Part 6: Update 6. Deep Six
We come back to the game waiting for me to direct Cathryn to the war room.
: You smell of alcohol. I'm disappointed.
: Sure. What have you been doing?
: We've been working. I've got the plans, Bernie has the camera locations. And now the million dollar question: WHAT have you got?
: Good grief! Bernard, she's taken one of her turns. You take care of it, I'm going out for some fresh air.
: Mike, the fresh air?
: Don't look like that.
: Worried. Fatherly. Therapeutic.
: What happened? Do you want to talk about it?
: Bernard is now in ELIZA mode.
: I told you. Useless therapy crap.
: OK. And what else?
: Yep, those are ELIZA reply patterns.
: What do you mean, what else? Nothing else. We're a bunch of idiots, that's all.
: Good... What makes you say that... ?
: Bernard seems less and less human with each line.
: We steal from the wrong people. I've just spoken to the guard from the museum. He lost his job because there was break-in years ago and now a computer does his job.
: Have you got his fingerprints?
: Yes, I've got his bloody fingerprints. I conned him and now we've got his fingerprints. But it WASN't RIGHT.
: Why now?
: Because he's not stinking rich art dealer, Bernard. He's just some poor guy in a museum who gets fired because of people like us. People who break-in and deceive and steal.
: We don't take anything from anyone, Cathryn. We take something back. You've said that yourself often enough.
: Don't tell me what I said.
: Isn't that true any more?
: I don't know.
: You need a rest.
: Suddenly Mike's back. He appears backwards.
: Listen. I understand you, but we've just agreed to do that thing. I've already spoken to Homes not Bombs. We've got to go through with it.
: I know.
: Mike's creeping up. He's not walking when he's on camera.
: Mike is terrifying. He springs into action.
: The blueprints spawn on the desk in front of Cathryn.
: Perhaps you'll be interested to know how hard it was to get hold of them? First, there were multi-encrypted codes. Then the server routing - very clever. Then I had to -
: Excuse me? I'VE got to get to bed! I've been working on this for thirteen hours...
: Then use it! You have the script coded for already having the glass, roll with it. And yet I still have to click. What's that paper again?
: The construction plans for the museum.
One glass later.
: The idiots really have written all over the plan.
: They could afford to. It all looks bomb-proof to me.
: There's gotta be a way. Those other guys managed to break-in seven years ago.
: Yes, but that was BEFORE all this equipment was installed.
: Wait a minute...
: Just how much blue printer ink did Mike blow on printing this page?
Anyway, it's another puzzle, this time without any timers or hints. We need to find a thing that will get the plot moving.
The only thing that looks noteworthy is the fact that the museum has a direct connection to the sewers and the Thames, in case they need to dump some art real quick. However hovering the lens over the Tames does nothing.
: Here's our trigger.
: I'd like to point out that no one is looking at the plans. Speaking of not looking at the plans...
Pay attention to the shadow too.
I made the second half of the gif by reversing it. House of Tales reversed the getting up animation as well, but they tried to hide it by changing the camera when Bernard raises his hands off the table after he sits down.
: Impossible. We won't get through there. That bend in the Thames is underwater.
: Oh. No. Not diving again. I'm not going through all that again.
: Bernard, she's having her visions again!
: We've got to try it. We'll dive.
: Fine. Super. You two dive, I'll hold the fort.
: There aren't any sharks in the Thames, Mike.
: Oh great! Then it's completely safe!
: But I can't open the steel door.
: The steel door? What? Where?
: Come on, Cathryn will be with you.
: I hate you both.
: Alright then. Stay here. We'll just go and have a little look first. You can at least get the boat ready, OK?
: I'm on my way.
: And they go, and stop there as the screen fades.
: Wow. You're quick...
: To the pier!
: Are you ready?
: I can't hear this line. It's not the music, it's the background noise of the waves splashing against the pier. Any lines here become unintelligible every time the developers switch to this camera.
: There's a pause as everyone judges Mike, and then the screen fades without anyone moving.
: Perhaps you can get through underwater. We'll have to take a look.
: OK. Then I'll dive down.
: There's exactly one thing to click on on the entire screen.
: Barely audible through the bubbles. Oh, and the hands are animated at about 10 frames per second.
: One click on the close-up shot. No thinking is required. Why, yes we do have a rope, apparently.
: I thought, you have to back away in case a chunk of metal flies off and knocks you out, but Cathryn will only initiate the tearing from here.
: This is unsafe on so many levels.
: The boat with lacquered Bernard(?) speeds off leaving no wake.
: Miraculously, the grate opens without killing anyone.
: Cathryn has no reaction to a wildly swinging piece of metal. Did you notice her diving gear? She didn't have it during the chat on the surface.
: The diving gear is gone. The camera keeps mercilessly zooming in.
: I've done it. And old vault. There's a steel door. I guess it leads to the museum cellars.
: Some motion in the corner caught my eye. Behold, the hovering junk.
: Wait, I'll have a look...
: Nearly done.
: Check out the dilapidated ceiling...
: Hmm... Hopefully it'll hold for a while.
: ...the vent...
: Bah. It stinks here.
: ...and the water.
: I really don't want to know want swimming around in that.
: The forecast for today is thieves and rusty grilles.
What's going on here?
: This seems to be the way to the museum. OK... now how to I get in?
: Start by investigating the lock cylinder.
: God. The writing is much too small...
: Amazing, the game has left exactly one item in my inventory.
: OK, I'm coming back. Be there in a minute.
: The moment I've been waiting for. Jack's purple subtitles turn unreadable.
: OK, we're back to normal, for now. The scene kicks off with loud music.
: Can't stop taking pictures of their casual movements.
: Yeah, quite. A family heirloom.
: Have you found it?
: The watch. Did you find it?
: Oh, right... no. No, no. Too dark. It's all mud down there.
: What a shame. Say, is anyone allowed to dive in the Thames?
: With a diving licence?
: Ah, OK. Oh well, I've gotta go. Alright then. Have a nice evening.
: Fade to black.
: I thought I could do it quicker. And I wasn't to know that you would start having a nice chat with him.
: HE spoke to ME.
: Wait, when did you hear that? And why didn't you stay submerged then?
: I told you to stay down there. Let's get out of here. Right now.
: We're back to Jack, who can examine the entire museum all over again.
Starting with the pigs and the building.
: If that's art, I'm a bishop.
: A pretty ugly lump. Yeah well, that's modern art, I guess.
: The ants, the statue, the ice cream, the golf ball.
: Is that garbage, or what? Reminds me of a B-movie I saw once.
: If you're looking for trouble, just come over here.
: What the hell's that supposed to be?
: Oh, hey, we can check out the boner statue. And the "modern screen print" behind it.
: I still love the subtitles. Now it's time for the Churchill
: Hmm... I know that from somewhere...
Now for the other painting and the Virgin Mary.
: My nephew paints like that too. He must be a genius.
: What the hell, at least something's recognizable.
: Sheesh... Not so easy to differentiate between the exhibits and the garbage.
: Hey! Looks like it does in my office.
: I only now noticed the crazy bird statue here. Anyway, let's check out the orange shit after...
: A fingerprint activated lock.
: We all missed more of that beautiful dialogue, and Tony.
Hmm, we've got a choice... Let's quit.
: Good. I'll gave a little look around. I haven't been to a museum for ages... Oh, and could you tell where I can get a drink around here?
: The Fine Arts Pub. Across the road...
: OK, thanks.
: Enjoy yourself.
: Well, that was weird. Let's come back and probe for information.
: Good evening, Sir.
: Have you got a minute? I have a few questions to ask you.
: It depends.
: What's this about? The break-in was years ago.
: Just a few routine questions... Your museum works with the logistics company ArtTrans, right?
: Yes... and?
: You know their staff?
: Hmm. A couple. Why? is there a problem?
: Could Jack look any more sarcastic?
: Have you noticed anything different about them? Change in personnel, unreliability, problems?
: Hmm. There's been a bout of illness recently, but I guess that's more to do with the fact that their guys are so badly paid...
: Mmm. OK. When was the last time that someone from ArtTrans was here?
: Now I can quit for a repeat of that dialogue earlier. Let's hit the pub.
: Examination time. I can't make Jack comment on the "fresh" date on the red banner. We'll make do with the bookstore, the window and the pub front.
: I hate books.
: Not much happening inside there.
: Nice pub. Really retro.
: Gah! The music! It changed! It's worse! Say, can anyone make out the lyrics? IDed as "Sonic Liberty // Klangfreiheit-KF016106 Line Of Fire"
Jack appraises the art prints
: Hey, a fresh newspaper!
: You'd think The London Daily Paper would be... daily.
We want information.
: Good evening...
: My God, what did you give the poor guy outside?
: Oh, you mean Stevens? Yeah, well he's had enough for today..
: I'm spoiled for choice. What's with the pub?
: Not much business in here.
: You're telling me.
: Had I been marking the inaudible lines realistically, this entire scene would have been crossed out.
: Well, people have got less money in their pockets. They prefer drinking at home.
: The guy outside didn't look much like a millionaire either. A regular?
: Unfortunately. His tab is worth more that half of this place.
: Yeah. The poor git. He's about to lose his job in the museum. Now he sits here every day and drinks on credit. And buys drinks for girls. I must be an idiot.
: What can he tell us about the old newspaper?
: Yeah. Poor sod. That's what you get though.
: What do you think happened?
: Jack is an old school detective. Instead of a pathologist, he consults a barman.
: No idea. Perhaps he just took too much coke.
: He had plenty of enemies I hear.
: You've gotta look UP mister. On the roofs. On the street lights. There's a camera on every building. It's called CCTV. When you spend a normal day in London, you're recorded more than 300 times.
: Not bad. And still people can steal the numbers from Big Ben.
: Yeah. Crazy, innit? But I'll tell you something. They'll catch them. You see the photo? That was CCTV too.
: You just wait. They'll catch them.
: OK. I've gotta go.
: Here's where I noticed another 15 Days bug kicking in.
The game forgot to free Jack's head from its lock onto the barman.
P.S. For bonus videos there is the metal-tearing sequence, with a cutscene refusing to end, and Jack's visit to the pub, complete with the music.