Laura Bow 2: Dagger Of Amon Ra. Index -Introduction 3 -Trite 4 -Inventory 6 -Act 1: 10 - New York Daily Register News Tribune 10 - Crodfoller “Rube” Rhubarb 13 -Tribune exterior 16 -Taxi interior 18 -12th Street Dock 20 -Steve Dorian 21 -Police Station Exterior 22 -Police station interior 23 -Sergeant Dennis O'Flaherty 24 -O'Riley's office 27 -Lo Fat's Laundry Exterior 27 -Lo Fat´s Laundry Interior 32 -Lo Fat 33 -Speakeasy exterior 38 -Speakeasy interior 39 -Ziggy 40 -Speakeasy Women's Lounge 41 -Interrogations: -Dr. Pippin Carter 42 -Archibald Carrington III 45 -Ziggy 48 -Yvette Delacroix 51 -Countess Lavinia Waldorf-Carlton 57 -Olympia Myklos 60 -Ptahseptut Smith 65 -Rameses Najeer 68 -Detective Ryan O'Riley 73 -Steven Dorian 78 -Wolf Heimlich 82 -Ernie Leach 86 -Daisy Ferret 90 Museum locations -Museum exterior 90 -Museum door 91 -Rotunda 92 -Museum Gift Shoppe 94 -Mastodont Exhibit 97 -Pterodactyl exhibit 98 -Tyrannosaurus Rex Exhibit 99 -Armor Hall 100 -Life Mask Exhibit 105 -Egypt Exhibits 106 -Great Masters Room 109 -Sculpture Hall 112 -Eastern Tower Circular Hallway 114 -Yvette's Office 115 -Carrington's Office 118 -The safe in Carrington's office 121 -Olympia Myklos' Office 121 -Basement hall 125 -Security Chief's Office 126 -Alcohol Preservation Lab 128 -Ernie's Office 132 -Mammalogy Laboratory 134 Act II: Eavesdropping 137 -Moonlight walk with Steven 142 -Finding Dr Pippin Carter 143 Act III: Exploring The Museum 143 -Ziggy's death 144 -Archibald Carrington's / Watney Little's death 147 -Pippin Carter's Corpse Relocation 148 -Ernie's death 148 -Upon Walking Into Yvette's Office 150 -Eavesdropping Yvette's Office 151 -Eavesdropping using the intercom 154 -Tut Smith interruption 155 -Eavesdropping behind the tapestry in the Armor Hall 156 Act IV: The Museum Of The Dead 158 -Yvette's death 158 -Countess Lavinia Waldorf-Carlton's death 160 Act V: The Chase 161 -Employees Only 162 -The elevator 163 -Mummy room 163 -The Ritual Room 165 -The Furnace Room 167 -The shaft 169 Act VI: The Coroner's Inquest 171 Game ending Copy check 177 Class Act Classification 178 Death screens 179 Introduction “Huuurrrkk! Ack!” PS There is still time to correct this most grievous misunderstanding, Mr. Carter. The Dagger of Amon Ra must be returned to Egypt. PC Stay out of my way, or I'll thrash you within an inch of your life. PS Surely you can find a way to accommodate everybody's wishes. PC Who are you to tell me what I can do with my own property? PS YOUR property?! What authority do you have... PC The authority of the Egyptian Antiquities Service. So, if you don't like it, I suggest you waddle on back to Egypt and complain to your own government. PS (TRYING DESPERATELY TO CONTROL HIS TEMPER) Would it not be better to work this out diplomatically? PC This isn't a case for diplomacy. It's a case for your acceptance of the situation. PS It is not just MY acceptance at issue, Mr. Carter. Frankly, some of our people are quite upset...moved to take drastic measures, if need be. PC Are you THREATENING me, you malodorous little man? PS Mr. Carter, there are some who would rather fight back than allow their country to be stripped of its national treasures. PC Any fat savage who lays a finger on my exhibit, or threatens ME, will find himself in deep trouble. Do I make myself clear? PS As clear as the water of the oasis, Mr. Carter. AC Be careful with that steamer trunk, young man! It's exceedingly valuable! SD It sure is heavy, Mr. Carrington. Have you got gold bars in here or something? AC The contents of my trunk are not your concern. Now, be a good lad and take it to my taxi. The Countess is waiting. New Orleans -- One Week Later JB (WORRIEDLY) Are you sure you've got everything? LB Yes, Daddy. JB You've got Sam's address at the paper? LB Yes, Daddy. JB You've got the money I gave you? LB YES, Daddy! Don't worry! JB Put some money in your shoe. New York's a big city, and there's a lot of crime there. LB Look, I'm going straight to the paper. What could possibly go wrong? JB Let me give you a little more money, just in case. LB (SHE REALIZES HE'S MERELY DELAYING THE MOMENT WHEN SHE WILL LEAVE, SO SHE'S SAD BUT BEING FIRM.) Dad, I've got to go. JB Godspeed, Laura. Call me as soon as you get there. LB I'll be fine, Dad. I'm going to make you proud of me. JB I already am, honey. IR Excuse me, dear. Are you a secretary? LB Actually, I'm starting a new job as a reporter for the New York Daily Register News Tribune. My name's Laura Bow. IR How nice. I'm Irmgaard. Is this your first trip to the big city? LB Am I that obvious? How could you tell? IR By the way you keep glancing out the window, dear. I did the same thing the first time I came to New York. The tall buildings, the people rushing around; it was all so exciting. Then I stepped off the train and got mugged. LB How awful! IR It's the New York Experience.... IR Thank you, dear. You're very kind. I've enjoyed travelling with you. LB Do you need any help getting home? IR No, dear. I'll be fine. Thank you. LB You're sure you'll be okay? IR Yes! Thank you! Goodbye! LB Goodness gracious! My suitcase! MU Can ya spare a dime, Miss? LB Certainly, sir. I'm always ready to help those who are less fortunate. MU Well, that's just peachy! Gimme ALL your money, then! LB Excuse me? MU Hand it over! LB This seems VERY unfair.... MU Welcome to New York, kid. LB I'm not going to let a little bad luck ruin my day! Hello, New York! Laura Bow has arrived! LB My destiny awaits! Nothing can stop me now! LB I really want to thank you for hiring me, Mr. Augustini. SA For HIRING you? I don't even know who you ARE! LB I'm Laura Bow. I believe you know my father, JOHN Bow. SA Ah! John Bow's daughter! Now I remember. How is he? LB He's fine, and he says hello. He wanted to know if you still had that newspaper clipping on your wall about the explosion of the Hindenberg Building in New Orleans. SA Yes! Your father was the first cop on the scene of the explosion, and he let me into the wreckage so I could cover it for the paper. I rescued Rupert Hindenberg from his burning office, wrote about it, and made a name for myself as a reporter. I owe John a lot for that. Think YOU can handle being a reporter for a big city paper? LB I'll do my best, sir. SA We usually just hire men for this job. It's rough out there. And you're kind of...small. LB I can do it, Mr. Augustini. Just give me a chance. SA All right. As a favor to my old pal, John. But I'll be keeping a close eye on you. LB Thank you, sir. SA For your first assignment, I want you to write about a burglary. Some kind of a fancy knife was stolen from the Leyendecker Museum. I'll arrange for you to attend the fundraiser at 7 o'clock tonight for their new Egyptian exhibit. Everyone will be there. Tell them you're covering the Society News so they won't clam up on you. LB You won't regret it, sir. I have a nose for news. SA Just keep your nose out of trouble. Here's your official notebook and your pencil. It already has Crodfoller's notes in it. Have the story ready by 3:00 tomorrow, or you're out of a job. Trite That wouldn't accomplish anything. "Questions are a burden to others, Answers are a burden to oneself." In other words, you get no response. "It is better to know some of the questions than all of the answers." -- James Thurber Don't touch it! You don't know where it's been! While this is an interesting approach, it serves no practical purpose. Looks aren't everything. Looks can be deceiving. That's not the sort of thing you want to examine too closely. Upon close inspection, you see nothing new here. You get no response. "Well-timed silence hath more eloquence than speech." -- Martin Tupper "Silence alone is great; all else is weakness." -- Alfred de Vigny "There was silence supreme! Not a shriek, not a scream, Scarcely even a howl or groan, As the man they called 'Ho!' told his story of woe In an antediluvian tone." -- Lewis Carroll That would get you nowhere. You hear nothing of interest. Use this icon to ask questions of other characters in the game. You may ask about anything in your notebook. There is not enough memory available right now to show the about screen. Click here (or press Control-C) to bring up the control panel. Use this icon to pick something up, take something, open something, or otherwise use something. Use this icon to leave close-ups. To learn more about the other icons, first click here, then pass the question mark over the other icons.