A new and original treasure hunt of several parts, entitled URBAN SKATTEJAGT THE SCENES OF THE TREASURE HUNT

In the interests of maintaining some degree of excitement with regards to the extent of the treasure hunt, there will be no named acts. There will, however, be a total of 7 acts. TIME The Present PLACE Copenhagen The action of the treasure hunt is completed within two hours.

FIRST ACT SCENE The foyer of Nikolaj Kunsthal, a church turned art gallery in central Copenhagen which is hosting an exhibition of video games new and old. [The foyer is a high-ceilinged room with a small elevator on the left and a video screen on the right. The screen shows pixelated people doing parkour in a city, in the style of a video game, and has a vaguely annoying soundtrack. A large piece of artwork is attached to the wall above the elevator, showing a collage of various materials arranged as a screenshot of a game of tetris. Through a transparent sliding door straight ahead sits Uno, the security guard, at a round desk housing several CCTV screens.] You cross the foyer and proceed through the sliding doors, where Uno charges you 20kr to see the exhibition. You wander around for a while appreciating the various innovative interactive displays before happening upon a large cupboard with sixteen doors. The cupboard is spray painted red, has brass hinges and each door is latched and locked by a threedigit combination lock. It is clearly not the work of a master carpenter, but seems pretty secure nonetheless. Looking closer, you discover that one door is actually slightly ajar and, being an inquisitive type, you swing it open, revealing a typewritten letter taped to the inside. The letter explains that the cupboard was bequeathed to the gallery by the late founder of Pexus Conspicuum, who has left it to those whom he considers to be real adventurers. The current owners of Pexus Conspicuum have, in keeping with his wishes, created a test to ascertain who is

worthy of the treasure. You mutter to yourself, “Challenge accepted” and read on. The first step in the process is to find The Lawyer, and there are three clues hidden about the gallery detailing his whereabouts. The first clue you find tucked away behind one of the big screens, disrupting someone‟s game of zombie hyper tetris in the process, and it is a picture of a street name; namely Gråbrødretorv. The second clue you find on the back of the toilet door, thankfully not disturbing anyone this time, and it appears to be a picture of a stained glass window hanging from a wall. After some searching, the final clue reveals itself to be inside the elevator, only visible when the doors are closed, and it looks like a picture of a somewhat surly gentleman sporting a particularly welldeveloped beard.

SECOND ACT SCENE Gråbrødretorv [The square is bedecked with cobblestones and a large tree surrounded by benches provides dappled shade in the summer and not much of anything in winter. Several cafes face the square but only one, Le Petit Turtus, has a stained glass window.] Approaching the café you notice a large beard being supported by an equally large overcoat sitting at one of the outside tables. On closer inspection a face comes into view and you see it is the surly gentleman whose picture you found at the gallery, and furthermore that he is in possession of a brown leather suitcase. Approaching cautiously, you enquire as to whether he may be the lawyer, to which he replies, “No, I am The Lawyer.” Despite this miscommunication he does not seem overtly hostile and even goes so far as to click his briefcase open and hand you a sealed letter, before immediately closing it again and indicating that the conversation is over. You leave him to his tar-black coffee and retreat to a conveniently placed bench, sadly without dappled shade, where you break the wax seal and begin to read the letter. It becomes clear to you that you must locate a journal of some description, with information pertaining to its location to be found at two places; namely Rundetårnet and Klarboderne 1.

THIRD ACT – PART THE FIRST SCENE Rundetårn, exterior

[The street is crowded with tourists and shoppers going about their business, which appears to consist of blocking thoroughfares and generally making a nuisance of themselves.] Standing on the cobblestones gazing up at the Round Tower you are momentarily lost in thought, until a tourist clutching a hotdog bumps into you, spilling some mustard. Wiping your sleeve, you recall that the letter mentioned something about the ashes of two famous poets, and your eye falls on a statue of some kind which is directly behind the hotdog stand you had been glaring at malevolently. Picking your way through the hordes of pedestrians, dodging a wayward shopping bag and almost losing your ankles to a pushchair of monstrous proportions, you notice the names of the poets, Ewald and Wessel, engraved on the base of the statue. Further investigation reveals a short poem by Oehlenschlæger, and suddenly the string of numbers from the letter makes sense: you start counting the letters of the poem and, after a while and one or two recounts, spell out an address; namely Krystalgade 15. Now that you have an address you are sure you will be able to find the journal without visiting Klarboderne 1 and hurry off in the direction of Krystalgade 15, giving one last baleful glance to the hotdog vendor as you pass. Your confidence lasts all the way to the door of Krystalgade 15, when you are confronted with Copenhagen‟s Central Library.

THIRD ACT – PART THE SECOND SCENE Klarboderne 1 [Two tall iron gates guard the entrance to a courtyard, which is set back from the street by approximately 10 metres. Standing on the street you can only see one corner of the courtyard.] Not feeling particularly keen to search an entire library for a book of which you know nothing about, you have presented yourself at Klarboderne 1. The letter mentioned something about „following the signs‟ so you proceed to observe the area in the hope that some signs will make themselves clear. Almost immediately you notice three diamonds drawn in coal on a nearby wall; one containing a circle, one a square and one a cross. Looking around, you see them again on the far wall and, stepping through the gate, proceed into the courtyard. The entranceway widens out on your left and, with towering yellow brick walls now encircling you, you discover further signs dotted around the place. One in particular draws your eye, placed just above a set of steel steps descecnding into darkness. Quietly assuring yourself that ghosts do not exist and monsters don‟t work weekends you place your foot on the first step, which, naturally, creaks. Steeling yourself, you continue down the steps and

almost trip in surprise when a motion-sensing lamp flicks on and illuminates the passageway, revealing a tattered wooden gate blocking your way. Through the bars of the gate you can see a message scrawled roughly onto the decaying wall: OKKULTISME 14.

FOURTH ACT SCENE Copenhagen Central Library [The ground floor has a reception area on the left, computers with internet access and a café on the right and an escalator in the middle. Books are arranged around and about the place, in the hope that someone will take them away.] Having given the matter a great deal of thought while en route from Klarboderne 1, you have arrived at the conclusion that this book you are in pursuit of can be found somewhere in the region of Okkultisme 14, whatever that may be. You peruse the ground floor and its inhabitants nonchalantly and ooze up the escalator to try your luck on the first floor, Art and Literature. A brief search reveals nothing even vaguely occult so you continue up the escalator to the second floor, Music and Film, but immediately choose to ignore it as it is infested with children. Arriving safely on the third floor, Knowledge, you disembark the escalator and, after a moment of indecision, choose to navigate in an anti-clockwise direction. Having traversed approximately three quarters of Knowledge you notice a shelf titled Okkultisme 14 and barely manage to suppress a shout of victory. You circle the shelf a few times, in the manner of a shark circling a flock of swimmers, before positioning yourself squarely in front of it and commencing to scrutinize it in no uncertain manner. To the untrained, wandering eye the shelf contains nothing but odd books written by odder authors concerning an exceedingly odd subject, but you are not fooled by this façade. In a matter of minutes you notice the familiar three diamonds drawn discretely on the spine of an inconspicuous black book and pry it from between „Kundalini and the Chakras‟ and „The Complete Picatrix: The Occult Classic of Astrological Magic‟, where it had no doubt been feeling rather uncomfortable. Inside you find three questions relating to certain areas of Copenhagen, with a list of numbers and corresponding words beneath each question. You briefly consider searching for the information on the internet, but realise that that would be quite beside the point of the adventure.

FIFTH ACT SCENE The Streets of Copenhagen, various locations [It is wonderfully sunny and the skies are a clear blue, but the crisp winter air makes you glad of your gloves.] The first question concerns the number of gold balls adorning the steeple of St Petri Church, and it takes just a couple of minutes to walk there from the library. Peering up, squinting slightly, you can see that they go all the way round the steeple, and a quick spot of mental arithmetic leads you to believe that there are eight in total. Checking the list of numbers below the first question, you see that the number eight corresponds to „The Church of Our Lady‟. Feeling slightly mystified and generally none the wiser you move on to the second question, which pertains to Frue Plads, a nearby square, and reads, “The composer at Frue Plads died on the 8th, but when was he born?” This does not immediately make much sense, but on arriving at the square you see that it is lined with busts of various characters, and decide that they must be in on it. You make your way down the line of them and pass a physicist, a biologist and a philosopher before locating your composer. The brass plaque below his bust, now green with age, indicates that he was born on the 5th of March, some 170 years or so ago. The number five on your list of answers indicates a fellow named Saint Paul, but since this does not help a great deal with the general clarity of things you proceed to the next question; namely how many children there are in Jorcks Passage. Wondering how on earth you are ever going to ascertain the infant population of such a busy thoroughfare, you make your way slowly to the passage in question. Once there you get off to a good start by counting four of the little blighters wandering about, but then one runs off and you are left debating with yourself about whether babies in pushchairs count, and furthermore how the deranged inventors of this treasure hunt expected this to work. Being a tenacious sort you keep at it, but soon the mental strain of keeping an eye on multiple randomly moving bodies begins to take its toll and you throw your head back to take solace in the clear blue sky. It is as your eyes are en route skywards that you notice a small pedestal, about three metres up, supporting a statue of what would probably be described as a „cherub‟ clutching a bunch of grapes. A quick scan of the area at the same altitude reveals a total of eleven such grape graspers, with the corresponding answer being „Pointing at‟.

SIXTH ACT SCENE Church of Our Lady, interior [A beautiful 12th century church rebuilt in 1829 in the classic style. Six huge columns support a wide entablature with a frieze depicting Jesus and assorted followers. Between the middle columns stands a tall glass double door.] Pushing open one of the glass doors you are greeted by the stillness customary to churches, and a small notice encouraging same. You tread softly on the marble floor as you move down the aisle past rows of oak pews, your eyes moving over the various statues that line the walls, in search of Saint Paul. You find him at the end of the row on the left, closest to the altar, and are pleased to see he is indeed pointing, at something above and behind you no less. Directing your gaze to the area indicated by this solidified saint you are surprised to see the mathematical symbol Pi projected into an alcove between two columns that reach up to the vaulted ceiling.

SEVENTH ACT SCENE Nikolaj Kunsthal [The gallery is in much the same condition as when you left it about an hour and a half ago, although the coffee level in Uno‟s flask has decreased considerably.] You wave your crumpled admission ticket at Uno as you sail past his desk and through the sliding doors that lead to the red cupboard. Pausing briefly to get your breath back after having rushed from the church, you take a moment to decide which door you would like to open. For no particular reason you choose the third one from the left on the second row, and click the wheels of the lock to 3-1-4. It unlocks soundlessly and you flick the latch and pull it open. Inside is a note congratulating you on your success and a pile of what looks like gold coins. You smile as you reach for one.


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