go get drop wear remove i examine quit wait load save look score follow give talk brief verbose exits time restart attack ask read open look up play search stand mount climb dismount buy drink shake jump select strike swim start clean untie pick descend enter tie throw dig turn knock mend look in block use lead get on leave close sit eat hold hold up steal smell lift verb66 drag lock unlock stroke pull push press unplug call sleep break crawl tell chant listen leveltwo levelthree set help about intro show switch shout levelone gotwo gothree verb94 verb95 verb96 verb97 verb98 verb99 verb100 verb101 verb102 verb103 verb104 verb105 verb106 verb107 verb108 verb109 verb110 verb111 verb112 verb113 verb114 verb115 verb116 verb117 verb118 verb119 verb120 verb121 verb122 verb123 verb124 verb125 verb126 verb127 verb128 verb129 verb130 verb131 verb132 verb133 verb134 verb135 verb136 verb137 verb138 verb139 verb140 verb141 verb142 verb143 verb144 verb145 verb146 verb147 verb148 verb149 verb150 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reflection shed mower roof clippings tools workbench chair door nails gutter blade sheath clamp spade sanctuary memorial paving columns grafitti figures avenue rough window yew berries rodents floor beech elm birch alcove noun336 torches bag fingernails passage alleyway forge hammer furnace noun345 bars horseshoes buildings curtains 666 feet dog cupboard lampshades boxes calendar hallway kitchen fridge range sinks lift button shaft pots butter portrait landing nameplate frame wallpaper carpet card telephone atrium gallery tapestries stand noun379 burner horse drunk charon tony man filippo beggar cat noun389 brian devil noun392 noun393 noun394 noun395 noun396 noun397 noun398 noun399 number keyhole 123666 999 balustrading edge 123 vase corridor pattern boards polish lamp bedroom bed mattress hangers wardrobe chute laundry shelves towels sheets pillowcases linen tag lid umbrella bottles wildlife forest thatch rocks boulder piles hollow ornaments me hair plant fountain glass group tadpoles 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/short/ /long/ /hit/kill/fight/kick/ /decipher/ /inspect/ /step/ /ride/ /scale/clamber/slide/ /dism/ /order/purchase/ /sip/taste/ /leap/ /choose/ /light/make/ /wade/cross/ /wipe/wash/ /unfasten/unloop/detach/ /desce/ /attach/fasten/loop/secure/ /chuck/lob/hurl/toss/ /excavate/ /chap/ /repair/fix/wrap/ /bung/plug/ /using/ /escort/guide/steer/ /exit/ /shut/ /perch/ /position/ /nick/ /place/ /pat/pet/ /dial/phone/ /lie/rest/ /smash/ /order/request/ /sing/hum/ /hints/hint/cheat/xxyyzz/ /info/ /introduction/ /yell/scream/holler/ /kindl/ /guidebook/ /device/ /money/ /pint/beer/ /measure/ /pack/match/ /shill/ /bone/ /roll/ /troll/trollet/troley/trooley/ /fillet/ /snake/game/ /panel/mosaics/ /stop/ /timet/ /pub/bunker/ /spirits/firewater/beer/shot/ /pocket/ /boat/ /pool/ /jungle/ /juke/ /pestilence/stranger/ /street/ /watervole/ /carpark/ruts/earth/rut/ground/ /song/record/cd/ /body/ /skeleton/ /riverwater/ /hovel/hutch/ /pastureland/ /oak/tree/trees/ /streams/ /bushes/underg/ /moonscape/ /dust/ /riverb/ /actheron/ /rushes/bullrush/bullr/ /shallo/ /embers/ /braz/ /placards/ /wall/sides/ /room/ /chairs/ /interrogator/shape/ /light/nightlight/lighting/ /city/ /cause/dispute/ /entrance/cata/ /ceil/ /doors/backdoor/backdoors/ /grass/ /patch/veg/vege/ /flower/daffodil/border/ /crenellation/cren/ /steps/staircase/ /ash/ /cemetry/graveyard/ceme/cemetary/ /graves/stone/gravestones/stones/ /paths/trails/trail/ /tombs/ /pit/grave/ /column/obel/ /stars/ /carvings/markings/writing/motifs/motif/ /knob/ /maus/ /nymph/ /inscription/inscript/ /platform/ /basem/ /lift up/ /piping/ /refle/ /dome/ /clipp/ /bench/ /screws/widgets/ /cover/ /vice/ /fork/rake/ /sanc/ /pyramid/ /graffiti/ /human/humans/ /axis/ /windows/ /yews/ /berry/ /rats/ /slabs/flooring/ /elms/ /alcoves/ /torch/ /holdall/ /hands/ /passageway/passages/passageways/ /alley/ /smithy/workshop/blacksmiths/ /hammers/ /shoes/horseshoe/ /houses/building/ /decorations/ /shoes/ /cerberus/hound/ /cupboards/cupb/ /tiles//bulbs/canteens/cutlery/cravats/tins/varnish/ /box/ /hall/ /refrigerator/ /oven/cooker/ /sink/ /liftshaft/ /pans/plates/pot/pan/plate/ /bacon/lettuce/beans/ /picture/painting/ /stairwell/ /carpeting/ /phone/tele/ /tapestry/ /steed/ /randolph/ /ferryman/ /imp/imps/folk/ /dandy/fili/ /moggy/pussy/chloe/ /bodyguard/ /satan/hieronymous/corpse/ /911/ /balustrade/barrier/banister/bannister/balus/ /patterns/ /board/ /sidelamp/ /hanger/ /shelf/ /towel/ /sheet/ /pillowcase/cases/case/ /umbr/ /bottle/ /rabbits/birds/squirrels/rabbit/squirrel/ /rock/ /dip/ /ornament/orna/ /self/sam/ /station/powerplant/powerstation/ /fountains/ /people/ /tadpole/ /scabs/scab/pustules/ /shrubs/ /creeper/ /coal/ /n/ /s/ /e/ /w/ /ne/ /nw/ /se/ /sw/ /u/ /d/ /everything/lot/ /them/him/her/ /inside/into/ /from/ /using/ /except/ /behind/ /beneath/ AT THE BUS STOP A chill wind blows down the empty street. The bus stop comprises a grimy metal shelter with graffiti-covered perspex panels at either end. There's a grubby timetable behind a cracked glass panel and litter is strewn across the floor. This is not a place that inspires much confidence in the local public transport network. Why did you agree to this? THE TAVERN CAR PARK This area has rather optimistically been designated a car park. It's a rough patch of ground that has never been subjected to the levelling influence of tarmacadam. There are no vehicles here at the moment, although the rutted earth suggests that the occasional car has been left parked / abandoned. THE TAVERN ENTRANCE You're standing outside 'The Prince of Darkness'. Resembling more of a concrete bunker than a quaint village local, you suspect the tavern has never made it into 'The Good Pub Guide'. A sign over the entrance flaps noisily in the insistent wind. Through the frosted glass windows you can make out bright fluorescent strip lights illuminating a small bar. THE BEER GARDEN The tavern's beer garden reminds you of a small plot of derelict land. An abandoned, lop-sided picnic table stands forlorn in the centre of the space, its tattered shade umbrella flapping noisily in the wind. Around and about weeds intertwine with empty beer crates and broken bottles to form a small patch of urban jungle. INSIDE THE TAVERN 'The Prince of Darkness' isn't a bad place, and looks more pleasant on the inside than you expected. It's well lit, the vinyl flooring is shiny clean and the jukebox is playing some vaguely familiar classic soft rock. There are a couple of empty tables by the windows and a small bar up against the far wall. A barman stands behind it polishing glasses. In the corner a stranger is hunched over the pool table. FOREST CLEARING You stand at the edge of a small clearing. Towards the centre is a small hut, probably home to one of the charcoal burners who work the kilns far to the north. DARK FOREST The forest is dark and eerily quiet as if even the wildlife doesn't want anybody or anything to know that it is here. The birds don't dare sing, the rabbits tiptoe across the open spaces and the squirrels stay close to their dreys. Vague trails lead off in various directions. ROCKY WASTELAND The outskirts of Hell are barren and empty. Behind you is the chasm, in front of you lies a charmless moonscape bereft of life or character. The ever present wind whips up exposed pockets of loose earth to form swirling dust devils. The horse went north, but your best option is to trudge eastwards. ON A FOREST TRAIL The trail meanders between big trees, skipping over the slithering streams of cold, clear water. You hear the occasional growl from the undergrowth. EASTERN EDGE OF THE FOREST You are at the edge of the forest. To the east pastureland slopes away to the top of a crumbling cliff. A narrow animal track zigzags down the rockface to the barren ground below. You could probably make it down if you were nimble footed. To the west a path leads back between the gnarled oaks which guard the forest boundary. A DEEP CHASM You are standing on the edge of a deep chasm which marks the outer boundary of Hell itself. Behind you looms the dark forest, ahead of you lies a scorched, rocky wasteland denuded of any trees or plants. ON THE RIVERBANK The path across the wasteland ends at a sharp drop. You are standing on top of an eroded riverbank. In front of you a wide river of dirty grey water tumbles to the south. On the other side the night sky glows a faint red. A RICKETY WHARF Wooden piles driven into the ground form a rickety wharf which protrudes tentatively into the froth of the river. THE RIVER SHALLOWS Bullrushes grow in clumps along the muddy shoreline, the first greenery you've seen since leaving the forest. In between these patches of vegetation, the river slows to a slothful pace and deposits its heavy load of sediment. INSIDE THE CHARCOAL BURNER'S HUT The hut is small and austere. The owner obviously doesn't do much entertaining. There's a rough table with a three legged stool, a raised pallet for sleeping on and an open hearth. THE ROAD OUT OF TOWN This road runs straight and true towards the horizon, away from the darkness and torment of Hell. It would be tempting to follow it and abandon your quest, but having got this far you feel committed to the cause. IN A ROADSIDE DITCH You're standing in the ditch up to your knees in dirty water. A water vole scoots by in front of you with a toothy smile on his face. Unfortunately you're not quite at home here as he is. AT THE BOTTOM OF THE CHASM The floor of the chasm is cold and dark, with only a little moonlight managing to sneak through the shadows cast by the near vertical walls. Apart from scrambling back up to the forest, your only option is to pick your way west over the jagged rocks. FURTHER ALONG THE CHASM As you manoeuvre round a large boulder you come across a body spreadeagled across the black rocks. The lack of movement is one of various indicators to suggest that this body is definitely a corpse. OUTSIDE THE CITY OF DIS Dis is, in administrative terms, the capital of Hell. Within its black granite walls sit the bureaucrats responsible for processing all the paperwork that every candiate for eternal damnation brings with them. It is, according to your sources, a hubbub of civil servants pushing forms from one pile to another. To the east, by the city gates, a group of people are gathered. To the northeast and southeast the city walls rise impressively into the night sky. THE CITY GATES At the city gates are a gaggle of impish-looking folk. As you approach they break away from warming themselves by their brazier and, waving what looks like placards, start to chant "We shall, oh we shall not be moved" in a rather dispirited fashion. A TIMBER-FRAMED HOUSE On the northside of the city away from the walls you come across a small timber-framed house. The front door is firmly shut and is probably bolted - not surprising at this time of night. To one side a rough stone wall marks the boundary of the householder's small garden. THE DEAD CENTRE A cemetery in Hell? Well, of course. Not everyone who lives around these parts is condemned to live forever. A few enjoy the luxury of being able to rest in peace. Neatly cut grass paths run between rows of tidy gravestones. The older ones are weathered and grey, whilst the new arrivals are commemorated by shiny, black marble and gold coloured lettering. To the north are the city gates, whilst to the south, along a tree-lined avenue, are the outlines of the grander tombs. INSIDE AN INTERVIEW ROOM You're sitting on a plastic chair in a whitewashed room. A spotlight dazzles you but you can't shield your eyes as your hands are tied behind your back. Squinting, you can make out a figure sitting opposite you. What a pickle you've got yourself into! A SMALL GARDEN You are standing on a square of well-tended lawn behind the timber-framed house. The greenfingered owner has nurtured a vegetable patch, as well as a border of pretty yellow and blue flowers. The stone wall is to one side. A MORTELLA TOWER The tower stands on a snub of rock alongside the river. It has a narrow base and is short, rising quickly to a turret that is open to the night sky. A doorway reveals a spiral stone staircase which presumably climbs to the top. ON TOP OF THE TOWER Leaning against the crenellations you have a much clearer view than you did on the ground. The river appears in the north and flows to the south; to the west lies the ravages of the wasteland; whilst to the east, across the river, lies your future. THE GRAND AVENUE This central axis connects the two parts of the cemetery. To the north stand the individual graves, whilst around here, in between the trees, the rich and famous (but still very dead) lie quietly in their grand tombs. BY AN EMPTY GRAVE In the corner of the cemetery, next to a stone obelisk, you come across a freshly dug hole in the ground. It's deep and wide - the gravediggers must have spent a full day preparing this plot. It's also empty - the intended occupant is probably lying on a slab being prepared by a mortician's assistant for delivery tomorrow. THE MAUSOLEUM OF THE MANTUAS This mausoleum with its marble clad entrance and high, echoing ceiling is the grandest of all the buildings in the cemetery. Despite the ravages of time and the unwanted attention of souvenir hunters the ornate carvings, detailed stonework and intricate mosaic panels still possess a flavour of what once was. A statue of a water nymph stands on a ledge on the far wall. AT THE BOTTOM OF A HOLE You are alone at the bottom of a dankish grave on a dark night in a cemetery in Hell. The hole is certainly deep - the earth sides rise up towards the sky with ominous verticality. FURTHER DOWN THE GRAND AVENUE At this end of the avenue you are aware of a melancholic tinge to the air. The trees are gnarled, the tombs neglected, the inscriptions masked by creepers and the ornamental stonework eroded by the elements. It is as if in these older tombs the dead have finally been reconciled with the finality of their circumstances. Only the neatly trimmed central path looks as it is cared for now. A CREEPY CRYPT This is the type of crypt you would expect to find Peter Cushing hanging about in. It's all gloomy corners, heavy breathing, nocturnal rodents and a set of narrow steps leading down. IN THE BASEMENT Standing at the foot of the steps you can see very little in the darkness. There is a faint knocking sound. Is it your a) your knees, b) your imagination or c) something more sinister? THE SANCTUARY The sanctuary is a large circular area of stone paving ringed by a series of freestanding columns. At its centre sits a pyramidal memorial with a succession of wide steps set into one face. Standing to one side you are aware that you are not alone. Occasional fleeting figures flit from shadow to shadow, before making their way down the steps. A NARROW LEDGE You are balancing on a narrow stone ledge. Immediately beside you, and taking up most of the space, is the statue of the water nymph with his ewer. THE GROUNDSMAN'S SHED This part of the cemetery is reserved for the living. The rather twee sign, just to the right of the shed door, states that this is 'Ted's Shed'. Presumably Edward is the groundsman responsibe for the upkeep of the cemetery. Parked next to a large pile of grass clippings is a smart, red, ride-on mower. INSIDE TED'S SHED Ted is a tidy chap who keeps his shed in good order. His gardening tools are lined up like soldiers on parade against the left hand wall. Straight ahead of you is a spotless workbench with neatly stacked boxes of nails, screws and widgets of various shapes and sizes. Beneath a small window to the right is a comfy chair - presumably where Ted takes his elevenses. INSIDE TED'S SHED WITH THE DOOR CLOSED You can see very little in the darkness. THE CATACOMBS The entrance to the catacombs is lit by burning torches, their flickering flames mischieviously throwing dark shapes across the vaulted ceiling and onto the uneven floor. In the changing light you can make out several passageways leading down deeper into the ground, whilst in front of you is a small alcove. The human figures you noticed above ground in the sanctuary skirt round the edge of the room and head off in various directions. IN THE HEART OF THE CATACOMBS You are still alone, in a really dark darkness and a little scared. loc42 IN THE HEART OF THE CATACOMBS You are alone, in the dark and somewhere you would rather not be. But are you lost? loc44 AN ALLEYWAY This alleyway runs behind a series of grand buildings. At ground level it's all barred windows and heavy looking doors, although with the upper storeys it's more of a case of net curtains and window decorations. This alley must be how the tradesmen and servants access their masters' houses. Scouting around you notice two buildings of interest. There's a blacksmiths to the west, whilst to the east is the back door for number 666. IN THE HEART OF THE CATACOMBS There is no material change in your predicament. However, you are beginning to sense, metaphorically, that there might be light at the end of the tunnel. THE BLACKSMITH'S FORGE The forge is empty at this time of night, although the still-glowing coals in the furnace cast a dim red light across the workshop floor. The expected accoutrements are evident, including several hammers which are propped up next to a pile of half-finished horseshoes. NUMBER 666 You know you're outside No. 666 because of the three brass numerals screwed to the heavy-looking door. You can only presume that this where Beelzebub himself resides. A bead of sweat runs down your forehead ... INSIDE NUMBER 666 You are standing by the back door of the Devil's own house. A night light illuminates the chequered vinyl floor of the under-decorated hallway, whilst on the wall hangs a solitary calendar. You get the rather unpleasant feeling that someone or something is watching you. A STORAGE CUPBOARD This storage cupboard is a hoarder's dream, a jumbled collection of cardboard boxes piled high with the useful, the valuable, the mended, the broken and, above all, the forgotten. At another time you would love to spend an hour searching for hidden treasures, but you are fixated by the hound of hell, Old Nick's own pet, Cerberus the three-headed dog. THE FOOT OF THE STAIRS You are standing alone at the foot of a wide staircase which curves upwards in an elegant spiral towards the main part of the house. The patterned carpet is scuffed with the constant ascent and descent of the staff. THE KITCHEN The kitchen is a large room which, you imagine, bustles with activity during the day as the cooks feed a hungry household. At this time of night it is quiet except for the insistent hum of the fridge. The centre of the room is taken up with a raised table where all the preparation is done. Around it, against the walls, are the blackened range, several sinks and a service lift. THE WESTERN CORRIDOR This narrow corridor is a stark contrast to the extravagant opulence of the main gallery. Here the insipid brown wallpaper is scratched and fading, whilst decoration is limited to a single vase and a wilting flower. It's rather pathetic really - perhaps business in Hell isn't as good as it once was? From the hubbub of snoring you presume that the various doors mark the entrance to the staff quarters. A service lift is set into the left hand wall. THE MAIN LANDING A large portrait, hung on the wall of the stairwell, dominates the landing. It depicts an old man, small in stature but straight of back, with wiry white eyebrows and a shining bald head. Dressed in a sombre black suit he looks every part a monopolistic merchant or defrocked bishop. THE ATRIUM The entrance atrium is several storeys high and culminates in a glass dome. The moonlight streaming through the roof at present illuminates the marbled floor and the tapestries on the walls. Looking upwards you can see that a viewing gallery circles the room. The only piece of furniture is a heavily carved stand with a telephone on it. There is a closed door to the west. loc56 THE GALLERY The gallery acts as a scenic viewing point in the impressive architecture of the atrium. Above you are the swathes of curved glass which form the domed roof, whilst below you the marble floor gleams like a perfectly still pool. Leaning over the cast stone balustrading you can see the telephone sitting alone on its wooden stand. LIFT STORAGE (GALLERY) loc59 STORAGE LIFT STORAGE (KITCHEN) A GUEST BEDROOM A maid has left a side lamp on and the bedroom is illuminated by its sand-yellow glow, as well as the white light of the moon through the bay window. The room is furnished with a large double bed, two straight-backed chairs and an over-sized wardrobe. THE LAUNDRY ROOM The white-tiled laundry has two doors - one leading to the interior of the house and the other to the outside world - and both are locked. There are no washing machines or clothes driers - everything must be contracted out - but the shelves are stacked with carefully folded sheets, ironed pillowcases and fluffy towels. A large laundry box sits in the centre of the floor. It is three quarters full of slightly soiled linen. The general air of cleanliness is tinged with fish. THE EASTERN CORRIDOR Despite the darkness you sense that this wing has managed to retain some of its previous grandeur. The carpet pile gently cushions your careful steps, whilst the lemony tang of furniture polish tickles your nostrils. One of the bedroom doors to the north is open. THE LAUNDRY BOX You're surprisingly comfortable sitting at the bottom of the laundry box, swathed by crumpled sheets and slightly damp towels. The lid of the box is open. loc66 loc67 loc68 loc69 loc70 loc71 loc72 loc73 loc74 loc75 loc76 loc77 loc78 loc79 loc80 loc81 loc82 loc83 loc84 loc85 loc86 loc87 loc88 loc89 loc90 loc91 loc92 loc93 loc94 loc95 loc96 loc97 loc98 loc99 loc100 loc101 loc102 loc103 loc104 loc105 loc106 loc107 loc108 loc109 loc110 loc111 loc112 loc113 loc114 loc115 loc116 loc117 loc118 loc119 loc120 loc121 loc122 loc123 loc124 loc125 loc126 loc127 loc128 loc129 loc130 loc131 loc132 loc133 loc134 loc135 loc136 loc137 loc138 loc139 loc140 loc141 loc142 loc143 loc144 loc145 loc146 loc147 loc148 loc149 loc150 loc151 loc152 loc153 loc154 loc155 loc156 loc157 loc158 loc159 loc160 loc161 loc162 loc163 loc164 loc165 loc166 loc167 loc168 loc169 loc170 loc171 loc172 loc173 loc174 loc175 loc176 loc177 loc178 loc179 loc180 loc181 loc182 loc183 loc184 loc185 loc186 loc187 loc188 loc189 loc190 loc191 loc192 loc193 loc194 loc195 loc196 loc197 loc198 loc199 loc200 loc201 loc202 loc203 loc204 loc205 loc206 loc207 loc208 loc209 loc210 loc211 loc212 loc213 loc214 loc215 loc216 loc217 loc218 loc219 loc220 loc221 loc222 loc223 loc224 loc225 loc226 loc227 loc228 loc229 loc230 loc231 loc232 loc233 loc234 loc235 loc236 loc237 loc238 loc239 loc240 loc241 loc242 loc243 loc244 loc245 loc246 loc247 loc248 loc249 loc250 loc251 loc252 loc253 loc254 loc255 loc256 loc257 loc258 loc259 loc260 loc261 loc262 loc263 loc264 loc265 loc266 loc267 loc268 loc269 loc270 loc271 loc272 loc273 loc274 loc275 loc276 loc277 loc278 loc279 loc280 loc281 loc282 loc283 loc284 loc285 loc286 loc287 loc288 loc289 loc290 loc291 loc292 loc293 loc294 loc295 loc296 loc297 loc298 loc299 loc300 loc301 loc302 loc303 loc304 loc305 loc306 loc307 loc308 loc309 loc310 loc311 loc312 loc313 loc314 loc315 loc316 loc317 loc318 loc319 loc320 loc321 loc322 loc323 loc324 loc325 loc326 loc327 loc328 loc329 loc330 loc331 loc332 loc333 loc334 loc335 loc336 loc337 loc338 loc339 loc340 loc341 loc342 loc343 loc344 loc345 loc346 loc347 loc348 loc349 loc350 loc351 loc352 loc353 loc354 loc355 loc356 loc357 loc358 loc359 loc360 loc361 loc362 loc363 loc364 loc365 loc366 loc367 loc368 loc369 loc370 loc371 loc372 loc373 loc374 loc375 loc376 loc377 loc378 loc379 loc380 loc381 loc382 loc383 loc384 loc385 loc386 loc387 loc388 loc389 loc390 loc391 loc392 loc393 loc394 loc395 loc396 loc397 loc398 loc399 loc400 loc401 loc402 loc403 loc404 loc405 loc406 loc407 loc408 loc409 loc410 loc411 loc412 loc413 loc414 loc415 loc416 loc417 loc418 loc419 loc420 loc421 loc422 loc423 loc424 loc425 loc426 loc427 loc428 loc429 loc430 loc431 loc432 loc433 loc434 loc435 loc436 loc437 loc438 loc439 loc440 loc441 loc442 loc443 loc444 loc445 loc446 loc447 loc448 loc449 loc450 loc451 loc452 loc453 loc454 loc455 loc456 loc457 loc458 loc459 loc460 loc461 loc462 loc463 loc464 loc465 loc466 loc467 loc468 loc469 loc470 loc471 loc472 loc473 loc474 loc475 loc476 loc477 loc478 loc479 loc480 loc481 loc482 loc483 loc484 loc485 loc486 loc487 loc488 loc489 loc490 loc491 loc492 loc493 loc494 loc495 loc496 loc497 loc498 loc499 loc500 The kindling is dry and brittle - suitable for starting a fire with. It's a brand new paperback. On the front, printed in vivid red capitals, is the title - Virgil's Guide to Hell and the Surrounding Area (2nd edition). You note that it is due back at the library next week. You'd better not lose it. It's the mobile you were given by your manager before you departed on this epic quest. It's a shiny new one and has an attractive purple cover. As you check your address book you remember you didn't have time to enter any numbers before you left. You check the games - it's got 'Snake'. Yes! It's a bit dirty, but should suffice as a currency unit. It's a plastic crate for carrying beer bottles. It's dark green and about 12 inches high. The pint of dark, creamy ale looks delicious. A rich, luxurious smell reaches your nostrils. It's good brandy. It's the return portion of a ticket. Issued by 'Charon', who or whatever that might be. The ball is quite hard and difficult to squeeze. There are some sharp teeth marks on it. This lump is what remains of your mobile. The display is a fractal pattern of cracked glass. You press a few buttons but nothing happens. It's broken. It's a pack of 'Hell's Fire' matches, guaranteed to 'Provide that longer lasting flame' according to the blurb on the back. There's only one match left. It's a spent strip of 'Hell's Fire' matches. Did you waste the match? It is a used match. That is to say, a match you will not be able to use again. Did you waste it? It's a mere shilling. Not worth much, but it should buy you something somewhere. You hold the skull out in front of you and solemnly address it - "Alas poor Yorick... ." You notice nothing distinctive about it. The femur, aka the thigh bone, is big, thick and hefty. It's a hand mirror. You can't see your reflection as the glass is encrusted with mud. Now it has been cleaned the mirror is spotless. The washing line is strong and surprisingly long. The bloomers are yellowed with age. A label informs you they are, in fact, 'Extra Large'. The rags are old, tattered, dirty and a little smelly. Duct tape is the handyman's version of sellotape, being useful for '101 taping applications' as the adverts used to say. This roll is no exception. The anvil looks very heavy - you wouldn't want to drop it on your foot. It's brown and bristly and has had quite a lot of mud trod into it over the years. It looks like a door key. It has a low metal base, four wheels and a long handle at the front. It is probably used for moving heavy items around. It's a piece of half frozen white fish. mess28 mess29 mess30 mess31 mess32 mess33 mess34 mess35 mess36 mess37 mess38 mess39 mess40 mess41 mess42 mess43 mess44 mess45 mess46 mess47 mess48 mess49 mess50 mess51 mess52 mess53 mess54 mess55 mess56 mess57 mess58 mess59 mess60 mess61 mess62 mess63 mess64 mess65 mess66 mess67 mess68 mess69 mess70 mess71 mess72 mess73 mess74 mess75 mess76 mess77 mess78 mess79 mess80 mess81 mess82 mess83 mess84 mess85 mess86 mess87 mess88 mess89 mess90 mess91 mess92 mess93 mess94 mess95 mess96 mess97 mess98 mess99 mess100 mess101 mess102 mess103 mess104 mess105 mess106 mess107 mess108 mess109 mess110 mess111 mess112 mess113 mess114 mess115 mess116 mess117 mess118 mess119 mess120 mess121 mess122 mess123 mess124 mess125 mess126 mess127 mess128 mess129 mess130 mess131 mess132 mess133 mess134 mess135 mess136 mess137 mess138 mess139 mess140 mess141 mess142 mess143 mess144 mess145 mess146 mess147 mess148 mess149 mess150 mess151 mess152 mess153 mess154 mess155 mess156 mess157 mess158 mess159 mess160 mess161 mess162 mess163 mess164 mess165 mess166 mess167 mess168 mess169 mess170 mess171 mess172 mess173 mess174 mess175 mess176 mess177 mess178 mess179 mess180 mess181 mess182 mess183 mess184 mess185 mess186 mess187 mess188 mess189 mess190 mess191 mess192 mess193 mess194 mess195 mess196 mess197 mess198 mess199 mess200 The charcoal burner eyes you suspiciously. Strangers are rarely friends in this forest. More likely they've escaped from the devils and demons yonder. He mutters a muted greeting and keeps well away from you. You clench your fists and flail at the charcoal burner. He steps back angrily, unhooks his axe from his belt loop and throws it in your general direction. Being a woodsman he is pretty accurate and he succeeds in cleaving your chest in two. You really must pick your fights more carefully in your future lives. It's a long-handled axe for chopping branches and the like. It looks sharp - the charcoal burner obviously looks after it. You suspect the charcoal burner will be pretty keen to keep his possessions to himself. Deciding that discretion is the better part of valour, you leave the charcoal burner well alone. The charcoal burner is used to living on his own in the forest. He's an uncommunicative type and, rather rudely it must be said, ignores your question. You briefly flick through the book and discover it is an encyclopaedia. There's lots of information here, listed under the appropriate alphabetical heading. The opening pages advise readers to 'LOOK UP' whichever particular topic interests them. HELL Generally a place to be avoided. Extreme heat, coupled with some rather unpleasant inhabitants, make Hell a destination to be avoided by the average traveller. If you must visit, take the No. 23 bus to the small settlement Hellgate and go east. There's no point splashing out on a return ticket as you won't survive ... %1You stare intently at the small screen for a few minutes, thumbs jabbing away at the keys. You get a top score - well done. Probably best to move on now.%2What a dreadful perfomance. You're normally pretty good, but an itch on the back of your neck distracted you at the vital moment. Better luck next time.%3Dammit. Another mediocre perfomance. You were never as good as your friends at school when it came to these electronic games. Lucky it's only a game. The graffiti includes such erudite morsels such as 'In Hell everyone can hear you scream'. How encouraging ... Ramshackled. Over time the shelter has been battered by both the elements and inebriated locals leaving the nearby tavern. The timetable brings no hope of an early escape. The next bus isn't until tomorrow morning. You gingerly push a few bits of litter around with your foot. It's the usual collection of empty crisp packets, ripped chocolate wrappers and general detritus you find at bus stops. Against your better judgement you kneel down and scrabble amongst the mess. As you move a soggy lump of paper to one side you hear a metallic tinkle. A coin, dropped by someone catching the last bus, rolls into view. Your senses baulk at the thought of extending your contact with the floor of the bus stop. There's probably nothing else down there anyway. The sign has the title 'The Prince of Darkness' emblazoned over the top of an illustration of the Devil with horns, forked tail and sturdy tripod. The tavern looks dreary and neglected. Its name and location have made it difficult for the owners to attract the upwardly mobile or high-spending tourists. However, the bright lights mean you'll probably be safe enough inside. Alas, this is not one of those fabled talking horses. You stand on the crate, raising yourself about 12 inches above the ground. You struggle. You fail. You slip back down to the ground. The horse is too big for you to mount her unassisted. The crate gives you the extra height you needed and you scramble up onto the horse's back. You pat the animal to reassure her and she replies with an appreciative whinny. You slide off the back of the horse and reintroduce your feet to the ground. Because you're riding your noble steed you can't enter the tavern. Because you're riding your noble steed you can't enter the hut. What can you say? A bar, a pool table, a resident drunk ... There are no nooks or crannies in this rectangular bunker of a tavern. You glance under the tables, but there's nothing but polished vinyl. The barman certainly keeps a clean bar. As he polishes away with his damp cloth he glances up at you and nods you a friendly greeting. The bar holds an impressively limited stock of drinks. There's beer on draft and a couple of bottles of firewater on the shelves behind. Drinkers here don't like to experiment with something a bit different. The barman's obviously glad for the conversation. Before you know it, you've heard all about the problem with the brewery, his sore back, the dreadful weather and his wife's plans for their summer holiday. As an after thought he asks if you would like a drink. You've stumped him. He clearly doesn't know anything about that. "The horse belongs to him over there," says the barman, gesturing towards the pool table. "Randolph's a regular. He's a maintenance engineer at the power plant over on the other side," explains the barman, pointing east in the general direction of Hell. "Buy him a drink and he'll be your best friend." "Been here for a couple of years now. Bit quiet for my liking, but I get enough of the local custom to get by." He sighs, and adds apologetically, "Not that there are any other pubs nearby." "Keep away from him," whispers the barman, glancing furtively towards the pool table. "He's one of those horsemen. You know, one of those apocalypse fellows. He's Pestilence." The barman looks at it and shakes his head. What would he want that for? The barman takes your money with a cheery smile and pops it into the charity box next to the till. "There's no need for that Sir," shouts the barman, as he bends down beneath the bar to retrieve his shotgun. Boom! Randolph's going to have difficulty sustaining much of a conversation, however he does manage to suggest that he buys you a drink, only to find that he has no money in his capacious pockets. Randolph burbles his appreciation. He buys himself a firewater, downs it one gulp and licks his lips with a satisfied smile. Randolph declines your kind offer. There's no point - the barman wants money for his drinks. "Leave him alone," shouts the barman. "Pick on someone your own size." You smile sheepishly at your bullying tactics and apologise. "Sorry Sir, I'm a barman, not an encyclopaedia." The barman scowls at you. "Nothing on credit," he grumbles. The barman takes the silver coin you'd handed him. In return he places a measure of fine brandy on the bar. You savour the taste of the liquor on the back of you throat. Mmmmm - that was good. Dutch courage begins to tingle in the tips of your fingers - you are a match for the Devil himself! Randolph looks on expectantly. "Not while I'm working," says the barman, shaking his head and returning to his polishing activities. A guilty flush spreads across the barman's face as he steps forward and finishes the brandy in a single gulp. With an appreciative nod in your direction he returns to his polishing duties. Randolph accepts your offer graciously and puts the glass to his lips. He smiles drunkenly. Randolph can't believe his luck and takes the drink with both hands. As he finishes, he wipes his mouth on his sleeve and slips into a gentle slumber. Randolph is asleep. Randolph is propped up against the bar, his head resting on his folded arms and his snuffily snoring competing with the music from the jukebox. You're not a customs officer. Leave the poor man alone! He's asleep, not dead. Have you no decent bone left in your body? Be a little more subtle. You gingerly delve into Randolph's capacious pockets. They're empty apart from a slip of paper which falls to the floor as you remove your hands. "That'll be the ferry that carries the unlucky ones across the River Acheron into Hell," answers the barman helpfully. This picnic table is not where you would choose to eat your sandwiches. The beer garden could be said to offer development opportunity, not something you have the resources for at the moment. A further rummage through the weeds produces nothing more than a few scratches on your forearms. The weeds swarm over the ground. There's no chance of any flowers popping through here. The silver coin doesn't fit into the jukebox's money slot. I'm afraid the soft rock extravaganza is going to continue ... It's big and silver and it's playing all of a soft rock compilation album. Never mind, eh? He's a tall chap, swathed in a dirty black cloak and wearing riding boots. You notice his face which is covered in scabs and pustules. The horseman doesn't even acknowledge you and continues with his game. Maybe it's best to leave him alone. It's a standard sized table with green baize. It's a single lane strip of potholed black tarmac flanked on one side by a drainage ditch. Looking down on the ditch it would appear that it is collecting water rather than draining it away. The ditch doesn't look much more interesting now that you're in it. Best to climb out and get on with things. The chasm is probably about 30 metres deep with precipitous walls leading straight down to a jagged mass of black volcanic rock. There seems to be a body of some kind spreadeagled at the bottom. The chasm is not that wide. However, 5 metres is a little further than you ever managed in your school sport's day long jump competition. The horse isn't sure about this. It's a deep chasm and the other side holds no attractions. However, with your vocal encouragement she jumps the gap. As she lands she slips, throwing you to the ground. Spooked, the horse bolts into the distance leaving you to dust yourself down. This is not one of those interesting car parks you find in urban areas. It can only be characterised by its drab mundanity. Your senses have nothing to report. The stranger seems to be monopolising the table on his own. In any case, you haven't the time. You flick through the CDs on the jukebox, oohing and aahing at the songs you remember from yesteryear. Unfortunately someone has got the next ten tracks up and you haven't the time to wait. Despite your kind offer, the horseman turns his back and prepares for his next shot. When the barman's not polishing the glasses he obviously works on the tables as they have a bright sheen. You strike the last remaining match briefly illuminating the surrounding area. After a few seconds the match fizzles out and dies. You can't. It's already been used. This poor man will tell you no tales. His clothes have been ripped to shreds and his flesh stripped away by the local carrion. From the melange of bones left it looks as if scavengers have dragged off choice morsels to gnaw at in their dens. You do notice something lying next to his hip (it had probably been in his pocket). From the melange of bones left it looks as if scavengers have dragged off choice morsels to gnaw at in their dens. The bones have been bleached by the sun, broken by his fall (it would seem probable he fell from the rim of the chasm some 30 metres above you) and scarred by the teeth and talons of the carrion. The most distinctive remnant of the skeleton is a thick femur. The bones have been bleached by the sun, broken by his fall (it would seem probable he fell from the rim of the chasm some 30 metres above you) and scarred by the teeth and talons of the carrion. There are far too many for you to carry. The barman takes the shilling you'd handed him. In return he places a pint of ale on the bar. As you're with your equine companion you won't be able to negotiate the path into the chasm. Dirty, muddy, slightly fetid ditchwater. A quick search reveals there are no hidden treasures. The hut is of a timber construction with wattle-daubed walls and a poor quality thatch for a roof. There is a hole in the thatch above the hearth to let out the smoke. It is too cumbersome to carry. All the furniture in the hut is rough and heavy. You suspect the charcoal burner has hewn it himself. None of it looks comfortable. It is an open hearth with cold ashes beneath the grate. A bundle of kindling lies to one side, ready to be used the next time the charcoal burner lights the fire. It is an open hearth with cold ashes beneath the grate. Grass. A few wildflowers. Just a bit empty space compared to the closeness of the forest. Half way down the track you slip and, unable to recover your balance, tumble downwards. Luckily you land on your backside and not your head. Wheezing a bit you stand up and dust yourself down. It's just swathes of knee length grass. The cliff is cut from soft, brownish rocks which have been heavily eroded in places to produce landslips which reach out onto the black rock of the chasm floor. The track looks treacherous. Where it hasn't been eroded away it is only six inches wide. Twisted roots, thick trunks, heavy branches, dark canopies. If trees had personalities these are the type you would avoid talking to at parties. You crawl around in the grass, sending insects fizzing into the night sky. You find nothing. %1You haven't time to go round shinning up the nearest tree. You've got work to do.%2Your inability to climb trees was legendary at school and hasn't improved since you left. One stream is the same as the next - a few rocks, the odd lily where the water slows in pools and (probably) tadpoles in Spring. A clear liquid flowing at relatively high volume in the natural environment? It's almost certainly water, although you haven't brought your mini-chemistry kit so there'll be no time wasted studying its mineral composition. The bushes are thick with thorns. You'll have to stay on the path. Owww! Aaaaaw! You get scratched by the thorns and quite rightly give up. %1You scoop up a handful of the water and drink. No chlorine or other additives in there.%2The water is cold and refreshing. Nearly as nice as a beer from the fridge. %1Nothing of interest there.%2A cursory glance suggests you would be wasting your time.%3Your senses have nothing to report. The wasteland is lifeless. It's as if the chasm has separated life from death. The dust devils sweep across the ground, flinging sand, pebbles and small rocks into the air. You make sure you don't get too close. It's been heavily eroded in the past, probably as a result of the river being in flood. The river is several hundred metres across and in the dark you can hardly make out the far side. It looks as if unseen eddies and currents would quickly drag the unwary to a watery grave. From the look of the rotting timber the wharf was probably built many years ago. It creaks ominously with the flow of the river. The bullrushes are generally thick stemmed and taller than you. In the shallows the river is quieter and more subdued. You'll be safe here. It's a small boat, daubed with pitch to keep it watertight, with room for the rower and two others. Charon is probably right to assume that his passengers will not be unduly concerned about the lack of lifejackets or onboard amenities. Yuck! You spit out your mouthful of river water as it's full of gravel. Charon looks at you with surprise. The damned are always escorted by little devils to make sure they don't try and avoid their fate, whilst he would expect to recognise the few who work in Hell, but live elsewhere. "Do you have a ticket?" he asks. "Keep your wits about you," he advises. "It's not somewhere I would go voluntarily." "This is the Acheron, one of Hell's two rivers. The other is the rather more famous Styx," advises Charon. Charon shrugs his shoulders. He obviously doesn't know anything about that. Charon studies the ticket intently and, shrugging his shoulders, invites you to clamber into the boat. Climbing in after you, he takes up the oars and quickly rows you across the river. Once on the other side you clamber out, say your goodbyes and leave Charon behind. Following a rutted track eastwards you reach the brow a hill. In front of you, a quarter of an hours walk away, are the walls of the City of Dis. You pile up the kindling on the ground and, striking your only match, light a small fire. After a few minutes of warmth it burns itself out, and the wind scatters the ashes. "It's my boat," says the ferryman defensively. "You're not having it." The river is so filthy you can't even see the bed. However, as you trail your fingers through the sediment you come across something metallic. The bullrushes aren't hiding anything. You wipe the mirror on your sleeve, but only succeed in smearing the mud. Unfortunately the river is too dirty to clean the mirror effectively. A further trawl of the shallows reveals nothing else. Charon quickly blocks your path. There are no free passages across the Acheron. mess326 The red hot coals in the brazier provide some comfort for the imps on a cold night. You stop a moment to warm your hands. As you mingle with the striking imps shadowy figures emerge from a small door set inside the entrance gates and arrest you. The uglier of the two whispers in your ear that you're being detained under the recently introduced General Conspiracy Act and that it doesn't matter whether you say anything or not as you'll probably be tortured anyway. "Oooh," sighes the figure disappointedly. "You're the man reported missing from the power plant," he continues, "I thought we'd managed to catch one of the strikeleaders, not some malingering workman." Your temporary nemesis turns away and leaves you all alone. A few minutes later the two men who arrested you wander in and after offering their apologies for the incident untie you and deposit you and your belongings back at the gates of the city. "I'm afraid you're going to have to do better than that," chuckles the figure. "Now, telling the truth this time, who are you?" "You again! Don't you learn," shouts the ugly man in disbelief, dragging you away. "This time you're spending a couple of days in the cells to soften you up before we bother with the questioning." There's no chance of you finishing the mission tonight. Your ability to do anything is curtailed by your hands being tied and the immense headache which is developing with this blasted light. Your polite conversation elicits no response. The gates are as tall as a double decker bus and extremely solid. They are firmly closed and probably locked. The placards are home-made, each consisting of a flat sheet of wood nailed to a long pole. All quite amateurish. Various messages of protest are daubed in paint on the placards. It seems that the imps are looking for more pay, less hours, an extra week's holiday, union recognition and free use of the municipal swimming pool on Thursdays. The city walls encompass the perimeter of the city. Their height, the slippery nature of the granite and the observant guards on the parapets above mean that any attacker would struggle to climb them. There are no handholds. You don't even get off the ground. Tony stops his contribution to the cacophany and, thinking you're a journalist (who else would be here at this time of night), begins to lecture you on the undoubted rights of his cause. Tony explains that the imps have been on strike for two days now, confiding in you that he's rather disappointed with the turnout and enthusiasm levels. Tony's lived here in the city all his life and presumes you have too. With a nod and wink he asks if you'll be getting back in tonight via the catacombs on the south side. A smile crosses the imp's face as he waxes lyrical about Hell. For all its problems he's still proud to call it home. Tony, who has just realised that you're not from round here, chuckles to himself. "I know the catacombs are a strange place but you'll be fine if you know where you're going." "I think the obelisk in the cemetery could help you navigate a way," he adds with a helpful smile. It's a single storey building with a pitched roof. It would probably be best not to disturb the occupant(s). You aren't in the genteel suburbs this evening. It's about four feet in height. The rough stone offers plenty of hand and footholds. You shoogle the door handle. As anticipated it is firmly locked. Unfortunately, however, the handle creaks with grim determination. Your first attempt obviously achieved something. This time the door swings open with a shudder. Waiting for you on the other side of the threshold is the occupant - a large woman with a shotgun. She doesn't wait for an explanation of your suspicious actions. It's a stout wooden door with an old cast iron handle. It is closed. All you notice is well trimmed grass with no weeds in sight. As you peer at the small assortment of root crops busily growing in the ground, you are surprised by a large pair of bloomers floating at head height. On further inspection you find they are attached to the washing line which runs from the back door to a post at the end of the garden. Yellow and blue. Blue and yellow. If only you'd listened to your grandmother when she patiently taught you all the names when you were smaller. The bloomers are yellowed with age. A label informs you they are, in fact, 'Extra Large'. The washing line is a long strip of cord. Only a short section is actually fulfilling its function, with the majority coiled around the supporting post. You fiddle with the knots and successfully untie the washing line. The washing line is firmly secured in place with a couple of deft knots. A small assortment of root crops is busily growing in the ground. Gingerly you take the bloomers by the elasticated wasteband. Wandering around the vegetable patch you nearly guillotine yourself on the washing line which runs from the back door to a post at the end of the garden. The post is securely set in concrete. The garden reveals no hidden gems. In a damp corner you chance upon a book of matches. It is reminiscent of the defensive towers that once guarded a border or coastline. Men would keep watch through the day and night, ready to raise the alarm if any intruders were spotted. The turret is open to the elements. On a sunny day you would be able to clearly see the other side of the river. There is no room here for anything to be secreted away. It looks as if the doorway has never had a door. Immediately inside are the stairs. Each step is worn in the centre, recording the many feet tramping up and down over the years. You'll have to climb the stairs first. The crenellation nearest to the river has a small dip at its centre. You notice that the base of the hollow is coated with a layer of ash. Running your hand around the lip of the hollow leaves the tip of your index finger black. It looks as if this is the remains of a small fire. Knowing the importance of cleanliness you decide to leave the ash where it is. After setting the kindling down in the dip on the crenellation you strike your single match and hold it to the dry wood. In seconds a fire starts. A small fire burns brightly on one of the crenellations. "Tickets aren't for sale," mutters Charon. "You either have one or you don't." The washing line is a long strip of cord. Only a short section is actually fulfilling its function, hanging out a pair of bloomers to dry, with the majority coiled around the supporting post. Despite the slightly surreal circumstances you are hard pushed to notice anything that would seem out of place in another cemetery elsewhere. In Hell there's real respect for the dead. You look behind a few gravestones but find nothing of interest. Gravestones come in all shapes and sizes - tall, craggy stones stand at gentle angles alongside manicured memorials decorated with carvings of cherubic angels blowing on trumpets. The charcoal burner is in the shadows.#He's a big, broad man with a soot-covered face. An axe swings freely from his belt loop. A horse is sniffing at the ground nearby.#This horse is a huge animal - at least 20 hands high - with a gleaming black coat and wide friendly eyes. Randolph the Drunk is slumped on a stool at the end of the bar.#Randolph is sitting quietly, his rheumy eyes studying the bartop in front of him. His right hand nurses an empty glass, whilst his left is thrust into his trouser pocket. Charon the Ferryman stands by his rowing boat.#Charon is a old, old man doomed for eternity to row both the employees of Hell and the eternally damned across the river. As you might imagine this does not fill him with joy and happiness. Tony the Imp is leading the chanting.#Tony is a short, stout fellow with carrot coloured hair and big pointy ears. His placard demands that imps receive the same pay as other Level VI clerical workers in Dis. A headless man is stumbling around.#The headless man is wearing black frock coat, muddy breeches and dirty boots. He looks dishevelled and seems somehow to be aware of your presence. His body language indicates he is frightened. Filippo the Dandy lurks at the margins.#Filippo is wearing black frock coat, muddy breeches and dirty boots. His skeletal head is merely functional - his 'real' head had an aquiline nose, thick wavy hair and a dashing smile. A wizened beggar sits quietly in the alcove.#The beggar is old and wrinkled, his emaciated body shrouded in a black cloak. His body odour is, shall we say, well developed. %1Chloe the Cat slinks lazily across the room.%2Chloe the Cat rubs up against your legs.%3Chloe the Cat sits a few metres away watching you through narrow eyes.%4Chloe the Cat is nearby pawing at an invisible ball of wool.#This black moggy must be the house cat, although from her well nourished features she probably spends more time getting morsels from folk upstairs than chasing mice out of the kitchen. mess389 Brian the Bodyguard is looking for you.#Brian is a tall, muscular chap with a knotted forehead and a large cudgel in his right hand. He seems both perplexed and angry. Hieronymous IX, aka the Prince of Darkness, is sprawled out on the floor.#The corpse, with its flattened head and pool of blood, does not make for a pretty sight. You feel slightly queasy. mess392 mess393 mess394 mess395 mess396 mess397 mess398 mess399 mess400 What would you want with a gravestone? In any case they're all firmly embedded in the ground. The grass paths form a grid pattern across the cemetery. They have been recently mowed. The epitaphs make your eyes well up. So many poignant words, so many dearly beloveds. What are you doing working for Death? Have you no shame? You balance on the edge. Your guardian angel makes the valid point that this is a pretty deep hole with no obvious exit. You hit the earthen floor with a solid thump. You loop the washing line around the obelisk and tie it off with a neat knot. Your guardian angel makes the valid point that this is a pretty deep hole, but you go for it and hit the earthen floor with a solid thump. There's four of them and the seem to be doing their job of defining the boundaries of the grave quite well. The hole you find yourself in would be large enough to accommodate four, possibly, five normal coffins. Whoever is due for this resting spot must be huge. You spend several minutes communing with the worms, but find nothing. This hole's plenty deep enough. No more digging required thank you very much. You slide gently down the washing line until you feel solid ground beneath your feet. The obelisk tapers from a rectangular base to a point several metres above the ground. You note, with interest, that on one side are several lines of curious markings, resembling ancient runes. The smooth stone surface offers no handholds. The runes have been chiselled into the stone. The runes defy easy translation. However, as you stare at the confusing babble of shapes, something stirs in your memory. Rather than being an ancient language is this simply mirror writing? The mausoleum is an antiquarian's delight. But for you the opulence is overpowering rather than impressive. A quick poke around in the corners of the mausoleum reveals nothing but dust. You are, however, continually drawn back to the statue. The carvings are the conspicuous consumption of the deceased. The fine detailing of the heraldic shields above the doorway screams 'We may be dead but we've still got more money than you.' The stonework reeks of expense. The marble cladding was undoubtedly imported, and the limestone floor tiles quarried from the deepest, purest beds. Inscriptions on the walls trumpet the many and varied achievements of the Mantuas. The mosaic panels depict the fine things that the various Mantuas would have enjoyed in life. Banqueting tables heaped with food and wine, sycophantic retainers laughing at every witticism and fair maidens washing in the clear water of a bubbling fountain. The ceiling has been expertly daubed with blue sky, cotton wool clouds and an elderly bearded gentleman surrounded by heavenly seraphims. How tasteful. The inscriptions proclaim the limitless intellect, bravery, fortitude, good looks, aesthetic discernment and astounding wealth of the mausoleum's owners and occupants. You feel positively queasy. Peering up you see the nymph is holding an ewer, as if he is pouring something. At your feet, beneath the ledge, is an empty basin with a hole in the base that disappears into the floor. Although held at a considerable angle, there is no liquid coming out of the nymph's ewer. Would this always have been the case? Unfortunately the statue is too far above your head to be inspected more closely. The basin is set into the ground. Although several feet in diameter at the top, it is not very deep and quickly narrows to form a funnel with a small hole in the bottom. The basin is dry. The ledge's sole function is to support the statue. The far wall is of most interest. The stone beneath the statue is damp enough to support a covering of green moss. The moss has all it needs - carbon dioxide from the air and drops of water which creep over the edge of the ledge which supports the statue and slide down the wall. The hole, which is no more than half an inch wide, leads into the ground. A quick scan of the crypt reveals that you would rather be somewhere else. These are the types of corners that are best left unexamined. Who knows how many spiders they could be hiding. Depending on which end you are at these steps lead up or down. No. Not now. Not ever. The fact that you are aware it is a basement can be considered a triumph of your senses. To want more would be sheer greed. You put your hands in the air - you can't touch the ceiling. You reach down to the ground - the floor is stone slabs. A truly interactive conversation is inhibited by the man's lack of a head. Filippo thanks you profusely for your kindness. He quickly tells you his story - condemned to the lower circles of Hell he escaped just as an over enthusiastic demon severed his noble head. Robbed of this key appendage he had hidden in the crypt basement waiting for fate to roll her many-sided dice. He smiles with relief. Before he makes good his escape, he asks if there is anything he could do for his new found friend. How can he help you reach your goal? Filippo thanks you again for your kindness. How can he help you? But hurry for time is short and he must go soon. Filippo has no desire to remember his time in the creepy crypt. Too scary. "I know nothing about the city," answers Filippo. "I was imprisoned amidst the fiery flames and scourging demons of the seventh circle. Not much fun I can tell you." "All I know about this place," says Filippo, "is that the Mantuas have their family mausoleum here." "It's supposed to be very plush. Hell's like the rest of the world - there's profit to be made if you're sharp off the mark." "All I know about this place," says Filippo, "is that the Mantuas have their family mausoleum here." "It's supposed to be very plush. Hell's like the rest of the world - there's profit to be made if you're sharp off the mark." "Never met him myself," laughs Filippo nervously, looking over his shoulder. "The Mantuas were one of Hell's great families. A distant ancestor started a sandwich shop for the clerical workers - you know the type, rolls, crisps and chocolate at lunchtime. In time they moved on to general procurement and developed a monopoly on key supplies. The only place to get ice cubes, paperclips and solid fuel was through a Mantua. They made a fortune." "But what they are best known for," continues Filippo, "is their ostentatious patronage of the arts. Their houses were decorated with fine paintings and tapestries, whilst sculptures stood quietly in alcoves and intricate fountains gushed in the formal gardens." Filippo wipes his new brow with the back of his hand and declaims vehemently on the foul damnations that he has seen in Hell. He adds at the end that he is innocent of his alleged crimes. Filippo blushes a little - perhaps his conscience is not as clean as it should be. "I was accused of being part of a team of thieves. It was suggested that, with my height, I helped smaller men climb through windows." "Of course," says Filippo. "What can I do for you? Take me to where I can help you best." "I don't know what you mean, but show it to me if you like," replies Filippo. "If the water was running that would be part of a memorial fountain," declares your new found friend. "I wouldn't be surprised if we could get it working again." "I don't know what you mean, but show it to me if you like," replies Filippo. "The water tumbles from the ewer and collects in the basin," explains Filippo. "The hole is just the outlet drain. They wouldn't want this place to flood." mess453 You jump six inches off the ground and for a brief moment get a better view of the base of the statue. Then gravity does the inevitable. Filippo watches your actions with curiosity. "Do you want me to give you a lift?" he asks. Filippo obliges and gives you a leg up to the ledge. As you catch your balance he mentions that as a wanted man he had better disappear soon. He leaves the mausoleum with a cheery wave. The statue is a fine piece of marble sculpture, combining soulful elegance and realistic proportions. Although held at a considerable angle, there is no liquid coming out of the ewer. You notice that a length of pipe is connected to the ewer's base. A cast iron pipe runs from a hole in the ceiling, down behind the statue and into the base of the ewer. It was presumably designed to transfer rainwater from the roof to the ewer, so creating a soothing water feature. Only an inch in diameter, the pipe has rusted away in one spot behind the nymph's head. Water drips from the open end and down the wall. {1Green and mossy.{2Mossy and green.{3Dark green and very mossy. You carefully wind the duct tape around the rusted pipe, fixing the hole. The pipe is fixed and no longer drips. Water is now trickling out of the ewer and falling towards the basin on the ground below. It may not be spectacular, but it is working! The nymph is now a real water nymph as water gently drips from the ewer down into the basin. If it hadn't been so dry in Hell over the past fortnight then it would probably be a more impressive cascade. Water is trickling out of the ewer. The basin is set into the ground. Although several feet in diameter at the top, it is not very deep and quickly narrows to form a funnel with a small hole in the bottom. The water from the ewer runs down the sides of the basin and disappears into the hole. You manage to wet your lips, but there is insufficient water in the basin to provide a satisfying drink. You hold the mirror beneath the ewer, but there's not enough water to clean it properly. You'll need a full basin to get all the mud off. With the rags plugging the outlet, the basin is slowly filling with water. The rags are stopping the water disappearing down the hole. You roll up your sleeves and, with the water that's accumulated in the basin, scrub away at the layers of mud. In a few minutes it comes up a treat. It is a largish corrugated iron construction with a sloping roof. The roof slopes from left to right, draining any rainwater into a gutter. The mower is a fine four-wheeled machine with an adjustable rotary blade. Perching on the edge of the mower's red bucket seat you imagine, just for a moment, that it's you who's gliding up and down the paths cutting the grass. Then you snap back to the reality of your mission. For health and safety reason the blade is protected by a plastic sheath. The smell of mown grass beginning to compost enthralls your nostrils. You plunge both hands into the rotting pile of greenery, but find nothing. It seems the clippings are not concealing anything, but are simply a physical manifestation of the neatly trimmed paths in the cemetery. It is a simple box gutter. Ted has all the tools you would expect a groundsman to have. A spade, a fork, a rake, etc. The workbench has a long hardwood surface which has become pitted and scarred over the years. Ted has lined up his boxes of nails and screws againt the back wall. The only thing out of place is a roll of duct tape hidden behind a vice. As is the case in most sheds the owner possesses an array of nails, screws and widgets suitable for all kinds of maintenance tasks. It is a high backed, wooden chair with a padded seat. As sheds go this is bigger and tidier than most. The workbench has a long hardwood surface which has become pitted and scarred over the years. Ted has lined up his boxes of nails and screws againt the back wall. You're a trainee assassin not a landscape gardener. The tools are fine where they are. As attractive as small shiny objects are you decide that a pocketful of these would be of no real benefit. It is an ordinary vice. All the tools are of a lightweight, carbon steel construction with moulded plastic handles. You're a trainee assassin not a landscape gardener. The tools are fine where they are. The vice is irreparably fixed to the workbench. You rest for a moment in the chair, musing on the nature of existence. Then, mindful of your time-critical mission, you leap to your feet ready to continue. It's too dark with the door closed. Aaaah, enlightenment. Holding the mirror up to the runes reveals all. Apparently to negotiate the labyrinthine catacombs you'll have to follow the southerly passageway and then go down, then east and finally back up again. mess494 %1Cerberus's two unoccupied heads glare at you with malicious intent. The third, with what amounts to a doggie smile, is grappling playfully with an old slipper. %2One of Cerberus's heads is concentrating on a ragged slipper. The other two are sizing you up with a view to dinner. Be careful. %1Cerberus is becoming increasingly distracted by his treats - only one pair of beady eyes is watching you carefully. %2Isn't chewing things such fun! Cerberus is beginning to lose just a little interest in you. The ale slides down your gullet quickly and easily. Mmmmm - that was good. Dutch courage begins to tingle in the tips of your fingers - you are a match for the Devil himself! Randolph looks on expectantly. Randolph burbles his appreciation. He gets himself a pint of ale, sinks it quickly and smiles at his new best friend. %1Words are not enough.%2Would indescribably ordinary suffice?%3Functional rather than fashionable. You strike your single match and hold it to the dry wood. In seconds a fire starts to burn brightly. The hole is large enough to accommodate four, possibly, five normal coffins. Whoever is due for this resting spot must be huge. mess502 mess503 mess504 mess505 mess506 mess507 mess508 mess509 mess510 mess511 mess512 mess513 mess514 mess515 mess516 mess517 mess518 mess519 mess520 mess521 mess522 mess523 mess524 mess525 mess526 mess527 mess528 mess529 mess530 mess531 mess532 mess533 mess534 mess535 mess536 mess537 mess538 mess539 mess540 mess541 mess542 mess543 mess544 mess545 mess546 mess547 mess548 mess549 mess550 mess551 mess552 mess553 mess554 mess555 mess556 mess557 mess558 mess559 mess560 mess561 mess562 mess563 mess564 mess565 mess566 mess567 mess568 mess569 mess570 mess571 mess572 mess573 mess574 mess575 mess576 mess577 mess578 mess579 mess580 mess581 mess582 mess583 mess584 mess585 mess586 mess587 mess588 mess589 mess590 mess591 mess592 mess593 mess594 mess595 mess596 mess597 mess598 mess599 mess600 90 a of the some an walk run charcoal bus large black empty plastic noble silver cloudy rowing picnic pool rubber soggy boundary car pack burnt bundle dust shiny dirty city interview stone washing blue yellow spiral vegetable grass mosaic conical green dark headless iron duct water gardening fleeting red copper wizened grand timber barred net entrance rusty number storage thigh back vinyl service patterned ornate velvet baked viewing marbled western eastern geometric marble skirting side bay access metal soiled leather outside pillow urban broken grey front china raised mortella power You now have the You`ve dropped the You`re now wearing the You`ve removed the There isn`t one of those here. You don`t have the You can`t wear the You`re already wearing the You already have the You`re not wearing the sysmess11 You have in your possession: (worn) You can`t carry any more things. Your score is %. You have taken turn(s). In the is: [Press To Continue] is in the isn`t in the Sure you want to quit? Would you like to play again? Ok. You can`t do that. You can`t. You`re wearing the You don`t have one of those. You`re not wearing one of those. You can`t remove the There isn`t one of those in the Your hands are full. There doesn`t appear to be anything lying around that you can take... You`re not carrying anything! You have nothing to wear. You`re not wearing anything! There isn`t anything in the You cannot take the You are unable to go Exits lead: Please enter your instructions. What now? I`m waiting for your command(s). Tell me what to do next please. Enter your command please. Ok, now what? Please type in your next move. Please tell me your next command. weighs too much for you and would exceed your carryable weight limit. Hit 'C' to continue... Do you want to play again? You`re not carrying or wearing anything, and there appears to be nothing obvious lying around to examine. nothing. nothing at all. Visible objects: There isn`t a here. You can`t see a You look at That`s not possible. You wait... Tick tock ... The You drop that item as your hands are full. That was too heavy. You drop it. will not fit inside the 390=male389=male388=female387=male386=male385=male383=male382=male381=it380=maleReserved for Character gender/sex data: sysmess69 sysmess70 You are unable to look in the You are unable to get the You are unable to put the out of the into the You are unable to take anything out of the You are unable to put anything into the It`s too dark. You can`t see anything. It`s too dark to do that. sysmess80 sysmess81 sysmess82 sysmess83 >Whoops! Please type something in. sysmess85 sysmess86 You examine isn`t here! appears. enters. arrives... goes departs and goes leaves and moves sets off, heading travels You follow follows you. what?? Sorry. I didn`t understand all of that. Please simplify your command, rephrase or try again. 969 14 61 quit#¬quit save#¬save load#¬load _#n1=17#obj18<>255¬n1=18#jump5 _#n2=17#obj18<>255¬n2=18#jump6 i/read n1/look up n1/play n1/drop n1/get n1/examine n1/search n1#room=24¬mess334 examine door#room=39¬cmessYou can't really see the door. Only your instinct tells you where it is. i/read n1/look up n1/play n1/get n1/examine n1/search n1#room=39¬mess492 drop n1#objn1=254#room=39¬objn1=38#cmessYou drop the n1 in the shed. drop n1#carriedn1#room=17¬cmessIf you drop anything it'll probably sink without trace. drop all#room=17¬cmessIf you drop anything it'll probably sink without trace. go north/go south/go east/go west/go down/go up/go northwest/go northeast/go southwest/go southeast#room>40#obj23=254#f34=1¬obj23=room#f34=0#cmessCarry the anvil somewhere? You're not Superman. And with a relieved gasp you lower it to the floor. go up#room=51#obj26=254¬cmessPulling the trolley up the stairs will cause a tremendous racket. Best avoid doing that. go down#room=57#obj26=254¬cmessPulling the trolley down the stairs will cause a tremendous racket. Best avoid doing that. go west#room=54#f53=1¬cmessYou walk into the atrium. As you do so a short, elderly gentleman looks up from his one-sided telephone conversation. He lets out a shriek and rushes back towards his study, shouting for his bodyguard. There's time for you to run but frankly there's no point. Hieronymous is off to hide and his heavy will hunt you down. You know it's the end.#cdown#score#cdown#keypress#end drop anvil#obj23=254¬f34=0#drop drop anvil on trolley/drop anvil onto trolley/lift anvil on trolley/lift anvil onto trolley#f34=0#f45=0#obj23=room#here26¬cmessYou'll have to get the anvil before you can put it anywhere. drop anvil on trolley/drop anvil onto trolley/lift anvil on trolley/lift anvil onto trolley#f34=0#f45=1#obj23=room#here26¬cmessThe anvil is already on the trolley. drop anvil on trolley/drop anvil onto trolley/lift anvil on trolley/lift anvil onto trolley#f45=0#obj26=room#obj23=254¬obj23=room#f34=0#f45=1#weight23=0#cmessWith a formidable grunt you heave the anvil onto the trolley. drop n1 on trolley/drop n1 onto trolley/lift n1 on trolley/lift n1 onto trolley#vobjn1#heren1#here26¬cmessYou're not so weedy you have to carry the n1 on the trolley. drop trolley in lift/lift trolley in lift#here26#f45=1#or_room=52#or_room=57¬cmessYou can't as the anvil is presently sitting (quietly) on the trolley. drop anvil in lift/lift anvil in lift#f34=0#here23#room=52¬cmessYou'll have to pick the anvil up before you can put it in the lift. drop anvil in lift/lift anvil in lift#f34=1#obj23=254#room=52#f46=0¬f34=0#incf47,1#obj23=61#cmessWith a low bellow you manoeuvre the anvil into the lift. drop anvil in lift/lift anvil in lift#f34=1#f46=1#obj23=254#room=52¬obj23=room#f34=0#cmessThe lift is not in position at the moment. Whilst you decide how to remedy the situation you put the anvil on the kitchen floor. drop anvil in lift/lift anvil in lift#f34=0#here23#room=53¬cmessYou'll have to pick the anvil up before you can put it in the lift. drop anvil in lift/lift anvil in lift#f34=1#obj23=254#room=53#f46=1¬f34=0#incf48,1#obj23=58#cmessWith a low bellow you manoeuvre the anvil into the lift. drop anvil in lift/lift anvil in lift#f34=1#f46=0#obj23=254#room=53¬obj23=room#f34=0#cmessThe lift is not in position at the moment. Whilst you decide how to remedy the situation you put the anvil on the corridor floor. drop anvil on devil/throw anvil at devil/throw anvil/throw anvil over edge/throw anvil over balustrading/drop anvil over edge/drop anvil over balustrading#room=57#f53=1#carried23#f56=0¬score+6#f56=1#obj23=55#f34=0#f53=0#f55=1#f391=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessWith an urghhh and an aaargh you pitch the anvil over the balustrade. There is a whooosh as the anvil rushes towards the ground and a splat as it hits the mottled cranium of the elderly man. The Devil lies dead on the atrium floor. Hurray!#keypress#cmessAs you catch your breath the Devil's bodyguard lumbers into the atrium. Looking up he spots you and roars ferociously. It's time to escape. drop anvil on devil/throw anvil at devil/throw anvil/throw anvil over edge/throw anvil over balustrading/drop anvil over edge/drop anvil over balustrading#room=57#f53=1#notcarr23#f56=0¬cmessYou'll have to pick the anvil up first. drop mobile on devil/throw mobile at devil/throw mobile/throw mobile over edge/throw mobile over balustrading/drop mobile over edge/drop mbile over balustrading#room=57#f53=1#carried3#f56=0¬f56=1#obj3=255#obj10=55#f34=0#f53=0#f391=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessYou lean over the balustrading and drop your mobile. It just misses the Devil and smashes on the floor. As he scampers back to the safety of his room he shouts for his bodyguard. You've missed your chance - now escape while you can. drop trolley on devil/throw trolley at devil/throw trolley/throw trolley over edge/throw trolley over balustrading/drop trolley over edge/drop trolley over balustrading#room=57#f53=1#f45=0#here26#f56=0¬f56=1#obj26=55#f53=0#f391=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessWith an ummpph you push the trolley over the balustrading. The flailing handle catches the Devil on the shoulder and he falls to the ground with a cry before crawling back towards the safety of his room. The clattering noise has woken Brian the Bodyguard. You've missed your chance - now escape while you can. drop trolley on devil/throw trolley at devil/throw trolley/throw trolley over edge/throw trolley over balustrading/drop trolley over edge/drop trolley over balustrading#room=57#f53=1#f45=1#here26¬cmessYou can't pick up the trolley as the anvil is sitting on it. drop n1 on devil/throw n1 at devil/throw n1/throw n1 over edge/throw n1 over balustrading/drop n1 over edge/drop n1 over balustrading#room=57#f53=1#heren1#f56=0¬f56=1#objn1=55#f53=0#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessYou lean over the balustrading and throw the n1 at the Devil. It hits him on the shoulder and he cries out in alarm, "Brian!", before hurrying back to his room. You've missed your chance - now escape while you can. drop anvil on devil/throw anvil at devil/throw anvil/throw anvil over edge/throw anvil over balustrading/drop anvil over edge/drop anvil over balustrading#room=57#f53=0#carried23#f56=0¬f56=1#obj23=55#f34=0#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessYou manoeuvre the anvil over the balustrading and let go. Gravity does it work and the anvil smashes into the floor next to the telephone. A few seconds later the door opens and the Devil's bodyguard lumbers out. Looking up he spots you and roars ferociously. drop anvil on devil/throw anvil at devil/throw anvil/throw anvil over edge/throw anvil over balustrading/drop anvil over edge/drop anvil over balustrading#room=57#f53=0#notcarr23#f56=0¬cmessYou'll have to pick the anvil up first. drop mobile on devil/throw mobile at devil/throw mobile/throw mobile over edge/throw mobile over balustrading/drop mobile over edge/drop mbile over balustrading#room=57#f53=0#carried3#f56=0¬f56=1#obj3=255#obj10=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessYou toss your mobile over the balustrading. Gravity does it what it does best and the mobile smashes into the floor next to the telephone. A few seconds later the door opens and the Devil's bodyguard lumbers out. Looking up he spots you and roars ferociously. drop trolley on devil/throw trolley at devil/throw trolley/throw trolley over edge/throw trolley over balustrading/drop trolley over edge/drop trolley over balustrading#room=57#f53=0#f45=0#here26#f56=0¬f56=1#obj26=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessWith an ummpph you push the trolley over the balustrading. Gravity does it work and the trolley crashes into the floor next to the telephone. A few seconds later the door opens and the Devil's bodyguard lumbers out. Looking up he spots you and roars ferociously. drop trolley on devil/throw trolley at devil/throw trolley/throw trolley over edge/throw trolley over balustrading/drop trolley over edge/drop trolley over balustrading#room=57#f53=0#f45=1#here26¬cmessYou can't pick up the trolley as the anvil is resting on it. drop n1 on devil/throw n1 at devil/throw n1/throw n1 over edge/throw n1 over balustrading/drop n1 over edge/drop n1 over balustrading#room=57#f53=0#heren1#f56=0¬f56=1#objn1=55#f390=55#patt390=e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55#cmessYou lean over the balustrading and drop the n1. Gravity does it best and the n1 hits the floor next to the telephone. A few seconds later the door opens and the Devil's bodyguard lumbers out. Looking up he spots you and roars ferociously. drop n1 on devil/throw n1 at devil/throw n1/throw n1 over edge/throw n1 over balustrading/drop n1 over edge/drop n1 over balustrading/drop n1 on brian/throw n1 at brian#room=57#heren1#f56=1¬cmessWith Brian on the loose you'd be better advised to stop throwing things and make good your escape. _#f34=1¬obj23=room#f34=0#cmessFrankly until you've put this extraordinary heavy lump of metal down you're not doing anything else. So, in order to move on, you lower the anvil to the floor. drop n1 in lift/lift n1 in lift#vobjn1#heren1#room=52#f46=0¬objn1=61#incf47,1#cmessYou place the n1 in the lift. drop n1 in lift/lift n1 in lift#vobjn1#heren1#f46=1#room=52¬cmessThe lift is not in position at the moment. drop n1 in lift/lift n1 in lift#vobjn1#heren1#room=53#f46=1¬objn1=58#incf48,1#cmessYou place the n1 in the lift. drop n1 in lift/lift n1 in lift#vobjn1#heren1#f46=0#room=53¬cmessThe lift is not in position at the moment. listen/listen to devil/listen to mobile#room=57#f53=1#carried3¬cmessIt's a few inquisitive "Hellos" mixed with irritated grunts and exasperated hmmmphhhs. talk to devil/ask devil about n2#room=57#f53=1#carried3¬cmessYou're dumbstruck, lips moving but no sound coming out. You hadn't expected to be speaking with the Prince of Darkness. i#¬inven score#¬score wait#¬smess63 look#¬desc get trolley/pull trolley/push trolley#obj26=room#f45=0¬obj26=254#cmessYou grab hold of the trolley handle. get trolley/pull trolley/push trolley#obj26=254¬cmessYou've already got hold of the trolley. Walk, and due to your firm grasp on the handle, it will follow you. get trolley/pull trolley/push trolley#obj26=room#f45=1¬obj26=254#obj23=254#cmessYou pick up the trolley handle (which is attached to the trolley which is transporting the anvil). drop trolley/leave trolley#obj26=254#f45=0¬obj26=room#cmessYou let go of the trolley handle. drop trolley/leave trolley#obj26=254#f45=1¬obj26=room#obj23=room#cmessYou let go of the trolley handle. get boxes#f42>1#room=50¬cmessYou're not in the house moving trade. get lampshades#f42>1#f44=1#room=50¬cmessYou haven't the mental strength to burden yourself with this junk. You must concentrate on the task in hand. examine lampshades#f42>1#f44=1#room=50¬mess499 go in/go in 666/go in buildings/enter buildings/enter 666/enter#f37=0#room=48¬cmessThe closed door is presently preventing your easy access. go in/go in 666/go in buildings/enter buildings/enter 666/enter#f37=1#room=48¬cmessNervously, you step over the threshold.#goto49 go out/leave 666/leave buildings/leave#f37=1#room=49¬cmessYou walk out into the alley.#goto48 go out/leave 666/leave buildings/leave#f37=0#room=49¬cmessThe back door is shut. knock on door/knock door#room=48¬cmessIt's probably best not to announce your visit. examine mat#room=48#obj24=255¬cmessIt's brown and bristly and has had quite a lot of mud trod into it over the years. get mat#room=48#f39=0#f40=0¬f39=1#f40=1#obj24=254#obj25=room#cmessYou pick the mat up, revealing a key on the ground beneath. get mat#room=48#f39=0#f40=1¬f39=1#obj24=254#cmessYou pick the mat up. get hammer#room=47¬cmessThese are such specialist hammers that you decide to leave them where they are. It's not as if you're stupid enough to go up to the Devil and bop him on the head anyway. You know you've got to be cleverer. get horseshoes#room=47#f36=0¬f36=1#cmessDo you really need more clutter? get horseshoes#room=47#f36=1¬cmessHorseshoes have never been lucky for you, so you leave them decorating the forge's floor. get anvil/lift anvil/lift up anvil/pick up anvil#f45=0#f34=0#obj23=room#carrweight=0¬f34=1#obj23=254#cmessWith a heart-felt groan you lift the anvil off the ground. get anvil/lift anvil/lift up anvil/pick up anvil#f45=0#f34=0#obj23=room#carrweight>0¬cmessThe anvil is very heavy. You'll have to put down everything else you are carrying first. get anvil/lift anvil/lift up anvil/pick up anvil#f45=1#here23#carrweight>0¬cmessLifting the anvil off the trolley will require your undivided physical attention. Everything else will have to go on the floor first. get anvil/lift anvil/lift up anvil/pick up anvil#f45=1#f34=0#here23#carrweight=0¬f34=1#f45=0#obj23=254#weight23=5#cmessWith a mental 'uuurrrggghhh' you lift the anvil off the trolley. get anvil/get anvil out lift/pick up anvil#room=52#f34=0#obj23=61#carrweight=0¬f34=1#decf47,1#obj23=254#cmessWith a tired shudder you take the anvil out of the lift. get anvil/get anvil out lift/pick up anvil#room=52#f34=0#obj23=61#carrweight>0¬cmessThe anvil is very heavy. You'll have to put down everything else you are carrying first. get n1/get n1 out lift/pick up n1#room=52#objn1=61¬objn1=254#decf47,1#cmessYou take the n1 from the service lift. get in lift/enter lift#room=52#f46=0¬cmessThe service lift is far too confined a space for you to contort yourself into. get in lift/enter lift#room=52#f46=1¬cmessThe lift is presently elsewhere. examine anvil#room=52#f34=0#obj23=61¬cmessIt looks as heavy as it feels - much better the lift than the stairs. examine n1#room=52#objn1=61¬messn1 get anvil/get anvil out lift/pick up anvil#room=53#f34=0#obj23=58#carrweight=0¬f34=1#decf48,1#obj23=254#cmessWith a tired shudder you take the anvil out of the lift. get anvil/get anvil out lift/pick up anvil#room=53#f34=0#obj23=58#carrweight>0¬cmessThe anvil is very heavy. You'll have to put down everything else you are carrying first. get n1/get n1 out lift/pick up n1#room=53#objn1=58¬objn1=254#decf48,1#cmessYou take the n1 from the service lift. get in lift/enter lift#room=53#f46=1¬cmessThe service lift is far too confined a space for you to contort yourself into. get in lift/enter lift#room=53#f46=0¬cmessThe lift is presently elsewhere. examine anvil#room=53#f34=0#obj23=58¬cmessJust looking at it drains your energy. examine n1#room=53#objn1=58¬messn1 remove portrait#room=54¬cmessIt's too big for you to take off the wall. get portrait#room=54¬cmessIt's far too large for you to carry around. get card#f50=1#room=54¬cmessNot having a large house, a lot of money or a passion for soft furnishings you're unlikely to ever contact Cruella, so you leave the card behind. get telephone/unplug telephone#room=55¬cmessTelephones are at their most useful when plugged in (just like this one is). go south/go east/go west#room=40#f33=0¬f33=1#cmessYou pause with trepidation at the entrance to the passageway. You know you're only guessing that this is the right direction and that frightens you. You respect your fear and stay put. go south/go east/go west#room=40#f33=1¬f33=2#cmessYour second attempt at entering a dark, maze-like collection of tombs beneath Hell's own damned earth results in similar muscular inactivity. Instead you study your fingernails. go south/go east/go west#room=40#f33=2¬cmessDespite your best intentions you fail to muster up sufficient courage to start down the passage. Perhaps if you had a genuine plan you may be able to persuade yourself. go east/go west#room=40#f33=4¬cmess"That would seem a foolish direction to go in," interrupts your subconscious. "I demand you reconsider." go south#room=40#f33=4¬goto43 go down#room=43#f33=4¬goto41 go east#room=41#f33=4¬goto46 go up#room=46#f33=4¬score+6#cmessBlinking, you escape from the grip of the catacombs and clamber out into a small alleyway. You are inside the city!#cdown#goto45 go south/go west/go east/go northeast/go northwest/go southeast/go southwest/go up#room=43¬cmessA feeling in your bones suggests that this would be the wrong direction. go north#room=43¬goto40 go up#room=41¬goto43 go south/go north/go west/go northeast/go northwest/go southeast/go southwest/go down#room=41¬cmessIt's too dark to go that way. go south/go north/go east/go northeast/go northwest/go southeast/go southwest/go down#room=46¬cmessSomehow that doesn't seem appropriate. You decide to choose again. go west#room=46¬goto41 go down#room=45¬cmessExperiencing the catacombs once in a lifetime is sufficient. You stay in the alleyway. steal bag#room=40¬cmessYour conscience booms its disapproval and you abandon such a morally dubious action. get torches#room=40¬cmessThe torches are out of your reach. get bag#room=40¬cmessThe beggar seems to know your intentions and grips the bag with both hands. enter alcove/go in alcove/climb in alcove#room=40¬cmessYou don't really want to get into the alcove with the smelly beggar. Therefore you don't. get berries/pick berries#room=32¬cmessKnowing Yew berries to be poisonous you leave them well alone. go in/enter shed/go in shed#room=37#f28=0¬cmessThe shed door is firmly closed. open door#room=37#f28=0¬f28=1#cmessYou successfully open the door. open door#or_room=37#or_room=38#f28=1¬cmessThe door is already wide open. close door#f28=1#room=37¬f28=0#cmessYou swing the door shut and it closes with a mild thud. close door#f28=0#or_room=38#or_room=37¬cmessEven someone as competent as yourself cannot close a shut door. go in/enter shed/go in shed#room=37#f28=1¬goto38 close door#f28=1#room=38¬f28=0#cmessYou swing the door shut.#goto39 open door#room=39#f28=0¬f28=1#cmessYou scrabble around until you find the door handle.#goto38 go out/leave shed#room=38#f28=1¬goto37 go out/leave shed#room=39¬cmessThe closed door blocks your only exit. get tools#room=38¬mess485 get nails#room=38¬mess486 get spade#room=38¬mess489 get clamp#room=38¬mess490 get sign#room=37¬cmessThe sign is screwed to the shed. get calendar#room=49¬cmessYou're nervous enough without carrying around a visual reminder of what will happen to you if you're caught. get kindling#obj1=room#charpresent380¬cmessThe charcoal burner's suspicions are confirmed. You've stolen the kindling for his fire. He moves towards you swiftly, his axe raised menacingly. For a split second you wish you'd followed your career officer's advice and taken a more sedate option, possibly accountancy or something in retail. Then you die.#cdown#score#cdown#keypress#end examine axe#charpresent380¬mess203 get axe/steal axe#charpresent380¬mess204 get crate#f2=1¬f2=0#cmessYou step off the crate and pick it up.#take look in mirror/look at reflection/examine reflection in mirror#carried17¬cmessMud and dirt obscures what would undoubtedly be a beautiful sight. look in mirror/look at reflection/examine reflection in mirror#carried18#room<>34¬cmessStaring deeply into the mirror you are mesmerised by your extraordinary features. Why did you not make a career for yourself on the catwalk? look in mirror/look at reflection/examine reflection in mirror#carried18#room=34¬cmessIt's too dark for you to see your reflection. examine rags/search rags/get rags#room=34#f24=0#obj21=255¬cmessIt's too dark for you to see anything. examine rags/search rags#room=34#f385=0#f24=1#notcarr21#f69=0¬cmessThe more you look the more the pile of rags shakes. get rags#room=34#f24=1#f385=0#f69=0¬score+2#f69=1#obj21=254#f385=33#cmessLifting the rags you uncover a body. As you jump backwards with shock it leaps up and scrambles past you and up the steps. get rags#room=34#f24=1#f385>0#f69=1#obj21=34¬obj21=253#cmessYou pick up the rags. examine line#room=25#f17=0#f19=0¬mess376 examine line#room=25#f17=0#f19=1¬mess355 examine line#f17=1#obj=room¬cmessThe washing line is strong and surprisingly long. get line#room=25#f17=0¬mess357 get line#obj19=room#f17=1¬take get line#room=29#or_f21=1#or_f21=2¬cmessYou can't take the washing line away with you as it's tied to the obelisk. get line#room=31#f21=2¬cmessYou pull at the line but it is firmly secured to the obelisk. examine line#room=29#or_f21=1#or_f21=2¬cmessThe washing line is long and strong. It would probably hold your weight. examine line#room=31#f21=2¬cmessThe washing line looks like a good bet for an escape route. examine bloomers#room=25#f19=0¬mess354 get bloomers#f19=0#room=25¬f19=1#mess359#obj20=254 get bloomers#obj20=room#f19=1¬mess359#obj20=254 wear bloomers/drop on bloomers#carried20¬cmessYou baulk at the mere idea - it would be a crime against fashion. get butter/drink butter/eat butter#room=52#f49=1¬cmessYour stomach rumbles ominously. It's not interested in being fed at the moment so you leave the food where it is. get pots/get lampshades#room=52¬cmessDespite a nagging desire to boost your collection of kitchen implements you succumb to reason and leave it all put. get ashes#room=27¬mess372 get pipe#room=36¬cmessWrenching the pipe off the wall would serve no purpose. get statue/get ewer#room=36¬cmessYou're not really the graverobbing sort. In any case it's far too cumbersome to run about Hell with. jump/jump down/climb down#room=36¬goto30 talk to filippo#f386<>30#room=36¬cmessFilippo isn't in the mausoleum. talk to filippo#f386=30#room=36¬cmessConversation would be easier if you got down from the ledge first. get moss#or_room=30#or_room=36¬cmessYou decide against this action. It'll only get under your nails and make a mess of your pockets. block hole#room=30#f26=0¬cmessWith what?#else#room=30#f26=1¬cmessYou've already plugged the hole. drop bloomers in hole/block hole with bloomers/block hole use bloomers#here20#room=30¬cmessAs much as you bunch up the bloomers you just can't quite squeeze them into the narrow hole. drop rags in hole/block hole with rags/block hole use rags#f22=0#f26=0#here21#room=30¬cmessWhy would you want to plug the hole when there's nothing going into the basin at the moment. drop rags in hole/block hole with rags/block hole use rags#f22=1#f26=0#here21#room=30¬f26=1#obj21=255#cmessYou plug the hole at the bottom of the basin with the rags. get rags/get rags out hole/get rags in hole#room=30#f26=1¬cmessThe rags have slipped a little way down the hole. You decide to leave them where they are. examine steed/examine horse#f2=2¬cmessThis horse is a huge animal - at least 20 hands high - with a gleaming black coat and wide friendly eyes. go north/follow horse#room=8#f67=0¬f67=1#cmessHell is to the east. Who knows where the horse's tracks will lead and how long it will take you. go north/follow horse#room=8#f67=1¬f67=0#cmessYou traipse north into the wasteland and soon become badly disorientated. However, the horse seems to know where she is going and you eventually stumble back into familiar territory.#keypress#goto1 go n1#n1>486#n1<499#room=5#carried7¬room=5#cmessThe barman's not going to let you leave with that brandy in your hand. go n1#n1>486#n1<499#room=5#carried6¬room=5#cmessThe barman's not going to let you leave with that pint in your hand. go n1#n1>486#n1<499#obj1=254#charpresent380#f66=2¬cmessThe charcoal burner's suspicions are confirmed. He sees now that you have stolen the kindling for his fire. He moves towards you swiftly, his axe raised menacingly. For a split second you wish you'd followed your career officer's advice and taken a more sedate option, possibly accountancy or something in retail. Then you die.#cdown#score#cdown#keypress#end go n1#n1>486#n1<499#obj1=254#charpresent380#f66<2¬incf66,1#cmessThe charcoal burner looks at you suspiciously, paying particular attention to the bundle of kindling. You had be better be careful. Once he works out it's his kindling there'll be hell to pay.#moves go out#room=15#charpresent380¬cmess"What are you doing in my hut?" cries the charcoal burner. He moves towards you swiftly, his axe raised menacingly. For a split second you wish you'd followed your career officer's advice and taken a more sedate option, possibly accountancy or something in retail. Then you die.#cdown#score#cdown#keypress#end get n1#n1>0#n1<201#f2=2¬cmessYou can't reach the n1 as you're riding your noble steed. examine n1#n1>0#n1<201#f2=2#notcarrn1#objn1=room¬cmessYou're too far off the ground to look at the n1 properly. talk to horse/ask horse about n2#f2=2¬mess217 examine drunk#f3=2¬mess250 go down#room=10#carried3#f9=0#f2<2¬score+1#mess291#swapobjs3,10#f9=1#room=18 go down#room=10#f9=0#f2<2¬score+1#mess291#f9=1#room=18 go down#room=10#f9=1#f2<2¬cmessHalf way down the track you slip and, unable to recover your balance, tumble downwards. Unfortunately this time you land on your head rather than your backside. There's no getting up from this one.#cdown#score#cdown#keypress#end go north#room=23¬random13,10#moves go east#room=20¬random13,10#moves talk to figure/ask figure about n2#room=24¬mess335 drop kindling on crenellations/lift kindling on crenellations/drop kindling in hollow/lift kindling in hollow#room=27#here1#f62=0¬cmessYou place the kindling in the hollow of the most easterly crenellation.#obj1=room#f62=1 get kindling#room=27#obj1=room¬f62=0#take go n1#n1>486#n1<499¬moves follow n1/follow n1 n2#n1>379#n1<401#charabsentn1¬n2=n1#cmess%cname2 isn`t here! follow n1/follow n1 n2#n1>379#n1<401#charpresentn1¬followchar quit following#¬followoff look at n2#n2>379#n2<401¬lookatchar look at n2#n2>0#n2<201¬lookatobj look in n2#n2>0#n2<201¬lookin get all out n2#n2>0#n2<201¬takeallout get n1 out n2#n1>0#n1<201#n2>0#n2<201¬takeout get all#obj23=room#f45=0¬cmessPick up the anvil and something else. Ha ha ha ...#else#obj26=room#f45=1¬takeall#obj23=254#cmessThe anvil is on the trolley. get all#room=27¬f62=0#takeall get all#¬takeall get n1#n1>0#n1<201¬take drop all in n2#n2>0#n2<201¬dropallin drop n1 in n2#n1>0#n1<201#n2>0#n2<201¬dropin drop all#f45=1#obj26=254¬dropall#obj23=room#obj26=room#cmessThe anvil remains on the trolley. drop all#f45=1#obj23=254¬dropall#obj23=room#obj26=room#cmessThe trolley is still supporting the anvil. drop all#¬dropall drop n1#n1>0#n1<201¬drop wear all#¬wearall wear n1#n1>0#n1<201¬wear remove all#¬removeall remove n1#n1>0#n1<201¬remove examine all#¬examall examine n1/examine n1 n2#n1>379#n1<401¬examchar examine n1#n1>0#n1<201¬examine talk to n2#n2>379#n2<401#charabsentn2¬cmess%cname2 isn`t here! time#¬clock restart#¬restart talk to burner#f380=room¬mess201 attack burner#charpresent380¬mess202#cdown#score#cdown#keypress#end ask burner about n2#charpresent380¬mess205 read book/open book/look up n2#carried2#or_room=34#or_room=43#or_room=41#or_room=46¬cmessIt's too dark for reading. read book/open book#carried2¬mess206 look up hell#carried 2¬mess207 look up mantuas#carried2¬cmessTHE MANTUAS The Mantuas were once Hell's premier family, although death and inbreeding has reduced their stock in recent years. The more eminent members now reside in the family's palatial grand mausoleum in the cemetery. Note the decorated ceiling and walls, as well as the Classical fountain. look up catacombs#carried2¬cmessTHE CATACOMBS The catacombs riddle the ground beneath the cemetery, weaving maze-like patterns in the darkness. It is rumoured that smugglers use the passages to enter Dis without paying the import tax levied at the city gates. look up cemetery#carried2¬cmessTHE CEMETERY The cemetery is where the local inhabitants move to on their demise. A decent burial is not of course available to the condemned incomers who are damned in perpetuity to endure the various fires and instruments of torture that Hell has to offer. Obviously a local who is foolish enough to be condemned doesn't get to enjoy the peace and quiet of the cemetery. look up tony#carried2¬cmessIMPS Imps are a regular sight in and around Dis, forming, as they do, a significant minority of the city's working population. Valued for their hard work and resistance to sulphurous gases, imps are easy to recognise because of their short stature and Spock-like ears. look up dis#carried2¬cmessCITY OF DIS Being the only settlement larger than a hamlet in Hell, Dis acts as a political, economic, administrative, social and cultural melting pot. If you want to complain about the air pollution, barter or trade, get an exit visa, make new friends or visit a museum, Dis is, quite literally, the only place to go. The Devil's main residence is also in the city. look up tower#carried2¬cmessMORTELLA TOWERS Mortella towers are not unique to Hell. Designed as defensive watch posts, the towers were once built in chains to defend exposed coastlines. On sighting an unknown ship, guards would light signalling fires to warn local people and adjacent towers of the potential threat. look up charon#carried2¬cmessCHARON Charon is one of Hell's oldest employees and has spent many years rowing the condemned across the swirling waters of the Acheron. He lives in a small bungalow on the east bank and is known as a stickler for the rules (no ticket / no boat ride). look up river#carried2¬cmessRIVER ACHERON The Acheron acts as Hell's defensive moat. Treacherous currents and unknown, but extremely fierce, creatures mean that the only way to cross safely is to use the ferry. look up chasm#carried2¬cmessTHE CHASM Hell, like an onion, has many layers. The chasm (it has no proper name, 'the chasm' being sufficiently descriptive) is like the outer skin of the onion, marking the absolute periphery of Hell. Crossing it can be difficult as there are no bridges. look up burner#carried2¬cmessCHARCOAL BURNING The forest next to Hellgate was once the centre of the charcoal burning industry. Times change and now there are only a few solitary individuals left. Travellers are advised to be careful as the remaining charcoal burners are a pretty curmudgeonly bunch. look up plant#carried2¬cmessTHE POWER PLANT Hell's electricity is derived from a geothermal power plant situated to the north of Dis. Specialist engineers, on a good pay and benefits package, have been brought in from the outside world to ensure continuity of supply. look up horseman#carried2¬cmessHORSEMEN The many Horsemen of the Apocalypse are frequently spotted in and around Hellgate. Agents of the Devil (Death left horses behind with the invention of the combustion engine), the horsemen take fear and pain out into the community. As well as Famine, Disease and Misery, there are minor roles for Scratching, Coughing and Car not Starting in the Morning. look up devil#carried2¬cmessTHE DEVIL The present incumbent is Hieronymous IX. With a background in the international arms' trade, he was an ideal candidate to replace Lothar IV (d.1973 drowned in the bath). Very much the administrator, he spends most of his working life in his mansion in Dis, the capital of Hell, doing paperwork. Outside of the office he is believed to enjoy painting with watercolours and light comedy. look up tavern#carried2¬cmessTHE PRINCE OF DARKNESS The 'Prince of Darkness' is a freehold pub establishment situated in the village of Hellgate. A pool table and jukebox provide entertainment for an eclectic mix of locals who are always open to the kind offer of a drink or two. look up n2#carried2¬cmessThere's nothing in the book relating to that. play snakes/play snakes on mobile#carried3#f52<3¬incf52,1#mess208 play snakes/play snakes on mobile#carried3#f52=3¬cmessYour battery is finished - no more games for you. examine panels/read grafitti/examine grafitti#room=1¬mess209 examine shelter#room=1¬mess210 examine timetable/read timetable#room=1¬mess211 search n1#f2=2¬cmessYou can't as you're riding your noble steed. examine litter/examine floor#f2=2#room=1¬cmessYou can't as you're riding your noble steed. examine litter/examine floor#room=1¬mess212 search litter#room=1#f1=0¬score+5#obj4=1#f1=1#mess213 search litter#room=1#f1=1¬mess214 examine sign/read sign#room=3¬mess215 examine tavern/examine catacombs#or_room=3#or_room=4¬mess216 examine park/examine ground#room=2¬mess269 talk to horse/ask horse about n2#f381=room¬mess217 ask horse about n2#charpresent381¬mess217 stand on crate/get on crate/climb on crate/get onto crate/stand onto crate#here5#charpresent381¬obj5=room#f2=1#mess218 mount horse/climb on horse/get on horse#f2=0#charpresent381¬mess219 mount horse/climb on horse/get on horse#f2=1#charpresent381¬f2=2#f381=0#mess220 mount horse#f2=2¬cmessJust head off where you want to go. attack horse#f381=room¬cmessIf you kick the horse she'll probably kick you back much harder. stand on crate/get on crate/climb on crate/get onto crate/stand onto crate#here5¬obj5=room#mess218 dismount/dismount horse/dismount out horse/get off horse/climb off horse/climb down/jump down/jump off horse#f2=2¬f2=0#f381=1#f381=room#mess221 examine tavern#room=5¬mess224 examine tables#room=5¬cmessWhen the barman's not polishing the glasses he obviously works on the tables as they have a bright sheen. search tavern#room=5¬mess225 examine barman#room=5¬mess226 examine bar#room=5¬mess227 talk to barman#room=5¬mess228 ask barman about horse#room=5¬mess230 ask barman about drunk#room=5¬mess231 ask barman about tavern#room=5¬mess232 ask barman about horseman#room=5¬mess233 ask barman about hell#room=5¬cmess"Never been and never intend to go," states the barman decisively. "I'm close enough here as it is." ask barman about charon/ask barman about ferry#room=5¬mess254 ask barman about burner#room=5¬cmess"Don't have much to do with the forest folk," replies the barman. ask barman about devil#room=5¬cmess"I've never met the gent ... and I never intend to,' says the barman, crossing himself and glancing heavenwards. ask barman about chasm#room=5¬cmess"Once you're across it you're in the hinterlands of Hell," advises the barman. ask barman about n2#room=5¬mess229 give coin to barman#room=5#carried4¬destroy4#mess235 give shilling to barman#room=5#carried14¬destroy14#mess235 give brandy to barman#obj7=5¬obj7=255#mess246 give ale to barman#obj6=5¬mess245 give n1 to barman#room=5#carriedn1¬mess234 attack barman#room=5¬mess236#cdown#score#cdown#keypress#end talk to drunk#room=5#f3=0¬mess237 talk to drunk#room=5#f3=1¬mess237 talk to drunk#room=5#f3=2¬mess249 give coin to drunk#room=5#carried4¬incf3,1#destroy4#mess238#then#f3=2¬cmessRandolph slips gently into sleep. give shilling to drunk#room=5#carried14¬incf3,1#destroy14#mess498#then#f3=2¬cmessRandolph slips gently into sleep. give ale to drunk#here6#f3=0¬f3=1#obj6=255#mess247 give brandy to drunk#here7#f3=0¬f3=1#obj7=255#mess247 give brandy to drunk#here7#f3=1¬f3=2#obj7=255#mess248 give ale to drunk#here6#f3=1¬f3=2#obj6=255#mess248 give n1 to drunk#room=5#carriedn1#f3=2¬cmessRandolph is asleep. give n1 to drunk#room=5#carriedn1¬mess239 attack drunk/shake drunk#room=5¬mess240 ask barman for help#room=5¬mess241 ask barman for drink/buy drink/buy drink for drunk#room=5#carried4¬score+5#destroy4#create7#mess243 ask barman for drink/buy drink/buy drink for drunk#room=5#carried14¬score+5#destroy14#create6#mess281 ask barman for drink/buy drink/buy drink for drunk#room=5#or_notcarr4#or_notcarried14¬mess242 ask drunk about n2#or_f3=0#or_f3=1#room=5¬mess237 ask drunk about n2#f3=2#room=5¬mess249 get ale/drink ale#obj6=5¬obj6=255#mess497 get brandy/drink brandy#obj7=5¬obj7=255#mess244 search drunk#f3<2¬mess251 search drunk#f3=2¬mess252 examine pockets/search pockets#room=5#f3<2¬cmessEven Randolph would notice that sort of thievery. examine pockets/search pockets#room=5#f3=2#f59=0¬score+2#obj8=5#f59=1#mess253#else#room=5#f3=2#f59=1¬cmessAgain! You don't want to waken the chap. examine table#room=4¬mess255 sit down/sit at table/sit on table#room=4¬cmessThe picnic table is too dilapidated to be be sat at with any comfort. examine garden#room=4¬mess256 search garden#room=4#f11=0¬score+2#f11=1#obj11=room#mess363#else#room=4¬mess257 examine weeds#room=4¬mess258 drop coin in jukebox#room=5#carried4¬mess259 examine jukebox#room=5¬mess260 examine horseman#room=5¬mess261 ask horseman about n2#room=5¬mess262 talk to horseman#room=5¬mess262 give n1 to horseman#room=5¬mess272 attack horseman#room=5¬cmessNo, no, no. This is Pestilence, a man who roams the world taking lives by the score. What are you doing?#cdown#cmessBefore you can think of the answer the horseman reaches out and touches you. A shiver runs through you body. You're not dead yet, but it won't be long before the disease takes hold.#cdown#score#cdown#keypress#end examine table#room=5¬mess263 select music/select music on jukebox#room=5¬mess271 play table/play horseman at table#room=5¬mess270 climb down in ditch/climb in ditch/go in ditch/get in ditch/jump in ditch/enter ditch#room=16#f2=2¬cmessNot whilst you're on your horse. climb down/climb down in ditch/climb in ditch/go in ditch/get in ditch/jump in ditch/enter ditch#room=16¬goto17 examine road#room=16¬mess264 examine ditch#room=16¬mess265 examine water#room=17¬mess283 climb out ditch/get out ditch/climb out/climb up#room=17¬cmessYou just about manage to scramble up the bank.#goto16 get vole/examine vole/talk to vole#room=17¬cmessBefore you have a chance the water vole has snuck beneath a large log and swum away into the night. examine ditch#room=17¬mess266 examine chasm#or_room=11#or_room=8¬mess267 jump over chasm/jump chasm/jump across chasm#or_room=11#or_room=8#f2<2¬cmessDespite a prodigious run up you fail to clear the chasm and plunge to the floor of the chasm. You are, of course, now dead.#cdown#score#cdown#keypress#end jump over chasm/jump across chasm/jump chasm/jump chasm on horse#room=11#f2=2¬score+5#f2=0#mess268#f381=0#keypress#goto8 climb down in chasm/climb in chasm/go in chasm/get in chasm/climb down#room=11#f2=2¬cmessNot whilst you're on your horse. climb down in chasm/climb in chasm/go in chasm/get in chasm/climb down#or_room=11#or_room=8¬cmessYou foolishly attempt to climb down the steep sides of the chasm. Unfortunately you lose your footing and plunge headlong to join the other dead body below.#cdown#score#cdown#keypress#end strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#carried11#here1#f5=0#f2=2¬cmessIf your horse could speak she would inform that she wouldn't be happy if you tried to do that. strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#carried11#here1#f5=0#f2<2#room=5¬cmessProbably best not to burn the place down. strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#carried11#here1#f5=0#f2<2#or_room=15#or_room=6#or_room=7¬cmessStarting a fire here would attract the charcoal burner's attention. And the consequences of that would be deadly. strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#carried11#here1#f5=0#f2<2#room=17¬cmessIt's too wet to start a fire in this ditch. strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#room=27#carried11#here1#f5=0#f61=0¬obj11=255#obj1=255#obj12=room#f5=1#f61=1#f383=13#mess373 strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#room=27#obj11=room#here1#f5=0#f61=0#f62=0¬obj11=255#obj1=255#obj12=room#f5=1#f61=1#f383=13#mess373 strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#room=27#obj11=room#here1#f5=0#f61=0#f62=1¬obj11=255#obj1=255#obj12=room#f5=1#f61=1#f383=13#mess500 strike kindling/strike fire/start fire/strike fire with matches/strike kindling with matches/set fire to kindling#carried11#here1#f5=0#f2<2¬obj1=255#obj11=255#obj12=room#f5=1#mess318 strike matches#carried11#f5=0¬obj11=255#obj12=room#f5=1#mess274 strike matches#carried11#f5=1¬mess275 examine corpse/search corpse#room=19#f6=0¬score+2#mess276#f6=1#obj14=19 examine corpse/search corpse#room=19#f6=1¬mess277 examine bones#f7=0#room=19¬score+2#mess278#f7=1#obj16=19 examine bones#f7=1#room=19¬mess279 talk to corpse#room=19¬cmessYou chat for a minute or two 'with' the pile of bones on the ground, but for some reason the conversation never really gets going. get corpse#room=19¬cmessYou couldn't possibly carry all the bones. get bones#room=19¬mess280 search hut#room=15¬mess284 examine hut#or_room=15#or_room=6¬mess285 examine table/examine stool/examine pallet#room=15¬mess287 examine hearth#room=15#f8=0¬score+3#mess288#obj1=15#f8=1 examine hearth#room=15#f8=1¬mess289 get table/get stool/get pallet#room=15¬mess286 examine clearing/search clearing#room=6¬mess290 examine pasture#room=10¬mess292 examine cliff#room=10¬mess293 examine track#or_room=10#or_room=18¬mess294 examine oaks#or_room=6#or_room=7#or_room=9#or_room=10¬mess295 search pasture#room=10¬mess296 climb oaks#or_room=6#or_room=7#or_room=9#or_room=10¬mess297 examine stream#room=9¬mess298 examine water#room=9¬mess299 examine undergrowth#room=9¬mess300 search undergrowth#room=9¬mess301 drink water out stream/drink water/get water#room=9#f2=2¬cmessYou lean down but can't quite reach the water. drink water out stream/drink water/get water#room=9¬mess302 get tadpoles/examine tadpoles#room=9#f2<2¬cmessAs it's not Spring you're not surprised when you don't find any.#else#room=9#f2=2¬cmessYou can't as you're riding a horse. examine wharf#room=13¬mess 308 examine river/examine shallows#room=14¬mess310 examine bullrushes#room=14¬mess309 examine river/examine water#or_room=12#or_room=13#or_room=26#or_room=27¬mess307 examine riverbank#room=12¬mess306 examine devils#room=8¬mess305 examine wasteland#room=8¬mess304 examine ferry#room=13#f383=13¬mess311 drink water/drink from river#or_room=14#or_room=13¬mess312 talk to charon#room=13#f383=13¬mess313 ask charon about river#room=13#f383=13¬mess315 ask charon about hell#room=13#f383=13¬mess314 ask charon about ferry#room=13#f383=13¬mess319 ask charon about n2#room=13#f383=13¬mess316 give ticket to charon#obj8=254#room=13#f383=13¬score+4#obj8=255#mess317#keypress#goto20 give n1 to charon#carriedn1#room=13#f383=13¬cmessCharon refuses to take the n1. "The only way you're getting in my boat is with a ticket," he stresses. swim across river/swim river/go across river/jump in river#or_room=13#or_room=14#or_room=26¬cmessA short distance from the shore you begin to struggle in the strong current. As your energy is sapped away you succumb to the force of the river and drown.#cdown#score#cdown#keypress#end jump in river/jump out tower/jump off tower#room=27¬cmessAfter careful consideration you decide against plunging to your death. attack charon#room=13#f383=13¬cmessCharon's far too wily an individual for a novice like you. He ducks out of the way, saying "Grow up and stop being a fool." search shallows/search sediment#room=14#f10=0¬score+3#f10=1#obj17=room#mess320 search shallows/search sediment#room=14#f10=1¬mess324 examine sediment#room=14¬cmessIt's soft, oozing, granular mud. search bullrushes#room=14¬mess321 clean mirror#here17¬mess322 clean mirror in river/clean mirror in shallows/clean mirror in water/clean mirror with water#carried17#or_room=13#or_room=14¬mess323 climb in ferry/get in ferry/enter ferry#room=13#f383=13¬mess325 examine brazier#room=21¬mess327 examine gates#room=21¬mess336 examine placard#room=21¬mess337 read placard#room=21¬mess338 examine walls#or_room=21#or_room=20¬mess339 climb walls#room=21¬mess340#else#room=20¬cmessYou're not actually by the walls at the moment. talk to tony#room=21¬mess341 give n1 to tony#heren1#room=21¬cmessTony rejoins the chant - he's interested in justice, not gifts. ask tony about strike#room=21¬mess342 ask tony about dis#room=21¬mess343 ask tony about hell#room=21¬mess344 ask tony about mausoleum/ask tony about mantuas#room=21¬cmessTony sneers testily, adding something about rich folk with no social conscience. ask tony about cemetery#room=21¬cmess"It's that way," says Tony, pointing to the south. ask tony about obelisk#room=21¬cmess"It's that way," says Tony, vaguely pointing to the south-west. ask tony about house#room=21¬cmessAll Tony knows is that it's owned by a fairly mad woman who's pretty handy with a shotgun. ask tony about devil#room=21¬cmessTony launches into a tirade about men in grey suits who don't understand what it's like to be an ordinary worker. ask tony about catacombs#room=21¬mess345 ask tony for help#room=21¬cmessTony apologises but points out he's got a strike to organise. ask tony about n2#room=21¬cmessTony shrugs his shoulders in ignorance and joins in with the chant again. examine house#or_room=22#or_room=25¬mess346 examine walls#room=22¬mess347 open door/turn handle/turn door handle#room=22#f15=0¬mess348#f15=1#else#room=25¬cmessThe door is locked. open door/turn handle/turn door handle#room=22#f15=1¬mess349#cdown#score#cdown#keypress#end examine door#room=22¬mess350#else#room=25¬cmessIt is shut. knock on door#room=22¬cmessA stranger knocking on a door at this time of night is unlikely to be welcomed. Sensibly you decide not to. climb over walls/climb walls/climb in garden/jump over walls#room=22¬cmessYou clamber over the wall.#goto25 climb over walls/climb walls/jump over walls#room=25¬cmessYou clamber over the wall.#goto22 examine lawn#room=25¬mess351 examine walls#room=25¬mess347 untie line/untie line out post#room=25#f17=0#f19=0¬mess356#obj19=25#obj20=25#f17=1#f19=1 untie line/untie line out post#room=25#f17=0#f19=1¬mess356#obj19=25#f17=1 examine vegetables#room=25#f17=0#f19=0¬mess352 examine vegetables#room=25#f17=0#f19=1¬mess360 examine vegetables#room=25#f17=1#f19=1¬mess358 examine flowers#room=25¬mess353 examine bloomers#room=25¬mess354 examine post/get post#room=25¬mess361 examine garden#room=25¬cmessIt's neat and tidy with a vegetable patch and flower border.#else#room=22¬cmessPeering over the wall you see it is neat and tidy with a vegetable patch and flower border. search garden#room=25¬mess362 pick vegetables/get vegetables#room=25¬cmessIt's not the end of the growing season yet. pick flowers/get flowers#room=25¬cmessNice thought - but not really practical on such an important mission. examine tower#or_room=26#or_room=27¬mess364 examine turret/search turret#room=26¬mess369 examine turret#room=27¬mess365 search turret#room=27¬mess366 search tower#or_room=26#or_room=27¬mess366 examine doorway#room=26¬mess367 examine stairs#or_room=26#or_room=27¬mess368 climb stairs/go up stairs#room=26¬goto27 climb stairs/descend stairs/go down stairs#room=27¬goto26 examine crenellations#room=27#f383=0#f62=0¬mess370 examine crenellations#room=27#f383=0#f62=1¬cmessThe kindling is sitting in the hollow of the crenellation nearest to the river. examine crenellations#room=27#f383=13¬cmessThe crenellations are really of no more interest to you.#done examine ashes#room=27#f383=0¬mess371 examine ashes#room=27#f383=13¬cmessYou should have looked at the ash before you lit the kindling if you were that interested in it.#done buy ticket/ask charon for ticket#room=13#f383=13¬mess375 examine cemetery#or_room=23#or_room=29¬mess377 search cemetery#or_room=23#or_room=29¬mess378 examine gravestone#room=23¬mess379 get gravestone#room=23¬mess401 examine path#room=23¬mess402 read gravestone#room=23¬mess403 climb down in hole/climb in hole/go in hole/get in hole/enter hole/jump in hole/jump down/jump down in hole/climb down#room=29#f20=0#or_f21=0#or_f21=1¬f20=1#mess404 climb down in hole/climb in hole/go in hole/get in hole/enter hole/jump in hole/jump down/jump down in hole/climb down#room=29#f20=1#or_f21=0#or_f21=1¬f20=2#mess405#keypress#goto31 climb down line/climb line#room=29#f20=0#or_f21=0#or_f21=1¬cmessThe washing line doesn't lead anywhere at the moment. climb down line/climb line#room=29#f20=1#or_f21=0#or_f21=1¬cmessThe washing line doesn't lead anywhere at the moment. tie line to obelisk/tie line around obelisk#obj19=254#f21=0#room=29¬mess406#f21=1#obj19=255 untie line/untie line out obelisk#room=29#or_f21=1#or_f21=2¬cmessYou quickly unravel the knot.#obj19=room#f21=0 untie line/untie line out obelisk#room=29#f21=0¬cmessThe washing line isn't secured to anything at the moment. throw line#or_here19#or_f21=1¬cmessAnd where will you be throwing the washing line? throw line in hole/drop line in hole#room=29#here19#f21=0¬cmessYou throw the washing line up into the air and it drops gracefully to the floor of the empty grave.#obj19=31 throw line in hole/drop line in hole#room=29#f21=1¬f21=2#cmessYou throw the washing line down into the grave. climb down in hole/climb in hole/go in hole/get in hole/enter hole/jump in hole/jump down/jump down in hole#room=29#f21=2¬mess407#keypress#goto31 climb down line/climb down line in hole/climb down#room=29#f21=2¬mess412#keypress#goto31 climb up line/climb line/climb out hole/climb out/climb up#f21=2#room=31¬cmessYou wriggle and squirm up the washing line, arriving back at ground level with an adrenaline-fuelled whoop.#keypress#goto29 climb out hole/climb out/climb up/climb up walls/climb walls#or_f21=0#or_f20=1#room=31¬cmessYou claw at the sides of the grave with demented energy. Unfortunately the only result is dirty fingernails. examine walls#room=31¬mess408 search hole#room=31¬mess410 examine hole#room=31¬mess409 dig/dig hole/dig in hole#room=31¬mess411 throw n1#n1<201#heren1¬cmessAnd where will you be throwing the n1? throw n1 in hole/drop n1 in hole#room=29#heren1#n1<201¬cmessYou toss the n1 up into the air and it drops gracefully to the floor of the empty grave.#objn1=31 throw n1 in river/drop n1 in river#or_room=12#or_room=13#or_room=14#or_room=26#or_room=27#heren1#n1<201¬cmessThe n1 lands in the river with a distant splash and is swept away.#objn1=255 examine obelisk#room=29¬mess413 climb obelisk#room=29¬mess414 examine runes#room=29¬mess415 read runes#room=29#notcarr18¬mess416 get obelisk#room=29¬cmessGet the large stone obelisk? Get real. examine mausoleum#room=30¬mess417 search mausoleum#room=30¬mess418 examine runes#room=30¬mess419 examine stonework#room=30¬mess420 examine panels#room=30¬mess421 examine ceiling#or_room=30#or_room=36¬mess422 examine inscriptions/read inscriptions#room=30¬mess423 examine statue#room=30#f22=0¬mess424 examine ewer#room=30#f22=0¬mess425 examine basin#room=30#f22=0¬mess426 examine ledge#room=30¬mess427 examine walls#room=30¬mess428 examine hole#room=30#or_f22=0#or_f22=1#f26=0¬mess430 examine hole#room=30#f22=1#f26=1¬mess469 examine moss#or_room=30¬mess429 examine crypt#room=33¬mess431 examine corners#room=33¬mess432 examine stairs#or_room=33#or_room=34¬mess433 search crypt/search corners#room=33¬mess434 examine basement#room=34#f24=0¬mess435 search basement#room=34#f24=0¬mess436 examine knees#room=34#f385=0¬cmessDespite your jittery nature it's not your knees that are knocking. examine knees#room=34#f385>0¬cmessYour knees are two of your finest features. You should be proud of them. examine knees#room<>34¬cmessYour knees are two of your finest features. You should be proud of them. examine basement/search basement#room=34#f24=1¬cmessYour enhanced visual acuity reveals the basement is unfurnished and undecorated. talk to man#f385=room¬mess437 give skull to man#f385=room#here15¬score+4#obj15=255#swapchars385,386#patt385=null#f27=1#cmessYou corner the headless man and press the skull into his hands, urging him silently to accept this valuable asset. After a moment's hesitation, he appears to realise what he is holding and raises it up to his neck and is transformed ... give n1 to man#f385=room#heren1¬objn1=room#cmessYou corner the headless man and press the n1 into his hands. He recoils in alarm and the n1 fall(s) to the floor. talk to filippo#f386=room#f25=0¬f25=1#mess438 talk to filippo#f386=room#f25=1¬mess439 ask filippo about hell#f386=room¬mess446 ask filippo about crypt#f386=room¬mess440 ask filippo about dis#f386=room¬mess441 ask filippo about cemetery#f386=room¬mess442 ask filippo about tomb#f386=room¬mess443 ask filippo about devil#f386=room¬mess444 ask filippo about mausoleum/ask filippo about mantuas#f386=room¬mess445 ask filippo for help#f386=room¬mess448 ask filippo about statue/ask filippo about ewer#f386=room#room<>30¬mess449 ask filippo about statue/ask filippo about ewer#f386=room#room=30¬mess450 ask filippo about basin/ask filippo about hole#f386=room#room<>30¬mess451 ask filippo about basin/ask filippo about hole#f386=room#room=30¬mess452 ask filippo about fountain#f386=room#room<>30¬cmess"I'm not sure what you mean, but show it to me if you like," replies Filippo.#else#f386=room#room=30¬cmess"The statue, ewer and basin are part of a memorial fountain," explains Filippo helpfully. ask filippo about n2#f386=room¬cmessFilippo looks perplexed - on this matter he has nothing to say. give n1 to filippo#heren1#f386=room¬cmessFilippo shakes his head. "Now that I have a head I can ask for nothing more from you, kind friend." jump/jump up#room=30#f386=30¬mess454 jump/jump up#room=30#f386<>30¬cmessYou jump six inches off the ground and for a brief moment get a better view of the base of the statue. To examine the statue more closely you'll need to find another way to get up onto the ledge. ask filippo for lift#f386=30¬score+5#f386=60#mess455#cdown#keypress#cdown#goto36 examine mausoleum#room=36¬cmessFrom this perspective the mausoleum is no less over-indulgent. search mausoleum/examine stonework/examine inscriptions/examine basin/examine hole/examine panels/examine runes#room=36¬cmessExaminations of this nature would be best conducted from the floor of the mausoleum. examine statue#room=36#or_f22=0#or_f22=1¬mess456 examine ewer#room=36#f22=0¬mess457 examine pipe#room=36#f22=0¬mess458 examine walls#room=36¬cmessThe dripping water has provided the sustenance necessary for a patch of green moss. examine moss#room=36¬mess459 mend pipe#room=36#f22=0¬cmessAnd what will you be repairing the pipe with? mend pipe with tape/drop tape on pipe/drop tape around pipe/mend tape to pipe/mend tape around pipe/mend tape to pipe#room=36#f22=0#here22¬score+6#obj22=255#f22=1#mess460 mend pipe#room=36#f22=1¬cmessThere's no need. You've already fixed it. examine pipe#room=36#f22=1¬mess461 examine ewer#room=36#f22=1¬mess462 examine statue#room=30#f22=1#or_f26=0#or_f26=1¬mess463 examine ewer#room=30#f22=1#or_f26=0#or_f26=1¬mess464 examine basin#room=30#f22=1#f26=0¬mess465 examine basin#room=30#f22=1#f26=1¬mess468 drink water/drink water out basin#f22=1#f26=0#room=30¬mess466 drink water/drink water out basin#f22=1#f26=1#room=30¬cmessYou slurp at the water that has collected at the bottom of the basin. clean mirror with rags#here17#here21¬cmessUnfortunately the rags are rather grubby and you only succeed in moving the mud around. The mirror is no cleaner than it was before. It's water you need. clean mirror with bloomers#here17#here20¬cmessAnd ruin someone's underwear? No, it's water that's needed. clean mirror in basin/clean mirror with water/clean mirror in water#room=30#here17#f22=1#f26=0¬mess467 clean mirror in basin/clean mirror with water/clean mirror in water#room=30#here17#f22=1#f26=1¬score+3#swapobjs17,18#mess470 examine ledge#room=36¬cmessThe ledge supports both you and the statue. get filippo to mausoleum/lead filippo to mausoleum/get filippo to statue/lead filippo to statue/show statue to filippo/show mausoleum to filippo/show fountain to filippo/lead filippo to fountain/get filippo to fountain#f386=room#room<>30¬f386=30#cmessFilippo follows you to the mausoleum.#goto30#else#f386=room#room=30¬cmessFilippo looks at you strangely - you're both already in the mausoleum. get filippo to crypt/lead filippo to crypt/get filippo to grave/lead filippo to grave/get filippo to catacombs/lead filippo to catacombs/get filippo to house/lead filippo to house/get filippo to shed/lead filippo to shed/get filippo to dis/lead filippo to dis/get filippo to gates/lead filippo to gates/get filippo to sanctuary/lead filippo to sanctuary#f386=room¬cmess"Friend, as much as I owe you I cannot afford to stray far from here. I am a wanted man and must leave this dreaded place very soon," answers Filippo. examine shed#room=37¬mess471 examine roof#room=37¬mess472 examine mower#room=37¬mess473 get on mower/climb on mower/sit on mower/mount mower#room=37¬mess474 examine blade#room=37¬mess475 examine clippings/examine lawn#room=37¬mess476 search clippings/search lawn#room=37¬mess477 get clippings#room=37¬cmessThe clippings are best left where they are. examine gutter#room=37¬mess478 examine door#room=37#f28=0¬cmessIt is an ordinary shed door. Its key characteristic at the present time is that it is closed. examine door#or_room=38#or_room=37#f28=1¬cmessIt is an ordinary shed door. Its key characteristic at the present time is that it is open. examine tools#room=38¬mess479 examine workbench/search workbench#room=38#f29=0¬score+5#f29=1#mess480#obj22=38 examine workbench/search workbench#room=38#f29=1¬mess484 examine nails#room=38¬mess481 examine chair#room=38¬mess482 examine shed#room=38¬mess483 examine clamp#room=38¬mess487 examine spade#room=38¬mess488 sit in chair/sit down in chair/sit down/sit on chair#room=38¬mess491 get chair#room=38¬cmessIt's a bit big for lumping around on a secret mission. examine sign/read sign#room=37¬cmessIn attractive calligraphy it says 'Ted's Shed'. search shed#room=38¬cmessThe shed has no hiding places to poke your nose into. examine sanctuary#room=35¬cmessThe sanctuary was once the focus of extravagant post-burial wakes and annual acts of mass remembrance. Now, in its faded, crumbling state, it is better suited to quiet reflection. examine columns/examine obelisk#room=35¬cmessFrom your meagre understanding of classical architecture you think that the columns are Ionic in style. examine paving#room=35¬cmessIt is a pinky red sandstone. examine memorial#room=35¬cmessThe memorial is 5 or 6 metres in height and pyramidal in shape. Each face is covered with carved graffiti. examine stairs#room=35¬cmessThe steps lead down into darkness. read runes/read grafitti/read inscriptions/examine runes/examine grafitti/examine inscriptions#room=35¬cmessIt's a mass of names and dates, probably carved by mourners following funerals. None mean anything to you. examine figures/examine figure#or_room=35#or_room=40¬cmessIt's difficult to tell but they look fairly human and most seem to be carrying heavy backpacks. They are probably not up to much good. talk to figures/talk to figure#or_room=35#or_room=40¬cmessEvery one of them ignores you and continues swiftly on their way. ask figures about n2/ask figure about n2#or_room=35#or_room=40¬cmessYour searching question is ignored. examine oaks#room=28¬cmessStately copper beech are interspersed with elm and silver birch. climb oaks/climb yew#or_room=28#or_room=32¬cmessYou've no time for that sort of caper. examine tomb#room=28¬cmessThe most impressive of the buildings is the mausoleum to the east. examine path/examine avenue#or_room=28#or_room=32¬cmessA cricket wicket of a path runs down the centre of the avenue, whilst to either side the grass is golf rough thick. examine lawn/examine rough#or_room=28#or_room=32¬cmessIt is ordinary grass. Green and good for cows. search lawn/search rough#or_room=28#or_room=32¬cmessYou don't even find a golf ball. examine window#room=38¬cmessIt is small and square. open window#room=38¬cmessIt is a simple glass pane - it neither opens or closes. examine oaks#room=32¬cmessThe trees are mossy and bedraggled. Only the Yews with their bright red berries seem to prospering. examine tomb#room=32¬cmessThe crypt to the east is a prime example of the problem. It looks derelict. examine inscriptions/read inscriptions#room=32¬cmessAll you can make out are occasional stock phrases beloved by memorial masons. There's nothing you wouldn't expect to find on a tomb wall. examine stonework#room=32¬cmessYou touch a piece of stonework and it breaks up between you fingers. examine yew#room=32¬cmessThe Yews' have thick trunks with purplish-brown bark. Their dark green leaves look shiny and healthy. examine berries#room=32¬cmessThe berries are a waxy red colour. eat berries#room=32¬cmessWhat's this? A suicide bid. Common sense dictates that you do not consume poisonous substances knowingly. examine rodents#room=33¬cmessYou can't see the rats, but you can hear their scurrying feet. examine floor#room=34¬cmessThe slabs feel cold to your touch. climb beech/climb beech oaks/climb elm/climb elm oaks/climb birch/climb birch oaks#room=28¬cmessNo time, no time ... examine beech/examine beech oaks#room=28¬cmessThe beeches are a pleasing sight with their elegant shapes and dark red leaves. examine elm/examine elm oaks#room=28¬cmessThe Wych elms, with their broad canopies, stand aloof from the other trees. examine birch/examine birch oaks#room=28¬cmessThe birch are gathered together in small clumps, their silver bark glistening slightly with the little light there is. read runes/read runes using mirror/read runes with mirror/read runes holding mirror/hold up mirror/hold mirror/use mirror on obelisk#carried18#room=29¬f33=4#mess493 read runes using mirror/read runes with mirror/read runes holding mirror/hold up mirror/hold mirror/use mirror on obelisk#carried17#room=29¬cmessYou'll need to clean the mirror first. give n1 to beggar#room=40#carriedn1¬objn1=387#cmessThe beggar eyes the n1 with interest and pops it into his bag. examine alcove#room=40¬cmessThe alcove is small and dirty. search alcove#room=40¬cmessThe only thing of note in the alcove is the beggar. examine bag#room=40¬cmessIt's a brown holdall. The beggar notices you looking at it and clutches at the strap. examine torches#room=40¬cmessThe torches sit high up on the walls, held in place by iron brackets. examine floor#room=40¬cmessThe floor has been hewn from solid rock. examine ceiling#room=40¬cmessThe ceiling is shaped like a dome. Around the edge it is black with soot from the torches. Higher up, towards the peak, you can still make out the supporting brickwork. search sanctuary#room=36¬cmessYou look behind all the columns but find nothing. smell beggar#room=40¬cmessMonth old gorgonzola. Rotted vegetable peelings. A dustbin after a long, hot summer. The similes are many. attack beggar#room=40¬cmessAs you shape up the beggar shrinks back into the recesses of the alcove. Your growing sense of shame makes you blush and you back away muttering a vague apology. talk to beggar#room=40#f32=0¬f32=1#cmessThe beggar doesn't appear to have registered your small talk. He just stares at a distant spot somewhere in another dimension. ask beggar about n2#room=40#f32=0¬f32=1#cmessThe beggar studiously ignores your politely phrased question. talk to beggar#room=40#f32=1¬cmessThere's no point is wasting your time in a one-sided conversation. ask beggar about n2#room=40#f32=1¬cmessNo reply. The beggar's obviously not up for a Q&A session. ask beggar for help#room=40¬cmessThe beggar cocks his head in response to your plea and then begins to pick at his nose. examine fingernails#¬cmessYour fingernails are a little dirty. They could do with a scrub after tonight's adventures. clean fingernails#f26=1#room=30¬cmessYou wash your hands, although you don't manage to get all the dirt out from under your fingernails. follow figures/follow figures/follow figures in passage/follow figure in passage#room=40¬cmessThese look like the type of folk who wouldn't appreciate your company. examine catacombs#room=40¬cmessThe entrance is characterised by bare rock and poor lighting. search catacombs#room=40¬cmessBesides the odoursome beggar there's nothing here. examine catacombs#or_room=41#or_room=43#or_room=46¬cmessThis place is for leaving and not examining. search catacombs#or_room=41#or_room=43#or_room=46¬cmessThis place is for getting out of and not searching. examine alleyway#room=45¬cmessIt is an alleyway of extraordinary ordinariness. A good clean and some decent amenity lighting would no it no harm at all. search alleyway#room=45¬cmessNo dead bodies, large rats or useful objects here I'm afraid. examine door#room=45¬cmessThey are generally made from varnished oak with reinforcing iron straps. They are undoubtedly barred and locked on the inside. open door#room=45¬cmessYou try a couple but they are all locked. examine window#room=45¬cmessThe windows at ground level are grimy. open window#room=45¬cmessThe large bars in front of the ground floor windows prevent this happening. examine curtains#room=45¬cmessThe net curtains look lacy whilst the china ornaments that sit on the window sills look expensive. climb/climb walls/climb up/climb up walls/climb up buildings/climb buildings#room=45¬cmessToo many lights are on in the houses. Somebody would probably see you. look in window#room=45¬cmessThrough the grime you make out basements, storage rooms and sculleries. It's all very menial at this level. look through window#room=45¬cmessThrough the grime you make out basements, storage rooms and sculleries. It's all very menial at this level. examine buildings#room=45¬cmessThey are expensive looking town houses four or five storeys high. examine forge#room=47¬cmessIt's a small workshop with only room for one smith. From the items scattered around it looks as if most of his business comes from shoeing horses. search forge#room=47¬cmessYou spot nothing of interest in the workshop. examine furnace#room=47¬cmessThe furnace is in the corner of the workshop. Through a small, glass panel in its door you can see the hot coals. You can also feel their heat. open door/open furnace door/open furnace#room=47¬cmessYou reach down and grab the knob on the furnace door. Ouch! It's too hot to touch. And, anyway, you haven't the time to play at being a blacksmith. examine coals/get coals#room=47¬cmessThe safest place for the coals is in the furnace. examine panels/look through panels/look in panels#room=47¬cmessLooking through the panel you are momentarily mesmerised by the glowing intensity of the coals. examine door#room=47¬cmessIt's a cast iron door of the type you would expect to find on a furnace. examine hammer#room=47¬cmessThe hammers are of various shapes and sizes. Presumably the bigger ones are used to shape the molten metal and the smaller ones to refine the horseshoes. examine floor#room=47¬cmessIt's a floor your mother would be horrified by as it's covered in dirt. But hey, she's not here so it's not a problem. clean window#room=45¬cmessWindow cleaning is a bit below you. examine horseshoes#room=47¬cmessAs you would expect they are U-shaped and have half a dozen holes where the nails go through. examine door#room=48#f37=0#f39=0¬cmessThe door is closed. At its base sits a mat embellished with the words 'Please wipe your feet'. examine door#room=48#f37=0#f39=1¬cmessThe door is closed. examine door#room=48#f37=1#f39=0¬cmessThe door is open. At its base sits a mat embellished with the words, 'Please wipe your feet'. examine door#room=48#f37=1#f39=1¬cmessThe door is open. You can enter if you dare. look under mat#room=48#f39=0#f40=0¬f40=1#obj25=room#cmessBending down, you lift up a corner of the mat. You find a key. look under mat#room=48#f39=0#f40=1¬cmessYou see nothing under the mat. open door#or_room=48#or_room=49#f37=0#f38=0¬cmessThe door is locked. open door#or_room=48#or_room=49#f37=1¬cmessOpening an already open door is not necessary. open door#or_room=48#or_room=49#f37=0#f38=1¬f37=1#cmessYou pull the handle and the door opens quietly. close door#or_room=48#or_room=49#f37=0¬cmessThe door is already closed. close door#or_room=48#or_room=49#f37=1¬f37=0#cmessYou pull the door to quietly. unlock door/unlock door with key#or_room=48#or_room=49#obj25=254#f37=0#f38=0¬f38=1#cmessYou put the key in the lock and turn it clockwise. You hear a hopeful clunk. unlock door/unlock door with key#or_room=48#or_room=49#obj25=254#f37=0#f38=1¬cmessThe door is unlocked - further unlocking is not required. unlock door#or_room=48#or_room=49#obj25<>254#f37=0#f38=0¬cmessAnd what will you be unlocking the door with? unlock door with key#or_room=48#or_room=49#obj25<>254#f37=0#f38=0¬cmessYou don't have a key. unlock door/unlock door with key#or_room=48#or_room=49#obj25=254#f37=1¬cmessThe door is wide open - no unlocking required. lock door/lock door with key#or_room=48#or_room=49#obj25=254#f37=1¬cmessYou'll need to close the door first. lock door/lock door with key#or_room=48#or_room=49#obj25=254#f37=0#f38=0¬cmessThe door is already locked. lock door/lock door with key#or_room=48#or_room=49#obj25=254#f37=0#f38=1¬f38=0#cmessYou lock the door. examine door#room=49#f37=0¬cmessIt is shut. examine door#room=49#f37=1¬cmessIt is open and through the doorway you can see the alleyway. clean feet#room=48#f39=0¬cmessThis is not the time for being foot-proud. Get on with it. clean feet#room=48#f39=1#here24¬cmessThere's no time for shoe cleaning ... examine buildings/examine 666#room=48¬cmessNumber 666 is a fine house finished in dun coloured bricks. examine dog#room=50#f42=0¬cmessCerberus is all teeth and bad attitude. Luckily for you he has been chained up for the night and so can't hunt you down. examine dog#room=50#f42=1¬cmessYou're winning. With two heads occupied Cerberus is more saliva than teeth at the moment. examine dog#room=50#f42=2¬cmessCerberus is transformed. He's a close to being a cuddly labrador as he's ever going to get. stroke dog#f42<2#room=50¬cmessJust leave the dangerous animal alone. examine cupboard#room=50#f42<2¬cmessIt's a storage cupboard with, what amounts to, a wild animal in it. search cupboard#room=50#f42<2¬cmessAnd what are you going to say? "Excuse me Cerberus, could I just squeeze past to look at those boxes at the back?" Don't push your luck. give n1 to dog#room=50#carriedn1¬cmessYou're not going to give Cerberus anything if you want to save your arm. Try throwing it to him. throw ball to dog/throw ball at dog#room=50#carried9¬score+4#obj9=255#incf42,1#cmessYou lob the rubber ball towards Cerberus. With what amounts to a doggie smile he starts to chew it playfully. throw femur to dog/throw femur at dog#room=50#carried16¬score+4#obj16=255#incf42,1#cmessYou chuck the bone in Cerberus' general direction. With a lick of one set of lips he starts to gnaw at it. throw n1 to dog/throw n1 at dog#room=50#carriedn1¬objn1=255#cmessYou throw the n1 to Cerberus. He's not impressed by the taste and flings it away. The extensive covering of dog slobber stops you from retrieving the n1. stroke dog#f42>1#room=50¬cmessYou tentatively give Cerberus a gentle pat. He nuzzles against your hand appreciatively. examine cupboard#room=50#f42>1¬cmessThere are lots and lots of boxes. examine boxes#room=50#f42<2¬cmessYou're more focused on the dog than the boxes at the moment. examine boxes#room=50#f42>1#f44=0¬f44=1#obj26=room#cmessThe boxes are full of many indescribable objects, but nothing that is really of interest to an assassin like yourself. You do notice, however, a sturdy trolley that is stood up against the far wall. examine boxes#room=50#f42>1#f44=1¬cmessWhere do you start - there are old lampshades, worn carpet tiles, unused bulbs, canteens of cutlery, four green cravats, tins of varnish ... The list could go on indefinitely. search cupboard#room=50#f42>1¬cmessSo many boxes and so little time. talk to dog/ask dog about n2#room=50#f42<2¬cmessThis is a growling, snarling, biting beast and not a conversational companion. talk to dog/ask dog about n2#room=50#f42>1¬cmessa) Cerberus is fully occupied with his chewing, b) He's a dog and can't talk. examine calendar#room=49¬cmessIt's this year's 'Landscapes of Hell' and is sponsored by the coal merchants. The picture is of a local fiery pit of despair, full of rocky pinnacles and towering columns of fire. examine floor#room=49¬cmessIn an attempt to enthuse his staff the Devil has chosen to contrast cornflower blue with sunflower yellow. examine hallway#room=49¬cmessApart from the vibrant tones of the floor, the hallway is grey and drab. To the east is a walk-in storage cupboard, to the north the kitchen and the northeast the stairs. examine walls#room=49¬cmessThe wall is a dirty shade of magnolia. The only decoration is the calendar. search hallway#room=49¬cmessYou find no secret passageways, hidden objects or subtle clues in this hall. read calendar#room=49¬cmessGlobrite the coal merchants promises its customers quality, value and service. Isn't that reassuring? examine spotlight#room=49¬cmessThe night light provides a weak glow which is sufficient for you to see where you are. examine lift#room=52#f46=0¬cmessIt's a small doorless lift used to take cumbersome items between levels. On the wall next to it is a red button. examine lift#room=52#f46=1¬cmessThe lift shaft is empty at the moment - the actual service lift must be upstairs. On the wall next to it is a red button. press button/push button/attack button#f46=0#f47>0#room=52¬copyflag47,48#f47=0#f46=1#moveobjs61,58#cmessAt first there's a whirring sound and then, with a jolt, the lift begins to move. In a few seconds it has gone. press button/push button/attack button#f46=0#f47=0#room=52¬f46=1#cmessAt first there's a whirring sound and then, with a jolt, the lift begins to move. In a few seconds it has gone. press button/push button/attack button#f46=1#room=52¬f46=0#copyflag48,47#f48=0#moveobjs58,61#cmessYou wait a minute or so until the lift descends into view. press button/push button/attack button#f46=1#f48>0#room=53¬copyflag48,47#f48=0#f46=0#moveobjs58,61#cmessAt first there's a whirring sound and then, with a jolt, the lift begins to descend. In a few seconds it has gone. press button/push button/attack button#f46=1#f48=0#room=53¬f46=0#cmessAt first there's a whirring sound and then, with a jolt, the lift begins to move. In a few seconds it has gone. press button/push button/attack button#f46=0#room=53¬f46=1#copyflag47,48#f47=0#moveobjs61,58#cmessYou wait a minute or so until the lift rises into view. examine shaft#room=52#f46=1¬cmessThe lift shaft is where the service lift runs. get in shaft/enter shaft#room=52#f46=1¬cmessThe lift shaft is far too small for you. examine button#or_room=52#or_room=53¬cmessIt is round and red. examine shaft#room=53#f46=0¬cmessThe lift shaft is where the service lift runs. get in shaft/enter shaft#room=53#f46=0¬cmessThe lift shaft is far too small for you. examine lift#room=53#f46=1¬cmessIt's a small doorless lift used to take cumbersome items between levels. On the wall next to it is a red button. examine lift#room=53#f46=0¬cmessThe lift shaft is empty at the moment - the actual service lift must be downstairs. On the wall next to it is a red button. examine kitchen#room=52¬cmessIt's a kitchen. You are certain of this as your life experience, limited as it may be, has included various kitchens of differing sorts. search kitchen#room=52¬cmessYou rifle through a few cupboards but find nothing but pots, plates and cutlery. The larder must be elsewhere but, as you're too nervous to be hungry, you don't look for it. examine range#room=52¬cmessIt's a big green Aga (of course). examine fridge/open fridge#room=52#or_f49=0#or_f49=1¬f49=1#cmessYou open the fridge and peek inside. Butter, bacon, baked beans and half a lettuce. examine sinks#room=52¬cmessThe sinks are all empty. The washing up was obviously finished last night. examine pots/examine lampshades#room=52¬cmessThe pots are battered but clean, whilst the plates and cutlery look a bit worn. The good stuff is probably kept elsewhere. examine butter#room=52#f49=1¬cmessThe bacon is lean, the butter untouched and the beans a little mouldy. The Devil must be on a health kick at the moment. The lettuce, however, is going brown - maybe salad is a step too far. examine cupboard/search cupboard#room=52¬cmessThe cupboards, with their sleek steel handles, give the kitchen a modern look. They're full of pots, plates and cutlery. examine carpet#room=51¬cmessIt's a thick woven Wilton in a muddy red. look under carpet/lift up carpet#room=51¬cmessYou lift up the edge of the carpet and a cloud of dust gently engulfs you. You sneeze several times. examine stairs/search stairs#room=51¬cmessThe stairs lead upwards. The grubby carpet should muffle your footsteps as you move towards your target. examine landing#room=54¬cmessThe landing, as an area where visitors may venture, is much better furnished than downstairs. The portrait, which sits in an ornate frame, is complemented by thoughful ambient lighting and red velvet wallpaper. A woman's touch, perhaps? examine portrait#room=54¬cmessThe portrait's intensity is magnified by the contrast between the fathomless darkness of the background and the pale skin of the subject. There is a nameplate on the bottom edge of the frame. examine nameplate/read nameplate#room=54¬cmessAs you suspected the nameplate announces the subject to be Hieronymous IX, the present Prince of Darkness. You're not sure if you should be trembling with fear or laughing derisively at this old man. examine frame#room=54¬cmessThe frame is gilded with gold leaf. examine wallpaper#room=54¬cmessYou purr with delight as your fingertips run over the luxurious velvet. examine spotlight#room=54¬cmessTwo spotlights focus on the painting, whilst lamps back light adjacent alcoves. search landing/examine alcove/search alcove#f50=0#room=54¬f50=1#cmessYou find a calling card at the rear of an alcove. In gothic script it says 'Cruella D'signer - Interiors for the Discerning'. search landing/examine alcove/search alcove#f50=1#room=54¬cmessYou find nothing but cobwebs. talk to cat#charpresent388¬cmessChloe purrs sumptuously but doesn't take you up on the offer of a quick chat. ask cat about n2#charpresent388¬cmessChloe returns your gaze but ignores your question. give fish to cat#charpresent388#here27¬score+2#obj27=255#f388=63#cmessYou place the fillet on the floor. Chloe sniffs at it curiously and, realising that her luck is in, grabs it by her teeth and shoots away. give n1 to cat#charpresent388#heren1¬objn1=room#cmessYou place the n1 on the floor. Chloe walks round it and, quite rightly, decides to ignore it. stroke cat#charpresent388¬cmessChloe purrs appreciatively. read card#f50=1#room=54¬cmess'Cruella D'signer - Interiors for the Discerning' is printed on the card. examine telephone#room=55¬cmessIt's an old fashioned Bakelite telephone with an circular finger dial. It's rather different from your snazzy mobile. You note with amusement the Devil's telephone number. It's 123666. examine stand#room=55¬cmessThe carvings are a mass of intertwined serpents, bug-eyed gargoyles and other creatures of the night. Scary stuff. examine floor#room=55¬cmessThe floor is gleaming black marble. examine tapestries/examine walls#room=55¬cmessThe main tapestry is perhaps 30 feet high and depicts the Devil, seated on a throne of skulls, being attended to by horned demons. Unlike the painting on the landing, the Devil in the tapestry has reddish skin, coal black eyes, a pointy tail and cloven hoves. You feel a chill run down your spine. examine gallery#room=55¬cmessThe gallery overlooks the atrium. You'll have to go upstairs to see it properly. examine atrium#room=55¬cmessThe atrium is a grand space, given a palpable sense of menace by the tapestries and the carved stand. search atrium#room=55¬cmessThe atrium is empty apart from the stand and the telephone that sits on it. examine roof#room=55¬cmessYou feel as if you're standing at the bottom of a dark hole. The glass roof and the outside world seem very far away. examine door#room=55¬cmessThe door is closed. Its dark wood is richly decorated with carved organic motifs. Emanating from around the keyhole, they climb and swirl in every direction. open door#room=55#f55=0¬cmessYou take hold of the knob and gently turn it clockwise. Nothing happens - the door is locked or bolted from the inside. open door#room=55#f390>0#f55=1¬cmessWith all this commotion going on there's every chance that other bodyguards will appear from the Devil's personal quarters. Now the Devil is dead you want to escape, not pick fights. examine keyhole#room=55¬cmessIt is a large, empty keyhole. look through keyhole#room=55#f390=0#or_f70=0#or_f70=1¬f70=1#cmessCrouching down you peer through the keyhole. A fire burns in its grate illuminating two figures. An old man with a bald head sits at a desk, hunched over a pile of paperwork. To his right, slumped in an armchair, is a heavy set individual with a cudgel on his lap. From the regular rise and fall of his chest you presume he is dozing. look through keyhole#room=55#f390>0#or_f70=0#or_f70=1¬cmessWith Brian the Bodyguard on the loose you haven't time to be snooping around. examine runes#room=55¬cmessThey resemble pernicious weeds, spreading out and choking every living thing around them. knock door/knock on door/attack door#room=55#f51=0#f70=0¬cmessFirst of all you should probably check who or what is on the other side of the door. knock door/knock on door/attack door#room=55#f51=0#f70=1¬f51=1#cmessYou tap lightly on the door. Bending down, you see the old man look expectantly at his sleeping companion. When he doesn't wake the man shrugs his shoulders and returns to his papers. knock door/knock on door/attack door#room=55#f51=1#f70=1¬f51=2#cmessYou knock twice on the door with your knuckles. Through the keyhole, you hear the old man ask his companion to answer the door. The reply is a rumbling snore. The old man is visibly annoyed but takes the matter no further. knock door/knock on door/attack door#room=55#f51=2#f70=1¬f51=3#cmessYou knock loudly on the door. Before you can peer through the keyhole a voice shouts out, "Not now. Come back in the morning." knock door/knock on door/attack door#room=55#f51=3#f70=1¬cmessYet again you knock on the door. The voice booms back, "Didn't you hear me? Come back after sunrise." use telephone/call telephone/pick up telephone#room=55¬cmessYou pick up the telephone and wonder if it would be appropriate / sensible to ring your parents at this time of night. Probably not. Putting it back down you note with amusement the Devil's telephone number. It's 123666. call number#room=55#here3¬cmessBetter decide whether you want to use the Devil's telephone or your mobile. call number#room=55#absent3¬cmessYou pick up the telephone and wonder if it would be appropriate / sensible to ring your parents at this time of night. Probably not. Putting it back down you note with amusement the Devil's telephone number. It's 123666. use mobile/call number/call mobile/pick up mobile#carried3¬cmessWhich number do you want to call? While you think about it why not play 'Snake'. call 123666/call 123666 on mobile#obj3=254#room=55#f52<3#f56=0¬incf52,1#cmessYou punch the number into the mobile. Almost immediately the Bakelite telephone on the stand begins to rind loudly. After a minute the door opens and an old man with a straight back and wiry eyebrows walks out, muttering to himself. He looks at you in astonishment and, before you can say hello, scurries back to his room shouting for his bodyguard. There's time for you to run but frankly there's no point. The Devil is off to hide and his heavy will hunt you down. You know it's the end.#cdown#score#cdown#keypress#end call 123666/call 123666 on mobile#obj3=254#room=57#f52<3#f53=0#f56=0¬incf52,1#f53=1#cmessYou punch the number into the mobile. Almost immediately the Bakelite telephone in the atrium begins to ring loudly. After a minute the door opens and an old man with a shiny bald head walks out, muttering to himself. He stops almost directly beneath you and picks up the telephone. call 123666/call 123666 on mobile#obj3=254#room>48#f52=0#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute a voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? Shortly afterwards a door slams. call 123666/call 123666 on mobile#obj3=254#room>48#f52=1#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute a stern voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? Shortly afterwards a door slams. call 123666/call 123666 on mobile#obj3=254#room>48#f52=2#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute an angry voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? Shortly afterwards a door slams. call 123666/call 123666 on mobile#obj3=254#room<49#f52=0#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute a voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? call 123666/call 123666 on mobile#obj3=254#room<49#f52=1#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute a stern voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? call 123666/call 123666 on mobile#obj3=254#room<49#f52=2#f56=0¬incf52,1#cmessYou punch the number into the mobile. After a minute an angry voice answers, "Yes?" In a mild panic you press the cancel button. Who was that? call 123666/call 123666 on mobile#obj3=254#f52=3¬cmessYour battery is finished - no more phone calls for you. call 123666/call 123666 on mobile#or_room=55#or_room=57#obj3=254#f56=1#f52<3¬incf52,1#cmessYou punch the number into the mobile. Almost immediately the Bakelite telephone in the atrium begins to ring loudly, but nobody answers it. Must be busy. call 123666/call 123666 on mobile#room>47#obj3=254#f56=1#f52<3¬incf52,1#cmessYou punch the number into the mobile and let it ring, but nobody answers it. Must be busy. call 999/call 999 on mobile#obj3=254#f52<3¬cmessThe police just aren't going to respond to calls from assassins working in and around Hell. call 123/call 123 on mobile#obj3=254#f52<3¬cmessThe Speaking Clock isn't going to be much help to you, is it? call 999/call 999 on mobile/call 123/call 123 on mobile#obj3=254#f52=3¬cmessYour battery is finished - no more phone calls for you. eat fish#here27¬cmessThe fillet is a little too frozen for your tastes. Perhaps someone else might prefer it? examine wallpaper#room=53¬cmessIt's difficult to believe this dirt brown wallpaper with geometric patterns was ever fashionable. get wallpaper#room=53¬cmessYou haven't time to scrape it off the walls. examine corridor#room=53¬cmessIt strikes you as an exceedingly ordinary corridor. search corridor#room=53¬cmessYou have a good look round until you begin to become mesmerised by the patterns on the wallpaper. examine pattern/examine wallpaper pattern#room=53¬cmessIt's a kind of squares within squares design. examine vase#room=53¬cmessIt's a gaudy yellow thing with a cracked lip and a dripping water stain. get vase#room=53¬cmessYou're not here to do your Christmas shopping. It's junk anyway. examine flowers#room=53¬cmessIt's a deadish daffodil. get flowers#room=53¬cmessThis deadish daffodil is what passes for decoration in the servants' quarters. You have no need for it. examine door#room=53¬cmessThe doors are painted a matt pea green. They are all closed. open door#room=53¬cmessYou could walk in and have a midnight chat with a complete stranger or you could keep out of trouble. Pondering this difficult dilemma, you conservatively opt for the latter. examine gallery#room=57¬cmessIn the gallery you feel like a privileged viewer of events below in the atrium. It's quite a feeling of power. search gallery#room=57¬cmessYou stir up a little dust but nothing else. examine atrium#room=57¬cmessFrom the domed roof to the marble floor, the atrium is an impressive piece of architecture. search atrium#room=57¬cmessYou'll have to go downstairs to get a proper look at it. examine roof#room=57¬cmessThe curved glass panes of the dome seem to collect the moon's beams and focus the light on the ground level of the atrium. examine floor/look down#room=57¬cmessThe black marble is like a bottomless void. You feel as if you could drop a coin and never hear it hit the bottom. examine balustrading#room=57¬cmessThe balustrading runs at waist height along the edge of the gallery. examine telephone/examine stand#room=57¬cmessThe telephone and the wooden stand it sits on are almost directly below you. examine corridor#room=64¬cmessIt strikes you as being a corridor with just a little class and style. search corridor#room=64¬cmessDown on your hands and knees you can really smell the polish. The skirting boards must have been done yesterday. smell polish/smell#room=64¬cmessYou close your eyes and take a deep breath through your nostrils. Aaaaaah. examine boards#room=64¬cmessYou can hardly see them in the gloom, but running your fingers along the bottom of the wall you feel the polished grain of the wood. examine carpet#room=64¬cmessIt feels like a smooth weave Wilton. look under carpet#room=64¬cmessAll you see are floorboards. examine door#room=64¬cmessThe door leads to a guest bedroom. examine bedroom#room=62¬cmessThe room is rather spartan. Yesterday's guest wasn't pampered with little luxuries. examine bed#room=62¬cmessIt is a normal bed with, you note, a pleasantly firm mattress. It has been stripped and the bedding taken away for cleaning. examine mattress#room=62¬cmessIt is well sprung and would provide a decent night's sleep. examine window/look through window/look out window#room=62¬cmessThe bay window is at the front of the house and overlooks a leafy residential street. There's no one about at this time of night. look under bed#room=62¬cmessYou find a little more dust and detritus than the housekeeper would expect. The maid was a bit lax with her cleaning today. sleep/sleep on bed/sleep on mattress#room=62¬cmessNow is not the time for twenty winks. Keep moving. sleep#¬cmessSleep would be an original, if possibly rather ineffective, way in which to approach your challenge. Keep moving. examine chair#room=62¬cmessThe chairs have no padding and look uncomfortable. sit on chair/sit down#room=62¬cmessYou pause for a moment and rest your weary feet. Then you leap up ready to continue your mission. examine wardrobe#room=62¬cmessEmpty hangers rattle on the rail when you open the doors. Otherwise the wardrobe is empty. search bedroom/search wardrobe#room=62#f388<63#f57=0¬cmessYou find no hidden gems - the last guest has left nothing behind. examine hangers#room=62¬cmessThe hangers are wooden. get hangers#room=62¬cmessThere's no need to pilfer clothes hangers. search bedroom/search wardrobe#room=62#f388=63#f57=0¬f57=1#cmessDrawn by the distinct smell of fish you pay special attention to the wardrobe. Low down, in the corner behind the wardrobe, you notice an access panel which is slightly ajar. search bedroom/search wardrobe#room=62#f388=63#f57=1¬cmessAfter the excitement of the access panel you're not surprised to discover nothing else of interest. open window#room=62¬cmessIt's a fixed light window. It cannot be opened. break window#room=62¬cmessBreaking the window is only going to bring people running and get you caught. Good assassins slip away quietly in the night. break window with n2#room=62#heren2¬cmessBreaking the window is only going to bring people running and get you caught. Good assassins slip away quietly in the night. throw n1 through window/throw n1 at window#room=62#heren1¬cmessBreaking the window is only going to bring people running and get you caught. Good assassins slip away quietly in the night. examine door#room=62¬cmessThe door leads out to the corridor. examine lamp#room=62¬cmessIt is quite ordinary and functional. get lamp#room=62¬cmessThe lamp is more useful casting light across the bedroom. search bedroom/search wardrobe#room=62#f388=64#f57=0¬cmessYou find no hidden gems - the last guest has left nothing behind. open panels/examine panels#f388=63#room=62#f65=0¬f65=1#cmessYou open the panel to reveal a metal chute sloping down at 45 degrees into darkness. From your knowledge of large houses you presume that this a laundry chute. After stripping a bed servants will drop the sheets into such a chute rather than trailing them down flights of stairs.#else#f388=63#room=62#f65=1¬cmessYou can see a metal chute sloping down at 45 degrees into darkness. From your knowledge of large houses you presume that this a laundry chute. After stripping a bed servants will drop the sheets into such a chute rather than trailing them down flights of stairs. close panels#f388=63#room=62¬cmessWhy hide your discovery? examine chute#f388=63#room=62¬cmessThe chute is about a shoulders width across. go chute/get in chute/enter chute/climb in chute/crawl in chute#f388=63#room=62#carried26¬cmessWhilst you may squeeze into the chute the trolley will not. go chute/get in chute/enter chute/climb in chute/crawl in chute#f388=63#room=62#¬score+4#cmessYou lie on the floor and crawl head first into the chute. After wriggling your shoulders in the rest is easy and you are quickly spiralling down in a pitch black helterskelter ...#keypress#cmessAfter what seems minutes like, but was actually only seconds, you arrive, with a thump, on the floor of the laundry room.#room=63#desc examine laundry#room=63¬cmessThe laundry is no more than a big linen cupboard. However, ever keen to boost morale, the Devil has a garish Employee of the Month sign on the wall. search laundry#room=63¬cmessYou gain a certain pleasure from touching the crisp sheets and enhaling the intoxicating scents of the towels. There aren't any hidden passageways though. open door#room=63¬cmessBoth doors are locked. examine door#room=63¬cmessBoth doors are locked, but you get an inkling in your bones that the outside door could be your best means of escape. examine chute#room=63¬cmessThe chute is a metre off the ground on the far wall. get in chute/enter chute/climb in chute/crawl in chute#room=63#¬cmessClambering in and climbing back up the chute is just not possible. It's too steep. unlock door with key/open door with key#here25#room=63¬cmessThe back door key fits neither door. drop n1 in boxes#heren1¬objn1=65#cmessYou put the n1 in the laundry box. get n1 out boxes#objn1=65¬objn1=254#cmessYou take the n1 out of the laundry box. examine towels#room=63¬cmessThe towels are blue and pink and green and white. examine sheets#room=63¬cmessThe sheets feel crisp and cool. A clean bed for the night would be nice ... examine pillowcases#room=63¬cmessThe pillowcases are embroidered with the numbers '666'. How chilling. examine linen#room=63¬cmessThe crumpled, dirty linen piled in the laundry box has familiar aroma of people - food, tobacco, sweat and dirt. examine boxes#room=63¬cmessIt is a large wicker box with handles at either end and a lid. A leather tag announces that this is the property of 'Hell's Bells - your FASTER laundry service'. search boxes/look in boxes#room=63#anyobjs65¬cmessYou see what you've previously put in the box:#cup#listobj65 search boxes/look in boxes#room=63¬cmessThere's nothing in the box except dirty linen. get towels/get sheets/get pillowcases#room=63¬cmessAs nice as clean laundry is now is not the time to start collecting it. get linen#room=63¬cmessA soiled towel is of no use at this stage of proceedings. get boxes#room=63¬cmessIt would take two people to lift up the wicker laundry box. examine tag/read tag#room=63¬cmessThe tag informs you that the laundry box is owned by 'Hell's Bells - your FASTER laundry service'. On the other side is printed the collection time - 05.30am. examine shelves/search shelves#room=63¬cmessThe shelves are piled high with clean laundry. smell/smell laundry/smell fish/smell cell#room=63¬cmessThe smell of Chloe's snack mixes unexpectantly with the lemon zest, pine fresh and sea breeze of the towels and sheets. get in boxes/enter boxes/climb in boxes#room=63¬cmessYou step over the side of the laundry box.#room=65#desc examine boxes#room=65¬cmessThe box is large enough enough to hold you and the linen that is destined for the cleaners. search boxes#room=65¬cmessIt's definitely just dirty laundry. examine linen/examine towels/examine sheets#room=65¬cmessIt's not as bad as you might imagine. They're a relatively clean lot here at No. 666. examine lid#room=63¬cmessIt's a hinged lid. examine lid#room=65¬cmessThe lid to the laundry box is within easy reach. get out boxes/climb out/climb out boxes/leave boxes#room=65¬cmessYou climb out of the laundry box.#room=63#desc get towels/get sheets/get linen#room=65¬cmessSoiled linen is best left for the cleaners. close lid/pull lid/close boxes#room=63¬cmessThat would take too much energy. You need to rest. close lid/pull lid/close boxes#room=65#f55=0¬f58=1#score+6#cmessYou pull the lid closed and settle down as best you can in the fusty warmth at the bottom of the box.#keypress#cmessDawn breaks with the occasional sunbeam filtering through the wicker lid. You hear a key rattle in a lock and a door swing open. It must be 05.30am. Two sets of footsteps troop into the laundry room and with several grunts pick up the laundry box. As you are carried outside you hear a voice mutter "Bloody Hell! What are they getting washed today?", but nobody looks inside to check.#keypress#cmessCongratulations! You have escaped from the Devil's own abode. From here on it should be easy enough to slip out of the city and make it back to your world. It's just a pity you failed to complete your task - The Devil lives for another day.#cdown#score#cdown#keypress#end close lid/pull lid/close boxes#room=65#f55=1#carried2¬f58=1#score+10#cmessYou pull the lid closed and settle down as best you can in the fusty warmth at the bottom of the box.#keypress#cmessDawn breaks with the occasional sunbeam filtering through the wicker lid. You hear a key rattle in a lock and a door swing open. It must be 05.30am. Two sets of footsteps troop into the laundry room and with several grunts pick up the laundry box. As you are carried outside you hear a voice mutter "Bloody Hell! What are they getting washed today?", but nobody looks inside to check.#keypress#cmessCongratulations! You have assassinated the Prince of Darkness and escaped to tell the tale. From here on it should be easy enough to slip out of the city and make it back to your world. You've even remembered to hang onto the library book. The librarian at Death plc will be pleased.#cdown#score#cdown#keypress#end close lid/pull lid/close boxes#room=65#f55=1#notcarr2¬f58=1#score+8#cmessYou pull the lid closed and settle down as best you can in the fusty warmth at the bottom of the box.#keypress#cmessDawn breaks with the occasional sunbeam filtering through the wicker lid. You hear a key rattle in a lock and a door swing open. It must be 05.30am. Two sets of footsteps troop into the laundry room and with several grunts pick up the laundry box. As you are carried outside you hear a voice mutter "Bloody Hell! What are they getting washed today?", but nobody looks inside to check.#keypress#cmessCongratulations! You have assassinated the Prince of Darkness and escaped to tell the tale. From here on it should be easy enough to slip out of the city and make it back to your world. It's just a pity you didn't manage to hang on to the library book. Part of your completion bonus will have to be spent placating an angry librarian at Death plc.#cdown#score#cdown#keypress#end examine road#room=1¬desc examine window/look through window/look in window#room=3¬cmessLooking through the windows you see a bar, several tables and a pool table, as well as a barman and what looks like a couple of local characters. search park/search ground/search ditch#or_room=2#or_room=17#charpresent381¬cmessThe horse certainly grabs your attention.#else#or_room=2#or_room=17#charabsent381¬cmessThere's nothing of interest here. stroke horse#or_charpresent381#or_f2=2¬cmessThe horse snorts a friendly reply. drink water#room=17¬cmessYou gag at the thought. examine floor#room=5¬cmessIt's a black and white chequer effect. examine window/look through window/look in window#room=5¬cmessLooking through the windows you see a cold night and an empty street. examine umbrella#room=4¬cmessIt is wind blown and water damaged. examine glass#room=4¬cmessIt looks unpleasantly sharp. Be careful not to cut yourself. examine bottles#room=4¬cmessThere's sharp glass everywhere. Be careful not to cut yourself. get bottles/get glass#room=4¬cmessYou don't really need such pub garden debris. examine forest/search forest#room=7¬cmessIt is dark and spookily quiet. You're far too nervous to stray from the paths. examine wildlife#room=7¬cmessIt's very difficult to spot animals and birds when they're hiding away. examine path#room=7¬cmessThe trails are narrow and overgrown. There's not much foot traffic in this forest. give n1 to burner#heren1#f380=room¬cmessYou approach the charcoal burner with the n1 in your outstretched hand, but he backs away with a suspicious look on his face. examine roof/examine thatch#or_room=15#or_room=6¬cmessThe thatch is damp and is beginning to rot. examine path/search path#room=9¬cmessThe trail is narrow and, in places, difficult to follow. This forest does not encourage visitors. examine path#room=10¬cmessIt leads west and will take you back into the forest. examine chasm#or_room=18#or_room=19¬cmessThe chasm is a barren mass of fractured rocks. The river that carved it has long since disappeared. examine walls/climb walls#room=18¬cmessThe walls rise up above you. The only way out is to clamber back up the narrow track. examine rocks#or_room=18#or_room=19¬cmessThere are some big ones as well as some small ones. But don't fret, geology was never really your strong point. search chasm/search rocks/look under rocks#room=18#f60=0¬f60=1#cmessYou look behind a couple of the bigger rocks and under some of the smaller ones.#else#room=18¬cmessYou look under different rocks but still find nowt. look up#or_room=18#or_room=19¬cmessThe vertical walls of the chasm are capped by the inky blackness of the night sky. search chasm/search rocks/look under rocks/look around boulder#room=19¬cmessThere's a corpse on the ground and you're poking around rocks?! examine boulder#room=19¬cmessTo you the boulder is quite clearly a very large rock. search chasm/examine rocks/examine corpse#or_room=11#or_room=8¬cmessYou'll have to get to the bottom of the chasm to do that. look down#room=11¬cmessThere seems to be a body of some kind spreadeagled at the bottom of the chasm. examine walls/examine cliff#or_room=11#or_room=8¬cmessThey are too steep to climb up or down. examine wasteland/look over chasm/look across chasm#room=11¬cmessThe wasteland looks as inhospitable as the forest, but no one ever said this was going to be easy. You know you have to cross this chasm. search devils#room=8¬cmessGet too close and you'll be pulled off the ground and tossed about in the swirling air. Better to head east. search wasteland#room=8¬cmessThere is nothing here. Move on. look across river/look over river/examine sky/look at sky/look up/look east#or_room=12#or_room=14#or_room=13#or_room=26#or_room=27¬cmessIs the red glow across the river from the fiery pits of Hell? Your knees tremble involuntarily at the thought. search riverbank#room=12¬cmessThe riverbank has no hidden depths. It is only a riverbank. get bullrushes#room=14¬cmessYou're not seriously considering wandering around Hell carrying a large plant are you? examine piles#room=13¬cmessThe piles are black with dirt and rot. search wharf#room=13¬cmessPoking around confirms your suspicions that the wharf isn't going to survive another year. It's in a poor state of repair. look west/examine wasteland#room=27¬cmessThe wasteland is a cold, lifeless expanse of nothingness. It's like Hell without the warmth. examine hollow#room=27#f383=0#f62=0¬cmessThe hollow is coated with a layer of ash. examine hollow#room=27#f383=0#f62=1¬cmessThe kindling is sitting in the hollow. examine hollow#room=27#f383=13#f61<8¬cmessSparks fly from the dry kindling.#done#else#room=27#f383=13#f61>7¬cmessThe hollow is filled with the remnants of your fire.#done examine fire#room=27#f383=13#f61>7¬cmessThe embers glow red - they are too hot to handle safely.#done#else#room=27#f383=13#f61<8¬cmessSomeone could probably see it from the other side of the river.#done examine dis#or_room=20#or_room=21¬cmessFrom outside the walls you can see very little of the city. open gates/push gates#room=21¬cmessYou push half-heartedly at one leaf. As you anticipated it doesn't budge. chant#room<>21¬cmessYou hum a catchy tune and feel all the better for it. chant/chant with tony/chant along with tony#room=21¬cmessYou manage one rendition before deciding to save your voice for another occasion. get brazier/get placard#room=21¬cmessNot really yours to take I'm afraid. examine handle#room=22¬cmessIt is made of cast iron. examine hole/look in hole#room=29¬mess501 search hole#room=29¬cmessYou'll have to get in it to search it properly. climb walls/climb up/climb up walls/climb on to ledge/climb onto ledge/climb on ledge#charabsent386#room=30¬cmessDespite a lot of effort you just can't make it up onto the ledge. You'll need help - maybe someone could give you a lift.#else#charpresent386#room=30¬cmessFilippo watches you fail to reach the ledge. "Do you want a lift?" he asks. examine catacombs#room=30¬cmessIt is clad in a pale, almost transparent, marble. search sanctuary/look around columns#room=35¬cmessYou look behind each column but find nothing. look through window/look out window#room=38¬cmessThe window overlooks a bank of shrubbery. get mower#room=37¬cmessSuch a shiny red object might make you a little more conspicuous than is ideal. Anyway it is far too large to drag around behind you. examine passage#room=40¬cmessOne goes south, one east and one west. None look very inviting. clean mirror/clean mirror in basin/clean mirror with water/clean mirror in water#here18¬cmessYour first scrubbing session was successful. examine ornaments#room=45¬cmessLadies with umbrellas, winsome beauties and various pooches. drag anvil/pull anvil/push anvil#here23¬cmessThere's got to be an easier way of moving such a heavy object around. attack dog#room=50¬cmessHis bite is worse than his bark. And you like having all your limbs. examine table#room=52¬cmessThe table has seen a lot of cooking - it has been scarred by many knives and scalded by hot saucepans. attack cat#f388=room¬cmessDon't be horrible! She's a lovely cat. read sign/examine sign#room=63¬cmessThe sign proclaims someone called Achilles to be this month's star turn in the world of laundry. attack brian#f390=room¬cmessYou foolishly / bravely walk towards your brutish adversary ... talk to brian/ask brian about n2#f390=room¬cmessBrian's not a great one for chat. examine walls#room=6¬cmessThe hut's wattle walls are daubed with mud. climb up/climb hut/climb on roof/climb on hut#room=6¬cmessIt would be easier to enter the hut through the doorway. get umbrella#room=4¬cmessIt wouldn't even do as a beach umbrella. You leave it where it is. gotwo#¬moveobjs254,255#goto20#obj2=254#obj3=254#obj9=254#obj16=254#obj17=254 gothree#¬moveobjs254,255#goto45#obj2=254#obj3=254#obj9=254#obj16=254 examine me#¬cmessPausing for a moment you consider your distinguishing features. Swift of mind (but slow on foot), a brave disposition (but slight of frame) and possessing a friendly smile (but with unruly hair) covers the main points. examine hair#¬cmessIt is healthy mixture of curls, spikes, licks and partings. There is no discernable style. set fire to book/strike book with matches/strike fire with book/strike book#here2#carried11¬cmessWanton vandalism in not encouraged. examine bottles#room=5¬cmessOne of the bottles is half full; the other is half empty. switch off mobile/turn off mobile#here3¬cmessYou can't afford to switch your mobile off - you wouldn't want to miss any incoming calls. examine face/look at face#room=5¬cmessCatching another glimpse of the man's diseased face you shrink back in disgust and fear. talk to skull/ask skull about n2#here15¬cmessThe hollow-eyed skull stares back at you silently. shout#room<20¬cmessSssssh - too much noise might jeopardise your mission.#else#room>19¬cmessThat might attract a little too much unwanted attention. Remember, you're in Hell. examine shrubbery#room=38¬cmessIt looks like laurel, mixed with some selected hardy weeds. get sheath/get blade/remove sheath/remove blade#room=37¬cmessDismantling the mower is going to take up vital minutes. Move on, move on ... examine sheath#room=37¬cmessIt's black. examine creepers#room=32¬cmessThe thick stemmed creepers sprawl upwards, sapping the strength of the decaying ornamental stonework. examine group#room=20¬cmessYou'll have to get a little closer to inspect them properly. about#¬dmessEven the Devil Must Die|This game was written by Mark Hancox (c) 2003 using the "Creative Adventure Toolkit" authoring utility by Phil Richmond. Release 2.87: Sept 2002. Thank you to the members of the CAT group who have wittingly and unwittingly supplied goodwill, ideas, advice and solutions throughout 2002. Thank you as well to the three testers who suggested many refinements and improvements. Compliments, suggestions, kindly worded criticisms, error messages, spelling misstakes, and pleas for help can all be directed to mark@annfield.fsworld.co.uk Thanks for playing. help#¬dmessEven the Devil Must Die|Hi. The best way to play is to explore the gamescape and interact with the places you wander into, the objects you stumble across and the fairly morose characters you encounter. Sam is a thoughtful person and has been taught to do what she/he is told. Apologies if at any stage you can't get through to her/him but teenagers ... Check that you're providing simple, vaguely logical commands. If you are and there are still problems kick the furniture and blame the parents. Move around using the compass points (N, S, E, W etc with the occasional UP, DOWN, IN or OUT); to find out where you are open your eyes (L/LOOK). Look at what you see (X/EXAMINE) and ferret around (SEARCH) for what you cannot. LOOK UP, LOOK DOWN, LOOK OUT and LOOK UNDER can also provide a different perspective on matters. Pick up (GET) what interests you and discard (DROP) what does not. To remind yourself what you are carrying type (I/INVENTORY). Somethings can be scaled (CLIMB) whilst others can be hurled (THROW). More actions (such as OPEN, CLOSE, JUMP etc ) should become obvious as circumstances arise. Sam can TALK TO characters, as well as questioning them (ASK character ABOUT object) and requesting assistance (ASK character FOR object). Some are also partial to being given things (GIVE object TO character). SCORE tells you how well you are going, whilst WAIT lets time tick away. QUIT, RESTART, SAVE and LOAD do their normal things. If you've forgotten what you're supposed to be doing use INTRO, whilst ABOUT reveals a little about the creation of the game. If you're stuck HELP ME may be of assistance. intro#¬dmessEven the Devil Must Die|Rather like Father Christmas, Death is a very busy man with a slightly hysterical clientele. Everyone's got to die and in order to satisfy customers' changing expectations, as well as reduce his personal stress levels, Death has been remodeling and refinancing the business. Out is the centralised bureaucracy only able to offer the one-size-fits-all man-in-black-cowl-with-sharpened-garden-implement service. In is a float on the stock market, new franchising operations, a customer-focused philosophy, and more smiling. You, that's Sam (because everyone is on first name terms at Death plc), are part of the new intake. You've completed your first year of training at college and have been personally recommended for a very special mission. Everyone's got to die right? Well, the Devil is no exception and the present incumbent of the post (a chap by the name of Hieronymous IX) is proving a tough nut to crack. Already three more experienced agents have failed to penetrate Hell and assassinate the current Prince of Darkness. Eager to please, you have accepted the challenge. It would also be beneficial to your health if you could survive the experience and escape before dawn. Just think of the drinks back in the bar ... help me#¬dmessEven the Devil Must Die|As 'Even the Devil Must Die' is supposed to be enjoyed rather than endured there are a few little secrets that may reduce frustration and speed up progress. Use them if required, although please note that your score will suffer and you may wake up in the middle of the night racked with guilt ... For the list of the objects needed to complete Level One (the tavern, pub and river) type LEVELONE OBJECTS. For a list of objects needed to complete Level Two (in around the cemetery) type LEVELTWO OBJECTS. For a list of objects needed to complete Level Three (the Devil's house) type LEVELTHREE OBJECTS. levelone objects#¬score-5#dmessEven the Devil Must Die|To complete Level One you must 'find' and use the silver coin, the tarnished shilling, the pint of ale, the measure of brandy, the crate, the packet of matches, the kindling and the ticket. To progress further you'll also need to take your mobile, the book, the rubber ball, the femur and the dirty mirror with you. leveltwo objects#¬score-5#dmessEven the Devil Must Die|To complete Level Two you must 'find' and use the washing line, the skull, the duct tape, the rags and the clean mirror. To progress further you will need to take your mobile, the book, the rubber ball and the femur with you. levelthree objects#¬score-5#dmessEven the Devil Must Die|To complete Level Three you must 'find' and use the rusty key, the trolley, the anvil and the fillet of fish. jump#¬cmessAlways think before jumping, is this a worthwhile jump or am I just passing time? ?#¬cmessSorry, I don't understand "?$".#done %v ?#¬cmessSorry, I don't understand "?$".#done %v %p ?#¬cmessSorry, I don't understand "?$".#done %v n1 ?#¬cmessSorry, I don't understand "?$".#done %v n1 %p ?#¬cmessSorry, I don't understand "?$".#done search n1#f2<2#n1>200#or_n1<380#or_n1>400¬mess303 look under n2/look around n2#vobjn2#heren2¬cmessThere is nothing special there. look under n2/look around n2#n2>200¬cmessThere is nothing special there. turns=-1¬cmessYou hear the faint tolling of a bell. It is six o'clock in the evening. f2=2¬cmessIn case you had forgotten, you're sitting on a horse.#cdown f21=1#room=29¬cmessA length of washing line, which has been secured to the obelisk, lies on the ground. f21=2#room=29¬cmessOne end of a length of washing line is tied around the nearby obelisk. The other end reaches to the floor of the grave. f21=2#room=31¬cmessThe washing line dangles over the edge of the grave and reaches the floor. f34=1#¬obj23=room#f34=0#cmessThis anvil is too heavy for you to hold for long. With a grunt you lower it back to the floor. f42=0#room=50¬mess495 f42=1#room=50¬mess496 f42=2#room=50¬cmessCerberus is completely absorbed by the slipper, the ball and the bone. He's as close to a lovely old labrador as he'll ever get. room<>50#f42<2¬f43=0 obj26=254¬cmessYou're pulling a trolley along. f45=1#here26¬cmessThe anvil is sitting on the trolley. f47>0#room=52¬cmessYou can see the following in the service lift:#listobj61 f48>0#room=53¬cmessYou can see the following in the service lift:#listobj58 obj1=254#charpresent380#f66=2¬cmessThe charcoal burner's suspicions are confirmed. He sees now that you have stolen the kindling for his fire. He moves towards you swiftly, his axe raised menacingly. For a split second you wish you'd followed your career officer's advice and taken a more sedate option, possibly accountancy or something in retail. Then you die.#cdown#score#cdown#keypress#end obj1=254#charpresent380#f66<2¬incf66,1#cmessThe charcoal burner looks at you suspiciously, paying particular attention to the bundle of kindling. You had be better be careful. Once he works out it's his kindling there'll be hell to pay. f2=2#room=3¬mess222 f2=2#room=6¬mess223 f2=2#room=10¬mess282 f2=0¬connect3=into5#connect6=into15#connect10=dto18 f2=2¬connect3=into0#connect6=into0#connect10=dto0 room=15#charpresent380¬cmess"What are you doing in my hut?" cries the charcoal burner angrily. He moves towards you swiftly, his axe raised menacingly. For a split second you wish you'd followed your career officer's advice and taken a more sedate option, possibly accountancy or something in retail. Then you die.#cdown#score#cdown#keypress#end room=21#f13>7#f14=0#charabsent385¬f13=1#mess328#keypress#goto24 room=21#f13>8#f14=1#charabsent385¬mess333#cdown#score#cdown#keypress#end f385=21#room=21¬f385=60#cmessAs the headless man staggers towards the brazier several masked figures emerge from a small door set inside the entrance gates and, quite literally, jump on him. The figures then drag him away. f385=21¬f385=60 room=24¬cmess"Who are you?" asks the figure quietly.#ask room=24#or_answer=randolph#or_answer=randolph the drunk¬f14=1#mess329#cdown#mess330#keypress#goto21 room=24#answer<>Randolph¬cmessAll you hear is a melancholy tsssking noise. Your interrogator wasn't impressed with that answer. room=25¬incf16,1 room<>25#f16>0¬f16=0 f16=3¬cmessAs you linger in the garden you notice from the corner of your eye a curtain twitching. Someone's watching you ... f16=6¬cmessYour activities in the garden have awoken the owner of the bloomers. She stands, shotgun in hand, by the back door. She doesn't offer you the opportunity to explain your presence on her property.#cdown#score#cdown#keypress#end f61>0¬incf61,1 f383=13#room=27#f61<8¬mess374 f383=13#room=27#f61>7¬cmessThe embers of your fire are slowly cooling on top of the crenellation. room=34¬incf23,1 room<>34#f23>0¬f23=0#f24=0 f23=5#f69=0¬f24=1#cmessRemaining in the basement has meant your eyes have become more accustomed to the darkness. A pile of rags in the corner - not 10 feet away - seems to be shaking. f23=5#f69=1¬f24=1#cmessRemaining in the basement has meant your eyes have become more accustomed to the darkness. You can now see that the basement is unfurnished. f27>0¬incf27,1 f27=12#f386=room¬cmessFilippo mentions that if you want him to help you it had better be quick as he's supposed to be on the run. f27=18#f386=room¬f386=60#cmessFilippo apologises but as an escapee he can't afford to wait around. He disappears into the night with a wave. f27=18#f386<>room¬f386=60 room=40¬incf30,1 room<>40#f30>0#f31=1¬f30=13 room<>40#f30>0#f31=0¬f30=0 f30=4#f31=0¬f31=1#cmessSuddenly the silence of the catacombs is broken. In a strong, resonant voice the beggar warns, "Many a stranger has perished in these catacombs. They offer no solace to the unprepared." f30=8¬cmessUnprompted the beggar speaks again. "You linger a long time stranger. Make your choice carefully or you will not see the keen light of day again." f30=12¬cmessWith a polite cough the beggar attracts your attention and with his crooked index finger he beckons you closer. When you are only a few feet away the beggar whispers that whilst patience is a virtue your indecisiveness stinks of cowardice. f37=1¬incf41,1 f37=0¬f41=0 f41=20¬cmessYou are suddenly aware of a commotion nearby. There's some shouting about an open back door and then several large men hove into view. You've been caught.#cdown#score#cdown#keypress#end room=50#f42<2¬incf43,1 f43=4¬cmessSuddenly one of Cerberus's heads lunges forward. Instinctively you jump backwards into the hallway.#keypress#goto49 f52=2#carried3¬cmessThe battery for your mobile is nearly finished. You've probably only got one call left. f388=63#room=62¬cmessYour nostrils are tickled by a fishy smell emanating from around the wardrobe. f53=1¬incf54,1 f53=1#f54>1#room=57¬cmessDown in the atrium the Devil is talking at the telephone. f54=4#room=57¬f53=0#f54=0#cmessYou hear the Devil speak testily, "Hello, hello. Is anyone there?" Then he slams the telephone down and goes back to his study. f54=4¬f53=0#f54=0 f55=1#room=57¬cmessDown in the atrium the Devil lies motionless on the marble floor. f390=55#room=57¬cmessYou can both see and hear Brian the Bodyguard crashing around the atrium. f383=13#f63=0#room=13¬f63=1#cmessCharon nods a greeting, saying "I saw your fire from the other side." f390=room¬incf64,1 f390<>room#f64>0¬f64=0 f390=room#f64=1¬cmessBrian lunges at you with his huge hands. He just misses! f64=2#f390=room¬cmessBrians's second attempt is much more successful. He grabs you by the collar and hoists you off the the ground. It's a rather an undignified end.#cdown#score#cdown#keypress#end room=31#f21<2¬incf68,1 room=31#f21<2#f68=7¬cmessUnfortunately you seem to have got yourself stuck at the bottom of this grave. Just think, there's still the ignominy of being found here in the morning to come.#cdown#score#cdown#keypress#end turns=200¬cmessYou hear the faint tolling of a bell. It is ten o'clock in the evening. turns=400¬cmessYou hear the faint tolling of a bell. It is two o'clock in the morning. turns=590¬cmessYou hear the faint tolling of a bell. It is five o'clock in the morning. In a few minutes the sun will be up. turns=600#room<48¬cmessSunrise! Although you haven't succeeded in your mission it is time to creep away while you still can. Tomorrow night may offer the camouflage required for another attempt.#cdown#score#cdown#keypress#end turns=600#room>47¬cmessSunrise! The opportunity has passed and you're still in the Devil's own abode. Maybe you'll manage to sneak away, but then maybe you won't. If you do then tomorrow night could offer the camouflage required for another attempt.#cdown#score#cdown#keypress#end a bundle of kindling a book a mobile telecommunications device a silver coin an empty crate a pint of cloudy ale a measure of brandy half a ticket a rubber ball a lump of plastic and metal a pack of matches an empty strip a burnt match a tarnished shilling a hollow-eyed skull a femur a dirty mirror a shiny mirror a length of washing line a pair of bloomers some rags a roll of duct tape a blacksmith's anvil an entrance mat a rusty key a sturdy trolley a fillet of fish Obj28 Obj29 Obj30 Obj31 Obj32 Obj33 Obj34 Obj35 Obj36 Obj37 Obj38 Obj39 Obj40 Obj41 Obj42 Obj43 Obj44 Obj45 Obj46 Obj47 Obj48 Obj49 Obj50 Obj51 Obj52 Obj53 Obj54 Obj55 Obj56 Obj57 Obj58 Obj59 Obj60 Obj61 Obj62 Obj63 Obj64 Obj65 Obj66 Obj67 Obj68 Obj69 Obj70 Obj71 Obj72 Obj73 Obj74 Obj75 Obj76 Obj77 Obj78 Obj79 Obj80 Obj81 Obj82 Obj83 Obj84 Obj85 Obj86 Obj87 Obj88 Obj89 Obj90 Obj91 Obj92 Obj93 Obj94 Obj95 Obj96 Obj97 Obj98 Obj99 Obj100 Obj101 Obj102 Obj103 Obj104 Obj105 Obj106 Obj107 Obj108 Obj109 Obj110 Obj111 Obj112 Obj113 Obj114 Obj115 Obj116 Obj117 Obj118 Obj119 Obj120 Obj121 Obj122 Obj123 Obj124 Obj125 Obj126 Obj127 Obj128 Obj129 Obj130 Obj131 Obj132 Obj133 Obj134 Obj135 Obj136 Obj137 Obj138 Obj139 Obj140 Obj141 Obj142 Obj143 Obj144 Obj145 Obj146 Obj147 Obj148 Obj149 Obj150 Obj151 Obj152 Obj153 Obj154 Obj155 Obj156 Obj157 Obj158 Obj159 Obj160 Obj161 Obj162 Obj163 Obj164 Obj165 Obj166 Obj167 Obj168 Obj169 Obj170 Obj171 Obj172 Obj173 Obj174 Obj175 Obj176 Obj177 Obj178 Obj179 Obj180 Obj181 Obj182 Obj183 Obj184 Obj185 Obj186 Obj187 Obj188 Obj189 Obj190 Obj191 Obj192 Obj193 Obj194 Obj195 Obj196 Obj197 Obj198 Obj199 Obj200 Even the Devil Must Die 0 3 7 0 0 16 0 2 0 0 0 0 0 0 3 0 1 0 0 0 0 0 0 0 1 0 0 2 0 0 0 0 0 0 5 0 0 0 5 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0 0 0 0 3 0 7 0 0 0 0 0 0 0 0 15 0 6 0 9 1 0 0 11 0 0 0 0 0 0 0 12 0 0 0 0 0 0 0 0 0 0 0 10 7 0 0 0 0 0 0 0 0 0 0 0 9 0 0 0 0 0 18 0 0 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23.nw 20.p 20.e 21. s s x51x55x62x s e 54.d 51.u 54.p 54.u 57.p 57.w 53.e 57.e 64.w 57.d 54.w 55.p 55 s s s s s s s s s s 10 10 1 45 Welcome to "Even the Devil Must Die" by Mark Hancox (c) 2003. Written using the "Creative Adventure Toolkit" authoring utility by Phil Richmond. Release 2.87: Sept 2002. Rather like Father Christmas, Death is a very busy man with a slightly hysterical clientele. Everyone's got to die and in order to satisfy customers' changing expectations, as well as reduce his personal stress levels, Death has been remodeling and refinancing the business. Out is the centralised bureaucracy only able to offer the one-size-fits-all man-in-black-cowl-with-sharpened-garden-implement service. In is a float on the stock market, new franchising operations, a customer-focused philosophy, and more smiling. You, that's Sam (because everyone is on first name terms at Death plc), are part of the new intake. You've completed your first year of training at college and have been personally recommended for a very special mission. Everyone's got to die right? Well, the Devil is no exception and the present incumbent of the post (a chap by the name of Hieronymous IX) is proving a tough nut to crack. Already three more experienced agents have failed to penetrate Hell and assassinate the current Prince of Darkness. Eager to please, you have accepted the challenge. It would also be beneficial to your health if you could survive the experience and escape before dawn. Just think of the drinks back in the bar ... 1 yellow black white cyan Courier2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 5 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 The charcoal burner A horse Randolph Charon Tony The headless man Filippo the Dandy The beggar Chloe The noun389 Brian the Bodyguard The Devil The noun392 The noun393 The noun394 The noun395 The noun396 The noun397 The noun398 The noun399 The noun400