her duties. <<else>> The housekeeper is here and might be willing to tell you about the comings and goings of the household staff. <</if>> <<if $theoConv === true>> Mrs Knight and Madame Barbier have returned to their conversation. <<else>> If you could look at the room where the vase is kept, that would be very helpful. You'll have to ask Madame Barbier about it, though. <</if>> <<if $actions === 0>> <<if $deduction <= 2>> <<set $extraGuards = true>> <</if>> <<set $totalDeduction += $deduction>> [[You think you've done all you can here.|night1Start]] <<elseif $theoConv && $servExplore && $housekeeper>> <<set $totalDeduction += $deduction>> [[You think you've done all you can here.|night1Start]] <<else>> <<if $servExplore === false>>[[Explore the servants' wing.|d1ServantsWingStart]] <</if>> <<if $housekeeper === false>> [[Talk to the housekeeper.|housekeeper0]] <</if>> <<if $theoConv === false>>[[Ask about the vase.|artefact0]] <</if>> <</if>>

<<if visited() === 1>> <<set $actions -= 1>> <<set $time = 0>> <<set $servExplore = true>> You'd like to investigate the ground-floor servants' wing (mainly constituting the kitchen area) and try to find the tradesman's entrance, but you'll probably need to be quick about it, lest someone ask what you're doing back here. You don't have any kind of handy excuse prepared, because your work usually doesn't require you to go poking around in the servants' areas, except every now and then when someone gets it into their head that a servant has stolen something. (It almost never is the servants, especially for large objects, but you usually do a perfunctory check anyway just to keep the theft victim happy.) You spot a likely-looking door in the dining room and slip through it, finding yourself in the lobby where servants arrange the dishes on trays before serving. <<set $kitchenRoomsCopy = $kitchenRooms>> <<else>> You are in the lobby area, where servants arrange their trays before taking them into the dining room. <</if>> There is a door to your left <<if $kitchenRoomsCopy.includes("stairs")>>leading to the stairs to the first storey<</if>> and another ahead of you<<if $kitchenRoomsCopy.includes("kitchen")>>leading to the kitchen<</if>>. <<link [[Go left.|d1SWing1]]>><<set $time += 1>><</link>> <<link [[Go forward.|d1SWing2]]>><<set $time += 1>><</link>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("stairs")>><</if>> <<if $time <= 9>> You are in a small stairwell, with stairs leading up to the first floor. The only exit is back the way you came, into the lobby. <<return>> <<else>> <<goto "sWingEnd">> <</if>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("kitchen")>><</if>> <<if $time <= 9>> You are in the kitchen, a room dominated by a large table at the centre. The right-hand wall is taken up by the cooking range and racks of pots and pans and cooking implements whose purpose you are only vaguely aware of (your cooking skills are rudimentary at best). Fortunately, since the French take their evening meal awfully late, there's no one in here at the moment. <<if previous() === "d1ServantsWingStart">> There is a door to the left<<if $kitchenRoomsCopy.includes("scullery")>> leading to the scullery<</if>>, another door in front of you<<if $kitchenRoomsCopy.includes("corridor")>> leading to the corridor<</if>>, and a door behind you leading back to the lobby. <<link [[Go forward.|d1SWing3]]>><<set $time += 1>><</link>> <<link [[Go left.|d1SWing4]]>><<set $time += 1>><</link>> <<link [[Go back.|d1ServantsWingStart]]>><<set $time += 1>><</link>> <<elseif previous() === "d1SWing3">> The door to the corridor is behind you; there is a door to your right<<if $kitchenRoomsCopy.includes("scullery")>> leading to the scullery<</if>> and a door in front of you leading to the lobby. <<link [[Go to the corridor.|d1SWing3]]>><<set $time += 1>><</link>> <<if $kitchenRoomsCopy.includes("scullery")>> <<link [[Go to the scullery.|d1SWing4]]>><<set $time += 1>><</link>> <<else>> <<link [[Go right.|d1SWing4]]>><<set $time += 1>><</link>> <</if>> <<link [[Go to the lobby.|d1ServantsWingStart]]>><<set $time += 1>><</link>> <<else>> The door to the scullery is behind you; there is a door to your left<<if $kitchenRoomsCopy.includes("corridor")>> leading to the corridor<</if>> and a door to your right leading to the lobby. <<link [[Go to the scullery.|d1SWing4]]>><<set $time += 1>><</link>> <<if $kitchenRoomsCopy.includes("corridor")>> <<link [[Go to the corridor.|d1SWing3]]>><<set $time += 1>><</link>> <<else>> <<link [[Go left.|d1SWing3]]>><<set $time += 1>><</link>> <</if>> <<link [[Go to the lobby.|d1ServantsWingStart]]>><<set $time += 1>><</link>> <</if>> <<else>> <<goto "sWingEnd">> <</if>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("corridor")>><</if>> <<if $time <= 9>> <<if previous() === "d1SWing2" or previous() === "d1SWing4">> You exit into a long corridor and turn left. The doors to the kitchen <<if $kitchenRoomsCopy.includes("scullery")>>and scullery<<else>>and the room adjacent to it<</if>> are now on your left. The right side of the corridor is lined with large windows. The corridor continues to a T-shaped intersection ahead of you. <<link [[Enter the kitchen.|d1SWing2]]>><<set $time += 1>><</link>> <<if $kitchenRoomsCopy.includes("scullery")>> <<link [[Enter the scullery.|d1SWing4]]>><<set $time += 1>><</link>> <<else>> <<link [[Enter the second door on the left.|d1SWing4]]>><<set $time += 1>><</link>> <</if>> [[Go forward.|d1SWing5]] <<else>> You are at one end of a long corridor. The doors to the kitchen <<if $kitchenRoomsCopy.includes("scullery")>>and scullery<<else>>and the room adjacent to it<</if>> are to your right. The hall continues behind you to an intersection at the opposite end. <<if $kitchenRoomsCopy.includes("scullery")>> <<link [[Enter the scullery.|d1SWing4]]>><<set $time += 1>><</link>> <<else>> <<link [[Enter the first door on the right.|d1SWing4]]>><<set $time += 1>><</link>> <</if>> <<link [[Enter the kitchen.|d1SWing2]]>><<set $time += 1>><</link>> [[Go back.|d1SWing5]] <</if>> <<else>> <<goto "sWingEnd">> <</if>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("scullery")>><</if>> <<if $time <= 9>> You are in the scullery, a narrow room lined with multiple large sinks, which makes you feel a bit uncomfortably penned in. (Small, enclosed spaces have never been your favourite thing.) It's empty right now -- the washing-up from lunch must be done already. <<if previous() === "d1SWing2">> Behind you is a door to the kitchen; to your right is another door<<if $kitchenRoomsCopy.includes("corridor")>> to the corridor<</if>>. <<if $kitchenRoomsCopy.includes("corridor") === false>> [[Go back to the kitchen.|d1SWing2]] <<link [[Go through the door to your right.|d1SWing3]]>><<set $time += 1>><</link>> <<else>> <<link [[Go to the kitchen.|d1SWing2]]>><<set $time += 1>><</link>> <<link [[Go to the corridor.|d1SWing3]]>><<set $time += 1>><</link>> <</if>> <<else>> Behind you is the door to the corridor, and to your left is the door to the kitchen. <<link [[Go to the kitchen.|d1SWing2]]>><<set $time += 1>><</link>> <<link [[Go to the corridor.|d1SWing3]]>><<set $time += 1>><</link>> <</if>> <<else>> <<goto "sWingEnd">> <</if>>

<<if $time <= 7>> <<if previous() === "d1SWing3">> You are at the end of a long corridor; shorter corridors run to your left and right. The doors to the kitchen and scullery are back at the other end of the hall. <<link [[Go left.|d1SWing6]]>><<set $time += 1>><</link>> <<link [[Go right.|d1SWing7]]>><<set $time += 1>><</link>> [[Go back.|d1SWing3]] <<elseif previous() === "d1SWing6">> You are at the intersection between two corridors. The corridor you are currently in continues ahead of you <<if $kitchenRoomsCopy.includes("dairy")>>to the dairy<</if>>. The other corridor continues to your right, leading back to the kitchen <<if $kitchenRoomsCopy.includes("scullery")>>and scullery<</if>>. <<link [[Go back.|d1SWing6]]>><<set $time += 1>><</link>> <<link [[Go forward.|d1SWing7]]>><<set $time += 1>><</link>> [[Go right.|d1SWing3]] <<elseif previous() === "d1SWing7">> You are at the intersection between two corridors. The corridor that you are currently in continues ahead of you<<if $kitchenRoomsCopy.includes("dairy")>>, and the dairy is behind you<</if>>. The other corridor continues to your left, leading back to the kitchen<<if $kitchenRoomsCopy.includes("scullery")>> and scullery<</if>>. <<link [[Go back.|d1SWing7]]>><</link>> <<link [[Go forward.|d1SWing6]]>><</link>> [[Go left.|d1SWing3]] <</if>> <<else>> <<goto "sWingEnd">> <</if>>

<<if $time <= 9>> You are in another corridor, this one with fewer windows and indeed few distinguishing features at all. There are two doors to your left.<<if $kitchenRoomsCopy.includes("pantry")>> The first is to the pantry.<</if>><<if $kitchenRoomsCopy.includes("larder")>> The second is to the larder.<</if>> On the right is another door. <<link [[Enter the first door on the left.|d1SWing8]]>><<set $time += 1>><</link>> <<link [[Enter the second door on the left.|d1SWing9]]>><<set $time += 1>><</link>> <<link [[Enter the door on the right.|sWingEnd]]>><<set $time += 1>><</link>> [[Go back.|d1SWing5]] <<else>> <<goto "sWingEnd">> <</if>>

You are in a gloomy and narrow corridor with no distinguishing features to speak of. On this end of the intersection with the main hall, the corridor dead-ends after only a few yards. There is one door on the left<<if $kitchenRoomsCopy.includes("dairy")>>, leading to the dairy<</if>>. <<link [[Go left.|d1SWing10]]>><<set $time += 1>><</link>> [[Go back.|d1SWing5]]

<<if visited() === 1>><<run $kitchenRoomsCopy.push("pantry")>><</if>> <<if $time <= 9>> You are in the pantry, surrounded by shelves stacked high with food. Looking at them, you feel suddenly hungry, and realise that you forgot to eat lunch before you left Paris -- but there's nothing you can do about that now. Getting so absorbed in a case that you forget to eat is nothing new to you, in any case. The only exit is back the way you came. <<return>> <<else>> <<goto "sWingEnd">> <</if>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("larder")>><</if>> <<if $time <= 9>> You are in the larder, where meat is prepared for cooking and perishables are stored. It is currently empty of both people and meat, although it does boast an awe-inspiring array of knives. The only exit is back the way you came. <<return>> <<else>> <<goto "sWingEnd">> <</if>>

<<if visited() === 1>><<run $kitchenRoomsCopy.push("dairy")>><</if>> <<if $time <= 9>> You are in the dairy, which is not at all helpful to your current purpose. Why does this damned house have so many rooms in it? Who needs an entire room just for dairy? (Well, you suppose the French //are// notably fond of it.) The only exit is back the way you came. <<return>> <<else>> <<goto "sWingEnd">> <</if>>

<<if $time <= 9>> <<set $servantMap = true>> <<set $deduction += 1>> You go through the door and find yourself in yet another short corridor. You are getting very tired of corridors, but luckily, this seems to be the last one -- there's a promisingly sturdy door at the end of it. You walk down and open it just to be sure, and feel great relief at the touch of the summer breeze on your face. Because you're glad to be done wandering around, of course, but also because you are suddenly aware of how sweaty you've got in the process (it's quite stuffy in the kitchens). You wonder how anyone could possibly need so many rooms to fulfil a function most people manage perfectly well with just one room and maybe a few large cupboards. It's ridiculous, frankly. In any case, now you know how to get from the tradesman's entrance to the main house, you can draw Lady Thalia a map and leave it in your cache of information for tonight. Hopefully she'll actually use it instead of deciding she'd rather climb in a second-storey window or some dramatic nonsense like that. (She //would// do that, wouldn't she, and waste all your hard work. But, you remind yourself sternly, getting pre-emptively annoyed about something she hasn't done yet is a waste of energy.) <<else>> You see the cook, a muscular woman wearing a floury apron and a harried expression, approaching. "What are you doing back here?" she says. "You don't look like a delivery girl." You try to explain your business here, but the cook just snorts. "Nothing worth stealing in //these// rooms, I can tell you that. Now get out of my way." <</if>> [[You return to the main part of the house.|day1Hub]]

<<if $theoHelp === true>> <<else>> <</if>> <<return>>

<<set $actions -= 1>> You ask Madame Barbier if you can take a look at the room where the vase is kept. "Certainly," she says. "I've hired some guards to watch the room, what with all the thefts going on right now, but you can just tell them I sent you." You do so, but the guard on the left says, "What d'you take me for, an idiot? Anyone could just waltz in here and say they had permission." Or at least, you're //fairly// sure that's what he's saying. His rural accent is so thick that you, with your limited experience of non-standard French, struggle a bit to understand it. "Anyone at all," the guard on the right agrees, apparently feeling that he should contribute something to the conversation whether or not he //has// anything to contribute. You go back downstairs and let Madame Barbier know about this, but she only says, "Oh, no, that can't be right! Go back and tell them again." [[You go back upstairs.|artefact1]]

After several rounds of this farce, it becomes clear that Madame Barbier is, for whatever reason, unwilling to go upstairs herself to give the guards her permission to let you in. Wealthy people can often be recalcitrant about the strangest things while you are trying to investigate, but this is unusual even by that standard. You are barely able to contain your frustration. "Rather irritating, isn't she?" Mrs Knight says to you, sotto voce (and in English). [[You had almost forgotten she was there.|day1Theo]]

<<set $theoConv = true>> <<set $convVar = 0>> <<set $strikes = 0>> "I really don't know //what// she thinks she's doing," Mrs Knight goes on. She picks up her coffee cup and takes a dainty sip. You glance over at Madame Barbier, but she is gazing absently out the window and eating an éclair, apparently unconcerned that her guest is talking to you instead of her, so you decide it's all right to continue. <<link [["How do you two know each other?" (F)|day1Theo1]]>><<set $convVar = 1>><</link>> <<link [["What are you doing here?" (D)|day1Theo1]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["I didn't expect to see you here." (L)|day1Theo1]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<switch $convVar>> <<case 1>> "We don't, really," she says. "But her husband and mine have some sort of business dealings, and Oscar -- my husband, that is -- told me it would be helpful if I were to look her up while I was in the area." This explanation seems plausible enough -- and indeed, if she's supposed to be furthering Mr Knight's business interests, that provides a little more explanation as to why she's in France at all -- but something about this whole situation still seems fishy. But then, perhaps you're being paranoid; coincidences do happen. <<case 2>> "Paying a social call, of course. What else?" she says. "I must say, I don't think I've done anything to warrant such an aggressive tone." You apologise and assure her it's just a bad habit of yours, borne of spending more time questioning suspects and witnesses than socialising. "Well, I will admit an ulterior motive," she says, with a sly smile. "Monsieur Barbier and my husband, Oscar, have some sort of business dealings, and Oscar asked me to look up the Barbiers and put in a good word for him." Something about this still seems fishy to you, but really, you remind yourself, you ought to stop being so suspicious. You've no reason to assume it's not a coincidence that she's here. <<case 3>> "Nor I you," she says, raising an eyebrow. "What of it?" You explain that you are curious how she knows Madame Barbier. "Her husband and mine have some sort of business dealings, and Oscar -- my husband, that is -- told me it would be helpful if I were to look her up while I was in the area. Put in a good word for him and all. I hadn't actually met her before." Something about this still seems fishy to you, but really, you remind yourself, you ought to stop being so suspicious. You've no reason to assume it's not a coincidence that she's here. <</switch>> <<link [["I don't suppose you have any more pull with her than I do, then?" (F)|day1Theo2]]>><<set $convVar = 1>><</link>> <<link [["Can't you ask her to go upstairs and talk to the guards?" (D)|day1Theo2]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["So you don't know her well?" (L)|day1Theo2]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<switch $convVar>> <<case 1>> "No, most likely not," Mrs Knight says. "Terribly sorry." She sips her coffee again, not actually looking terribly sorry about the matter -- but then, why should she be? Whether you get in that room or not has no effect on her, and it isn't as if the two of you are friends. <<case 2>> "I'm certainly not //going// to if you ask so brusquely. But also, no, I don't think she'd listen to me any more than to you." You expected as much, but it was worth a try. <<case 3>> Mrs Knight gives you a withering look. "That is what I just said, yes." You explain that you meant to ask whether Madame Barbier might be more inclined to listen to her than to you. "No," she says, "I'm afraid not." You expected as much, but it was worth a try. <</switch>> Suddenly she leans forward, eyes sparkling. "Look," she says, "never mind that. Do you want me to help you with those guards?" <<link [["I certainly could use some help, but what would you do?" (F)|day1Theo3]]>><<set $convVar = 1>><</link>> <<link [["I don't see how you could help." (D)|day1Theo3]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["Help?" (L)|day1Theo3]]>><<set $convVar = 3>><<set $strikes += 1>><</link>>

<<if $strikes === 3>> "If you're determined to be so //difficult// about it, then I won't," she says. [[That could have gone better.|day1Hub]] <<else>> <<switch $convVar>> <<case 1>> "Did I ever tell you I used to be an actress?" You were not aware of that, and tell her so. "My scandalous past," she says, grinning impishly. <<case 2>> "That's your own shortcoming, not mine. Did I ever tell you I used to be an actress?" You were not aware of that, and tell her so. "My scandalous past," she says, grinning impishly. <<case 3>> "Yes," she says, "help. You do know what that means, right?" You ask her //how// exactly she proposes to help. "Well, you see," she says, "I used to be an actress." <</switch>> You ask how her past as an actress is going to help with the guard situation. "You'll see," she says, her grin widening. You wish she'd just tell you -- this game-playing is maddening -- but [[you do need the help|day1Theo4]]. <</if>>

<<set $deduction += 1>> <<set $theoHelp = true>> <<set $altEntranceN1 = true>> Mrs Knight stands up. "Excuse me, I must go powder my nose," she tells Madame Barbier. Madame Barbier nods absently. You note that she does not actually offer Mrs Knight directions to the WC, but for all you know Mrs Knight might have inquired about that before you got here, or while you were busy elsewhere. Mrs Knight follows you upstairs, and you wait out of sight around a corner while she approaches the guards. "Might I ask you gentlemen a favour?" she says. "You see, I dropped my ring and I simply can't find it anywhere. I would be //so// devastated to lose it -- it was my mother's, you see, and I..." She trails off, sounding like she is barely suppressing tears. She //is// good, [[you have to admit|day1Theo5]].

"Begging your pardon, Madame, but we're not supposed to leave our post," the guard on the left says. "It's true, we're not," says the guard on the right, who apparently just does this all the time. "I quite understand," she says, her voice quavering just a little. "I shouldn't have asked." "Oh, no, please, don't worry about that!" the guard on the left says quickly. The guard on the right nods. "I'll leave you gentlemen to your post," she says faintly, turning away and passing a hand over her face as if wiping away tears. (You can't help but be impressed by her ability to do so in such a way that it's both obvious //and// looks as though she's trying to hide it.) "Wait," the left-hand guard says, "don't-- that is, I'm sure it's all right if I help you, if we're quick about it." "Oh, thank you //so// much," Mrs Knight says. "You don't know how much this means to me." She leads the guards down the corridor. You're lucky, you reflect, that the right-hand guard just follows along with whatever the left-hand guard does, or he might have thought to stay behind. Once they've passed your hiding place, you slip out and open the door, just for a brief moment. You can't see much, but you do catch a glimpse of a discreet door on the opposite wall -- an alternate entrance! That should be helpful. [[You hurry back downstairs before the guards can return.|day1Hub]]

<<set $housekeeper = true>> <<set $convVar = 0>> <<set $strikes = 0>> <<set $actions -= 1>> You approach the housekeeper and ask if you might have a moment of her time. She blinks. "Me? What could you possibly want with me? I'm not at all involved with whatever this nonsense is." <<link [["I'd like to know more about the lives of the servants here." (F)|housekeeper1]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["Are you refusing to cooperate with the police, Madame?" (D)|housekeeper1]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["But you must know quite a lot about what goes on in this household...."(L)|housekeeper1]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "What," she says, "just for a friendly chat?" It's clear from her expression that a friendly chat is not something she is interested in having. You explain that it might be relevant to the investigation. <<case 2>> "I just wanted to know why," she says, indignant. "Is that against the law?" Suppressing an exasperated sigh, you assure her that it's not. <<case 3>> "Well," she says, preening a little, "that's true. Nobody knows more about the female staff here than I do." You nod approvingly. "Now, then, I still can't say as I understand what you're getting at here, but go on, ask your questions." <</switch>> <<link [["Do you clean this whole house all by yourself?" (F)|housekeeper2]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["Tell me how many servants there are." (D)|housekeeper2]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["A house this size must have a large staff, I imagine." (L)|housekeeper2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "Of course I don't," she snaps. "And I'm sure my employers wouldn't be pleased to hear you insinuating that they can't afford sufficient staff." You'd quite forgotten this was something that rich people (and, apparently, their staff) are touchy about. You apologise. "I oversee a full complement of chambermaids and a ladies' maid, I'll have you know, and Cook has her kitchen maids and scullery maids. The male staff is a bit smaller, but that's only since Monsieur is rarely here, so there's no need to keep anybody around to attend to him specifically. We used to have stablehands, but Monsieur bought a motorcar last year and fired them all. Hired a driver instead, of course. <<case 2>> "I don't care for your tone," she says. "Policewoman or not, I won't stand for poor manners." You apologise. It's clearly no use trying to pull rank with this woman; she is not at all impressed. "Just see that you don't do it again," she says sternly. "At any rate, I couldn't tell you exactly how many of us there are without sitting down to count, but it's somewhere around thirty. There's the chambermaids, the kitchen maids, the scullery maids, Cook, the butler, the ladies' maid.... There used to be more, when we had stablehands, but Monsieur bought a motorcar last year and fired them all. We do have a driver now, of course. <<case 3>> "Of course," she says, "and the ladies' maid and all of the chambermaids answer to me. I also oversee the scullery maids when they do the laundry. It's really only the kitchen maids that I don't have much business with -- and the male staff, of course, but there's fewer of them since Monsieur is rarely here. We used to have stablehands, but after Monsieur bought a motorcar, he fired them all and hired a driver instead. <</switch>> "Some of the maids are day girls," she goes on, "but most of them live in. So there are always plenty of people around, even at night, if that's what you're wondering about." <<link [["Oh dear, are you expected to work at all hours of the day?" (F)|housekeeper3]]>><<set $convVar = 1>><<set $strikes += 1>><</link>> <<link [["I need to know who's here at night and what they're doing at that time." (D)|housekeeper3]]>><<set $convVar = 2>><<set $strikes += 1>><</link>> <<link [["Do any of the servants work at night?" (L)|housekeeper3]]>><<set $convVar = 3>><</link>>

<<if $strikes === 3>> "If you'll excuse me," the housekeeper says, in a tone that brooks no argument, "I have a lot of work to be doing." It's clear you've mucked this one up. You must be having a bad day -- usually you're better than this at getting people talking. Well, nothing to do about it now. You'll just have to [[try something else|day1Hub]]. <<else>> <<set $deduction += 1>> <<set $avoidServant = true>> <<switch $convVar>> <<case 1>> "Madame's expectations are very reasonable," she says stiffly. You suppose it should have been obvious by now that she isn't interested in complaining about her employer. You apologise<<if $strikes === 2>>, again,<</if>> and ask her who among the servants might notice a night-time intruder. <<case 2>> "You really have no manners at all," she says. "I thought the English were supposed to be polite." You should have paid more attention to her reactions in the conversation so far. She clearly doesn't care for the authoritative approach. You apologise<<if $strikes === 2>>, again,<</if>> and ask her who among the servants might notice a night-time intruder. <<case 3>> "That depends on what time of night. Most of us are in bed by ten or so, but I know Cook and some of the kitchen maids get up around four in the morning to start breakfast." You ask whether there is anyone who might notice an intrusion between ten at night and four in the morning. <</switch>> "Well, Marie -- one of the chambermaids -- is often pottering about at all hours of the night. Odd girl, but I've no complaints about her work. Of course, she is always careful not to disturb anyone -- she only cleans empty rooms and folds the linens and such. "Laurent, the butler, doesn't stay up particularly late, but he's a very light sleeper. I'm sure if any thieves came past his room in the night, he would wake up in a flash. "And the ladies' maid, Louise, sometimes stays in the servants' hall in case Madame rings for help in the middle of the night. Very dedicated to her work, Louise. A little //too// dedicated, if you ask me -- I think she hopes to replace me. Which she'll do over my dead body, mind you." You gently cut her off, thank her, and consider [[what to do next|day1Hub]]. <</if>>

<<set $kitchenRoomsCopy = []>> Map of the servant's wing: <<radiobutton "$servantMap" true autocheck>> true <<radiobutton "$servantMap" false autocheck>> false Servant location info: <<radiobutton "$avoidServant" true autocheck>> true <<radiobutton "$avoidServant" false autocheck>> false Alt artefact room entrance: <<radiobutton "$altEntranceN1" true autocheck>> true <<radiobutton "$altEntranceN1" false autocheck>> false Extra Guards: <<radiobutton "$extraGuards" true autocheck>> true <<radiobutton "$extraGuards" false autocheck>> false [[night1Start]]

/* Declare night 1 variables here */ <<set $timeout = 7>> <<set $slow = 0>> <<set $messy = 0>> <<set $finesse = 0>> <<set $maxFinesse = 0>> <<set $time = 0>> <<set $mistakes = 0>> <<set $timeLimit = 5>> /*End of night 1 variables */ You are Lady Thalia, and it is time to commit a crime. Well, a crime sanctioned by the police. Well, sanctioned by one policewoman who doesn't have jurisdiction in this country. Not that any of that makes this any more or less illegal than what you typically get up to, anyway, but it is a change of pace. The cache of information is exactly where Mel said it would be. Or, at least where her coded advertisement in the paper said it would be. The cipher she used was //rather// more complicated than necessary and it took you half the afternoon to crack it. You can't tell if she was showing off to impress you or annoy you, but you're forced to admit she accomplished both. Really, though, she ought to have just given you the key beforehand. [[Review your materials.|n1Info]]

The cache contains: <ul> <li>An overview of the manor house and its occupants. You don't really need this bit, but Mel doesn't know that.</li> <li>A rough map of the house's layout.</li> <<if $servantMap>> <li>A set of directions to enter the house through the side door. You can't risk bringing a light inside, so you'll have to memorize the directions before you enter. They say: //Pass the larder and pantry, and then turn right and pass the scullery. Go through the kitchen and turn right again to find the stairs.//</li> <</if>> <<if $avoidServant>><li>Information about which servants you'll need to avoid and where they'll be.</li> <</if>> <<if $altEntranceN1>><li>A helpful tip about the existence of a second entrance to the vase room.</li><</if>> <<if $extraGuards>><li>A small note: //I think I roused their suspicions by asking too many questions. Be on guard.//</li><</if>> </ul> Of course, you also did some poking around yourself, as you are accustomed to doing. Technically, your agreement with Mel doesn't say that you can't //also// investigate. That may have been a risky move -- you would like to limit how much you run into Mel when out of character, as it were -- but how were you to know that she would show up at exactly that time? You didn't, however, get much useful information<<if $altEntranceN1 === true>>, unless you count the bit where you distracted the guards to allow Mel a glimpse of the room<</if>>. Your lack of success is galling, but really, when you think about it, it's Mel's fault, isn't it? She showed up while you were still in the exchanging-pleasantries stage with Madame Barbier, leaving you no opportunity to get nosy. [[Get to work.|breakIn]]

<<set $time = 0>> You slink around to the side of the house, taking care in case they have guards watching the perimeter. If there are guards, though, they're not watching the tradesman's entrance. Perhaps they think anyone as class-obsessed as Baron d'Acanthe wouldn't stoop to using it? Fortunately, you don't have that kind of hang-up. You take a minute to jemmy the lock, and then [[slip inside|n1SWing6]].

<<if visited() === 1>>The first part is easy enough -- the entrance takes you into a short, narrow corridor with a single door at the end. You open it and hurry on ahead. <</if>> <<if $time <= 6>> You are in a corridor. It's too dark to make out much detail, but there are two doors to your right.<<if $kitchenRoomsCopy.includes("larder")>> The first is to the larder.<</if>><<if $kitchenRoomsCopy.includes("pantry")>> The second is to the pantry.<</if>> The corridor continues on ahead of you. <<link [[Enter the first door on the right.|n1SWing9]]>><<set $time += 1>><</link>> /*Larder */ <<link [[Enter the second door on the right.|n1SWing8]]>><<set $time += 1>><</link>> /*Pantry */ [[Go forward.|n1SWing5]] <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if previous() === "n1SWing6">> You are at the intersection of two corridors. The one you are in continues a little ways ahead of you, while the other stretches away to the right into murky gloom, the moonlight not strong enough to illuminate it despite its many windows. <<link [[Go straight.|n1SWing7]]>><<set $time += 1>><</link>> /*to outside the dairy */ <<link [[Go right.|n1SWing3]]>><<set $time += 1>><</link>>/*to main corridor */ <<elseif previous() === "n1SWing7">> You are at the intersection of two corridors. The one you are in continues a little ways ahead of you, while the other stretches away to the left into murky gloom, the moonlight not strong enough to illuminate it despite its many windows. <<link [[Go straight.|n1SWing6]]>><<set $time += 1>><</link>> /*to the larder/pantry/exit */ <<link [[Go left.|n1SWing3]]>><<set $time += 1>><</link>> /*to main corridor */ <<else>> You are at the end of a long corridor; shorter corridors run to your left and right. The door you came in is down the left-hand corridor. <<link [[Go left.|n1SWing6]]>><<set $time += 1>><</link>> /*to the larder/pantry/exit */ <<link [[Go right.|n1SWing7]]>><<set $time += 1>><</link>> /*to outside the dairy */ <<link [[Go back.|n1SWing3]]>><<set $time += 1>><</link>> /*to main corridor */ <</if>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

You are in a very dark corridor that comes to a dead end just a little further on. There is one door on the left<<if $kitchenRoomsCopy.includes("dairy")>>, leading to the dairy<</if>>. <<link [[Go left.|n1SWing10]]>><<set $time += 1>><</link>> /*to dairy */ [[Go back.|n1SWing5]] /*to corridor intersection */

<<if $time <= $timeLimit>> <<if visited() === 1>> This room is lined with shelves, and you can just distinguish hocks of cured meat hanging from the ceiling. This must be the pantry. <<else>> You are in the pantry. You contemplate having a snack, but think better of it. <</if>> The only exit is back the way you came. <<return>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if visited() === 1>> This room is narrow and lined with stone shelves. A quick search reveals the shelves contain (what feels like) meat and vegetables, so this must be the larder. <<else>> You are in the larder. <</if>> The only exit is back the way you came. <<return>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if visited() === 1>> You are in a small room crowded with strange equipment, unrecognizable in the dark. It takes you a minute to figure out that you must be in the dairy. <<else>> You are in the dairy. There's nothing here but some cheesemaking equipment. <</if>> The only exit is back the way you came. <<return>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if visited() === 1>> Judging by the large table and even-larger range, you've found the kitchen. Even though you're glad nobody is here at this hour, it seems strange for there to be no hustle and bustle. <<else>> You are in the kitchen. The enormous range stands cold and silent on the other side of the room. <</if>> <<if previous() === "n1SWing3">> There is a door to the right<<if $kitchenRoomsCopy.includes("scullery")>> leading to the scullery<</if>>, a door behind you<<if $kitchenRoomsCopy.includes("corridor")>> leading to the corridor<</if>>, and a door in front of you leading to the lobby. <<link [[Go back.|n1SWing3]]>><<set $time += 1>><</link>> <<link [[Go right.|n1SWing4]]>><<set $time += 1>><</link>> <<link [[Go forward.|sWingEndNight]]>><<set $time +=1>><</link>> <<elseif previous() === "n1SWing4">> There is a door behind you<<if $kitchenRoomsCopy.includes("scullery")>> leading to the scullery<</if>>, a door to your left<<if $kitchenRoomsCopy.includes("corridor")>> leading to the corridor<</if>>, and a door to your right leading to the lobby. <<link [[Go back.|n1SWing4]]>><<set $time += 1>><</link>> <<link [[Go left.|n1SWing4]]>><<set $time += 1>><</link>> <<link [[Go right.|sWingEndNight]]>><<set $time +=1>><</link>> <</if>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if previous() === "n1SWing5">> You are in the main corridor. Moonlight streams in through the windows. <<link [[Enter the first door on the right.|n1SWing4]]>><<set $time += 1>><</link>> /*scullery */ <<link [[Enter the second door on the right.|n1SWing2]]>><<set $time += 1>><</link>> /*kitchen */ [[Go back.|n1SWing5]] <<else>> You enter the main corridor and turn left. Moonlight streams in through the windows. <<link [[Enter the first door on the left.|n1SWing2]]>><<set $time += 1>><</link>> /*kitchen */ <<link [[Enter the second door on the left.|n1SWing4]]>><<set $time += 1>><</link>> /*scullery */ [[Go forward.|n1SWing5]] <</if>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<if $time <= $timeLimit>> <<if visited() === 1>> The moonlight illuminates several sinks and a large copper boiler, as well as a stack of dirty dishes. This must be the scullery. <<else>> You're back in the scullery. <</if>> <<if previous() === "n1SWing2">> Behind you is a door to the kitchen; to your right is another door to the corridor. <<else>> Behind you is the door to the corridor, and to your left is the door to the kitchen. <</if>> <<link [[Go to the kitchen.|n1SWing2]]>><<set $time += 1>><</link>> <<link [[Go to the corridor.|n1SWing3]]>><<set $time += 1>><</link>> <<else>> [[You are hopelessly lost.|sWingEndNight]] <</if>>

<<set $maxFinesse += 2>> <<if $time <= $timeLimit>> <<set $finesse += 2>> You are in the lobby. Moonlight illuminates the dining room ahead of you, which is clearly not the way you want to go. To your right are the servants' stairs -- finally! You congratulate yourself on a job well done as you [[ascend them.|n1Corridor]] <<else>> <<set $slow += 1>> After an eternity of stumbling around the servants' wing<<if $servantMap === false>> (you wish Mel had been so kind as to provide you with a map)<</if>>, you finally locate the stairs up to the main house and climb them with no small amount of relief. You hope you haven't [[wasted too much time getting here.|n1Corridor]] <</if>>

<<set $convVar = 0>> <<if $avoidServant === true>> You think back to Mel's notes in the cache about servants who would be likely to notice you at this time of night: the eccentric chambermaid Marie, the butler, and the ladies' maid Louise. You hope you can remember where she said they'd be. <</if>> In this part of the house, the corridor is divided in two by railing-encircled gaps that allow a view down to the floor below. They aren't stairs or anything; they seem to be purely aesthetic. An odd choice, in your opinion. Regardless, this does allow you to keep some distance from rooms you expect to be occupied. The first set of rooms to pass are the linen room on the left and some sort of storage room on the right. Both have doors ajar and faint lights inside. <<link [[Pass the linen room.|n1Corridor1]]>><<set $convVar = 1>><</link>> <<link [[Pass the storage room.|n1Corridor1]]>><<set $convVar = 2>><</link>>

<<if $avoidServant === true>> Marie could be in either of these, so you just have to take your chances. As you pass by the <<if $convVar === 1>>linen room<<else>>storage room<</if>>, you hear footsteps inside, and a moment later a young woman sticks her head out the door and looks around. Fortunately, having been forewarned, you are able to duck around a corner and flatten yourself against the wall. After a moment, the woman gives up and goes back into the room, where you hear her humming softly to herself as she rummages through the shelves. This provides an excellent opportunity for you to move on without being heard. <<else>> As you pass by the <<if $convVar === 1>>linen room<<else>>storage room<</if>>, you hear footsteps inside, and a moment later a young woman sticks her head out the door and looks around. You dash around a corner, but in your haste, you knock over a small end-table. The noise draws the young woman into the corridor; she finds the table that's been upset and rights it and looks around a bit more, but -- thank goodness -- she doesn't spot you. She shrugs and heads back to the <<if $convVar === 1>>linen room<<else>>storage room<</if>>, where you hear her humming softly to herself as she rummages through the shelves. This provides an excellent opportunity for you to move on without being heard. <<set $messy +=1>> <<set $mistakes += 1>> <</if>> Your next choice is whether to pass by the butler's room or the housekeeper's room. Both doors are shut and there are no lights visible under either; you can hear faint sounds of snoring from the housekeeper's room. <<link [[Pass the butler's room.|n1Corridor2]]>><<set $convVar = 1>><</link>> <<link [[Pass the housekeeper's room.|n1Corridor2]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> You tiptoe past the butler's room, but you must not have been quite quiet enough. Almost immediately after passing the door, you hear movement inside. You hastily conceal yourself in a nearby closet; a moment later, you hear a door creak open. You hold your breath until you hear it shut again. (They should probably oil their hinges, you think.) Hoping the butler has gone back to bed rather than shutting the door behind him as he goes out to wander the corridor, you open the closet door a crack and sigh in relief upon seeing the coast is clear. <<set $mistakes += 1>> <<case 2>> You tiptoe past the housekeeper's room without incident -- her snoring continues uninterrupted. <</switch>> You're almost at your destination. You could take the longer way through the corridors to get to the vase room, or you could take a shortcut through the servants' hall, where servants do portable work like mending while waiting for someone to ring for them.<<if $avoidServant === false>> At this time of night, it is unlikely to be occupied.<</if>> <<link [[Take the long way.|n1Corridor3]]>><<set $convVar = 1>><</link>> <<link [[Go through the servants' hall.|n1Corridor3]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> You make your way through the corridors to the room where the vase is kept. It isn't really //that// long of a way, so the risk of going into the servants' hall probably would not have been worthwhile.<<if $avoidServant === true>> Mel did say the ladies' maid sometimes waited up all night in there.<</if>> <<case 2>> You enter the servants' hall, which is dark, as you had hoped -- but not, you realise with a start, unoccupied. A figure (a woman, you think) is seated at the large table beneath the bells. She has laid her head down on her arms, which are folded on the table in front of her, and you are fairly certain she's asleep. She doesn't react to your entrance, in any case. You hurry back out into the corridor, your heart racing. <<set $mistakes += 1>> <</switch>> <<set $finesse += (3 - $mistakes)>> <<set $maxFinesse += 3>> [[Now you only have to get into the room.|outsideRoom]]

<<set $maxFinesse += 2>> <<if $altEntranceN1 === true>> Fortunately, thanks to Mel's discovery of the second entrance, this is a quick and simple affair. (She really has been more useful than you'd have given her credit for.) You don't have to make your way around to the main part of the house, there are no guards here, and -- you soon find -- the door from the servants' wing isn't even locked. Sloppy, that, and surprising from someone who went to the trouble to hire extra guards. Or maybe not so surprising, since the situation with the tradesman's entrance was much the same. Either Madame Barbier tends to forget that the servants' wing exists, or she expects the servants to have managed everything (probably without any instructions to do so). <<link [[Go in.|n1ArtefactRoom]]>><<set $finesse += 2>><</link>> <<else>> You make your way around to the main part of the house and find the door to the vase room guarded by two men. You knew they were there, of course, but you haven't yet thought about how to get past them. (Chloroform was never an option in a house as crowded as this, so you thought it best to improvise once you got here.) [[Consider your options.|outsideRoom1]] <</if>>

<<set $convVar = 0>> Luring the guards away is a reliable tactic, especially since they both look rather young and likely won't have the self control to investigate one at a time. However, in light of Acanthe's calling card they are likely to be on high alert, and creating a distraction could easily escalate beyond your control. You could also wait for one of them to leave his post and then deal with the other, as frustrating as that might be. There's been no sign of the Baron d'Acanthe tonight, but you'd like to get out of here before that changes. <<link [[Create a distraction for the guards.|outsideRoom2]]>><<set $convVar = 1>><<set $messy += 1>><</link>> <<link [[Wait for one of the guards to leave. |outsideRoom2]]>><<set $convVar = 2>><<set $slow += 1>><</link>>

<<switch $convVar>> <<case 1>> You'll want to be further away for this than you already are, so you sneak down the corridor in the direction of the main staircase. There's a cheap-looking vase on a table here that should serve nicely for your purposes. (It fleetingly occurs to you that Mel would probably not approve of this -- but then, why should you care what she thinks?) You pick up the vase and throw it (in a beautiful arc, if you do say so yourself) down the staircase. By the time it lands and shatters you've already ducked back into the shadows. And a good thing of it, too -- it takes hardly a moment before both guards are past you and down the stairs to examine your wreckage. Luckily, you doubt they'll be as quick in returning to their post. You just hope they won't raise the alarm first. <<case 2>> After some amount of time, one of the guards walks off in the direction of the water closet. Now's your chance. You give him a minute, and then sneak off in the same direction. You stomp a few times on the floor and give a quick shout, and then dive back into the shadows. If you've done this correctly, both men should rush over thinking the other is in trouble. Sure enough, after a moment the remaining guard passes your hiding place to check on his colleague. <</switch>> With the guards (temporarily) out of the way, it's a simple matter to pick the lock. Basic household locks may as well not even be there, as far as you're concerned. <<set $finesse += 1>> [[Go in.|n1ArtefactRoom]]

It's clear once you're inside that this room is actually a disused bedroom, and not a secure vault at all. (You suppose it makes sense that the typical country summer home does not have state-of-the-art security.) That said, the Barbier household has tried their best to shore it up by nailing the window shut and placing the vase in a lockbox. They //could// have done better than placing the lockbox in plain view on the nightstand, but you shouldn't be too harsh. After all, it makes your job significantly easier. Before you get started, you place a note on the nightstand stating that you, Lady Thalia, are behind this. It's risky, and Mel probably won't be thrilled, but it's very important to you that it should be clear this isn't the Baron's work. The lock on the box is small and the room is dark, so it takes you a few minutes to get the box open. Once you've succeeded, you take a moment to admire the ship-vase. You can't see it well, of course, but you let your gloved fingers trace over the intricate details of the rigging and the mast -- truly exceptional work. You'll have to thank Mel for the opportunity to steal this fine piece, even if you will have to give it back later. You lift the vase out of the lockbox and an [[alarm blares out from inside the nightstand|gauntlet0]].

<<set $convVar = 0>> You fumble the vase out of sheer surprise, but manage by some miracle to avoid dropping it. You curse your own hubris as you pull a small bag out of your pocket and stow the vase in it. Stupid, stupid, //stupid!// This trick is one of the oldest in the book, and you //really// should have seen it coming. Shouting comes from the main corridor, and you hear someone fumbling with the lock on the door. You can feel your heart pounding in your ears. <<link [[Rush the door.|gauntlet1]]>><<set $convVar = 1>><<set $messy +=1>><</link>> <<link [[Hang back and gather your wits.|gauntlet1]]>><<set $convVar = 2>><<set $slow += 1>><</link>>

<<switch $convVar>> <<case 1>> Your brain screams at you to fight or to flee -- and lucky for you, both of those options are more or less the same at this point, what with a guard blocking the best exit. You barrel through the door the second it opens and drive an elbow into the shocked guard's solar plexus. He wheezes and falls backwards with a clatter as you shove past him and into the corridor outside. Footsteps pound towards you from somewhere, so you're not out of the woods yet, but that's one obstacle dealt with. <<case 2>> No time to panic right now. You need to keep your head about you if you want to get out of here with your prize. Thinking quickly, you step behind the door as it opens. The guard, clearly confused at finding an empty room, takes a few steps inside -- which leaves you an opening. In a flash you slip out the door behind him, pulling it shut behind you for good measure, and take off running down the corridor. He shouts at you again, but has some trouble getting the door open, giving you (what you hope is) a decent head start. <</switch>> You've set off in the opposite direction of the servant's stairs, which is both a blessing and a curse. You'll have more room to manoeuvre out here, but there will certainly be more people to contend with. As you approach the top of the main staircase, you encounter another guard. He yells an alert at the top of his lungs, and then charges at you. Meanwhile, someone is running up the corridor behind you. <<link [[Duck out of the way.|gauntlet2]]>><<set $convVar = 1>><<set $slow += 1>><</link>> <<link [[Vault over the railing.|gauntlet2]]>><<set $convVar = 2>><<set $messy += 1>><</link>>

<<switch $convVar>> <<case 1>> You throw yourself to the side and instinctively protect the vase with your body, keeping it intact at the cost of landing directly on your elbow. Luckily, the guard behind you wasn't expecting this and collides head-first with the guard in front of you before he can react. There's a shout of pain and then a loud "Oof!" as they crash to the ground in a tangle of limbs, barely avoiding what could have been a nasty fall down the stairs. It takes you a few seconds to regain your footing, and you don't like how your left elbow feels after your fall, but you're off running and down the stairs before they can get back up. <<case 2>> Before you can think about what you're doing, you vault over the railing and into the foyer below. It's not a long drop, but in your panic it feels like an eternity. You're in a real pickle right now, but the only thing you can think about is how irate Gwen would be if she found out about this stunt. (Come to that, Mel probably wouldn't be too happy either. Just your luck that you now have //two// people to carp at you if you do anything foolish.) You land on a side table with a loud and expensive-sounding CRACK! as the wood gives way under the force of your landing. You hope the damage doesn't include any of your bones, but you can't afford to check on them until you're out of this blasted house. (The vase is still in one piece, which is what //really// matters. Porcelain can't heal itself, after all.) <</switch>> From the <<if $convVar === 1>>base of the stairs<<else>>foyer<</if>> it's only a few paces more to the front door. Before you can open it, however, you see the looming shadow of a groundskeeper through the door's glass pane and think better of it. Facing a lack of other options, you dash left into the drawing room. <<link [[Find another exit.|gauntlet3]]>> <<set $convVar = 1>><<set $slow += 1>><</link>> <<link [[Make another exit.|gauntlet3]]>> <<set $convVar = 2>><<set $messy += 1>><</link>>

<<switch $convVar>> <<case 1>> Moonlight streams in through the drawing room windows. You remember they were open during your earlier visit to allow the summer breeze to blow through, but since only the top panel opens, they won't be the easiest to slip through. You don't have time to doubt yourself, though, so you grab a chair and stand on it to unlatch the nearest window. There's a lot of awkward wriggling involved, but you make it through the opening and drop unceremoniously onto the lawn. <<case 2>> The drawing room has some large, lovely, and very old plate-glass windows. You say a quick apology to the Barbiers for what you're about to do, then grab a hefty chair and hurl it through a window with all your might. Before you can feel too guilty about what you've done, you throw your jacket over the remaining shards in the window frame and climb out onto the lawn. <</switch>> The cool night breeze feels wonderful, but you can't stop to appreciate it yet. After pausing a moment to catch your breath you take off running towards the road. Your carriage driver (who seems a wonderful chap and asks absolutely no questions if given enough coin) should be waiting behind a copse of trees and you'll be free and clear if you can only reach him. But before you've made it more than a few paces down the road, a man in a wagon pulls up beside you. He's definitely //not// your carriage driver -- you would have remembered that ridiculous tall brimmed cap. Whoever he might be, though, he's definitely not on your side, as evidenced by the fact that he's exited the wagon and is running straight for you with a raised baton. <<link [[Spook the horse.|night1Outro]]>> <<set $convVar = 1>><</link>> <<link [[Steal the wagon.|night1Outro]]>> <<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> Your background is neither high- nor low-class enough to give you much knowledge of horses, but you do know that they are in essence a very large bundle of nerves on four skinny legs. You give a loud shout and then dash in and give the horse a slap on the rump, whereupon it predictably takes off in a fright. The man in the silly hat swears and starts running after it, and you dash towards the trees before he can think better of his choice. <<case 2>> The man has exited the wagon and doesn't appear to have left any colleagues inside, which wasn't very smart of him. You duck past him, vault up into the wagon, and cue the horse into a gallop. You don't actually know how to steer a wagon, of course, but it's not necessary -- you just need to lose your assailant and then you can walk back to your carriage using your own two feet. <</switch>> /*End of night score calculations */ <<if $slow >= 3>> <<set $finesse -= 1>> <</if>> <<if $messy >= 3>> <<set $finesse -= 1>> <</if>> <<set $maxFinesse += 2>> <<set $delta = $slow - $messy>> <<if Math.abs($delta) <= 2>> <<set $finesse += 2>> <</if>> <<if $finesse > $maxFinesse>> <<set $finesse = $maxFinesse>> <</if>> <<set $totalFinesse += $finesse>> <<set $maxTotalFinesse += $maxFinesse>> The coachman has fallen asleep by the time you get back, but he wakes quickly and shows no hesitation at your request to get back to Paris as fast as possible, and preferably by the back roads please. Once he's underway, you settle back into the carriage and reflect on your evening. Your mind keeps coming back to the strange man in the hat, and you realise with dawning horror that you just committed some kind of offence [[against a policeman.|gwenLetter1]]

[[Research start. |day2Start]] <<link [[Investigation start.|day2Hub]]>> <<set $deduction = 0>> <<set $researchChoice2 = true>> <<set $alarmKnowledge = false>> <<set $gearLocation = 0>> <<set $night2Map = false>> <<set $lowDeduction = false>> <<set $gearDropped = false>> <<set $securityConv = false>> <<set $janitorConv = false>> <</link>>

/* Declare/reset day 2 variables here */ <<set $deduction = 0>> <<set $researchChoice2 = false>> <<set $alarmKnowledge = false>> <<set $gearLocation = 0>> <<set $night2Map = false>> <<set $lowDeduction = false>> <<set $filesRead = 0>> <<set $gearDropped = false>> <<set $securityConv = false>> <<set $janitorConv = false>> /*End of Day 2 Variables*/ <center>@@font-size:x-large;ACT III@@</center> You are Margaret Williams, and you are in the chief's office again. "So now we have two thieves on our hands, eh?" he says. "Worse luck.<<if $researchChoice1>> Still, good job identifying the target -- after you left for the countryside, the Baron sent us a note saying he was going to be stealing it next. It's just a shame that that Thalia woman got to it first.<</if>>" You agree that Lady Thalia's involvement is extremely troublesome, which is not even, strictly speaking, a lie. "In any case, I've got another set of artefacts for you to look through." He holds up a sheaf of papers and waves them at you. You take them and tuck them under your arm. No sooner have the papers changed hands than the chief stands up and says, "Well, I must be getting back to the opera house. They haven't found that missing soprano yet, even though no one saw her leave the building -- ah, but I shouldn't be distracting you with the details. Also, they're confidential, so don't tell anyone I told you that. Best of luck!" Unsure what to say to this, you mutely wave him goodbye and then [[head to your desk|day2Research0]].

As before, you spread the files out in front of you and consider them. You're beginning to find this a little tedious. Though it could be worse, you suppose. Once you investigated a break-in at a museum in which it was clear that //something// had been taken from a storage room, only the museum was rather disorganised, and no one was quite sure which object it was. You had to go through their records and ascertain the location of every item to figure it out. Now, //that// was tedious. There are, again, three options: [[An antique pistol|day2Research1]] [[A series of charcoal sketches|day2Research2]] [[A seven-stringed violin|day2Research3]] <<if $filesRead === 3>>[[Make your decision.|day2Research4]]<</if>>

<<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> /* https://www.collectorsfirearms.com/blog/post/duels-and-dueling-pistols.html https://military-history.fandom.com/wiki/Duelling_pistol side note: https://en.wikipedia.org/wiki/Olympic_dueling what the fuck */ This object is an ornate flintlock pistol, made sometime in the 1760s. It was clearly meant to be more of a show piece than a weapon, and judging by the finely engraved handle and quantity of filigree on the barrel it belonged to either a noble or merely someone very rich. You're not generally fond of guns, but this one is a true work of art. Also, you doubt it still fires. The notes mention that these guns typically come in pairs, but this one's twin (if it ever had one) has been lost to time. <<if visited() === 1>><<set $filesRead += 1>><</if>> <<return>>

<<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> /*https://en.wikipedia.org/wiki/The_Bathers_(C%C3%A9zanne), clearly too late for Acanthe to care about*/ This is a set of sketches from just a few years ago, from an artist mostly known for his stylised paintings of women in the act of bathing. You're familiar with his work and can see that these were clearly done in preparation for his most well-known painting (involving a lot of women bathing all at once). The sketches have artistic merit on their own, as the artist is rather good at stylised anatomy, but you suspect that's not really why people are interested in them. /*this is a little mean to Cezanne and I'm sorry */ /* hey, I made multiple jokes about male artists' desire to paint naked ladies in the first game, I can't criticize */ <<if visited() === 1>><<set $filesRead += 1>><</if>> <<return>>

<<if $filesRead === 0>> You go through the file, making note of the most salient points, which are as follows: <</if>> /*https://www.metmuseum.org/art/collection/search/501909 */ This artefact is a violin made in France and brought to America in the early 1700s. It's a fine violin, of course, but it seems to be more notable for its history than anything else. It was hidden in a convent during the American Revolution and forgotten about for nearly a hundred years. Which country it belongs to has been the subject of fierce debate, but the French have it for now. <<if visited() === 1>><<set $filesRead += 1>><</if>> <<return>>

You've been staring at these files long enough; it's time to come to a conclusion. Which of these is the most likely next target? <<link [[The pistol|day2ResearchEnd]]>><<set $convVar = 1>><<set $researchChoice2 = true>><<set $deduction += 1>><</link>> <<link [[The sketches|day2ResearchEnd]]>><<set $convVar = 2>><</link>> <<link [[The violin|day2ResearchEnd]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> There's no question in your mind that the pistol fits Acanthe's theme better than any other option. He's not exactly subtle about his interests: he fancies himself some sort of aristocrat and is focused on stealing the accoutrements thereof. <<case 2>> You're a bit at a loss, but the sketches seem valuable. Maybe Acanthe would be interested in them? You don't know whether or not he's fencing his stolen objects, but he must need money for his ridiculous costumes, surely? <<case 3>> The violin is historical, and that is certainly a theme for Acanthe, so it seems a likely target. The violin is the least valuable of the three items, but Acanthe does seem to have a particular interest in the eighteenth century, which is a point in its favour. <</switch>> Leaving a note for the chief about your suppositions, you head back to your hotel (which the Paris police are, thankfully, paying for) to change into your most inconspicuous outfit. As you are crossing through the lobby, the concierge waves you over. "Mademoiselle Williams, yes?" he says. You nod in confirmation. "A gentleman was here earlier -- he left a note for you." He pulls an envelope out from under the desk. You suspect you know what it contains, and you don't like it. But nevertheless, [[you take it|day2Note]].

The note reads: //Margaret Williams--// //I don't know what you have been doing, but since you -- and that so-called Lady Thalia -- arrived and started nosing around, my luck has been abominable. I very much object to your interfering in my business. Given your line of work, I assume you care very much about the rightful ownership of artefacts and artworks -- and were the items I have taken meant to be owned by museums, the nouveau riche, or worse, the English? I think you will find they were not. I am only attempting to restore them to their rightful places.// //In two days' time, I will be stealing the antique duelling pistol housed in the Petit Palais. Will you be able to foil me again? I doubt it -- but I am curious to see you try.// //Respectfully yours,// //Baron d'Acanthe// [[He thinks very highly of himself, doesn't he?|day2MuseumIntro]]

<<if $researchChoice2 === true>> You do feel a stab of pride at the knowledge that you were right about his target, <<else>> You feel a bit ashamed that you were wrong about his target, <</if>> but it is far outweighed by your annoyance at his pompous self-importance, obsession with the nobility, and apparent newfound conviction that you are his nemesis. You already //have// a nemesis; you're not looking for another one. But you do still want to stop him, so off you go to the Petit Palais -- a museum constructed for the 1900 Exposition Universelle (or International Exhibition, to you). It is in the 8th arrondissement, a swankier neighbourhood than you've been spending your time in until now. You might almost feel like you were on holiday if you weren't going there to aid and/or abet in a crime. It is, to be fair, the same thing you did with the vase, but somehow Thalia's suggestion to operate more covertly makes the whole thing seem more illicit. Nevertheless, [[you'd better get going|day2InvStart]].

The Petit Palais proves to be a lovely building in the Beaux-Arts style, and you pause outside of it for a moment to appreciate its design. This also gives you an opportunity to collect yourself and remind yourself that you are //not// here on official business and should //not// go around interrogating people like a policewoman. Of course, you don't have to lie, exactly; you just have to //not mention// your police connections or Baron d'Acanthe or any of that. As long as you do that, everyone will likely assume that you are an ordinary tourist, visiting a museum as tourists are wont to do, in a manner that is not at all suspicious. You can do that. Can't you? [["Excuse me, Madame?" a voice pipes up behind you. | day2InvStart2]]

You turn around to see a young man on a bicycle. He's holding a small package. "Are you Madame Margaret Williams?" You reply that you are indeed Margaret Williams, and before you can go on to correct him about your title, he pushes the package into your hand. "Urgent delivery from a friend of yours, Madame!" he says by way of explanation. He then gets back on his bike, but keeps one foot on the ground until you fish some money out of your pocket for a tip. Once he's departed, you open the package to find a small leather bag and a note. The note reads: //Dear Mel, I saw that Baron d'Acanthe's next target is at the Petit Palais. I know a little about this building -- the best way to sneak in is through the ventwork, but it will be a very tight squeeze, so I can't afford to bring my usual tools. Can you hide these in the museum for me? @@font-size:xx-large;--T@@ P.S. Do ''not'' look in the bag!// You crumple the note with a sigh. At least the Baron had the decency to use your real name in his note. Taking a deep breath, you head up the wide stairs and through the gilded doorway into the ornate rotunda. (It's very impressive. You almost wish you //were// here just to sight-see.) You glance around and consider [[what might be useful to do|day2Hub]].

You are in the main foyer of the museum. Attendance is sparse today, so there are few other people here besides the museum employees. A large map of the museum is mounted on the wall nearby, but isn't nearly detailed enough for your liking. <<if $gearDropped>> You've already stashed Thalia's tools. Continuing to snoop around the museum would be too suspicious. <<else>> You need to find a place to hide Thalia's thief tools. You'll need to explore the museum to find a suitable hiding spot. Even with today's low attendance, there are too many employees around to stash them here. <</if>> <<if $securityConv>> Better not bother the guard again. <<else>> A security guard is standing at attention in the atrium. You wonder if he knows anything about building security in the Palais. <</if>> <<if $janitorConv>> You are very much done talking to the janitor, and avoid making eye contact with him. (Which isn't hard, given that he's gone back to polishing.) <<else>> A janitor is polishing a banister nearby and whistling tunelessly. If you're lucky he'll know something about the layout of the east wing (beyond what's on the large map nearby). <</if>> <<if $gearDropped === false>> [[Find a place to stash Thalia's tools.|gearDrop0]] <</if>> <<if $securityConv === false>> [[Talk to the security guard.|day2Security]] <</if>> <<if $janitorConv === false>> [[Talk to the janitor.|day2janitor]] <</if>> <<if $gearDropped && $securityConv && $janitorConv>> <<set $totalDeduction += $deduction>> You've done all you can do for now. <<if $deduction <= 2>> <<set $lowDeduction = true>> You feel this whole thing hasn't gone well, but you'll just have to [[hope for the best|night2Start]]. <<else>> Now you just have to sit back and see what happens [[tonight|night2Start]]. <</if>> <</if>>

<<set $securityConv = true>> <<set $strikes = 0>> Finding out about the security measures that are in place should be very useful to your purpose. Of course, to get that information, you'll have to figure out what to say. You wish you were doing legitimate police work, so that you could just ask. You clearly were not cut out for a life of crime, not even if it's for a good cause. Nevertheless, here you are, and you'll have to try your best. Attempting to seem casual about it, you approach the security guard. When he sees you coming, he frowns slightly. "Can I help you with something?" <<link [["I'm sorry, I know you must be busy, but I'm curious about something..." (F)|day2Security1]]>><<set $convVar = 1>><</link>> <<link [["I have some questions for you." (D)|day2Security1]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["I was just wondering what you do here?" (L)|day2Security1]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> The guard looks around furtively, as if to see whether anyone's going to notice him slacking off, then returns his attention to you. "Well, I think I can spare a minute," he says. He seems flattered that you've taken an interest. You thank him effusively, though it pains you a little to put on such a show. <<case 2>> He looks you up and down, and his brow furrows in thought. He seems to be trying to piece together some kind of explanation for why you, a total stranger, are taking such an authoritative tone with him. At last, he hazards, "Did the boss send you?" Ugh. Honestly, you were //just// reminding yourself that you weren't supposed to be interrogating anybody. How did you forget that so soon? You apologise, and attempt to smooth things over by explaining that you are just curious about his work. <<case 3>> He looks at you blankly. "I'm a security guard," he says, in the tones of one who believes that should be obvious. You explain that you meant that you were curious about some of the //specifics// of his work, and make a mental note that you shouldn't be too vague with this man. <</switch>> "All right," he says, "what did you want to know?" <<link [["I was just wondering what it's like to be a guard in a fancy place like this." (F)|day2Security2]]>><<set $convVar = 1>><</link>> <<link [["Tell me about your daily routine." (D)|day2Security2]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["About the security here..." (L)|day2Security2]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> "Not too bad," he says. "Certainly not as demanding as some of the other places I've worked. And it's true, the view is nice." You encourage him to go on, hoping that you look suitably fascinated. You have no idea what your face is doing, honestly. <<case 2>> He glances at you warily. "Why do you want to know?" You're not sure who exactly he thinks you are or what exactly he thinks you're doing, but clearly he's a bit suspicious. You assure him that you're just curious about the life of a guard in a new (relatively) and fancy museum like this. <<case 3>> He blinks. "What about it?" He doesn't seem terribly suspicious of you, at least, but he //does// seem quite confused. You explain that you were just curious what it's like to be a guard in a place like this. <</switch>> "Well, it's all very state-of-the-art, you know," he says. "The security, I mean. This place was renovated just a few years ago and they had all kinds of alarms put in. Makes the job easier, that's for sure! You don't have to be on the lookout all the time when you know an alarm will go off if anything needs attending to." <<link '"Goodness -- and you really have alarms //everywhere//?" (F)' 'day2Security3'>><<set $convVar = 1>><</link>> <<link [["What kinds of alarms are they?" (D)|day2Security3]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["My, how impressive!" (L)|day2Security3]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<if $strikes >= 2>> "Yes, well," the guard says. "I ought to be getting back to work -- the boss'll have my hide if he catches me chatting like this." You seem to have put him off, unfortunately. You thank him for his time and [[leave|day2Hub]]. <<else>> <<switch $convVar>> <<case 1>> <<set $deduction += 1>> <<set $alarmKnowledge = true>> "Very nearly," he says, with a touch of pride (although you doubt he had anything to do with the installation of the new alarms himself). "Do you know what, we even have alarms on the windows! You can't see 'em, but if you open a window -- brrrrrring! Off it goes!" He pauses for a moment, then adds, "Although it is too bad we can't have a bit of fresh air on a day like today." You ooh and ahh over the alarms for (you hope) the appropriate amount of time, then tell the guard you won't keep him from his work any longer and [[take your leave|day2Hub]]. <<case 2>> "Here," he says, shifting from foot to foot, "I don't know what kind of test this is supposed to be, but if the boss has some kind of problem with my work, tell him to stop playing games and come talk to me himself." You seem to have put him off, unfortunately. You thank him for his time and [[leave|day2Hub]]. <<case 3>> "Yes, it is, rather," he says. He doesn't seem inclined to elaborate. You really should have figured out sooner that you need to be more specific with this fellow; you don't have time to coax more information out of him now. You thank him and [[leave|day2Hub]]. <</switch>> <</if>>

<<set $janitorConv = true>> <<set $strikes = 0>> <<set $convVar = 0>> You approach the janitor to see if he can give you any information about the rooms on the east side of the Palais. Up close, you can see that he's a younger man (practically a boy, really) and as such unlikely to be a very high-ranking member of the cleaning staff. Perhaps that's for the best, since he'll have first-hand knowledge of the museum layout. <<link [['"Pardon me, Monsieur — can you spare a minute to answer some questions?"(F)'|'day2janitor1']]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["What's on the east side of the museum?" (D)|day2janitor1]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["I think I've lost my map. Can you give me directions?" (L)|day2janitor1]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> The boy's expression curdles at being called "Monsieur." You realise that your tone is far too cloying to sound genuine, and mentally kick yourself. How can this be so hard? You're not even really pretending to be someone else and you're slipping up already. You decide to blame Thalia for talking you into this in the first place. "Alright," he says warily. "What do you want to know, Madame?" <<case 2>> The boy stands up straight and looks at you with suspicion. You realise that your tone is perilously close to the one you use for interrogating suspects, and mentally kick yourself. How can this be so hard? You're not even really pretending to be someone else and you're slipping up already. You decide to blame Thalia for making deception look easy. "Lots of things, Madame," he says warily. "Anything specific you're looking for?" <<case 3>> The boy straightens up and tucks his polishing rag into his pocket. Surprisingly, he looks excited to speak with you. Polishing must be dull work. "Of course I can, Madame!" he says eagerly. "Are you looking for anything in particular?" <</switch>> You wince and tell him that actually it's //Mademoiselle//, thank you very much. His face flushes with embarrassment and so does yours. You have no intention of ever getting married, of course, but you don't like the scrutiny that being unwed brings at your age. It belatedly occurs to you that you could have just let it go without correction -- you really need to get better at this "covert" business. <<link [["In your opinion, what are the best rooms on the east side of the museum?" (F)|day2janitor2]]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["What rooms are along the east wall?" (D)|day2janitor2]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["Which exhibits have the best view of the sunrise?" (L)|day2janitor2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> The boy scoffs. "Best rooms? Why are you asking a cleaner about that? I hardly ever go into the exhibits, except to go back and forth from here to the break room. And to get my stuff from the custodial closet, I guess. Both of those are just off one of those Louis rooms, so that's the only one I've really seen." <<case 2>> The boy looks at you with suspicion. "Why do you care? Besides, I'm only responsible for the front hall. I've gotta go through one of the Louis rooms to get to the break room and the custodial closet, but that's all I've seen. The map could tell you better than I can." He gestures vaguely in the direction of the entrance, where a map of the museum is displayed on a wall. <<case 3>> The boy looks confused. "I don't think you can get here early enough for that, M-Mademoiselle. Besides, I hardly go back there -- just through that Louis exhibit to the break room and supply closet, really. Only the break room has a window at all, and you can't go in there anyway." He tilts his head in thought, but doesn't come up with anything else. <</switch>> Rotten luck -- this boy must be too lowly to be trusted with cleaning near the art. He's clearly got some knowledge of that area beyond what's on the map, though, so perhaps you can still get something out of him. <<link [["And of those, which would you recommend?" (F)|day2janitor3]]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["Are any of those particularly isolated?" (D)|day2janitor3]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["Which is the best one if I wanted to be by myself?" (L)|day2janitor3]]>><<set $convVar = 3>><</link>>

<<if $strikes > 2>> The boy abruptly pulls out his cleaning rag and turns back to the railings he had been polishing earlier. "I'm sorry, //Mademoiselle//," he says, "but I must get back to work." He starts his polishing up again with feigned enthusiasm. [[At least you have some new information.|day2Hub]] <<else>> <<switch $convVar>> <<case 1>> He scowls again. "I already told you, I hardly go in any of the exhibits! //And// visitors aren't allowed in the other rooms, before you get any ideas." He crosses his arms for emphasis. You decide you've got all you can from him, and [[leave him to his work|day2Hub]]. <<case 2>> "What the hell kind of question is that? I'm not answering that!" He backs away from you with a look of unease on his face. Well, now you've done it. [[Best leave him alone before he tells someone about you.|day2Hub]] <<case 3>> <<set $deduction += 1>> <<set $night2Map = true>> He answers this one confidently. "Oh, definitely the Louis room! It's a bit out of the way, so hardly anyone's there besides the staff at break time. Even the guards don't patrol that one too often, I think." He pauses to consider something. "Are you going to be alone, or are you looking to bring a special someone with you?" This catches you completely off guard, and your half-stammered denial gives him absolutely the wrong idea. Before you move on, you consult the map by the lobby entrance and confirm that the room he's talking about is most likely the Louis XVI exhibit. There are about seven different exhibits that could be described as the "Louis Room," so you can't really blame the boy for being vague about it. [[That's nicely buttoned up.|day2Hub]] <</switch>> <</if>>

The interior of the Palais is light and airy, with high ceilings and large windows providing plenty of light for optimal art-viewing. This annoyingly means that anything out of place will be extremely obvious, so you'll need to be creative when it comes to finding a hiding place for Thalia's thief kit. (Despite her request you have of course already looked at the contents, and been disappointed that they're nothing more special than some lockpicks and rope.) You look at your map of the museum and quickly identify a few likely locations. [[Explore the central courtyard.|gearDrop0]] [[Explore the porcelains exhibit.|gearDrop1]] [[Explore the sculptures exhibit. |gearDrop2]] [[Explore the goldsmithing exhibit.|gearDrop3]]

/*https://en.wikipedia.org/wiki/Petit_Palais*/ /*Central courtyard/garden */ You are in the central courtyard of the Petit Palais, which also serves as a garden. Three paths cut through the lush greenery, each leading to a different exhibit room. Trees and bushes line each path, creating a view that must be stunning in spring and is still fairly impressive in summer. The courtyard is a nice central location, with plenty of hiding spots for Thalia's gear -- no matter where she enters the building she won't be too far away. That said, there might actually be too many hiding spots here. (As satisfying as it would be to hide the goods so well Thalia can't find them, it would rather be cutting off your nose to spite your face.) <<link [[Hide the gear in the courtyard.|gearDropFinal]]>><<set $gearLocation = 0>><</link>> [[Explore the porcelains exhibit.|gearDrop1]] [[Explore the sculptures exhibit. |gearDrop2]] [[Explore the goldsmithing exhibit.|gearDrop3]]

/*Porcelain exhibit */ The porcelains exhibit is full of ornate dishes and vases, each on its own plinth. None of them are quite as fine as the ship vase you've already, ahem, "protected", but they are still all excellent examples of the craft. There are also some more unexpected pieces, in particular an enormous clock shaped like a rider on a rearing horse. (Well, technically the clock face is between the horse's legs, but still.) It must be a good three feet tall and is set into a corner of the gallery. You take a minute to marvel at it. Hiding the tools behind this clock would appeal to Thalia's theatrical nature, even if it's a bit far from her expected entry point. (You deliberately avoid thinking about why you might want to choose a hiding place she //likes//. That way lies madness.) <<link [[Hide the gear among the porcelains.|gearDropFinal]]>><<set $gearLocation = 1>><</link>> [[Explore the central courtyard.|gearDrop0]] [[Explore the sculptures exhibit.|gearDrop2]] [[Explore the goldsmithing exhibit.|gearDrop3]]

/*sculptures exhibit */ The sculptures exhibit has everything one would expect -- saints, pagan gods, and a gaggle of barely clad men and women. Not too shabby, of course, but for the most part nothing you haven't seen before. Your eyes are drawn to the centrepiece of the exhibit, which is a life-size statue of Jeanne d'Arc. She's kneeling in prayer, her stone gaze cast downward and stone sword by her side. You've always felt quite sympathetic towards her, and on bad days a little bit jealous. The sculpture hall is in the north-east part of the museum, but you'll have to hide the tools extremely well given that statues don't provide much cover. <<link [[Hide the gear among the sculptures. |gearDropFinal]]>><<set $gearLocation = 2>><</link>> [[Explore the courtyard.|gearDrop0]] [[Explore the porcelains exhibit.|gearDrop1]] [[Explore the goldsmithing exhibit.|gearDrop3]]

/*goldsmithing exhibit */ The goldsmithing exhibit is by far the most extravagant one you've seen yet at the Palais. The lustrous gold and cheerily coloured gemstones stand in stark contrast to the calm white walls of the museum, drawing even more attention to their extravagant shapes. It's frankly an assault on the senses. You feel particularly assaulted by a sculpture of a pipe organ done in gold and bronze, with a wrought-gold monkey at the keys and an entire orchestra of monkey figurines providing backup. The worst part is that the craftsmanship is exquisite. This exhibit is well-placed in the east wing, and the organ is distracting enough that you suspect no-one would notice a bag dropped in among the monkeys. On the other hand, this piece is so eye-catching that everyone walking through is guaranteed to stare at it. (On the other other hand, if you have to see this, then so does Thalia.) /*yes this is more or less a real thing https://www.petitpalais.paris.fr/en/oeuvre/organ-pipe-clock-monkey-orchestra */ <<link [[Hide the gear among the gold. |gearDropFinal]]>><<set $gearLocation = 3>><</link>> [[Explore the courtyard.|gearDrop0]] [[Explore the porcelains exhibit.|gearDrop1]] [[Explore the sculptures exhibit.|gearDrop2]]

<<set $gearDropped = true>> <<switch $gearLocation>> <<case 0>> You look around for any stray visitors, and, finding none, proceed to stow the tools under a hydrangea bush. You quickly jot down some notes about the bush's location and head back to [[the main gallery|day2Hub]]. <<case 1>> You reach over the clock and tuck the bag of tools as far behind it as you're able without disturbing the piece. With this task done, you exit the room as nonchalantly as possible and go back towards [[the main gallery|day2Hub]]. <<case 2>> You circle the statue and pretend to admire its craftsmanship, all the while looking out of the corner of your eye for guards. Once you're sure you're alone you tuck the tools out of sight behind Jeanne's bent knees, and go back to [[the main gallery|day2Hub]]. <<case 3>> <<set $deduction += 1>> With one eye towards the entrance, you very carefully nestle the bag of tools against the base of the organ. Unless one is very close it's almost impossible to notice amidst the garish monkeys. You suppose you ought to be thankful for the exhibit curator's lack of taste (and apparent allergy to glass cases.) Time to go back to the [[main gallery|day2Hub]]. <</switch>>

Alarm knowledge: <<radiobutton "$alarmKnowledge" true autocheck>> true <<radiobutton "$alarmKnowledge" false autocheck>> false Vent map: <<radiobutton "$night2Map" true autocheck>> true <<radiobutton "$night2Map" false autocheck>> false Gear location: <<radiobutton "$gearLocation" 0 autocheck>> Location 0 <<radiobutton "$gearLocation" 1 autocheck>> Location 1 <<radiobutton "$gearLocation" 2 autocheck>> Location 2 <<radiobutton "$gearLocation" 3 autocheck>> Location 3 [[night2Start]]

/*Declare/reset Night 2 variables here */ <<set $finesse = 0>> <<set $maxFinesse = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $distraction = 0>> <<set $time = 0>> <<set $injury = false>> <<set $timeLimit = 3>> <<set $vent = 0>> You are Lady Thalia, and you are standing next to an air intake outside the Petit Palais (Mel having stashed the information cache nearby, which is unusually helpful of her). You won't have as easy of a time with this as with the vase, most likely, but you doubt it will turn out to be one of your harder jobs, either. [[You review your information.|n2Info]]

The cache contains: <ul> <li>The location of your gear. Apparently she managed to stash your tools in the <<switch $gearLocation>> <<case 0>>courtyard. <<case 1>>porcelains exhibit. <<case 2>>sculpture hall. <<case 3>>goldsmithing exhibit. <</switch>> </li> <li>A rough map of the museum. <<if $night2Map>> On it is scribbled a series of directions that look useful for your journey through the vents.<</if>></li> <<if $alarmKnowledge>><li> A note: //There's an alarm on the window of the room where the gun is held. Avoid it if possible. --M//</li> <</if>> </ul> [[Climb into the air intake.|airDucts0]]

<<set $time = 0>> <<if visited() === 1>> As you expected, it's a very tight fit. Thank goodness you're not prone to claustrophobia. After you've spent some time inching through the ductwork, you come to a crossroads. Paths stretch off to the left and to the right. There's also a grate nearby that you could use to exit into the museum, although where in the museum you can't tell, as it's completely unlit. [[Listen at the vent for some clues about your location.|listen0]] [[Go left.|airDucts1]] [[Go right.|airDucts3]] <<link [[Exit here.|airDuctsExit]]>><<set $vent = 0>><</link>> <<else>> You're back where you started. <<if previous() === "airDucts3">> [[Listen at the vent.|listen0]] [[Go forward.|airDucts1]] [[Go back.|airDucts3]] <<elseif previous() === "listen0" and visited() === 2>> [[Go left.|airDucts1]] [[Go right.|airDucts3]] <<else>> [[Go forward.|airDucts3]] [[Go back.|airDucts1]] <</if>> <<link [[Exit here.|airDuctsExit]]>><<set $vent = 0>><</link>> <</if>>

<<set $time += 1>> You put your ear to the vent to try and glean some information about your location. You pick up what sounds like distant whistling and a rhythmic sloshing sound (a mop?) coming from somewhere in the room. Judging by the way the whistling echoes, the room beyond must be quite large. <<return>>

Further along, you come to another vent. Maybe this one is your desired exit? [[Listen at the vent.|listen1]] <<if previous() === "airDucts0" or previous() === "listen1">> [[Go forward.|airDucts2]] [[Go back.|airDucts0]] <<else>> [[Go forward.|airDucts0]] [[Go back.|airDucts2]] <</if>> <<link [[Exit here.|airDuctsExit]]>><<set $vent = 1>><</link>>

<<set $time += 1>> You put your ear to the vent and hear nothing but the skittering of small animals. The Petit Palais must have a pest problem. <<return>>

You come to yet another vent. Thank goodness museums are always well-ventilated. [[Listen at the vent.|listen2]] <<if previous() === "airDucts1" or previous() === "listen2">> [[Go forward.|airDucts3]] [[Go back.|airDucts1]] <<else>> [[Go forward.|airDucts1]] [[Go back.|airDucts3]] <</if>> <<link [[Exit here.|airDuctsExit]]>><<set $vent = 2>><</link>>

<<set $time += 1>> You listen intently at the vent. At first you hear nothing, but after a minute or two you hear faint footsteps -- not distant, but quiet, indicating a soft surface. You freeze, but whoever is making the footsteps isn't paying attention to the vents. They do a full circuit around the perimeter of the room and then leave. Maybe that was a security guard? <<return>>

There's another vent further down the passage. How many of these blasted things are there? [[Listen at the vent.|listen3]] <<if previous() === "airDucts2" or previous() === "listen3">> [[Go forward.|airDucts0]] [[Go back.|airDucts2]] <<else>> [[Go forward.|airDucts2]] [[Go back.|airDucts0]] <</if>> <<link [[Exit here.|airDuctsExit]]>><<set $vent = 1>><</link>>

<<set $time += 1>> You concentrate hard on the sounds coming through the nearest vent. You hear the sound of a breeze blowing, and of metal clinking in the dark. You don't //think// a person is the source of the clinking, but you can't be completely sure. <<return>>

<<if $time > 4>> <<set $slow +=1>> <</if>> <<set $maxFinesse += 3>> <<switch $vent>> <<case 0>> <<set $messy += 1>> <<set $finesse += 1>> You force the grate off the vent and emerge into what turns out to be the main entryway to the museum. A janitor is mopping the floor in the corner and jumps in surprise when the grate clatters to the ground. Your heart stops for a minute, but then he makes a non-committal sound and resumes his mopping. You guess he isn't paid enough to deal with this. Still, it's best to be careful, so you retreat into the ductwork and try a different vent. <<case 1>> <<set $messy += 1>> <<set $finesse += 1>> You force the grate off the vent and survey your surroundings. You're in what's either a small back room or a large closet, which either way is half-full of junk. Nobody's around to see you besides the mice, so you pull yourself through the opening and drop gracefully into the room. Unfortunately, the only other exit is a locked door, and without your picks you have no choice but to kick it open. <<case 2>> <<set $finesse += 3>> You push the grate off the vent, and it lands with a muffled thump on the floor. Perfect -- you've found a carpeted room! You wait a few more seconds to make sure the sound didn't attract any attention and then exit into a quiet exhibit room. <<case 3>> <<set $messy += 1>> <<set $finesse += 1>> You cautiously remove the grate and peek out into the room beyond. You're in what looks like a staff break room. One window is open (hence the breeze) and someone has hung some wind chimes from the sill (hence the clinking.) You exit the ducts and start looking around for a door, and promptly trip over a pile of mending that someone has left. (It now needs significantly more mending.) You curse yourself -- you hate leaving this kind of avoidable evidence of your movements -- and quickly locate the door. <</switch>> [[Look around. |getToolsStart]]

Now that you are in the museum proper, you look around to get your bearings. You have emerged in an exhibit dedicated to one of the many Kings Louis. (Which one, you have no idea. Say what you will about the British monarchy -- and you have //plenty// to say -- but at least they were a smidgen more creative with names.) <<set $maxFinesse += 3>> <<switch $gearLocation>> <<case 0>> <<set $finesse += 1>> According to her notes, Mel left your gear somewhere in the courtyard under a bush. The courtyard isn't too far from here, so you should be able to [[get there quickly.|getTools0]] <<case 1>> <<set $finesse += 1>> According to her notes, Mel left your gear behind a clock in the porcelains exhibit. It's not as close as you would have liked, but beggars can't be choosers. [[You set off.|getTools1]] <<case 2>> <<set $finesse += 1>> According to her notes, Mel left your gear "with Jeanne" in the sculpture hall. You assume Jeanne is one of the statues, since the other possibility (that Mel has got daring enough to rope an employee into your shared scheme) [[is extremely unlikely.|getTools2]] <<case 3>> <<set $finesse += 3>> According to her notes, Mel left your gear somewhere in the goldsmithing exhibit. She has given you frustratingly little detail otherwise, with only the cryptic hint "You'll know it when you see it. --M" to guide you. [[This does not bode well. |getTools3]] <</switch>>

<<set $messy += 1 >> Much to your dismay, Mel was nowhere near specific enough about which bush she used as a hiding spot -- or at least, she assumed you have a //much// better knowledge of horticulture than you actually do. (Also it's dark, and you can hardly be blamed for not being able to tell the difference between an oleander and a hydrangea in the dark even if you'd still struggle in the daylight.) You're afraid you've left obvious signs that someone has been rummaging around in the garden, but there's nothing you can do about that now. [[Head to the first floor.|getArtefact]]

<<set $slow += 1>> <<set $messy += 1>> The porcelains exhibit is entirely on the other side of the museum, and your nerves are on edge by the time you get there from all the skulking you've had to do. Luckily you find Mel's horse-and-rider clock straight away once you're actually there. It is a very striking piece, and you suppose you can't really blame her for using it as a hiding place -- it certainly appeals to your sense of drama. Unfortunately, Mel has also overestimated how long your arms are and you're forced to move the piece in order to reach your tools. No alarms go off, and you move it back in place as best you're able, but you're certain the curator will notice anyway. [[Head to the first floor.|getArtefact]]

<<set $slow += 1>> As you guessed, the mysterious Jeanne is in fact a life-size statue of Jeanne d'Arc. She's kneeling on a plinth and has her hands clasped together in prayer, leaving her sword to hang by her side. Her face is serene, or at least you assume it would be so in the daylight and without your torch casting eerie shadows over it. A quick search of the statue reveals no tools, which sets your teeth on edge. Were the tools discovered and taken away, or have you simply gotten the location wrong? You search again, all the while trying to convince yourself that the other statues are just stone and aren't actually watching you. A third search turns up a small bag tucked into the shadows behind Jeanne's knees, and you breathe a sigh of relief. [[Head to the first floor. |getArtefact]]

<<set $finesse += 1>> The goldsmithing exhibit is only a few rooms down from where you currently stand, and you make it there in no time at all. Once you've assured yourself there are no lurking guards, you set about looking for whatever Mel possibly could have used as a hiding place. Your torch beam illuminates jewellery, dinnerware, and even some religious icons, but nothing jumps out at you until you find the monkeys. The monkeys are part of a bigger piece, with one playing a miniature golden organ and the rest providing backup on a variety of instruments, but you were still not expecting to find golden monkeys on tonight's adventure. The sheer tastelessness of this piece staggers you so much that you almost forget what you're looking for, until you notice a small bag tucked away at the base of the organ. It's clever of her, you'll admit, and you make a note of the artist's name before you abscond. You'll be thinking about this piece for a while. [[Head to the first floor.|getArtefact]]

Finally you've reached the room where the pistol is located. It is completely dark and deserted -- no guards in sight, thankfully. With your tools, you make quick work of the display case and soon have the artefact in hand. Perfect. Now you just have to get out of here and everything will be-- "You again!" says [[a voice behind you|acanthe1]].

You turn. It's Acanthe -- no surprises there. "If you think I am going to allow you to make off with my prize, you are sorely mistaken," he says. "You have no right to that gun." No right, he says! As if he weren't stealing it himself! But you bite your tongue -- now is not the moment to take him to task for his hypocrisy. You have to think quickly about [[how to get out of here|acanthe2]].

<<set $convVar = 0>> <<set $time = 0>> <<if $alarmKnowledge>> <</if>> You have a few potential escape routes. There are two doors out -- the one you came in through and the one on the opposite side of the room, through which you were planning to exit. Or you could go out a window<<if $alarmKnowledge>>, although that would set off alarms, so it's perhaps not ideal<</if>>. Unfortunately, you can't make use of any of these routes while you've got the Baron's full attention. You'll have to distract him sufficiently before you dare make a break for it, but if you take too long you'll risk him losing his temper -- it's a delicate balance. The pistol by his side is probably decorative, but the knife he's drawn certainly isn't. Your hand feels sweaty on the grip of your newly-acquired pistol. It's a shame it's not loaded. <<link [['"Lovely weather we\'re having, isn\'t it?"'|acanthe3]]>><<set $convVar = 1>><<set $distraction += 1>><</link>> <<link [['"Why do you want this thing, anyway?"'|acanthe3]]>><<set $convVar = 2>><<set $distraction += 3>><</link>> <<link [['"You know, that is a truly ridiculous costume."'|acanthe3]]>><<set $distraction += 2>><<set $convVar = 3>><</link>>

<<set $time += 1>> <<switch $convVar>> <<case 1>> For a brief moment he looks surprised at this unexpected conversational direction, but he quickly regains composure. "I don't have time for your meaningless prattle," he sneers, tightening his grip on the knife. <<case 2>> "It was made for the French nobility, as have been all the things I've... repossessed," he says. "I merely put them back into those hands for which they were intended." //Those hands for which they were intended//, really! God, but he's a pretentious bastard. You've no doubt he's including his own hands in that category, as well. <<case 3>> "I'm not surprised that you don't appreciate the finery of a more civilised era," he says, aiming for nonchalance, though clearly miffed. Good Lord, the man is absolutely intolerable. You hope you don't have to drag this conversation out much longer. <</switch>> He still has the knife raised, and is watching you watching him, presumably waiting for an opening to strike. You'll have to keep working at distracting him. <<link [['"Do you find it a bit stuffy in here, or is it just me?"'|acanthe4]]>><<set $convVar = 1>><<set $distraction += 1>><</link>> <<link [['"Do you keep the things you steal?"'|acanthe4]]>><<set $convVar = 2>><<set $distraction += 3>><</link>> <<link [['"Your little make-believe game is very childish."'|acanthe4]]>><<set $distraction += 2>><<set $convVar = 3>><</link>>

<<set $time += 1>> <<switch $convVar>> <<case 1>> "I'm not here to chat," he says. "I want that pistol." You are beginning to think that this is not the most useful tack to take. <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <<case 2>> "That is none of your concern," he says, through gritted teeth. "You will note that //I// am not asking //you// impertinent questions about your methods and motives, and I would appreciate if you would do me the same favour." <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <<case 3>> "You're one to talk about make-believe games," he says. "I doubt //you// have any real claim to the title you assume." You don't, of course, but you also don't mean it to be taken seriously, unlike him. It is //entirely// different. <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <</switch>> <<link [['"Where do you buy your wigs?"'|acanthe5]]>><<set $convVar = 1>><<set $distraction += 1>><</link>> <<link [['"Are you really descended from a baron?"'|acanthe5]]>><<set $convVar = 2>><<set $distraction += 3>><</link>> <<link [['"You're absolutely useless as a thief."'|acanthe5]]>><<set $distraction += 2>><<set $convVar = 3>><</link>> <<if $distraction >= 6>> <<link [[Try to run.|night2Escape]]>><<set $convVar = 0>><</link>> <<else>> <<link [[Try to run.|acanthe5]]>><<set $convVar = 4>><</link>> <</if>>

<<set $time += 1>> <<switch $convVar>> <<case 1>> "Stop asking silly questions," he snaps. "I don't know what you're trying to do, but it will //not// work, I assure you." You are definitely starting to rethink your approach. <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <<case 2>> "I--" he begins, then apparently thinks better of whatever he was going to say. "You must know I'm not going to tell you anything that could lead you to my true identity." Well, it was worth a try. <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <<case 3>> You are saying this to get his goat, of course, but you do really feel that it's true. You have pipped him at the post three times now, after all, and in a city that he must know much better than you do. A pathetic performance, honestly. "I prefer to think of myself as a reclaimer of wayward artworks," he says, haughtily. "And I was doing perfectly well at it until //you// came along." <<if $distraction <= 3>> He's still intently focused on you. Whatever you're doing, it's not working well enough. <<elseif $distraction > 3 && $distraction < 6>> He's definitely starting to get distracted, but you've still got some work to do. <<else>> Acanthe's attention is clearly wandering. Now's your chance. <</if>> <<case 4>> <<set $injury = true>> You try to make a dash for the door, but the Baron is too quick for you. He lashes out at you with his knife; you dodge and avoid taking a particularly bad hit, but the blade does graze your shoulder, and blood spatters the floor. Fortunately for you, he put a little too much force into the attempt to stab you, so your dodge has the side benefit of causing him to stumble and almost fall on his face. (Sometimes the best offence is a good defence.) You take the opportunity to scramble away. When he regains his balance, the two of you return to your tense standoff. <</switch>> <<link [['"I\'ve heard wig powders used to come in all sorts of colours..."'|acanthe6]]>><<set $convVar = 1>><<set $distraction += 1>><</link>> <<link [['"Do you take commissions, or is this all of your own accord?"'|acanthe6]]>><<set $convVar = 2>><<set $distraction += 3>><</link>> <<link [['"I\'m sorry you have to cling to an outdated system to feel important."'|acanthe6]]>><<set $distraction += 2>><<set $convVar = 3>><</link>> <<if $distraction >= 6>> <<link [[Try to run.|night2Escape]]>><<set $convVar = 0>><</link>> <<else>> <<link [[Try to run.|acanthe6]]>><<set $convVar = 4>><</link>> <</if>>

<<set $time += 1>> <<switch $convVar>> <<case 1>> You ask him whether he's ever tried something other than plain old white -- pink, perhaps? That one used to be popular, you've heard. "If you ask me even one more inane question, you //will// taste the sharp end of my blade," he growls. Ah, he's pretending the knife is a sword to feel more impressive. It would almost be cute if he weren't trying to stab you with it. <<case 2>> You do wonder whether this whole "restoring items to the nobility" business is just a fancy way of saying he's lining his own pockets or whether he is actually working with others to get specific things back. "What difference does it make?" he says. "I am keeping these priceless works out of the hands of peasants like you, and that is all you need know." <<case 3>> "How amusing that an Englishwoman should call it outdated," he says. "Does your own country not have such a system still in place?" Well, yes, but that doesn't mean you //approve// of it. You would happily do away with the whole thing, only it's not as though anyone has ever given you leave to redesign your country's government and social structures as you see fit. And taking matters into your own hands and chopping people's heads off seems so messy. <<case 4>> <<set $injury = true>> You try to make a dash for the door, but the Baron is too quick for you. He lashes out at you with his knife; you dodge and avoid taking a particularly bad hit, but the blade does graze your shoulder, and blood spatters the floor. Fortunately for you, he put a little too much force into the attempt to stab you, so your dodge has the side benefit of causing him to stumble and almost fall on his face. (Sometimes the best offence is a good defence.) You take the opportunity to scramble away. When he regains his balance, the two of you return to your tense standoff. <</switch>> You're running out of time. You should probably make a run for it now, whether he's sufficiently distracted or not. <<if $distraction >= 6>> <<link [[Try to run.|night2Escape]]>><<set $convVar = 0>><</link>> <<else>> <<link [[Try to run.|night2Escape]]>><<set $convVar = 1>><</link>> <</if>>

<<set $maxFinesse += 4>> <<if $convVar === 1>> <<set $messy += 1>> <<set $injury = true>> <<set $finesse += 1>> You didn't manage to distract Acanthe enough, so you'll have to bet it all on the hope that you're faster than he is. (He //is// wearing high-heeled shoes, at least.) Mustering all your strength, you sprint for the door. It takes Acanthe a moment to realise what is going on, which puts him at a bit of a disadvantage, but he gains on you just enough to think he has a chance to stab you in the back. Fortunately, he just gets a bit of your shoulder, then fumbles the knife and drops it. You are, however, bleeding all over your perfectly nice shirt, and a bit of the blood has got on the floor as well. (You hope it's not possible for that to help the police identify you. You've heard France is on the cutting edge -- as it were -- of scientific examination of crime scenes, but surely determining blood type from a small amount of blood is beyond even their capabilities.) <<else>> <<if $time >= $timeLimit>> <<set $slow +=1>> <<set $finesse += 2>> <<else>> <<set $finesse += 3>> <</if>> Acanthe now seems engaged enough in the conversation (or enraged enough by the conversation) to have forgotten to watch your every move, so you muster all the strength you can and take off running for the door. As you had hoped, he reacts too slowly to have much of a chance of catching you -- even worse, when he does react, he's in such a hurry that he trips over his idiotic fancy shoes. <<if $alarmKnowledge>> <<set $finesse += 1>> Remembering Mel's note about the alarms on the windows, you are struck by an idea. Before he can get back to his feet, you throw open a window. A bell somewhere nearby starts ringing quite loudly. That ought to distract him -- if he has even the least bit of sense he'll focus on getting out rather than chasing you. Of course, you've complicated your own escape too, but you do have a head start. <</if>> [[You leave him behind as you sprint back into the bowels of the museum.|night2End]] <</if>>

/*End of night score calculations */ <<if $slow >= 3>> <<set $finesse = $finesse - 1>> <</if>> <<if $messy >= 3>> <<set $finesse = $finesse - 1>> <</if>> <<set $maxFinesse += 2>> <<set $delta = $slow - $messy>> <<if Math.abs($delta) <= 2>> <<set $finesse += 2>> <</if>> <<if $finesse > $maxFinesse>> <<set $finesse = $maxFinesse>> <</if>> <<set $totalFinesse += $finesse>> <<set $maxTotalFinesse += $maxFinesse>> You are quite out of breath by the time you reach the exit. You wish Gwen and her motorcycle were here to retrieve you, but alas, you are stuck with your own two feet for transportation. At least the flat you're letting isn't //too// terribly far. Once you've reached home (such as it is), you <<if $injury>>tend to your wounds and then <</if>>collapse onto your bed. You probably won't be able to sleep for some time yet -- your heart is still racing from the unexpected confrontation -- but you are too tired to stand. [[You wonder what Gwen will have to say about all this.|gwenLetter2]]

Set total deduction to: <<radiobutton "$totalDeduction" 3 autocheck>>3 <<radiobutton "$totalDeduction" 5 autocheck>>5 <<radiobutton "$totalDeduction" 7 autocheck>>7 [[Research start.|day3Start]] <<link [[Investigation start. |day3Intro]]>> <<set $deduction = 0>> <<set $researchChoice3 = false>> <<set $securityHint = false>> <<set $day3Notes = []>> <<set $ally = false>> <<set $lowDeduction = false>> <<set $eugenieConv = false>> <<set $elConv = false>> <<set $vivConv = false>> <<set $theoConv = false>> <<set $bartenderHelp = false>> <<set $noticed = false>> <<set $allyConv = false>> <<set $overheard = false>> <<set $securityConv = false>> <<set $tourPart = 0>> <<set $note1 = false>> <<set $note2 = false>> <<set $note3 = false>> <</link>>

/* Declare/reset day 2 variables here */ <<set $deduction = 0>> <<set $researchChoice3 = false>> <<set $securityHint = false>> <<set $day3Notes = []>> <<set $ally = false>> <<set $lowDeduction = false>> <<set $eugenieConv = false>> <<set $elConv = false>> <<set $vivConv = false>> <<set $theoConv = false>> <<set $bartenderHelp = false>> <<set $noticed = false>> <<set $allyConv = false>> <<set $securityConv = false>> <<set $overheard = false>> <<set $tourPart = 0>> <<set $note1 = false>> <<set $note2 = false>> <<set $note3 = false>> /*End of day 3 variables */ <center>@@font-size:x-large;ACT IV@@</center> You are Margaret Williams, and it is time for another exhausting meeting with the police chief. This time when you arrive in his office, he isn't even there. Five minutes later, just when you're starting to think about leaving, he comes rushing in. "Sorry to keep you waiting," he says, taking his seat behind his desk. "We just made an arrest in the opera house kidnapping. It was the most bizarre-- ah, but I'm supposed to be keeping the details quiet for now. If all goes well you'll be able to read about it in the papers in a few days." You gently remind him that you need to talk to him about the Acanthe case. "Right! Right. We've got a fantastic lead on that case, actually. We received a message from a woman who frequents a bar called..." He squints at a piece of paper on his desk. "... L'Oignon Pourpre. She says she overheard another regular talking about this Acanthe fellow, claiming they used to be romantically involved. The informant couldn't or wouldn't name the other woman, but if she's a regular, you should be able to find her by asking around a bit. "Of course," he adds, "the informant could be lying, or she could be telling the truth but the other woman could be lying, and the whole thing could be a wild goose chase. But it's worth looking into." [[You thank him and turn to go.|day3Start2]]

"Ah, by the way," he says, just when you've got your hand on the door. <<if $totalDeduction >= 7>> "You've been doing a bang-up job of identifying targets and such, but I can't help noticing that you've been rather less successful at //protecting// them. That is important too, you know. <<elseif $totalDeduction === 5 or $totalDeduction === 6>> "Your investigation has been adequate, if not spectacular, but I can't help noticing that you haven't actually managed to prevent any thefts. <<else>> "I'm sorry to say I don't feel your work has been up to the standard that your reputation led me to expect. You haven't managed to prevent a single theft. <</if>> Even if you catch the man, we're still going to need to get those objects back--and at least one of them isn't even in his hands." You swallow hard. You can't say this is completely unexpected, but you're not exactly prepared, either. <<link [['"I\'m sorry. I\'ll try to do better in future."'|day3Start3]]>><<set $convVar = 1>><</link>> <<link [['"Actually, I\'m confident I can get them back — but you\'ll have to trust me for now."'|day3Start3]]>><<set $convVar = 2>><</link>> <<link [['"Perhaps I could have protected them if I\'d had more support."'|day3Start3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "See that you do," says the chief sternly. "Or I shall have to let Scotland Yard know that this arrangement has not worked out as well as I had hoped." Well, that's concerning. Hopefully making an arrest and presenting him with the stolen items will be enough to restore your reputation. <<case 2>> <<if $totalDeduction >= 5>> The chief gives you a long, searching look. "All right," he says at last. "I'll trust for now that you know what you're doing. But if we don't get those items back, Scotland Yard //will// hear of it." You're glad that you've at least been doing well enough for him to give you the benefit of the doubt. <<else>> "You haven't exactly given me much reason to do so," he says. "But very well -- make an arrest and produce the stolen items and I'll refrain from writing Scotland Yard about your disappointing performance." Oh, dear. It seems your reputation is on the line now. You hope this anonymous tip comes to something. <</if>> <<case 3>> "It's true that we haven't been able to give the case the attention it requires," he says, "but I don't think you can blame your performance entirely on that." That stings. Hopefully making an arrest and presenting him with the stolen items will be enough to restore your reputation. <</switch>> That was an unpleasant conversation, but you don't have time to sit around and feel sorry for yourself. You have [[a lead to follow|day3Research0]].

L'Oignon Pourpre is in the 18th arrondissement, in Montmartre, a neighbourhood known for its nightlife and large population of artists. From the outside, the bar seems unremarkable, one of dozens like it on this street alone. When you enter, however, you notice something: though a number of the patrons are wearing masculine attire, or something close to it, most if not all of them are women. Upon realising what kind of establishment this is, you can feel your face going red. You wish you didn't blush so damned easily. The bartender, a woman of perhaps middle age wearing a men's shirt with the sleeves rolled up, leans across the bar towards you. "Your first time here?" she asks. <<set $convVar = 0>> <<set $strikes = 0>> <<link [["Actually, I'm looking for someone." (F)|day3Research1]]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["Well, yes, but I'm not here for the entertainment." (D)|day3Research1]]>><<set $convVar = 2>><</link>> <<link [["I wonder if you could tell me something about your regulars..." (L)|day3Research1]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> "Hah!" says the bartender. "Aren't we all." Flustered, you attempt to explain that you mean a //specific// someone. <<case 2>> "Oh?" She cocks her head to the side. "What are you here for, then?" You explain that you are looking for a particular person, a regular. <<case 3>> The bartender straightens up, her friendly attitude dissolving in an instant. "I'm not in the habit of giving details about them to strangers," she says. You explain that you are not trying to pry into anyone's personal life -- there's just someone you want to talk to. <</switch>> "And why are you looking for this person?" the bartender says, a bit warily. <<link [["Oh, you know, just to talk." (F)|day3Research2]]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["I'm told she has information that could help me give a very unpleasant man what he deserves." (D)|day3Research2]]>><<set $convVar = 2>><</link>> <<link [["I just want to know if she's here." (L)|day3Research2]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> "Ah," she says, "a former lover? Just don't go disturbing the whole place by shouting at her about how she stole your second-best hat, or anything like that. We've had enough of that for this week already." You didn't think it was possible to blush more than you were already blushing, but apparently it is. You assure her you have no former lovers here and don't intend to start a row. <<case 2>> The bartender seems to relax a little at the realisation that no-one here is in trouble. "I //am// in favour of unpleasant men getting their due." Good -- it looks like your suspicion that you and she would be in sympathy on this point was correct. <<case 3>> "I don't know what you're after," says the bartender, "but I'm not getting any of my regulars into trouble, and if that's what you want you can leave now." You assure her that you have no such intention. <</switch>> "Well, then," the bartender says, "who is it that you're looking for?" <<link [["Could I just speak to all the regulars?" (F)|day3Research3]]>><<set $convVar = 1>><<set $strikes +=1>><</link>> <<link [["Whoever it is that's been talking about her relationship with Baron d'Acanthe, the art thief." (D)|day3Research3]]>><<set $convVar = 2>><</link>> <<link [["You see, I'm not exactly certain..." (L)|day3Research3]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<if $strikes == 3>> "I'm not telling you anything, but you can ask around yourself if you must. If I see the slightest hint of trouble, though, you'll be out on your ear." You thank her and promise not to bother anyone too much. <<else>> <<switch $convVar>> <<case 1>> "Certainly not," says the bartender. "I won't have you hassling everybody in this bar while they're just trying to have a nice time." You apologise and try to explain who exactly you're looking for, but she's having none of it. You don't think you'll be getting any more information from her. <<case 2>> <<set $deduction += 1>> <<set $bartenderHelp = true>> "Well," says the bartender, "there's three people that could be." You inquire whether she means she's unsure exactly which woman was involved with Acanthe. "No," she says, "I mean there are three regulars who have been involved with him." She laughs at your expression of surprise. "He likes the bohemian type, apparently." You ask if she can point out any of the women in question. "Lucky for you, they're all here tonight. First, there's Eugénie." She gestures at a table at which two people are sitting. "The one who's scribbling away, that is, not her companion who understands what bars are for. She's some sort of poet or something. Then there's Vivian, sitting over there by the window -- she performs at a cabaret down the street and is often here between shows. She's an American, but we don't hold that against her. And there's also Eleanor, the stylish Englishwoman down at the other end of the bar. Whatever information you're looking for, I'm sure one of them has it." For a moment, you wonder why, if so many people here have information about him, none of them has gone to the police -- but then, many of these women probably don't have the best relationship with the police. <<case 3>> "If you don't know what you want, I can't help you," says the bartender. She takes out a rag and starts wiping down the bar top. You attempt to explain further, but she's having none of it. You don't think you'll be getting any more information from her. <</switch>> <</if>> [[Well, it looks like it's time to start asking around.|barHub]]

<<if visited() === 1>> The bar is fairly crowded -- more than you would have expected a place with a very, er, //specific// clientele to be -- and a bit dimly lit. There are small tables scattered around the room at which women are dining and drinking, often in pairs. There are also several people sitting at the bar, and others just standing around talking to each other. <<if $bartenderHelp === false>>Listening to the chatter around you, you can recognise some foreign accents -- the clientele here seems to be rather international. You suppose there must be many artists from other countries congregating in this area. <</if>> <</if>> <<if $eugenieConv>> Eugénie has gone back to her writing. <<else>> <<if $bartenderHelp === false>>A French woman<<else>>Eugénie<</if>> sits in the corner. She has a pen and a stack of paper and is writing furiously. <</if>> <<if $elConv>> Eleanor is arguing with the bartender about something or other. <<else>> <<if $bartenderHelp === false>>A handsome English woman in man's dress<<else>>Eleanor, a handsome woman in man's dress,<</if>> lounges at the bar, drink in hand. She catches your eye and gives you a wink. <</if>> <<if $vivConv>> Vivian has left. <<else>> <<if $bartenderHelp === true>>Vivian, a stylish American woman, <<else>>A stylish American woman<</if>> sits near the window, exchanging greetings with almost everyone who happens by. She seems popular. <</if>> <<if $theoConv>> You don't think Mrs Knight is in the mood to chat more. <<else>> There's a woman at a table against the far wall who you could swear you've seen somewhere before, although it's hard to make out her features in the dim light. Another woman, passing by, pauses and leans over the table a bit to chat with her. <</if>> <<if $eugenieConv === false>> <<if $bartenderHelp === false>> [[Talk to the French woman.|eugenie0]] <<else>> [[Talk to Eugénie.|eugenie0]] <</if>> <</if>> <<if $elConv === false>> <<if $bartenderHelp === false>> [[Talk to the English woman.|el0]] <<else>> [[Talk to Eleanor.|el0]] <</if>> <</if>> <<if $vivConv === false>> <<if $bartenderHelp === false>> [[Talk to the American woman.|viv0]] <<else>> [[Talk to Vivian.|viv0]] <</if>> <</if>> <<if $theoConv === false>>[[Talk to the familiar woman.|theo0]]<</if>> <<if $eugenieConv && $elConv && $vivConv && $theoConv>>[[You've got what you came here for (and some unasked-for additions).|day3Intro]]<</if>>

<<set $eugenieConv = true>> <<if $bartenderHelp === false>> You approach the table at which the writer is sitting. Noticing you, she looks up, shoving a stray lock of brown hair behind her ear as she does so. "Ah, good evening! I don't think I've seen you around here before. This is Schmidt--" she gestures at her dining companion, who is wearing a dinner jacket and a monocle and smoking a cigar-- "and I'm Eugénie Dubois, the poetess. Perhaps you've heard of me?" You hate to disappoint her, but must admit you have not. "What a shame. Well, I have a new poetry collection out, if you'd like to change that -- //Les chansons de l'île//. Available at most booksellers." She flashes you a winning smile. You introduce yourself and explain that you are looking for someone who is personally familiar with the Baron d'Acanthe. <<else>> You approach the woman and ask if she is Eugénie -- the bartender was quite clear when pointing her out, but it's your habit as a detective to always confirm this sort of thing. "The very same!" she says. She gestures at her dining companion, who is wearing a dinner jacket and a monocle and smoking a cigar. "And this is Schmidt -- just Schmidt, you understand." Schmidt nods to you in greeting. "Are you a fan of my work?" Eugénie asks. You hate to disappoint her, but must admit you're not familiar with it. "What a shame. Well, I have a new poetry collection out, if you'd like to change that -- //Les chansons de l'île//. Available at most booksellers." She flashes you a winning smile. You introduce yourself and explain that the bartender told you that she, Eugénie, was personally familiar with the Baron d'Acanthe. <</if>> [['"What do you know about him?"'|eugenie1]]

Schmidt scowls. "That wretched little--" "Oh, don't start, darling," Eugénie says, reaching across the table to take Schmidt's hand. "You only even met him the once." "He left an impression," Schmidt says darkly. "//Anyway//," says Eugénie, "yes, he and I were involved at one time. He wasn't quite so bad then -- I do have standards. But his lack of means started getting to him, and he started obsessing over how terribly unfair it was, since he was of noble blood and all. Although his family was only nobility for twenty or thirty years, during the Bourbon Restoration, you know. Apparently they had some claim to descent from one of the immemorial noble families via an illegitimate son or something like that, but to be quite honest, I'm sceptical." You thank her for the information. "Remember," she says, "//Les chansons de l'île//! I'll even sign it for you if you come back." You promise to look for it and quickly [[take your leave|barHub]].

<<set $elConv = true>> <<if $bartenderHelp === false>> You approach the Englishwoman, who grins broadly at you. "Good evening," she says. "I'm Eleanor -- might I ask your name?" <<else>> You approach the Englishwoman and ask her to confirm that she is, indeed, Eleanor. "Yes, that's me. What can I do for you?" she says, looking you up and down. <</if>> It's obvious that she's interested in you, and you have to admit that she is striking, with her angular face, high cheekbones, unusually short hair, and perfectly tailored suit. But you're not here to socialise. (All right, be honest with yourself, Margaret: If you weren't here on business you wouldn't be here at all, and if somehow you were, you wouldn't know what to do. Romance and related topics are something you generally avoid; it all seems so damnably complicated.) At any rate, you introduce yourself and explain that you're here looking for people who know something about the Baron d'Acanthe. Eleanor pulls a face, then takes a swig of her drink. "Him? Do you really want to talk about that idiot?" [['"What do you know about him?"'|el1]]

"I did have a brief fling with him -- //brief// being the operative word," she says. "I had no idea what I was getting into -- it seemed like a bit of fun at first, but then he started following me everywhere like a lost puppy. Although I don't know if it was //me// he was after, or my money." She grimaces. "I kept telling him I was too busy working on my novel to see him, but he'd show up anyway. It's a good thing I divide my time between Paris and London; it was a handy excuse to get away." You make sympathetic noises (while privately wondering whether //every// woman in this bar is some sort of artist). "His real name, by the way, is Guillaume Jourdain. That ought to help if you're trying to track him down. I also know that his mother was Italian -- he had some sort of a neurosis about it, although I'm quite sure no one else cared." You thank her and attempt to excuse yourself. She insists upon giving you her telephone number in London first; you cannot quite bring yourself to tell her you don't own a telephone. Well, you'd best [[get on with things|barHub]].

<<set $vivConv = true>> <<if $bartenderHelp === false>> The American woman notices you coming over and waves. She has brown skin, large, expressive eyes, and an easy charisma. You introduce yourself. "Nice to meet you, Margaret," she says, "I'm Vivian. I'd say 'come here often?' but I think I would've noticed if you did." <<else>> Vivian notices you coming over and waves. She has brown skin, large, expressive eyes, and an easy charisma. You confirm her identity and then introduce yourself. "Nice to meet you, Margaret," she says. "I'd say 'come here often?' but I think I would've noticed if you did." <</if>> You make a swift decision to not consider the implications of this statement. Instead, you explain that you are looking for people who have information on the Baron d'Acanthe. She sighs deeply. "I do, although God knows I wish I'd never met the man. He's extremely irritating, and hard to shake off." [['"What do you know about him?"'|viv1]]

"I was with him for a little while, not long before he started his whole..." She waves a hand vaguely. "You know, the Baron d'Acanthe act. He was always complaining about his lack of money and trying to borrow from me, though it's not like I'm making a mint at the cabaret either. Then I guess he got it into his head that he was going to steal back all the artwork and whatnot that he thought used to belong to his family. There was this particular one he wanted //real// bad -- the Rose of Rocroi, I think it was called. Not an actual flower, obviously, a replica made out of gold and crystal or something like that. He said it was at Versailles. "But, I mean, I never thought he was going to start dressing up in a ridiculous costume and robbing museums -- who would expect that? Then again, he //was// always reading those terrible pulp novels, and I guess he got to thinking he was the hero of one of them. Or the villain, maybe, but I don't think he's that aware of his flaws." She glances at the clock on the wall. "I'm sorry, but I've got to get going," she says. "I have a performance tonight." You thank her, and glance around the bar, thinking about [[what to do next|barHub]].

<<set $theoConv = true>> The second woman moves on as you approach the table -- maybe she thinks you're competition and doesn't want to compete, or maybe she was never planning to stay long anyway. With her interlocutor out of the way, you suddenly recognise the seated woman -- it's Mrs Knight! It's odd enough that you keep running into her lately, but you never expected to run into her //here// of all places. She looks up, and, seeing you, the colour immediately drains from her face. She actually looks as though she might faint. <<link [['"What are you doing here?"'|theo1]]>><<set $convVar = 1>><</link>> <<link [['"You don\'t look well."'|theo1]]>><<set $convVar = 2>><</link>> <<link [['"Is everything all right?"'|theo1]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "What am I doing here? What do you //think// I'm doing here?" Her voice is high and brittle. "There aren't very many things people come to this bar to do, you know! Why are //you// here, if not for the same reason?" <<case 2>> "Oh, don't I?" she says. "That's funny, because I feel //fantastic//!" She sounds slightly hysterical. "That is-- I mean-- What are you //doing// here?" <<case 3>> "Of course everything is not bloody //all right//!" she says. "I wasn't expecting to see anyone I //knew// here, was I!" You're slightly taken aback to hear her swear, although of course you've only encountered her previously in genteel society-party settings. "Why are you even here, anyway?" she says. <</switch>> You explain that you are investigating a case. "Oh. Yes. Of course." She slumps forward and buries her face in her hands. <<link [['"Can I, er. Get you a glass of water? Or something?"'|theo2]]>><<set $convVar = 1>><</link>> <<link [['"I\'m sorry, I, I really didn\'t mean to..."'|theo2]]>><<set $convVar = 2>><</link>> <<link [[Awkwardly pat her on the shoulder.|theo2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "Or something," she says, miserably. You go up to the bar and ask for a glass of water anyway -- what else can you do? -- and set it down on Mrs Knight's table. "Thank you," she says, but she makes no move to take the glass. <<case 2>> "It doesn't matter what you //meant//," she says. "This is awful. This is just-- this is a complete disaster! This could ruin //everything//! And I rather thought you'd-- but no, I must have been mistaken." <<case 3>> You attempt to awkwardly pat her on the shoulder. She recoils so fast she almost tips over her chair. "What do you think you're doing?!" You apologise and back away a bit. <</switch>> Mrs Knight takes a deep breath and straightens up in her chair. "All right," she says, her tone suddenly businesslike. (The abrupt change in demeanour is a little unnerving.) "Now you know my deepest, darkest secret. What do you want to ensure that it doesn't get out?" You would never engage in blackmail, and tell her so. "Oh, no, of course not, you're too dreadfully law-abiding. Most of the time." You wonder what that's supposed to mean. <<link [['"I won\'t tell anyone. I promise."'|theo3]]>><<set $convVar = 1>><</link>> <<link [['"For whatever it\'s worth, I am sincerely sorry."'|theo3]]>><<set $convVar = 2>><</link>> <<link [['"So when you were visiting Madame Barbier, were you, er..."'|theo3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "I suppose that will have to do," she says. "You're probably too dreadfully law-abiding to break your promises, as well." <<case 2>> "It's not worth much," she says. "But thank you." <<case 3>> She makes some sort of strangled noise that might be a laugh. "That is absolutely none of your business," she says. <</switch>> The bartender is starting to cast suspicious glances at the two of you. <<if $bartenderHelp === false>>She might be thinking about throwing you out after all.<</if>> "All right," Mrs Knight says, "you've had your fun. You've ruined my evening. Can you just go away now?" [[You do as she requests.|barHub]]

<<set $time = 0>> The next day, you report Eleanor's claim regarding the Baron's real name to the police chief, and he sends some men out to search for people by that name who also fit the Baron's description in terms of age, height, and so on. You wait at the station for results for a while, but a few hours go by with no word, and you decide to head to Versailles to look into this Rose of Rocroi. Though you're not thrilled about doing this, you decide it would be best to go fully in disguise as (ugh) a tourist. There's a guided tour happening in a few minutes. You join the queue and [[wait for it to start|day3Tour1]].

<<if visited() === 1>><<set $time += 1>><</if>> <<set $tourPart = 1>> <<if visited() === 1>> The tour leads you into a series of ornate drawing rooms. The walls of this room are marble and the doors are inlaid with golden designs of weapons and helmets. There is a large fresco on the ceiling depicting the Roman god Mars in a chariot pulled by wolves. It is all //very// impressive, if a tad militaristic for your tastes. You pretend to ooh and ahh along with the rest of the tourists while you scan the room. (Now that you've had some practice you're starting to get the hang of being sneaky.) <<else>> The tour is in the Mars Drawing Room. <</if>> <<if $time < 3>> <<if $note1 === false>>[[Try taking notes.|day3Notes01]] <</if>> <<if $allyConv === false>>[[Talk to the guard.|day3Ally1]] <</if>> <<if $note1 == true && $allyConv == true>>[[Move into the next room.|day3Tour2]]<</if>> <<else>> [[The tour moves on. You rush to catch up to them.|day3Tour2]] <</if>>

<<if visited() === 1>><<set $time += 1>><</if>> <<set $tourPart = 2>> <<if visited() === 1>> The tour proceeds into the King's Bedroom. The guide cheerfully explains that this is only one of several rooms that have actually been used as a bedroom by the various kings -- this one in particular was used by Louis XV and XVI since they found the official State Bedroom too inconveniently located. The guide then informs the crowd that sadly the State Bedroom will not be part of today's tour, as it is closed for "issues of security", so you will be spending extra time in this chamber instead. Your ears prick up at this, as there's only one security issue that you're aware of. <<else>> The tour is in the King's Bedroom. <</if>> <<if $time < 6>> <<if $noticed === false and $note2 === false>>[[Continue your mapping.|day3Notes11]] <</if>> <<if $allyConv === false>>[[Talk to the guard.|day3Ally1]] <</if>> <<if $noticed == true or $note2 == true>><<if $allyConv == true>>[[Move into the next room.|day3Tour3]]<</if>><</if>> <<else>> <<if $note2 === false>> You've missed your chance to take notes in here. You scribble down a 'K' and hope you'll remember what that stands for later. <<run $day3Notes.push('K')>> <</if>> [[Move into the next room.|day3Tour3]] <</if>>

<<if visited() === 1>><<set $time += 1>><</if>> <<if visited() === 1>> The tour moves into the Council Antechamber. This is where the king would hold all his most important meetings with the State Cabinet, as well as where new members of the court were officially presented to the king. The furniture is all sky-blue with golden patterns, from the imposing table in the centre of the room to the small cushions in the corner. As with every other room in the château, it is positively bursting with art. <<else>> The tour is in the Council Antechamber. <</if>> The doors to the State Bedroom are shut and guarded by a very professional-looking man. You can see that there's some kind of unusual lock securing the doors. You'll need to get a closer look if you can. <<if $time < 9>> <<if $noticed === false and $note3 === false>>[[Your map is almost done. Time to finish it.|day3Notes21]] <</if>> <<if $securityConv === false>>[[Take a closer look at the State Bedroom.|day3Security1]]<</if>> <<if $noticed == true or $note3 == true>><<if $securityConv == true>>[[The tour moves on.|tourEnd]]<</if>><</if>> <<else>> [[The tour moves on.|tourEnd]] <</if>>

The rest of the tour is nice but completely irrelevant to your goal of protecting the rose. You attempt to relax and let yourself enjoy it, but your nerves are jangling and you hardly remember any of the other rooms you pass through. Eventually the tour concludes and you have no choice but to leave. <<set $totalDeduction += $deduction>> [[You hope you've done enough.|night3Start]]

<<set $time += 1>> <<set $convVar = 0>> <<set $securityConv = true>> You approach the door to the State Bedroom under the guise of looking at a nearby painting. The Rose must be in there, you're sure of it. There's no way the museum would risk disappointing its patrons otherwise. The guard is standing at attention and keeping a close eye on the room. If you can get him to enter the State Bedroom you might be able to learn something about the lock -- but how? You could try to talk him into checking the room for something you've left behind (the most Thalia-like option), or you could create a disturbance and hope he'd assume it came from inside the room. Or, perhaps, you could invent a reason why he might doubt the Rose's safety. <<link [[Talk your way in.|day3Security2]]>><<set $convVar = 1>><</link>> <<link [[Create a distraction.|day3Security2]]>><<set $convVar = 2>><</link>> <<link [[Give the guard a reason to check on the Rose.|day3Security2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> <<set $time += 1>> You mentally go over what you know of Thalia's techniques, which is quite a lot actually, and then engage the guard in conversation. You attempt to convince him that you were here some days previous and dropped a handkerchief in the State Bedroom, and that you would be ever so grateful if he went in to check for it. He steadfastly refuses, which you would ordinarily approve of but can't quite appreciate at the moment. //Thalia// never runs into competent guards, for goodness sakes! Even in disguise you don't look like a woman who is particularly upset by a lost handkerchief, you suppose, and curse Thalia again to make yourself feel better. <<case 2>> <<set $time += 1>> The tour guide is engaged in conversation with a wealthy-looking young man, so you take the opportunity to duck into a side room. There's not much in here to create a distraction with, so you make do by knocking over a stand that's holding one end of a velvet rope. Unfortunately the guards here are rather faster than you're used to, and you don't have time to get away before they (and the tour guide) come charging into the room. You babble out a series of apologies about being clumsy and then follow the guide back into the Council Antechamber with your face burning. It occurs to you that using loud noises as a distraction is something your acquaintance typically does during her nocturnal heists and rarely if ever when she's surveying her target. You're still frustrated that knowing everything about her habits apparently doesn't make you good at replicating them yourself. <<case 3>> <<set $deduction += 1>> <<set $securityHint = true>> You stroll over to the east side of the room, where a large window overlooks a beautiful courtyard. You spend just enough time at the window to be convincing, and then hurry over to the tour guide with what you hope is a suitably concerned look on your face. You then explain to the guide that you don't mean to cause undue alarm, but you swear you just saw someone skulking among the trees in the courtyard. The woman turns pale and bustles off, but spares a quick word for the guard before she departs the room (presumably to raise the alarm). To his credit the guard does what a good guard should in this circumstance, which is immediately check on the object he's guarding. You position yourself close by while he fiddles with the lock, and you can hear him mumbling something under his breath as he does. It sounds like... "Magdalene, Caesar, Hagar"? Unfortunately there's no time to investigate further, as the tour guide reappears and begins telling the room about the history of the ornate centre table. You pretend to listen raptly to avoid any possible suspicion. It's just as well -- this is enough information for Thalia to appreciate (assuming she's even capable of that emotion in the first place). <</switch>> [[Return to the tour.|day3Tour3]]

<<set $convVar = 0>> <<set $strikes = 0>> <<set $time += 1>> <<set $allyConv = true>> The guard looks tired and harried, and he keeps not-so-surreptitiously glancing at the clock. <<link [["Long day?" (F)|day3Ally2]]>><<set $convVar = 1>><</link>> <<link [["You don't want to be here, do you?" (D)|day3Ally2]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["Everything all right?" (L)|day3Ally2]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> "I'll say," he says. "What with all this art thief business, they have us working around the clock, and not for as much extra pay as we deserve." <<case 2>> "Shh! Not so loud!" he says, looking around to see if anyone overheard. "You're going to get me in trouble, saying things like that." You apologise. "But it is true that they've had us all working long hours with all this art thief business," he allows. <<case 3>> "Yes, of course," he says, woodenly. You explain that you were concerned because he looks rather exhausted. "I am a bit tired," he allows. "We've all been having to do extra shifts because of the art thieves." <</switch>> <<link [["I'm sorry to hear it." (F)|day3Ally3]]>><<set $convVar = 1>><</link>> <<link [["That's no excuse for treating you so poorly!" (D)|day3Ally3]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["Is that so?" (L)|day3Ally3]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<switch $convVar>> <<case 1>> "Oh, well, that's just how it is, I suppose," he says, glumly. "Though at this point I almost wish one of those thieves would show up and get it over with." <<case 2>> "Look," he says, sounding cross, "I don't want anyone to hear you and think I'm complaining about my job." You don't point out that he is, in fact, complaining about his job. "I almost wish one of those thieves would show up and get it over with," he adds. <<case 3>> "Yes," he says, "it is." You express sympathy for his difficult situation. "To be honest," he says, "I almost wish one of those thieves would show up and get it over with." <</switch>> <<link [["Don't tell anyone I said this, but I'm working on putting an end to the thief business." (F)|day3Ally4]]>><<set $convVar = 1>><</link>> <<link [["Do you want to help me catch a thief?" (D)|day3Ally4]]>><<set $convVar = 2>><<set $strikes +=1>><</link>> <<link [["Maybe I could help..." (L)|day3Ally4]]>><<set $convVar = 3>><<set $strikes +=1>><</link>>

<<if $strikes == 3>> "Look, if they catch me chatting instead of doing my job, there will be hell to pay," he says. "I'm sorry, but I have to get back to work." You apologise. You should <<if $tourPart === 1>>[[get back to the tour|day3Tour1]]<<else>>[[get back to the tour|day3Tour2]]<</if>>, anyway. <<else>> <<switch $convVar>> <<case 1>> <<set $deduction += 1>> <<set $ally = true>> Taking him into your confidence is a risk, but you decide it's worth it. He looks at you, wide-eyed. "Really?" You explain that although you are in disguise as a normal civilian at the moment, you are a detective working on a plan to arrest the Baron d'Acanthe. However, you add, you could use some help. You have a friend who will be coming to the museum tonight, and you need someone to let her in -- but without telling anyone else about it. "I won't say all of that doesn't sound suspicious," he says, "but whether you're a thief or a detective, either way it might put an end to this whole circus. I'll do it." You thank him and <<if $tourPart === 1>>[[get back to the tour|day3Tour1]]<<else>>[[get back to the tour|day3Tour2]]<</if>>. <<case 2>> "If this is some kind of joke, I don't think it's very funny," he says. You assure him that it's not, but he doesn't look convinced. "Anyway, if they catch me chatting instead of doing my job, there will be hell to pay," he says. "I'm sorry, but I have to get back to work." You apologise. You should <<if $tourPart === 1>>[[get back to the tour|day3Tour1]]<<else>>[[get back to the tour|day3Tour2]]<</if>>, anyway. <<case 3>> "I don't see how you can," he says. "Anyway, if they catch me chatting instead of doing my job, there will be hell to pay," he says. "I'm sorry, but I have to get back to work." You apologise. You should <<if $tourPart === 1>>[[get back to the tour|day3Tour1]]<<else>>[[get back to the tour|day3Tour2]]<</if>>, anyway. <</switch>> <</if>>

<<set $convVar = 0>> <<set $time += 1>> <<set $note1 = true>> You hastily scribble down the name of the first room on the tour. Unfortunately, this catches the eye of a fellow tour-goer, an old lady with an ornate walking stick. "What are you doing?" she asks. <<run $day3Notes.push('Mars Drawing Room')>> <<link [["Taking notes. I'm a student, you see." (F)|day3Notes02]]>><<set $convVar = 1>><</link>> <<link [["It's nothing important." (D)|day3Notes02]]>><<set $convVar = 2>><<set $time += 1>><</link>> <<link [["What, don't you ever take notes in museums?" (L)|day3Notes02]]>><<set $convVar = 3>><<set $noticed = true>><</link>>

<<switch $convVar>> <<case 1>> You explain that you are a student at a women's college, writing an art history monograph about ceiling frescoes of this time period. (You hope that to an elderly woman, you still look young enough that this is plausible.) "Oh, I see!" the woman says. "Carry on, then, dear." <<case 2>> The woman harrumphs. "That's no way to talk to someone asking an innocent question. It really is true what they say about young people today having no manners." You apologise and quickly extemporise the explanation that you are a student at a women's college, writing writing an art history monograph about ceiling frescoes of this time period. (You hope that to an elderly woman, you still look young enough that this is plausible.) "I see," says the woman. "All right, then, carry on." That worked, but it took more time than you'd like. <<case 3>> The woman gives you a strange look. "No, I can't say that I do." Ugh. You blurted out the first thing that came into your mind and clearly that was a mistake -- it was an idiotic thing to say //and// it sounded too defensive. You see the old lady go up to the tour guide and have a quiet word with her. You're not sure what she's saying exactly, but you think you had better not continue your mapping. Well, that was a farce. You can tell Thalia is going to make fun of you for this, which adds extra insult to injury. <</switch>> [[Return your attention to the tour|day3Tour1]].

<<set $convVar = 0>> <<if $allyConv>> <<set $time += 2>> <<else>> <<set $time += 1>> <</if>> <<set $note2 = 2>> You add the current room to your list. This time, a nearby guard spots you. "Here," he says, gesturing at your notepad, "what's this, then?" <<run $day3Notes.push('Kings Bedroom')>> <<link [["I'm just keeping notes to remember what I've seen, so I can write my friends about it later." (F)|day3Notes12]]>><<set $convVar = 1>><<set $noticed = true>><</link>> <<link [["I'm not an art thief, if that's what you're worried about." (D)|day3Notes12]]>><<set $convVar = 2>><</link>> <<link [["Oh, this? It's nothing, really..." (L)|day3Notes12]]>><<set $convVar = 3>><<set $noticed = true>><</link>>

<<switch $convVar>> <<case 1>> You start to spin a yarn about being a devoted letter-writer and how all of your friends are so excited to know what you're doing in Paris, leaning into your English accent a little to enhance the tourist act, and then you realise you've forgotten a very basic principle of lying, which is that the more you say, the more chance the other person has to notice that you're doing it. (You're just used to being the "other person" in this scenario and not the "you".) You stop talking, but the damage is done. "Right," says the guard. "I'm going to have to ask you to stop, whatever it is. Sorry, but we have to be careful because of the situation." Drat! Well, you've got most of a map to hand off and that's something. <<case 2>> This has the benefit of being technically true. The guard is surprised by your candour and immediately backs off. "I'm sorry to have bothered you, Madame, it's only that we have to be particularly careful at the moment..." he says, waving his hands apologetically. You assure him that you understand and then make a show of turning your attention back to the tour. <<case 3>> As soon as you've said this you start cursing yourself for not being able to think of anything better. Lying really isn't your strong suit. "Right," says the guard. "I'm going to have to ask you to stop, whatever it is. Sorry, but we have to be careful because of the situation." Drat! Well, you've got most of a map to hand off and that's something. <</switch>> [[Return your attention to the tour|day3Tour2]].

<<set $convVar = 0>> <<set $time += 1>> <<set $note3 = true>> You jot down the final room in your notes. Your heart sinks when you hear the tour guide's voice ring out. "Excuse me, Madame -- what are you doing?" <<run $day3Notes.push('Council Antechamber')>> <<link [["You see, I'm an art restorer..." (F)|day3Notes22]]>><<set $convVar = 1>><</link>> <<link [["Can't a person just write some notes in peace?" (D)|day3Notes22]]>><<set $convVar = 2>><<set $noticed = true>><</link>> <<link [["Oh, I'm sorry, I didn't realise I wasn't supposed to..." (L)|day3Notes22]]>><<set $convVar = 3>><<set $noticed = true>><</link>>

<<switch $convVar>> <<case 1>> <<set $deduction += 1>> The tour guide looks shocked. Luckily, art has been your bread and butter since you were a child, so you continue flawlessly, saying that you noticed some of the oil paintings seemed to be yellowing and could stand to be re-varnished, and you were just making some notes about what might need to be done so that you could report it to the museum after the tour. You offer the woman your business card and make a show of going through your handbag only to find that you have "forgotten" it. The tour guide thanks you for your concern nonetheless. <<case 2>> The tour guide fixes you with a stern look. "I'm sorry, but I must ask you to stop. We're being very cautious right now because of the recent crimes, you see." You still finished the map, but they're going to be suspicious now. This might have consequences. <<case 3>> The tour guide's expression softens, but only a fraction. "I'm sorry," she says, "it's just that we're being very cautious right now due to the recent crimes in the city. I'm afraid I must ask you to stop." You still finished the map, but they're going to be suspicious now. This might have consequences. <</switch>> [[Return your attention to the tour.|day3Tour3]]

<<set $day3Notes = ['Mars Drawing Room', 'Kings Bedroom', 'Council Antechamber']>> <<set $convVar = 0>> Security hint: <<radiobutton "$securityHint" true autocheck>> true <<radiobutton "$securityHint" false autocheck>> false /*I can't get this bullshit to work so I'm hard coding it Number of notes: <<radiobutton "$convVar" 1 autocheck>> 1 <<radiobutton "$convVar" 2 autocheck>> 2 <<radiobutton "$convVar" 3 autocheck>> 3 <<switch $convVar>> <<case 1>> <<set $day3Notes = ['Room 1']>> <<case 2>> <<set $day3Notes = ['Room 1, Room 2']>> <<case 3>> <<set $day3Notes = ['Room 1', 'Room 2', 'Room 3']>> <</switch>>*/ Ally recruited: <<radiobutton "$ally" true autocheck>> true <<radiobutton "$ally" false autocheck>> false Mel points: <<radiobutton "$melPoints" 9 autocheck>>9 Deduction: <<radiobutton "$totalDeduction" 10 autocheck>> Finesse: <<radiobutton "$totalFinesse" 30 autocheck>> [[night3Start]]

/*Declare/reset Night 3 variables here. */ <<set $finesse = 0>> <<set $maxFinesse = 0>> <<set $slow = 0>> <<set $messy = 0>> <<set $time = 0>> <<set $timeLimit = 0>> <<set $convVar = 0>> <<set $tries = 0>> <<set $minDeduction = 9>> <<set $minMelPts = 6>> <<set $mistakes = 0>> /*End of night 3 variables */ You are Lady Thalia, and it's time for the last heist. You hope Mel has prepared you sufficiently with her various escapades. You're still rattled from your encounter with her in the bar, so you hope that won't put you off your game too badly. Really, how does she have such a knack for finding you out of disguise? //And// now she's got compromising information on you, worse yet. At least she doesn't (you hope) suspect mild-mannered Theodora Knight of any criminal activity, and you are going to try your hardest to keep it that way. You force your mind back to the task at hand and [[check the final cache.|night3Info]]

The cache contains the following: <ul> <li>A description of the artefact Acanthe is targeting. It's the Rose of Rocroi, an extremely fine piece of goldsmithing shaped like a flower and inlaid with diamonds. Thinking about it cheers you up a little.</li> <li>A list of directions to get to the Rose's location within Versailles. <<if $day3Notes.length >= 3>> It reads: //<<print $day3Notes.join(', ')>>//. You quickly make a mental note of the directions, and resolve not to take any detours to look at the art in those rooms (no matter how interesting it might be). <<else>> It doesn't look like she was able to finish it, though. It reads //<<print $day3Notes.join(', ')>>// and then trails off into scribbles. You vaguely wonder what happened and if her cover was blown. Not because you're //worried// about her, of course. It's only that it would be satisfying if she'd had a scare of her own this week. <</if>></li> <<if $ally>> <li>A note that Mel managed to make an ally of one of the security guards. He'll be waiting by the side door and will let you in if you knock thrice. You're very impressed -- recruiting allies is no easy task.</li> <<else>> <li>The location of a convenient side door to the palace. (You're vaguely disappointed that she didn't get you more information on how to get through it, as ridiculous as that feels. When have you ever had trouble getting through a door? This cooperation business must be making you soft.)</li> <</if>> <<if $securityHint>><li>Mel overheard something important about the lock on the State Bedroom -- the names Magdalene, Caesar, and Hagar in that order. She doesn't know exactly what they mean, but she thinks it might help opening the door.</li><</if>> <li>Some additional details Mel discovered about Baron d'Acanthe. //His real name is Guillaume Jourdain, he's secretly half-Italian, and his family was only briefly ennobled by Napoleon. Also, he likes pulp novels. I don't know how much use any of this is but I thought I'd pass it on. --M//</li> </ul> Well, you're glad she found //something// in her investigation that was relevant to [[the actual case|night3Entrance]].

You reach the door without difficulty. It looks like it used to be a tradesman's entrance back when this was a palace and not a museum. Luckily for you, it's about as well guarded as the tradesman's entrance at the Barbiers' country home (that is to say, not at all). <<set $maxFinesse += 3>> <<if $ally>> <<set $finesse +=3>> You knock thrice on the door as instructed. After a few seconds, it opens a crack to reveal a worried-looking young man in a guard's uniform. Your breath catches for a minute, imagining all the ways this could go wrong -- //What if Mel was mistaken? What if he's changed his mind?// -- but then he nods at you and opens the door fully. You whisper a thanks to him as you pass and slip off down the corridor towards the museum proper, and make a mental note to genuinely thank Mel later. [[Hopefully she won't think you're being sarcastic about it.|ventStart]] <<else>> Unlike at the Barbiers, however, security at Versailles has thought to deadbolt this door from the inside. This is inconvenient, as no matter how good you are you can't pick a deadbolt. You'll have to find another way through. The door and hinges themselves look to be from the original 1600s construction and have been haphazardly maintained over the centuries, so you should be able to break though it without issue (at risk of leaving a mess). On closer inspection there's an also open window two stories up, albeit without an obvious path to it. <<link [[Climb up to the window.|night3window]]>><<set $slow +=1>><</link>> <<link [[Break the door.|night3door]]>><<set $messy +=1>><</link>> <</if>>

<<set $finesse += 1>> There's an oak tree growing up along the side of the building, although it's not as close as you would like to the open window. For want of any other options, you climb it anyway. From the top of the tree, you spot some conveniently damaged brickwork within reach that you promptly use to start scaling the wall. From there you slowly make your way across the building, going inch by inch as you seek out hand- and footholds in the dark, and eventually make it to the sill of the open window. There's nobody around, so you hoist yourself through and descend the nearby stairs as [[silently as a ghost|ventStart]].

<<set $finesse += 1>> You back up to allow yourself a running start, and then slam one booted foot into the door. The wood near one hinge splinters very satisfyingly. After a few more kicks the hinges are loose enough that you can pry them out of the wood entirely. You squeeze past the door, now awkwardly leaning against its frame, and hope that this will give you enough of a head start to get the Rose and head home [[before anyone notices anything|ventStart]].

/*not actually a vent puzzle I just can't be assed to change the node names*/ <<set $time = 0>> <<set $convVar = 0>> You emerge in an opulent drawing room. Several busts of Diana (your favourite Roman goddess) stand on plinths near various walls, and the ceiling is covered in murals of mythical hunts. You'd love to stand here and admire the scenery, but time is of the essence and you must keep moving. (You can imagine Mel lecturing you already, which is a change of pace from imagining Gwen doing it.) There are two doors leading towards the King's Apartments. According to their plaques, they are the [[Mars Drawing Room|vent1]] and the [[Antechambre des Chiens.|vent2]] [[Check the directions again.|reminder]]

<<set $time += 1>> It takes a minute for you to feel comfortable turning on your electric torch, but once you're certain there are no guards around you bring Mel's notes into the light. They read: //<<print $day3Notes.join(', ')>>// <<return>>

/*Mars drawing room */ <<set $time += 1>> The Mars drawing room is more or less what you'd expect after having seen the Diana room. It has an equal amount of busts and goldwork lining the walls, and the frescoes across the ceiling depict battles instead of hunting scenes. You briefly marvel at one of Mars and his wolves -- what a pity you can't steal a fresco. (Or //can// you? Some frescoes have, after all, been moved from ancient ruins to museums, so there must be a way... but now is not the time to think about that.) From here you can go to the [[Mercury Room|vent5]] or the [[King's Bedchamber|vent3]]. [[Check the directions again.|reminder]]

/*Antechamber of dogs */ <<set $mistakes += 1>> You stumble into the Antechambre des Chiens. According to a plaque on the wall, this is where the kings would keep their dogs (and some of their servants) during the night. Maybe it's your imagination, but you could swear it still smells faintly of dog. Is it possible to own enough dogs that the smell lingers for centuries? The only other exit leads to a balcony overlooking the courtyard, so you go back to the Mars room. <<return>>

/*King's Bedchamber */ <<set $time += 1>> The bedchamber is surprisingly small, but is otherwise as unrestrained as the rest of the château. Besides the gaudy golden wallpaper, the main features of the room are a fireplace (also gilded), a crystal chandelier, and a white silk screen behind which you assume is the bed. From here you can go to the [[bath cabinet|vent4]] or the [[Council Antechamber.|ventExit]] [[Check the directions again.|reminder]]

/*Bath cabinet */ <<set $mistakes += 1>> If you hadn't read the plaque, you would have hardly believed this was the bath chamber. The amount of gold on the walls would put even the most opulent room in the average manor house to shame. Such a waste, putting all this decoration in a bathroom. Despite being similarly covered in filigree, the bathtub looks out of place among the rest of the finery. There aren't any further exits through here, so you go back to the bedroom. <<return>>

/*Mercury Drawing Room*/ <<set $mistakes += 1>> The Mercury Room is as extravagant as the last two drawing rooms, although you are starting to tire of the Greco-Roman décor. (And besides, as far as you're concerned Mercury is quite over-rated.) You will admit the red colour scheme in this room is a nice change of pace from the whites and greys in the rooms previous. You suspect that continuing in this direction will take you through the entire Roman pantheon before you can get anywhere else, and a quick peek at the next room (Apollo's) confirms your suspicions. You'd better go back and try the other route. <<return>>

/*Council Antechamber */ <<set $maxFinesse += 3>> <<if $mistakes === 0>> <<set $finesse += 3>> <<else>> <<set $finesse += 1>> <</if>> Finally, you reach the Council Antechamber. <<if $time > 4>> <<set $slow += 1>> It took more time than you had hoped, but there's still no sign of Acanthe, so no harm done. <<else>> There's no sign of anyone around, guards or otherwise. <</if>> The room is quite imposing, with a massive table and an array of ornate upholstered chairs, but it's downright restrained compared to the parade of drawing rooms you've been through. Which makes sense -- this room was used for much more besides impressing visitors. Still, you appreciate that it's not entirely function over form. You're surprised that there are no guards posted at the door to the State Bedchamber, but perhaps they're needed elsewhere. Based on what Mel said, this lock should be sufficient to keep most people out, but you're not most people. <<if $securityHint>>And neither is Mel, much to your benefit. You're starting to feel bad about using the nickname she hates so much.<</if>> [[Investigate the door.|lockStart]]

<<if visited() == 1>> <<set $time = 0>> You've seen locks of this type before, although never one quite so well made. It has six little dials with a series of letters inscribed on each. When the correct series of letters are entered, the lock will open. The more dramatic types like to have the passcode spell out a word, but sometimes you're not that lucky. That said, even if the code is a jumble of letters there's usually some governing principle behind their choice or else the average guard will forget them immediately. <<else>> You go back to the door and its lock. <</if>> <<if $securityHint>> You check the note Mel left you again: //Magdalene, Caesar, Hagar// <</if>> [[Try to enter a combination. |lockPuzzle]] [[Look around the room for a clue. |paintingRoom]] [[Break the lock. |messyShortcut]]

/*DZ-VB-GL*/ <<if $securityHint>> You check the note Mel left you again: //Magdalene, Caesar, Hagar// <</if>> Enter a combination: <<set _answer = " ">> <<textbox "_answer" "">> <<button "Check">> <<if _answer === "">> <<script>>UI.alert("You did not supply an answer!");<</script>> <<else>> /*regular expressions are wizard magic*/ <<set _answer to _answer.toUpperCase()>> <<set _answer to _answer.replace(/ /g, "")>> <<set _answer to _answer.replace(/-/g, "")>> <<if _answer === "DZVBGL">> <<if $tries === 0>> <<set $finesse += 3>> <<else>> <<set $finesse += 2>> <</if>> <<replace '#response'>>[[The lock pops open.|lockPuzzleEnd]]<</replace>> <<else>> <<set $time += 1>> <<set $tries += 1>> <<replace '#response'>>The lock is tightly shut. That must not have been the right combination of letters.<</replace>> <</if>> <</if>> <</button>> <<return>>

/*These paintings are actually in the State Bedroom but I'm moving them here */ <<if visited() === 1>> You look around the antechamber for any likely source of clues. Your eye falls upon three paintings hanging on various walls. <<else>> There are three paintings hung up around the antechamber. One of them might hold the key to the lock, metaphorically speaking. <</if>> [[Look at the east painting. |painting1]] [[Look at the north painting. |painting2]] [[Look at the south painting. |painting3]] [[Go back to the door.|lockStart]]

<<set $time += 1>> //The Tribute to Caesar//, by Valentin de Boulogne The painting depicts two men humbly offering a coin to Julius Caesar, who doesn't look at all grateful about it. You suppose he must have received enough coins that it all became quite humdrum to him. The painting is signed with an elaborate ''V B'' in the bottom corner. <<return>>

<<set $time += 1>> //Hagar in the Wilderness//, by Giovanni Lanfranco This painting depicts a grateful-looking woman being visited by an angel. She looks remarkably well-coiffed for someone lost in the wilderness. It is signed with a large ''G'' and a very small ''L''. <<return>>

<<set $time += 1>> //Mary Magdalene//, by Domenico Zampieri This painting shows a curly-haired woman with her face cast upwards, wearing an expression that could be suffering, or rapture, or possibly just exasperation. (You might be seeing your own feelings on that last one.) It is signed with an almost illegible ''D Z''. <<return>>

<<set $messy += 1>> <<set $finesse += 1>> You don't have time to deal with codes and ciphers tonight. Instead, your gaze falls upon the room's fireplace. A poker and some tongs rest in a stand next to it, and are the only thing in this whole building not plated with gold. They're good quality, and the poker hardly even dents when you break the lock with it. [[Open the door.|lockPuzzleEnd]]

<<set $maxFinesse += 3>> <<if $time > 5>> <<set $slow += 1>><</if>> With the lock taken care of, you can now enter the State Bedroom. Your heart pounds in your ears as you ease the door open, and you half expect the Baron d'Acanthe to leap out at you from the darkness. Luckily, the room is completely devoid of both guards and other thieves, so you breathe a sign of relief. Goodness, when did you get so jumpy? Your nerves really haven't been the same since that visit to L'Oignon Pourpre. You quickly find the Rose in a glass case next to the bed, and its majesty takes your breath away. The craftsmanship is truly beyond compare -- if not for the colour and the gems, you could believe that it was a real, living flower. There are even golden thorns on the stem, which you are careful to avoid when you snatch it out of the case. [[Your reverie is interrupted by the sound of breaking glass behind you.|n3GauntletStart]]

<<set $convVar = 0>> <<set $mistakes = 0>> You whirl around to see none other than the Baron himself climbing through the bedroom window. He is clearly not pleased that you've beaten him to his prize. You shudder at the memory of his knife<<if $injury>> piercing your skin<</if>>, and you realise that you're about to fight for your life. Acanthe drops into a wary stance, keeping one hand near his waist, where he has almost certainly stashed a weapon. He has eschewed the elegant coat and fancy shoes this time in favour of a more sensible outfit (although he still has the wig). You hate it when people learn from their mistakes. "Well, well, well, if it isn't my second favourite Englishwoman," he drawls. <<link [['"Second favourite? I didn\'t know I had competition."'|n3Gauntlet1]]>><<set $mistakes = 1>><<set $convVar = 1>><</link>> <<link [['"Oh, Guillaume. How nice to see you again."'|n3Gauntlet1]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> "Oh, don't play dumb," he snaps. "I know you're working with that policewoman. //She// at least has some manners." "Really?" you respond glibly. "That doesn't sound like the Margaret I know at a--" Then he draws his gun. At once you dash towards the door, and make note that further banter will //not// work tonight. <<case 2>> The use of his given name catches him off guard. "Wha-- Where did you hear that?" he spits. You take advantage of his distraction and hurl yourself out through the door and back into the Council Antechamber. <</switch>> With a loud bang, a bullet hits the doorframe behind you, showering you with expensive splinters. He must have upgraded to a more modern and functional gun as well. You keep running, clutching the Rose tightly to your chest. You'd have to vault the table to escape the way you came, so instead you throw yourself through a pair of double doors to your left and emerge into the Hall of Mirrors. You've always wanted to visit it, but this is //decidedly// not the time to sightsee. Acanthe barrels through the doors a half-pace behind you, but at least he's stopped firing -- you haven't critically angered him yet, at least. That thought consoles you right up until he tackles you to the ground. You briefly tussle as he grabs for the Rose, but you somehow manage keep it out of his reach, so he settles for pinning you instead. His face is wild and angry. "The Rose is mine by birthright! As the last of my house, I demand that you give it to me!" he howls as you try to squirm away. <<link '"You\'re owed nothing! In fact, I think it\'s your family that owes something -- to Napoleon."' 'n3Gauntlet2'>><<set $convVar = 1>><</link>> <<link [['"And where are your papers to prove it? You\'re nothing but a greedy fool."'|n3Gauntlet2]]>><<set $convVar = 2>><<set $mistakes += 1>><</link>>

<<switch $convVar>> <<case 1>> The jab about his heritage makes him even angrier, which means he's focused even more intently on getting the Rose. This gives you an opening to jab your thumb into his eye, at which point he screams and rolls off you. <<case 2>> The mention of proof touches a nerve, and he stops lunging for the Rose and instead gets one hand around your neck. "I don't have to prove anything to you! I don't have to prove it to anyone!" he shouts. His hand tightens on your throat. Luckily, now that he has one hand occupied, you're able to bash him in the face with the Rose before he can apply too much pressure. The thorns cut into his face, and he recoils in pain. <</switch>> You take your opening and immediately stumble to your feet, and then dash unsteadily towards the nearest exit. This one leads out into a room that you don't recognise, since you haven't been to this part of the palace before. You'll just have to plunge ahead and try to find a way out -- and hope you survive long enough to admonish Mel for not giving you a full map. You pass through room after opulent room, only slowing once you realise that Acanthe isn't chasing you any more. This immediately makes you suspicious, and sure enough when you go through the next door you find him standing at the top of a staircase, looking for all the world like a nightmare made flesh. His face is bleeding and his gun is trained squarely on your chest. "Give me the Rose and I'll let you die quickly," he snarls. God, he's just such a //cliché// -- whoever told Mel about his love of pulp novels wasn't lying. If not for the gun you wouldn't be able to take this seriously. <<link [['"Why don\'t you do something nice instead, like visit your mother? I hear Rome is lovely this time of year."'|n3GauntletEnd]]>><<set $convVar = 1>><</link>> <<link [['"What makes you think you can actually kill me?"'|n3GauntletEnd]]>><<set $convVar = 2>><<set $mistakes += 1>><</link>>

<<set $maxFinesse += 3>> <<set $finesse += Number(3 - $mistakes)>> <<switch $convVar>> <<case 1>> The mention of Italy sends Acanthe completely over the edge. Instead of doing anything reasonable, he drops the gun (which thankfully doesn't go off) and then charges you. This is more or less what you expected, so you spin out of the way and then dash down the stairs as he hurries to retrieve his firearm. <<case 2>> "This does!" he says, and fires. You suppose you set yourself up for that one. Luckily he misses, if barely, and you rush him before he has a chance to aim again. A lucky strike knocks the gun out of his fist and he lunges after it instead of after you, leaving you free to dash down the stairs. <</switch>> Another shot rings out and a bullet misses you by mere inches. You stop at the bottom of the stairs and raise your hands. When you risk turning your head, you can see Acanthe at the top of the staircase with his gun trained on you. "You're out of tricks now," he says with the calm of a man on his absolute last nerve. [[You're terribly afraid that he's right.|n3GauntletEnd2]]

<<if $totalDeduction >= $minDeduction>> Just then, Mel bursts through the door behind him. She is //also// holding a gun, which surprises you -- you've never seen her with one before. "Drop your weapon and turn around," she commands. "And if you so much as //breathe// in the direction of the lady at the bottom of the stairs, I'll shoot." He does as he's told. Funny how all his courage drains away as soon as he's not the only one in the room who is armed. As she's handcuffing him, policemen swarm into the room and surround him. Once she's sure he's not getting away, she races down the stairs towards you. <<else>> Just then, Mel bursts through the door behind him. On her heels are two Paris policemen holding guns. "Drop your weapon and turn around!" one of them says. "And don't even think about running down those stairs." He does as he's told. Funny how all his courage drains away as soon as he's not the only one in the room with a gun. As the policemen are handcuffing Acanthe, she races down the stairs towards you. <</if>> "Are you all right?" she asks, breathlessly. <<link [['"Yes, but in a few more seconds I wouldn\'t have been."'|n3Outro1]]>><<set $convVar = 1>><</link>> <<link [['"I could\'ve handled him myself, you know."'|n3Outro1]]>><<set $convVar = 2>><</link>> <<if $totalDeduction >= $minDeduction>> <<link [['"I didn\'t know you knew how to use a gun."'|n3Outro1]]>><<set $convVar = 3>><</link>> <</if>>

<<switch $convVar>> <<case 1>> "The man is an utter lunatic," she says. "I'm glad I got here before y-- before anyone was hurt." Her last-minute substitution there was //very// obvious, but she did just save your life, so you let it pass without comment. <<case 2>> "Really," she says. "It didn't look like it." Maybe, you reflect, you should have swallowed your pride for once and shown some gratitude to the person who just saved your life. <<case 3>> "I don't," she says. "Never fired one in my life. It was a complete bluff. Good thing he's a coward." Really! You would never have guessed. You might make a good liar out of her yet. <</switch>> Then, just as you think you're free from all danger, Mel reaches out a hand towards the mask that covers the upper half of your face. Damn her -- was this her plan all along? <<link [[Dodge.|n3Outro2]]>> <<set $convVar = 1>> <</link>> <<link [[Hit her.|n3Outro2]]>> <<set $convVar = 2>> <</link>> <<if $melPoints >= $minMelPts>> <<link [[Kiss her.|n3Outro2]]>><<set $convVar = 3>><</link>> <</if>>

<<switch $convVar>> <<case 1>> You duck out of the way just in time, and remind her, indignantly, that the two of you were supposed to have a deal. (Technically, the deal said nothing about whether she could unmask or arrest you after the Baron business was over, but you feel it's against the spirit of the thing.) "I'm sorry," she says. "I suppose that wasn't sporting of me. But, well-- I had to try." You can't really blame her for pressing her advantage. You would probably do the same thing in her shoes. <<case 2>> She's larger and stronger than you are, and you wouldn't win in a fair fight, but she clearly isn't expecting you to slap her, so when you do, she instantly recoils. Indignantly, you remind her that the two of you were supposed to have a deal. "I'm sorry," she says. "I suppose that wasn't sporting of me. But, well-- I had to try." You can't really blame her for pressing her advantage. You would probably do the same thing in her shoes. <<case 3>> You intercept her hand with your own and tug it gently downward, away from your face, as you lean in to kiss her. She makes a muffled sound of surprise, but she doesn't immediately pull away. In fact, for a moment you could swear she's responding in kind. But only for a moment -- then she practically flings herself away from you. "Don't //ever// do that again," she says, her voice low but forceful. You won't, of course. It didn't mean anything -- it was just a convenient distraction. Dodging would have been more difficult, after all, and you know can't take her in a fight. It seems you both remember in the same moment about the policemen at the top of the stairs -- you glance, in synchrony, towards them, but they are still preoccupied with Acanthe and don't seem to have noticed. Which is good, especially for Margaret, who has a lot more to lose than you do this time. <</switch>> /*End of night score calculations */ <<if $messy == 2>><<set $finesse -= 1>><</if>> <<if $slow == 2>><<set $finesse -= 1>><</if>> <<set $maxFinesse += 2>> <<set $delta = $slow - $messy>> <<if Math.abs($delta) <= 2>> <<set $finesse += 2>> <</if>> <<if $finesse > $maxFinesse>> <<set $finesse = $maxFinesse>> <</if>> <<set $totalFinesse += $finesse>> <<set $maxTotalFinesse += $maxFinesse>> <<link [[Well. This has been an interesting day.|gwenLetter3]]>><</link>>

You run without looking back until you're out of the auction house, whereupon you risk pausing for a moment to see if the Baron is following you. Fortunately, there's no sign of him -- he must be lost in those labyrinthine corridors. You breathe a sigh of relief. Once back at your flat, you decide that you should write a letter to Gwen, your old friend and sometime partner in crime, to keep her apprised of your doings here. She's back home in London, as she still works in the theatre and could never afford this kind of trip. (You would offer to bring her along, but you know she would never accept.) You think for a moment about what -- and how much -- [[to tell her|gwenLetter0A]].

Dearest Gwen, (you write,) I hope this letter finds you well. I am having //quite// an eventful time in Paris, and not at all in the way I expected. A gentleman calling himself the Baron d'Acanthe has apparently been terrorising Paris with thefts of art and artefacts, and as you might guess, I could not let that stand. I gained entry to an auction house to secure his latest target, a pair of antique silver candlesticks, before he could get to them, but unfortunately I ran into the man himself there and had a confrontation in which he managed to wrestle one of the candlesticks away from me. He almost hit me with a painting, as well! Such callous treatment of an artwork is absolutely unacceptable, I'm sure you'll agree. <<if $slow >= 3>> I do feel that I took altogether too much time getting in and out of there. I must remember that it is occasionally preferable to take the "quick and dirty" option. <</if>> <<if $messy >= 3>> I'm afraid I left the place in rather a mess; I hope nothing I left behind is useful to those who might want to track me down. If you were here, I'm sure you would scold me to be more careful. <</if>> I would give myself <<print $finesse + 2>> points out of $maxFinesse for the operation under your revised scoring system <<if $finesse + 2 > 4>>(I feel bonus points ought still to be available)<</if>>, but //you// would probably give me $finesse out of $maxFinesse. I will cable you with details of my further activities -- in code, of course. I'm sure I need not tell you to destroy this letter after reading. All my best, Theo [[Continue|conv0Start]]

After your unfortunate experience last night, you have decided to cheer yourself up with an easy theft -- stealing a work by a minor painter from a minor museum. But it seems nothing is destined to go smoothly for you at this time. No sooner have you got the painting off the wall than you turn around to find Mel staring at you. "Don't worry," she says, "I'm not here to arrest you at this time. Though I'd put that painting back if I were you." <<link '"Well, what on earth //are// you doing here, then?"' 'conv0Part2'>><<set $convVar = 1>><</link>> <<link [['"How nice to see you again!"'|conv0Part2]]>><<set $convVar = 2>><</link>> <<link [['"Go on, then; I'm listening."'|conv0Part2]]>><<set $convVar = 3>><<set $melPoints += 1>><</link>>

<<switch $convVar>> <<case 1>> Mel holds up her hands in a placating gesture. "Please," she says, "hear me out." You raise an eyebrow and wait for her to continue. <<case 2>> Mel narrows her eyes. "I'm not sure what you're playing at, but it won't work." How rude! You were only trying to be nice. <<case 3>> "Oh, good," she says. "I hoped you'd be amenable." You are not "amenable," you are simply withholding judgement for now, and you tell her so. <</switch>> "I never thought I'd say this," she goes on, "but I'd like your help. I'm supposed to be investigating the Baron d'Acanthe matter, but no one will cooperate with me -- not the police and not the potential victims. I've had the devil of a time getting anything done." <<link [['"That sounds like a terrible dilemma."'|conv0Part3]]>><<set $convVar = 1>><</link>> <<link [['"And what am I supposed to do about that?"'|conv0Part3]]>><<set $convVar = 2>><</link>> <<link [['"I\'m not sure I\'d be much help at investigating."'|conv0Part3]]>><<set $convVar = 3>><<set $melPoints += 1>><</link>>

<<switch $convVar>> <<case 1>> "I suppose," Mel says blandly. Maybe you were laying on the sympathetic air a bit too thick. <<case 2>> Mel sighs. "I was coming to that," she says. "But I suppose patience isn't your strong suit." <<case 3>> "I don't want you to //investigate//, exactly," Mel says. <</switch>> She takes a deep breath, looking as if she is steeling herself for some terrible ordeal. "My proposition is this: I'd like you to steal the objects he's targeting -- //temporarily//. You'll store them in a secure location and return them once he's arrested. During my investigations, I'll try to find information that will help you with, er, your part of the bargain. I'll leave it in a concealed location for you to pick up. We can both do our best to find any information we can about the Baron's identity and how he might be caught. And, of course, as long as we're working together on this, I won't try to arrest you or find out who you are. What do you think?" <<link '"Oh, all right -- only because this fellow deserves it, you understand."' 'conv0Part4'>><<set $convVar = 1>><<set $melPoints += 1>><</link>> <<link [['"But what good is it if I don\'t get to keep the objects?"'|conv0Part4]]>><<set $convVar = 2>><</link>> <<link [['"Anything for you, dearest Mel."'|conv0Part4]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> You emphasise that if she expects to get you to go straight permanently, she is tragically mistaken. "Oh, I understand perfectly," she says. "This is a one-time deal." <<case 2>> "You don't keep half the things you steal," she says. "I think you care about the attention more than the material gain." Well! That was completely uncalled-for. Although you have to admit that you //do// often give things back. <<case 3>> "That's not--" she snaps, and then stops herself, running a hand through her hair and breathing deeply in and out. You can almost see her thinking that she shouldn't give you the satisfaction of knowing you've wound her up. Too bad for her that she's so transparent. <</switch>> "I should have information for you within a few days," she says. "When I do, I'll put an enciphered advert in the paper to tell you where I left it. All right?" You nod your assent. [[This should be interesting.|day1Start]]

A few days later, you receive a coded letter from Gwen. Once you've deciphered it, it reads as follows: Dearest Theo, Are you out of your mind? This Acanthe sounds a prat and I can't blame you for wanting to ruin his fun, but collaborating with that detective is playing with fire and no mistake. If you end up in prison, don't say I didn't warn you. Leaving that aside, congratulations on your recent success. That business with the policeman and the carriage sounds risky -- if you're not exaggerating it for dramatic effect, that is -- but otherwise it seems like things went fairly smoothly, so well done you. <<if $slow >= 3>> I am concerned about the amount of time you seem to have taken. If you linger too long, you're going to get caught, you know, and that will spell trouble for both you //and// that detective you're so fond of. Do try to dawdle less next time. <</if>> <<if $messy >= 3>> <<if $slow >= 3>> Also, i>><<else>>I<</if>>t sounds as though you were rather sloppy. You can't solve //every// problem by breaking something, you know. Especially not if you're supposed to be working for the police, or with the police, or whatever it is you think you're doing here. Try to be a little less reckless next time. <</if>> I would rate your performance $finesse out of $maxFinesse (and no, bonus points are //not// still available). Your concerned friend, Gwen [[That was rather unkind of her.|conv1Start]]

Through another of her coded newspaper advertisements, Mel has requested to meet with you. Well, "demanded" might be more accurate. You think this is very presumptuous of her, but you must admit you're not inclined to refuse -- what would be the fun in that? Both meeting in a private room of some sort and meeting in public seem unpleasantly risky. The only option you can think of to offer is to meet her late at night in a park, where hopefully it will be both too dark for her to see you well and possible to keep your distance from other people so as not to be overheard. She agrees to this, but insists that it be a different park from the one where she left you the information before. Which is prudent of her, really, but you're annoyed on principle about how demanding she's being. [[But you can't do anything to change that, so you'd best head over.|conv1Part1]]

Mel is already there when you arrive. Of course she would be the kind of person who's fifteen minutes early to everything. You are unaccountably irritated by this. Without so much as a how-do-you-do, she launches into chastising you. "Did you really have to hassle a policeman like that?" she says. "I hope you realise that this is going to make my part of the plan harder to execute. Especially since you had the temerity to //leave// a //note// at the Barbier residence saying it was you that took the vase." <<link [['"First I can\'t keep the items, now I can\'t leave a calling card either? This is just unfair."'|conv1Part2]]>><<set $convVar = 1>><</link>> <<link '"I\'m sorry -- I wouldn\'t have done it if I had known he was a policeman."' 'conv1Part2'>><<set $convVar = 2>><<set $melPoints += 1>><</link>> <<link [['"My sincerest apologies; I didn\'t mean to make things hard on you."'|conv1Part2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> You add that you thought you were supposed to be getting //something// out of this partnership other than the thrill of the theft itself. "//I// thought what you were getting out of it was the opportunity to spite Acanthe," Mel says. You admit that that's true. <<case 2>> You're quite certain you could spot a London bobby anywhere, but your ability to identify a Paris gendarme is not as finely honed. "Well, all right," Mel says, relenting a little. "But you have //got// to stop with the notes." You acquiesce; you do want this little operation to work out, and you shouldn't jeopardise it, even if it would be more fun. <<case 3>> "Oh, yes, I'm sure you're completely sincere," she says sourly. You //were// being sincere, though. Weren't you? Or are you so used to navigating conversations as some kind of elaborate game that you can't even tell the difference any more? But never mind that -- this is no time to be pondering the nature of your identity, so you'll have to ponder it later. Or not. Not pondering it would be fine, actually. <</switch>> "In any case," she says, "now they're on the lookout for you as well, and if they get wind that I'm associating with you, that will be the end of my career. You may be able to do whatever you want, but //some// of us don't have that privilege." <<link [['"Oh, I can\'t do whatever I want, either. Most of the time, anyway."'|conv1Part3]]>><<set $convVar = 1>><<set $melPoints += 1>><</link>> <<link [['"A policeman\'s lot is not a happy one, eh?"'|conv1Part3]]>><<set $convVar = 2>><</link>> <<link [['"I quite understand. My behaviour has been simply inexcusable."'|conv1Part3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> You don't live your whole life as Lady Thalia, after all; you may wish you had no responsibilities and no need to remain respectable, but it's only that the secret identity affords you an occasional holiday from those things. Mel gives you an odd look, as if she hadn't really considered the fact that you must have a normal life as well. The silence stretches out uncomfortably for a bit, but then she says, "I'm sorry -- I shouldn't have said that." You assure her it's quite all right. <<case 2>> You expect this to get a rise out of her, but she just looks at you, completely deadpan, and says, "Never heard that one before." You apologise for the stale joke (a far greater offence than simply being impolite). <<case 3>> "Don't do that," Mel says, the colour rising in her cheeks. "You can't just-- //manipulate// me like one of your marks, just by acting like butter wouldn't melt in your mouth. I //know// that's not true, so drop the act, all right?" You are silent for a moment, legitimately caught off-guard. Before you can say anything, Mel says, "... I'm sorry. I shouldn't have lost my temper. Never mind all of that." You apologise anyway, because for some reason you do feel badly for having upset her. Which is odd, but you don't have time to examine that feeling right now. <</switch>> "Anyway," Mel says, "I suppose we should get to planning our next move." <<link [['"You can\'t keep going about telling everyone you\'re with the police."'|conv1Part4]]>><<set $convVar = 1>><</link>> <<link [['"Do you think you could perhaps be a little more discreet?"'|conv1Part4]]>><<set $convVar = 2>><</link>> <<link [['"I think you\'d better start investigating in a... less official capacity."'|conv1Part4]]>><<set $convVar = 3>><<set $melPoints += 1>><</link>>

<<switch $convVar>> <<case 1>> "And why not?" Mel snaps. You explain that you are concerned for both of your sakes about the possibility that people might connect the two of you. Mel sighs. "Well, that's reasonable enough. I did say something like that myself, in fact. But must you be so peremptory about it?" <<case 2>> "What do you mean?" You explain that you are concerned for both of your sakes about the possibility that people might connect the two of you, and you think it would be better if, while investigating, she was not so up-front about her connection to the police. Mel frowns. "I see, but will that really help?" <<case 3>> "You mean, without telling people I'm questioning them on behalf of the police? I hate to be underhanded like that, but, well, I can see the logic." <</switch>> You further suggest that she should keep a bit quiet about her identity in general. She crosses her arms. "You mean, lie about it? Pretend to be someone else? Like you do?" [['"You don\'t have to play-act unless you want to, but..."'|conv1Part5]]

You explain that simply not volunteering information is not the same as lying, technically. "I suppose so," Mel says dubiously. "I mean... I do agree it's for the best, so I'll do it, but I want to be clear that it's not my forte." Well, that's good enough for you -- as long as [[she goes through with it.|day2Start]]

Once again, you cable Gwen to inform her of your exploits, and several days later a letter arrives: Dear Theo, This adventure of yours seems to be getting more and more out of hand, but then you've never been one to quit while you're ahead. Or while you're behind. Or at all. You see what happens when I'm not there to keep you from getting into more trouble than is strictly necessary! <<if $slow >= 3>> I see you've also forgotten what I always tell you about taking too long: it's possible to be so cautious that you come out the other side and become reckless. It really isn't safe to take your sweet time while stealing things. <</if>> <<if $messy >= 3>> <<if $slow >= 3>> Furthermore, you <<else>> You <</if>> have been making quite a mess, it sounds like. I thought you cared about not doing //too// much property damage? Please try to keep it to a minimum in future. You're risking enough as it is with this operation. <</if>> <<if $slow < 3 && $messy < 3>> Nevertheless, I'm forced to admit that it sounds like you acquitted yourself as well as you could have under the circumstances. If you won't give up the whole mess of a caper, I'm heartened to know that at least you're making some effort to be careful. <</if>> <<if $injury>> And //do// try to keep yourself in one piece. I worry, you know. <</if>> I would rate your performance this time $finesse out of $maxFinesse. Your rather exasperated friend, Gwen [[Continue|conv2Start]]

After the theft of the pistol, Mel requests that the two of you meet up again. You hadn't expected this plan to involve quite so much meeting up, but it seems that you will just have to resign yourself to it for the time being. You recount to her the events of your run-in with the Baron, without even embellishing the details for dramatic effect. Well, //hardly// embellishing them, anyway. Only the tiniest bit. Mel seems oddly unsurprised by the whole affair. When you finish, her only response is, "Yes, I did think he came across as rather unhinged in the note he left me." <<link '"Couldn\'t you pretend to be at least a //little// impressed?"' 'conv2Part1'>><<set $convVar = 1>><</link>> <<link [['"You\'re an excellent judge of character, then."'|conv2Part1]]>><<set $convVar = 2>><</link>> <<link [['"I was caught a bit off guard, myself."'|conv2Part1]]>><<set $convVar = 3>><<set $melPoints += 1>><</link>>

<<switch $convVar>> <<case 1>> "//So// sorry I didn't give you an adequate amount of compliments," Mel says. "Well done. Excellent work. Can we get on with things now?" She seems to be in rather a peevish mood today. <<case 2>> Mel shrugs. "I'd like to think so, but in this case, the note was not exactly subtle." She really doesn't know how to take a compliment. <<case 3>> "You didn't see the note. I should have brought it with me, really -- you'd probably find it amusing." You tell her that you think you've had quite enough of the Baron's personality for now. <</switch>> "Oh, I should tell you," Mel says, "I think he suspects that you and I are working together -- or maybe he thinks we're the same person? I'm not certain, but he seems to have some idea that my investigation and your actions are connected." <<link [['"I doubt this would have happened if you were better at subtlety."'|conv2Part2]]>><<set $convVar = 1>><</link>> <<link [['"Perhaps you\'d better go fully in disguise."'|conv2Part2]]>><<set $convVar = 2>><<set $melPoints += 1>><</link>> <<link [['"Oh, don\'t worry, I\'m sure it\'s not your fault. But I do have a suggestion..."'|conv2Part2]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> "He sent me the note before I even began looking into the pistol," she says testily. "I hadn't had a chance to put your no doubt brilliant suggestions into practice. And I can hardly be blamed for not thinking to conceal my identity sooner -- I've never needed to before. But all right, I'll try to be even more subtle in the future." <<case 2>> Mel sighs. "I don't like the idea much, but I think you're right. The damage may be done at this point, but maybe we can at least avoid //some// amount of interference from him. If I can pull it off, at least." <<case 3>> You explain that you think it would help for her to go fully in disguise. "I wasn't //blaming// myself," Mel says testily. "I was just neutrally informing you of a situation that we should be addressing. But yes, all right, I'll go fully in disguise in the future. Though I don't like it." <</switch>> <<link [['"Nevertheless, I appreciate your willingness to try."'|conv2Part3]]>><<set $convVar = 1>><<set $melPoints += 1>><</link>> <<link [['"Just don\'t ruin this for us."'|conv2Part3]]>><<set $convVar = 2>><</link>> <<link [['"Oh, I\'m sure you\'ll be fine."'|conv2Part3]]>><<set $convVar = 3>><</link>>

<<switch $convVar>> <<case 1>> Mel looks a little surprised. "Thank you," she says. "If you sincerely mean that, that is." You do, but you're fairly sure that pressing the point would make you look //less// sincere, so you leave it alone. <<case 2>> "'Us'?" she says. "I was the one who came up with this plan, you'll recall, and I'm the one who'll be in trouble if it goes wrong." That seems a little unfair to you. You do care about upholding your reputation as a top-class thief, after all. <<case 3>> "Well, //I'm// not," she says. "But thanks for your confidence in me. If that's what it is." Really, she can be //so// trying. <</switch>> <<if $injury>> Suddenly, Mel glances at something in the vicinity of your right shoulder and frowns. "What happened to your arm?" You hadn't realised it until now, but the bulk of the bandages is noticeable under the sleeve of your blouse. (You are not exactly a dab hand at bandaging yourself up, although in your defence, the upper arm is a particularly awkward place to try to do so, //and// you had to do it left-handed.) You admit that you left out the part of the fight where you took a hit. Mel's face fills with concern. "Oh, no, that's-- I didn't realise he would do something like that." And then -- inexplicably -- she reaches out to touch the injured area. You flinch away as if burnt. "I'm sorry," she says. "It must still hurt quite a lot." Yes. That is absolutely, certainly the reason for your reaction. Unquestionably. <<else>> "Oh, and also," Mel says, "I wasn't expecting him to bring a knife. It's a good thing you weren't hurt in the end, but if he's usually armed, then we'll need to be careful of that." You assure her that you will do your best -- you do care about staying in one piece, after all -- although you're not quite sure what you //can// do other than to try to avoid running into him again. You could get your own knife, but would you even know how to use it? <</if>> Having discussed everything that needs discussing for now, [[you go your separate ways|day3Start]].

Dear Theo, Well, that was a hell of a denouement! Looking forward to hearing the full details when you get back to London -- I'm sure the telegram didn't do it justice. I am glad that all this business is over, though. It was more dangerous than I'd like, and not just because of the loony with the gun. I hope you're not planning on any further collaborations with Miss Williams. It feels a little funny to do the whole "score" business when you could have been killed, but I know how you enjoy it and don't want to deprive you of it, so I will award you $finesse out of $maxFinesse. <<if $finesse < $maxFinesse>> <<if $messy == 2 or $slow == 2 or $mistakes > 0>> You lost some points for <<if $messy == 2>> being messy <<if $mistakes > 0>>and<</if>> <<elseif $slow == 2>> being slow <<if $mistakes > 0>>and<</if>> <</if>> <<if $mistakes > 0>> your handling of that confrontation <</if>> . <<else>> Although maybe I shouldn't dock you points for things that were really that detective's fault. <</if>> <<else>> And I'm not just saying this because of that close call, I promise -- you know you can always count on me for an honest assessment. <</if>> Your husband and his latest paramour are back in town, by the way -- I don't know if he sent word to you. I just thought I should make sure you weren't surprised by it; I know the two of you try to stay out of one another's way as much as possible. All the best, Gwen [[Continue|epilogue1]]

You and Mel agree to meet up one final time -- you have to return the stolen goods, after all. You secure a promise from her in advance that she will not try to unmask you again. One by one, you hand over the items, which she carefully inspects for damage. "All right," she says at last, "these all seem in perfect condition. I'll be taking them back to the station." (You would never take less than perfect care of an artwork in your possession, but then, you did get into some nasty scrapes while trying to get away with them, so you decide to forgive her for doubting you, this time.) "And... thank you," she adds. "I couldn't have done this without your help." <<link [['"I couldn\'t have done it without yours."'|epilogue2]]>><<set $convVar = 1>><</link>> <<link [['"You\'re welcome."'|epilogue2]]>><<set $convVar = 2>><</link>>

<<switch $convVar>> <<case 1>> "Ah," she says, "so you are capable of being humble sometimes. That's good to know." You suppose you deserve that one. <<case 2>> Mel sighs. "I don't know what else I expected from you." You don't know, either. <</switch>> <<if $melPoints >= 6 && $totalFinesse >= 34 && $totalDeduction >= 9>> "You know," she says, "it feels odd to say it, but I... rather enjoyed working with you. I mean, I think it went surprisingly well." It feels equally odd to you, but you agree. She did her part beautifully, you did yours flawlessly (if you do say so yourself), and in the end you made a better team than you ever would have expected. <<link [['"Perhaps we can do this again sometime."'|epilogue3]]>><<set $convVar = 1>><</link>> <<link '"You\'re almost as good an ally as an adversary. //Almost//."' 'epilogue3'>><<set $convVar = 2>><</link>> <<else>> This adventure has gone well enough, but you feel that some things could have gone better: <<if $melPoints < 6>> While it //is// entertaining to make Mel angry, you wish you had done so a little less often. You think of yourself as enjoying a sort of friendly professional rivalry with her; you don't actually want her to hate you. You'll have to try to make it up to her somehow. <</if>> <<if $totalFinesse < 34>>> It all went off all right in the end, you suppose, but those heists were //not// up to your usual standard. You must be slipping. You can tell Gwen is very disappointed in you, and she's going to give you an earful about it next time you see her. And what the papers will have to say about this, you hate to think -- if you keep going at this rate you'll lose all your fans. <</if>> <<if $totalDeduction < 9>> Mel confided in you that, although she made the arrest and returned the stolen goods, she feels she fumbled most of the detective work in the lead-up and is concerned for her career. You are also concerned, because if she gets the sack, then the little game the two of you are playing will be over, and that would be tragic. <</if>> You can't help but wonder what might have happened if both of you had managed to do your jobs well //and// cooperated with each other, but now you'll never know. @@font-size:400%;<<link "//Fin//" "end">><</link>>@@ <</if>>

<<switch $convVar>> <<case 1>> Margaret's mouth twitches in what might be a hastily suppressed smile. "It seems unlikely," she says. "But then... I suppose you never know what the future might hold." You agree that the mysteries of the future are indeed impenetrable. "For instance," she says, a mischievous glint coming into her eyes, "I might yet convince you to join the right side of the law." <<case 2>> "Thank you," Margaret says, "I'm flattered." You assure her that it is nothing but the truth. "I'm not sure I could say the same for you, though." Perhaps that's fair; you have been a bit of a troublesome ally. You're not used to having someone else so involved in your work. But then, unexpectedly, she adds, "I think perhaps your adversary skills need improvement. Are you //really// sure you don't want to give up your thieving ways?" <</switch>> You are about to make an indignant retort, but then you realise -- //she's// winding //you// up. This is such an unexpected turn of events that you have no idea how to respond. Seeing you staring at her with your mouth hanging half open, she starts to laugh. You can't help but join in. @@font-size:400%;<<link "//Fin//" "end">><</link>>@@

Your final Finesse score, for your ability to pull off thefts with panache, was $totalFinesse out of a total of $maxTotalFinesse. Your final Deduction score, for your detective work, was $totalDeduction out of a total of 13. Your final relationship score with Mel was $melPoints out of a total of 9. We hope you have enjoyed the show! <center><<button "Play again">> <<run Engine.restart()>> <</button>></center>