Step into Fiction

GPT-3 allows you to step into fictional books, or the world they imply, inhabit it and play as one of the characters. I’m playing detective “Pairot” here, my text and actions are mostly from me and everything else is almost entirely from GPT-3.

I was using a non-openAI GPT-3 here, but if anything openAI’s version is better so it should at least work just as well for this.

It seems to me that this is more revolutionary than almost anyones noticed so far, at least in my own life.

[start of the story]

Poirot, and Mr Hastings!

Yes inspector Japp?

I had to come to your office, I’m afraid that it’s murder most foul! I need your help in the case of M. Ratchett, he was brutally killed in his room! I myself am flabbergasted at what happened.
It’s very odd, I can’t think of any reasons why anyone would want to kill him.
He said something like this might happen…

You say “We must go to the scene at once, come Hastings”
You tell Hastings the situation and that you both head to the victim’s cabin.
It appears as if nothing has been touched and everything remains in place. The body is still where it was, locked in the bedroom.
“So… What do you make of this Poirot?”

You say “I’m afraid we must open the door, have somone ready inspector to deal with the body. Hastings, you may not like what you see.”
You and Hastings enter the cabin cautiously, with the inspector standing by to take in the victim’s body.
You open the bedroom door and are immediately faced with a gruesome sight. The body of M. Ratchett lies in a pool of blood that has seeped out from his abdomen.

You examine the victims chest.
You see the victim lying on the floor with his eyes half open and a stream of blood coming out of his stomach. His face is partially pale and has a grimace on it.
He is dressed in a black tuxedo with a white shirt and a grey tie.

You look thoughtful, examine the cabin.
Hastings enters the room and examines the body.
“It’s a good thing you told me to wait outside, this is not a pleasant sight!”
You both stand and look around the room, nothing seems out of place. it appears to be a normal first class cabin.

You remember where the cabin you’re in is, what its surroundings are like.
The cabin is located on the upper deck, just beside the first class dining room. It is quite a luxurious cabin, with a small sofa and beds that fold down from the walls. There are multiple dressers and mirrors.

You and recall where the deck is, it’s surroundings.
The upper deck is very quiet at the moment. You’re not sure whether it’s because everyone is on the first class deck below or all the passengers are asleep. There are a few windows that look out onto the darkness of night, the moon faintly lighting up the clouds passing by.

You recall how you got onto this boat.
You got onto the boat at the port in Calais, along with Hercule. From there he directed you to a small cabin containing your suitcases. You remember unpacking the few items you brought with you and returning to the deck where you met a man who introduced himself as Pierre Andre.

You point at the dead body.
“I am sure that M. Ratchett is an important man, but I don’t see why I had to come all the way from London to speak with him.”
“Yes he is very important monsieur, he owned many of the trains in America!”

You say “I see. Well now I’m here this must be solved, there is a case now, and I will solve it.”
“Oui, oui. I am glad you are here. I have some experience with murder cases but I don’t think I can handle a case this big myself.”
You begin to examine the body.

You say “I think, I am not sure yet.”
You begin to examine the body. The victim is clearly dead, with a knife wound through the chest and the back.
He’s been dead for quite some time.
On a small table next to him are two items: A small black notebook and a golden necklace.

You say “It was clearly thrust in from the front, see.”
You move the tie and shirt aside to reveal the wound in the chest. It penetrates deep through the victim’s body.
“I see, it must have been quite the struggle,” says Hastings. “But what would he be doing with his shirt off?”

You examine the bed.
The two beds are a mess, with covers thrown all over the place. You have no idea why.
There are two nightstands between the beds, on one of which you see a small black notebook.
“I found a small black notebook on one of the nightstands.”

You say “The body could have been dragged here from the bed, less risk for the murder.”
“The murderer would have had to drag the corpse over one of the beds,” says Hastings. “I suppose it’s possible.”
“Anything is possible until we find more evidence,” you say.
You notice that one of the beds is overtop of a small pool of blood.

You say “I mean Hastings, maybe he was murdered in bed, it would explain his attire.”
“Maybe so, although this room doesn’t look like a fight happened here,” says Hastings.
“Well maybe the murderer cleaned up, what do you think?” you say.
“I suppose that’s possible,” replies Hastings.

You go to move the bed.
You move the bed, and see blood staining the floor. You look around it and find a bloody knife, nearly hidden behind the nightstand.
You pick it up, to reveal a black handled knife, with a dark red streak running down the center of the blade.

You say “Careful about stepping in the blood Hastings”
“Oh dear Lord,” says Hastings as he looks over your shoulder. “We have to call the captain.”
“Not yet, I’m examining the knife first,” you say.
It’s a small knife, with an automatic opening mechanism that you can barely see in the darkness.

You say “Someone get some light on in here.”
As the lights come on, you examine the knife. You see a small black spot on the blade.
“It looks like dried blood,” says Hastings.
“I think you’re right,” you say.
You hold the knife in your hand, and begin to explore the inside of the cabin.

You carefully put knife in a small, transparent, plastic evidence bag, and put the bag into a pocket.
Then, you go back to the dead body.
It’s gruesome looking, as the knife is still stuck in his chest, with some blood coming out. You notice a nasty looking gash in his head.

You say maybe in the struggle, pointing at the gash on the mans head.
“It could have been a result of the struggle, or maybe it’s unrelated.”
“You didn’t think to check for any money,” says Hastings. “Maybe it was a robbery after all.”

You say “good point Hastings, I see you’re using those grey cells”
“I had a feeling you’d need my help,” says Hastings.
“You were right to call me in, I’ll take it from here.” Captain Renard says as he walks into the room.

You look at captain.
You look at Captain Renard as he walks into the room.
“I’m taking it you two have met?” he says.
“We got on the boat together in England,” you say. “But we haven’t really spoken until now.”

You say “I’m investigating this most unfortunate incident”
You explain the situation to Renard as best you can, and show him the knife you found.
“I see,” he says. “The knife is definitely the murder weapon, although I’m no forensics expert.”

You roll the body onto its side, being careful not to touch the bood.
You roll the body onto its side, being careful not to touch the blood.
“The knife went in from the side,” you say as Renard looks on. “That means the murderer is left-handed.”
“Excuse me,” says Renard. "

You say “yes captain?”
“I’m a southpaw,” says Renard, as he holds out his left hand to you.
“You’re sure?” you say. “I mean, it’s unusual for a man to know which hand he uses.”
“Quite sure,” he says. “It’s taught us to write with our right hand, but we’re still supposed to shoot and throw with our left.”

You check the victims suitcase for clues such as a diary.
You check inside the suitcase, finding a small black address book.
“What’s that?” asks Hastings.
“An address book,” you say. “It could be very important.”
You open it up, and flick through the pages.
“Check the last few pages,” says Hastings.
You see a series of female names, with numbers alongside their names.
“Phone numbers?” you say.
“I think so,” says Hastings. “It’s an address book, not a diary.”
You turn to the last entry.
“Veronica Mol; 5221 5704,” you say as you read it out loud.
“That’s who the note was addressed to.”

You say “We must find a phone kiosk, this is a clue of upmost importance!”
“What are you two doing?” says a voice from behind you.
Turning, you see that the speaker is Police Chief Keith. He’s tall and large, with a permanent scowl etched into his face.
“Captain Renard,” he says, nodding at the police captain. “I see you’ve found the address book.”
“We have sir,” you say. “It may contain a vital clue.”
“Well done,” he smiles. “I’ll take it from here.”

You say “I Hercule Poirot have been given this case, can you think of a better detective?”
“I’ll handle it from here,” says Keith in a tone which doesn’t brook any argument.
“But…” you begin to say, before Renard stops you.
“He’s the police chief,” he says quietly. "

You say “as you wish, come Hastings”
Giving your companion a quick glance, you turn and walk away from the crime scene.

You say “We still have the knife in the address book and evidence bag Hastings. Let us talk to the other guests.”
You and Hastings walk up to the row of rooms where Herr Eichel’s guests are staying, and knock on one of the doors.
“Hello?” comes a sweet female voice from inside. “Yes?”

You say “It it me, Hercule Poirot.”
You hear the sound of footsteps, then the door opens to reveal a a young woman with long, curly brown hair, bright green eyes, and a pretty, cheerful face. She’s wearing a sky-blue dress.
“Hercule Poirot?” she says, looking at you quizzically. “I wasn’t aware you were coming. I’m sorry, but I don’t think we’ve ever met.”
“No, we haven’t,” you admit. “But I am a detective, and I…”
“Well, I’m glad you’re here,” the woman smiles. “We need as many detectives as we can get.”
“You do?” you say, somewhat taken aback.
“Of course!” the woman smiles. “Don’t tell me you don’t need detectives in France? We need to figure out who killed my father.”
“Ah… yes. Of course,” you say. “You are…?”
“Veronica Mol,” the woman replies. “My father was Roger Mol.”

You say “I am sorry about this, but it is to do with the case, do you recognise this phone number?”
Hastings takes out the phone number and you show it to Veronica.
“That’s my number,” she says. “Why? What’s happening? Has something happened?”

You say “we found this on the deceased”
“It’s my number,” Veronica says quietly. “I’m not sure what that means. I’ve never met my father’s business partner, all our communications were with his assistant, Lucy.”
“We’re still investigating,” you admit. “This may be nothing.”

You say “if you will, have a look through the rest of this book, anything you find could be helpful to us”
“I will,” says Veronica.
“Thank you,” you say. “Good luck.”