The Let's Play Archive

15 Days

by SelenicMartian

Part 7: Seven Digits to Dial

We've got the way into the museum checked out, and some kind of plan is taking shape. Maybe we can just fast forward and do the deed? No.

: First we had to clear the way into the drain. Then Bernard had a bit of a chit-chat with a passer-by.

: Oh yes, a recap of the events that took place ten minutes ago. By the way, I barely hear them, the music from the intro chatter in the first update is playing again.

: Very funny.

: Seriously. There was really someone there.

: Mike, you don't look too worried.

: I tried to tell Cathryn...

: I don't believe it. Who was this guy?

: Probably just a tourist. He had an American accent.

: What did you tell him?

: That Cathryn was diving for a lost watch.

: Brilliant. Really, absolutely brilliant. Why don't we just send and invitation to the police? You two are really getting old. Oh boy, oh, boy, oh boy.

: Next time you can got and think of something better, smart arse.

: How's the fingerprint going?

: I haven't done it yet. Where's the glass?

: I don't know, it vanished when we went diving.

: In your room.

: Phew...

: OK, I'll have a look at it.

: We also need a list of the guards who are on duty tomorrow.

: Tomorrow?

: Yeah. I'll do it. I'll do it all. That way I'll at least know that you guys won't screw it up.

: Pipe down now.

: Huh. See you later. I've got things to do.

: At last, I control Mike outside of the van. You know what that means? Revisiting all the other locations!

Hey, new characters!

Actually, this is where the idiotically allocated 15 Days budget began to run out, as Mike doesn't have any hotspots in most places (including Cathryn's and Bernard's rooms) and refuses to enter most buildings. The excuses are:

: Not now!

: No, not now. I've got things to do.

: I have to do something else first.

: Where? Anyway, this is the only place Mike has any comments on. We can uncover the mystery of the arcade cabinet.

: The 1976 Sonamu. I needed three weeks to get it going again.

: Unexpectedly, there is a second comment if you examine it again.

: A real museum piece.

: As for the action figures...

: My Master Force collection - only Boostman is missing.

: Oh, crap. Mike's room also has a second screen. There's the pizza, and the poster for Overclocked, the previous game by House of Tales.

: I've got my Pasta-Jim's charge card here somewhere. The platinum version.

: Lots of games are already classics right from the day of release.

: The developers really think they are masters of adventure game writing.

The room also has a TV.

: Ah... the gateway to a better world.

: Bullshit! My gateway is showing me 15 Days.

Anyway, let's solve stuff.

: We pocket this. And then we can interact with...

: A UV lamp

: Your sword is blowing glue! I mean, you sword is glowing blue!

: So.

: Now I realize that Mike somehow already has the glass in his pocket. We use it on the silver nitrate.

: OK... That's it then.

: Then I try break the game's logic by using the glass on the lamp when it's turned off.

: Just a mo. It won't do anything like that.

: It doesn't. That's one of the main issues with this bloody game.

: Look at this shit. The artist couldn't get even the golden rim right, and then added a caption, and a wheel.

We quite literally take the fingerprint.

: OK. Now I've only just got to transfer it over.

: Where to put the print? Ah, the gloves in the sink.

: Voilà. The artificial security guard's finger is ready. In nought-point-nought seconds. I'm a genius...

: Hi, Cathryn, what script trigger brings you here?

: Alright, I've done it. Where's Bernie?

: In town.

: Again... ?! Am I the only one who's actually preparing a break-in here?

: Take it easy Mike. You're the greatest.

: Eww... Wait, again Mr. Steven's? And it's voiced like that? Did anyone proofread this shit before giving it to the actors?

: Ugh!

: I've also got hold of the staff list. A guy called Michael Nesbitt is on duty in the museum tomorrow night.

: Wait a second, when did you do that? When did I do that?!

: Nesbitt, OK.

: Is that alright? No qualms because you knew the guy from the past or something?

: Don't get on my nerves Mike.

: Just asking.

: 100-62-34 Did Bernie say when he'd be back?

: No. I also don't know what these important things are that he always needs to do.


I did not pause when Cathryn was in motion. This is a shot they picked and decided to hold for a couple of seconds over the ridiculously blurry jpeg for a background.

: Huh, the answering machine does have a message light on. It wasn't there when Mike went upstairs to make the finger.

: There's a message for you on the answer phone. Your father I think.

: How do you know that? How the fuck does this game go from unnecessary recaps to knowledge just happening in people's heads?

: Good grief!

: Yeah! The writing is awful!

: He's called a few times, hasn't he?

: Once so far?

: Looks like it.

: What's up with him so suddenly?

: Just the same as ever. He can't deal with the fact that he's a pig.

: Oh right. Alright then. I'm upstairs, OK?

: OK.

: Hey, I saw her move her lips!

: Yes, Cathryn keeps quiet twice, with a short interval in between when she's silent.

Anyway, she walks away without listening. End scene. Hooray.

We fade back to the loft.

We transit to... Indoors. At this point they just plug the blurry scene transit clip everywhere.

: I love the way no one gives a damn about the characters' facing any more.

: Sorry. I ended up hanging out in town a bit.

: Hey, look who's gracing us with a visit! Bernard! Now there's a surprise.

: Hey, it's the game's launcher music! It is a surprise.

: It's about time. But first I have to click two times to walk Cathryn to the table, and to investigate the projection screen which makes her use the projector.

: So. The London Modern.

: Mike, you park your van in front on the museum, tap into the cameras and be at the ready. I'll swim through the drain and get into position in front of the cellar door.

: At 10.50 I'll call the internal phone in exhibition area 2. While the guard's on his way there, Bernard enters the museum, goes to the surveillance room, opens the door and turns off the recorders. Mike, you watch over the cameras and let Bernard know when he can leave the building again. I'll open the cellar door with the bump key and then go upstairs. Then I'll swap the pictures and head straight back.

: Will the briefing have a tea break?

: Bernard, in the meantime you should be back at the van. You two get out of there without attracting attention. I'll take the boat. We'll meet back at the loft. Is everything clear?

: Crystal...

: Good. Then please go and check the kit and prepare the boat and the van. I'll go round to Robert's. Hopefully he's finished...

: Wait, you made plans for a specific day without knowing if the copy is done?

I'm in control, and... We can't escape the blinking light. Let's get it over with.

: Just this stupid thing again... Cathryn, please call be back. It's important. I want to tell you something. I... er, perhaps I made a mistake. I only want the best for you... Please. Call me.

: Huh. A Mistake?

: You were listening in!

: Listening in? He fucking teleported in!

: I just overheard, Cathryn. Call the old man. Everyone knows he's not so good.

: He's not the only one who isn't so good.

: Why are you so hard on him Cathryn? It doesn't suit you at all.

: Mike, that's my business, OK? Please keep out of it.

: Alright. I was just trying to be nice.

: I don't need anyone being nice to me right now. Especially not you.

: Oh right. I see. Especially not me, huh? You'd probably prefer to be all chummy with good old Bernie?

: What's that supposed to mean?

: You don't even notice anymore, do you? Bernie can do whatever he wants. Bernie is never here, I do all the work and all I hear from you are demands and insults.

: What a load of bollocks. What's all this about?

: And I always thought...

: Isn't it wonderful when all the action is packed into a tiny corner of the screen?

: You just don't get it.

: So it seems. Is there something you're trying to tell me? Then spit it out, now I'm in the mood.

: Just forget it.

: Out with it!

: Mike! Stay where you are!

: See you later.

: Back to the "gameplay", the only new thing to do in the loft is grabbing the torch. Then it's Robert time.

For the following scene remember the first visit video, and the music that was playing then. It's back. With a vengeance.

: Robert...?

: Hey. How are you?

: Fine.

: You don't look very well.

: You asked the same stuff the last time you were here, Cathryn.

: The painting's finished.

: Great. You're a treasure. We're doing it. Tonight.

: Hmm. Are you nervous?

: Well, yeah, a bit. But that's part of it.

: Sure. You'll manage.

: Everything's fine. Perhaps I'm just getting a bit too old for the stress.

: Come on now, you can tell me. Are you still... afraid?

: Well. I've been thinking Cathryn.

: One comma can separate drama from cross-gender cosplay.

: Oh - what is it?

: You know, I think it's time for you to quit. It's time for all of us to quit.

: Stop breaking the fourth wall, Robert.

: You're scared that we'll get caught, right?

: Thing's have changed Cathryn. This isn't just fun anymore.

: It was never just fun.

: It was never fun.

: Yes, it was. A couple of do-gooders having fun, playing Robin Hood... It's not like that anymore.

: You're saying this as if we were terrorists. We're not causing anyone any harm. We HELP people.

: Did they really rewrite and reuse the dialogue from the previous update?

: WE aren't the liars and thieves in this world.

: Yes. We are.

: I really don't know what's got into you all of a sudden? What's different now to the past five years? Is someone threatening you?

: The concept of genuine remorse is alien to Cathryn.

: You're too young to throw your life away. And you're too old to continue going on like this.

: You sound like my father.

: I sound like someone who cares for you.

: I know that. You need a rest. Perhaps we all need a bit of a break. We'll take a break after the summer, OK? I promise.

: Is there anything you need? Have you got enough money?

: I'll be fine for the time being. Give Bernard a few pounds more instead.

: Why? Is he broke?

: He borrowed two thousand from me.

: Why did he do that?

: Why doesn't he talk to me about that?

: You aren't supposed to know anything about this. I thought I'd tell you because you're such close friends.

: Such close friends, who seem to be at each other's throats every day.

: I though we were too.

: Don't be so hard on him. He's ashamed of himself.

: Ashamed of himself? You men really are weird.

: OK. I've gotta go now. The others will be waiting.

: Say hello from me. And take care of yourselves.

: You look after yourself. And don't worry. I'll call you tomorrow, if everything goes to plan.

: If not, you'll find out about that in the next month's issue of The London Daily Paper.

: There we go.

: We've got all our stuff back, but let's look at the torch. The painting can be only used.

: Our old Maglite.

: The third required use of the map so far.

: Yeah, it's all good. I've got the picture.

: And... how's McBride doing? Is he still having his panic attacks?

: I'll tell you later. Have you got everything ready?

: Of course.

: Ready to go.

: OK friends... break a leg. See you at the museum.

: At last!

: Aw, bugger... fine let's talk to Bernard about Bernard.

: Then let's go.

: Yes, he gets the first line in a dialogue started by Cathryn.

: Just a minute. I... want to ask you something Bernard.

: Hmm?

: The waves kick in.

: Have you got... money problems?

: Bernard. We are friends, OK? If you... if there's a problem I should know about...

: I don't gamble any more. That's what you wanted to know, right?

: Don't be offended. I'm just asking because...

: No one. What are you always doing in the city, Bernard?

: Are you spying on me?

: Dramatic zoom!

: Listen. I've got things to sort out. With Michelle. PRIVATE things. Satisfied?

: Since when have you been back in contact? I thought...

: Cathryn. We're friends and we live together. You're important to me. But I don't need to keep a log of my life for you, OK? I'm a few years older than you. There are lots of things I can decide without you. OK?!

: OK.

: Let's go then. We're late.

: We're finally doing it! for real! Honest!

: Roger. I'm in position. Then let's wait until it gets dark, OK?

: Exactly. Bernard will get changed here at the boat and then go to the surveillance room. I'll get ready to dive then. Are you guys ready?

: Of course.

: Always.

: Bernard? Everything alright?

: I'm at the entrance.

: Headsets + a new music theme.

: Mike, where's the guard?

: In the target area.

: OK. I'll call the phone now.

: You can open almost any lock with a bump key.

: Let's try it.

: What's wrong? What are you doing? You've gotta let it ring. The guy is still standing there...

: Yeah, yeah, I'm doing it.

: Mike intercepts any fooling around. You have to use the phone first.

One dialled number later.

: OK. So that's that.

: He's going over. Wait a second... OK, now. Go!

: Not yet.

: I'm so proud of you.

: Bernard? Now it's your turn.

: OK.

: No problem... Mike?

: I can see you. You can go.

: Isn't that a disgusting thing...

: It was a glove with some tape on it. Where did the finger come from?

: OK Mike. Good work.

: There we go.

: Let me know when you're ready.

: Right, Mike, wait till we check it all out. There's a duty roster above the file cabinet, the cabinet itself, the wall of screens, and the blank displays.

: The security guy in this wing is going to be here on his own tonight.

: That looks like personnel files.

: You can see the whole of the museum from here.

: Apparently they're turned off overnight.

: What we actually need is the recording cable on the console in the corner.

: A-ha. Here's the cable.

: Then get yourself out of there.

: On my way. Cathryn... it's up to you now.

: The storage room of the museum has a giant hatch leading into the sewers. I've seen galleries where every room has a set of instruments for tracking temperature and humidity, I've been to places where paintings were displayed in cooled rooms, and you'd want to bring a coat there in the middle of summer. Here... the museum storage is a dump where everything steams up, and rats shit on it.

: In the corridor at the front. Cathryn, go. Bernard, come to the van.

: The guard can wait. Let's go through this collection of junk, right to left.

: That looks like a Roman bust.

: It's Athena, the goddess of wisdom.

: Cool.

: Wow. The Middle America section's being rebuilt.

: It's made of marble.

The London Modern on the British Museum? You decide. Time for the main event.

: OK.

: I wanna go to the ants room!

: Better not..

: Damn...

: I use the copy on the painting. Cathryn walks a few metres back, and...

: It's too late you check you corners, lass.

: Cathryn, the guard's coming! You gotta get out of there now!

: Ooh er...

: She runs silent, even though her walking footsteps were very loud.

Also, the loft pier audio.