View allAll Photos Tagged whodunnit
Surely an easy question for every eraser-sharp mind!
My attempt at the "Looking Close... on Friday" theme "Eraser".
Shot with a Mamiya "Sekor CU 65 mm F 5.6" lens on a Canon EOS R5.
Mystery Stories
Macro Mondays, Theme - Hobby
5 focus-stacked images.
For an image with scale, see here:
Macro Mondays theme Board Game Pieces
Was it Scarlet in the Ballroom? But which weapon did she use?
The Board game is Cluedo, a whodunnit and undoubtedly the best game on the Planet.
Cropped to fit group requirements.
Happy Macro Monday! 😄
I was out for shots of birds in flight but this was the only shot I got before the rain put me back in the car!
And he said I told you to bury him not hide him !
The question is who done it?
This was a fun shot was just out exploring with Tripp all those Halloween sims and got a random shot and no I do not know who did it :P:P:P
Taken at Aspen Halloween 2015
Limo:
On a rainy day, a shallow hit ball to centerfield...and all the physics and athleticism of the mystery of a moment. Will the angle and speed of the ball, the effects of gravity and the intangibility of the rain be synchronized with the hat's-off effort...eyes, outstretched glove and diving abandon...to deliver the out? Or advance the runner to a base? A whodunnit in the blink of an eye, ultimately revealed, later with a gasp, by the grand mystery of passing Time.
Poor Wilbur, he does look a tad glum, prepared two dishes but who stole the other dish of jelly beans and left in a hurry, scattering beans as they fled the scene?? It's a 'who dunnit'!
Whatever you do, don't 'spill the beans' on the culprit, sshhhhh :))
But they did taste good, oops!! Guilty m'lud :(
HBHM and HMM to you all, have fun out there today :))
macro mondays - 1st May, CRIME
Whodunnit?
This net-like casing/coccoon has some similarities to the lerps of tiny tree lice, but it is way to big, being almost 1 cm across. I would love to know what insect (spider?) made it.
It is a really neat little basket.
Found on a Eucalyptus tree in Canberra, Australia, April 2015.
I was out for lunch with my family and when I returned home I found these feathers distributed on the floor of the terrace. The cats were all indoors and pretended to sleep. So we have evidence, we have a motive and we have three suspects. I tend to rule out that it was Cleo but I have seen her chase and kill a butterfly a few days ago, so you never know. The most likely culprit is certainly Linus but we will never know for sure. Usually they take their prey indoors but I haven't found any dead bird in the house. For now I think / hope that whoever it was only tried to catch the bird but the victim escaped.
47773 clears its throat on the approach to Small Heath station with 5T50 Tyseley Steam Trust to Birmingham, the Shakespeare Express evening murder mystery tour.
Struggling to get out right now. This is from a while back, beneath the Humber Bridge on a cold moonless evening. It was so dark I sat me iPhone on a fg rock to get focus and tripped over the wreath which I guess has washed up with the tide. Who knows...
A huge long-shot, but I wonder if anyone knows what type of egg this is? It seems to be a single egg, laid on a willow leaf, and was just over 2mm in length. I'm quite fascinated by the way it seems to have been `glued' to the leaf.
I'm going to take a totally uneducated punt at it being a moth egg.
This is a single image, taken with my MP-E 65mm lens at 3x magnification, in natural light.
In the opening scene of “Food Jodi” I borrow a “Pulp Fiction” movie vibe and were the book ever to be finished and were it to be made into a movie streaming on Netflix I would suggest using actors who look like the characters from the movie. Engaging Uma Thurman, John Travolta and Samuel Jackson would be prohibitively expensive and I sincerely doubt they would accept the roles. I wouldn’t if I were them.
The three sit at a table in the “Food Jodi” diner hunched over an over-large donut probably made of plaster and more suited to be a paper weight. Emma, pictured but unnamed in an earlier image (see below), is busy with a customer at the drive-up window. For some as yet unspecified reason a ruckus erupts in the diner and Emma’s attention is momentarily diverted from the driver of a white oversized pickup truck at the window about to receive a bag of bear claws and a hot vanilla-almond milk (already paid for, which could be a clue).
When she turns back to said customer he is slumped in his seat, his seat belt unbuckled and quite dead. No sign of a bullet wound. No rope marks around his throat. The rest of the book, being a murder mystery, is the quest of determining not only whodunnit, but how it was done.
This is a detail from the cover image of a gift my sister gave me from her recent trip "up the Nile".
uk.youtube.com/watch?v=mzSryOoa3S4
Two images combined and magic picniked.
"Papyrus notepad from Egypt - Farid Atiya Press"
As the weather has cheered up I may actually get outside and take some sunny shots now - you never know :-).
Lomochrome Purple. I really do like this stuff, though I have probably shot only about 10 rolls of it altogether. I keep reminding myself to use it more, but individual emulsions are like some people's watch list on Netflix, or a list of all the books you mean to read. There just isn't enough time for all of them. But considering how much this film likes green landscapes, this seems like a good time to be using it...
It isn't simply the film's look that fascinates me though. The whole mystery of its origins is like a good whodunnit. Lomography is notoriously tight-lipped about it, even though I have plied my connections at the company for any info. I am really impressed by their information discipline in this regard. I do think it would be one of those cases where the truth is far less interesting than the mystery though, so I am fine with not knowing all the details of its production. I did hear a rumor though of the possible resurrection of a Lomochrome film once thought all gone. I am hesitant to say any more on that myself but not out of a need for secrecy, rather a desire not to unduly stir up hope where I am not sure it yet exists.
But anyway, I ramble. Or perhaps I am just thinking out loud to myself. I'll get a roll of Lomochrome Purple in a camera this weekend I think. And now I'm heading off-line to go work on that aforementioned book list. Netflix will wait for another evening. There are only so many hours in the day.
Mamiya 645
Lomochrome Purple
Always like a good whodunnit (have all of Agatha Christie's books) so when I saw the "M" shape the trees made it reminded me of dial M for murder... Not that I'm planning a murder, for full disclosure!
An illustration of some of the characters from Agatha Christie's novel 'The ABC Murders'. The novel is currently being serialised in the newspaper 'Asahi Weekly' in Japan.
Four stylized portraits in a grid depict individuals with distinct expressions and decorative backgrounds. Each person is dressed in vintage-inspired clothing, with backgrounds featuring geometric and floral designs.
Hair - CAMO - Olivia F-Locs
Eyeshadows - .Hayami. Yuno Eyeshadow Dark Set
Tattoo - Dead Dolls: Thine Art is Murder BOM Tattoo LOGOX/EVOX
Dead body, bloody pipe - PN // NODE005 // WHODUNNIT Decor
Crypt - [NB] ~ Crime Scene Crypt
Top & garter - AvaGirl - Carmilla
Shoes - +DL - Wire Heels+
All items at O-ZONE EVENT 8th-28th October round
DOES ANYONE KNOW?
This is a launching point for rock climbers but I am perplexed by the cut in the rock (1) and the shape of the cut (2). Are those man made or they formed naturally? 🤔 Or was Calico Basin a rock quarry at one time. ------
#calicobasin #cutintherock #isitjustme #natural #naturalormanmade #perplexed #doyouknow #whodunnit #nature #lasvegas #outdoors #desertlife #sonyalpha #sonyA6000 #sigma150-600mm
Today's project, photograph covers for paperback crime thrillers that don't exist. Used to love reading these especially enjoyed the lurid covers that used to adorn them and still like a good TV whodunnit
Miss Scarlett, in the Conservatory, with the candlestick?
Taken at Coven of Crows
maps.secondlife.com/secondlife/Liminal%20Worlds/144/139/40
Named as a reference to the infamous Board Game "Clue".
cluecluedo.fandom.com/wiki/Character
Characters:
Mr. Boddy is the owner of Tudor Manor or Boddy Mansion. This unseen host is the star of a murder that millions of adults have tried to solve. After inviting his closest friends, including Colonel Mustard and Mrs. White, Mr. Boddy ends up dead.
Colonel Mustard
This character is represented by the color yellow. He is your typical adventurer with a rich military background. Colonel Mustard (his first name in the British version is Michael) continues to practice archery and shooting by going hunting. He's a dashing and handsome man with a proud demeanor. He loves to challenge people to a duel if they cross him, and he isn't afraid to speak his mind. A bachelor, Colonel Mustard has been smitten by Mrs. Peacock and Miss Scarlet. He is a tough man to accuse, so you had better be right.
Mrs. White
Blanche White is the maid of the manor whose pawn color is white and isn't exempt from any accusations. She's got the common characteristics of an old biddy. She owns nothing to her name and takes her domestic duties very seriously. If something is out of place, she had better not know about it.
Professor Plum
Professor Plum is the purple pawn. He would be the smartest man on the planet if he wasn't so scatterbrained. Slightly balding and middle-aged, Peter Plum can't remember where he's been the last five minutes of any part of any day, so how could he remember if he murdered Mr. Boddy or not? He's a simple, intelligent man and good-natured at heart, but he likes to steal his own things. That's because he's just absent-minded enough to do so!
Mrs. Peacock
Mrs. Peacock is a widow who is dressed in blue. Her latest dead husband's estate is almost all gone because she must maintain an extravagant lifestyle. She's proper and has excellent manners, but is this just a disguise for her past? All four of her husbands have either disappeared or have died mysteriously. Is Mr. Boddy her fifth victim?
Mr. Green
Mr. John Green, indicated by the green pawn, is a smooth talker. His family is made up of shysters. His dad is a lowdown thief and his mom tells fortunes wherever and whenever she can. Guess what: she's not a psychic. Mr. Green found a calling in spirituality. This means he sets up traveling tents and asks people to give him money which is for the less fortunate, and that means the money is for him. During his travels, "Reverend" Green met and had certain dealings with Mr. Boddy. Did Mr. Boddy have something on the Reverend?
Miss Scarlet
Represented by the red piece, Miss Scarlet is the sexy flirt of the suspects. She knows she is beautiful and will flaunt that to her advantage. At a young age, she received all the attention and this made her mother mad. Miss Scarlet believes her mother is hiding massive amounts of wealth and since her mother won't share this money, the younger Scarlet has taken to dating wealthy bachelors. She jumps from one to the next without a thought, hoping her beauty and charm will carry her through into the next will.
Saw these flies on this curled leaf, then spotted the caterpillar inside it, clearly perished. Can also see some web, so, did a spider kill the caterpillar? Don't think so...
there's also a dark patch next to the caterpillar (see comments), so I wondered if it might have been parasitised by a wasp??
Who knows? Any thoughts??
The flies were making the most of the opportunity in any case!
Gwithian Green NR - Cornwall (May 19)
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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Maurice Bejart, Innovative Choreographer of Modern Ballet
By Lewis Segal
Maurice Bejart, for four decades an extraordinarily innovative and influential choreographer and company leader in Europe who often received critical scorn in the English-speaking world, has died. He was 80.
Hospitalized last week with heart and kidney trouble, Bejart died at Lausanne's University Hospital in Switzerland. In response to Bejart's death, French Culture Minister Christine Albanel called him "one of the greatest choreographers of our time."
He "played an essential role in making a large number of people love contemporary dance, without ever ceding to the easy way out or renouncing his deep demands as an artist," she said. "He never stopped surprising us, until the end."
Although he began his ballet career dancing the 19th century classics in pristine versions staged from the choreography notebooks of what is now the Kirov Ballet, Bejart eventually developed a complex style of contemporary ballet. It incorporated movement influences from a number of cultures, along with a flamboyant theatricality very much in the neo-Expressionist tradition of Western Europe but foreign to classical dancing. A key element of that new style was its refusal to accept conventional notions of what kind of dancing, roles and prominence "belonged" to males versus females.
Contrary to their original versions, Bejart cast a man in the title role of his "Firebird" and in "Bolero" created a sexually indeterminate ballet: It is danced with 40 men and one woman, 40 women and one man or with an all-male cast.
"I and a few others have fought for men's liberation in ballet -- true equality," he said in a 1985 Times interview, "though, of course, it is normal when you fight for equality that it looks like you are too much on the other side." Above all, his approach to ballet was personal and intuitive, insisting, as he said, that "dance is a tool for expressing myself totally, for being, breathing, living, becoming myself."
He was born Maurice Jean Berger on Jan. 1, 1927, in Marseilles, France, the son of self-taught philosopher Gaston Berger. His mother, Germaine Capellieres, died when he was 7. From age 14, he trained at the school of the Marseilles Opera Ballet where, he told The Times, he remembered being the only boy in a class of 25 to 30 girls.
"It was not right," he said. "Life is a balance between men and women. If I push the boys [as a choreographer], it is because there still needs to be a reaction against the prejudice that it is not good for men to dance."
After earning academic degrees in Marseilles and in Aix en Provence, Bejart continued his dance studies in Paris and London with a number of major ballet teachers, including Vera Volkova. He made his debut as a dancer in 1945, adopting the surname of the playwright Moliere's wife. His performing experience included stints with the Marseilles Opera Ballet, the International Ballet in London, the Cullberg Ballet and the Royal Swedish Ballet, where he choreographed for the first time in 1950.
In 1953, after serving in the French Army, he co-founded the Ballets de l'Etoile in Paris, which he also co-directed.
In 1955, his ballet "Symphonie pour un homme seul" attracted enormous attention as the first classical choreography set to musique concrete, music put together from a number of electronic and other noninstrumental sources.
Two years later, the company changed its name to the Ballet Theatre de Paris de Maurice Bejart.
But during this period he also worked with other institutions, including Belgian television and the Opera in Brussels, where he created an enormously popular version of "The Rite of Spring" in 1959. It became his signature work.
Its acclaim led Bejart to move to Brussels in 1960, where he founded the Ballet du XXieme Siecle based at the city's opera house, the Theatre Royal de la Monnaie. After his arrival, attendance at the Monnaie shot up from 40,000 a year to 250,000, and Bejart's success at home was matched abroad.
However, critics often disapproved of works that were long on philosophical and dramatic content but short on pure dance -- particularly ballets that emphasized sensual and often openly homoerotic male dancing.
In hindsight, many of the attacks seem to be barely veiled homophobia, but Bejart took them in stride. "A creator who does not shock is useless," he said at the time. "People need reactions. Progress is only achieved by jostling."
He also created arena spectacles on the grandest scale, in particular his celebrated stagings of Beethoven's Ninth Symphony in 1964 and Berlioz's "Romeo and Juliet" for Brussels' Royal Circus in 1966. His "Messe pour le Temps Present" premiered at the Papal Palace in Avignon, France, in 1967, and the following year he choreographed "Ni Fleurs, Ni Couronnes" for the Olympic Festival in Grenoble.
He expressed his interest in the music of Wagner not only through choreography for his own company, but also for others, most notably the Wagner festival in Bayreuth, Germany, and the Berlin Opera. Virtually every company on the European continent wanted him or someone with the same unorthodox approach to classical dance.
"Ballet is part of the theater," he told the New York Times in 1983. "I want my dancers to be on stage like human people . . . who give emotion to the audience."
In 1970, he established the Mudra Center, a groundbreaking international performance academy in Brussels. In 1978, Mudra Afrique opened in Senegal. But friction with the Monnaie management caused him to move to Lausanne, Switzerland, in 1987 and found Bejart Ballet Lausanne.
"I want to question, renew myself again," he said to explain the move, downplaying any conflicts. "I want a new start toward the future, to create something new."
In 1992, he founded a school in Lausanne similar to the Mudra Center and began a series of collaborations with international ballet stars, designers and musicians. And his success in Switzerland sustained his reputation as one of the greatest creative artists in all of Europe.
At the beginning of this century, Bejart transformed "The Nutcracker" into an autobiographical fantasy about a young, motherless boy -- and ultimately the ballet became what he called "a kind of hymn to the ideal mother that he does not know of." Eventually, that boy met a woman who might be, in Bejart's words, "the mother and maybe Terpsichore," goddess of dance.
Bejart was a close friend of the late fashion designer Gianni Versace and recently, for the 10th anniversary of Versace's 1997 murder, he choreographed a two-part ballet, "Thank you, Gianni, With Love," in Milan.
His many awards include the Hammarskjold Prize (1973), the Erasmus prize (1974) and the Prize of the Society of Dramatic Authors (1980).
His writings include a number of essays and several books, including a 1963 novel, "Mathilde ou le temps perdu," and two theater pieces: "La Reine vert" (1963) and "La Tentation de Saint-Antoine" (1967).
"I tried to write a few books, but I don't think they are so good," he said seven years ago in a television interview. "But I try to explain myself in every ballet."
He amplified that statement in an interview the same year with the London Independent: "All my ballets are, above all, encounters, with a piece of music, with life, with death, with love," he said, "with beings whose past and work reincarnate themselves in me, just as the dancer who I no longer am is reborn every time in interpreters who surpass him."
Bejart is survived by a sister. His longtime companion, Argentine dancer Jorge Donn, died of AIDS in 1992.
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--> The article appeared on www.latimes.com/
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Maurice Bejart (Obituary)
French choreographer who attracted large new audiences to ballet with showmanship and work of striking originality
By The Times
Maurice Béjart probably did more than any other choreographer in the past century to win vast new audiences for ballet. He was by temperament a populist, eager to make ballet as direct and lively an art as cinema, and to attract the same kind of public; but he found no difficulty in reconciling this with the introduction of philosophical themes into his work, often based on oriental culture and beliefs.
In his native France and its neighbouring countries, most critics and the public saw him as unable to do anything wrong; many reviewers in Britain and the United States found it difficult to allow that he could do anything right. History is likely to assess him nearer to his own estimation, which was that as a man of the theatre he worked constantly to extend his reach, with results that varied in quality but were rarely dull.
At his best, Béjart produced some of the most exciting dance theatre of our time. Among his astonishingly large output of about 220 creations, the three most likely to survive in the repertoire are his devastatingly simple but gripping Bolero and his highly original treatments of Stravinsky's Rite of Spring and The Firebird. In both of these latter, characteristically, he gave more importance than usual to male dancing. His Firebird was the leader of a partisan troop, shot and killed in battle but returning in spirit to inspire continued resistance. For Rite, he abandoned the original idea of a single female sacrificial victim in favour of showing a man and a woman chosen to save their tribe through ritual copulation and death.
Often, Béjart worked on a monumental scale, producing spectacles that demanded large arenas and sometimes involved actors as well as dancers. The huge Forêt National sports stadium in Brussels and the courtyard of the Palais des Papes at Avignon were long among his regular venues, and for the bicentenary of the French revolution, the French Government commissioned him to create 1789...et nous in the great hall of the Grand Palais in Paris.
At the other extreme, however, he could make a fastidiously precise short pure-dance piece such as Webern Opus 5 for just two dancers, and in Ni fleurs, ni couronnes he created variations on episodes from The Sleeping Beauty. The Paris Opera commissioned several ballets from him, and his Le Molière imaginaire, based on the playwright's life and works, had its premiere at the Comédie Française starring Robert Hirsch, doyen of that theatre, in the central role, which Béjart himself later played with distinction.
There was often humour as well as showmanship in his creations; Le Concours, for instance, combined a whodunnit mystery with parodies of ballet life, including recognisable caricatures of some habitual competition judges.
Dancers loved working with him. Among the international stars for whom he created roles were Jean Babilee in Life, Mikhail Baryshnikov, Fernando Bujones, Suzanne Farrell in Nijinsky, Clown of God, Sylvie Guillem repeatedly, Rudolf Nureyev in Songs of a Wayfarer, Maya Plisetskaya in Isadora and Vladimir Vassiliev in a very personal treatment of Petrushka. But he also grew his own stars within his company, especially the male dancers; Paolo Bortoluzzi, Jorge Donn and others brought both poetry and heroism to their roles, leading a marvellous men's ensemble from which new talent constantly emerged at need. Nor did his women soloists ever lack notable roles to show off their gifts.
Born Maurice-Jean Berger in Marseilles in 1927, he was educated at the lycée there and extended his mind by avidly reading the books in the library of his father, a professor of philosophy. He also began ballet classes at the Marseilles Opera, making his inauspicious debut as (by his own account) a weedy-looking grub crawling out of an apple in Le Festin de l'araignée. As a teenager he first tried his hand at choreography with a solo for himself, Petit Page. Moving to Paris, he furthered his studies with some of the best ballet teachers including Lubov Egorova, Madame Rousanne (whom he lovingly depicted in his ballet Gaite Parisienne) and, later in London, Vera Volkova.
After a season in 1948 with Roland Petit's Ballets de Paris (during which he was one of Margot Fonteyn's partners in the Rose Adagio from The Sleeping Beauty), Béjart joined Mona Inglesby's International Ballet, dancing the classical leading roles — Bluebird, Prince Siegfried, the man in Les Sylphides — on tour all over Britain. There followed a period dancing with the Cullberg Ballet in Stockholm, for which he staged an early version of Firebird on Swedish television.
The 1950s were for Béjart a decade of struggling to establish himself with freelance work and his own small companies. He began to make a name with experimental work such as Symphonie pour un homme seul, which in 1955 was the first ballet to use the musique concrète (by Schaeffer and Henry) that was about to become fashionable, and Sonate à trois, a danced version of Sartre's Huis Clos to music by Bartók.
Béjart's breakthrough came in 1959 when the new director of the Théâtre Royal de la Monnaie, Brussels, Maurice Huysman, wanted to present The Rite of Spring and invited Béjart to choreograph it. To provide enough dancers, they added to the local opera-ballet Béjart's own group, Janine Charrat's company from Paris and the Western Theatre Ballet from England.
The enormous public success of this production led Huysman to offer Béjart his own large company based in Brussels but touring widely, which he boldly named The Ballet of the Twentieth Century.
It was only after more than a quarter-century of success with a world-wide public that a dispute over funding with the new director of the Monnaie, Gérard Mortier, led Béjart to move his base from Brussels. In spite of a personal plea from the King of the Belgians, and tempting offers from other cities, he chose to accept an invitation to settle in Lausanne, where he was promised complete artistic freedom, good working conditions for his dancers, and the facilities to continue the dance and theatre school which he had started in Belgium. It is notable that the school's graduates include many choreographers who have never emerged as imitators of Béjart but have been encouraged to find their own way forward.
Béjart had more than once been offered the directorship of the Paris Ballet de l'Opéra, but had declined it. This did not prevent him from announcing the promotion to étoile of two men in that company for whom he had created roles — an announcement that had to be formally contradicted by the management as being without authority. In 1974 Béjart became, jointly with Dame Ninette de Valois, the first from the world of dance to be awarded the highly respected Erasmus Prize.
With maturity and success, Béjart developed an impressive appearance, not tall but with a commanding air, helped by the unexpectedly blue eyes that shone keenly in contrast to his dark complexion, black hair and beard. Besides his prolific work for the dance stage, he produced operas, always controversially, and made a revealing film, Je t'aime, tu danses, in which he appeared with the young dancer Rita Poelvoorde.
He also wrote voluminously: a novel, Mathilde ou le Temps perdu, inspired by his passion for Wagner, two plays and three volumes of autobiography, besides long discursive programme notes for many of his productions. These last could sometimes seem pretentious, but in private life he was a man completely without side: simple, direct, even earthy, and full of admiration for the work of others (Frederick Ashton's choreography was an early and lasting inspiration for him). He neither flaunted nor hid his homosexuality but chose almost always, even in long-term relationships, to live alone.
Advancing years, and sorrow at the death of some close friends, did not interrupt his activity and originality. He continued making new ballets right until this month, in spite of illness (exhaustion plus heart and kidney problems) that required his frequent admission to hospital. His final creation, under the title Round the World in 80 Minutes, will have its premiere on December 20 in Lausanne.
It was characteristic of Béjart that when he reached his 70th birthday he celebrated it with the creation of a big new work, Le Presbytère, to music by Mozart and the group Queen, which took as its theme those who had died young, especially from Aids, but treated it with a startlingly positive outlook and celebratory conclusion.
Maurice Béjart, choreographer and ballet director, was born on January 1, 1927. He died on November 22, 2007, aged 80
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The Obituary appeared on www.timesonline.co.uk/tol/global/
Floor Decor. Complete fail at hiding a body!
Perfect decor for your Halloween build or Whodunnit Murder Mystery! Four versions available.
Flies and buzzing-sounds click on/off (owner only).
More info at blog: lantianflox.blogspot.com/2022/09/floor-decor.html.
A dastardly whodunnit is under investigation by our crime-fighting duo.
The bigger crime was leaving chalk on Mrs d's carpet, but Russ has the solution.
Oh dear. This will probably end badly.
(I never do this, but it feels appropriate.)
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You’re called to the scene, Detective. Again. This time, the murder took place in the bathroom🚿, a space meant for privacy and reflection, now forever stained in blood. A life ended behind a locked door, no signs of struggle, just silence, and then a body.💀
The game is far from over, Detective. And Macabre Mansion isn’t done with you yet.
🔍Solve this latest murder and you’ll earn the Whodunnit Game, the ultimate sleuthing showdown!
🚕Taxi: maps.secondlife.com/secondlife/MadPea%20Adventures/128/10...