"Yes, it is that one over there, come let's go have a look," he said, pattering off in that direction.

Sully makes a couple of quick notes and follows on to the Greenberg tomb. He keeps a wary eye for anyone in a topper.
This message was last edited by the player at 19:59, Thu 18 Nov 2021.

The Greenberg family crypt is one of the largest occupying the north side of the Stanton Street Cemetery. Built from pale granite, the exterior has been stained by the smoke and soot from nearby streets, which has rendered it flat gray in color.

A set of three steps lead down into an alcove. Flanking the opening, the neatly carved names of each member of the family who has been interred here can be seen, the most recent having been Sonia Greenberg. At the bottom the steps, the investigators can see that the crypt’s interior has been fashioned from white marble. A large bronze door, its surface bearing a relief of Joseph leading unseen followers across a flowering plain, provides the only entrance. The door is sealed. A pair of stained glass windows, each depicting the Star of David, are on either side of it.

Examine the crypt’s exterior, the investigators do not perceive any recent evidence of disturbance.

Keeping watch, Quinn does not notice anyone else moving about the cemetery, save for the groundskeeper.

Flatt takes his camera and takes photographs of the crypt exterior, and then takes a further photograph of the depiction on the crypt door. "I don't know if that will show up on a photograph, but if it doesn't, hopefully we can all remember."

Jake jots down the names carved on the crypt and the dates of their deaths. He will try to door, just to check if it can be opened. If it is locked, he will scrutinize the lock. (51% Locksmith)

09:37, Today: Jake Morris rolled 80 using 1d100.  Examine lock on crypt.

But it looks unfamiliar.

"I reckon at some point we'll want to speak to this Mr. Bishop, if nothing else but to gauge his temperament," he suggested.

"Yes, Professor, but...not alone. I just have a bad sensation about him. He's off-putting to me, and I like to think I'm a decent judge of a person."

He grimaced a bit, thinking about the fellow.

"Did our Spanish friend say that the guy in the top hat was Mr. Bishop? Or just that he works in the mortuary?" Sully asks casually as he goes about the alcove, reading inscriptions and jotting down information. He takes hold of the crypt door and gives it an experimental tug.

[Can I get a Luck roll to see if it's been left unlocked?]

"Cuban, I believe, not Spanish, but no, the two men are not one and the same. Bishop runs the cemetery, and Top Hat works in at the mortuary. The groundskeeper didn't know much of Top Hat, and claimed that Top Hat only speaks to Bishop," he said.

"By the by, the groundskeeper was quite worried about Mr. Bishop seeing him talking to us, and was in fear of losing his job, so please let's keep that quiet. If asked, we simply did some research and learned that Mr. Bishop was the one in charge, though I'm not sure as to the line of inquiry that might lead us to Top Hat."

"Do you think it credible that well, perhaps we can claim to be representatives of a wealthy estate seeking a plot upon which to construct a crypt, and that we were assigned to ask after this possibility, and speak to the various employees here to be assured of the level of service."

The bright July morning provides ample light for Arthur to capture several well framed images of the Greenberg crypt, including one of the tomb’s entrance.

Jake surmises that the crypt’s lock is operated by a fairly large key, of the sort that are still used to secure cells in some of the city’s oldest jails. The detective guesses that it is unlikely that the Greenberg family has the key in their possession. It has probably been entrusted to the staff at the cemetery for safe keeping.

Sully gives the door of the crypt a tug, but finds it sealed tight, the ornate portal unmoving.

OOC: Much as I would like to offer Sully a Luck roll (a good thought, that), the staff at the Stanton Street Cemetery are actually very diligent about ensuring that each of the family crypts on the property are secured against intrusion.

To their left, the investigators notice that the front door to the mortuary opens and a lone figure emerges. It is a tall, slender man dressed in a well tailored black business suit, a fresh red carnation in his lapel. He wears leather gloves, along with a black fedora and tinted glasses. As the door closes behind him, he produces a cigar from his jacket, which he lights with a match. Exhaling a small cloud of gray smoke, he appears to survey the nearby cemetery grounds.

OOC: To avoid any possible confusion, Arthur is certain that this is not the unsettling figure he observed during his visit to the nearby alley. In particular, the man who emerged from the mortuary is wearing clothes that are decidedly modern.

"Professor, you are the most reputable figure among us," says Sully, modestly, "You should approach this man who may very well be Mr. Bishop."

"Good day, sir," he said, approaching the finely dressed gentleman. "Are you the proprietor of this fine establishment?"

Before the appearance of this stranger, Arthur will have said the following to the professor and his other colleagues: "Yes, I think that excuse holds rather well. As far as the Top Hat goes--I saw him, he was unsettling. Why would well-to-do representatives of a wealthy estate not look into him? The place must be presentable and pleasant, after all."

Later, and concurring with Sully, he stood back for a moment and watched.

The neatly dressed man turns his attention to Wells as the professor approaches. ”I am,” he replies, extending his hand, ”Nathaniel Bishop.”

He studies Wells momentarily, the practiced assessment of a man who is accustomed to serving the grieving. ”What brings you to the cemetery today, Mister…?”

He took the man's and and shook it.

"Tony Wells," he said.

"We are here on behalf of a family of means, seeking to secure a plot upon which to construct a crypt at one of the various cemeteries in the city. We were asked to learn about this place, its history, and meet some of those who were employed here to get a sense of the level of service provided."

”Ah, of course. It is certainly wise to consider all of the available options before making such a commitment,” Bishop replies with a nod.

”Stanton Street Cemetery has a rich history. It is one of the oldest cemeteries in New York. My family has operated it since its founding in 1779.”

He glances in the direction of the entrance gate. ”I will grant that recent years have not been kind to the surrounding neighborhood. However, that has enabled us to offer some of the most competitive rates in the city.”

“Even so, there are a number of entrepreneurs who have recently shown a growing interest in lower Manhattan. This was once an elegant part of town and I am confident that it will be again. One that the descendants of the family you represent will be proud to visit, or reside in.”

He gestures to the mortuary door. ”Perhaps you would like to step inside? We could discuss some options and I could provide you with information on a reputable monument builder who I have worked with for many years.”

Arthur stepped forward shortly. "I should think we would all be ecstatic to step inside. I am quite impressed with the exterior, but to examine the interior would be best, of course. Who is this builder you speak of?"

Sully follows the man toward the mortuary building. Nothing more to be learned from the Greenberg mausoleum at present, it seems.

Bishop leads the small group inside. A small brass plaque just right of the entrance reads:


The cemetery owner escorts the four investigators though a parlor which is tastefully, but somewhat quaintly, decorated in Late Victorian style. Several caskets and crematory urns are on display. Bishop moves toward a closed door on the right side of the spacious room, addressing Arthur’s question as he walks. ”His name is Alessandro Bianchi. He constructs monuments and crypts. Excellent craftsmanship. I will be glad to show you some examples before you depart. He has worked with us for almost eight years now. I will confess that I am somewhat particular about the artisans I do business with and Mr. Bianchi has never disappointed myself or my customers.”

Beyond the door is an office, the centerpiece of which is a massive oak desk. A chair, upholstered in dark crimson leather, sits behind it. The walls on the left and right are lined with floor to ceiling bookshelves, which are filled to capacity with books. Bishop gestures to a group of chairs arranged in front of the desk while he removes his hat, hanging it on a hatrack. As he takes a seat, he removes his glasses and gloves. The gathered investigators cannot help noticing that Nathaniel Bishop’s skin is quite pale.

”In most instances, family crypts are designed with the intent of providing a resting place for several generations of the familial line. Is that what the family you represent desires?”

Jake hangs back, well aware that his looks are not those of a well-to-do family. But if pressed he may play the cheapskate nephew, concerned about cost above all else. For now, however, he probes the mortuary offices with his eyes for signs of the keys to the crypts.

"Yes, the family is looking to honor a departed loved one as well as see to the future of their line for generations to come. It is one of those families without such a place so far, but that honors the value of having a place of rest where the family can be gathered from here on out to mourn the loss of their loved ones and honor their passing."

Arthur added: "And the family is a decent size, as well. May I take photographs in here? They will be for the perusal of the family, of course."

Bishop draws a small album out of a desk drawer and slides it toward his visitors. ”These are photographs of Mr. Bianchi’s work, both monuments and family crypts.” He produces a business card from another drawer and places it next to the album. ”Mr. Bianchi may be reached at his workshop during regular business hours. I believe you will find his rates extremely reasonable.”

“If time permits, I can also show you some of the crypts that he has constructed here. There is one that the family has been gracious enough to permit tours of, for those wishing to construct similar memorials.”

He leans back in his chair, spindling his fingers. ”I had noticed that you were looking over some of the family crypts. The northern end of the cemetery is primarily dedicated to them. Of course, that is not the only area where a crypt could be constructed, should the family desire a more secluded location.”

At Arthur’s question, he smiles, a tight expression entirely without warmth. ”You are certainly welcome to take a photograph or two of the mortuary parlor, where the displays are held, as well as the cemetery grounds. As this is a private office, I would ask that you refrain from taking any pictures here.”

"That is most kind of you," Mr. Bishop, "This tour--including a couple of other cemeteries, you understand--is our only occupation for all of today.

"Was the Greenberg structure Mr. Bianchi's handiwork?"

[Was there anything particularly attractive or distinctive about the Greenberg mausoleum that we might cite as a reason for a closer inspection?]

Wells nodded with interest, taking notes as he listened and as the others contributed questions.

"Yes, that one in particular caught our eye as we approached. Very fine work."