Before Phil can crack the Stradivarius over his son's head, Tracy grabs the instrument from the enraged maestro's hand and immediately thinks there's something wrong with it. How he knows that is beyond me since I've never seen him pick up a violin before. (Who does he think he is? Sherlock Holmes? Jack Aubrey? What I want is some proof that he knows what's wrong.) Who knows, maybe the violin is making a mysterious ticking noise. Phil doesn't seem to care too much for his sleuthing and seems to have now turned his rage on our fearless detective, challenging him to a fight. Oh Phil, Phil, Phil. You are starting a fight that you can't possibly win, and seeing how Tracy has been in a rather foul mood this whole time, you could be cruisin' for a bruisin'. Just remember Tracy, don't break the maestro's baton hand. He needs that for work.
Using his previously unknown x-ray vision, Tracy determines that the reason why the Stradivarius feels so different is that it has been turned into a bomb (and also a work of somewhat modern art, as panel two seems to show). I am a little concerned though, that Tracy might be only making matters worse by shaking the violin. Now, I'm no expert on these sorts of things, but if I realized that I was holding a bomb, the last thing I would do is shake it considering that all of those delicate parts might just be jostled loose and detonate the weapon long before it's supposed to go off. Oh well, time to go back to Ohso's lair, where the fiendish felon is reveling in his evilness (even though he hasn't heard whether the bomb has gone off, and even though he's leaving a lot of things up to chance).
While Ohso and Low Note play the waiting game to see how much damage their violin bomb does (and I hope they have a television so that they can know if everything went according to plan because if not, they'll have to wait for the morning paper), we switch back to the embassy, where Tracy is running like a mad man, trying to find some place to dispose of the bomb before time runs out. I guess. I mean, if it's supposed to go off when it hits a certain note, wouldn't not playing that note render it pretty much useless? Maybe not. Maybe Virgil made Chris add a timer in as well, just in case the note didn't get played (because if he went to all of that trouble and nothing exploded, well, that would just be sad). With no other choice, Tracy comes up with the perfect way to dispose of the instrument: chuck it into the swimming pool (because all embassy's have one, don't they?). Looking for the fastest route to the Embassy Aquatic Center, Tracy stops to ask one of the embassy employees, and I must say that I love the expression on that guy's face in panel three. I can just hear him say, in a very snooty voice, "Sir, please, this is an embassy gala. We do not do such things here. It would be most inappropriate." Sir, it would also be quite inappropriate to blow up all of these good people.
Before Phil can crack the Stradivarius over his son's head, Tracy grabs the instrument from the enraged maestro's hand and immediately thinks there's something wrong with it. How he knows that is beyond me since I've never seen him pick up a violin before. (Who does he think he is? Sherlock Holmes? Jack Aubrey? What I want is some proof that he knows what's wrong.) Who knows, maybe the violin is making a mysterious ticking noise. Phil doesn't seem to care too much for his sleuthing and seems to have now turned his rage on our fearless detective, challenging him to a fight. Oh Phil, Phil, Phil. You are starting a fight that you can't possibly win, and seeing how Tracy has been in a rather foul mood this whole time, you could be cruisin' for a bruisin'. Just remember Tracy, don't break the maestro's baton hand. He needs that for work.
Using his previously unknown x-ray vision, Tracy determines that the reason why the Stradivarius feels so different is that it has been turned into a bomb (and also a work of somewhat modern art, as panel two seems to show). I am a little concerned though, that Tracy might be only making matters worse by shaking the violin. Now, I'm no expert on these sorts of things, but if I realized that I was holding a bomb, the last thing I would do is shake it considering that all of those delicate parts might just be jostled loose and detonate the weapon long before it's supposed to go off. Oh well, time to go back to Ohso's lair, where the fiendish felon is reveling in his evilness (even though he hasn't heard whether the bomb has gone off, and even though he's leaving a lot of things up to chance).
While Ohso and Low Note play the waiting game to see how much damage their violin bomb does (and I hope they have a television so that they can know if everything went according to plan because if not, they'll have to wait for the morning paper), we switch back to the embassy, where Tracy is running like a mad man, trying to find some place to dispose of the bomb before time runs out. I guess. I mean, if it's supposed to go off when it hits a certain note, wouldn't not playing that note render it pretty much useless? Maybe not. Maybe Virgil made Chris add a timer in as well, just in case the note didn't get played (because if he went to all of that trouble and nothing exploded, well, that would just be sad). With no other choice, Tracy comes up with the perfect way to dispose of the instrument: chuck it into the swimming pool (because all embassy's have one, don't they?). Looking for the fastest route to the Embassy Aquatic Center, Tracy stops to ask one of the embassy employees, and I must say that I love the expression on that guy's face in panel three. I can just hear him say, in a very snooty voice, "Sir, please, this is an embassy gala. We do not do such things here. It would be most inappropriate." Sir, it would also be quite inappropriate to blow up all of these good people.
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