A Trainride to Paris

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[[ACT I. THE DOCKS]]

You stand on the docks of [[MARSEILLE]], the greatest dockyards in all the empire, behind you, the [[STEAMSHIP]] that carried you across the Mediterranean billows, already preparing for a return voyage. Before you lies the hustle and bustle of the dockyards, warehouses rub shoulders with dockyard dwellings, growing more and more crowded until all detail is lost in the urban sprawl. Somewhere, in there, is the SAINT-CHARLES STATION, and your train. In your pocket lies a letter, written by your father for your journey, containing his prayers, guidance, and directions to your destination. [[DISEMBARK]]

You've spent nearly all your savings on the boat ticket to get here, and what remained was spent on the train. You wish could spend longer in this city, the things your father told you about this place have filled your dreams ever since you were a child. But your journey doesn't end here, and you have a train to catch. <<return"BACK">>

You almost consider turning around, and sailing all the way back home. Almost. Chances are the captain would throw you overboard the minute he realized you couldn't pay a return fare. You almost consider turning around, and sailing all the way back home. Almost. Chances are the captain would throw you overboard the minute he realized you couldn't pay a return fare. <<return "BACK">>

Thankfully, your written French is better than your spoken, and you have almost no trouble in filling out your details, only having difficulty in writing your full name. The officer grunts, apparently satisfied, and after a few minutes of more half-received messages, he walks off, seeing fit to leave you be. [[ASK FOR DIRECTIONS]] [[SET OFF]]

Before you make more than two steps on dry land, a DOCKS OFFICER approaches, clipboard in hand. He glowers at you, stern eyes and curled lips obscured by a terrifying moustache. He begins an interrogation, rapid fire, but you only manage to catch half of his words before he evidentally gives up and hands you the [[FORM]] he was attempting to fill.

You try to catch the officer before he leaves, and make out in broken French that you need to find SAINT-CHARLES STATION, he seems to understand that much at least, and on your part he forgoes french and resorts to the universal language of hand guestures. You're left a bit confused, perhaps this is a prank played on unsuspecting visitors, to convince that Marseille merely a port city is a labyrinth in comparision to your home. But if you follow his directions, you should be able to find your way there [[SET OFF]] [[TARRY]]

You make your way through the crowded streets of Marseille, ignoring the sights, the sounds, and most intensely, the smells. Street hawkers showcase strange foods from across the world. Caribbean fruits, Arabian Spices, and a few reminders of home are all displayed as you walk through the throng. You were prepared to cause more of a scene than you're making, to be honest. Rather than a painful mark in the scenery, you feel more like another splash in a thunderstorm of variety, but even the streetlife cannot prepare you for the crowded steps of [[SAINT-CHARLES STATION]].

Really now, this isn't the time. You can dawdle all you want but you still need to catch that train. [[SET OFF]]

The station is massive, towering above even the smokestacks of the city, as soon as you climb the steps to the main station you feel lost the human throng. It takes several minutes for you to spot both your [[LUGGAGE]] and the [[TICKETMASTER]].

Though it's not much, a small bag of keepsakes, memories, and books, it's all you have left from home, and you almost refused to let the dockhands take it from you to the station. You push your way to the loading cabin, and check with the attendant to make sure it's made it safely. He assures you that your bag made it on board safely, and gives you a LUGGAGE SLIP for when you arrive. [[TICKETMASTER]] [[SAINT-CHARLES STATION]]

Pressing your way up to the booth, you gesticulate wildly to the ticketmaster that you in fact, have already pre-purchased a ticket and would like it stamped post-haste, before your train departs. You've always considered yourself a capable communicator and the ticketmaster seems to get the picture, he takes your ticket, rips half of it off and stamps the other half, handing it back to you, he then says some other things, pointing at several locations on a map, but you miss most of what he says. However, you know enough to understand what you need to, this train stops at PARIS, and that's all you care about. Speaking of trains, it looks like yours is about to [[DEPART]], time to move.

One last time you hurry through the crowded station, the attendant is yelling station stops and the railcrew are finished loading the luggage, the Chemins de fer de Paris à Lyon et à la Méditerranée Is leaving, and so are you. As you're about to board you take one last look, out from the station, past the steps, the streets, the docks, to the sea, and across it, home. But then the view is lost and finally, you begin the real journey. [[END ACT ONE:]]

[[ACT 2: THE TRAIN]]

The carriage is crowded, but comfortable, you're escorted to a room at the back of the train, next to the crew, but compared to your cramped quarters at sea, this is the lap of luxury. As the train departs and heads towards LYON, you have a few moments to contemplate your journey thus far. [[RELAX]] [[EXPLORE]]

You take a minute before heading out to compose yourself, and take stock of your surroundings. Your room is snug, cramped even, but the rocking of the carriage along the tracks is a great improvement of the violent pitchings of waves that battered your ship's bunk. Your luggage is stowed beneath your bed, and from the window you can see the countryside racing past, carrying you to your next destination. But you have plenty of time still to contemplate, maybe it's time to explore your new home for the time being. [[THE CARRIAGE]]

Naval-gazing never suited you, you can only experience life once, so it's time to get experiencing. [[THE CARRIAGE]]

Exiting your cabin, you can see the countryside speeding past in the hallway windows. you flatten yourself agains the wall to let a speeding engineer past towards [[the ENGINE ROOM.|THE ENGINE ROOM]] In the opposite direction, you can see the relatively calmer [[DINING CARRIAGE.|THE DINING CARRIAGE]]

As you make your way to the dining carriage, you flatten yourself against the carriage walls to let the steady stream of porters and attendants through. In comparison, the the dining carriage is quite serene, as you are guided to a seat by one of the assistants, you notice that the only occupant in the carriage but you is an silent, older woman, seated directly opposite you. [[TALK TO HER]] [[IGNORE HER]]

The engine swelters and roars as you make your way towards the stokers. coal-covered shovelers greet you brusquely as you strike up a conversation with the head engineer. He isn't much for words, but you talk about the journey ahead. He seems confident on the pace the train is setting, but hopes to stock up on fuel at their next stop. He mentions a few locations for you to visit if you have the time, but is abruptly called away to manage the ever-burning fire of the engine. Left alone, you can do no more than journey onwards to [[THE DINING CARRIAGE]].

If she is surprised by your name, she shows no sign of it. Despite your attire and your earnest French, your dark hue sticks out, even in amongst the most mediteranean of Frenchmen. You tell her of home, growing up in Tunis, the son of a local administrator who had fallen head over heels for a foreign girl. You never knew much of your mother, but your father spoke of her and her country with great esteem, even reverence. She is fascinated of the stories you tell her of and as hours fly by the train seems almost a world apart in your minds eye now. She begins to question you about native instruments when your conversation is rudely interrupted by the sound of a [[CONDUCTOR'S WHISTLE]]. <<set $name to "Said" >>\ <<set $sex to "M" >>\ <<set $home to "tunis" >>\

If she is surprised by your name, she shows no sign of it. Despite your attire and your earnest French, your dark hue sticks out, even in amongst the most mediteranean of Frenchmen. You tell her of home, growing up in Tunis, the daughter of a local administrator who had fallen head over heels for a foreign girl. You never knew much of your mother, and it was hard for a man to raise his daughter alone, but your father never blamed her for it, and spoke of your mother and her country with great esteem, even reverence. She is fascinated of the stories you tell her of and as hours fly by the train seems almost a world apart in your minds eye now. She begins to question you about native instruments when your conversation is rudely interrupted by the sound of a [[CONDUCTOR'S WHISTLE]]. <<set $name to "Chaima" >>\ <<set $sex to "F" >>\ <<set $home to "tunis" >>\

Her smile briefly falters, perhaps from your solid french or your mannerisms you had convinced her that you had not been a continental frenchman till this afternoon, but she quickly recovers and begins to question you. You talk of your home, growing up in Cochinchina, the son of a civil servant and a local noblewoman. She is fascinated of the stories you tell her of and as hours fly by the train seems almost a world apart in your minds eye now. She begins to question you about native instruments when your conversation is rudely interrupted by the sound of a [[CONDUCTOR'S WHISTLE]]. <<set $name to "Hien" >>\ <<set $sex to "M" >>\ <<set $home to "tonkin" >>\

Her smile briefly falters, perhaps from your solid french or your mannerisms you had convinced her that you had not been a continental frenchman till this afternoon, but she quickly recovers and begins to question you. You talk of your home, growing up in Tonkin, the daughter of the colonial governor and and his native wife. Your childhood was rough, tossed between the traditions of the old, and thrust into the world of modernity, but you became stronger for it. She is fascinated of the stories you tell her of and as hours fly by the train seems almost a world apart in your minds eye now. She begins to question you about native instruments when your conversation is rudely interrupted by the sound of a [[CONDUCTOR'S WHISTLE]]. <<set $name to "Mai" >>\ <<set $sex to "F" >>\ <<set $home to "tonkin" >>\

Today, you woke up early, as the train pulled into the final station. You repack your meager luggage, take one last look at your halfway home, and exit your carriage. You pass by a few familiar faces on your departure, you say farewells to Cobilliar, the conductor, the engineer, and your other fellow passengers, the stranger is nowhere to be seen. Bidding one final adieu as the porter hands you your luggage, you walk down the steps of the station as you disembark onto [[THE STREETS OF PARIS]].

Shuffling your seat forward, you sit down opposite the woman, she greets you with a small smile, and offers a simple hello, before going back to writing in the book currently occupying her. After a few minutes, she introduces herself to you as MARIE BOBILLIER. She is writing about music, she tells you, and wishes to know what music you prefer. [[THE CLASSICS]] [[THE DANCE ORCHESTRAS]]

You decide not to bother her for the time being, and instead peruse the complementary menu offered by the train. While the food is fresh, it is mostly light meals and desserts on offer, and you order a small dessert its contents you have not the faintest clue, but it looks delicious. The woman, seeing your order, decides to take the initiative and seats herself beside you. She introduces herself as MARIE BOBILLIER, a music writer, and fan of desserts. You exchange pleasantries before she politely asks you for [[YOUR NAME.]]

[[LYON]]

The streets of LYON lay before you, in all their antiquity and wonder. the sea breeze of MARSEILLE is now behind you, and nothing is left dissipate the smothering smells of the city. Walking through the thoroughfares, you have a few options before you. Your train doesn't depart for another hour or so, so you should have time to visit at least one of the attractions of the city. Which do you choose? [[THE CROWD]] [[THE FAIR]] [[THE CHURCH]]

The conductors whistle shrills through the carriages, as the train begins to slowly pull into the station, Marie greets you adieu, this is her stop. Escorting her off the train, you are once again struck by the scents and sounds of the French Metropolis. You have made it to LYONS, the first stop on your journey. [[EXIT THE TRAIN]]

Walking through the city, you come across what looks to be preparations for some sort of festival. Candles dot the windowsills and entrances of streets, and buntings hang across the roofs. Upon asking a passerby, he explains to you that the festival consecrates the city to God, and the candles light the way. He offers to give you a candle to light. [[TAKE THE CANDLE]] [[DECLINE]]

Towering above the city, the church looms in your view long before you can reach it. As you reach the entrance steps, you cannot help but feel watched, or judged in some way, by the behemoth above. As luck would have it, the basillica is open, and you are granted entry to the foyer. Pilgrims and priests mingle in the open hall, but you feel strangely alone. Unlit candles throng the interior and exterior of the church, and you are about to ask a friendly priest more before you realize how long you've tarried here. Exiting the church, you hurry back to the station so as to not miss [[THE BOARDING CALL]].

Though you were too busy with adventure to notice, the sun was starting to hang low, across the city you hear the shrill tone of the conductor's whistle, and quickly disentangle yourself from the crowd, rushing back to the train. You take one last look at LYON before you are off again, inexorably driven towards your destination. [[BACK TO YOUR CARRIAGE]]

Once again you sit on your bed. the countryside rushing before you. as the night begins to fall, you judge that you have enough time for one more venture before retiring for the night. [[RELAX|RELAX TWO]] [[VENTURE|THE CARRIAGE TWO]]

Ventures can wait, you deserve a rest. #description changes based on what you visited. [[THE CARRIAGE|THE CARRIAGE TWO]]

Once more, into the breach. The carriage thoroughfare is quieter now, though you still see the odd porter frantically makign the rounds. You are passed by a large contingent of the other passengers, making their way bunkwards from the dining carriage. Past the carriage, lies the train's caboose. [[THE DINING CARRIAGE|THE DINING CARRIAGE TWO]] [[THE CABOOSE]]

Once again, the dining carriage is quiet. Though that is more due to the occupants engrossed in eating than there being none. A waiter sits you opposite another gentleman. who is halfway through some sort of risotto. As you order your meal, he looks up at, and introduces himself as... [[A NOVELIST]] [[A TRAVELLER]]

All is quiet at the rear of the train. Leaning on the rail, you see the fading lights of LYON in the distance, as if waving you goodbye. You are joined in contemplation by a silent, dark gentleman. He offers you a cigarette. [[ACCEPT]] [[REFUSE]]

You recognize the man from the caboose isntantly, and can still smell the smoke on his clothes. <<if $stranger is 1>> He greets you with a faint warmth, recalling the cigarette shared earlier. <<else>> He greets you roughly, but is amicable enough. <</if>> He is a traveller like you, on the same train to the same destination, but more than that, he will not say. Instead, the conversation turns to you. He asks you what your business is in France, what brings you to the Land of the Light? [[MY FATHER]] [[MY MOTHER]] [[MYSELF]] <<set $stranger to 2>>\

Your first night in France, spent rocking betwixt the rails. But you are content with this, and appreciate the speed at which you are making progress. As you lay down to sleep, you wonder what the following morning will bring. [[SLEEP]]

[[WAKE UP]]

You wake up late, which is not too surprising considerign the day you have had, but still a shame to have missed your morning routine. Looking out your window, you judge the time to be about early afternoon. You've missed breakfast, but there's probably still time for [[A LATE LUNCH]].

Sometimes, you feel as if this train is merely an engine, cabin, and dining carriage, for all the time you spend there. But who can blame you when the food is this good? Once again, you are seated opposite a fellow passenger, He doesn't seem much for words. [[TALK TO HIM|TALK TO STRANGER]]

<<if $stranger is 2>> You recognize him as your erstwhile smoker from dinner. In fact, you can almost smell the cloying cigar smell on him this afternoon too.<<elseif $stranger is 1>> You recognize him as your erstwhile smoker from the caboose. In fact, you can almost smell the cloying cigar smell on him this afternoon too.<<elseif $stranger is 0>> You vaguely recall seeing the man before, smoking in the caboose, but you can't be sure. However, what you can recognize is the cloying cigar smell on him this afternoon. He scrutinizes you thoroughly before before abruptly speaking. "Qu'est-ce qui t'attend à Paris?" [[CONFIDE]] [[CONCEAL]]

By the looks of things, you wont have much time here, so you decide to stick with your fellow passengers for the time being when disembarking. DIJON is an old city, more regal then Marseille but less intimidating than LYON, as you walk the streets, you notice two of your fellow passengers also taking in the sights, who do you greet? [[THE ENGINEER]] [[THE PORTER]]

You catch the train's porter, taking a well deserved break on the station steps. He looks up, expecting you to hound him for luggage, but you way him off and sit beside him. You talk, for a short while, about the journey so far. For you this is all new, but he has traveled this line many times. He talks to you of the things you haven't seen, the streets you chose not to walk down, and the passengers you did not meet. One wonders how many stories the porter has found himself, and will continue to find himself in, before he too reaches his final destination. He does not know, and you cannot guess, so you bid farewell. [[YOUR ROOM]]

As the lights of DIJON dim in the distance, you prepare for what is hopefully your last night on this train. Your journey has been swift, but also contemplative, and with that final thought, you drift off to sleep, to face [[A NEW DAY]].

[[ACT 3: PARIS]]

You make your way through the streets of PARIS, taking in the wonder of the metropolis. Thousands upon thousands of people crowd around you, bustling and jostling for freedom in their inscrutable purposes. You bewildered and stunned by this city, the city of a thousand lights, the city of revolution, the city of love and dreams. The city of very confusing pathways. Unfortunately, perhaps only a native Parisian can fully comprehened the byzantine labryinth of paths and streets that make up this city, and now, so close to your final destination, you have to admit that you, just maybe, are a little bit [[LOST]].

You find yourself suddenly alone, in one of the empty backstreets of the PARIS slums. The new silence is eerie, but the leg space is nice. You take a moment to figure out your surroundings, and only then do you realize that you're actually not alone. [[GREET THE STRANGER]]

This man is beginning to worry you, you call out to him from the other side of the empty street, better face it head on. How did he find you? What does he want, who is he exactly? He waives all questions aside and simply says, 'Suivez-moi.' You follow him. [[ARRIVE]]

The stranger leads you through empty streets to a quiet, unmarked alley. He walks to the end of the street, before a plain door, beckoning you to follow. You duck under the low frame as you enter a small living room. <<if $confided is false>> As you take stock of your surroundings you realize the stranger has dissappeared. You back out, but seen no sign of him outside either. <<else>> The stranger leads you further into the home, before leaving you in the kitchen. <<endif>> Standing there, you begin to realize you are being watched, by a small <<if $sex is "F" >>boy, eyes wide. You kneel down to talk to him, but he scurries away, running to hide behind the legs of a woman standing in the hallway facing you. <<elseif $sex is "M" >>girl, eyes wide. You kneel down to talk to her, but she scurries away, running to hide behind the legs of a woman standing in the hallway facing you.<<endif>> Standing up, you see the stranger beside her, he hands her the letter, and she reads it intently. The silence of her reading is heavy, and as you watch, she begins to have tears in her eyes. It is then you realize the similarities between your letter and hers, then you understand. <<if $home is "tonkin">> You search her face for your father's and you can see the same chin, the same grey eyes, and that same mouth that breaks into a smile as she says. <<elseif $home is "tunis">>You search her face for your Mother's and you can see the same chin, the same grey eyes, and that same mouth that breaks into a smile as she says. <<endif>> 'Bonjour <<if $name is "Mai">>Mai<<elseif $name is "Said" >>Said<<elseif $name is "Chaima" >>Chaima<<elseif $name is "Hien">>Hien<<endif>>, [[HOW WAS YOUR TRIP?]]'

[[END]]

Thanks for reading! Find my other stories at http://serialsymphonytwine.dx.am/ #link this and my blog at http://serialsymphony.tumblr.com/ #link this

It would be hard, perhaps, to introduce her to the music that you prefer, as you've never heard it reproduced in truth outside of the outskirts of your home village, made with ancient instruments and sung in foreign words. but your father liked to think of himself as a cultured man. You tell her you're a fan of the masters especially Mozart and Bach. She nods appreciatevely at your comments, but you can tell she has more fire in her for the modern sound. After exchanging more pleasantries you realize you still have not introduced yourself to her. Not wanting to appear rude, you mention this and apologize. She laughs it off in good nature, and asks you for [[YOUR NAME.]]

It would be hard, perhaps, to introduce her to the music that you prefer, as you've never heard it reproduced in truth outside of the outskirts of your home village, made with ancient instruments and sung in foreign words. but your father refused to let his household escape modernity. You tell her you're a fan of the dance halls, in particular Strauss and Waldteufel. Her eyes light up at the mention of the latter, and she says she is just reviewing one of his concerts she saw in Paris. Perhaps you too could see the master one day. After exchanging more pleasantries you realize you still have not introduced yourself to her. Not wanting to appear rude, you mention this and apologize. She laughs it off in good nature, and asks you for [[YOUR NAME.]]

"Je m'appelle [[SAID]] [[HIEN]] [[CHAIMA]] [[MAI]]"

You accept his offer, and mutter a brief thanks. He waves it off, and lights your cigarette, stares out into the city with you. You share a moment of silence together before he tosses the butt out into the countryside, and heads inside. Watching the night fall, you wonder if you'll ever see the city again. Whether this journey might be a return trip, or one of many. Who is to say what this destination will bring, but one thing is certain: you're making good time for it, at least. [[THE DINING CARRIAGE TWO]] <<set $stranger to 1>>\

He grunts, and leaves you to your contemplations, heading back into the light of the train. Watching the night fall, you wonder if you'll ever see the city again. Whether this journey might be a return trip, or one of many. Who is to say what this destination will bring, but one thing is certain: you're making good time for it, at least. [[THE DINING CARRIAGE TWO]] <<set $stranger to 0>>\

<<if $home is " tunis">>Your father was a humble man, but a man with great ambitions for his children, he raised you to the best of his ability, paid for your education, and when the time came, gave you a ticket and an address. Though he may have never seen France, you hope to do him proud here. <<elseif $home is "tonkin" >>Your father never quite forgot his homeland, and hoped one day to return. He fostered that desire in his children, and though he did not live to see it happen, you hope to start making that dream a reality. <</if>> The old man is touched, though he tries not to show it, he commends you for your perseverence and wishes you the best of luck in your endeavours, you return the sentiment before bidding adieu to [[RETURN TO YOUR CABIN]].

<<if $home is "tunis" >>You never met your mother, but your father spoke of her family in warm regards. You'd always hoped to meet them one day, and learn more about this woman who you'd heard so much about. After years of preparation, you've finally made the trip, for better or worse. <<elseif $home is "tonkin" >>Your mother came from a noble line, but noble lines have come to mean less in your time than hers. However, she was a strong woman, and refused to let her fall from station limit her descendants, she pressured your father to secure a journey for you to his homeland, and would not accept no for an answer. Finally, he gave in, booking a one way ticket from Tonkin, you hope that your mother was right, and the journey was worth it. <</if>> The old man is touched, though he tries not to show it, he commends you for your perseverence and wishes you the best of luck in your endeavours, you return the sentiment before bidding adieu to [[RETURN TO YOUR CABIN]]. <<if $sex is M>> <<elseif $sex is F>> <</if>>

Though your family has given you many reasons to make this journey, your reasons are entirely your own. France is a land of opportunity, adventure, and prosperity. And whether it be God or luck, you have been given this chance to see it with your own eyes, and that starts in the greatest of all cities, PARIS. The man obivously didn't expect such an answer, but he respects it none the less. Your conversation turns to simpler topics, and once again your foreign perspective proves to be a great boon to such discourse. You finish your conversation amicably before the man retires for the night, leaving you to [[RETURN TO YOUR CABIN]].

You stand beside the train engineer as he gazes at one of the giant arches of the city. He absetmindedly greets you, then continues to marvel at the archectural marvel. On questioning, he explains the intricacies and age of this archway. He details its construction over a hundred years ago, and the work doneto maintain the structure. It seems in another life he'd of preferred to be a different kind of engineer. As you walk with him, he places a bouquet of flowers at the base of the archway. He doesn't tell you why, but you notice other bouqets there as well. In rememberance or commemoration, maybe. You journey back towards the main contingent of the crew, where the mood jumps considerably. As the night falls, the conductor has to drag his subordinates back to their berthes, you part ways at the station, him to the engine car, and you to [[YOUR ROOM]].

You spy a crowd gathering one of the open spaces of the city centre. Making your way forwards, you are greeted with an excited throng, all centred around a strange contraption, pointed towards a large clear sheet. Two man stand at the edge of the crowd, one manning the device, the other delivering a talk on the mechanics of it. Suddenly, the screen bursts to life with movement, and the crowd hushes in awe. You are greeted with what looks to be some form of elaboratel ight show, only more lifelike and detailed than any you had ever seen before. Blurred figures mvoe across the screen, the daily throng at work, passengers boarding a train. The clips play one after antoher, repeating for the next hour. You and the crowd are spellbound, and it is not until you hear the shrill tone of [[THE BOARDING CALL]] that you are transported back to reality.

The candle itself is nothing special, but the stained glass in which it is incased is beautiful, reflecting the burning light of the candle within. You thank the man for his generousity before heading back in time to hear the train's [[boarding call|THE BOARDING CALL]]. <<set $candle to true >>\

Best not to take flammable objects on to trains really, you thank the man for his generousity before heading back to the train in time for [[THE BOARDING CALL]].

The old man creaks into the bench opposite yours, introducing himself as a novellist and political writer. You confess that you do not know much of the politics here, having arrived only a few days prior. He laughs, and says that you are very lucky indeed then. He launches a scathing criticism of the Republic, much of which you do not understand, but despite his age you can still see the passion he has for his field. He goes on to talk about what he claims will be a major story, of state secrets, military men and conspiracy against the state! ...But unfortunately it is of men and deeds that happened years before your knowledge. Still, you wish him success in his endeavors. You are about to make your leave when the man switches the conversation onto you. He seems curious about the extent of the empire he so thoroughly writes about, and would like to know why one of Frances' far off children would return home. [[MY FATHER]] [[MY MOTHER]] [[MYSELF]]

<<set confided to true>>\ You explain, in brief, your story. You mention your home, your family, and and your journey so far. From the docks of Marseille to now. He listens silently, and intently. When you are done, he says no words, but hands you a small piece of paper. 'For when you arrive.' He says. He then leaves without a further word. Of course, upon examining the paper, you can't read a word of it, but it was presumably a nice gesture. Before long the train arrives at it's second last stop: [[DIJON]].

<<set confided to false>>\ You do not trust this man, perhaps you don't even like this man, or perhaps your nose is getting tired of the stench of cigarettes, you politely avoid his questions and decide to eat in solitude for once. He watches you keenly your entire meal, and your only respite from his eagle-eye stare is when the conductor announces the train's arrival in [[DIJON]].

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