text: [Themes: Mystery, mystery, drama, flashbacks, conversation, simulation]
  
  > look around
  Your office is depressingly empty. The movers have packed away and taken out most of the furniture; your desk remains, shoved against the wall, and a single chair. Danny pressured you into giving him most of your KOLR memorabilia, leaving you almost nothing. The hallway and the long drive home are waiting for you to the east. Your rugged
  blue carpet is still dented from furniture legs. At least you left a mark on something.
  
  A packing box lies in the middle of the room.
  
  > examine the desk
  This mahogany desk has been recently washed and scrubbed. Its warm colors are offset by its bare surface.
  
  > examine the chair
  You'll be glad to abandon this old chair; Danny carved it for you, and you could never tell him how uncomfortable it was.
  
  > examine the carpet
  The blue carpet scrapes against the bottom of your shoes. Heavy furniture, now absent or moved aside, has left indentations in the carpet.
  
  > get box
  The movers are going to take it tomorrow.
  
  > go to the east
  (first opening the your door)
  
  You are standing across from the studio door. You look around at the narrow hallway, the dingy carpet, the patchy walls; nothing like the WESL offices you toured. The On-Air light is off, and the studio seems deserted. Danny and Rosa's offices are north, but the faint scent of Rosalita's perfume draws you south to the lobby.
  
  The radio is playing Mr Roboto.
  
  > go north
  Everyone's gone for the day, including Rosalita; maybe you should see if you can catch her.
  
  The radio is playing Mr Roboto.
  
  > go south
  (first opening hallway door)
  
  You look around the lobby for the last time. The stencil on the wall has almost faded off. The furniture Rosalita bought for this room is getting worn out. The muddy carpet is scuffed and worn, curling up on the edges. The old break room is to the west, and the bathroom to the east, but those are places you'd rather forget. The doorway to the north leads to the hallway, but you never plan on going back there again. The parking lot, and Rosalita, are to the south.
  
  The radio is playing Mr Roboto.
  
  > go to the south
  The parking lot is mostly empty, like usual for a Wednesday. Brick walls hem you in on either side. You've never enjoyed the claustrophobic feeling you get out here. Your blue car is parked near the back, to the south. KOLR studios squats behind you to the
  north.
  
  As you walk out, you try to see Rosalita. You spot her getting into her car, at the south end. She is wearing a blue, short-sleeved dress and her long hair is parted in the middle. Her thick eyebrows are shaped in gentle curves and her large hoop earrings dangle as she walks. She looks the same as she did 20 years ago when you first met.
  
  You walk towards her, but she gets in her car and leaves without seeing you.
  
  [New topic - Speechless]
  
  > go south
  "And that's what happened."
  
  You clear your mind, and return to yourself.
  
  Spare Office
  This comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to
  the hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.
  
  Chuck sits in the chair, trying not to look exhausted.
  
  You feel a cold chill seeping in from outside.
  
  > Your thoughts
  Current thoughts:
  Speechless - "Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon."
  Volunteer - "Rosalita told Danny she was at the shelter Wednesday night."
  Troubled - "Rosalita was troubled by something when Danny spoke to
  her last."
  Flowers - "Chuck sent Rosalita flowers the day after they talked." Records - "All receipts and files for KOLR were accounted for last year."
  Stranger - "Cindy saw a strange man in a yellow poncho hovering
  over Rosalita Morales."
  Parade - "The streets were closed down for a parade all morning." Accounting - "Cindy did the accounting for Roses for Rehab"
  Death - "Rosalita was shot on February 29th in her office."
  Sister - "Maia Morales was Rosalita's sister."
  Secretary - "Cindy Jalcek was Rosalita's Secretary."
  Ex - "Chuck Lee is the former husband of Rosalita Morales."
  Partner - "Daniel Kostopoulos was the business partner of Rosalita Morales."
  Statement - "You need to take the statements of the suspects"
  Greeting - "You need to introduce yourself to the suspects." Assistance - "The chief is always willing to give you help. (This gives a basic tutorial)."
  Suspicion - "The Chief thinks that someone close to her was
  involved in her death."
  Testament - "Rosalita left all of her possessions to four people in her will."
  
  > say speechless
  (to Chuck)
  "So, Chuck, you didn't speak to Rosalita at all last Wednesday?"
  
  He rolls his eyes. "Yes, that's what I told you. I didn't want to see her and she didn't want to see me."
  
  "But you knew she was in the building," you ask.
  
  "Yes."
  
  > say volunteer
  (to Chuck)
  You say, "Danny says Rosalita was volunteering at the shelter last week."
  
  Chuck yawns and stretches his arms before answering. "I'm sorry," he says. "I didn't sleep well last night. Anwyay, Rosalita really did seem to care about her charity. She was a good woman." He stares at the floor. "I wish she was still alive. I can't stop thinking about it."
  
  > say troubled
  (to Chuck)
  "Chuck, Danny says that Rosalita seemed unusually troubled the day before she died."
  
  Chuck sighs in exasperation. "Danny loves to gossip, doesn't he? Well, I don't mean to be arrogant, but she was probably still upset that I was leaving. I mean, she clearly still had feelings for me. And she always hated WESL."
  
  You say, "And WESL is the television station you've joined?"
  
  "What? Yes, Rosalita hated their style, called it 'sensationalist'. But a job's a job. I strongly suspect that that was the cause of Rosalita's tension."
  
  > say the flowers
  (to Chuck)
  "Chuck, Danny saw the flowers that you sent Rosalita last Thursday. She had them on her desk."
  
  Chuck narrows his eyes. "Yes, I sent Rosalita flowers. What's your point?"
  
  You say, "I'm just asking some basic questions, Mr. Lee, there's no need to get upset."
  
  He taps his fingers on his leg, and says "Let's talk about something more useful."
  
  > say records
  (to Chuck)
  You ask, "Mr. Lee, were you involved in the accounting for the studio?"
  
  He pauses before answering. "The accounting...well, the accounting...I'm sorry, I've just been thinking about Rosalita so much it's hard to think of anything else. What was the question again? Was I involved in it? No, Not at all, officer. I was never involved in the business side of KOLR."
  
  "Do you know anything about the filing system?" you ask.
  
  He concentrates, furrowing his brow. "The filing system...I'm sorry, I'm just not much of an accountant. Danny talked about his system a lot. He was always paranoid that he'd lose a file and get audited, or something. Maybe you should talk to him."
  
  > say stranger
  (to Chuck)
  You say, "Cindy saw Rosalita get shot by a man in a yellow poncho."
  
  Chuck looks like he's been kicked in the stomach, and nods. "Yeah, I heard that." He says, "Do you know anything more about the killer? Are you close to finding him?"
  
  "Not yet."
  
  "It makes me sick, thinking about some stranger breaking into KOLR and killing Rosalita." He grimaces.
  
  > say the parade
  (to Chuck)
  You say, "Cindy says that a parade shut down the streets the day Rosalita died."
  
  "Yes, the Founder's Parade. I was supposed to cover it for WESL but I was at home, sick." Tears well up in Chuck's eyes. "Sorry, I just haven't had any sleep, and this is just so exhausting."
  
  You say, "But you were sick? The first week of work? That must have been very unfortunate. Do you feel better now?"
  
  Chuck makes an equivocating gesture. "Yes, I am. Well, mostly. Thanks for asking."
  
  > say the accounting
  (to Chuck)
  You ask, "Mr. Lee, is it true that Rosalita's secretary took care of accounting for Roses for Rehab?"
  
  Chuck rubs his forearm as he answers. "Cindy? Yeah, she was the one who did the internal auditing. She would go through about four times a year and reconcile all of the records. She would also take most of the donations and record them."
  
  "So she was heavily involved."
  
  "Yes, I would say that's accurate."
  
  > say the death
  (to Chuck)
  You say, "Our records show that Rosalita died two days ago, February 29th,  from a gunshot wound to the head."
  
  Chuck thinks for a moment. A couple of tears roll down his cheek, one at a time. He nods. "That's right." He wipes his cheek. "I identified the body."
  
  "Do you know any more details about the death?" you ask.
  
  "No. But I know this: the murderer was a savage. He deserves to die," Chuck says, clenching his fist. He stares you in the eye. "If you find out who did it, they should die."
  
  "I'll pass that along," you say.
  
  > say the Sister
  (to Chuck)
  "How well do you know Maia Morales?"
  
  "Who, 'Andromeda'?" He slowly shakes his head. "I know her pretty well. She was always over at our place when we were married."
  
  "Is that the house where Rosalita resided at the time of her death?" you ask.
  
  Chuck massages his neck for a moment, stretching, then answers. "Yes. After Rosalita and I broke up, I didn't see her very much. As soon as I got the job at WESL, though, Maia started calling me, talking about our friendship, our past. I think she's just looking for an angle."
  
  > say ex
  (to Chuck)
  "Tell me about your relationship with Rosalita," you say.
  
  Chuck's eyes water up. He asks, "You want me to tell you what our marriage was like?"
  
  "I mean, what sort of interaction have you had with her recently?" you say.
  
  Chuck stares at the floor as he answers. "Well, I'll admit, things were tense at times. Anyone here at the station could tell you that. Can you imagine working next to your ex for half a decade? That's one reason I wanted to leave."
  
  "But she kept you in her will," you say.
  
  Chuck closes his eyes momentarily and sighs. "Rosalita... had trouble letting go. She always wanted to go out for drinks, or to talk to each other. But it just wouldn't have worked out."
  
  > say secretary
  (to Chuck)
  "What do you know about Cindy Jalcek?" you ask.
  
  Chuck yawns broadly. "Cindy? Cindy is pretty reliable. We went through half a dozen interns before her, but she managed to last."
  
  "Did she fit in well at the studio?"
  
  Chuck says,  "Oh, hmmm, well, I don't think Danny really likes her. Rosalita loved her. They use to take lunch together, and Cindy was always chatting in Rosalita's office. When I found out that Rosalita had written her into her will, though, it made me worried about Cindy's sincerity."
  
  > say the partner
  (to Chuck)
  "What do you know about Daniel Kostopoulos?"
  
  Chuck says, "Danny? I really respect him. "The Voice of the Heartland", right?" He smiles briefly. "And the voice of authority, here at KOLR. He likes to be involved with all the day to day operations at the station."
  
  "What is your personal relationship like?"
  
  Chuck blinks slowly. "Our personal relationship? Oh, let me think...Well, I don't think he likes me. I actually applied to work at the studio because of him; he was big back then. But then I met Rosalita. She was beautiful. But about Danny, we haven't really gotten along in the last few years. He's too touchy, too erratic; I irritate him."
  
  > say the testament
  (to Chuck)
  "Are you aware that Rosalita left her house to you in the will?"
  
  "Yes, they told me about it when they had me identify the--her body, " says Chuck.
  
  "So you weren't aware of it before?"
  
  Chuck massages his temple with one hand. "When we were still married, I knew her will left the house to me, but I thought she would have changed it by now."
  
  "Why do you think she left it to you?"
  
  He says, "It was our house together; she was always sentimental. I think she shouldn't have done it, but I'll preserve it in her honor."
  
  > Go east
  You are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy
  seaweed-green door to the east is labelled "Studio". A red
  On-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.
  
  From the speakers, you hear the radio quietly playing an ad for the Macintosh.
  
  > Go east
  (first opening the studio door)
  
  The studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a
  juniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.
  
  Maia Morales sits at the table, looking bored.
  
  She gives you a once-over as you walk in the room, then sighs, disappointed.
  
  > say the greeting
  (to Maia)
  You glance at your folder for a moment. "Maia Morales?"
  
  She rises, extending her hand. "Please, call me Andromeda."
  
  "For the purpose of this interview, I'd prefer to use your legal name."
  
  Her face falls, but she recovers. "That's alright then." She sits back down. She leans forward, looking at your badge. "And you're Officer... King?"
  
  "Detective King, actually. I'd like to ask you some questions."
  
  > say the statement
  (to Maia)
  "Tell me what you know about the death of Rosalita."
  
  "All right. Here's what happened."
  
  You lean back as Maia gives you a statement. You can picture it all in your head...
  
  "
  
  > talk to Rosa
  "Hey Rosa, you know how hard it's been to get any recording ti-"
  
  "You can't use it."
  
  "What do you mean?"
  
  "You can't use the studio."
  
  You frown. This not good. Maybe you should try again.
  
  > talk to Rosa
  "Rosa, please."
  
  The microwave whirrs quietly.
  
  "Rosa, this important. I don't even need a tech, I can do it mys-"
  
  Rosalita stands and glares at you. "Maia, I have a real job to do. That's something you wouldn't know about, right? Do you have any idea what could happen to me if I let you screw around with the recording equipment? The audio mixer alone costs more money than you've made in your entire life. Go home and get a real job." She stands up and walks out of the room.
  
  > open the microwave
  If Rosa wants to overcook her popcorn, that's her prerogative.
  
  > Inventory
  You are carrying:
  nothing
  
  > go to the east
  As you exit the break room, you notice an odd smell from behind you. Is that...burning? You turn around, but someone rushes into and knocks you over!
  
  "Oh, I'm so sorry!" you hear someone say. You roll over to see the secretary standing above you.
  
  Lobby (on the floor)
  The original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the
  west, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.
  
  You can see Cindy here.
  
  The radio is playing Every Breath You Take.
  
  > talk to Cindy
  "Oh," she says. "It's you." She frowns, but helps you up. "Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick." She runs off to the west.
  
  You dust yourself off.
  
  The original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the
  west, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.
  
  The radio is playing Every Breath You Take.
  
  > Go north
  You heard Rosa. She doesn't want you here.
  
  The radio is playing an ad for "Who Killed the Robins Family?".
  
  > Go east
  You don't have to go to the bathroom now, and you need to hurry.
  
  The radio is playing an ad for robot action figures.
  
  > Go south
  Rosa's studio has its own private parking lot. The sunlight glistens off the dripping bushes. A few cars are parked here and there, but all are empty and no one can be seen. Brick walls point up to an empty sky on either side. The lobby door is north from here.
  
  You can go south to take the bus home.
  
  > go south
  You hail the bus, and go back home.
  
  "And that's the last I saw of Rosa. I can't believe anyone would kill her," she says, shaking her mane of green hair.
  
  [New topic - Home]
  
  You clear your mind, and return to yourself.
  
  Studio
  The studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a
  juniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.
  
  Maia Morales sits at the table, looking bored.
  
  Maia stares at the door, lost in thought.
  
  > link home to the parade
  The statements don't match up; Cindy said the streets were closed for a parade, but Maia said she took a bus home.
  
  [New topic - Buses]
  
  Maia waves her hand at her nose before letting out a high-pitched, loud sneeze.
  
  > say the buses
  (to Maia)
  "Cindy Jalcek said that there was a parade the day that Rosalita died, shutting down the buses. But you said you took the bus home."
  
  "I probably just remembered wrong. I think I actually took a taxi."
  
  "Ms. Morales, all of the traffic was shut down. What did you really do that morning?"
  
  Maia looks panicked. She says, "Listen, it's not what you think!"
  
  "What is it, then?"
  
  "I want to change my statement."
  
  > say the statement
  (to Maia)
  "Tell me your story again."
  
  "Fine."
  
  You lean back as Maia gives you a statement. You can picture it all in your head...
  
  "
  
  > talk to Rosa
  "Hey Rosa, you know how hard it's been to get any recording ti-"
  
  "You can't use it."
  
  "What do you mean?"
  
  "You can't use the studio."
  
  You frown. This not good. Maybe you should try again.
  
  > go east
  As you exit the break room, you notice an odd smell from behind you. Is that...burning? You turn around, but someone rushes into and knocks you over!
  
  "Oh, I'm so sorry!" you hear someone say. You roll over to see the secretary standing above you.
  
  Lobby (on the floor)
  The original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the
  west, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.
  
  You can see Cindy here.
  
  The radio is playing Maneater.
  
  > talk to Cindy
  "Oh," she says. "It's you." She frowns, but helps you up. "Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick." She runs off to the west.
  
  You dust yourself off.
  
  The original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the
  west, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.
  
  The radio is playing Maneater.
  
  > Go north
  (first opening hallway door)
  
  You hold your breath and step quietly through this hallway. The office to the west looks unused. A red "On-Air" light is mounted next to the door. The hallway extends north to Rosa's office. The lobby is
  south from here.
  
  Rosa's studio lies to the east, behind a heavy black door.
  
  The radio is playing Maneater.
  
  > go to the east
  (first opening the studio door)
  You close the studio door behind you.
  
  This studio is incredible, decorated in gorgeous greens. The walls are specially built to provide the perfect sound. The microphones hanging from the ceiling are incredibly expensive, much better than the ones you use at Saul's cousin's place. You're not too crazy about the table and chairs, given that you're not doing a radio show, but they won't be a big issue. The soundproof door to the west leads to the hallway, where Rosa might be lurking. The control room is to the east.
  
  > Go east
  (first opening the control room door)
  
  This small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.
  
  The session tapes are spooled here.
  
  There is an emergency door to the outside here.
  
  You see the audio console here, filling up a third of the room.
  
  > examine the door
  (the emergency door)
  You look over the emergency door, but don't see anything important.
  
  > examine the bay
  This device and the wires flowing in and out of it are used to decide what inputs end up in the console. It seems to be set up just fine for a vocal solo.
  
  > record the solo
  Your sentence had too many words; you can try typing just the part where you wanted to do something to the record button.
  
  > look at the console
  This console is top of the line, with hundreds of switches and knobs. You could record anything in this studio; string ensemble, barbershop quartet, orchestra... well, if you could fit them in. You recognize a few of them: noise gate, expander, limiter, compressor, delay, harmonizer, modulation.
  
  You also see a record button, a stop button, and a playback button. The session tapes are spooled here.
  
  > go west
  This studio is incredible, decorated in gorgeous greens. The walls are specially built to provide the perfect sound. The microphones hanging from the ceiling are incredibly expensive, much better than the ones you use at Saul's cousin's place. You're not too crazy about the table and chairs, given that you're not doing a radio show, but they won't be a big issue. The soundproof door to the west leads to the hallway, where Rosa might be lurking. The control room is to the east.
  
  > Sing
  You belt out a song with all your heart.
  
  > Keep going
  You reach within yourself and burst out in song.
  
  > go east
  This small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.
  
  The session tapes are spooled here.
  
  There is an emergency door to the outside here.
  
  You see the audio console here, filling up a third of the room.
  
  > get the tapes
  You go to grab the tapes, but they seem stuck. You yank hard,  and the whole console shifts, knocking you to the floor. You rise and dust yourself off, holding the tapes.
  
  You seem to have dislodged something from behind the console.
  
  > look
  This small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.
  
  There is an emergency door to the outside here.
  
  You see the audio console here, filling up a third of the room.
  
  You can also see a stack of receipts here.
  
  > examine the receipts
  A stack of receipts? What are they doing here? You pick them up. This is odd... You flip through the stack, kicking dust into the air. These receipts are for payments to KOLR. Why would Rosa keep them here?
  
  [New topic - Hidden]
  
  You hear the a siren wailing, far away but steadily approaching. Oh no... someone must have seen you. You have to get out of here!
  
  > go east
  You're out of here!
  
  "And so I left. I found out later that day that Rosalita was dead. I didn't tell the police because I knew how bad it looked."
  
  "Do you still have the receipts?"
  
  "No, I tossed them in a dumpster in an alley. I don't even remember where they are."
  
  You clear your mind, and return to yourself.
  
  Studio
  The studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a
  juniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.
  
  Maia Morales sits at the table, looking bored.
  
  Maia looks at the window to the control room.
  
  > go east
  (first opening the control room door)
  It is locked.
  
  Someone knocks at the door. You turn to see who it is.
  
  Danny Kostopolous is standing at the door. He points at Maia. "Officer, this woman should not be in here. There's expensive equipment in here."
  
  Maia looks at you. "Please," she says, "I've been in here many times." Danny's face gets red at this. She continues. "I think I can handle it without breaking anything."
  
  You turn to Danny. You say, "I'll try and hurry, Mr. Kostopolous. But I'd like you to return to your room; you're delaying the investigation."
  
  He grumbles, and begins to walk away, but he stops and walks to the control room door. He jiggles the handle, but it's locked. He gives Maia a smug grin and says, "At least you're not getting in there." Then he walks out.
  .
  
  > Your thoughts
  Current thoughts:
  Hidden - "Maia found a bunch of receipts hidden in the studio."
  Buses - "Maia said she took a bus home, but Cindy said the buses weren't running."
  Home - "Maia took the bus home after talking with Rosalita." Speechless - "Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon."
  Volunteer - "Rosalita told Danny she was at the shelter Wednesday night."
  Troubled - "Rosalita was troubled by something when Danny spoke to
  her last."
  Flowers - "Chuck sent Rosalita flowers the day after they talked." Records - "All receipts and files for KOLR were accounted for last year."
  Stranger - "Cindy saw a strange man in a yellow poncho hovering
  over Rosalita Morales."
  Parade - "The streets were closed down for a parade all morning." Accounting - "Cindy did the accounting for Roses for Rehab"
  Death - "Rosalita was shot on February 29th in her office."
  Sister - "Maia Morales was Rosalita's sister."
  Secretary - "Cindy Jalcek was Rosalita's Secretary."
  Ex - "Chuck Lee is the former husband of Rosalita Morales."
  Partner - "Daniel Kostopoulos was the business partner of Rosalita Morales."
  Statement - "You need to take the statements of the suspects"
  Greeting - "You need to introduce yourself to the suspects." Assistance - "The chief is always willing to give you help. (This gives a basic tutorial)."
  Suspicion - "The Chief thinks that someone close to her was
  involved in her death."
  Testament - "Rosalita left all of her possessions to four people in her will."
  
  > examine maia
  (Maia)
  Maia Morales, aka Andromeda, is a tallish woman with shocking neon green hair and thinly plucked eyebrows. She is wearing a long emerald sundress, and a light aqua jacket is thrown over her shoulders. She glanc