Start of a transcript of The Weight of a Soul A study of the ars vitalis by Chin Kee Yong Release 43713 / Serial number 210324 / Inform 7 build 6M62 (I6/v6.33 lib 6/12N) SD Thank you for playing the Spring Thing 2021 release of The Weight of a Soul! For more information, visit https://chinkeeyong.wordpress.com/the-weight-of-a-soul/ Identification number: //40583C4F-E40B-4BAA-881E-D7F842F7069F// Interpreter version 1.3.5 / VM 3.1.2 / Library serial number 080126 Standard Rules version 3/120430 by Graham Nelson Approaches version 7 by Emily Short >* Good opening text! I had to google "calomel" but that's a neat detail. "Marid" is an interesting name choice... Comment recorded. >c A list of important commands (You can type >commands or >c to bring up this page at any time.) >look Look around and get a description of your surroundings. The command "look" can be shortened to "l" or simply a blank command. >examine (something) Examine something for a more detailed description. You can examine practically anything, including yourself. The command "examine" can be shortened to "x" or simply typing the name of the object. >inventory Check the items you're wearing or carrying. The command "inventory" can be shortened to "i". >talk to (someone) Begin a dialogue with someone. The command "talk to" can be shortened to "t". >go (direction) Travel to a new location in the world. The directions are each of the eight compass directions, plus up, down, in, and out. "North" can be abbreviated to "n", "northwest" can be abbreviated to "nw", and so on. You can also omit the command "go" and just type a direction to go in. >enter (something) Enter something that you can fit into, such as a door, bed, or hiding place. >cut (something) Cut something with your scalpel. >take/drop (something) >open/close (something) >push/pull/turn (something) >put (something) on/in (something else) These commands can be used to manipulate items and the world around you. >help >commands >journal >characters >map >places >hints Open the help menu, or quickly check one of its pages. "Commands" can be shortened to "c", "journal" can be shortened to "j", "characters" can be shortened to "ch", "map" can be shortened to "m", and "places" can be shortened to "p". >undo Take back your last command, rewinding the game to an earlier state. >save >restore >quit Create or restore a saved game, or exit the game once you're done playing. The game recognizes a good deal of synonyms and miscellaneous commands not listed here. Feel free to experiment. Please press SPACE to continue. Surgery Room You are in a cold cylindrical chamber, thrown into sharp focus by hovering surgical lamps. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. The patient shudders against his straps on the gurney, black blood streaming from his eyes and mouth, even as Doctor Cavala fights to isolate the infection. "Eyes sharp, Marid," she says. "I'm going to need your help in a moment." "Got it," you reply. >help > List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back About this game The Weight of a Soul is a passion project that I've been working on for the past five years. It's a long and ambitious interactive novel inspired by classics like Anchorhead, Blue Lacuna, and City of Secrets. It began as a side project, when I thought to myself: "I'll work on something small and simple, like a text adventure." As it turns out, text adventures aren't such small and simple projects after all. An early excerpt of this game was shown at Spring Thing 2017 in the Back Garden category. Since then, I've spent much of my spare time finishing and polishing the game. This is the Spring Thing 2021 version of the game, a public release where the interactive novel is playable in its entirety. An average playthrough has over 50,000 words and may take five to six hours to complete; there are seven possible endings that can be achieved. (See if you can find them all.) While The Weight of a Soul is complete, I don't consider it finished by any means. I'm working on an improved version of the novel with updated prose and a modern user interface, which I plan to release as a "premium edition" on itch.io and Steam. For more information, see the game's web page here: https://chinkeeyong.wordpress.com/the-weight-of-a-soul/ This game was written and compiled in Inform 7. More information can be found at inform7.com. Please press SPACE to continue. List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back How to play This is a work of interactive fiction. It is a game about investigating mysteries and solving puzzles. You play the part of Marid, a doctor's apprentice, and your actions in the coming days could determine the fate of the Channelworks District. The > symbol indicates a command prompt. When a > is displayed, you can type commands for Marid to follow, in the form >go west or >take lantern, and she will go along as far as she is able and willing. Type >commands or >c for a list of commands. If you are talking to someone, you will instead be prompted to choose from a list of possible responses, in the form "1) Say hello; 2) Say goodbye." In this case, you should choose one of the responses by typing the corresponding number. At other times, there may be no command prompt provided at all, such as during a dramatic pause in the text. When this happens, press any key to continue. Please press SPACE to continue. List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back Third of Aquaria, Auritum IV Oh, Primes. He's only inches away from dying on the gurney. His life is in Doctor Cavala's hands, in my hands, and I barely even know his name... I thought it would be a slow day at the clinic. Nothing could have prepared me for this. What do I do? What do I do? Current objectives: - Help Doctor Cavala save the patient's life Please press SPACE to continue. List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back You have encountered the following notable characters: Servator Marid Orpheia (yourself) A seventeen-year-old graduate of the Physicians' College, currently apprenticed to Doctor Cavala. You have taken care of yourself ever since your parents died four years ago. Doctor Cavala Your mentor in the ars vitalis. A former army doctor and a surgeon of commanding skill. Please press SPACE to continue. List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back You have not visited any notable locations in this game so far. As you explore the game world, notable locations will be added to this page. Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places > Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places > Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back Feedback I'm continuously working to improve The Weight of a Soul, and would love to hear any kind of feedback you have about it. Did you like the game? Did you dislike it? Do you have any suggestions to make The Weight of a Soul better? Feel free to send me your thoughts. There are a few ways that you can send me feedback. For general questions, comments, and/or criticism, you can use the feedback form here: https://tinyurl.com/TWOASFeedback You can also post your feedback on the intfiction.org forums, or email me directly at chinkeeyong@gmail.com. Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back Acknowledgements The Weight of a Soul was written by Chin Kee Yong a.k.a. CKY, a Singaporean game designer. It is my first serious foray into interactive fiction. My website can be found at https://chinkeeyong.wordpress.com/. Thanks to my university mentor, Ben Slater, for providing lots of useful comments and guidance. Thanks to everyone who's ever given feedback on this game: Brian, EC, Emily, Gabriel, G_L, Kenneth, Lewis, Liangdeng, Luel, Mabbu, MathBrush, Miss G, Mown, Niklor, Nommy, Samuel, Sarah, Qingxiang, Wei Ling, the folks at Rotten Mage, and probably a whole host whose names escape me (sorry!). Your time has helped to make this game better. Any bugs in the game are my fault and not the fault of these amazing people. Thanks to Lieu, Gu, Wen, WY, GA, and the rest for putting up with my fits of manic inspiration. Thanks also to the co-creators and stewards of the Expanded Multiverse: your creativity and positivity are what inspire me to keep going. Shanflower drew the map of the Channelworks District. Emily Short wrote some extensions that do backstage work for The Weight of a Soul. Matt W. helped with some programming tricks. Andrew Plotkin designed the Quixe JavaScript interpreter, which the online version of this game uses. Thanks to my family, the Inform team, the Singaporean game development community, and the IF community. And of course, thank you, dear player. I hope you enjoy the game I've made. License This is the Spring Thing 2021 public release of The Weight of a Soul. It is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. The terms of this license can be found at https://creativecommons.org/licenses/by-nc-sa/4.0/. Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements > Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements > Back Surgery Room You are in a cold cylindrical chamber, thrown into sharp focus by hovering surgical lamps. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. The patient shudders against his straps on the gurney, black blood streaming from his eyes and mouth, even as Doctor Cavala fights to isolate the infection. "Eyes sharp, Marid," she says. "I'm going to need your help in a moment." "Got it," you reply. >x me You feel alert and well. On edge, perhaps, but that's nothing unusual considering the circumstances. You are wearing your natron jacket, your clothes, an animus pendant (containing the spirit of your father), and a surgical mask. On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. A convulsion -- Doctor Cavala takes a step back as the gurney creaks. "We need to sedate the patient," she says, "or we'll never get anything done. Marid, get the soporific from the shelves. I'm going to take a look at his eyes..." You glance up at the shelves ringing the surgery room. >* LOL that's an all-time great parenthetical contents listing Comment recorded. >x shelves Nestled among the medical supplies, you spy an inhaler labeled aer vivificans and an inhaler labeled aer soporifer. "...massive internal bleeding..." she mutters. >take soporific You tiptoe -- grab the inhaler -- press the device into Doctor Cavala's waiting palm. She shakes it experimentally and nods at you before raising the inhaler to Reden's lips with a hiss... The goblin's pupils begin to dilate. "Easy now," Doctor Cavala mutters -- His head bucks violently. Doctor Cavala drops the inhaler and the bulb shatters all over the floor. "Primes!" she hisses. "Marid, can you get me another dose?" >take soporific That is either not important or not something you can see. (Type >look or a blank command to examine your surroundings.) >x shelves You spy nothing useful on the shelves, well-stocked though they are. "That was the last one," you yell back, trying not to breathe in any of the fumes. "Fine!" Doctor Cavala says. "We'll do this without anaesthetic, one way or another." She squints at Reden's body. "Marid, get me the stethoscope." "Where is it?" Doctor Cavala's answer is drowned out by another round of coughing from the patient. >l Surgery Room You are in a cold cylindrical chamber, thrown into sharp focus by hovering surgical lamps. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. The patient shudders against his straps on the gurney, black blood streaming from his eyes and mouth, even as Doctor Cavala fights to isolate the infection. "Doctor, I don't know where the stethoscope is." "The gurney, the gurney!" she snaps. "There. Hanging from the side. I can't reach it from here." >x gurney You look behind the gurney and there it is -- a stethoscope reclining snakelike on its hook. Doctor Cavala looks up from her work, irritated. "Have you found it yet?" "I found it," you reply. "Good," she says, "give it to me." >take stethoscope You carefully unwind the stethoscope and toss it to Doctor Cavala, who catches it with a practiced hand. "Took you long enough." "But it was --" you protest. "Hush." Doctor Cavala pushes the device against Reden's chest and lowers her ear to the ausculting dish. "I'm trying to listen." >x natron A utilitarian white garment, lined and sealed with alchemical sigils against contamination. It effectively shields its wearer against most communicable diseases. Blood continues to run down the goblin's lips, and you hurry over to dab it away before it touches Doctor Cavala's face. At last she rises, her face grim. "What did you hear, Doctor?" you ask. "Nothing good," she replies. "I fear we may be too late -- but there is one last thing we can try." She pauses. "Have you ever heard of the breath of catholicon?" You frown. "I thought that was a myth." "Check the shelves again," Doctor Cavala commands, turning back to her ailing patient. "And be quick about it." >x shelves The breath of catholicon -- could it really be here, hidden among this detritus? You glance across the crowded supplies, but nothing catches your eye, not yet... "What would such a thing even look like?" you protest. Doctor Cavala moves as if to speak -- but then there is another coughing fit from Reden, and she curses and adjusts the straps. You shake your head and turn back to the shelves. >g Curatives, laxatives, poisons, panaceas, blades of every shape and size... no. None of them... "It's in an inhaler," she says finally. "Labeled in the old language. It cost me a great deal to acquire." There is no mirth in her voice, and for a moment you are at a loss for words. >x inhaler Rows and rows of strange tools, tubes, vials, beakers, inhalers... inhalers? There is another convulsion from the patient, but with less vigor than before. Much less. "He's falling apart," Doctor Cavala says in a low voice. "Don't hesitate, Marid. Get me the catholicon." >x inhalers You blink. Nestled among the medical supplies, you spy an inhaler labeled halitus catholiconis. Distantly you hear Reden's ragged breathing. >x halitus Something is moving inside. Doctor Cavala curses as she fumbles with the gurney mechanisms. >undo Surgery Room [Previous turn undone.] >take halitus The halitus whirls within its glass cage as you lower it from the shelves; it billows as Doctor Cavala bears the inhaler to Reden's bloodsoaked lips. She breaks the seal, and in the bulb it spirals round and round in the dance of exhalation -- And it is within him. His breath is stolen away. His irises flare with the light of catharsis. He flails against the gurney straps as though puppeted by invisible hands. "Doctor Cavala?" you ask. You look to her, and her eyes are as wide as yours. >x cavala Hold-- There is a sudden quiet, a moment when the surgical lights flicker and time itself seems to slow. For an instant something brilliant swims at the edges of your vision. Reden's eyes close. The moment passes. Doctor Cavala seizes him, shouting, but the goblin is unresponsive. She checks his pulse. She produces a needle, lines up an injection -- the needle withdraws empty, stained with foul black effluvium. But he does not awaken. Seconds pass. A minute. Finally she stands, silent, her breathing level. She takes off her mask and sets it on the operating table with an air of grim finality. (To continue, choose a response from the list by typing the corresponding number.) 1) "Damn it." 2) "I'm sorry." 3) >1 "Damn it," you mutter. Doctor Cavala shakes her head. "We did all we could. That's all anyone can do. But it's out of our hands now." 1) 2) "If only..." 3) "The catholicon -- what was that?" 4) "At the moment he died, I had a strange vision..." 5) "What happens next?" >3 "The catholicon --" You glance at Reden, half expecting to see white fire in his eyes, and suppress a shudder. "The catholicon, Doctor. What was that?" Doctor Cavala takes the empty inhaler out of her pocket. She looks pensively into the glass, and holds it up to the light where it shines. "The catharsis," she says quietly. "The purging of the soul. It is the most destructive of all remedies, and the most irreversible once administered. But remember this, Marid: sometimes a thing must be destroyed before it can be built anew." She turns to regard the body on the gurney, so frail and gentle in death, and sighs. "It was his only chance," she says. "He was probably going to die either way. But... I'm sorry you had to see that, Marid. I really am." 1) 2) "If only..." 3) "At the moment he died, I had a strange vision..." 4) "What happens next?" >* We tried to destroy/purge the goblin's soul, so does that mean the disease attacks the soul? Comment recorded. 1) 2) "If only..." 3) "At the moment he died, I had a strange vision..." 4) "What happens next?" >3 "At the moment he died, I had a strange vision. It was... it was..." You try to recall the strange sensation you experienced, but it fragments and swims away, and lingers at the edge of your consciousness where you can find no purchase. What words could describe that weightless moment? "It was..." you flounder, "it was..." Doctor Cavala watches you intently. "Strange sights are not uncommon at the moment of death, Marid. Especially when the animus escapes untethered. You studied such reactions in the Physicians' College, did you not?" "This was different," you insist. "It's been a long day," she replies. "Take a moment to collect your thoughts. Talk to me again tomorrow when you are certain." You lower your eyes. "Yes, Doctor." 1) 2) "If only..." 3) "What happens next?" >2 "If only..." "If only what?" She fixes you with a stern gaze. "The man is dead, Marid. We are not animologists. Nothing we do will bring him back -- and you of all people should know this." "I know," you say bitterly. "I... I just wish there was something we could do." Doctor Cavala holds out her hand. No words are needed. You pull off your surgical mask and hand it to her, unable to meet her gaze. 1) "What happens next?" >1 "What happens next?" "It's a unique situation, to be sure." Doctor Cavala begins to pace around the gurney. "For any other disease, our course would be straightforward. Log the death. Inform the family. Check for symptoms. Do our best to contain the contagion. Easier said than done, but at least it would be straightforward. "Now Reden has died of an illness I can't identify. And I've seen a lot of illnesses, Marid." She studies her gloved hands, stained black with blood. "In the morning I will reference the Alchemical Library of Fluids and contact my colleagues for help... but we must be prepared for the possibility that we are dealing with an unknown affliction. "For now, we proceed with caution." She gives you a curt nod. "After you clean up the surgery room, Marid, you may retire for the night. You've been a good assistant. As for myself... I will begin on the paperwork, and on the task of moving the body to the mortuary." 1) "Yes, Doctor." 2) "Can I help?" >2 "Can I help?" you ask. Doctor Cavala smiles and shakes her head. "I appreciate the sentiment, Marid, but you've seen and done more than enough for one night. Take my advice and get some rest. You'll need it for tomorrow." 1) "Yes, Doctor." >1 "Yes, Doctor." "See that it's done." Doctor Cavala hands her tools to you and leaves to dispose of the soiled surgical masks. The next half hour is spent in simple work: the comforting tedium of cleaning, sterilizing, organizing. Soon the surgery room is pristine and unblemished. You wash your hands, switch off the lamps, and look to the calomel curtain to the south. It's time to go home. >* OK now... Comment recorded. >x pendent That is either not important or not something you can see. >oops pendant Images tumble unbidden from memory -- -- flames, licking at the beams, melting glass, engulfing the silhouette of your father. "Marid, go!" he screamed, hoarse from the fumes, and you ran, ran, cheeks stained with tears -- -- turned to you, and her golden eyes were haunted. "I'm sorry, Marid," she said, her voice cracking. "I couldn't save him. I'm so sorry --" "-- no promises," the animologist said, his brow knitted. "If indeed your father died there, we can bind the residual energies to an animus stone, residual, you understand; there's no telling --" -- flaring light, and you reached out and mouthed the word -- Father. You shake your head to clear your thoughts. The past belongs in the past. What matters is that he is with you now, in this pendant. >x pendant He's in there somewhere. Sleeping. >shake pendant Nothing happens. >* Was that mean? Comment recorded. >open pendant It isn't something you can open. >eat pendant That's plainly inedible. >l Surgery Room You are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. Reden lies on the gurney, lifeless and still. >x reden Black stains run down his cheeks like tears. >x black A chilling symptom. It's unlike any affliction you've ever studied. >x stains A chilling symptom. It's unlike any affliction you've ever studied. >x eyes Your eyes seem to be working fine. >x reden's eyes That is either not important or not something you can see. >x shadows That is either not important or not something you can see. >x shelves You spy nothing useful on the shelves, well-stocked though they are. >x vials You spy nothing useful on the shelves, well-stocked though they are. >x supplies You spy nothing useful on the shelves, well-stocked though they are. >x calomel It decontaminates objects that pass through it. (Type >go south to leave the surgery room.) >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x clothes Simple garb, but it keeps the wind and moisture out. >x badge This burnished badge bears the symbol of a snake coiling around a staff, certifying you as a qualified apprentice of the ars vitalis. >x scalpel This elegant blade was a graduation gift from the Physicians' College. It measures just over twenty centimeters long, and holds a finely graduated orichalcum edge. >x purse You don't carry much money with you. Just enough to buy food and other necessities. >open it You only ever open your purse when you're buying something. >x cloth It's for cleaning your scalpel. >clean scalpel You polish your scalpel with the antiseptic cloth. >clean gurney Nothing happens. >x gurney It's a sober mechanical bed with various devices and surgical implements attached. Reden lies on the gurney, lifeless and still. >* Oops, small spacing error Comment recorded. >l Surgery Room You are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. Reden lies on the gurney, lifeless and still. >s A wave of warmth washes over you as you step through the calomel curtain. Clinic Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is at her desk, engrossed in paperwork. As you emerge from the surgery room, she glances up and gives you a nod. >x chairs They're for waiting patients to sit on. >x counter The counter, with its latticework screen, divides the pharmacy from the waiting area. There is a drawer for money and a service handbell. >sit on chairs You sit on one of the chairs. >x screen The counter, with its latticework screen, divides the pharmacy from the waiting area. There is a drawer for money and a service handbell. >x drawer If you didn't work here, you would never have noticed the faint bevel that demarcates it. >x bell A small brass handbell. You know its sound all too well. >open drawer You are many things, Marid, but you are not a thief. >ring bell You have already heard it ring countless times, and you aren't inclined to listen to it again. >* Good attention to detail! Comment recorded. >take bell You see little point in removing it from the counter. >x pigeonholes You could look up medication or patient records in the pigeonholes. >* ooh, fun Comment recorded. >look up reden That object or command isn't available. (Type >commands or >c for a list of commands.) >look up reden in pigeonholes On record are various minor illnesses typical for a goblin of his age: the homunculoid shingles, the common cold. There is no precedent for the sudden and dramatic affliction that took his life. >* A does the player mean rule would be nice here to avoid the player having to type in "in pigeonholes" every time (and make clear the verb works) Comment recorded. >look up catholicon in pigeonholes You doubt you will see another inhaler of the halitus catholiconis in your lifetime, let alone in these pigeonholes. >look up soporific in pigeonholes The more powerful medications are reserved for the surgery room. >l Clinic (on one of the waiting chairs) Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is at her desk, engrossed in paperwork. >x study Named so because it is used for study and consultation. >x desk Doctor Cavala's notes are laid out in neat stacks. >x notes Studies of human, goblin, and mutant anatomy; musings on possible contagion vectors; comparisons between ailments with similar symptoms. >* mutants you say Comment recorded. >x diagrams Studies of human, goblin, and mutant anatomy; musings on possible contagion vectors; comparisons between ailments with similar symptoms. >x doctor (Doctor Cavala) You came to know Doctor Cavala when she served with Lumina's volunteers during the troubles. Her clinic was your first choice for apprenticeship when you graduated. Since then you've watched her drag more than a few souls kicking from the brink of death -- and they won't be the last, not if she has anything to say about it. Doctor Cavala is a dark-skinned surgeon in her early forties, sharp and regal of bearing. Right now, she appears to be filling out a census report for Reden's death. >g (Doctor Cavala) Right now, she appears to be filling out a census report for Reden's death. >x report Certificates of death, administrative letters, and other formalities that Doctor Cavala is obliged to entertain. >* Again, good attention to detail! Comment recorded. >talk to doctor (Doctor Cavala) "Good night, Doctor Cavala." "Good night, Marid," she replies. "Don't stay up too late." >w You can go east to the Via Terminalis. >e (first opening the front door of the clinic) (first getting off the waiting chairs) (closing the door behind you) Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. The rest of the district can wait until tomorrow. (You may wish to save the game now by typing >save. You can do this at any time.) >undo Clinic [Previous turn undone.] >l Clinic (on one of the waiting chairs) Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is at her desk, engrossed in paperwork. >d You've seen enough dead bodies for one day. >x door It's a tempered glass door with a brass handle. >open it You open the front door of the clinic. >e (first getting off the waiting chairs) (closing the door behind you) Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. The rest of the district can wait until tomorrow. (You may wish to save the game now by typing >save. You can do this at any time.) >* Hmm, not sure I should have been able to open the door and look things up in the pigeonholes while sitting Comment recorded. >save Ok. >* We live across the street from our job? Not great for work-life balance! Comment recorded. >x windows All the shops are closed for the night. >x animii There is a living quality to the light. >* You don't say Comment recorded. >x spine It bears the burden of a thousand living souls. >x heavens Shrouded among the clouds and the constellations, the Luna presides from its throne. >x spire The city stretches out in every direction. >x moon Theories abound on the nature of that alabaster sphere, but none can deny its beauty. >* Hmm... Comment recorded. >x cross Among the drab steel buildings, the silver sign glows like a beacon. >x dorm Squat, graceless, and scarred by time. But it's home. >l Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. The rest of the district can wait until tomorrow. >map Please press SPACE to continue. Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. The rest of the district can wait until tomorrow. >n Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south. An old woman sits at the base of the fountain, feeding pigeons that wing down from the sky above. >x arch The inscription reads Welcome to the Pax Civil Dormitory. >x atrium The court is so cloistered that you can barely see the sky. >x fountain A neoclassical sculpture of concentric basins. An image of Mercury takes pride of place, with sword aloft in one hand and water-spout chalice in the other. >x sky Shrouded among the clouds and the constellations, the Luna presides from its throne. >x mercury It's the Mercury depicted in paintings and opera; a far cry from the alchemist's silver. >x chalice It's the Mercury depicted in paintings and opera; a far cry from the alchemist's silver. >x sword It's the Mercury depicted in paintings and opera; a far cry from the alchemist's silver. >x domiciles Here live friends and foes, neighbors and strangers, and only a door's width apart. >x stairs Well-worn stairs lead up to the domiciles. >x walls There is little privacy that these walls offer. >x woman (the old woman) You recognize her as a fellow dormitory resident, having passed by her once or twice in the washhouse. She is feeding the pigeons breadcrumbs from the basket in her lap. >x pigeons They are white and black and every shade of gray. >x breadcrumbs Meager pickings, but apparently enough for the pigeons to fight over. >talk to woman (the old woman) As you approach, the old woman looks up and smiles. "Ah, hello, Marid," she says. "It is Marid, isn't it?" 1) "It's nice to meet you too, ma'am." 2) "Have we met before?" 3) "Sorry, I don't know who you're talking about." >1 "It's nice to meet you too, ma'am." "And so polite!" the old woman laughs. "Everyone here knows your name, of course; you are the doctor's assistant, are you not? And I hear you live all by yourself in this dormitory, poor girl... but I'm sure you don't need my pity. "As I know your name, it's only fair that you know mine. My name is Saliunca." 1) "Living by myself isn't that bad..." 2) "Do you feed the pigeons often?" 3) "I'm in a bit of a rush, actually..." >1 "Living by myself isn't that bad," you say. "I've gotten used to it ever since I boarded out to the Physicians' College." "Oh, I don't doubt you can look after yourself, love," Saliunca quickly adds. "I'm -- We're only worried for you, is all; just a spot of neighborly worry. It isn't easy for an -- for a young lady to -- to live like you do." An awkward pause. "I appreciate the concern," you say eventually, "but you shouldn't worry. I get by, in my own way." 1) "Do you feed the pigeons often?" 2) "I'll be seeing you, then." >1 You gesture at the flock surrounding her. "Do you feed the pigeons often?" Saliunca cackles. "Feed them?" she says. "I suppose you could say that, in a way. Yes, I feed them; but if you think I harbor any love for the pigeons, you would be quite mistaken. I'm poisoning the pigeons, you see, love -- feeding them poison!" 1) "Poison!?" 2) "Then you're killing them...!" 3) "But why would you do something like that?" >* So you're poisoning pigeons in the park? Comment recorded. 1) "Poison!?" 2) "Then you're killing them...!" 3) "But why would you do something like that?" >3 "But -- but why would you do something like that?" Saliunca shakes her head sadly. "Oh, Marid, don't you see? The pigeons are infesting the dormitory! All over the atrium they are, and even in some of the ground-floor domiciles. You never even noticed?" "I -- I live on the third floor," you admit. "Then you haven't noticed." She sighs. "The pigeons are everywhere, love -- a great nuisance they are making. Stealing food. Leaving their droppings about. And that's why their numbers have to be culled. "For some peace, Marid, for some peace. You understand, don't you?" 1) "I suppose you are right..." 2) "I don't believe that for a second..." 3) "But killing them...!" 4) "The corpses... the corpses will litter the ground." 5) "I'm sorry. I have to go." >4 "The corpses..." You shake your head. "The corpses will litter the ground." Saliunca grimaces. "Yes. Yes, they will. The atrium will be rather unpleasant for a while; that's the cost of it, Marid. But you must see -- you must see it's something that has to be done." 1) "I suppose you are right..." 2) "I don't believe that for a second..." 3) "But killing them...!" 4) "I'm sorry. I have to go." >3 "But killing them...!" Saliunca frowns. "You say that as though I'm a murderess," she says, "when I'm nothing of the sort. Think, girl, think! "Do you think about the food you eat, of how the butcher earns his keep? No, of course not -- they are animals, animals! We know they are lesser -- we have measured their animii. And the animus of a pigeon... why, it's little more than a candlelight. So why shouldn't I snuff them?" 1) "I suppose you are right..." 2) "I don't believe that for a second..." 3) "I'm sorry. I have to go." >* Guess I'm not a vegetarian! Comment recorded. 1) "I suppose you are right..." 2) "I don't believe that for a second..." 3) "I'm sorry. I have to go." >2 You glare at her. "I don't believe that for a second. The pigeons may be pests, but -- but poisoning them? That's much too cruel. There must be some other way." "Oh?" Saliunca raises an eyebrow. "And what would this other way be?" "I... I don't..." You shake your head. "I don't know. But there must be a way. There must be..." "And suppose I'm right, and there isn't?" She frowns. "You've got some nerve telling me off, young lady, when all I've heard out of you is talk. Get off your high horse. Don't tell me you're squeamish about killing a few birds -- or is that what the Physicians' College taught you?" You tense up. 1) "What would a hag like you possibly know about the Art?..." 2) "I'm sorry. I have to go." >1 What would -- No. You start. You catch yourself. Being emotional won't get you anywhere, Marid. It won't change anything. It won't bring him back. You take a deep breath. 1) "I'm sorry. I have to go." >* Nice little character-revealing chat, with a hint of backstory Comment recorded. 1) "I'm sorry. I have to go." >1 "I'm sorry," you mutter. "I have to go." You turn and walk away. "Suit yourself, love," Saliunca calls after you. When you don't respond, she shakes her head and goes back to feeding the pigeons. Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south. Saliunca sits at the base of the fountain, feeding pigeons that wing down from the sky above. >x pigeons They are white and black and every shade of gray. >x lady You don't want to look at her. >x breadcrumbs It is sobering that death can lurk in something so little. >take tem That is either not important or not something you can see. >oops them You would need a broom for that. >sweep breadcrumbs It's hard to do that while the basket is with Saliunca. >eat them That would either make you very sick or kill you. >x basket It's an ordinary wicker basket. >take it You give the wicker basket a forceful tug and it falls out of Saliunca's hands. Breadcrumbs scatter everywhere. The pigeons take to them with great enthusiasm. Saliunca glares at you wordlessly. She picks up the basket -- now empty -- and vanishes into the dormitory. >sweep breadcrumbs You aren't sure what that would accomplish. >* Fewer dead pigeons? Not sure why this was accepted earlier but not now Comment recorded. >take breadcrumbs You would need a broom for that. >shoo pigeons You scare some of the pigeons away, but they return shortly after. >g You scare some of the pigeons away, but they return shortly after. >w (first opening the door of the public house) (closing the door behind you) Public House Tucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays. The door is to the east. A smartly-dressed mutant is behind the counter polishing a glass -- this must be the new bartender. He gives you a nod as you enter. >x musician It's an antique automaton fashioned in the likeness of a tuba player. An inscribed cylinder revolves in place of diaphragm, altering the pressure within its windpipe to produce pleasing melodies. The clockwork musician is currently playing an instrumental cover of Amesha, Amesha. >x cylinder It's an antique automaton fashioned in the likeness of a tuba player. An inscribed cylinder revolves in place of diaphragm, altering the pressure within its windpipe to produce pleasing melodies. The clockwork musician is currently playing an instrumental cover of Amesha, Amesha. The clockwork musician finishes playing the instrumental cover of Amesha, Amesha and starts on Fireflies. >x patrons You don't see anyone you know here. >x mutant (the bartender) (It has been some years now since the mutants of the Dark Lands were integrated into society, and you have mostly gotten used to their haphazard anatomy, their alien perception of the world. Mostly.) He looks to be one of the older generation of mutants, with few features that mark him as having once been human. He wears a dignified wooden mask and a tailcoat that has been modified to accommodate additional limbs. >x mask Its simple lines evoke a man's face. It has become fashionable for mutants with unsightly mutations to wear these. >x tailcoat He really is quite smartly-dressed. >talk to him You sit down at the serving counter. "Hello," you say. The bartender stops polishing his glass and regards you thoughtfully. 1) "I don't believe we've met. My name is Marid." 2) "You must be the new bartender." 3) 4) "Actually, never mind." >1 "I don't believe we've met," you say. "My name is Marid." The bartender bows and pantomimes a welcome. 1) "You can't speak?" 2) "It's nice to meet you." 3) "You must be the new bartender." 4) 5) "See you soon." >2 "It's nice to meet you." You offer your hand; the bartender bends and touches the wooden mouth of his mask to it. 1) "You must be the new bartender." 2) 3) "See you soon." >1 "You must be the new bartender." The bartender nods sagely. 1) "How's business?" 2) 3) "See you soon." >1 "How's business?" you ask. The bartender pauses in thought, then makes a noncommittal gesture with his tentacle. 1) 2) "See you soon." >1 "I'd like a glass of spiced wine, please." The bartender measures out the wine, waters it down, and tosses it with a bag of spices before handing you the glass. You take your time to nurse the drink: it's sweet, with a pinch of nutmeg and other flavors you don't recognize. Sweet and sad. 1) 2) >1 Your mind wanders to the things you've seen; the things you've done. 1) "I watched a man die tonight..." 2) >1 "I watched a man die tonight," you say quietly. "It was just around the corner. In Doctor Cavala's clinic." The bartender is silent as you take another sip. "It all happened too fast. It was only when he collapsed on top of me that we knew, and -- and we rushed him to the surgery room. I was so scared. It was Doctor Cavala who steadied me... who believed we could cure him together. But he died on the gurney. He died just like that." You close your eyes. "We aren't even sure what he was suffering from... how he died. But now... what can we do?" 1) "I became a physician because I wanted to save lives..." 2) "Doctor Cavala tried so hard to stabilize him..." >2 You gaze into your glass, watching the wine swirl around and around. "Doctor Cavala tried so hard to stabilize him... and in the end, he died just the same. All our expertise, all our knowledge -- what is it in the face of death? What can we do against something like that? It seems so hopeless. "They teach you in the Physicians' College that you can't save everyone. It just isn't possible..." 1) "...but I keep wondering if we could have saved that man..." 2) "...and now I'm beginning to understand what they meant..." >2 "...and now I'm beginning to understand what they meant. There are so many people out there suffering, and only two of us... so maybe it's not our fault if we can't save everyone. "Maybe that's just the way it is. And I have to accept that." 1) >1 You down the last of your wine. "Thanks for listening." The bartender takes the empty glass, and you feel a little better for having confided in him. 1) 2) "See you soon." >1 You tip the bartender and he bows. 1) "See you soon." >1 "See you soon." You stand up. The bartender goes back to his business; you suppose you should as well. Public House Tucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays. The door is to the east. The bartender is behind the counter polishing a glass. >* I like the bartender! Comment recorded. >e (first opening the door of the public house) (closing the door behind you) Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south. All around the fountain, pigeons are nibbling at scattered breadcrumbs. >u (first opening the door to your dormitory room) (closing the door behind you) Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. You feel tired. Weary. >x table You have little need for vanity, and so use the dressing table as a writing desk. A mirror and some delicate drawers are the only concession to its original purpose. >x stationary That is either not important or not something you can see. >oops stationery On the one hand, your pens, ink, medical texts, rent payments, paper correspondence; on the other, your toothbrush, toothpowder, comb, nail file, and other necessities of day-to-day living. >x pens For signing your name on documents, mostly. >x ink For signing your name on documents, mostly. >x texts Your old school texts. You reread them from time to time as a refresher. >read them Your old school texts. You reread them from time to time as a refresher. >x rent At least the rent here is cheap. >x paper One of these days you'll tidy up all this junk mail. >x brush It's just a regular wooden toothbrush. >x powder Saleratus and hartshorn. It cleans your teeth well enough, and you've learned to endure the taste. >x comb Just a simple hair comb. >x file It's important for students of the ars vitalis to keep their nails trimmed. >x necessities On the one hand, your pens, ink, medical texts, rent payments, paper correspondence; on the other, your toothbrush, toothpowder, comb, nail file, and other necessities of day-to-day living. >l Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. >x mirror A dark-haired young woman regards you with deep blue eyes, her tattoos sharp against the paleness of her skin. >x tattoos Your father gave you these tattoos when you were a young child, as is tradition in some alchemical families. Even now, the flowing, circuitous lines remind you of him. >x drawer The drawers are closed. >open it It isn't something you can open. >open drawers You open the delicate drawers, revealing some folded clothing. >x clothing It's just your spare clothing. >wear clothing (first taking the folded clothing) You don't need a change of clothes right now. >l Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. >put clothing in drawers (first taking the folded clothing) You don't need a change of clothes right now. >* Oh I see Comment recorded. >close drawers You close the delicate drawers. >x kithenette That is either not important or not something you can see. >oops kitchenette You are a more diligent disciple of the ars vitalis than the ars coquinae, and so the hooks here are bare. Nevertheless, the kitchenette is equipped with a stove and a cold closet. >x stove Anything placed in this cast-iron apparatus is heated without flame, thanks to the complex glyphs which funnel warmth to it from the cold closet. >x cold A simple wooden closet, internally cooled by glyphs that siphon heat from it to the stove. >open it You aren't hungry, and there's no wine in the cold closet. >* oh that's clever Comment recorded. >* So no broom though Comment recorded. >x bed It looks warm and inviting. >remove clothing That is either not important or not something you can see. >undress You don't need a change of clothes at the moment. >sleep It's been a long day. You drape your jacket over the head of your bed and settle beneath the covers. Your room fades away as you will your eyes to close. But still your mind drifts, draws you back into the tides of memory, where you can only watch -- -- watch the shimmer of the surgery room; watch Reden's eyes close a thousand times; watch the lights all around -- -- dancing like -- -- flames -- D A Y O N E You wake in a cold sweat. The bells of Miller's Gate are ringing. Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Far off, the bells continue to ring: four, five, six, seven. Seven in the morning. You're lucky you haven't overslept. You quickly get dressed and run through your morning routine -- Doctor Cavala will be waiting for you at the clinic. >save Ok. >brush teeth You've already brushed your teeth. >comb hair You've already combed your hair. >undo Marid's Room [Previous turn undone.] >undo Marid's Room [Previous turn undone.] >undo Marid's Room [Previous turn undone.] >undo Marid's Room [Previous turn undone.] >undo Marid's Room [Previous turn undone.] >l Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. >brush teeth You brush your teeth. >comb hair You comb your hair. >sleep It's been a long day. You drape your jacket over the head of your bed and settle beneath the covers. Your room fades away as you will your eyes to close. But still your mind drifts, draws you back into the tides of memory, where you can only watch -- -- watch the shimmer of the surgery room; watch Reden's eyes close a thousand times; watch the lights all around -- -- dancing like -- -- flames -- D A Y O N E You wake in a cold sweat. The bells of Miller's Gate are ringing. Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Far off, the bells continue to ring: four, five, six, seven. Seven in the morning. You're lucky you haven't overslept. You quickly get dressed and run through your morning routine -- Doctor Cavala will be waiting for you at the clinic. >d (first opening the door to your dormitory room) (closing the door behind you) Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room or exit the building to the south. The ground is littered with what must be dozens of dead pigeons. A char-golem is busy sweeping the carcasses into a bag, while a gobliness slouches beside the fountain nearby. >* Sigh Comment recorded. >x pigeons Each carcass is contorted strangely, as though frozen in an instant of convulsion. >take pigeon You can't imagine any reason you would want to do that. >* fair Comment recorded. >x golem An animated golem comprised of cast iron. The stamp on its forehead identifies it as property of the Council of Works. >talk to it Golems aren't sapient. You'd sooner get a response out of a lamp-post. >x stamp An animated golem comprised of cast iron. The stamp on its forehead identifies it as property of the Council of Works. >erase stamp That object or command isn't available. >alter stamp That object or command isn't available. >wipe stamp Nothing happens. >clean stamp Nothing happens. >clean stamp with cloth I only understood you as far as wanting to clean the Council of Works char-golem. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >wipe stamp with cloth I only understood you as far as wanting to wipe the Council of Works char-golem. >* Admittedly I am trying to destroy public property based only on a whim and my vague recollection of the golem of prague, but some responses here could be fun! Comment recorded. >x gobliness She's dressed like an odd-job woman. The pockets of her apron are stuffed with work tools. >x tools They look to be for cleaning roads and public spaces. >x apron (the simple apron) A simple apron, spotty from years of use. >talk to her "Good morning." "Morning, miss." She tips her cap. "Take care you don't step on one of them pigeons. Nasty business." You look at your feet. "Thanks for the warning." >g You make some small talk, but the conversation soon peters out. >l Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room or exit the building to the south. The ground is littered with what must be dozens of dead pigeons. A char-golem is busy sweeping the carcasses into a bag, while a gobliness slouches beside the fountain nearby. >x bag It's just a big burlap bag. >take bag You don't really want to touch the bag. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >put jacket in bag That can't contain things. >remove badge You aren't wearing the practitioner's badge. >* Hmmm... Comment recorded. >wear badge The clip of the badge broke off some months ago, and so you've had to keep it in your pocket instead. >* Oh I see -- "on your person" sorta confused me Comment recorded. >remove pendant You don't want to. >put scalpel in bag You were taught never to leave your scalpel unattended. >drop cloth That would dirty the cloth. >drop purse You prefer to keep your money close at hand. >drop all practitioner's badge: It's better to keep the practitioner's badge on your person. scalpel: You were taught never to leave your scalpel unattended. purse: You prefer to keep your money close at hand. antiseptic cloth: That would dirty the cloth. >l Dormitory Block You have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room or exit the building to the south. The ground is littered with what must be dozens of dead pigeons. A char-golem is busy sweeping the carcasses into a bag, while a gobliness slouches beside the fountain nearby. >s Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west; the dormitory block where you live lies to the north. The rest of the district will have to wait until after you report for work. >x sky The clouds huddle overhead in suspense. >x canal That is either not important or not something you can see. >x sun That is either not important or not something you can see. >x mist It curls and winds around your ankles, never quite forgotten. A flock of birds passes overhead. >x birds That is either not important or not something you can see. >x flock That is either not important or not something you can see. >w (first opening the front door of the clinic) (closing the door behind you) Clinic Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. "Good morning, Doctor," you call. But she doesn't seem to be in the waiting area or the consulting study. Odd; where could she have gone? >* ruh roh Comment recorded. >* I also can't help but recall that the goblin fell onto us Comment recorded. >* Oh well I'm sure everything's fine! Comment recorded. >d You descend the steps into shadow... Mortuary The odor of camphor is overwhelming in this gloomy subterranean chamber. Shelves along the walls house organs in jars of formaldehyde. Deeper in, cadavers are organized in labeled niches, embalmed and awaiting cremation. A flight of stairs leads back up to the clinic. Doctor Cavala is here studying Reden's body with a loupe. His heart, lungs, and trachea are neatly laid out beside him on the slab. >x shelves The jars are meticulously labeled with names and dates. >x jars The jars are meticulously labeled with names and dates. >x bodies That is either not important or not something you can see. >x cadavers You feel a chill when you look at them. >x reden His chest cavity has been dissected, revealing a spiderweb pattern of blackened blood vessels and tissues. >x heart Reden's organs are black and withered. You might have suspected poor embalming technique if it hadn't been Doctor Cavala performing the dissection. >x lunghs That is either not important or not something you can see. >oops lungs Reden's organs are black and withered. You might have suspected poor embalming technique if it hadn't been Doctor Cavala performing the dissection. >x trachea Reden's organs are black and withered. You might have suspected poor embalming technique if it hadn't been Doctor Cavala performing the dissection. >x doctor She has a look of absolute concentration on her face. >x loupe A special adjustable lens, capable of a high degree of tunnel magnification. >cough That object or command isn't available. >talk to doctor You cough politely. "Good morning, Doctor." "Hmm? Oh." Doctor Cavala pushes up her loupe and acknowledges you with a nod. "Good morning, Marid. I trust you had a good night's sleep?" 1) "Um. Yes." 2) "I had a terrible nightmare..." 3) "I'd rather not talk about it." >* LOL I was going to add "politely" but of course Inform doesn't get on with adjectives Comment recorded. 1) "Um. Yes." 2) "I had a terrible nightmare..." 3) "I'd rather not talk about it." >2 "I had a terrible nightmare," you confide. "I... I saw him die over and over. I saw the flames again." Doctor Cavala sighs. She gets to her feet, wipes off her gloves, places her hand on your shoulder. "I'm sorry," she says. "It's not an easy thing to have gone through -- to have witnessed. Wounds like yours take a long time to heal. But I promise it will get better." You shake your head. "I'll... I'll be fine, Doctor. Don't worry about me." After a pause, she nods and squeezes your shoulder. "Good girl." Then Doctor Cavala steps back, and her businesslike demeanor returns. "The order of business today is twofold," she begins. "We aren't expecting many patients today, so I don't need you to be at the counter. Instead, I need you to run an errand for me." "What sort of errand?" you ask. She purses her lips. "First, I need you to deliver the documentation of Reden's death to the basilica. Second, I need you to inform Reden's next of kin that he has passed away." 1) "How should I go about delivering the documentation?" 2) "Where does Reden's next of kin live?" 3) "What will you be doing?" 4) "I'm on it, Doctor." >3 "What will you be doing?" you ask. Doctor Cavala inclines her head at the slab. "When not receiving patients, you mean? I intend to spend the day studying Reden's affliction. I've already left correspondence for Doctor Arturus, who I expect shall join me in the afternoon. In the meantime, I am compiling observations and studying the mechanism by which Reden has died. If all goes well, we should be able to present our findings to the medical community by the end of the week." 1) "How should I go about delivering the documentation?" 2) "Where does Reden's next of kin live?" 3) "I'm on it, Doctor." >1 "How should I go about delivering the documentation?" "It's quite straightforward." Doctor Cavala shows you a sheaf of papers. "I've already bundled the documents and sent word to the basilica by correspondence. All you have to do is pass the bundle to the censor's office." You rack your memory. "The basilica is next to the forum, right? Across the Via Terminalis bridge?" "That's right." 1) "Where does Reden's next of kin live?" 2) "I'm on it, Doctor." >map Please choose a response from the list by typing the corresponding number. 1) "Where does Reden's next of kin live?" 2) "I'm on it, Doctor." >1 "Where does Reden's next of kin live?" you ask. Doctor Cavala frowns. "According to my file, he has a brother in Riggertown by the name of Zoiro, but I don't have an address for you. Your best bet is to look up his name in the census records. Or you could ask around in Riggertown -- I understand the goblin community is quite tightly knit." "Is Riggertown that shanty town down the canal?" "It is. Turn right at the bridge and you'll see it." She pauses. "And another thing -- check whether anyone in Riggertown is exhibiting similar symptoms. It could help in narrowing down the cause of the affliction." 1) "I'm on it, Doctor." >1 "I'm on it, Doctor." She nods and presses the bundle of documentation into your hands. "Remember: first, deliver the documents to the basilica; second, look for Zoiro in Riggertown. Report back to me when you're done." "Okay." "I'll be here if you need anything." She pauses. "Take your time. Consider today a break after yesterday night." "Yes, Doctor." "Run along." With that, she sits down at the slab. (Type >inventory or >i to see what items you're carrying. Type >journal or >j to review your current objectives.) >j Fourth of Aquaria, Auritum IV I've been given an opportunity to get out of the clinic and see the sights of the Channelworks District... but I still feel a hollowness inside. Current objectives: - Deliver the bundle of documents to the censor in the basilica - Find Zoiro, Reden's brother, in Riggertown ...by asking the censor for his address ...by asking around Riggertown Marid's notes: - I remember that the basilica is across the Via Terminalis bridge, next to the grand forum. - I remember that Riggertown is down the canal from the Via Terminalis. Please press SPACE to continue. Mortuary The odor of camphor is overwhelming in this gloomy subterranean chamber. Shelves along the walls house organs in jars of formaldehyde. Deeper in, cadavers are organized in labeled niches, embalmed and awaiting cremation. A flight of stairs leads back up to the clinic. Doctor Cavala is here studying Reden's body with a loupe. His heart, lungs, and trachea are neatly laid out beside him on the slab. >map Please press SPACE to continue. Mortuary The odor of camphor is overwhelming in this gloomy subterranean chamber. Shelves along the walls house organs in jars of formaldehyde. Deeper in, cadavers are organized in labeled niches, embalmed and awaiting cremation. A flight of stairs leads back up to the clinic. Doctor Cavala is here studying Reden's body with a loupe. His heart, lungs, and trachea are neatly laid out beside him on the slab. >save Ok. >take loupe That seems to belong to Doctor Cavala. >* Aww but it seems cool Comment recorded. >* well, off to explore Comment recorded. >u You emerge from the darkness of the mortuary... Clinic Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >n A wave of warmth washes over you as you step through the calomel curtain. Surgery Room You are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south. The gurney in the center of the room is empty. >x gurney It's a sober mechanical bed with various devices and surgical implements attached. >x devices You'll have to specify which one. >x implements You don't think anything useful will result from fiddling with the gurney devices. >s A wave of warmth washes over you as you step through the calomel curtain. Clinic Doctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >* Kind of odd to get different responses there Comment recorded. >e (first opening the front door of the clinic) (closing the door behind you) Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east. (Type >map to view a map of the Channelworks District.) >x gap It's dark and uninviting. >x via It bears the burden of a thousand living souls. >* Gap it is! Comment recorded. >s You shuffle through the gap... Crooked Alley A thin, twisting thread that winds between buildings. Rubbish accumulates around pipes and corners, not quite blocking the smoking vents of underground distilleries. You can escape by a gap between buildings to the north or a hanging banner to the northeast. >x rubbish Broken chairs, cracked kitchenware, and other urban detritus. >x vents The south wall of the alley is lined with fume-spewing vents. >search rubbish You find nothing of interest. >smell vents Breathing in the smoke makes you feel ill. You stop for fear of poisoning yourself. >smell You take a deep breath and instantly regret it. >* fair Comment recorded. >x banner The banner is an advertisement for a night market, now three weeks out of date. You can't see much behind it. >look behind banner You can't see much behind the banner. >ne You duck under the banner... Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. Some civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio. >* horatio at the bridge? Comment recorded. >x banner The banner is an advertisement for a night market, now three weeks out of date. You can't see much behind it. A luxury carriage glides past. >x carriage The population of the Channelworks District is only a few thousand, but at times like this it seems much more. >x signage Signs advertise a variety of goods and services, but none of them catch your eye. >listen The city buzzes around you like a hive. A goblin saunters past whistling a ditty. >x goblin The population of the Channelworks District is only a few thousand, but at times like this it seems much more. >x mists It curls and winds around your ankles, never quite forgotten. >x canal The Bilious Canal is furious and vitriolic, as befits its name. Mist curls from the surface of the water. You step out of the way of a stockade longhorn and its cartful of goods. >* umm is this a healthy place to live? Comment recorded. >x bridge The bridge crosses the Bilious Canal. >x block An oppressive bulk you would prefer not to dwell on. >map Please press SPACE to continue. Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. Some civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio. >w Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east. >* kind of odd there's no passersby here, and it's so crowded one location east Comment recorded. >e Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. Some civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio. An engineer wanders down the street muttering to himself. >x engineer That is either not important or not something you can see. >* Hmm, weird -- other passersby redirected to the generic crowd response Comment recorded. >n Condemned Block Here crouch the blackened husks of buildings, now little more than skeletons awaiting demolition. A chained-up gate bars access to the plot. The only remaining path leads south, back to the lights of the Via Terminalis. >x gate The gate is crisscrossed with chains and rusted shut. >open gate The gate won't open. >x chains The gate is crisscrossed with chains and rusted shut. >break chains The gate doesn't budge. >climb gate There are not enough handholds, and the gate is too high. >x husks An oppressive bulk you would prefer not to dwell on. >s Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. Some civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio. >x guards They cut an imposing figure in the black livery of the Philosophers' Cabal. Your friend Horatio is among them. >x horatio Vigile Horatio is a childhood friend of yours. He's always been a bit dense, but you're glad to have him around. You nearly bump into a goblin half your height, but she's gone before you can apologize. >talk to him You smile at him. "Good morning, Horatio." He grins. "Hey, Marid. Out and about early?" 1) "I should be asking you the same thing..." 2) "I'm on an errand for Doctor Cavala..." >1 "I should be asking you the same thing," you say dryly. "You're up unusually early. Did your mother force you to get out of bed?" "Hey! I'll have you know I wake up on time now." He scratches his tousled hair. "Mostly. It was that or water-closet duty for another week." 1) "How is life in the Vigiles?" 2) "I'm on an errand for Doctor Cavala..." 3) "See you soon, Horatio." >1 "How is life in the Vigiles?" Horatio folds his arms. "I've hardly done anything. It's been nothing but closet-scrubbing and guard duty. I thought I'd had enough of that after boot camp." "I know the feeling." "I'm getting antsy, you know?" He drums his fingers on the hilt of his saber. "I want to be out there catching criminals and stopping burglaries, not standing around. I want to see some action once in a while." 1) "I'm on an errand for Doctor Cavala..." 2) "See you soon, Horatio." >* Oh, Horatio, I'm guessing you're going to regret that sentiment Comment recorded. 1) "I'm on an errand for Doctor Cavala..." 2) "See you soon, Horatio." >1 "I'm on an errand for Doctor Cavala," you explain. "I'm on my way to deliver some documents to the basilica." "No wonder you looked like you were in a hurry," Horatio muses. "Well, I shan't hold you up. You do know the way, don't you?" "Even if I didn't, I'd know better than to ask you." He hangs his head. "Fair enough." 1) "See you soon, Horatio." >1 "See you soon, Horatio." "You too, Marid." You hug each other goodbye, and he returns to his post. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a bundle of documents, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x bundle Comprehensive documentation of Reden's death. It's filled out in neat longhand and bound with Doctor Cavala's signature. >l Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. Some civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio. >se Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. >x statues Plaques identify the statues as personifications of the Chorus Metallis: Lead, Tin, Iron, Copper, Quicksilver, Silver, and Gold. You could examine them in closer detail if you wished. A man walks past carrying a bouquet of flowers. >x lead A woman scowling into a mirror black as night. >x tin A man frozen in rage, striking Iron with a gleaming white mace. >x iron A steadfast woman raising her shield against Tin's attack. Someone yells at someone else in the crowd. >x copper An anguished man bearing two staves, one pointing up, the other down. >x mercury A woman scrying in a bowl of water, her eyes alight with revelation. >x silver A kneeling man, pensive, with his sword held horizontal. A couple walks past, arm in arm. >x gold A woman, blindfolded and holding a lantern to her heart. >l Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. >x fog It curls and winds around your ankles, never quite forgotten. >s Canalside Steps The mist of the Bilious Canal slicks this cramped and winding stairway, and the rusted railings are battered with white spray. The bustle of the bridge reverberates cascading down the steps until it sinks beneath the dark rushing water. Among the moss and graffiti of the east embankment, a mysterious iron door is set into the stone. >map Please press SPACE to continue. Canalside Steps The mist of the Bilious Canal slicks this cramped and winding stairway, and the rusted railings are battered with white spray. The bustle of the bridge reverberates cascading down the steps until it sinks beneath the dark rushing water. Among the moss and graffiti of the east embankment, a mysterious iron door is set into the stone. >x railings The posts are badly rusted. You wouldn't trust them to support your weight in a hurry. >x water From this close, the Bilious Canal is enormous and spiteful and roaring. >x moss Grim tufts of pelagic moss; a Dark Lands weed notoriously difficult to eradicate. >touch water Your gloves would be ruined if you did that. >drink water To call the canal water potable would be quite the exaggeration. >x steps It's a minor challenge to keep your footing. >x bridge The bridge crosses the Bilious Canal. >x graffiti Various vandalisms in aspirated paint. There are the usual signatures and faux-alchemical designs, as well as more esoteric images of the celestial and fantastical. Here, a three-headed sphinx; there, a crescent inscribed among stars. >x door An iron door flush with the embankment. It is dirty, but without rust, and unmarked except for a crescent-shaped window. There is no handle. >open it The door has no handle. In any case, you don't think the basilica is this way. >x window A barred, crescent-shaped window, with the horns pointing upward. >knock on door There is no response. >* Oh well I'm sure this isn't important Comment recorded. >u Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. The bells of Miller's Gate strike the hour. >* hmm, is there a real timer? Comment recorded. >save Ok. >se Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. >x sphere This device of whirling rings directs carriage traffic around the junction. >se Miller's Gate Here at district's end, in the searchlights and the shadows, you see the great white arch that opens onto Greater Furopolis and beyond. The carriageways clatter with cabriolets, the airships sway on their tethers, the tram-lines are all aglow; and standing in the crowd, you can't help but feel like a minnow in the sea. To the northwest is the Via Terminalis, and to the west is the grand forum. The Via Regia stretches east from Miller's Gate. >x arch The venerable battlements are cast in concrete and furnished with marble. Seven bell-towers run the length of the arch, attended by gargoyles and watchmen, and a giant clock is set in the keystone. >x towers These enormous bells keep time in the Channelworks District. >x clock The hours sweep past, unchanging. A pair of little boys run past. >x gargoyles They are refurbished antiques, dating all the way back to the Corindian Empire. Not that that makes them any less effective. >x watchment That is either not important or not something you can see. >x watchmen Imposing black-coated figures. Some say they're appointed from the Philosophers' own personal guard. >* Oooh, this is cool Comment recorded. >x cabriolets Which do you mean, the city crowd in general or the clattering carriageways? >x airships The docking lines are crowded with aeronautical craft of all varieties. There's even a well-trained drake or two. A chanting procession of Deists passes by. >x tram-lines Trams fly past on the luminifers, trailing sparks as they go. >x crowd The population of the Channelworks District is only a few thousand, but at times like this it seems much more. >x clattering Well-dressed travelers come and go in their chartered cabriolets. A prison carriage rolls past. You glimpse what looks like a squid through the bars before it turns a corner and is gone. >e As much as you'd like to go on a tour of the Commercial District, you have an errand to finish. >w Grand Forum This immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A newsboy is handing out copies of the Libri Liberi to passers-by. >map Please press SPACE to continue. Grand Forum This immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A newsboy is handing out copies of the Libri Liberi to passers-by. >x couples You recognize them by their closeness. >x merchants Carts selling flowers, books, ice cream. The strains of a galvanic viol waft over the rooftops. >x buskers You watch a ventriloquist and his irreverent dolls for a while. >g You enjoy a spontaneous folk rendition of The Words I Couldn't Say. >g You watch a bawdy puppet show about the adventures of a three-legged mutant. >g You watch a stage illusionist perform increasingly implausible card tricks, much to her audience's delight. >g That's enough entertainment for one day. You shouldn't keep Doctor Cavala waiting. >buy book You don't have much money to spend on luxuries. Perhaps another time. >x kites Simple childrens' kites. Some have sigils of suspension on them, perhaps drawn by parents or older siblings. >x kids Human, goblin, mutant. They remind you of your own childhood in the Lake District, not so long ago. A chymist brushes through the crowd, fixated on her watch, and disappears from sight. >x clouds The sun is shy on the best of days here, and today's weather is far from the best. >x old men Amicable old men, puffing on pipes and discussing old friendships. >x mural The mural is a three-dimensional work of art magically inscribed upon the aether. Walking through it you see the world exquisitely captured, so finely detailed that you can make out the pinprick-lights of the constellations. There are the continents Terra Munda and Terra Nova, the great black sea of the Pelagus, and the four domed periochs -- Kardiapolis, Kreopolis, Furopolis, and Neopolis. >x terra munda The Old Continent is captured with precise black strokes, perfectly tracing its coastline, its mountainous ridges and valleys. The four periochs glow amid the darkened wastes; to the north spreads a solemn spiderweb of golden. A couple walks past, chatting animatedly. >x terra nova It is little more than a shadow, thick with fantastic silhouettes and the promises of things to be. >x golden The philosopher's gold. It nearly engulfed the world in its deathly beauty, until Philosopher Scepter's sacrifice turned it to orichalcum and birthed the Luna. >* Umm OK that's some backstory! Comment recorded. >x pelagus A vast dark expanse that seems to undulate as you move around the mural. >x luna The silver sphere hovers always in the periphery of the mural, inscrutable, unknowable. In the distance, a zeppelin floats by. >x sun That is either not important or not something you can see. >* Like really, is there a sun? Comment recorded. >x periochs Which do you mean, the depiction of Kardiapolis, the depiction of Kreopolis, the depiction of Furopolis, or the depiction of Neopolis? >kardiapolis At this scale, the capital city looks like a fairy-tale palace on the ocean. >x kreopolis Massive with its multiple domes, and ensconced amid the mountains. >x neopolis Neopolis is still sparse in comparison to the other periochs, but there is a haunting wonder to its symmetry. >x furopolis The artist has magnified the image of the city so that the forty-nine districts are reproduced. There is the Upper Perioch with its breathtaking spires, and the gold-stained rows of the Lower Perioch; and on the boundary, caught between worlds, you see the tiny Channelworks District and the even tinier forum nestled within. Some stray papers flutter down the street. >* 49 districts! Comment recorded. >x upper The artist has magnified the image of the city so that the forty-nine districts are reproduced. There is the Upper Perioch with its breathtaking spires, and the gold-stained rows of the Lower Perioch; and on the boundary, caught between worlds, you see the tiny Channelworks District and the even tinier forum nestled within. >* So that's heart-city, flesh-city, new-city, and then ours is either rage-city or passion-city or something like that? Comment recorded. >l Grand Forum This immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A newsboy is handing out copies of the Libri Liberi to passers-by. >x solphos The mural is a three-dimensional work of art magically inscribed upon the aether. Walking through it you see the world exquisitely captured, so finely detailed that you can make out the pinprick-lights of the constellations. There are the continents Terra Munda and Terra Nova, the great black sea of the Pelagus, and the four domed periochs -- Kardiapolis, Kreopolis, Furopolis, and Neopolis. A mutant in work clothes tromps past. >x basilica An imposing gothic hall. Petitioners trickle in and out. >x newsboy A little human boy with ruddy cheeks and blond hair. His white cap marks him as an errand-boy for Revelaris Press. >talk to him "Good morning," you say. "Morning, miss." He thrusts a newspaper into your hands. "Compliments of the press." "Um, thanks." >x newspaper FEATURE: IS ANIMUS POWER ETHICAL? Cathode-bound animii produce the energy that sustains our civilization, yet these souls are acquired through the coercion of society's most deprived... MUTANT CULTISTS AMONG US? Witnesses have reported individuals in the Lower City performing rituals in contravention of the Declaration of Religion Act... SIX AUTUMN FASHION TIPS. Look your best in the coming season with these products and recommendations from our featured experts... Some giggling schoolgirls walk past with ice-creams in hand. >read it FEATURE: IS ANIMUS POWER ETHICAL? Cathode-bound animii produce the energy that sustains our civilization, yet these souls are acquired through the coercion of society's most deprived... MUTANT CULTISTS AMONG US? Witnesses have reported individuals in the Lower City performing rituals in contravention of the Declaration of Religion Act... SIX AUTUMN FASHION TIPS. Look your best in the coming season with these products and recommendations from our featured experts... >* Umm yeah I have concerns about our power grid Comment recorded. >n Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. >e (first opening the ornate double doors) (closing the doors behind you) Turris Infinita Mirrors cover every surface in this avant-garde tower, from the floors to the doors to the chandeliers. The porter's desk is framed in lights, while watchful gargoyles above gaze into infinity. A hydraulic lift provides access to the upstairs domiciles. Doctor Arturus's clinic is east, and the exit is to the west. The porter smiles coldly as you enter. "Welcome to the Turris Infinita. Do you require assistance?" >map Please press SPACE to continue. Turris Infinita Mirrors cover every surface in this avant-garde tower, from the floors to the doors to the chandeliers. The porter's desk is framed in lights, while watchful gargoyles above gaze into infinity. A hydraulic lift provides access to the upstairs domiciles. Doctor Arturus's clinic is east, and the exit is to the west. The porter regards you coolly and silently. >x lift A silvered contraption of telescoping pistons. >x porter A hawkish woman all in white. The glare on her spectacles makes it difficult to look at her directly. >x spectacles The spectacles magnify her mirthless expression. >x floors You see yourself reflected a thousandfold. Your many faces blur together; your tattoos flow into a continuous tapestry. >x mirrors You see yourself reflected a thousandfold. Your many faces blur together; your tattoos flow into a continuous tapestry. >x doors You'll have to specify which one. >x east door That object or command isn't available. >x clinic door That object or command isn't available. >* hmm Comment recorded. >x desk It's difficult to imagine how anyone could work in that glare. >x chandeliers Elaborate crystal chandeliers, suspended by invisible alchemical lines. >x gargoyles These gargoyles are carved with sigiled masks and lifelike wings. They are utterly unmoving, but you don't doubt they could spring to life with a word from the porter. >l Turris Infinita Mirrors cover every surface in this avant-garde tower, from the floors to the doors to the chandeliers. The porter's desk is framed in lights, while watchful gargoyles above gaze into infinity. A hydraulic lift provides access to the upstairs domiciles. Doctor Arturus's clinic is east, and the exit is to the west. The porter regards you coolly and silently. >x clinic There, the mirrors give way to marble and chrome. >talk to prter That is either not important or not something you can see. >oops porter You approach the porter's desk. She looks at you, adjusts her glasses, and turns up her nose. 1) "Hello...?" 2) "I'd like to visit a friend..." 3) "I'd like to enter Doctor Arturus's clinic." 4) >1 "Hello...?" "Hello." The porter's eyes bore into you. "And what seems to be the problem?" 1) "I'd like to visit a friend..." 2) "I'd like to enter Doctor Arturus's clinic." 3) "Nothing, never mind." >1 "I'd like to visit a friend," you say, trying not to blush. "His... his name is Doctor Justinian Volontis." The porter hems and haws for a moment, peering into some aetheric display invisible to you. Then she tut-tuts. "I'm afraid Doctor Justinian is not in," she says. "You will have to come another time." 1) "Do you have any idea when he'll be back?" 2) "I'd like to enter Doctor Arturus's clinic." 3) "Goodbye, then." >* oooh Comment recorded. 1) "Do you have any idea when he'll be back?" 2) "I'd like to enter Doctor Arturus's clinic." 3) "Goodbye, then." >1 "Do you have any idea when he'll be back?" The porter narrows her eyes. "Miss, I am obliged to protect Doctor Justinian's privacy. Unless you can produce an official warrant, which you clearly do not possess, I suggest you turn your queries elsewhere." 1) "I'd like to enter Doctor Arturus's clinic." 2) "Goodbye, then." >1 "I'd like to enter Doctor Arturus's clinic." "Very well." The porter extends her hand. "Your letter of appointment, if you please." "Um. I don't have one." She retracts her hand and gives you a condescending look. 1) "How do I make an appointment?" 2) "Goodbye, then." >1 "How do I make an appointment?" The porter peers down her nose at you. "Doctor Arturus entertains serious clients only. Prospective clients must contact him by correspondence at least three days in advance, or else pay an administrative fee of four talents." You fold your arms. "...And if I don't have the money for a correspondence license?" "Then you don't have an appointment." The porter leans back in her chair. 1) "Goodbye, then." >1 "Goodbye, then." "Good day to you." You turn your back on the desk. >e The porter clears her throat. "Entrance to Doctor Arturus's clinic is by appointment only. I trust you have the necessary papers...?" >give bundle to porter Those aren't appointment papers, and it would be inconvenient if you turned them over to the basilica with the seal broken. >* Hah, good catch! Comment recorded. >w (first opening the ornate double doors) (closing the doors behind you) Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. A pair of arguing businessmen walk past. >n Channelworks Concourse You stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth. The bridge is currently raised. You can only return south to the rest of the district. >x colonnades The pillars are taller than some buildings. >x sentinels Golems of war. Not even Death fazes them. >x channels Steaming water cycles around the fosse and washes into the Bilious Canal. >x bas-reliefs Carved upon the Channelworks are dozens upon dozens of vignettes from history and myth. All of them pertain to water and life. >x fosse An immense water-filled moat bars access to the Channelworks. >x reason She is sculpted in the image of the Trismegistus. A cloak billows around her, and a blindfold hides her eyes. >x azoth A representation of the Staff of the Philosophers that stands for the Ineffable Truth. Or so you were taught in school. >x cloak A cloak, because Reason is only revealed to the devoted. >x blindfold A blindfold, because Reason gazes beyond worldly things. >x vignettes Carved upon the Channelworks are dozens upon dozens of vignettes from history and myth. All of them pertain to water and life. >x bridge Curving plates of orichalcum hover in midair over the fosse. You only know them to be parts of a bridge from watching workers cross back and forth. >x plates Curving plates of orichalcum hover in midair over the fosse. You only know them to be parts of a bridge from watching workers cross back and forth. >s Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. >s Grand Forum This immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A newsboy is handing out copies of the Libri Liberi to passers-by. >x basilica An imposing gothic hall. Petitioners trickle in and out. A char-golem waddles past you and down the street. >w Basilica Footsteps and whispers echo through these high-vaulted halls. The aisles on either side are lined with the doorways of countless clerical offices, and surrounding the raised chancel are the seats of the Magistrates' Court. The exit is to the east. Nearby is the censor -- but he appears to have fallen asleep at his desk. >x vaults That is either not important or not something you can see. >x hall Light streams through the rows of windows above. >x aisles Doorways line the arcades, each labeled with an important-sounding title. >x labels Doorways line the arcades, each labeled with an important-sounding title. >x doorway Doorways line the arcades, each labeled with an important-sounding title. >x doorways Doorways line the arcades, each labeled with an important-sounding title. >x offices Doorways line the arcades, each labeled with an important-sounding title. >x cancel That is either not important or not something you can see. >oops chancel The court is a meeting venue for the various district councils, as well as a judicial venue for crimes that are brought to trial. >x seats The court is a meeting venue for the various district councils, as well as a judicial venue for crimes that are brought to trial. >x censor A middle-aged man with a receding hairline. He's slumped over his desk, fast asleep. >x desk The plaque on the desk reads "CENSOR PROVIS." >wake man (the censor) Yes, but how? >shake man (the censor) You grab the censor's shoulders and give him a firm couple of shakes. He sniffs. He sighs. And then he keels over and resumes snoring. >yell You take a deep breath and yell, "Censor, in the name of Earth, Water, Fire, Air, Natron, Mercury, and Sulfur, would you kindly. Wake. Up!" There is a very long silence. The censor is wide awake now. He scrambles to a seated position, staring at you all the while. "Er," he says. "Um." 1) 2) "Sorry..." >1 You put your hands on your hips and clear your throat. The censor sighs. "Of course. Of course. Right then." He adjusts his collar and puffs out his chest. "Censor Provis at your service, miss. What can I do for you today?" 1) "I have documents from Doctor Cavala's clinic..." 2) "I need the address of a Channelworks District citizen..." >1 "I have documents from Doctor Cavala's clinic regarding the death of a Channelworks District citizen," you say. "A middle-aged goblin man by the name of Reden." You hand the bundle of documents to the censor, who regards it with an appraising eye. "Let me see." He breaks the seal and quickly scans the contents. "Yes. Hmm. Unfortunate, this. Not to worry. All shall be in order..." The censor's gaze pauses on one section of the report. He reads it -- rereads it. "Hmm!" he says. "Well excuse me! An unknown disease? Hmm! Now this is highly irregular. Highly irregular. I will have to contact my superiors." He puts a big red stamp on the bundle and files it away in a clattering of drawers, muttering to himself all the while. At last he pats the desk and nods with an air of self-importance. "Very good, miss," he says. "Thank you for bringing this to our attention. Now was there anything else you needed?" 1) "I need the address of a Channelworks District citizen..." 2) "Nothing, thank you." >1 "I need the address of a Channelworks District citizen. His name is Zoiro." The censor furrows his brow. "Right then," he says. "Just a moment. Wait here, if you please." He gets up and vanishes into one of the side doorways of the basilica, muttering a stream of incomprehensible jargon involving coordinates and street names. You hear the sounds of wooden scroll cases being rifled through, and furtive frantic consultations among the clerks. After an appreciable wait, he emerges from the doorway flush-faced and triumphant. "Seventh on Layabout Row," he proclaims, "Upper Riggertown. Property under the name of Zoiro and Koriph. And his place of employment, which I've taken the liberty to look up, is the Riggertown Mechanistry. Here, let me write it down for you --" He scribbles on a scrap of paper, hands it to you, and sits back down at his desk looking eminently satisfied. "There we go," he says. "Now was there anything else you needed?" 1) "Nothing, thank you." >1 "Nothing, thank you." The censor beams. "Have a good day, miss. Per radium sophia." You step away from the censor's desk. >* Erg that's a bit of a Latin-Greek tangle Comment recorded. >e Grand Forum This immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A newsboy is handing out copies of the Libri Liberi to passers-by. >s Via Mercurii The Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight. To the north is the grand forum, vibrant and lively, while to the south the Shanty Quarter begins. A fortune-teller is plying his trade by the road. As you pass him, he meets your gaze and beckons you with a smile. >save Ok. >x road That is either not important or not something you can see. >x canal The Bilious Canal is furious and vitriolic, as befits its name. Mist curls from the surface of the water. >x lamps The lights here are more fitful. Perhaps their bound aurorae are not so subservient. >x cabarets The signs advertise fire-eaters and daemon-tamers and even stranger things. A snakelike mutant slithers through the crowd, and is gone. >x pawnbrokers The displays of the pawnbrokers are cluttered with pocket watches, cast-off jewelry, and heirlooms long since forgotten. >x watches The displays of the pawnbrokers are cluttered with pocket watches, cast-off jewelry, and heirlooms long since forgotten. >x repute Brothels, to put it bluntly. >x brothels Brothels, to put it bluntly. A confused-looking tourist wanders past. >x teller He wears a blue hooded cloak that hides his face, and gold gloves that glitter and gleam. In his hands a strange deck of cards is weaving, weaving, weaving. >x gloves (the fortune-teller) He wears a blue hooded cloak that hides his face, and gold gloves that glitter and gleam. In his hands a strange deck of cards is weaving, weaving, weaving. >x cards The cards are lavishly illustrated, from what you can see, but they don't correspond to any arcana you know. >talk to him You approach the fortune-teller's table. "Hello," you offer. "Good afternoon, young one." His accent is disarming. "Have you come in search of answers?" 1) "I have." 2) "I came because you beckoned me." 3) "I was curious." >2 "I came because you beckoned me." "Yes, of course -- but there are a dozen buskers on these streets every day. Do you approach each of them when they beckon you?" The fortune-teller continues to smile. He spreads his hands, and the deck of cards seems to cascade like water. "The cards tell me all I need to know. I can see the thoughts and dreams that trouble you. What should you do? Where will you go? The Fates can show us all these things and more." 1) "You don't know me." 2) "I've never seen cards like these before." 3) "How does it work?" 4) "Do you get many patrons?" 5) "I'd like a reading." 6) "Perhaps another time." >2 "I've never seen cards like this before." The fortune-teller nods enigmatically, and slowly riffles the deck for you to see. The card backs are baroque, inlaid with gold, brilliant with light as they collapse inward. "The Aubedore," he murmurs. "The lost art. Here, you may not have heard of it. But the tradition exists, and I assure you that it is real." 1) "What did you mean by 'the lost art?'" 2) "How does it work?" 3) "Do you get many patrons?" 4) "I'd like a reading." 5) "Perhaps another time." >1 "What did you mean by 'the lost art?'" you ask. He only smiles. "Perhaps I've said too much. A magician can only reveal so many secrets." 1) "How does it work?" 2) "Do you get many patrons?" 3) "I'd like a reading." 4) "Perhaps another time." >1 "How does it work?" The fortune-teller holds the cards close to his chest. "The strings of fate -- but perhaps you know them better as the chains of causality. They are intimately connected to all things in ways you can't imagine. By shuffling the cards, I am attuning them to your past, present, and future, to the parallels and possibilities." 1) "I don't believe in fate." 2) "Do you get many patrons?" 3) "I'd like a reading." 4) "Perhaps another time." >2 "Do you get many patrons?" you ask. "Many," the fortune-teller replies. "I've told the fortunes of the rich and poor, young and old. They all sought answers in their lifetime, and the cards helped them discover the way." 1) "I don't believe in fate." 2) "I'd like a reading." 3) "Perhaps another time." >2 "I'd like a reading," you say cautiously. "Very well," he replies. "Please, sit down. What question do you wish to ask the Fates?" You take your seat at the table, facing the fortune-teller. After a long moment, you give your answer. 1) "There's a boy I like..." 2) "A man died in the clinic where I work..." 3) "I've been having nightmares..." >3 "I've been having nightmares. I've had them for years. I thought I got over them, but... I had another one, just last night." The fortune-teller grows sober. "Dreams," he says. "Nightmares. They show us truths that cannot be found in the daylight. If you wish to learn how to conquer them, one pattern will prove most illuminating..." He casts his hands apart, scattering the top cards of the deck with the sudden motion, and at first you wonder if he's dropped them by accident. But when the loose cards come to rest, they have landed in an deliberate, intricate pattern -- a cross. "The corners," he says, tapping the cards at the end of each of the four arms. "The spokes," he continues, moving inward in counter-clockwise fashion. "And the nexus --" He taps the two cards in the center, one laid perpendicular over the other, and you nod transfixed. "The Crossroads." he says. "It shows us the paths that lead to our destination. Now we will reveal the cards, one by one, and see what they reveal about you." His gold-gloved hand hovers over the top left corner. "Shall we begin?" 1) >1 With great showmanship, he turns over the first card. Some kind of hound or beast stares out at you, with smoke-gray fur and menacing slitted eyes. The visage is unfamiliar, terrifying. "The Wolf," says the fortune-teller. "It represents danger, and the fear that comes with isolation." The next card depicts a girl at an old-fashioned spindle, with strings wound through her hands and feet and hair. But to your surprise, the card is upside down. "The Seamstress, inverted." the fortune-teller continues. "In the past, you experienced a traumatic event -- one that severed the ties binding you to friends and family. You were set adrift." The lower right card is a young girl flanked by skeletons, one male and one female, staring at you with hollow eye sockets, and you freeze. "The Orphan," says the fortune-teller. "I take it you have lost someone." You can't find it in yourself to breathe. "How are you doing this?" you whisper. His voice is quiet. "I know only what the cards have shown me. But I see now why you might be plagued by nightmares." 1) 2) >2 You grit your teeth. You grip your seat until your knuckles whiten. "Are you all right?" The fortune-teller sounds genuinely concerned. "I'm fine." A long pause. "No," he replies. "You're not fine. You have been badly wounded." The card in the lower left is a woman in white, kneeling beside a dying man, and it is upside down. You start to cry. It is the fortune-teller who first speaks again. "There is no shame in tears," he says. "No one is so strong that she cannot weep." Some time passes. You aren't sure how much. But it is with a defiant breath that you wipe away the last of your tears. 1) "I'm all right. Let's move on." >1 "I'm all right," you say. "Let's move on." The fortune-teller looks at you, then nods. His hand moves inward, to the top left spoke. Inward from the Wolf is a slab of horned metal, massive and unyielding. It glows with the heat of the flames surrounding it. "The Anvil," says the fortune-teller. "Your trials have strengthened you more than you think. Fire will never break or bend you." The spoke from the Seamstress shows an ancient road, leading straight ahead into the dawn on the horizon. "The Path. Without ties to bind you, you are free to move ahead. You should look to the future, not the past." From the Orphan, you see a woman in slumber, encircled by a tapestry of images executed in dizzying detail. "The Dreamer. Yes, you are a dreamer in more than one sense, whether or not you realize it..." The final spoke is upside down, and it is illustrated only with a morass of dark shapes -- but the fortune-teller nods with apparent understanding. "And from the Healer," he says, "the Shadows. Also inverted. Something will soon emerge from the shadows and be made known to you... and I suspect it is linked to everything that has gone before. But only you will see it." The fortune-teller inclines his head. "There are only two cards left. Let us see what the Fates have in store for you." 1) >1 He holds the upper card in place, while drawing out the lower. "The destination," he says, "reveals the truth -- the true path that you must take..." The card is inverted. It shows a gray stone tablet, planted alongside flowers; the inscription is slick with rain, and there is a melancholy quality to the illustration. "The Gravestone," he says curiously. "It represents mortality, inevitability. But inverted..." He furrows his brow, and without another word, turns over the other card. A storm at sea, heaving with rain-lashed ships and alive with forked lightning. Above all in the pitch-black sky is a terrible sphere that can only be the Luna. "The fate," he breathes. "The Tempest." He clasps his hands and leans heavily on the table. For a long while, he is silent. 1) "...I see." 2) "...What does it mean?" >2 "...What does it mean?" He is still and pensive. The wind grasps his hood, making its edges billow. At length, he places a hand on his deck. His eyes flicker to it; his lips twitch. Then he picks up his cards, one by one, and shuffles them away and out of sight. "I should go," he murmurs. "I have other places to be." 1) "Wait..." 2) >1 "Wait..." He gets to his feet. You rise, your mind buzzing with questions. "Wait!" you cry. "Wait..." "Goodbye," he says. "Live on, my friend. Live well." And he vanishes with a whirl of his cloak, leaving only a whiff of incense on the wind. It's a while before you notice the sounds of the city around you again. >* Well that all seems fine Comment recorded. >l Via Mercurii The Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight. To the north is the grand forum, vibrant and lively, while to the south the Shanty Quarter begins. The divining table sits vacant by the road. A little glass thopter whizzes down the street and vanishes into a side alley. >x table A simple tin-framed table with two matching chairs. >x thopter That is either not important or not something you can see. >x chairs A simple tin-framed table with two matching chairs. >s The cobblestones grow crooked and broken underfoot. The buildings crowd inward until they blot out the darkening sky. You hesitate. Is there really no other way? >s With a deep breath, you press onward. Shanty Quarter No words can describe this place. It is claustrophobic, oppressive, a place where light does not reach. The air is heavy with the stench of offal and waste, and other things better left unimagined -- and you are hemmed in by ropes, walled off by concrete, entombed with the walking dead. You instinctively take a step back, only to bump into a wall. You turn around and see a labyrinth of crawlspaces and ladders and rag curtains. You are lost. >map Please press SPACE to continue. Shanty Quarter No words can describe this place. It is claustrophobic, oppressive, a place where light does not reach. The air is heavy with the stench of offal and waste, and other things better left unimagined -- and you are hemmed in by ropes, walled off by concrete, entombed with the walking dead. A labyrinth of crawlspaces and ladders and rag curtains surrounds you. >smell It smells horrible in here. >listen The walls echo with the sounds of laughter and tears. >x ropes The architecture of this place is nightmarish, impossible. Walls are crushed together. Roofs and floors are one and the same. >x crawlspaces You see no way out of this place. >n You wander blindly... Deeper, Darker And you cannot find your way. All is awash in the spectral light of broken cathode lamps, and in the shadows phantasmagoria creeps. Frightened children eye you from the rooftops. Rats are strung up like hanged men. You walk through a broken arch and someone grabs your arm. The point of a knife touches your back. "Don't scream," says a cracked and leathery voice. "I'll kill you if you scream." 1) 2) 3) "What do you want?" >1 You scream. "Bitch!" The knife jabs painfully deep. You stumble up against a wall. The bricks are hard and cold. "I'll kill you. I'll kill you. Do you understand?" You feel his breath on your neck. 1) "What do you want?" 2) 3) >1 "What do you want?" "I want your money. All of it. Now." 1) 2) "Okay..." 3) "Okay..." >3 "Okay," you say. "I'm -- I'm getting my purse. Please don't hurt me." You reach into your jacket. The knife point trembles -- his hands are shaking. You feel for the familiar weight... "Hey," a different voice says. "The girl... doesn't she, doesn't she look familiar?" "I don't know what you're talking about," your assailant growls. "No. Look. I swear she's the girl from the clinic. The Doc's clinic. She's got the tattoos and everything --" The knife recedes. "Oh Primes." The voice sounds panicked. "Oh Primes. I'm sorry. We didn't know. Please don't --" "Please don't tell anyone. We just --" "Don't tell the Doc --" They take off at a run. Their footsteps vanish into the crowd, into the din of the underworld. You are alone once more. >l Deeper, Darker And you cannot find your way. All is awash in the spectral light of broken cathode lamps, and in the shadows phantasmagoria creeps. Frightened children eye you from the rooftops. Rats are strung up like hanged men. >x kids That is either not important or not something you can see. >x rats Dead and disembowelled. >n Among the Lost There are so many people here. Mothers. Daughters. You see goblin boys fighting over scraps, and mutant children with two mouths and nothing to eat. You push through the crowd and they barely even notice your presence, so lost are they in their own suffering. You find yourself suddenly set upon by a legion of beggars, grabbing at your trousers, thrusting empty hats into your face, baying like starving dogs. >x beggars These people are mad from desperation. The beggars are chasing you. >n You flee from them... Into the Fire A rubbish fire, roaring and acrid and unmistakably fecal. The flames are green and blue from alchemical decomposition, and dead bodies feed the fire and stoke its insatiable hunger with their animii. You sink to your knees. >l Into the Fire A rubbish fire. The green and blue flames lick at your jacket and sting your eyes raw with tears. But somewhere far to the west, you think you see sunlight. >x fire The fire burns. >n There is nothing for you there. >w You get to your feet. Unsteadily, you walk. You close your eyes. You keep walking. You don't stop until you feel the sun on your face once more. Cadaver Walk You've emerged out onto a bridge, if it can be called that: a haphazard assortment of ropes, planks, chains, warning signs, layers upon layers bound up in incomprehensible knots. Below the lines trail where they have snapped and never been repaired, and the Bilious Canal gobbles them up as they descend. Riggertown is to the west, while the Shanty Quarter is to the east. >* well that was unpleasant! Comment recorded. >x bridge You can see why they call it Cadaver Walk. >e You don't really want to go back in there. >* fair Comment recorded. >w Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk. A scruffy old goblin sits on a post, chewing on a golden stick and watching the midday crowd. >map Please press SPACE to continue. Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk. A scruffy old goblin sits on a post, chewing on a golden stick and watching the midday crowd. >x detritus It looks like it was built out of a junkyard. Then again, it probably was. A fly buzzes past. >x catwalks Better step with care. The railings are a little low for your arms. >x shakcs That is either not important or not something you can see. >x railings Better step with care. The railings are a little low for your arms. >x shacks Squatting in clusters, or suspended from girders, or stacked preposterously on top of each other with ladders and beams. >enter shacks You wander among the shacks for a bit, but you don't think Zoiro lives there. You return to the main level before you get lost. A lass thunders past in what appears to be a rocket-assisted wheelchair. >x lamps There is a colorful, childlike wonder to the arrangement. >x landing Which do you mean, the view of the upper landing or the mechanical-chymical detritus? >upper The girders overhead clang with footsteps. >x chimes You've heard that these windchimes evolved from goblin religious practices. These days, they're mostly for decoration. A horn honks. >w You wander among the shacks for a bit, but you don't think Zoiro lives there. You return to the main level before you get lost. >n You can go up to Upper Riggertown, west to the shacks, or east to Cadaver Walk. >x goblin (the scruffy old goblin) You're not sure which is wrinklier -- his shirt or his scalp. >x stick Not a biscuit, but a stick of actual gold. Someone brushes your elbow, and your hairs stand on end from the galvanic discharge. >l Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk. A scruffy old goblin sits on a post, chewing on a golden stick and watching the midday crowd. >talk to goblin (the scruffy old goblin) The old goblin raises an eyebrow as you approach. He pops the half-chewed stick out of his mouth. "Something on your mind, girlie?" 1) "Good afternoon, sir." 2) "What's that you're chewing on?" 3) "Has anyone in Riggertown come down with a mysterious illness recently?" 4) "Nothing, sorry." >1 "Good afternoon, sir." His lips curl wryly. "Don't 'sir' me, girlie," he says. "Ain't no need for your uptown airs here in Riggertown. Good afternoon to you, and Donti's the name." "Um... I'm Marid," you say. "It's nice to meet you, Donti." "That's the spirit." 1) "What's that you're chewing on?" 2) "Has anyone in Riggertown come down with a mysterious illness recently?" 3) "Talk to you later, Donti." >1 "What's that you're chewing on?" "This?" He holds up the half-chewed stick. "It's a stick of gold. I'm sucking on it, see? Brings out the flavor." "Oh." "Yeah." 1) "I'm curious. What does gold taste like?" 2) "Has anyone in Riggertown come down with a mysterious illness recently?" 3) "Talk to you later, Donti." >1 "I'm curious," you remark. "What does gold taste like?" "Ah," he says. "Now there's a fine question. Metals, see, all of them have got different flavors. You're a doctor, ain't you?" 1) "Um, yes." 2) "Um, no." >1 "Um, yes." "I figured from your jacket." He waggles the stick. "Anyway. You studied all about the metal correspondences, yes? Lead to yellow bile, tin to blood, iron to black bile? It tastes just like that. You can taste them like a bouquet on your tongue -- the correspondences, the extremes." 1) "That doesn't sound very palatable." 2) "So what does gold taste like?" >2 "So what does gold taste like?" "Gold, you ask?" Donti leans forward with shining eyes. "Gold is different from all of them. Gold corresponds to the heart. Tasting it is like tasting the sun, the soul. Biting down on a freshly transmuted nugget -- ah! Now that, I dare say, is a feast fit for a king." 1) "That's... very interesting." 2) "Is it healthy to be snacking on gold like this?" >2 "Is it healthy to be snacking on gold like this?" He shrugs. "You tell me, Doc." "I... don't know?" you stammer. "I never studied this aspect of goblin physiology..." "So it is, so it is. Healthful, not healthful -- who's counting? Not me, that's for certain." He takes another bite out of his stick, and grins a toothy grin. 1) "Has anyone in Riggertown come down with a mysterious illness recently?" 2) "Talk to you later, Donti." >1 "Has anyone in Riggertown come down with a mysterious illness recently?" you ask. "Eh?" Donti frowns. "What kind of illness?" You briefly elucidate the symptoms, and a black look comes over his face. "Talk about a nasty business," he remarks. "No, I can't say I've ever come across something like that before, and I don't know anyone who has. But I'll keep an eye out, and I'll spread the word for you. You'll know if someone so much as sneezes in this town, so it is." "That would be a great help," you say. "Thank you." "Don't mention it. Just doing what I can." 1) "Talk to you later, Donti." >1 "Talk to you later, Donti." "Good health to you." He waves you off and goes back to chewing on his stick. >u Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms an enormously noisy factory, which signage identifies as the Riggertown Mechanistry. A quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >map Please press SPACE to continue. Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >x spires It's unclear where one building ends and another begins. >x carts A series of belts conveys materials from building to building. >x cables A series of belts conveys materials from building to building. A gobliness bumps into your pant leg, rubs her head, and continues along the landing. >* cool Comment recorded. >x horns "FRACTALOBELEMNOID SOLUTION: FOR AN AETHERICALLY AESTHETIC YOU." >x mess You feel like a pale, awkward giant among the Riggertown crowd. >x roads Better step with care. The railings are a little low for your arms. >j Fourth of Aquaria, Auritum IV The poorest parts of the district have been an ordeal to walk through, but the worst has finally passed. After everything that I've seen today, having to break the news of Reden's death... somehow doesn't seem as bad. Current objectives: - Find Zoiro, Reden's brother, in Riggertown Marid's notes: - I learned that Zoiro lives on Layabout Row, in Upper Riggertown, and works at the Riggertown Mechanistry. Please press SPACE to continue. Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >sw VII Layabout Row This rustic little house is one of many that squat here and there along the lane. A pair of scrap-metal sculptures flank the steps to the front door. Beside it is a tarnished old pull-bell, dangling from a rope that has seen better days. You can enter the front door of the house to the west, or return along the walkway to the northeast. >x sculptures Twin dragons. One is painted blue, the other green. A forlorn crate bobs down the canal and rolls out of sight. >x hosue That is either not important or not something you can see. >x house (the rustic little house) It looks like something that might have been in a picture-book, if picture-books were made out of sheet metal. >x pull It looks like this is the doorbell. >x rope It looks like this is the doorbell. A boy walks past doing a handstand. >pull it The bell clatters noisily, but no one answers the door. Perhaps they aren't at home. >x door The plaque on the front door informs you that this house is the residence of Zoiro and Koriph. >w (first opening the front door) It seems to be locked. A group of goblins runs past. >e The front door is to the west, and Upper Riggertown is to the northeast. >ne Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >d Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk. Donti is sitting on his usual post, chewing on his golden stick and watching the midday crowd. A calcareous ooze burbles along and disappears up a drainpipe. >talk to donti You can't think of anything to talk about. >u Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >s Riggertown Mechanistry This building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity. To the north, through a series of raised metal shutters, is the exit. A large gobliness is walking among the workers, pausing now and then to dish out a tongue-lashing. This must be the forewoman of the shift. >x lines (the alchemical tattoos) Your father gave you these tattoos when you were a young child, as is tradition in some alchemical families. Even now, the flowing, circuitous lines remind you of him. >* hmm Comment recorded. >x assembly The conveyor belts are held together with paper, rubber, string, and faith. >x things You'll have to specify which one. >* yes there's the difficulty Comment recorded. >x workers They are a nameless mass of low-cost labor. They all wear the same dungarees, and they all have the same numb look in their eyes. >x benches At each bench, a worker. >x parts Everything from kettles to kitchen sinks is assembled here. >x kettles Everything from kettles to kitchen sinks is assembled here. >x shutters The shutters lead outside to Riggertown. >x gobliness She's the largest, most intimidating goblin you've ever seen. The effect is somewhat diminished by her being a head and a half shorter than you are. >talk to her As the forewoman finishes lecturing one of her workers, you take the opportunity to approach her. "Excuse me," you say. "Are you the forewoman here?" She turns and grimaces. "What do you want? Make it quick. I'm busy." 1) "Do you greet everyone like that?" 2) "I'm looking for a man named Zoiro..." 3) "Never mind. Forget I asked." >1 "Do you greet everyone like that?" "Only the wiseacre humans," she replies, "who don't know how to get to the bloody point." 1) "I'm looking for a man named Zoiro..." 2) "Never mind. Forget I asked." >1 "I'm looking for a man named Zoiro. I have it on good authority that he's employed here." "Yeah, he is." The forewoman narrows her eyes. "What's this about? He miss a payment for something?" 1) "Something like that." 2) "I have a message for him. From Doctor Cavala." 3) "There's been a death in the family. I'm here to break the bad news." >2 "I have a message for him. From Doctor Cavala." "From Doctor Cavala?" There's a tincture of surprise in the forewoman's voice. She shakes her head and begins to pace. "Of course. Don't know why I didn't recognize you sooner. I saw Doctor Cavala for my shingles once, and -- well, that old warhorse doesn't pussyfoot around, does she? If you're on business from her, don't let me stop you..." She leads you in a circuit around the factory floor. You find yourself before a pair of men who are hard at work assembling animus lanterns. As the forewoman clears her throat, both of them look up with trepidation. "Zoiro!" she says. "This here lady's got a message for you. Listen up, because she's only going to say it once." You glance at her. She inclines her head, as if to say you're on your own now, before turning and disappearing into the forest of assembly lines. You're left with the two goblins, who are more than a little nonplussed. They look at you. You look at them. 1) "Um." 2) "Hello..." 3) "Which one of you is Zoiro?" >2 "Hello," you say. "My name is Marid. Marid Orpheia." The goblins look at each other and shrug. "I'm Koriph," says the goblin on the right. "I'm Zoiro," says the goblin on the left. 1) "Um." 2) "I have some bad news." >2 You take a deep breath. "I have some bad news." The goblins look at each other. The atmosphere has grown abruptly heavier. "Shit," Zoiro says, after a pause. "What kind of bad news?" "This isn't the best place," you tell him. "Is there a smoking room around here? Somewhere we'll have peace and quiet?" Zoiro licks his lips nervously. "The... the smoking room, yeah. Come on. I'll show you. Come on, Koriph -- you too. Let's get this over with." You are brought into a little cubbyhole of a room, past a curtain you have to stoop to go through. The odor of smoke lingers uncomfortably in the air, just on the edge of your nostrils. Zoiro sits in an armchair. Koriph sits next to him. You take a seat opposite, going over your words in your mind. 1) 2) 3) >2 "It's about your brother, Reden." Zoiro leans forward. "Why? What happened to him?" "It happened last night." You close your eyes. "We were packing up for the day when... when he stumbled into our clinic. He was ill. Dying." Zoiro's eyes widen. "He -- he wasn't sick at all when I saw him last." "I don't know what happened either." You take a breath, force yourself to make eye contact. "Doctor Cavala tried to stabilize him, but the affliction was unlike anything we'd ever known. And he --" "-- Oh Primes --" You look away. "I'm sorry," you whisper. "I'm so sorry. We couldn't save him." Zoiro falls silent. He nods, bites his lip, buries his head in his hands. Koriph puts a hand on his shoulder. "Well," says Zoiro at last. "I... I shouldn't be surprised. It was bound to happen sooner or later. He was a bum. A fucking disgrace. He was going to catch something, living the way he did..." He hangs his head. "But it hurts," he says. "Knowing that he's gone." 1) "I'm sorry..." 2) "Do you need a moment?" 3) "You can ask me anything..." 4) >3 "You can ask me anything," you mumble. "I'll -- I'll do my best to answer your questions." Zoiro looks down, and is quiet. "Reden," he says. "About him." A pause, uncertain. "Where is his body now?" 1) "We're dissecting his body..." 2) "We couldn't recover his body..." >1 "We're... we're dissecting his body," you tell him. "Doctor Cavala has invoked the ius medici --" "The what?" "The right of the doctor," you explain. "The illness that took Reden's life... it's unlike anything we've encountered before. We don't know how contagious it is, or who else might be at risk. We need to study the cadaver so we can make sure it doesn't kill anyone else." Zoiro nods slowly. "I... I guess that makes sense," he says. "Do what you need to do. Just... promise me you'll cremate him, when this is all over." He clenches his fists. "And make sure you find out what you're looking for. Promise it." 1) "I promise..." 2) "I can't make that promise..." >1 "I promise. On my badge, I promise it." Zoiro nods, even as tears well up and glitter on his cheeks. He stands up and offers his hand. You shake on it. "Good luck," he says. "Make sure my brother didn't die in vain." He takes Koriph's hand and nods at you in lieu of farewell. "Come on, Koriph. Let's talk to the forewoman about compassionate leave..." You get up and make your way back to the Mechanistry floor. Your work here is done. It's time to go. >* It's a sad comment on US labor law that the nameless goblin drudges have better bereavement leave policies than we typically do... Comment recorded. >l Riggertown Mechanistry This building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity. To the north, through a series of raised metal shutters, is the exit. >n Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. It's getting dark out. The spires and factories are closing for the day. >n Following the Canal Glittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown. A closed manhole is recessed into the footpath. >x mahole That is either not important or not something you can see. >x manhole The manhole is securely closed. >open it The manhole won't budge. >x waters The Bilious Canal is furious and vitriolic, as befits its name. Mist curls from the surface of the water. >n Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. >e You follow the Via Terminalis southeast, only to discover that the bridge is blocked by a cleaning crew. It seems there's been a spill of dangerous caustic alkali, and you can't cross. You have no recourse but to retrace your footsteps. >* how convenient! Comment recorded. >w Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east. Wait a moment. Someone on the street has just drawn her sword and stalked into Doctor Cavala's clinic. >* Seems fine Comment recorded. >n You'd better investigate the clinic first. >* FINE Comment recorded. >w You rush through the door of the Clinic A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams. And she is there, walking slowly toward the mortuary stairs. Her sword glints in the final rays of sunlight. "Coming!" Doctor Cavala calls. You hear the doctor's chair shift, her footfalls climbing the steps. The hooded stranger raises her sword. >yell "Get away!" you scream. The assassin turns her head and looks directly at you. Her face catches the light and she has so many teeth and Doctor Cavala comes up the stairs with a flying tackle that sends the assassin staggering into the waiting chairs. In three steps she is reaching under the counter -- but the assassin is quicker -- her blade faster -- blood spatters the floor -- Doctor Cavala cries out -- a blur of motion -- and there is a flash and thunder from the walls. The assassin clutches at her face. Doctor Cavala raises the cutter and pulls the trigger again -- lightning arcs, misses by inches. "Get the fuck out of my clinic," she growls. A rush of wind. The assassin is gone. You whirl around and see a dark shape disappearing into the night. Doctor Cavala takes a deep breath. Stifles a cry. "Marid," she says. "My leg." You find her slumped on the floor, her chest rising and falling. A gash has been torn above her left knee. Her entire trouser leg is stained red. 1) "Doctor...!" 2) "Oh Primes..." >2 "Oh Primes..." You rush to Doctor Cavala's side. Even from a cursory examination, it's obvious that she needs help, and quickly. "Hurry," she says through gritted teeth. "There's a first aid bag behind the counter..." (This scene has lethal consequences. You may wish to save the game by typing >save.) >save Ok. >* Huh, interesting Comment recorded. >z This is no time for inaction. >z This is no time for inaction. Doctor Cavala's breathing is getting faster. >z This is no time for inaction. >x doctor (Doctor Cavala) She's bleeding heavily. Doctor Cavala is starting to look very pale. "Hurry," she whispers. >talk to doctor (Doctor Cavala) "Doctor --" "Get the first aid bag!" she hisses. >z This is no time for inaction. Doctor Cavala is on the verge of passing out. >z This is no time for inaction. >s You can't leave Doctor Cavala, not now. You realize that Doctor Cavala's eyes have closed. When you try to rouse her, she doesn't wake. She never does. *** You have failed *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >restore Ok. >* OK, no branching, but well-telegraphed failure Comment recorded. >x counter There it is. You grab the bag and wrest it open. Inside are a bellows, an aspirator, a stethoscope, a blood pressure gauge, a pair of scissors, a pair of tweezers, a bar of soap, a roll of tape, five vials (containing saline, laudanum, smelling salts, aqua vitae, and tincture-of-resins) -- There. An antiseptic dressing and an elastic bandage. >dress wound (first taking the dressing and the bandage) "There's no debris." Doctor Cavala's voice is shaking. "Remember. Apply pressure --" She cries out as the dressing touches her wound. You force yourself to ignore her gasps, press down hard, loop the bandage tight. And natron sigils flare on the fabric: the wound is sealed. "Not... not bad," she croaks, when she has the voice to speak. "Can you move?" you ask. Her face twitches. "Primes, it hurts. I... I think my tendon's gone." "You're still bleeding," you tell her. "I need to --" "-- raise my leg above chest level," she finishes. "I understand. Do it, Marid. Prop it up on the chair." >put leg on chair (first putting down the first aid bag) Taken -- Doctor Cavala grits her teeth and screws her eyes shut. Her bloodstained trousers stick to your gloves. Her leg feels heavy and fragile in your hands, like a porcelain model that will shatter if you slip. Seconds pass before her leg finds its place, before you dare loosen your grip and let go -- You let go. Doctor Cavala breathes a sigh of relief. You exhale. Something in your expression makes Doctor Cavala chuckle, and her laughter is infectious. The two of you, master and apprentice -- you can't help but start laughing at the terror, the absurdity of the situation. "The bleeding's stopped," you say, wiping your gloves on your apron. "I... I think." "Then we've done the best we could," Doctor Cavala replies. "You've done well, Marid. Very well. I'm afraid this evening would have gone rather worse without you --" She smirks at her own gallows humor, and looks morbidly satisfied. 1) 2) "I'm just glad you're all right, Doctor." 3) "I was so worried for you..." >1 A smile touches your lips. Doctor Cavala's eyes meet yours, and you find yourself laughing with her all over again. 1) "I'm just glad you're all right, Doctor." 2) "I was so worried for you..." 3) "Will you be safe here?" >1 "I'm just glad you're all right, Doctor." She smiles and squeezes your hand. "I look Death in the eyes too often to count," she says. "It's only fair that I get to spit in his face once in a while." 1) "I was so worried for you..." 2) "Will you be safe here?" >2 You glance at the clinic door. The Luna is ascending, painting the Via Terminalis in the colors of moonlight. "Will you be safe here?" "I don't think she'll be coming back, if that's what you mean." She holds up her cutter. "You may rest assured that I'm a very good shot." "But what about your injury?" you ask. "Are you going to sleep on the floor? What if you need to relieve yourself? I -- I don't know if I'm comfortable leaving you here. Perhaps I should --" Boots clatter on cobble. Lanterns approach. The clinic door swings open, admitting a bustle of hard-eyed civil guards. "Hullo!" the point man says. "Doctor Cavala. The neighbors reported a scream, and we responded as soon as we... what happened here?" There's something oddly familiar about him... "...Horatio?" you say. "Marid?" He turns -- it is him, the buffoon. "What are you doing here? Is everything alright?" "You've arrived with commendable timing," remarks Doctor Cavala. "I've just chased a violent hoodlum out of my clinic, and Servator Marid here has seen to my injuries. We were just on the topic of informing the authorities, but it seems that won't be necessary..." * * * It takes the better part of an hour to sort everything out with the Vigiles. You're interviewed by a bored-looking patrolwoman, and given a steaming mug of tea to wash away the foul taste of the evening's events. An agreement is made: Doctor Cavala will remain under Vigiles protection for the time being, with Horatio assigned as a personal assistant and bodyguard. "...and you're saying you have no idea who the assailant was?" the interviewer is asking. "Surely you must have made an enemy of someone." "I'm telling you, I know this district." Doctor Cavala takes another sip from her drinking straw. "No one is fool enough to antagonize the only pro bono doctor in the city. Just ask Marid." The interviewer shoots you an inquiring look. 1) "It's true. I was almost robbed in the Shanty Quarter..." 2) "Aren't there other doctors operating in the area?" 3) "Something definitely smells about this incident..." 4) >* This does raise the question of where our funding comes from, unless the goblins also have health insurance Comment recorded. 1) "It's true. I was almost robbed in the Shanty Quarter..." 2) "Aren't there other doctors operating in the area?" 3) "Something definitely smells about this incident..." 4) >1 "It's true. I was almost robbed in the Shanty Quarter..." You describe how you were accosted; how the robbers were terrified once they realized your identity. The interviewer writes furiously in her little black notebook, pursing her lips all the while. "You see?" Doctor Cavala says. "Even if I stepped on someone's toes, they wouldn't have the stones to touch me." "But clearly," the interviewer counters, "someone does." 1) "Aren't there other doctors operating in the area?" 2) "Something definitely smells about this incident..." >1 "Aren't there other doctors operating in the area?" you ask. Doctor Cavala shakes her head. "Not pro bono. Arturus and Justinian do good work, but they operate by appointment only. For the less fortunate -- for the less refined elements in the district -- I'm the only physician that can be relied on." The interviewer cocks an eyebrow. "And you provide your services to these... elements?" "I uphold the oath, madam," Doctor Cavala replies. "How I choose to do so is my own business." 1) "Something definitely smells about this incident..." >1 "Something definitely smells about this incident. I can't imagine why someone would have it out for Doctor Cavala -- and why now, of all times?" The doctor falls silent. The interviewer's eyes dart between you. It is Doctor Cavala who breaks the silence, with words that prick like pins. "Do you think it's connected to Reden?" she asks. "To what happened last night?" You hesitate. 1) "Yes..." 2) "No..." 3) "Maybe..." 4) "I don't know." >1 "...Yes, actually. It's been on my mind -- first a man dies in our clinic, and then someone tries to kill you?" You shake your head. "It can't be a coincidence. It's too close to be." "Intriguing." She searches your eyes. "You didn't see anything today, did you, Marid? Anything that might provide a clue? What you're suggesting..." Doctor Cavala doesn't finish her sentence. She takes another sip of tea, looking greatly perturbed. "Well," the interviewer finally says. "This has all been very fascinating -- but the hour is growing late, and we are no closer to discovering any answers. I shall recommend a better equipped team to join you tomorrow, Doctor. Until then --" The guards leave the clinic following a perfunctory sending-off. You are left in the company of Doctor Cavala and Horatio, who have settled down in the waiting area for the long haul. Clinic A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is recuperating in a makeshift bed, with Horatio keeping watch nearby. You catch yourself yawning; you didn't realize how tired you were. Perhaps you should get back home before it's too dark out. >save Ok. >x doc That is either not important or not something you can see. >x doctor (Doctor Cavala) She's taking her injury rather well -- but then again, she was an army doctor. >x leg If Doctor Cavala feels any pain, she doesn't show it. >x horatio At least he seems to be making himself useful. >talk to doctor (Doctor Cavala) You approach the makeshift bed, and Doctor Cavala and Horatio turn to you. 1) 2) 3) "I should be going..." >1 1) "Are you feeling better, Doctor?" 2) "What will happen with the clinic while you're indisposed?" 3) "How is Horatio doing?" 4) 5) "I should be going..." >1 "Are you feeling better, Doctor?" The corner of her lip quirks. "I'm feeling rather well," she says, "considering the circumstances. But I do hope to be looked at by a surgeon soon. The Vigiles have already sent for Doctor Arturus, but you know how careless he can be when it comes to these things... Did you know he hasn't replied to my correspondence at all today?" You feel a twinge of sympathy for Doctor Arturus. Doctor Cavala takes a dim view of tardiness, as you know from experience. 1) "What will happen with the clinic while you're indisposed?" 2) "How is Horatio doing?" 3) 4) "I should be going..." >1 "What will happen with the clinic while you're indisposed?" you ask. Doctor Cavala lifts a hand. "I'm obviously not in any condition to operate," she says wryly. "But I'm not completely indisposed. I can still listen to patients. Diagnose illnesses. The clinic will remain open for business, I think, until the time comes for my knee operation." "I'll help Doctor Cavala where I can," Horatio adds. "Since I'll be here and all." 1) "How is Horatio doing?" 2) 3) "I should be going..." >1 "How is Horatio doing?" "Your friend, isn't he?" Doctor Cavala raises an eyebrow. "He hasn't broken anything, so I suppose that's a plus --" "-- Hey! --" "-- but he's a good lad." She smiles. "Eager to learn, and not afraid of hands-on work. I expect we'll get on swimmingly." 1) 2) "I should be going..." >1 1) "Fancy seeing you here, Horatio." 2) "How are you doing?..." 3) "Try not to mess anything up." 4) "I should be going..." >1 "Fancy seeing you here, Horatio." "It's good to see you too, Marid." His expression grows grave for a moment. "When the call came in, I thought... I was worried about you. Now that I'm here, I'm -- I'm just glad you're okay." You can't help but smile. Even a buffoon like him can be sweet sometimes. 1) "How are you doing?..." 2) "Try not to mess anything up." 3) "I should be going..." >1 "How are you doing?" you ask Horatio. "I recall you saying you wanted to see some action in the Vigiles..." He chuckles. "I guess I'm eating my words now. Tonight was a lot more than I'd hoped for. Still..." He nods. "I feel like I'm making a difference here, like I'm doing something worthwhile. How often does anyone get the chance to say that?" 1) "Try not to mess anything up." 2) "I should be going..." >1 You punch Horatio's shoulder. "Try not to mess anything up." He grins. "I won't." 1) "I should be going..." >1 "I should be going," you say. "I'll see you tomorrow." "Good night, Marid." "G'night, Marid." "Good night, Doctor, Horatio." >out (first opening the front door of the clinic) (closing the door behind you) Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. >n Dormitory Block Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south. You notice a single pigeon half-hidden under the stairs. The gobliness and her golem must have missed it. >x pigeon You take a step closer -- The pigeon twitches. Before your eyes, the pigeon begins to move, like a delicate clockwork replica that has been wound up again. It rights itself in a flutter of feathers, and coos, unmistakably alive. It looks around. It cocks its head in your direction. And with no more than a thought, it leaps awing, and disappears into the glittering night sky. You touch your pendant. >* well that seems OK Comment recorded. >* just an undead pigeon, nothing to see here Comment recorded. >* well, time ofr a drink! Comment recorded. >w (first opening the door of the public house) (closing the door behind you) Public House Tucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays. The door is to the east. The bartender is behind the counter polishing a glass. He gives you a nod as you enter. The clockwork musician is currently playing an instrumental cover of the Cantata Caelestia. >x patrons You don't see anyone you know here. >x bartender He looks to be one of the older generation of mutants, with few features that mark him as having once been human. He wears a dignified wooden mask and a tailcoat that has been modified to accommodate additional limbs. >talk to him You sit down at the serving counter. "Hello again," you say. The bartender stops polishing his glass and regards you thoughtfully. 1) 2) "Actually, never mind." >1 "I'd like a glass of spiced wine, please." The bartender measures out the wine, waters it down, and tosses it with a bag of spices before handing you the glass. You take your time to nurse the drink: it's sweet, with a pinch of nutmeg and other flavors you don't recognize. Sweet and sad. 1) 2) >1 Your mind wanders to the things you've seen; the things you've done. 1) "Someone almost killed Doctor Cavala tonight..." 2) >1 "Someone almost killed Doctor Cavala tonight." The bartender sets down the glass he's polishing. He looks at you. "It was so close," you say quietly. "She didn't know. There was a mutant woman who'd come into the clinic wielding a sword, and... and they fought. There was blood on the floor, blood everywhere, and -- and Doctor Cavala --" You close your eyes. "She almost didn't make it." 1) "I was so scared..." 2) "The Vigiles were useless..." >* Hmm didn't notice she was a mutant -- though I guess there were the teeth Comment recorded. 1) "I was so scared..." 2) "The Vigiles were useless..." >1 "I was so scared. I saw the gash that'd been torn in her leg. She was bleeding out. I... I grabbed the first aid bag, and --" Your voice cracks. "-- I don't know. My hands were moving on their own. It seemed so easy at the time, but -- but --" You feel the tears welling up, the sting and the panic and the terror engulfing you all over again. 1) 2) >2 You bite your lip. You're shaking. You're gripping your glass so tightly you're afraid it will shatter. There's blood in your mouth, and it's pooling around your tongue, and you feel horribly, deeply sick inside. But you don't cry. You won't cry. You will not cry. You take a deep breath and wipe the wetness from your eyes. You take a fortifying swig from your glass. 1) "I'm going to do better next time..." 2) "I'm going to find whoever did this..." >1 "I'm going to do better next time," you whisper. "I'm going to be better. I don't know why misfortune keeps following me, but I'm going to be stronger than it the next time, and the next. "I'm going to overcome this. For Doctor Cavala and Horatio -- for my parents -- I -- I'm going to find out what's really going on. Because... because after everything... everything that's happened --" You look at your bloodstained gloves. "I can't allow it to have happened in vain." 1) >1 You down the last of your wine. "Thanks for listening." The bartender takes the empty glass, and you feel a little better for having confided in him. 1) 2) "See you soon." >1 You tip the bartender and he bows. 1) "See you soon." >1 "See you soon." You stand up. The bartender goes back to his business; you suppose you should as well. Public House Tucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays. The door is to the east. The bartender is behind the counter polishing a glass. >e (first opening the door of the public house) (closing the door behind you) Dormitory Block Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south. >u (first opening the door to your dormitory room) (closing the door behind you) Marid's Room Though this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. >clean teeth You brush your teeth. >comb hair You comb your hair. >cry No. You have to stay strong. >* fair Comment recorded. >eat What do you want to eat? >food That is either not important or not something you can see. >open closet You aren't hungry, and there's no wine in the cold closet. >* I mean I haven't had dinner! Comment recorded. >sleep You change out of your clothes and curl up beneath the sheets. But sleep does not come easily. You close your eyes and drift in that listless limbo between wakefulness and slumber. A clockwork clicking echoes in your mind, behind your eyelids, like a promise you've forgotten and cannot remember. You barely notice when the world melts away -- when it dissolves, fades, becomes a haze of images and memories. Your last thought before you fall asleep is a quiet realization -- the clicking in your mind is the sound of teeth. D A Y T W O A knocking at the door jolts you awake. "Marid?" comes Horatio's voice. 1) 2) >2 You clamber out of bed, throw on your jacket, and shuffle up to the door. 1) 2) "Horatio?" 3) "What is it?" 4) >1 A peep reveals a Horatio who looks as tired and disheveled as you are. 1) "Horatio?" 2) "What is it?" 3) >1 "Horatio?" "Marid! So you do live here." He sounds relieved. "Marid, listen. There's been trouble. Doctor Cavala wants you to come down to the clinic as soon as you can." 1) "What's going on?" 2) "Trouble? What kind of trouble?" 3) "I'll be there." >2 You're wide awake now. "Trouble? What kind of trouble?" "Big trouble. We've gotten wind of more deaths in the Channelworks District, and Doctor Cavala thinks they all died of the same disease as Reden. People are saying it's an epidemic --" "Oh Primes --" "I know. Come down as soon as you can. The doctor will fill you in." Horatio's footsteps disappear down the stairs. You hurry through your morning routine and slip your boots on. >* well that escalated quickly Comment recorded. >save Ok. >d (first opening the door to your dormitory room) (closing the door behind you) Dormitory Block Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. From here, you can go up to your dormitory room or exit the building to the south. >s Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. Some pigeons fly overhead. >x pigeons That is either not important or not something you can see. >w (first opening the front door of the clinic) (closing the door behind you) Clinic Doctor Cavala and Horatio have been busy this morning. You spy fresh cups of tea beside the makeshift bed, and plates with crumbs that Horatio is in the process of tidying. Doctor Cavala, for her part, looks up from a newspaper as you enter. "Marid. Has Horatio told you what's happened?" "More deaths?" She passes the newspaper to you. "Take a look at this." DOCTOR FOUND DEAD IN HIS OWN HOME. Doctor Arturus, the renowned pathologist of the Channelworks District, was found dead this morning. Black blood was observed running from his eyes and mouth, a symptom shared by several patients he had recently received. Doctor Justinian, who discovered the body, expressed fears that his colleague's death could mark the beginning of a dangerous epidemic -- A chill grips your spine. Doctor Cavala nods grimly. "Our suspicions have proven true. Reden is the first of many. More than that -- Doctor Arturus himself is among the casualties." 1) "Oh Primes." 2) "How could this have happened?" 3) "What do we do now?" >2 "How could this have happened?" She shakes her head. "Very easily. It is unlikely for a medical practitioner to contract a patient's disease -- not with the proper safeguards in place -- but not inconceivable. And Doctor Arturus... oh, the bloody fool. He should have known better..." 1) "Oh Primes." 2) "What do we do now?" >2 "What do we do now?" "That, Marid, is a very good question." Doctor Cavala folds her arms. Her expression seethes with disquiet, with the agitation of an invalid accustomed to physical activity. "Recent events have backed us into a corner," she says. "I can't do much of anything, on account of my injury. Horatio's hands are full with matters around the clinic. That leaves only one person to look into the situation --" "Myself," you say. "Exactly." She snaps her fingers. "Before we can combat the disease, we need data -- data that can only be gathered through firsthand observation. You've proven yourself to be dependable and resourceful. You have enough medical expertise to make informed judgments. It will have to be you who investigates this series of deaths." You consider her words carefully. 1) "Does it have to be me?" 2) "Where should I begin?" 3) "What should I look out for?" 4) "Can you tell me anything about Doctor Arturus?" 5) "Do you think Doctor Justinian can help?" 6) "I'm on it, Doctor." >4 "Can you tell me anything about Doctor Arturus?" She sighs. "Not much, I'm afraid. Doctor Arturus was from before my time. I'm familiar with his corpus of work, of course -- even met him once or twice, in a professional capacity -- but he was a reclusive man, and rarely involved in everyday affairs. "Try asking Doctor Justinian instead. He's had more contact with the man than anyone else." 1) "Where should I begin?" 2) "What should I look out for?" 3) "Do you think Doctor Justinian can help?" 4) "I'm on it, Doctor." >3 "Do you think Doctor Justinian can help?" you ask. Doctor Cavala nods. "He likely can. At minimum, he can give you a better picture of the events that led to Doctor Arturus's death. Beyond that, he's now the only other qualified doctor in the district. He'll be a useful ally if we are to contain the disease." 1) "Where should I begin?" 2) "What should I look out for?" 3) "I'm on it, Doctor." >1 "Where should I begin?" you ask. "You could begin by examining the bodies," Doctor Cavala says. "He'll be in his clinic -- I suppose it's Doctor Justinian's clinic now. Talk to Doctor Justinian about it, and check his patient records for possible contagion vectors between the deceased. "It might also be worth asking Zoiro about his brother's associations. See if you can find any correlation between the patients so far. With any luck, we'll uncover the source of the outbreak." 1) "What should I look out for?" 2) "I'm on it, Doctor." >1 "What should I look out for?" "Our goal is to combat the disease," Doctor Cavala replies. "We need to determine the means by which it is transmitted -- whether it is endemic to a particular area, or spread by contact, or something else entirely. Once the transmission method is determined, we can take measures to isolate the disease and find a cure." 1) "I'm on it, Doctor." >1 "I'm on it, Doctor." She nods. "Remember: talk to Doctor Justinian in the Turris Infinita. Investigate all the deaths that have occurred so far. If you find a connection, we can isolate the transmission vector and quarantine the disease." "Got it." She holds up a hand. "Before you go, I have a couple of things to give you. First -- Horatio, would you fetch me a pen?" The pen is delivered. Doctor Cavala signs a small piece of paper, then seals it with a sigil-brand and hands it to you. "This is my signum," she says. "It's proof that you're acting on my behalf, for anyone who asks. And another thing --" She has Horatio retrieve a sleek instrument from her desk. It is orichalcum, threaded with tiny magnification lenses, and your eyes widen as he places it in your palm. "Yes, Marid." She smiles wryly. "Since you'll be dealing with a lot of dead bodies, you can borrow my endoscope for this investigation. Just promise me you'll return it in one piece -- I'd hate to take the cost out of your next paycheck." "I -- I understand, Doctor." She squeezes your hand. "Good luck, Marid. I'm counting on you." You step back and put the endoscope in your pocket. (The endoscope can be used to look inside narrow pathways. To use the endoscope, >put it in the object you wish to inspect.) >x endoscope An intricate assembly of lenses mounted on adjustable orichalcum rods. It can be inserted into cadavers to examine their internal pathways, and may be useful for inspecting other crevices of a similar nature. >l Clinic A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is recuperating in a makeshift bed, with Horatio keeping watch nearby. Horatio yawns. >talk to doct That is either not important or not something you can see. >talk to doctor (Doctor Cavala) You approach Doctor Cavala, and she looks up at you. "Yes, Marid?" 1) "Where should I begin my investigation, again?" 2) "What should I look out for, again?" 3) "By the way, did you learn anything from Reden's autopsy?" 4) "Nothing, never mind." >3 "By the way, did you learn anything from Reden's autopsy?" Doctor Cavala shrugs. "Little we did not already know. The disease is in the blood, certainly -- it spreads through the circulatory system, attacking the brain, heart, lungs, and other vital organs -- but Reden's death was both violent and degenerative, obfuscating the means of transmission. My hope is that Doctor Arturus and his patients will shed more light on how the disease operates." 1) "Where should I begin my investigation, again?" 2) "What should I look out for, again?" 3) "I'll be back soon." >3 "I'll be back soon." Doctor Cavala nods. "I'm counting on you, Marid." You step back from the makeshift bed. >* Oh good, I was wondering that! Comment recorded. >x doctor (Doctor Cavala's signum) A piece of paper signed and sealed by Doctor Cavala. It declares that Servator Marid Orpheia is formally authorized to act in the signatory's stead, and that anyone who disagrees is welcome to take it up with the signatory. "I expect we shall be waiting awhile," Doctor Cavala observes. "How about a game of crucible, Horatio?" "Sure, I guess." Horatio produces a pack of cards and sits opposite Doctor Cavala. >x cavala She's looking at her cards with a cool, unreadable expression. Horatio deals a hand. The players pick up their cards. >x horatio Horatio is contemplating his hand of cards. Doctor Cavala discards a card. "Seven of Discs." >talk to horatio You approach Horatio, and he puts down his cards and grins. "Hey, Marid," he says. 1) "You don't look too good. Did you sleep well last night?" 2) "What do you think of the situation so far?" 3) "I didn't know you played crucible." 4) "See you around, Horatio." >1 "You don't look too good," you say. "Did you sleep well last night?" "Well... no." He rubs his eyes. "I couldn't get any shut-eye in the clinic -- too much calomel in the air. Doctor Cavala slept like a baby, though. I don't know how she does it..." He sighs and looks you over. "To be honest," he says, "you don't look too good yourself. Your tattoos are all in a jumble. I know the doctor has you running errands for her, but -- just watch yourself out there, all right?" "I will," you say. "I promise." 1) "What do you think of the situation so far?" 2) "I didn't know you played crucible." 3) "See you around, Horatio." >* Nice incidental detail that he puts down the cards Comment recorded. 1) "What do you think of the situation so far?" 2) "I didn't know you played crucible." 3) "See you around, Horatio." >2 "I didn't know you played crucible." He shrugs. "I picked it up in the Vigiles. It's a way to pass the time in the late-night watches. Want me to teach you?" You smile. "Thanks, but I'm a bit busy right now. Perhaps another time." 1) "What do you think of the situation so far?" 2) "See you around, Horatio." >1 "What do you think of the situation so far?" Horatio's jaw hardens, and he looks contemplative. "I... I don't really know what to think," he says. "You and Doctor Cavala have been at this for a lot longer than I have. All I know that people seem to be dropping like flies all of a sudden. Doctor Arturus is dead -- even Doctor Cavala's got a ruined leg. How can we fix the problem when we don't even know what's going on?" 1) "See you around, Horatio." >1 "See you around, Horatio." "You too, Marid." You step back, and Horatio returns to his card game. >e (first opening the front door of the clinic) (closing the door behind you) Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight. The white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east. A carriage with drawn blinds trundles past. >s You shuffle through the gap... Crooked Alley A thin, twisting thread that winds between buildings. Rubbish accumulates around pipes and corners, not quite blocking the smoking vents of underground distilleries. You can escape by a gap between buildings to the north or a hanging banner to the northeast. >x vents The south wall of the alley is lined with fume-spewing vents. >put endoscope in vents You can't see much through the smoke. >ne You duck under the banner... Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. "That poor doctor!" you overhear someone in the crowd say. "What is the world coming to?..." >n Condemned Block Here crouch the blackened husks of buildings, now little more than skeletons awaiting demolition. A chained-up gate bars access to the plot. The only remaining path leads south, back to the lights of the Via Terminalis. >s Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. >s Following the Canal Glittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown. A closed manhole is recessed into the footpath. >d The manhole is closed. >s Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >sw VII Layabout Row This rustic little house is one of many that squat here and there along the lane. A pair of scrap-metal sculptures flank the steps to the front door. Beside it is a tarnished old pull-bell, dangling from a rope that has seen better days. You can enter the front door of the house to the west, or return along the walkway to the northeast. >pull rope The bell clatters noisily, but no one answers the door. Perhaps they aren't at home. A fly buzzes past. >ne Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >s Riggertown Mechanistry This building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity. To the north, through a series of raised metal shutters, is the exit. >talk to workers None of them look like they have time for you. >l Riggertown Mechanistry This building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity. To the north, through a series of raised metal shutters, is the exit. >s The exit is to the north. >n Riggertown, Upper Level This is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities. To the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal. >d Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk. Three workmen shuffle past you carrying a coffin. >w One shack among the others catches your attention. You enter cautiously... Reden's Shack This tiny hovel is visibly shabbier than the rest. The roof is uncomfortably low, and the space just a little too cramped to stand in. A pile of bedding dominates the only room, draped in dirty clothing and empty wine bottles. The only exit is to the east. You notice some paper tickets scattered among the wine bottles. >* Hmm, it just catches our eye? Comment recorded. >x roof You don't think whoever lived here got many human visitors. Or many visitors, for that matter. >x bedding It's messy and unmade. >search it You poke through the bedding, but find nothing except more bedding. >x clothing The clothing is crumpled and dirty, but otherwise unmarked. They smell like their owner has been wading around in canal-water. >x bottles The labels denote shoddy liquor, third-pressed or fourth-pressed. It's charitable to call it wine at all. >x tickets Upon closer examination, they appear to be coupons from an establishment called the "Crow's Nest," located in the rooftops of the Shanty Quarter. Five coupons entitle the holder to a free drink and a spin of the "Daemon's Wheel." >take them Taken. >e You emerge from the shack... Riggertown, Lower Level This peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter. You can climb a ladder up to the next level, visit Reden's shack to the west, or cross the canal east by way of Cadaver Walk. >e Cadaver Walk You are on a bridge, if it can be called that: a haphazard assortment of ropes, planks, chains, warning signs, layers upon layers bound up in incomprehensible knots. Below the lines trail where they have snapped and never been repaired, and the Bilious Canal gobbles them up as they descend. Riggertown is to the west, while the Shanty Quarter is to the east. >e You take a deep breath. Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >* Oh goody let's do this again Comment recorded. >u Gangway Rotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky. The Shanty Quarter yawns below. Above you is the public house called the Crow's Nest -- but a fearsome eight-legged bouncer blocks the way. >x ladder That is either not important or not something you can see. >d Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >x ladder Fraying things, held together by lashings and prayers. >u Gangway Rotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky. The Shanty Quarter yawns below. Above you is the public house called the Crow's Nest -- but a fearsome eight-legged bouncer blocks the way. >x beams Old wood, but noticeably reinforced and maintained. >x watchtower That is either not important or not something you can see. >x house At first glance it is haphazardly built. Only on closer inspection do you see the buttresses, the care that has gone into its construction. >x bouncer He is human, though you wouldn't have guessed from his silhouette. He wears cracked welding goggles and the greasy leathers of a mechanist. Below the waist, his legs have been entirely replaced with a roaring pistoning walking-chassis. >talk to him "Hello," you say, rather meekly. The bouncer peers down at you and frowns. He wipes soot from his goggles; he blows on his bandaged fingers. "You don't look like you're from around here," he finally remarks. 1) "What do you mean?" 2) "Neither do you." 3) "I work at Doctor Cavala's clinic." >3 "I work at Doctor Cavala's clinic." He appraises you with a raised eyebrow. "Thought you looked the sort. White jacket. Gloves like a surgeon. You don't ever take those gloves off, do you?" You look at your gloves, and he shakes his head. "I don't know why you'd come down here," he mutters. "People like you don't ever come down here. Not unless there's something you're looking for." 1) "I'm just looking for a drink." 2) "I need to get inside." 3) "I'm investigating a series of deaths..." >3 "I'm investigating a series of deaths," you say. "Some bodies have turned up in the Turris Infinita, all dead of the same affliction. I've been looking around the district for clues, and... and I thought..." The bouncer shakes his head and looks away. He gazes across the spires of the city, rising from the smoke and the water. "Sounds like a bunch of important people died," he says. "I'm sorry to hear that. But this is the Shanty Quarter. People die like flies here, each and every day, and no one gives a damn. Am I supposed to step aside for everyone who's lost someone? "Your heart is in the right place, sweetheart. I don't begrudge you or nothing. But if you're looking to learn something about people that matter... you should look elsewhere." 1) "Doctor Cavala sent me." 2) "Reden came here often, didn't he?" 3) "I'll be back. I'll find something that matters to you." >2 "Reden came here often, didn't he?" There is a shift in the air. The bouncer starts, and looks at you with something approaching incredulity in his eyes. "Reden," he says. "Where did you hear that name?" 1) "He's one of the victims I'm investigating." 2) "I watched him die in Doctor Cavala's clinic." >2 "I watched him die in Doctor Cavala's clinic." The bouncer's voice is arrested. He shakes his head -- his hands ball into fists, exposing knuckles covered with angry scars. "Primes," he whispers. "Reden... I never imagined." 1) "I'm sorry you had to find out this way." 2) "You were close to Reden?" >1 "I'm sorry you had to find out this way." He just shakes his head, his mouth a thin line. He does not reply. 1) "You were close to Reden?" >1 "You were close to Reden?" The bouncer looks at his mechanical legs; he leans heavily on the struts. The cracks in his goggles glint in the cold light. "We were co-workers," he says. "Way back when in the Channelworks. Back before I lost my legs, before everything came tumbling down..." He looks off into the distance. "We were drinking buddies. Him and me and Crow. We all knew each other back in the day -- told jokes, comforted each other when we had a bad run. I don't think he had anyone other than the two of us. "And now he's gone. It's just the two of us left." 1) "Who's Crow?" 2) "There's no one else?" 3) "I'm here because I don't want anyone else to die..." >1 "Who's Crow?" you ask. "Used to be the most cheerful girl on the night shift," he says. "Now... well. People change. Some more than others." 1) "There's no one else?" 2) "I'm here because I don't want anyone else to die..." >1 "There's no one else?" "Not anymore. Not since..." He trails off, and looks up at the clouds. He does not continue. 1) "I'm here because I don't want anyone else to die..." >1 "I'm here because I don't want anyone else to die," you say. "I... I need to find out everything I can about the victims. Please." The bouncer looks at you, and the eyes behind his goggles are dark and tormented. "I don't know," he says. "I don't know anymore." He turns around with a hiss of steam. For the first time, you notice the assembly woven into his spine -- a sprawl of alchemical glyphs and gears, messily sewn together. "You want to get into the Crow's Nest?" he whispers. 1) "Please." 2) "For all our sakes." 3) >3 Your heart hammers in your throat. He takes a deep breath. "Go," he says. "Just go. I'm putting my head on the block for you -- for Reden. Don't make me regret this. Go and find out whatever you can find." "Thank you," you breathe. "I..." "Don't thank me." He shakes his head. "This is for Reden's sake. If I die tomorrow... I can tell him I died making a difference in the end." "I --" "Just go. Please." You don't have to be told twice. With a final lingering look at the bouncer on his perch, you push past him, and onward, upward, into the tavern at the edge of the sky. Crow's Nest There is a strange crooked serenity here, amidst the rags that catch the wind. From discarded blocks and beams have been built tables, landings; odd patrons mingle all around you, engrossed in the late-afternoon murmur. The exit lies below. A disaffected young woman lounges behind the bar, chewing on a stick of gum and idly spinning a rota fortunae with her finger. >* Umm OK that was a little intense for letting me into a bar Comment recorded. >* good dialogue though, peeling back the onion Comment recorded. >x serenity That is either not important or not something you can see. >x rags They're evocative of ancient sailing-ships. Only more ragged. >x tables There's half a method to the madness, as though the builders had followed a half-forgotten blueprint. >x patrons There are the shabby homeless you'd expect from a public house in the Shanty Quarter -- but there are also well-dressed patrons, unfamiliar workmen and work-women. >x woman (the bartender) She's dressed in a disheveled shirt, wearing a hairpin of feathers and bones. >x gum At least you assume it's gum. >x rota "THE DAEMON'S WHEEL. Step up and spin for your fate!" >talk to woman (the bartender) You approach the bartender. She doesn't bother looking up from the countertop. "So," she says. "You got past Webster. Makes me wonder why I hire him at all." 1) "Do you greet all your customers like that?" 2) "Nice to meet you too, Miss..." 3) "I'm here about Reden." >3 "I'm here about Reden." The bartender spits her gum into the bin beside her. She gets up and paces back and forth, hooking her thumbs in the loops of her trousers. "Yeah," she says. "I heard." Her eyes flicker to the device behind the bar, flared like a foghorn. She brushes the sigiled feathers in its bell, sending them fluttering, whispering. "You hear all kinds of things on the wind." 1) "You heard everything?" 2) "Then you know why I'm here." >2 "Then you know why I'm here." "Mm." She uncorks a bottle and mixes a drink, a rich dark rum you can smell from across the bar. She pours out a glass for herself -- then she retrieves another, raises it with a sidelong arch of her brow. "Drink?" she asks. 1) "Please." 2) "I'm fine." 3) "I'm more of a spiced wine person, actually." >1 "Please." She fills another glass and pushes it across the countertop. You take a sip -- it's powerful stuff, warm in your throat all the way down. "I'm impressed," she says. "Not a lot of people around here with the stomach for that." She takes a long swig from her own glass. For a long while she is silent, absorbed in her own thoughts. "Reden," she finally says. "You wanted to know more about him." 1) "I understand he frequented this place." 2) "Were you on good terms with him?" 3) "Could you tell me what he was like?" >3 "Could you tell me... what he was like?" The bartender looks into her glass, and her reflection stares up at her. "Of all of us," she says, "he was the most... detached from the world. I always had the Crow's Nest to keep me busy, even after everything happened. Webster had me to stay in touch. Reden... "I offered him a job, but he never took up the offer. He just stayed here, going through bottles and bottles of cheap wine. "I never had the heart to charge him." 1) "I understand he frequented this place." 2) "Were you on good terms with him?" 3) "Could you tell me more about the Crow's Nest?" >3 "Could you tell me more about the Crow's Nest?" "Oh, it's nothing special." She waves her hand dismissively. "Time was, there was an employee refectory I ran in the Channelworks... I ran the after-dark shift, together with the reception. I served drinks when the commissary wasn't looking. "Now... the surroundings have changed, and my employer's a little less strict. But otherwise it's just like old times." 1) "I understand Reden frequented this place." 2) "Were you on good terms with him? Reden, I mean." 3) "You have a new employer?" >3 "You have a new employer?" The bartender's expression darkens. She takes a swig from her glass. "Yeah," she says. "It wasn't like I had a choice. Place like the Channelworks District, there's only two avenues of employment you have as a bartender. You either work for the Council of Works -- and for people like me, that's off the table -- or you pay your dues to the big fat raven." "The... raven?" "You don't know?" She laughs out loud. "Oh Primes. Someone get me an adult -- you have no idea what you're getting yourself into." 1) "I understand Reden frequented this place." 2) "Were you on good terms with him? Reden, I mean." 3) "Please. I need to know what 'the raven' means." >1 "I understand he frequented this place." "Frequented?" She chuckles. "More like he lived here. Between you and me, I don't think he had anywhere else to go. "His heart, though, was always elsewhere. You could see it in his eyes. He was always thinking back on old history... stuck in the past." 1) "He was stuck in the past?" 2) "Were you on good terms with him?" 3) "Please. I need to know what 'the raven' means." >1 "He was stuck in the past?" She gazes at you intently. "He was. He didn't tell anyone -- wasn't the kind to go on drunken tirades, unlike me --" She looks down and chuckles softly. "But I always saw, when he was a few bottles in, that look in his eyes. He was always thinking, thinking of going back. And then he'd say he was done for the night, and he'd lope off and down the gangway... but I don't think he was ever going home. Not really." 1) "Where do you think he went when he was drunk?" 2) "Were you on good terms with him?" 3) "Please. I need to know what 'the raven' means." >1 "Where do you think he went when he was drunk?" "There's only one place he could have gone," she says quietly. "Back to the past. Back to where it all started. "Back to the Channelworks." There is a silence that settles. You make a mental note of this information. 1) "Were you on good terms with him? Reden, I mean." 2) "Please. I need to know what 'the raven' means." >1 "Were you on good terms with him? Reden, I mean." She shrugs. "I suppose I was. Webster -- he made it sound like we were chums, didn't he? We were, in a way. The three of us, just raging against the unfairness of the world..." She takes another swig. 1) "It sounds like the three of you have history." 2) "Please. I need to know what 'the raven' means." >1 "It sounds like the three of you have history." "That's a mild way to put it." She looks at her painted nails. "The three of us... we built each other. We shaped each other. "On the night shift it was just the three of us in the whole of the Channelworks... we were the whole world to each other back then. Can you imagine? The three of us, kings and queen of the Channelworks? And now... now we're nobody." 1) "What happened with the Channelworks?" 2) "Please. I need to know what 'the raven' means." >1 "What happened with the Channelworks?" She shakes her head. "Everything. It all started there. I... I don't know how I can tell you. "It was late. Webster asked for a whiskey, to keep his bones warm, and I... I just gave it to him. "Next day I heard he'd slipped and walked into the rubbish grinder." "Oh Primes..." She looks into your eyes. "I got found out after that," she says. "The whiskey, I mean. And then Reden took the heat, too, for supplying me. All three of us got handed our letters on that day." It's a while before you can compose your thoughts. "Sorry," the bartender says. "That got dark fast." 1) "Please. I need to know what 'the raven' means." >1 "Please," you say. "I need to know what 'the raven' means." She shakes her head incredulously. "Listen," she says. "I'm only telling you because you'll get yourself killed otherwise. No one, and I mean no one hears about this. Are we clear on that?" "Crystal," you say. She leans in. "The Greater Corindia Trading Company," she breathes. "Great merchant syndicate. All rotten to the core. You don't hear about them because they control what you hear. And the raven... the raven is their symbol. "Got it?" You nod mutely. "Good." She leans back. "If anyone asks, I was flirting with you." "I don't --" "Shush." 1) "That's all the questions I have..." >1 "That's all the questions I have," you say. "Thank you, ma'am --" "Crow." "Thank you, Crow. You've been very helpful." She drains the last of her glass, and runs a hand through her hair. For the first time since you've met her, she does not quite meet your eye. "You know," she whispers, "I still feel numb inside. Maybe it's the rum -- I keep thinking Reden's going to climb up the gangway any moment, asking for a bottle of the Bilious Canal's finest..." She stares at the bottom of her glass. "But we both know that's not going to happen. Isn't it?" 1) "...I know what you mean." 2) "Doctor Cavala and I will get to the bottom of this. I promise." 3) >2 "Doctor Cavala and I will get to the bottom of this. I promise." She looks into your eyes. Her gaze is intense at first, like a sky split by thunder -- then it mists, quivers, and she turns her gaze downward before you can see it falter. "Yeah," she says. "All right." She closes her eyes and a tear runs down her cheek, staining it dark in the light. "I should get back to bartending," she says, very softly. "It... it was nice talking to you." 1) "Goodbye." 2) "I'll leave you to it." >2 "I'll leave you to it." You get up from the bar, conscious of yourself, of the quiet. You wonder if you perhaps shouldn't have asked so many questions -- But it's too late now. Sometimes you must hurt someone before they can truly be healed. Crow's Nest There is a strange crooked serenity here, amidst the rags that catch the wind. From discarded blocks and beams have been built tables, landings; odd patrons mingle all around you, engrossed in the late-afternoon murmur. The exit lies below. Crow sits quietly behind the bar. >d Gangway Rotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky. The Shanty Quarter yawns below. Above you is the public house called the Crow's Nest, watched by the bouncer Webster from his perch. >talk to webster You approach Webster, and he nods at you. "You're back," he says. 1) "I must admit, I'm curious about the legs." 2) "Just passing through." >1 "I must admit," you say, "I'm curious about the legs." "Yeah, I get that a lot." Webster looks down at his walking-chassis. He taps his fingers idly on a steam gauge, watching the readings rise and fall. "I was an engineer way back when," he says. "Studied automataria at the Institute. Ran systematic maintenance at the Channelworks. One day I didn't look where I was walking, and, well... I put my feet somewhere I shouldn't have." 1) "I'm so sorry to hear that." 2) "There weren't any safety measures in place?" >2 "There weren't any safety measures in place?" He grimaces. "Don't remind me. The Council of Works chose to fire me rather than admit their own oversight. On the plus side, that gave me loads of free time -- so I figured my legs were due for an upgrade anyway." 1) "You built them yourself?" 2) "Why eight legs?" 3) "I like your legs." >1 "You built them yourself?" "That I did," replies Webster. "I like to think I'm pretty handy with a hammer. I'd been thinking about a similar project for months... just never imagined I'd be building something for myself to use." 1) "Why eight legs?" 2) "I like your legs." >2 "I like your legs." "Thanks." He inclines his head. "You ever lose a body part, come see me. I'll even let you choose how many limbs you want to walk out with." "Um, thanks," you say. "I'll keep that in mind." 1) "I'll be back." >1 "I'll be back." "Take care. This isn't a place for decent people." You step away from Webster, feeling the beams shift beneath your weight. >d Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >d Rats' Run The Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom. A sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter. Nearby, a dismembered pigeon floats in the water. >x pigeon You take a step closer -- The pigeon's remaining eye snaps open. It twitches madly. It opens its beak as though to cry out. Tendons snap and trail free. Canal-water floods into its mouth -- it sinks bloody beneath the surface of the water -- And it is gone. As though it was never there. >* Umm this really does seem quite bad (both the reanimation, and who goes around dismembering pigeons) Comment recorded. >x canal A black, viscous, spiteful weight. >x residents Here are the homeless and the destitute, the lost and the damned. >x pipe Black water gushes from a grille of broken teeth. >enter pipe Climb into the sewage pipe? You'd rather not. >put endoscope in pipe You don't have time for that. >u Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >save Ok. >e Flophouse This place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol. To the west is the exit. To the south, a passageway leads to the rooms. In the reception office, a nightmarish many-armed creature crouches, and pores obsessively over an assortment of keys. >x walls Brass fixtures have been pried from their housing. Sigils have been vandalized beyond recognition. >x stairs More rubble than stairs. The steps have splintered, and the banisters are long gone. >x bedding Mattresses and rags. >* Oh it's nice there's a reception office in the flophouse Comment recorded. >x office Perhaps it was once a cloakroom, but it's some kind of office now. >x keys Crudely fashioned keys, jangling together on loops of wire. >x monster That is either not important or not something you can see. >x creature There's something deeply unnatural about the way it moves. You have to look away before you get a headache. >talk to it "E-Excuse me?" you say. The creature freezes. It rears up, bringing undulating folds of flesh to bear, and it fixes you with seven unblinking eyes. "I am," it says. "Landlord." A clatter. It has dropped its keys -- it rushes forth like an engulfing wave. Its eyes surround you, press inward. "You are," it breathes. "You are?" 1) 2) "Please get away from me." 3) "My name is Marid. Servator Marid Orpheia." >3 "M-My name is Marid," you stutter. "Serva... Servator Marid Orpheia." "Hmmmmmm." The creature lowers itself close. It inspects your neck. A wriggling presence touches your hair, your ear. Then it withdraws, and collects its keys from the floor. "You are not resident," it says, in a tone that sounds almost disappointed. "You are not key-bearer." 1) "No. I'm not." 2) "Who are the residents?" 3) "What's a key-bearer?" 4) "You operate this establishment?" 5) "Okay... I'll be going now." >3 "What's a key-bearer?" The landlord licks its beak. "Key. Key important. Bearer of key? Key-bearer. Owner of room." 1) "Who are the residents?" 2) "You operate this establishment?" 3) "I'll come back later." >1 "Who are the residents?" The landlord inhales wetly. It peers blinking at the rooms, and gesticulates with its tentacles. "They are residents. Live in flophouse. Key-bearers. They sleep, grow." "Can you tell me who they are?" you ask. "Many residents. Come and go. You wish to know? Landlord will not tell. Secret." 1) "You operate this establishment?" 2) "I'll come back later." >1 "You operate this establishment?" The creature looks at you very intently. "Landlord is landlord," it says. "Landlord." 1) "Landlord?" 2) "I'd like to take a look at your rooms." 3) "I'll come back later." >1 "Landlord?" "Landlord." "Landlord..." "Landlord is landlord." "...Okay." you say. "Okay. You're the landlord. I get the picture." 1) "I'd like to take a look at your rooms." 2) "I'll come back later." >1 "I'd like to take a look at your rooms." The creature spasms. It makes a pendulum-like motion with its foremost tentacle. "Cannot," it says. "No room. All rooms. Occupied. Secret." 1) "Please. I'm investigating a series of deaths." 2) "I'll come back later." >1 "Please. I'm investigating a series of deaths." The landlord brushes your signum away. "No," it repeats. "Cannot. You are not key-bearer." 1) "I'll come back later." >1 "I'll come back later." "See. You soon." The landlord slinks back into the reception office. >s You take a step into the passageway, only to hear a screeching from behind you. A rubbery tentacle snaps tight around your foot. "You," the landlord hisses, its voice crawling on your neck. "Not resident. Not key-bearer. No more steps. No more. Understand?" "I-- I understand," you stutter. "Please don't hurt me." "Show me key. Show me key-teeth. Then... change, reconsider." The creature withdraws. You rub your neck with a trembling hand. >w Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >n Via Mercurii The Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight. To the north is the grand forum, bleak and empty, while to the south the Shanty Quarter begins. >* Well that went incrementally better than last time Comment recorded. >n Grand Forum Aside from the mural of Solphos, this immense paved square is largely deserted. There are no couples, no merchants, no buskers -- nothing except for a chilly breeze that you can feel in your bones. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A funeral procession passes by. >map Please press SPACE to continue. Grand Forum Aside from the mural of Solphos, this immense paved square is largely deserted. There are no couples, no merchants, no buskers -- nothing except for a chilly breeze that you can feel in your bones. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. >w You make your way to the basilica, only to find it closed for an emergency council meeting. You have no choice but to return to the grand forum. >n Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >x black A black banner is traditionally put up when the head of the house has died. >se Miller's Gate Here at district's end, in the searchlights and the shadows, you see the great white arch that opens onto Greater Furopolis and beyond. The carriageways clatter with cabriolets, the airships sway on their tethers, the tram-lines are all aglow; and standing in the crowd, you can't help but feel like a minnow in the sea. To the northwest is the Via Terminalis, and to the west is the grand forum. The Via Regia stretches east from Miller's Gate. >w Grand Forum Aside from the mural of Solphos, this immense paved square is largely deserted. There are no couples, no merchants, no buskers -- nothing except for a chilly breeze that you can feel in your bones. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. A luxury carriage glides past. >n Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >nw Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. >nw Via Terminalis, West Street You are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city. You can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south. >se Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. >d Canalside Steps The mist of the Bilious Canal slicks this cramped and winding stairway, and the rusted railings are battered with white spray. The bustle of the bridge reverberates cascading down the steps until it sinks beneath the dark rushing water. Among the moss and graffiti of the east embankment, a mysterious iron door is set into the stone. >u Via Terminalis Bridge Here the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky. The Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south. A group of fabers walks past, on their way to some great work or other. >se Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >n Channelworks Concourse You stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth. The bridge is currently raised. You can only return south to the rest of the district. >s Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >e (first opening the ornate double doors) (closing the doors behind you) Turris Infinita The atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. You find yourself treading softly, lightly -- as though if you took a wrong step, the whole glass tower would come crashing down. As you enter the foyer, two gargoyles land to your left and right. They move to seize your arms. "I am sorry to inform you that the Turris Infinita is now closed." The porter regards you humorlessly. "There is to be no trespassing -- no idle journalism --" Her lower lip curls. "No gawking." 1) "I'm charmed." 2) "Why is the Turris Infinita closed?" 3) "I'm here on business." >3 "I'm here on business," you say pointedly. She rolls her eyes. "You and every dullard that comes through these doors. Do I look as though I give a whit about your business? Which part of 'no trespassing' do you not comprehend?" 1) "You're being completely unreasonable!" 2) "Doctor Cavala has authorized me..." >2 You hold up the signum. "Doctor Cavala has authorized me to investigate the death of Doctor Arturus in her stead. If you have a problem with that, you can take it up with Doctor Cavala." The porter's gaze falls on the slip of paper in your hand. The corner of her mouth twitches. "Is that so?" she says. "I believe I shall take the matter up with her. Thank you for the kind offer, and do inform the good doctor to arrange a meeting at her earliest convenience. Until then... the gargoyles will escort you to the door." Your face flushes. "You --" A curtain rattles open. Surgical boots click on glass. "What's going on here?" a smoky voice demands. You turn, and a young man with auburn hair is striding purposefully from the arch of Doctor Arturus's clinic. His coat ripples with natron filigree. There is an intensity in his expression, his visage. Your heart skips a beat. "D -- Doctor Justinian," you say. "Marid?" He furrows his brow. "Excubitores! Unhand this woman. She is a guest." The gargoyles release you and vanish into the rafters. The porter looks accusingly at him. "Doctor Justinian," she says. "This is exceedingly irregular --" "Regulations be damned," he replies. "This is my friend, porter. I don't care what she's done. We'll have words about this later." "But --" He holds up a hand, and the porter falls silent. "Good," he says. He turns to you, and his voice loses its edge, grows gentle. "Marid," he says. "I thought you might be coming." 1) "Thanks for that." 2) "It's good to see you, Doctor Justinian." 3) "I wouldn't miss a chance to see you, Doctor Justinian." >2 "I-- It's good to see you," you stutter. "Doctor Justinian." Oh Primes, are you blushing? You're making a fool of yourself-- "It's just Justinian, remember?" He smiles. "Come with me. We can speak more freely in the clinic proper..." * * * Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. But you can't bring yourself to focus on your surroundings -- not when Justinian's hand feels so warm around yours, and demands so much of your attention. You know, intellectually, that it is normal for girls to develop crushes. That doesn't stop you from wanting to bury yourself in a hole right now. Why do you have to be so awkward? Justinian leads you to a coffee table and gestures to one of the armchairs. "Please," he says. "Take a seat." You sit down, and he sits opposite you. His eyes -- those eyes! -- they study you. Troubled. Concerned. "This is about Doctor Arturus's death, I take it?" 1) "I'm so sorry you have to go through this, Justinian." 2) "I can't believe something like this is happening." 3) "Doctor Cavala sent me. We're investigating the disease that killed Doctor Arturus..." >1 "I -- I'm so sorry you have to go through this, Justinian." He lowers his eyes. "I appreciate it, Marid. Doctor Arturus -- I haven't always been on the best of terms with him. But he was like a father to me." 1) "I can't believe something like this is happening." 2) "Doctor Cavala sent me. We're investigating the disease that killed Doctor Arturus..." >1 "I can't believe something like this is happening." "I know what you mean." Justinian shakes his head. "Everything is happening so quickly -- and it's spiraling out of control. I imagine things will only get worse in the coming days..." 1) "Doctor Cavala sent me. We're investigating the disease that killed Doctor Arturus..." >1 "Doctor Cavala sent me," you say. "We're -- we're investigating the disease that killed Doctor Arturus. Now that we three are the only medical professionals in the district, we -- we have to work together. If we're going to get through this." Why are you blushing at a time like this? What is wrong with you? Justinian leans forward and clasps his hands. "Marid," he says. "I wish I could be of more help, but I'm afraid last night took... a toll on me. I don't know what I can provide that you don't already know..." You try to compose your thoughts. 1) "I believe in you, Justinian." 2) "Can you tell me about how you discovered the body?" 3) "Can you tell me anything about Doctor Arturus's patients?" 4) "What are your thoughts on the disease?" 5) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 6) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 I -- You can already feel the blood rising in your cheeks. Justinian -- you -- no. No! You can't say it. You just can't. 1) "Can you tell me about how you discovered the body?" 2) "Can you tell me anything about Doctor Arturus's patients?" 3) "What are your thoughts on the disease?" 4) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 5) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >* haha oh thank god Comment recorded. 1) "Can you tell me about how you discovered the body?" 2) "Can you tell me anything about Doctor Arturus's patients?" 3) "What are your thoughts on the disease?" 4) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 5) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "Can you... can you tell me about how you discovered the body?" He shakes his head. "It's all a blur. Doctor Arturus had cloistered himself in the back of the clinic. I was instructed not to disturb him -- he seemed fine when I left in the evening. It was only when he didn't turn up for work this morning that I thought..." "...You thought something might have happened?" "Exactly." Justinian looks at his hands. "When I called on him in his domicile -- the disease had taken him." 1) "Can you tell me anything about Doctor Arturus's patients?" 2) "What are your thoughts on the disease?" 3) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 4) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "Can you tell me anything about Doctor Arturus's patients?" Justinian's jaw hardens. "I know very little," he says. "Doctor Arturus... even in this clinic, with his aide, he was circumspect about his clients. He never told me anything. Never let me handle any of the administration. It's almost as if he didn't trust me -- but he was always a private man. I'm afraid I can't help you more." 1) "Do you know where the patient records are kept?" 2) "What are your thoughts on the disease?" 3) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 4) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 You squirm in your seat. "Do you know where the patient records are kept?" "Try Doctor Arturus's domicile," he says. "He was obsessed with control. It would be like him to have every record on hand." 1) "What are your thoughts on the disease?" 2) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 3) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "What are your thoughts on... on the disease?" A serious cast comes over Justinian's features, and he pauses before speaking. "I know that it is dangerous, Marid. It has killed so many in mere days -- not even Doctor Arturus was safe, and he was the most cautious man I ever knew. If you plan to investigate this -- you must be careful, Marid. Very careful." 1) "Was Doctor Arturus a cautious man? Doctor Cavala didn't give me that impression." 2) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 3) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "Was Doctor Arturus a cautious man?" you ask. "Doctor Cavala... didn't give me that impression." Justinian looks almost disappointed for a moment, and the look in his eyes breaks your heart. "Doctor Cavala didn't know him like I did," he says, quietly. 1) "There was an attempt on Doctor Cavala's life. Do you have any idea why?" 2) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "There was... there was an attempt on Doctor Cavala's life. Do you have any idea why?" "Hmm?" You relate your recollection of last night's events, and Justinian purses his lips. "I don't know what that's all about," he says. "It sounds like Doctor Cavala is the one you should ask." 1) "I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." >1 "I'll... I'll look around the clinic. Perhaps I'll find something the Vigiles have missed." You stand up a little too anxiously -- no, Marid, you're blowing it -- and then Justinian grabs your wrist and you react in an entirely unladylike fashion but his attention is focused completely on you. "Marid," he says. "J-- Justinian?" "Be careful." His voice is trembling. "I don't want anything to happen to you. If -- if it's too dangerous -- you can just go back to Doctor Cavala. No one will begrudge you for it." His words wrench at your heartstrings. For a moment you have the urge to hug him and forget about everything -- forget about blood, forget about tears, forget about the dying and the dead. But when you close your eyes, you know you'd never forgive yourself. Not for the rest of your life. "I'll be careful," you tell him. "I promise." He reluctantly lets go. You turn and make your way into the frigid light. Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. Yet for all its technical mastery, the space seems somehow empty, somehow melancholy. An arch to the west leads back to the Turris Infinita foyer. A Vigiles examiner and his investigators are huddled around a group of tarpaulin-covered bodies. Beside them, Justinian sits at a coffee table, brooding. >x fixtures Racks of gleaming equipment; gurneys that bristle with instrumentation. But none of them appear to be useful at the moment. >x equipment Racks of gleaming equipment; gurneys that bristle with instrumentation. But none of them appear to be useful at the moment. >x examiner The Vigiles examiner appears to be the one in charge of the team. He looks surprisingly human, if you discount his quivering mustache. >x bodies You can't see much of the bodies beneath the tarpaulins. >talk to examiner You approach the team of Vigiles, signum in hand. The examiner's cilia twitch as he looks you over. "Examiner Velox," he says. "Channelworks Division. And who might you be?" "My name is Servator Marid Orpheia," you reply. "I'm here on behalf of Doctor Cavala. I need to study the bodies so we can develop a cure for the affliction." "The ius medici?" He nods. "Very well, Servator. You may inspect these bodies at your own risk. Do not damage them, however -- we are considering the possibility of quarantine, and they may be used as evidence in the tribunal." 1) "Quarantine?" 2) "Tribunal?" 3) "I'll do my best to avoid damaging the bodies." 4) "I can't promise that I won't damage the bodies..." >1 "Quarantine?" "Indeed." His mustache bristles vigorously. "If there is even a possibility that Doctor Justinian's fears ring true, it is imperative that the spread of the disease be contained -- if not within the Turris, then within the Channelworks District." 1) "The disease isn't confined to the Turris." 2) "You mentioned a tribunal?" 3) "I'll do my best to avoid damaging the bodies." 4) "I can't promise that I won't damage the bodies..." >1 "The disease isn't confined to the Turris." He frowns. "Then the situation is worse than I had imagined. We must quarantine the district in the name of the public good." 1) "You mentioned a tribunal?" 2) "I'll do my best to avoid damaging the bodies." 3) "I can't promise that I won't damage the bodies..." >1 "You mentioned a tribunal?" Examiner Velox flashes his badge. "We are here on behalf of the district councils. At this very moment, a hearing is under way regarding measures to be taken against the disease." 1) "I'll do my best to avoid damaging the bodies." 2) "I can't promise that I won't damage the bodies..." >1 "I'll do my best to avoid damaging the bodies." He nods. "Excellent. To business, then. If you'll follow me..." You follow him to the slab, where he draws back the tarpaulin. You recognize Doctor Arturus, but there are three others: a man dressed in finery, a man built like a fighter, and a reedy young woman. All have black stains around their mouths and eyes. "Here are the four victims of the disease," Examiner Velox says. "We've made some preliminary investigations into their identities. Looking for identification on the bodies, cross-referencing against our records, et cetera..." "What can you tell me?" you ask. "The man on the left is Doctor Arturus -- I see you're already familiar with him. Very good. The one beside him, the well-dressed man, is Creditor Nacarat of the Furopolis Securities Exchange. He's rather well-known in certain circles of society -- has been implicated in some fraud allegations, but nothing concrete." "What about the other two?" "Ah." Examiner Velox furrows his mustache. "They are more of an enigma. They carry no identification; they are not in our records. We believe they were unregistered criminals hiding in the Shanty Quarter. According to our contacts, they match the description of Sal and Piper, a villainous duo of some notoriety. They were underworld enforcers, and not particularly well liked." You consider the facts laid before you. 1) "The victims all died of the same disease?" 2) "Regarding Doctor Arturus..." 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >1 "The victims all died of the same disease?" Examiner Velox shrugs. "Like you, we cannot damage the bodies, making any detailed examination impossible. It seems clear, however, that these deaths were all caused by the same affliction of the blood." 1) "Regarding Doctor Arturus..." 2) "Regarding Creditor Nacarat..." 3) "Regarding Sal and Piper..." 4) "I'll keep investigating." >1 "Regarding Doctor Arturus..." 1) "You're certain about his identity?" 2) "What was the state his body was found in?" 3) "What was the time of death?" 4) "Is there anything I should be aware of?" 5) "Regarding Creditor Nacarat..." 6) "Regarding Sal and Piper..." 7) "I'll keep investigating." >1 "You're certain about his identity?" Examiner Velox's mustache wriggles. "You and Doctor Justinian have both identified the body. We have detected no illusions, if that is what you are asking. The body on the slab is, without a doubt, that of Doctor Arturus." 1) "What was the state his body was found in?" 2) "What was the time of death?" 3) "Is there anything I should be aware of?" 4) "Regarding Creditor Nacarat..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >1 "What was the state his body was found in?" "Doctor Justinian notified the Vigiles at five in the morning," Examiner Velox replies. "When we arrived at quarter-past five, we found Doctor Arturus's body already laid out here on the slab. Doctor Justinian testified that he had found Doctor Arturus motionless in his domicile, and moved him here in an attempt to revive him." 1) "What was the time of death?" 2) "Is there anything I should be aware of?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >* I thought justinian said he investigated when Arturus didn't show up for work? That's quite the early shift Comment recorded. 1) "What was the time of death?" 2) "Is there anything I should be aware of?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >1 "What was the time of death?" His mustache squirms. "The varying temperatures in the Turris Infinita make the precise time difficult to ascertain. Complicating matters is the fact that Doctor Justinian moved the body, interfering with the natural processes of rigor mortis and livor mortis. All we can gather is that he died last night -- sometime between eight and twelve hours ago." 1) "What was the state his body was found in, again?" 2) "Is there anything I should be aware of?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >1 "What was the state his body was found in, again?" "Doctor Justinian notified the Vigiles at five in the morning," Examiner Velox replies. "When we arrived at quarter-past five, we found Doctor Arturus's body already laid out here on the slab. Doctor Justinian testified that he had found Doctor Arturus motionless in his domicile, and moved him here in an attempt to revive him." 1) "What was the time of death, again?" 2) "Is there anything I should be aware of?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >2 "Is there anything I should be aware of?" "We believe that he was infected through his gloves," Examiner Velox replies. "They are stained with black effluvium both within and without. If you are concerned with the method of transmission, you might examine them further." Through his gloves? That shouldn't be possible... 1) "What was the state his body was found in, again?" 2) "What was the time of death, again?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >3 "Regarding Creditor Nacarat..." 1) "Who was he again?" 2) "What was the time of death?" 3) "What do you know about the circumstances of his death?" 4) "Is there anything I should be aware of?" 5) "Regarding Doctor Arturus..." 6) "Regarding Sal and Piper..." 7) "I'll keep investigating." >1 "Who was he again?" "Creditor Nacarat was a businessman with the Furopolis Securities Exchange," the examiner says. "We are acquainted with him from investigating allegations of fraud." 1) "What was the time of death?" 2) "What do you know about the circumstances of his death?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >1 "What was the time of death?" "By my estimation," he replies, "and assuming his body has remained in the clinic the whole time -- he died a little over thirty hours ago, on the night of the Third." The night Reden died, you mentally append. 1) "Who was he again?" 2) "What do you know about the circumstances of his death?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >2 "What do you know about the circumstances of his death?" He shrugs. "Creditor Nacarat was a patient here before he died. All the signs suggest he died here, together with Sal and Piper." 1) "Who was he again?" 2) "What was the time of death, again?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >5 "Regarding Sal and Piper..." 1) "Who were they again?" 2) "What were the times of death?" 3) "What do you know about the circumstances of their deaths?" 4) "Is there anything I should be aware of?" 5) "Regarding Doctor Arturus..." 6) "Regarding Creditor Nacarat..." 7) "I'll keep investigating." >1 "Who were they again?" "We believe Sal and Piper to have been criminals operating out of the Shanty Quarter," he replies. "They were notorious underworld enforcers, according to our contacts." 1) "What were the times of death?" 2) "What do you know about the circumstances of their deaths?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Creditor Nacarat..." 6) "I'll keep investigating." >1 "What were the times of death?" "Both of them died around the same time," Examiner Velox replies, "though the precise time is uncertain. I am given to believe that they died around the same time as Creditor Nacarat -- around thirty hours ago, on the night of the Third." 1) "Who were they again?" 2) "What do you know about the circumstances of their deaths?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Creditor Nacarat..." 6) "I'll keep investigating." >2 "What do you know about the circumstances of their deaths?" "As they were patients in the clinic," he replies, "they likely died here, together with Creditor Nacarat. The signs they exhibit corroborate that." 1) "Who were they again?" 2) "What were the times of death, again?" 3) "Is there anything I should be aware of?" 4) "Regarding Doctor Arturus..." 5) "Regarding Creditor Nacarat..." 6) "I'll keep investigating." >6 "I'll keep investigating." "Very well. I will be here if you have any further questions." You step back, and Examiner Velox returns to his work. >x arturus You approach the body. The first time you saw Doctor Arturus's face was in De historia medica, your first-year medical textbook. You still remember it -- sharp, black and white, with a jaw like a the edge of a knife. You were nervous, when you moved to the Channelworks District, to meet the famed pathologist in the flesh. But the man who you met that day was smaller, somehow. His features, so arresting in his youth, had crinkled under the burden of years. He did not look you in the eye when he shook your hand. "His time is past," Doctor Cavala had said, afterwards. "He hardly practices these days..." The body laid before you is gaunt, almost pitiful. The sleeves of his natron coat are completely soaked in eerie black stains. His glasses are stained opaque, and his mouth is frozen open in horror. You could examine Doctor Arturus's head, his torso, his arms, or his legs. >x glasses Black blood covers his glasses. >* eek Comment recorded. >x legs Doctor Arturus is wearing formal trousers and rubber boots -- relatively dignified, in comparison with the rest of his body. >remove boots (your clothes)You'd rather remain in proper attire. >* ooops Comment recorded. >x torso The doctor is a thin man, shrunken with age. His natron coat is of that old-fashioned button-up sort you see in laterna magica pictures. Your eyes are drawn to his ruined sleeves, which cling to his skin like grotesque pelagic rays. >x arturus's coat You'd think those were inkstains if you didn't know better. >x sleeves Doctor Arturus's sleeves are streaked with black blood. Like a living thing, it seems to have oozed up from his hands, twisting and squirming and crawling up his forearms. His gloves are almost completely black. But something's not right here. If his gloves were the rubber-natron surgical standard, like yours are, skin contact shouldn't have been possible. You should take a closer look. >x head Death has not been kind to Doctor Arturus. The black blood from his eyes and mouth has seeped into his wrinkles, crisscrossing his face with a spiderweb of decay. His mouth is wide open. It occurs to you that you could put your endoscope in and look around inside. >x gloves You get a loupe and a pair of tweezers, and carefully -- very carefully -- you inspect Doctor Arturus's bloodstained gloves. Your heart hammers in your ears. Your breath condenses on the tarpaulins. There! Is that -- Nothing. There's nothing at all. The gloves are perfectly sealed. Brand new, in fact -- if you brush away the blood, you can see the sigils glowing softly on the rubber. That means there are two possibilities. Either this disease can somehow be transmitted through an alchemically-sealed waterproof barrier -- which is in defiance of everything you learned in school, and besides you and Doctor Cavala are still alive, so that can't be right -- Or there's something else at work here. Something more insidious. You carefully decontaminate the equipment you borrowed and return it to the clinic. You're going to have to keep investigating. >put endoscope in arturus You insert the endoscope into Doctor Arturus's mouth... Mouth A cavern ringed with tombstones. The cavity glistens black -- the capillaries are visible behind the membranes, diseased and withered and creeping. It is almost impossible to distinguish blood from shadow. Light streams in from outside. The pharynx lies further in. >* oh wow Comment recorded. >x tombstones At this scale, Doctor Arturus's teeth are colossal bone plinths. >x capillaries The walls are streaked ebon where the diseased blood has set. >x blood The walls are streaked ebon where the diseased blood has set. >x shadow The walls are streaked ebon where the diseased blood has set. >in You descend... Pharynx A tunnel splitting, twisting darkly. Fleshy folds press inward, tight bundles of muscle and cartilage frozen in black ivy. The esophagus is blocked by the epiglottis. You can only descend through the larynx. >x folds The scutiform cartilage. The smuggler's fossa. The ventricular folds. >x black The scutiform cartilage. The smuggler's fossa. The ventricular folds. >x epiglottis The epiglottis is frozen in rigor mortis, and will not move. >d You descend... Trachea It is almost completely dark, save the small ring of light from your lens. Your world is a hollow pit with no beginning and no end. Below are the lungs. >d You descend... Lungs The terminus of the respiratory system. A thousand dead ends, holes, alveoli -- they greet you like blood-choked eye sockets. Something is wrong here. The pattern of decay isn't consistent with an airborne pathogen. If the disease were transmitted by air or aether, it would attack from the alveoli inward. Here, it looks like the infection spread outward, from the blood vessels into the lungs. Further on, you see the cast-off tethers of Doctor Arturus's animus still lingering in the aetheric weave. But the skeins are fragmented, somehow. Different from the textbooks. >* seems bad Comment recorded. >x alveoli Black blood has burst from the capillaries, choking the airways. >x tethers The animus, colloquially known as the soul, is bound to a person's body by aetheric skeins. When the body dies, the skeins are loosened, and the animus drifts apart from the corpus. Every first-year medical student knows that. Here, the animic skeins were not loosened. They were ripped apart. You can see auroral fragments flickering in the halo of your lens-light. They shine weakly, painfully, unable to fade away. What are you looking at here? What kind of disease attacks the soul? (Type >out to end the endoscopy.) (You think you've learned all you can from Doctor Arturus's body. You should look for more clues elsewhere.) >out You withdraw upward... You clean the endoscope and put it in your pocket. Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. An arch to the west leads back to the Turris Infinita foyer. Examiner Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding. >x nacarat There is a certain poise surrounding this man, even in death. His facial hair is immaculately trimmed; his features are not diminished by the black trails that stain them. But something in his bearing sends a shiver up your spine, something that is cold and callous and utterly without sympathy. You could examine Creditor Nacarat's head, his torso, his arms, or his legs. >x head Like you, he bears tattoos on his face, but his are in the mode of the Austri rather than the alchemical. Alongside, his pearl earrings catch the light -- his face is framed in pale off-white. Blood runs from his open mouth. It occurs to you that you could put your endoscope in and look around inside. >x tattoos The Austri believed in spirits. In time, they were proven right. >x earrings They strike you as slightly ostentatious. >x torso The creditor's jacket is dark, embellished with buttons of brass and mother-of-pearl. There are black stains here and there, where blood has run down from his chin and seeped into the fabric. The jacket has been partially undone, revealing a quicksilver glyph embroidered in the lining. >x glyph It appears to be a glyph of recording. Although it has suffered partial bloodstain damage, it still appears to be functional. You could listen to it if you wanted. >x arms He wears the smooth black gloves of a businessman. Decorative gilding plays across the back of each hand, surrounding the faint molded silhouette of a raven. >* a raven you say Comment recorded. >x gloves He wears the smooth black gloves of a businessman. Decorative gilding plays across the back of each hand, surrounding the faint molded silhouette of a raven. >x legs Elegant pin-striped trousers. There appear to be some items in his pockets. >x pockets Most of the things in Creditor Nacarat's pockets are detritus, but that black pocketbook looks interesting. >x pocketbook It appears to be a coded record of business transactions. Of particular interest is the last chronological entry, which records a significant sum made out to "S&P". Strange. You don't know any company in the Channelworks District with those initials. Unless... The fact that Sal and Piper have those initials can't be a coincidence. Can it? >g It appears to be a coded record of business transactions. Of particular interest is the last chronological entry, which records a significant sum made out to "S&P". >l Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. An arch to the west leads back to the Turris Infinita foyer. Examiner Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding. >x glyph It appears to be a glyph of recording. Although it has suffered partial bloodstain damage, it still appears to be functional. You could listen to it if you wanted. >listen to glyph "Sonate," you say. The glyph flickers aglow, coursing with stained quicksilver, and the inscription begins to revolve around the index. "--for your hospitality, Doctor," a bass voice crackles. "I hope you will consider what I have said." There is noise for a few seconds -- a clink that sounds like porcelain or glass. An inhalation. The crash of shards shattering. "Creditor?" you hear Doctor Arturus's voice echo. "Are you feeling quite all right? Perhaps we should --" The words are drowned out by coughing. You hear the sound of friction on fabric, growing louder and louder. The recording cuts out. The glyph returns to its resting state. It sounds like Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged. >put scope in nacarat You insert the endoscope into Creditor Nacarat's mouth... Mouth The tongue is a diseased behemoth. It wallows in a pool of dark dried blood, broken by stained folds and bleached teeth. On the tip a piercing has become infected, revealing the ragged holes at either side. Light streams in from outside. The pharynx lies further in. >x tongue Withered within and without. >x folds The shadows are opaque. >x teach That is either not important or not something you can see. >x teeth Markers in a sunless sea. There are white trails where his tooth-powder has melted. >x piercing Blood leaks beneath the engraved orichalcum. >x powder Markers in a sunless sea. There are white trails where his tooth-powder has melted. >x orichalcum Blood leaks beneath the engraved orichalcum. >take it You can only examine it. >d You descend... Pharynx This grotto is barely recognizable. Flesh has corroded, sloughed from cartilage. The throat weeps with the ruins of ruptured blood vessels. The epiglottis blocks the larynx. You can only descend into the esophagus. >* eek, that extra day makes a difference Comment recorded. >x cartilage Something terrible has happened here. >d You descend... Esophagus You hang between sphincters, slashed apart and seized with rigor mortis. The walls, flickering in your unsteady lens-light, run with black streaks into the yawning darkness. The stomach lies beneath. >x sphincters Rings of decaying muscle. >d You descend... Stomach The stain of disease is everywhere. The humidity is almost palpable. The pylorus is stopped -- a glistening black expanse rises in the light, residual bile and vitriolic secretions unable to drain into the small intestine. There are things drifting lazily in the body-of-stomach. You can see festering tumors that have crawled up the stomach lining, embedded themselves in the mucosa, insinuated themselves into the circulatory system. And from them, sickly veins crawl outward, each a deadly trail that points back to the heart. There is no doubt. This stomach -- this spawning pit -- this must have been the origin of Creditor Nacarat's infection. But what does that imply? Was the disease in something the man ingested? Was it something he ate, something he drank? There's too little evidence. You have to keep investigating. (You think you've learned all you can from Creditor Nacarat's body. You should look for more clues elsewhere.) >l Stomach The stain of disease is everywhere. The humidity is almost palpable. The pylorus is stopped -- a glistening black expanse rises in the light, residual bile and vitriolic secretions unable to drain into the small intestine. There are things drifting lazily in the body-of-stomach. You can see festering tumors that have crawled up the stomach lining, embedded themselves in the mucosa, insinuated themselves into the circulatory system. And from them, sickly veins crawl outward, each a deadly trail that points back to the heart. >x things You'll have to specify which one. >x pylorus Nothing of it is visible beneath the pool of vitriol. >x tumors You have the urge to throw up just looking at them. >x veins You have the urge to throw up just looking at them. >x heart That is either not important or not something you can see. >x intestine Nothing of it is visible beneath the pool of vitriol. >x vitriol Unidentifiable boli drift across the pool's surface. >out You withdraw upward... You clean the endoscope and put it in your pocket. Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. An arch to the west leads back to the Turris Infinita foyer. Examiner Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding. >x sal The man on the slab is muscle-bound -- built like a gray longhorn, with a countenance to match. His coat has the whiff of sweat and blood. It does not quite conceal the scars that split his knuckles, nor the black lines that crisscross his chest. You could examine Sal's head, his torso, his arms, or his legs. >x coat It's a crinkly brown, with unprepossessing stains splashed here and there. You notice a bit of metal glinting in his coat pocket. >x scars Once, these would have been red. Now they are black and diseased. >x lines Once, these would have been red. Now they are black and diseased. >x metal You draw back the leather, revealing a pair of knuckle-dusters. Wicked-looking implements, with holes for the fingers, and grim stains surrounding the pointed nubs. Weapons like these aren't uncommon in the Channelworks District. Even Horatio used to own a set. One can't be too careful living and working in the less-frequented parts of the city. But you don't often see a knuckle-duster with a raven engraved in place of the manufacturer's logo. That's the second time you've seen that raven symbol today. Is it connected to these deaths somehow? Perhaps someone will know something about the symbol's significance. >* Ooops, sequence-broke a bit Comment recorded. >x head His skull is monstrous and chiseled. His eyes bleed, glisten, like orbs of bloodshot onyx. But beneath the brutishness so prominent in his features, there is an indescribable and all-too-familiar sadness. His mouth is closed. An endoscopy will not be possible here. >x torso If Sal wasn't a canal-man, he had the dress sense of one. His work coat is an intimidating leather mass that could stop knife blades, and looks like it has. Beneath is an unbuttoned shirt, revealing a mass of savage black scars. There is a set of knuckle-dusters in his coat pocket. >take dusters The knuckle-dusters are evidence. You should leave them for the Vigiles investigators. >x arms The sleeves of his coat are partially rolled up, revealing forearms like barrels. You can see diseased veins, deformed black things that weave and wither under the skin. >x legs Tough trousers and work boots. There are clumps of grime encrusted in his soles, and other things that you don't really want to dwell on. Hanging from Sal's belt is a battered keyring. >x keyring A loop of steel wire. It holds a pair of crudely fashioned keys, the sort used in old buildings and cheap locks. You wonder if Examiner Velox will allow you to borrow it. >* hello Comment recorded. >take keyring You glance at Examiner Velox. "There's a keyring on Sal's body. Do you mind if I borrow it for a while?" "Well --" His mustache wriggles. "You are not officially permitted, Servator, but if you believe it will further your investigation... let us agree that my attention is divided, focused elsewhere. Just be sure to return it to the basilica when you are finished." "I will," you reply. "Thank you." You pocket the keyring. (You think you've learned all you can from Sal's body. You should look for more clues elsewhere.) >x piper A tall, thin specimen of a woman with arms and legs like sea-stilts. Of all the patients, her posture is the most contorted, as though her body had convulsed in the hour of death: she is a broken marionette, loosed from its strings and cast aside. You could examine Piper's head, her torso, her arms, or her legs. >x head A dark thin face with dark thin hair. Her lips are colorless, foul with trails of long-dried ichor; her eyes, glassy and expressionless, are buried in black rings of decay. Her mouth is slightly parted. It occurs to you that you could put your endoscope in and look around inside. >x arms Her arms are surprisingly toned, beneath the concealing folds of her jacket. There are calluses on her hands, clumps of dirt under her fingernails. >x jacket This jacket was either stolen or poorly tailored. Possibly both. You notice a square, flat outline in one of the jacket pockets. >x outline A folded scrap of paper. Further investigation reveals it to be a list of names followed by -- numbers? Prices? Sums of money. You recognize some of the names on here, too -- you've bought your groceries, or your clothes, from these people in the past. All of the names have check marks beside them. Some of them are crossed out. Has Piper been collecting debts? You reach the end of the page, and turn it over only to find the reverse side blank. Only... hold on a second. The front of the paper was slightly yellowed, but this side is completely white. It looks almost -- almost bleached. Yes. It's not just your imagination. The texture is different. The stains have been removed. The reverse side of the paper wasn't blank. Someone blanked it. >take paper The name list is evidence. You should leave it for the Vigiles investigators. >x torso Piper's clothes are muted and loosely fitted. She wears a cut-off frock, and above it a watchwoman's jacket with unidentifiable stains along the flaps. She would have been difficult to pick out in a working crowd -- or in a dark alley. The list of names you found is in one of her jacket pockets. >x legs Piper wears jackboots and a tattered half slip, leaving her thighs mostly exposed. Close to the pelvis, you can see ink-black blood vessels running perversely beneath the skin. You notice an inconspicuous leather strap around her right thigh. >x strap The strap looks like it can be opened. >open it You draw back the false lining, revealing a set of throwing knives. >x knives On the hilt of each knife is embossed the symbol of a raven. >put scope in piper You insert the endoscope into Piper's mouth... Mouth It is dark. What little light filters through the lips is absorbed by countless black ulcers, each an eruption of effluvium and contagion. Between them run stains on a stained tongue, and capillaries that have shriveled and died. The light leads out. The pharynx leads in. >x ulcers You are acutely aware of your own mouth. >x tongue It's utterly black. >d You descend... Pharynx Dead flesh constricts you. Muscles seized by rigor mortis impede your entry, distended as though in a perpetual scream. The walls stain the endoscope lenses. The epiglottis blocks the larynx. You can only descend into the esophagus. >x flesh Masses like black bezoars. >x muscles Masses like black bezoars. >d You descend... Esophagus A well without an end. You stare into a palpable darkness that goes on and on, a purgatory of black branches and devouring rings. The stomach is beneath. >d You descend... Stomach A flooded cavern. You hang terrifyingly over a pitch-dark expanse of undigested bile. The stomach walls are ruptured and lacerated and pockmarked with ulcers that leer evilly in your lens-light. And in the center of it all there is a mass, an island in the body-of-stomach. Sickening boli that have clumped together and extended their tendrils into the surrounding vitriol and flesh -- infected the bloodstream. These are the things that killed Piper. These -- these things -- they must have grown inside her stomach. They must have destroyed her from the inside. Not a comforting thought. It raises more questions than it answers. (You think you've learned all you can from Piper's body. You should look for more clues elsewhere.) >x bile Acid. Mucus. Chyme. >x walls Layers of flesh have been flayed away. >x ulcers Layers of flesh have been flayed away. >x mass You hope it's your hands that are trembling, and not the mass. >x tendrils You hope it's your hands that are trembling, and not the mass. >out You withdraw upward... You clean the endoscope and put it in your pocket. Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. An arch to the west leads back to the Turris Infinita foyer. Examiner Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a battered keyring, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x notes That is either not important or not something you can see. >x note It's the scrap of paper the censor gave you. It reads: Home address: VII Layabout Row, Upper Riggertown Employment address: Riggertown Mechanistry, Upper Riggertown >talk to examiner You approach the team of Vigiles, and Examiner Velox looks up from the bodies. "Servator," he says. "What can I do for you?" 1) "Does a raven mean anything to you?" 2) "Regarding Doctor Arturus..." 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "Nothing, never mind." >1 "Does a raven mean anything to you?" The examiner raises an eyebrow. "It does, now that you mention it. The raven is one of the symbols of the Greater Corindia Trading Company -- it's a criminal syndicate, one of the biggest in Furopolis. If some of these people had been involved..." That can't be good. You make a mental note of the connection. 1) "Regarding Doctor Arturus..." 2) "Regarding Creditor Nacarat..." 3) "Regarding Sal and Piper..." 4) "I'll keep investigating." >* Oh that's easy enough then Comment recorded. 1) "Regarding Doctor Arturus..." 2) "Regarding Creditor Nacarat..." 3) "Regarding Sal and Piper..." 4) "I'll keep investigating." >1 "Regarding Doctor Arturus..." 1) "What was the state his body was found in, again?" 2) "What was the time of death, again?" 3) "Is there anything I should be aware of, again?" 4) "Regarding Creditor Nacarat..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >3 "Is there anything I should be aware of, again?" "We believe that he was infected through his gloves," Examiner Velox replies. "They are stained with black effluvium both within and without. If you are concerned with the method of transmission, you might examine them further." 1) "What was the state his body was found in, again?" 2) "What was the time of death, again?" 3) "Regarding Creditor Nacarat..." 4) "Regarding Sal and Piper..." 5) "I'll keep investigating." >3 "Regarding Creditor Nacarat..." 1) "Who was he again?" 2) "What was the time of death, again?" 3) "What do you know about the circumstances of his death, again?" 4) "Is there anything I should be aware of?" 5) "Regarding Doctor Arturus..." 6) "Regarding Sal and Piper..." 7) "I'll keep investigating." >6 "Regarding Sal and Piper..." 1) "Who were they again?" 2) "What were the times of death, again?" 3) "What do you know about the circumstances of their deaths, again?" 4) "Is there anything I should be aware of?" 5) "Regarding Doctor Arturus..." 6) "Regarding Creditor Nacarat..." 7) "I'll keep investigating." >7 "I'll keep investigating." "Very well. I will be here if you have any further questions." You step back, and Examiner Velox returns to his work. >talk to justinian Justinian brightens up as you approach him. "Marid," he says. 1) "Where are the patient records, again?" 2) "Can you tell me again about how you discovered the body?" 3) "What are your thoughts on the disease again?" 4) "The Vigiles told me that you moved Doctor Arturus's body." 5) "Nothing, never mind!" >1 "Where are the patient records, again?" "Try Doctor Arturus's domicile," he replies. 1) "Can you tell me again about how you discovered the body?" 2) "What are your thoughts on the disease again?" 3) "The Vigiles told me that you moved Doctor Arturus's body." 4) "I'll keep investigating." >3 "The -- The Vigiles told me that you moved Doctor Arturus's body." Justinian looks down. "I thought -- I believed he was unconscious at first. I thought he could have been revived..." 1) "Where are the patient records, again?" 2) "Can you tell me again about how you discovered the body?" 3) "What are your thoughts on the disease again?" 4) "I'll keep investigating." >2 "Can you tell me again about... about how you discovered the body?" He closes his eyes. "Doctor Arturus had cloistered himself in the back -- he had instructed me not to disturb him. When I left him in the evening, he seemed his usual self... but when I called on him this morning, he was already dead in his domicile." 1) "Where are the patient records, again?" 2) "What are your thoughts on the disease again?" 3) "I'll keep investigating." >2 "What are your thoughts on the disease, again?" Justinian shakes his head. "I don't have any more idea than you do. Even Doctor Arturus was at a loss, and he was one of the most renowned pathologists in the region." 1) "Where are the patient records, again?" 2) "Can you tell me again about how you discovered the body?" 3) "I'll keep investigating." >1 "Where are the patient records, again?" "Try Doctor Arturus's domicile," he replies. 1) "Can you tell me again about how you discovered the body?" 2) "What are your thoughts on the disease again?" 3) "I'll keep investigating." >3 "I'll keep investigating." He nods. "Be careful, Marid." You scurry away before you start blushing. >w A chill washes over you as you step through the arch. Turris Infinita The atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. A hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west. The porter is silent at her desk. >talk to porter There's nothing to be gained in talking to her further. >* I mean I could gloat Comment recorded. >u The lift bears you upward. Arturus's Domicile This suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history. A study lies to the north. The hydraulic lift leads back down to the foyer. By the frosted-glass windows, a coffee table has been set for three. >save Ok. >x lognues That is either not important or not something you can see. >oops longues Long, intimidating chairs of brass and leather. >x mantelpieces Arrayed on the mantelpieces are photographic impressions, trinkets, and other mementos. Here is a painting of Doctor Arturus in his youth; there, an antique cast-iron scalpel, and a reliquary containing a shard of lapis lazuli. >x reliquary Genuine lapis lazuli, not alchemically transmuted. >x antique It's hard to imagine surgeons once used these. >x portrait That is either not important or not something you can see. >x painting You recognize the illustration from your textbooks. >x windows The sky masses with stormclouds. >x table A dark wooden table set with linen and porcelain. There is a serving platter of crackers and cheese, barely touched; surrounding it, there are three smaller plates, two of which are accompanied by wineglasses. The third wineglass is nowhere to be seen. >x platter It has some crackers and cheese on it. >x cheese Water crackers and sharp cheese slices. >* good taste Comment recorded. >x glasses The wineglasses still contain traces of red wine. >smell glasses You smell nothing strange from the leftover stains. >* Hmm Comment recorded. >smell cheese You smell the sharpness of the cheese. >smell crackers You smell the sharpness of the cheese. >l Arturus's Domicile This suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history. A study lies to the north. The hydraulic lift leads back down to the foyer. By the frosted-glass windows, a coffee table has been set for three. >x linen A dark wooden table set with linen and porcelain. There is a serving platter of crackers and cheese, barely touched; surrounding it, there are three smaller plates, two of which are accompanied by wineglasses. >look under table There is nothing under the table, not even dust. >eat cheese After a careful look-over, you sneak a bite. Not bad, but it would go better with wine. >drink wine You tilt one of the glasses experimentally, but there isn't enough wine left to form even a drop. >n Arturus's Study A chamber decked with aging bookcases and dusty plaques. The frieze that circles the walls is engraved with scenes from antiquity, lines in the lingua libria; by the exit to the south, a clock ticks the minutes and seconds away. A rosewood desk stands in the heart of the room. Beside it, there is a storage cabinet. >x bookcases Doctor Arturus has a small collection of antique medical texts. >x texts Mostly outdated, but they have historical value. >x plaques Various awards and certificates. >x frieze The wood has been painstakingly carved and sigiled. You could examine the scenes or lines further if you wished. >x scenes One scene depicts Pharmacos discovering the humors. Another shows Merula and Collis treating refugees during the Corindian Civil War. >x lines (the lines in the lingua libria) Nascentes morimur finisque ab origine pendet. "When we are born we die; our end is but the pendant of our beginning." >* my high-school's motto! (just the last bit) Comment recorded. >x pharmacos Pharmacos the Wise was the first to name the four humors of the body. >x merula The two lovers would eventually found the Physicians' College. >x clock A pendulum clock. Its arm sways to and fro, never quite finding rest. >x desk The desk is drenched with tobacco, stained with ink, and weathered by decades of use. It curves around a high-backed armchair, piled with stationery and never-finished drafts. At the end of the table sits a correspondence machine, accompanied by its box of ticker-tape reels. >x chair It looks to be very old, and not very comfortable. >x papers Some paper tickets you found in Reden's shack. Five coupons entitle the holder to a free drink at the Crow's Nest, as well as a spin of the "Daemon's Wheel." >x stationery A pen and inkpot have been set out, as though Doctor Arturus had been midway through writing something. >x drafts You guess that these were addressed to Doctor Arturus's friends once. But the ink has dried on unfinished sentences, leaving the drafts cryptic, without resolution. >x machine A complex alchemical-mechanical device. It purports to receive and transmit messages through the aether without the need for magical training. The machine consists of a dial, a keyboard, a feed wheel, and a letterpress. Next to the dial, there are three indicator lamps, of which the first and second are lit. There is also a box of ticker-tape reels beside the machine. >x lamps Each of the lamps seems to be associated with one of the channels on the dial. Currently, the first and second indicator lamps are lit. >x dial It looks as though this machine operates on one of three predefined frequencies. You could set the dial to channel 1, 2, or 3. The dial is currently set to channel 3. >x keyboard It looks like a grand piano with letters and numbers printed on the keys. Unfortunately, only the playback key at the end of the keyboard appears to be functional. >b feed That object or command isn't available. >x feed A revolving wheel with a track on the outer rim. It looks like something is meant to be placed inside. >x press A grid of metal punches, each cast in the shape of a letter or number. They are mounted on a crankshaft that allows them to rapidly piston up and down. >x reels You could take a reel if you wanted. >take reel You fish out a reel of ticker tape. >put reel on feed (the ticker-tape reel on the feed wheel) You thread the ticker tape into the feed wheel, which it fits perfectly. >set dial to one You set the dial to channel 1. >push playback The first lamp starts blinking and the feed wheel begins to spin. The ticker tape is rapidly run through the letterpress, which punches out the following message: RAVEN REMINDS TO SETTLE DEBT SOON Debt? Was Doctor Arturus in debt? And the raven -- does that mean the Greater Corindia Trading Company was involved, too? >* I mean sure seems like Comment recorded. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a battered keyring, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >take feed That seems to be a part of the correspondence machine. >take reel (the ticker-tape reel) Taken. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a ticker-tape reel, a battered keyring, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x reel (the ticker-tape reel) A thin paper strip. You took it from the box beside the correspondence machine. >put reel in feed (the ticker-tape reel in the feed wheel) You thread the ticker tape into the feed wheel, which it fits perfectly. >turn dial to 2 You set the dial to channel 2. >push playback The second lamp starts blinking and the feed wheel begins to spin. The ticker tape is rapidly run through the letterpress, which punches out the following message: ENCOUNTERED FATAL UNKNOWN DISEASE SYMPTOMS BLACK BLOOD RESPIRATORY ATTACKS COME DOWN ASAP RGDS CAVALA >l Arturus's Study A chamber decked with aging bookcases and dusty plaques. The frieze that circles the walls is engraved with scenes from antiquity, lines in the lingua libria; by the exit to the south, a clock ticks the minutes and seconds away. A rosewood desk stands in the heart of the room. Beside it, there is a storage cabinet. >x cabinet Silver-inlaid casework. The cabinet is currently closed. >open it You open the storage cabinet, revealing a stack of leatherbound files. >x files Upon closer examination, they appear to be patient records. The three most recently updated files are labeled 'Nacarat,' 'Salio,' and 'Piper.' >x nacarat The patient record for Creditor Nacarat. It states that he developed nausea and vomiting during an afternoon visit on the Third of Aquaria, and was immediately admitted -- but the handwriting is rushed, and the rest of the file is blank. >x salio The patient record for Sal. It states that he was admitted together with Piper on the morning of the Third of Aquaria, complaining of migraines, nausea, and vomiting. Doctor Arturus initially diagnosed food poisoning, but the diagnosis has been scratched out. The rest of the file is blank. >x piper The patient record for Piper. It states that she was admitted together with Sal on the morning of the Third of Aquaria, exhibiting the same symptoms as him. The rest of the file is blank apart from a cryptic note that reads "cellar in f.h. shanty quarter." It's frustrating. All of these files look like they were written in a hurry and left unfinished. Why didn't Doctor Arturus leave more information for you to work with? You suppose you'll have to follow up on that cryptic note in the 'Piper' file. It's the only lead you've found here. >* Cellar in flophouse presumably Comment recorded. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a battered keyring, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x keys (the battered keyring) A loop of steel wire you found on Sal's body. It holds a pair of crudely fashioned keys, the sort used in old buildings and cheap locks. >close cabinet You close the storage cabinet. >l Arturus's Study A chamber decked with aging bookcases and dusty plaques. The frieze that circles the walls is engraved with scenes from antiquity, lines in the lingua libria; by the exit to the south, a clock ticks the minutes and seconds away. A rosewood desk stands in the heart of the room. Beside it, there is a storage cabinet. >s (first ) Arturus's Domicile This suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history. A study lies to the north. The hydraulic lift leads back down to the foyer. By the frosted-glass windows, a coffee table has been set for three. >d The lift bears you downward. Turris Infinita The atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. A hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west. The porter is silent at her desk. >w (first opening the ornate double doors) (closing the doors behind you) Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >save Ok. >n Channelworks Concourse You stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth. The bridge is currently raised. You can only return south to the rest of the district. >s Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >e (first opening the ornate double doors) (closing the doors behind you) Turris Infinita The atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. A hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west. The porter is silent at her desk. >e A chill washes over you as you step through the arch. Arturus's Clinic This upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. An arch to the west leads back to the Turris Infinita foyer. Examiner Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding. >talk to examiner You approach the team of Vigiles, and Examiner Velox looks up from the bodies. "Servator," he says. "What can I do for you?" 1) "Regarding Doctor Arturus..." 2) "Regarding Creditor Nacarat..." 3) "Regarding Sal and Piper..." 4) "Nothing, never mind." >1 "Regarding Doctor Arturus..." 1) "What was the state his body was found in, again?" 2) "What was the time of death, again?" 3) "Is there anything I should be aware of, again?" 4) "Regarding Creditor Nacarat..." 5) "Regarding Sal and Piper..." 6) "I'll keep investigating." >6 "I'll keep investigating." "Very well. I will be here if you have any further questions." You step back, and Examiner Velox returns to his work. >talk to justinian Justinian brightens up as you approach him. "Marid," he says. 1) "Can you tell me again about how you discovered the body?" 2) "What are your thoughts on the disease again?" 3) "A wineglass was missing from Doctor Arturus's domicile..." 4) "Did you know that Doctor Arturus was in debt?" 5) "Nothing, never mind!" >3 "A wineglass was missing from Doctor Arturus's domicile. Do you have any idea why?" Justinian regards you curiously. "I believe a guest broke one of the glasses. Do you... do you think it was relevant to Doctor Arturus's death?" You can already feel yourself reddening. "Never mind," you say. "Forget I asked." 1) "Can you tell me again about how you discovered the body?" 2) "What are your thoughts on the disease again?" 3) "Did you know that Doctor Arturus was in debt?" 4) "I'll keep investigating." >3 "Did you know that Doctor Arturus was in debt?" He blinks. "I... no. I did not. That is rather intriguing... and it does paint recent events in a different light." 1) "Can you tell me again about how you discovered the body?" 2) "What are your thoughts on the disease again?" 3) "I'll keep investigating." >3 "I'll keep investigating." He nods. "Be careful, Marid." You scurry away before you start blushing. >w A chill washes over you as you step through the arch. Turris Infinita The atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. A hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west. The porter is silent at her desk. >s You can take the lift up to Doctor Arturus's domicile, go east to Doctor Arturus's clinic, or leave to the west. >w (first opening the ornate double doors) (closing the doors behind you) Via Terminalis Junction Traffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights. The Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum. Above the Turris Infinita, a black banner casts its trailing shadow across the sky. >s Grand Forum Aside from the mural of Solphos, this immense paved square is largely deserted. There are no couples, no merchants, no buskers -- nothing except for a chilly breeze that you can feel in your bones. The arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south. >s Via Mercurii The Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight. To the north is the grand forum, bleak and empty, while to the south the Shanty Quarter begins. >s Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >u Gangway Rotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky. The Shanty Quarter yawns below. Above you is the public house called the Crow's Nest, watched by the bouncer Webster from his perch. >talk to webster You can't think of anything to talk about. >* I mean the dead folks Comment recorded. >in Do you mean going down (to the Shanty Quarter) or going up (to the Crow's Nest)? >u Crow's Nest There is a strange crooked serenity here, amidst the rags that catch the wind. From discarded blocks and beams have been built tables, landings; odd patrons mingle all around you, engrossed in the late-afternoon murmur. The exit lies below. Crow sits quietly behind the bar. >talk to crow You don't think she's in the mood to talk. >give tickets to crow You don't think this is the best time to ask for a free drink. >* Oh well Comment recorded. >d Gangway Rotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky. The Shanty Quarter yawns below. Above you is the public house called the Crow's Nest, watched by the bouncer Webster from his perch. >d Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >e Flophouse This place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol. To the west is the exit. To the south, a passageway leads to the rooms. In the reception office, a nightmarish many-armed creature crouches, and pores obsessively over an assortment of keys. >* OK this should be fun Comment recorded. >talk to landlord "E-Excuse me?" The landlord comes rippling out of the reception office, looking expectant. 1) "Are you sure I'm not a key-bearer?" 2) "Sorry. Never mind." >1 "Are you sure I'm not a key-bearer?" You hold up the keyring. The landlord rushes up to you, quivering, scrutinizing the keys from all directions. There is an uncomfortably long pause. "Strange," it says at last. "Right key. Wrong person." 1) "The owner of the keyring is dead. I'm investigating his death." 2) "The keyring was given to me by the previous owner." 3) "I have the keyring now. Does it matter who it used to belong to?" >3 "I have the keyring now. Does it matter who it used to belong to?" The landlord's tentacles coil around your arm, cradling the keyring, and you suppress the urge to shudder. "Maybe," it says. "Maybe. Standards to uphold." It exhales wetly and recedes. Saliva runs from its beak and strikes the floor with a hiss. "Compromise. You have key? Tell which room. Correct, you enter. Wrong, you leave. Yes?" "Um..." 1) "The key unlocks the first room." 2) "The key unlocks the second room." 3) "The key unlocks the third room." 4) "The key unlocks the fourth room -- the cellar." 5) "That seems like an overly arbitrary way to decide." 6) "I don't know which room this unlocks." >4 "The key unlocks the fourth room -- the cellar." The landlord regards you wordlessly, and your lips feel suddenly dry. You're no longer quite so sure about your guess -- "You see." A crescent opens up in the landlord's body, a ring of grinning white teeth. "You see. You know." Then it says a word that doesn't -- doesn't quite register in your mind. Your head feels fuzzy for a second, and you -- you blink -- -- Where did that trapdoor come from? There's a trapdoor to the south where there was carpet just moments ago. It's cut into the floor, with a half-eaten ladder descending into darkness. And the landlord... The landlord is gone. There's no one there. The office is empty. >* Seems fine Comment recorded. >l Flophouse This place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol. To the west is the exit. To the south, a trapdoor descends to the cellar. >x trapdoor It's closed. >open it You open the trapdoor to the cellar. >d Cellar A dimly lit mouse-hole of a hollow that has been bricked off from prying eyes. A pair of mattresses lie near the entrance, where Sal and Piper must have slept. Further in, a guttering candle on the only table illuminates bladed weapons, counterfeit bills, and other contraband. A trapdoor ascends out of the cellar. You notice a wine bottle on the table that seems particularly out of place. >* uh huh Comment recorded. >x mattresses One is big; the other, small. >x big That is either not important or not something you can see. >x candle A slow-burning phlogiston candle. It looks as though it was lit some days ago, then forgotten. >x weapons Knives, mostly, of various sizes and shapes. >x bills You can tell they're counterfeit because some of the bills are only halfway inscribed. >x contraband Knives, mostly, of various sizes and shapes. >* wow now this is a den of crime! Comment recorded. >x bottle The bottle is still half-full; the label suggests an expensive claret. But the odor surrounding the mouth of the bottle is not quite the odor of wine. Next to the wine bottle, you spy a stained ribbon and a handwritten note. >smell bottle At first it smells like red wine, light and fruity. But there is the barest coppery undertone to it. >* eek Comment recorded. >x ribbon A sigiled natron ribbon of the kind used in gift-wrapping. It is stained black on blood-red. >take it The stains on the ribbon make you hesitant to touch it. >x note (the gift note) A gift note written on plain stationery. It reads: Congratulations to both of you on a job well done. Here is a gift to our continued partnership. Let's keep it a secret between us, shall we? A. Z. B. N. Creditor Nacarat 'A. Z. B. N.'? That's an old-fashioned way to end a letter. You thought the instructors at the Physicians' College were the only ones who still wrote that. More importantly, this is proof that Creditor Nacarat had been working with Sal and Piper. Or is it? There's something off here that you can't quite put your finger on. >x note (the gift note) A gift note written on plain stationery. It reads: Congratulations to both of you on a job well done. Here is a gift to our continued partnership. Let's keep it a secret between us, shall we? A. Z. B. N. Creditor Nacarat >take it Taken. >x ribbon A sigiled natron ribbon of the kind used in gift-wrapping. It is stained black on blood-red. >put endoscope in bottle You poke around with the endoscope for a bit, but the wine isn't any less opaque close up. >taste wine You aren't comfortable tasting suspicious wine from a hidden cellar. Especially when it doesn't smell quite right. >* come on, what could go wrong? Comment recorded. >take wine It's uncorked, and you might spill it while moving around. Best to just leave it where it is. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a gift note, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >read today's newpsper That object or command isn't available. >read today's newspaper DOCTOR FOUND DEAD IN HIS OWN HOME. Doctor Arturus, the renowned pathologist of the Channelworks District, was found dead this morning. Black blood was observed running from his eyes and mouth, a symptom shared by several patients he had recently received. Doctor Justinian, who discovered the body, expressed fears that his colleague's death could mark the beginning of a dangerous epidemic. >cut ribbon That won't accomplish anything. >l Cellar A dimly lit mouse-hole of a hollow that has been bricked off from prying eyes. A pair of mattresses lie near the entrance, where Sal and Piper must have slept. Further in, a guttering candle on the only table illuminates bladed weapons, counterfeit bills, and other contraband. A trapdoor ascends out of the cellar. On the table is a wine bottle. >take ribbon with cloth I only understood you as far as wanting to take the stained ribbon. >* ah well Comment recorded. >u Flophouse This place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol. To the west is the exit. To the south, a trapdoor descends to the cellar. >j Fifth of Aquaria, Auritum IV I've learned so much about the victims, and I have a better idea of how the disease works... but it still feels like there's so much I'm missing, just dancing out of sight. What's really going on in the Channelworks District? What else have I been unable to see? Current objectives: - Report back to Doctor Cavala's clinic Marid's notes: The disease - I learned that the disease is unlikely to be airborne. - I learned that the disease can be transmitted by ingestion. - I learned that the disease is bloodborne and attacks the animus, or the soul. Reden - I learned that although Reden was fired from the Channelworks, he had a habit of revisiting it late at night while drunk. - I learned that Reden kept in touch with his former colleagues through the Crow's Nest. - I remember that Reden died on the night of the Third, two days ago. Doctor Arturus - I learned that Doctor Arturus was in debt, and the Trading Company was involved. - I found a coffee table set for three in Doctor Arturus's home. According to Justinian, one of the wineglasses had been broken by a guest. - I found that Doctor Arturus rushed through his patient record files for some reason, leaving them unfinished. - I found that the gloves on Doctor Arturus's body were brand new. He couldn't have been infected through his hands if he had been wearing them. - I learned that Doctor Arturus died sometime between last night, on the Fourth, and this morning, on the Fifth. Creditor Nacarat - I learned that Creditor Nacarat was killed by something he ingested. - I learned that Creditor Nacarat was connected to the Trading Company. - I learned that Creditor Nacarat hired Sal and Piper recently. - I learned that Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged, and he broke a piece of tableware as a result. - I learned that Creditor Nacarat was admitted to the clinic on the afternoon of the Third, two days ago. - I learned that Creditor Nacarat died on the night of that day. Sal and Piper - I learned that Sal and Piper were connected to the Trading Company. - I found a list of names that suggested Piper had been collecting debts. The reverse side of the paper had been intentionally blanked out. - I found that Sal and Piper had been hiding out in the cellar of a flophouse in the Shanty Quarter. - I found a strange wine bottle in the hideout that was apparently a gift from Nacarat. - I learned that Piper was killed by something she ingested. - I learned that Sal and Piper were admitted to the clinic on the morning of the Third, two days ago. - I learned that both Sal and Piper died on the night of that day. Miscellaneous - I learned that the raven is the symbol of the Greater Corindia Trading Company, a criminal syndicate. - I learned that the Crow's Nest pays protection money to the Trading Company. Please press SPACE to continue. Flophouse This place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol. To the west is the exit. To the south, a trapdoor descends to the cellar. >* oh that journal is good! Comment recorded. >w Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go. Tangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. It's getting dark out. You should return and tell Doctor Cavala what you've learned. (You can >go to a place you've visited before to quickly travel there. For instance, >go to clinic.) >go to clinic (Doctor Cavala's clinic) You go north to the Via Mercurii, north again to the grand forum, north again to the Via Terminalis junction, northwest to the Via Terminalis bridge, northwest again to the West Street, west to the West End, and west again to Doctor Cavala's clinic. Clinic A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. Doctor Cavala is curled up in her makeshift bed, staring at an intricately engraved pocketwatch. As you enter, she snaps the watch shut and gives you a nod. "Marid," she says. "I was wondering when you'd be back." 1) "How are you holding up, Doctor?" 2) "Where's Horatio?" 3) "That's a nice watch." 4) "About the things you told me to investigate..." >* handy! Comment recorded. 1) "How are you holding up, Doctor?" 2) "Where's Horatio?" 3) "That's a nice watch." 4) "About the things you told me to investigate..." >3 "That's a nice watch," you say. Doctor Cavala looks at the little brass case in her palm. "It is," she replies. "Someone gave it to me, long ago... I was just thinking about it. Had Horatio dig it up." 1) "Thinking about someone, Doctor?" 2) "How are you holding up, Doctor?" 3) "Where's Horatio?" 4) "About the things you told me to investigate..." >1 "Thinking about someone, Doctor?" After a pause, she puts the watch away. "It doesn't matter," she says. "It's all in the past now. You had something for me, Marid?" 1) "How are you holding up, Doctor?" 2) "Where's Horatio?" 3) "About the things you told me to investigate..." >1 "How are you holding up, Doctor?" "I'm fine," she says. "It's a bit dull here, especially since Horatio's refused to play any more crucible with me, but it's nothing I haven't endured before." 1) "He's refusing to play crucible?" 2) "Where's Horatio?" 3) "About the things you told me to investigate..." >1 "He's refusing to play crucible?" She smirks. "Something about running out of cash on hand." 1) "Where's Horatio?" 2) "About the things you told me to investigate..." >1 "Where's Horatio?" "He's popped back home for a shower," she replies. "Don't worry -- I told him to go home and freshen up. He'll be back soon enough." 1) "About the things you told me to investigate..." >1 "About the things you told me to investigate..." Doctor Cavala's expression hardens. You settle down beside her, and she listens raptly to your account of the day's events. You tell her about your run-in with the Turris Infinita security. The chill of Doctor Arturus's clinic, the silent stare of the departed -- the macabre sights reflected in endoscopic lenses. You tell her of the doctor's correspondence; the web of intrigue and not-quite-coincidence that bound him; the lives that labored in the shadow of black wings. And through it all, like a pervasive pathogen, the darkness seeps and drips coppery from your words. Doctor Cavala is silent as she takes in everything you've told her. "Marid." She takes a deep breath. "This is everything I'd asked for and more. You've taken great pains to acquire this information -- you've done the Channelworks District a great service. If I'd known the investigation would take you into the Shanty Quarter..." She trails off, shaking her head. "Regardless. You've uncovered a wealth of information pertaining to the affliction. We are now able to draw several conclusions. The transmission vector, for starters --" 1) "It has to be airborne." 2) "It's contracted internally, through ingestion." 3) "It's spread through skin contact." 4) "It's transmitted by both ingestion and skin contact." >4 "It's transmitted by both ingestion and skin contact." "Yes." She nods. "I believe that to be the only explanation for the evidence you've gathered. Nacarat and the thugs were killed by something they ingested -- and Doctor Arturus was almost certainly infected through his hands, though I can't fathom why he would have been handling a patient without his gloves. Perhaps if he was present at the outset of symptoms..." She glances at the curtain of the surgery room, and runs a gloved hand through her hair. "In any case," she continues, "the transmission vector seems to be clear. It requires proximity to an infected individual, and that implies close ties between the victims. From what you've learned --" 1) "All of them were patients of Doctor Arturus." 2) "All of them were linked to the Greater Corindia Trading Company." 3) "All of them drank wine." 4) "All of them had been to the Shanty Quarter." >2 "All of them were linked to the Greater Corindia Trading Company." Doctor Cavala grimaces. "That's not saying much in this district," she replies. "Even I've had to deal with them in the past. But you're right. The raven symbols you found on Doctor Arturus's patients all but confirm their connection to the Company... and if the message you found on Doctor Arturus's correspondence is genuine, he must have had dealings with the underworld as well." "Even Reden frequented the Crow's Nest," you point out. "That's a front for the Trading Company, too." She rubs her chin thoughtfully. "It's possible," she says. "It's possible that the Company had something to do with the outbreak of the disease. But there are aspects of this theory that don't quite gel. "The Company is a business first and foremost -- so why would an affliction like this come into the picture? They deal in protection rackets, not plagues and poisons; even Nacarat and the thugs were among the victims. I can see how their ties might have caused the affliction to spread... but which one of them was patient zero? "It's not the full picture, Marid. I have the feeling there was something else they had in common." 1) "All of them were patients of Doctor Arturus." 2) "All of them drank wine." 3) "All of them had been to the Shanty Quarter." >2 "All of them drank wine," you say. Doctor Cavala opens her mouth -- then she pauses, closes it again. "Now that you mention it," she says. "That is odd. Reden was a heavy drinker. Doctor Arturus had been hosting Creditor Nacarat. And there was that bottle you found beneath the flophouse. The affliction can be transmitted through ingestion --" "Do you think it's the wine that's killing them?" you ask. She furrows her brow. "It's certainly possible. A contaminant could be hidden in a dark wine and remain undetected, masked by the color and aroma. It would certainly explain why there have been so few victims. It wouldn't be an epidemic -- it would be a poisoning. If only certain bottles of wine were contaminated... Marid, did you notice anything in common about the bottles?" You shake your head. "They were all different labels. Different manufacturers. Reden didn't even drink red wine." "That's deeply troubling." She looks at her injured leg. "If there doesn't appear to be any correlation between these poisonings, but the victims are all connected by the same symptoms..." She falls silent, engrossed in thought. 1) "You think the cause is undetectable?" 2) "You think it could surface anywhere?" 3) "You think foul play is involved?" >3 "You think foul play is involved?" Doctor Cavala crosses her arms. Her eyes trace the bandages around her destroyed tendon. "Suppose we assume that this is deliberate," she says. "That this is part of someone's larger agenda. Many things fall into place -- the attack on my clinic, the connection to the Trading Company, the fast-acting and improbably lethal affliction. "Until now, we've been operating under the assumption that this is a simple infection, one that obeys statistical models and adheres to the precepts of medicine... but what if that isn't the case? What if this is, in reality, a series of murders?" You regard her with growing unease. "Then... then that would be beyond us. It would be a matter for the Vigiles." She nods grimly. "Correct. And if this is true, Marid... whoever is behind this has it out for me. The culprit might be looking to bury the evidence, silence the doctors in the district who have a chance of stopping them --" "That means Doctor Justinian is in danger." "And you as well." Doctor Cavala shakes her head. "I'm sorry, Marid. If I had known earlier, I would never have sent you out on your own..." She shifts in her makeshift bed, wincing as the dressing on her leg chafes. Her shoulders are tense as she checks items off her fingers. "If our conclusion is correct, time is of the essence. I will correspond with Doctor Justinian as soon as possible, and warn the Vigiles by way of Horatio. The quarantine will buy us some time to track down the culprit. As for you, Marid --" She looks at you, and something causes her to falter. She closes her eyes. Her words catch in her throat. "Go home and rest," she says. "You've done your part. I'll handle things from here on." 1) "Yes, Doctor." 2) "Can I still help somehow?" >2 "Can I still help somehow?" A long, tense silence -- and Doctor Cavala shakes her head. "I appreciate all that you've done, Marid. But this is bigger than we'd imagined. It's bigger than any of us. Upon my conscience, I will not allow you to put yourself in danger. "Get some sleep. Take a sabbatical. Let me and the Vigiles handle this." 1) "Yes, Doctor." 2) "Surely you can let me do something!" >2 "Surely you can let me do something --" "Marid." You realize that in all the months you've worked here, you've never heard Doctor Cavala raise her voice. She takes a deep breath. "Marid," she says. "This is not a friendly request. This is a command from Doctor to Servator. I will not allow you to wager your life on this. Do you understand me?" 1) "Yes, Doctor." 2) "No! I don't care what you think!" >1 You look at your feet. "Yes, Doctor," you say, softly, quietly. Her eyes linger on you -- on the tattoos that run like tears down your neck and fade into your pendant. She exhales. "Go," she says. "Go home, Marid. Take care of yourself." You rise from the waiting chairs. There is a dull ache in your shoulders. You give Doctor Cavala one last look as you prepare to depart for the night. "Good night," you tell her. You can't bring yourself to meet her gaze. Via Terminalis, West End You stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain. The white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. >* Good night, hope you're not myseriously dead in the morning! Comment recorded. >save Ok. >n Dormitory Block Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls. The public house is closed tonight. You can only go up to your dormitory room or exit the building to the south. >u (first opening the door to your dormitory room) (closing the door behind you) Marid's Room In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium. Your bed is at the end of the room, beside the window. >sleep You sit down on the edge of your bed. The sweat and stress of the day cling to you, pool in the shadows behind your eyes. Doctor Cavala is right. This is no longer a medical investigation -- it's a murder investigation. You should take a break. Leave matters to those qualified to handle them. But you can't get the thoughts out of your head. The images. Everything that you've seen and done... it clings to you. Creeps within you. So do you drift down and down into darkness, thinking of corpses staring, pigeons twitching -- -- burnt-out lamps in broken housing -- -- burning burning burning burni -- M I D N I G H T You open your eyes. You're covered in sweat and your breathing is ragged. A nightmare? You'll have time to ponder that later. Someone is knocking on your door. 1) 2) >2 You clamber out of bed, pull your jacket close, and shuffle up to the door. 1) 2) "Who's there?" 3) "Horatio?" 4) >1 You look through the peephole. That's odd. You can't make out anything. All you can see is a misty gray. 1) "Who's there?" 2) "Horatio?" 3) >1 "Who's there?" There is no response. 1) "Hello?" 2) "Horatio?" 3) >2 "Horatio?" There is no response. 1) "Hello?" 2) >1 "Hello?" There is no response and your door handle explodes outward sending sawdust flying and a claw reaches up and rips the wood out of its housing like so many teeth. "Hello," the assassin whispers. She draws her sword and kicks in the remaining pieces of your door. Beneath her hood she's smiling, grinning a rictus grin. Or maybe her mouth is fixed that way. "You've been a lot of trouble, you know. Asking dangerous questions. Getting dangerous answers." You back away slowly. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a gift note, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. The assassin walks towards you. Calmly. Unhurriedly. >give coupons to assassins That is either not important or not something you can see. >give coupons to assassin This is not the time. "You weren't my first choice, you know." She giggles. "At first we thought killing the doctor would be the end of it..." >* well it was worth a shot Comment recorded. >talk to assassin "Doctor Cavala won't be happy about this." The assassin shrugs. "Who cares about her? Don't you know, Marid dear? It's all about you now..." >x her She's far too close for comfort. "He's head over heels for you, you know." The assassin taps the tip of her blade. "He wouldn't let me lay a finger on you. So I decided to take things into my own hands..." >* well that's narrowing things down a bit Comment recorded. >z Her smile draws ever closer. "You've given me a challenge. Quite the run. I'm sorry it all has to end so soon." >z A flash. "So then --" There is a numbness. You find you cannot move. You have been impaled through the gut. "Good night, Marid," she whispers. The last thing you see is her receding shadow, before the blood loss overcomes you, and then -- *** Darkness *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Marid's Room [Previous turn undone.] >stab assassin with scalpel I only understood you as far as wanting to stab the assassin. >* I mean that's basically the gist Comment recorded. >stab assassin You doubt that would end well for you. A flash. "So then --" There is a numbness. You find you cannot move. You have been impaled through the gut. "Good night, Marid," she whispers. The last thing you see is her receding shadow, before the blood loss overcomes you, and then -- *** Darkness *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Marid's Room [Previous turn undone.] >x window A square opening without a pane or a grille. A shadowed rooftop can be seen through it. A flash. "So then --" There is a numbness. You find you cannot move. You have been impaled through the gut. "Good night, Marid," she whispers. The last thing you see is her receding shadow, before the blood loss overcomes you, and then -- *** Darkness *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Marid's Room [Previous turn undone.] >out Yes, but how? A flash. "So then --" There is a numbness. You find you cannot move. You have been impaled through the gut. "Good night, Marid," she whispers. The last thing you see is her receding shadow, before the blood loss overcomes you, and then -- *** Darkness *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Marid's Room [Previous turn undone.] >exit window I only understood you as far as wanting to exit. >go out window I only understood you as far as wanting to go outside. >jump out window I only understood you as far as wanting to jump. >open window The window is already open. A flash. "So then --" There is a numbness. You find you cannot move. You have been impaled through the gut. "Good night, Marid," she whispers. The last thing you see is her receding shadow, before the blood loss overcomes you, and then -- *** Darkness *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Marid's Room [Previous turn undone.] >go through window Rooftop You roll, twist, force yourself into a run. Your knees are aching. The air is freezing, stinging your cheeks. Your boots dislodge old and broken tiles, sending them hurtling off the roof into the mist below. A balcony lies to the east. Behind you is a clattering, a shrieking that is not human. >e You scramble over the Railing and tumble panting across the rotting woodwork. The balustrade shudders with your footfalls, tears away as you frantically grasp for purchase. Behind you, a terrible bulk splinters the flooring and catches up to you with dreadful certainty. South you glimpse a doorway. >s Black Gallery The hall is thick with ash. Moonlight lances through shattered walls. You run blindly through unlit passages, fumbling, your lungs burning as claws rip through the timber and plaster behind you. There is no escape except to the south. >s Smoldering Gallery The hall is thick with smoke. Moonlight lances through scorched walls. You run blindly through burning passages, fumbling, your lungs melting as flames rip through the timber and plaster behind you. There is no escape except to the south. >* oh great time for a flashback to a foundational trauma Comment recorded. >s Burning Gallery The hall is on fire and the beams are crashing down pinning you choking your lungs and you know it's not real but you're screaming and your jacket is burning and there is no escape no escape no escape except to the south. >s You reach out and watch him burn screaming your name as she writhes and claws and smashes through the fallen beams. You blink back tears -- you inhale ash -- and tumble through the only exit you see, tread empty air, fall screaming down a broken down chute into Darkness Everything hurts. Sounds are echoing in the dark. The assassin's voice, calling out for you. Other things. Did you get away? Where... what is this place? You grit your teeth and force yourself to get up. You need help. You need to get out of here. >out You don't know which way that is. >l Darkness It is pitch dark, and you can't see a thing. All you can make out is some kind of metal shape at your feet. >x shape A trick of the light? You grope in the dark and your fingers close around cold iron. A handle -- a bulb -- a fuse? An animus lantern. You pick it up and strike the fuse. The bound aurora flickers to attention, chilling the fingertips of your gloves, tracing the area in otherworldly dancing light. Calefactory You've landed in some kind of underground heating room, long abandoned. The floor is seared with scorch marks. The corpses of pipes and machinery litter the area, claimed by rust and layers of fine black soot. Above dangles a destroyed chute. To the west there is a closed blast door, with a wheel-shaped handle fitted nearby. >* nice pun Comment recorded. >save Ok. >x pipes Gnarled, unrecognizable shapes. >x chute It doesn't look like climbing back up is an option. >x handle A rusted hydraulic wheel. >x door A forbidding slab of metal. It looks like the wheel nearby will open it. >turn wheel You grip the wheel and turn with all your might. There is a groaning, a painful screeching sound, as rust cracks and crumbles from the base of the handle. The blast door grinds open. >exit Service Hallway Something is off about this creaking hall, this bending passage that seems to fold inward. The pipes pass in and out of shadow, traced by your lantern-light, writ large in the cold gray darkness. To the east is the blast door you emerged from. To the north, the hall widens and distends. And there is something -- something moving there -- No. Gone. It's gone. >* ho hum, just in the haunted underpinnings of this jacked-up district Comment recorded. >x pipes The pipes are parallel. The pipes intersect. >x lantern A phylactery cathode in a glass-and-iron housing. It glitters with the cold light of the bound aurora within. >open lantern This lantern isn't the kind that opens. >pray Action is needed now, not prayer. >* but I mean it probably couldn't hurt Comment recorded. >n Belowstairs The floor falls away here. The path is shredded and broken. In another time this might have been the servants' quarters: the remains of furniture and domestic objects are strewn across this distorted space. But the seams of reality are showing, and an otherworldly pulsing darkness seeps forth that makes your eyes throb. You've seen places like this before. When the magical foundations of a building are damaged, it tears the fabric of the world, exposing the irrational dimensions that lie beyond. And things crawl through the cracks that are not quite alive. You'd best not linger here. The service hallway lies south. East you see the door to a service lift, and beside it, a hydraulic wheel. >x wheel An obsolete, rusted crank-wheel that seems to be connected to the service lift door. You pray it's still working. You hear things stirring in the darkness. >turn wheel You grip the wheel, and with incredible effort, turn it a couple of degrees. But the door is barely budging -- you suspect you will have to give the wheel a few more good heaves. The noises are growing louder. Claws and legs are creeping into the light. >g You grit your teeth and shift the wheel another couple of degrees... Limbs scratch at reality's seams. Eyes push through the stonework. Teeth float through the air, gnashing, approaching. >g You squeeze your eyes shut and throw your weight into it. You can feel the wheel shifting, moving faster... They're very near now. They're all around you. They're brushing your neck, raking your back, pulling your hair, closing in, closing and you need to run or you will die -- >g -- and before you can do anything else, anything, there is a thrust and an impact and a sudden, sudden coldness. Teeth are ripping into your skin. It hurts. It hurts so much. Your eyes are tearing up. You can't think. You feel sick. You need to throw up -- *** Relief never comes *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Belowstairs [Previous turn undone.] >u -- and before you can do anything else, anything, there is a thrust and an impact and a sudden, sudden coldness. Teeth are ripping into your skin. It hurts. It hurts so much. Your eyes are tearing up. You can't think. You feel sick. You need to throw up -- *** Relief never comes *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Belowstairs [Previous turn undone.] >enter lift -- and before you can do anything else, anything, there is a thrust and an impact and a sudden, sudden coldness. Teeth are ripping into your skin. It hurts. It hurts so much. Your eyes are tearing up. You can't think. You feel sick. You need to throw up -- *** Relief never comes *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Belowstairs [Previous turn undone.] >undo Belowstairs [Previous turn undone.] >enter lfit That is either not important or not something you can see. >oops lift The door is closed. The nearby wheel seems to be the only way to open it. They're very near now. They're all around you. They're brushing your neck, raking your back, pulling your hair, closing in, closing and you need to run or you will die -- >run You'll have to say which compass direction to go in. >s You break and run for your life. Service Hallway Something is off about this creaking hall, this bending passage that seems to fold inward. The pipes pass in and out of shadow, traced by your lantern-light, writ large in the cold gray darkness. To the east is the blast door you emerged from. To the north, the hall widens and distends. You take a moment to catch your breath and collect your thoughts. It seems those creatures will attack if you stay in the next room for too long. >n Belowstairs The floor falls away here. The path is shredded and broken. In another time this might have been the servants' quarters: the remains of furniture and domestic objects are strewn across this distorted space. But the seams of reality are showing, and an otherworldly pulsing darkness seeps forth that makes your eyes throb. The service hallway lies south. East you see the door to a service lift, and beside it, a hydraulic wheel. >turn wheel You squeeze your eyes shut and throw your weight into it. You can feel the wheel shifting, moving faster... You hear things stirring in the darkness. >g Your muscles are aching. Your palms are sweating. The door is opening. Just... a bit more... The noises are growing louder. Claws and legs are creeping into the light. >g You scream as the wheel shifts suddenly. The service lift door opens. You stumble into it, pushing past mandibles and slithering things, searching frantically for the control panel, hammering the rusted buttons as the aether-daemons close -- The lift lurches. The door slams shut. There is a crack as a creature's limb is severed, and slides wetly to the floor. You take a deep breath. You stomp on the limb with your boot. You keep stomping until you can't distinguish the limb from the other smears on the metal. And at last you dare to rest. * * * Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. >save Ok. >e Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. A rickety ladder leans against the wall, providing access to the pitch-black shaft. >x cobwebs Spiderwebs crisscross this place. They are caught in the light of your animus lantern; they insinuate themselves among your clothes and hair. You catch a glimpse of a spider in the corner of your vision. >x spider You don't know where the spider went. >x plates Nothing in this scullery is clean. >x shaft It appears to be the maintenance access for the service lift. >u You squeeze into the shaft... Hoistway Access It is cramped and dark and hard to move. You are prone on your elbows, wedged between unfeeling bricks, and your eyes hurt from the too-close lantern-light. The scullery is below. Engraved before you are the glyphs that conduct the galvanism of the service lift, and barely -- just barely -- keep it from plummeting away into the abyss. >*oh that ws easy Comment recorded. >d You drop down from the shaft. Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. A rickety ladder leans against the wall, providing access to the pitch-black shaft. >* didn't notice the ladder at first Comment recorded. >x ladder A long wooden ladder, worn from repeated use. Right now, it leans against the wall and provides access to the maintenance shaft. >take ladder Taken. >u You try to scramble up to the maintenance shaft, but can't get a good grip. You need something to climb on. >drop ladder You prop the ladder up so that it leads to the pitch-black shaft. >u You squeeze into the shaft... Hoistway Access It is cramped and dark and hard to move. You are prone on your elbows, wedged between unfeeling bricks, and your eyes hurt from the too-close lantern-light. The scullery is below. Engraved before you are the glyphs that conduct the galvanism of the service lift, and barely -- just barely -- keep it from plummeting away into the abyss. >x glyphs The glyphs are worn and decrepit. A few scratches from your scalpel, and the lift would become a deathtrap for the unwary. >* feels a bit too heavily clued Comment recorded. >cut glyphs That would untether the service lift and turn it into a deathtrap. You're not sure that's quite warranted at the moment. >* well give it time Comment recorded. >d You drop down from the shaft. Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. A rickety ladder leans against the wall, providing access to the pitch-black shaft. >w Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. >w Abandoned Kitchen Light streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them. To the east is the service lift; to the south is a collapsed corridor. Nearby is a forlorn kitchen stool. >x basins You aren't keen on testing the plumbing. >x countertops Covered in ash, perhaps. Or the castoffs of vermin. >x ash Cold white specks. >x stool A fragile thing, riddled with the marks of absent woodlice. >take it Taken. >e Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. >e Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. A rickety ladder leans against the wall, providing access to the pitch-black shaft. >take ladder Taken. >w Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. It occurs to you that if you were to put down the rickety ladder here, it would bridge the width of the service lift. >* again, a little too heavily clued -- I don't think I'd think I need to do that yet, no? Comment recorded. >w Abandoned Kitchen Light streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them. To the east is the service lift; to the south is a collapsed corridor. >s You approach to get a better look and -- She's there. The assassin is there. She stalks the collapsed corridor, humming tunelessly, playing with the edge of her sword. She doesn't seem to have noticed you. You step back for now. If you get her attention, you'd best have a plan to survive it. >n You can go east to the service lift or south to the collapsed corridor. >e You slip away as silently as you can manage. Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. >put ladder on shaft That is either not important or not something you can see. >drop ladder You place the ladder across the lift so that it bridges the gap between the doorways. >e Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. >u You can't reach the maintenance shaft without something to climb on. >w Service Lift The lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle. To the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen. A rickety ladder has been laid across the lift, neatly bridging the gap between the doorways. >e Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. The lights of the service lift glow to the west. >drop stool You place the kitchen stool underneath the pitch-black shaft. >u You squeeze into the shaft... Hoistway Access It is cramped and dark and hard to move. You are prone on your elbows, wedged between unfeeling bricks, and your eyes hurt from the too-close lantern-light. The scullery is below. Engraved before you are the glyphs that conduct the galvanism of the service lift, and barely -- just barely -- keep it from plummeting away into the abyss. >cut glyphs You draw your scalpel from your pocket. You steel yourself, and with as much force as you can manage in these cramped quarters, gouge a scratch right through the center line -- A shock. You can feel enchantments disintegrating, unraveling around your fingers. You sense the lift grow heavy as its binding forces wither and fail. You scratch the glyphs a few more times. When you're finished, your scalpel is noticeably hotter. You clean the edge and let it cool before stowing it. You try not to think about the fact that you're plotting to murder someone. > * I mean this probably isn't murder, depending on the legal system Comment recorded. >* we'd probably even beat a wrongful death case from the next of kin Comment recorded. >d You drop down from the shaft. Scullery Your footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping. A pitch-black shaft gapes above you. Through the sabotaged lift to the west, you see the abandoned kitchen. A kitchen stool has been placed under the pitch-black shaft, providing access. >w The ladder creaks as you crawl across it... Abandoned Kitchen Light streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them. To the east is the scullery, across the rickety ladder; to the south is a collapsed corridor. In the corridor, the assassin paces back and forth with languor. >knock on door That is either not important or not something you can see. > Abandoned Kitchen Light streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them. To the east is the scullery, across the rickety ladder; to the south is a collapsed corridor. In the corridor, the assassin paces back and forth with languor. >i You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are an animus lantern (providing light), a gift note, some drink coupons, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's copy of the Libri Liberi, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >say yoo-hoo (Use the command >talk to or >t to converse with other characters.) >yell You cry out. The assassin turns her head -- -- her lips peel from a carnival of teeth -- You break and run. The kitchen is a blur. You crash through the service lift -- send it lurching with your footfalls -- tear through the viscous cobwebs. All the while she gains, gains with impossible speed upon you, until -- -- wood splinters -- -- metal fails and reality turns. The lift has been dislodged from its unnatural suspension. Its arcane skeins have entangled the assassin in their coils. Now, shackled again to the chains of gravitation, that whole unwieldy apparatus has begun to collapse, and the assassin has been caught up in its descent. Her smile falters. She tenses. Stops. "I -- you -- what --" She scrabbles desperately for purchase. Impossibly, her claws gouge into the stone. She grasps at your feet -- -- digs into the flesh of your ankles -- you scream in pain -- -- and she slips. She slips. It is enough. The machine has been set in motion. The cacophony, the wailing gnashing whirlwind, it takes her and bears her down -- bears her shrieking into the abyss where reality ends, where all things end and are consumed. And she is gone. You collapse there on the edge of the shaft, inches from empty space. You start to cry. Collapsed Corridor Your footsteps feel strangely heavy as you walk down this final hall. The dust -- your footfalls -- your heartbeat -- they throb in time with every breath. You can see the light just up ahead. Just a little further. To the south. >* OK first thing we're doing after all this comes out is breaking our lease Comment recorded. >* s Comment recorded. >s You -- You stumble a little. You pick yourself up, blink the fog out of your eyes. You don't feel quite so well at the moment. Is that blood? Is it yours? It doesn't matter. You can't stop now. You have to keep going. >x me You don't have time for that right now. >i You don't have time for that right now. >s You take a wobbly step. And another. Step by step, with agonizing certainty, you push onward. Condemned Block You emerge into a sea of lights, of sweeping rain and hazy twinkling stars. The city of Furopolis rises all around you, and it has never been more beautiful nor a more welcome sight: you realize the light of the stars is rippling and wavering through your tears. Why, then, are your feet so leaden, when the city is so close? Drenched, shivering, you make your way towards the gate that divides you from the world. Freedom is so close that you can taste it. There is a workman's access sealed by a thin padlock -- with trembling scalpel you press, and cut, and slowly separate the lock from its bonds... But the work will take an eternity, with this iron padlock, and this tiny blade. And your consciousness wavers and you are so, so tired. No. You -- -- you slump to your knees, the scalpel slipping from your fingers. It's growing cold, now. Harder to see. The pavement about you is flecked with something like blood or rainwater. Perhaps you should take a rest. Just a short one. You clasp your pendant to your heart and close your eyes. Father's Laboratory There is a familiarity about this place, although you are rarely allowed inside. The aroma of your father's favorite tea mingles with that of ink-blotted corkboards and bubbling athanors; the alchemical lines, alight with power, swoop and soar above you into the rafters. Father is decanting a spirit at his workstation. >save Ok. >smell The air you inhale is weightless. >x athanors A foreboding heat emanates from the furnaces. >x spirit The implements, the liquids -- they all seem to blur together. >x worksation That is either not important or not something you can see. >x workstation The implements, the liquids -- they all seem to blur together. >x father He's still alive. Lively. Warm. >x me You're thirteen years old. >i You are wearing your clothes. On your person is nothing of importance. >talk to father 1) "How are you alive?" 2) "I love you." 3) "Please come back." >2 Tears well up in your eyes. You blink them back, but they keep coming. "I love you." He turns around and smiles. He's so young. You'd almost forgotten his face. 1) "I missed you so much." 2) "Don't do this to me." 3) "Don't leave me again." >1 "I -- I --" You can't do this. You choke. Your hands are trembling. Father's eyes soften. "Is something wrong?" 1) "Father, you have to listen to me." 2) "Please listen to me." 3) "You have to run while you still can." >3 "Y-You have to run. Please. While you... while you still..." He's not listening. The power lines have surged. A thump rocks the laboratory -- flames are licking at the lids of the athanors, and smoke is starting to fill the room. "Marid..." he breathes. 1) "Please..." 2) 3) >2 You reach out, but it is already too late. You've had this dream a thousand times. Each time, it ends the same way. Each time, you are powerless to prevent it. The athanor closest to your father explodes. Glass shatters. A plume of fire erupts, and both of you are thrown back from the blast -- you are dimly aware of porcelain pieces, scattered across the desk, shimmering in the intense heat. Your father is calling your name. You see him then: bleeding out, barely recognizable. Another beaker falls to the floor and shatters. You can't breathe -- you force yourself up, unsteady, tottering towards your father, toward the flames... "Marid, go!" he screams. "Just go! Run! Get help... get help... g..." His words are stolen away. They vanish with him in the smoke and the fire. You feel yourself slipping away -- feel the world buckling and crashing around you, as you stumble amidst the twisted metal and the ash -- -- excruciating pain -- -- and then a long dark silence. Your senses return in fragments and echoes. Something cold and numbing is pressed to your lips. You awaken -- you cough up dust, your parched throat cracking from the exertion. Standing over you, in the darkness, is a woman all in white. 1) "Where is my father?" >1 "Where... where is my father?" you ask weakly. The woman looks away. "Hush," she replies. "Don't exert yourself." 1) "Are you going to take me to see him?" >1 "Are you going to take me to see him?" She doesn't respond. Not for a while. Instead she kneels and places a hand upon your cheek, inspecting you like a broken sculpture. Her face is a mask, tattooed and impossible to read -- and you find that you know it well. After all, the face is your own. "It's time," the other you says. "It's time to go." 1) "Where are we going?" 2) "Who are you?" 3) "I'm not ready." >2 "Who... who are you?" "You know who I am." She stands up -- and so do you. The ruins of your father's laboratory flicker, fade, and collapse into ash; it piles among your feet with the skeletons of your past. "You're free now, Marid," your other self says. "You've suffered enough. It's time to move on." And she points up -- up into the great aether, where the sparks of countless souls twinkle like stars. You imagine that your father is among them. 1) 2) "You're taking me away." >2 "You're taking me away," you say. She nods. You feel a chill run down your spine. 1) 2) "I want to go..." >1 You watch the stars. In this time outside of time, you watch. There is a beauty to the movement of the world; to the movement of the souls that orbit it. You remember where you've seen it before: an eternity ago, in Doctor Cavala's surgery room, you caught a glimpse of that animic light. But here, now, the light washes over you, and you feel yourself being drawn to it like a river to the sea. 1) "I want to go..." >1 "I want to go," you admit. "I want to leave it all behind..." You lower your gaze. Your other self is silent. "...But I can't. I can't go. Not like this." The animic light bears down upon you, harsh, questioning. It is difficult to stand beneath its weight -- to stand tall before the jury of numberless eyes. Your other self cocks her head. "Why?" 1) "It's not just about me..." 2) "I need to know..." 3) "I'm not done yet..." >2 "...I need to know." You remember those moments, frozen in time and etched in memory. The black trails from Reden's eyes. The sign of the raven upon the dead. "I'm caught up in something. I -- I don't know what. But I know that it's big. Bigger than all of us. And it's going to take the lives of a hundred more, or a thousand more, before it ends. "I have to find out what's happening. I have to find the truth. Before it's too late, and... and... I..." You look at your other self, trying desperately not to cry. And she looks at you. And her eyes are alight with white fire. "Vive," she commands. "Vide." And you feel yourself rising up, up into the lights, and you gasp for air, and you breathe, and you see -- D A Y T H R E E -- you jolt awake, shuddering, blinking, coughing. Everything feels heavy. A pair of hands grips your shoulders, steadies you. "Is she awake?" a voice breathes. Doctor Cavala's voice. "Yes," comes the reply. Then again, closer: "Marid? Can you hear me?" You close and open your eyes. There are strange patterns, echoes, swirling in your vision, infinitely long, and it hurts to see. It hurts to see... You slip back into unconsciousness. "...stabilizing..." Lights. You see lights. You force your heavy eyelids to open. You're staring at the ceiling of Doctor Cavala's clinic. From the shadows it must be afternoon, around the time of your usual lunch break. But there's something off about the color of the light. Something strange. "Doctor?" you croak through parched lips. "Marid!" a voice exclaims. "Thank the Primes..." A shadow falls across you; a hand grips your wrist close. You turn your head to see the smiling face of Doctor Justinian. Wha -- what -- 1) 2) "Doctor Justinian?" >* oh great Comment recorded. 1) 2) "Doctor Justinian?" >2 "D-Doctor Justinian?" "Thank the Primes." He's checking your pulse now, leaning in to examine your eyes. Your gazes meet for a second, and his irises are fiery and alive and close. You take a few deep breaths, trying to compose yourself. Neither of you speaks for a moment. "I thought we'd lost you," he says at last. "The Vigiles found you bleeding out in the condemned block... I heard your door was broken down. It boggles my mind that anyone could do a thing like this -- "But what matters is that you're here now. You're safe." There is a sound from the waiting chairs. You turn and see Doctor Cavala watching from her cot. Her throat is choked. Her eyes are red from crying. "You're safe," she breathes. "Marid, I'm sorry. I'm so, so sorry." 1) "Doctor Cavala?" 2) "...Thank you, Doctor Justinian. For saving me." 3) "How long was I out?" 4) "I was attacked by a mutant woman with a sword..." 5) "What's wrong with the color of the light?" >5 You try to focus on the light. It's out of place somehow, both here and not here -- shimmering and scintillating in a way that makes your head spin. "What's wrong?" you mumble. "What's wrong with the color of the... the..." Your breath catches in your throat. Your brain refuses to comprehend what you are seeing. "Marid?" Justinian asks. 1) 2) "I have to go." >1 You close your eyes, but the image does not fade. It lingers. 1) "I have to go." >1 "I -- I have to go." "Hold on --" You get up despite your body's aches and protests. The world swirls around you, feels unreal. Justinian raises a hand but does not stop you. And you see. You still see. In life as in death. Clinic The light you see is not quite of this world. It does not originate from the fluorescent lamps. Yet it radiates still, engulfing this place, leaving its imprints in chair and counter and tile. A long shadow falls from the north, from the surgery room. Doctor Cavala and Justinian are staring at you in concern. Neither of them appears to have noticed anything. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >talk to doctor Which do you mean, Justinian, Doctor Cavala, Doctor Cavala's leg, Doctor Cavala's armchair, Doctor Cavala's notes and diagrams, or Doctor Cavala's signum? >* oops That is either not important or not something you can see. >talk to cavala "Doctor, do you see it?" "Marid? I... I don't understand. What do you see?" You are at a loss for words. >talk to justinian "Doctor Justinian, please, didn't you see..." "Marid? Please, you have to lie down. You haven't recovered..." >x him He returns your gaze uneasily. >n The curtain parts. Surgery Room You are in a cold cylindrical chamber, pulsing in a thousand dimensions illuminated from within. Dozens or hundreds of afterimages creep like specters at the edge of your vision. To the south, the exit is wreathed in calomel. A shimmering and fractured Reden sits upon the gurney. He looks at you with eyes that run black. >x reden He is cracked but somehow whole. >x me You feel alert and well. On edge, perhaps, but that's nothing unusual considering the circumstances. You are wearing an animus pendant (containing the spirit of your father), your natron jacket, and your clothes. On your person are your practitioner's badge, your scalpel, your purse, an antiseptic cloth, an endoscope, Doctor Cavala's signum, an animus lantern, yesterday's copy of the Libri Liberi, a Fourth of Aquaria copy of the Libri Liberi, a note with Zoiro's address, some drink coupons, and a gift note. >talk to reden "H -- Hello?" Reden twitches, as though animated by a jolt of galvanism. Again. His empty eyes pivot in their sockets. He opens his mouth, but you can't quite make out the words... You feel a curling in your spine -- a beckoning to listen closer. 1) 2) >2 You close your eyes and focus. The light of the real world vanishes -- but the other light, that light that permeates the boundary, remains. You hold on to that light and follow it like a thread... And the world shifts. ...broken... ...hurts... everywhere... 1) "Hello?" 2) "Reden?" >2 "Reden?" ...yes... 1) "How is it that I can speak with you?" 2) "You're breaking up..." 3) "Are you in pain?" >1 "How is it that I can speak with you?" ...must... be dead... ...didn't peg... for a chatty one... 1) "I'm not dead. At least, I don't think so." 2) "You're breaking up..." 3) "Are you in pain?" >1 "I'm not dead. At least, I don't think so." ... 1) "You're breaking up..." 2) "Are you in pain?" >2 "Are you in pain?" ...hurts... 1) "You're breaking up..." 2) "Is there any way I could help?" >2 "Is there any way I could help?" ... 1) "You're breaking up..." 2) "Doctor Cavala and I have been investigating your affliction..." >2 "Doctor Cavala and I have been investigating your affliction..." You do your best to explain what you've uncovered. You sense a presence following your train of thought, in bits and pieces, in half-remembered parts. ...maybe... ...find... where... caught... ...Chan... works... find... 1) "The Channelworks?" >1 "The Channelworks?" ... A vision assaults you. A canal splits and runs off. A sewer heaves with misery and regret. You sit and drink, waiting, waiting for an answer that will never come -- It's gone as quickly as it arrived. 1) "I understand." 2) "I don't understand." >1 "I understand." ... 1) "I'll find the place in the vision. I'll find out what happened to you." >1 "I -- I'll find the place in the vision. I'll find out what happened to you." ... 1) "I promise." 2) "Goodbye, Reden." >1 "I promise." ... ...thank you... 1) "Goodbye, Reden." > Please choose a response from the list by typing the corresponding number. 1) "Goodbye, Reden." >1 "Goodbye, Reden." ... The current buoys you upward. The world shifts. You return gradually to your senses. The cold glare of the surgery room envelops you. The shelves, the gurney, the curtain: these things fall into their rightful place, and your body of flesh and blood among them. As your sense of self returns, you look instinctively to the center of the room -- but the ghostly Reden is nowhere to be seen. The gurney is empty. And yet... And yet you sense his presence. The pull of that other world still remains, inviting you to look beyond the curtain. Perhaps that other world was always here, and you only lacked the eyes to see it. "Marid? Are you all right?" You turn. Doctor Justinian's brow is furrowed with worry. His eyes flicker between you and the empty gurney. 1) "I'm fine." 2) "I think I just had one of my hallucinations." 3) "I think I just saw a ghost." >1 "I-I'm fine," you say. He doesn't look convinced. "Are you sure? You -- you looked as though you were sleepwalking, or caught in a dream..." 1) "I thought I saw something, but it was just a trick of the light." 2) "I think I just had one of my hallucinations." 3) "I think I just saw a ghost." >1 "I thought I saw something," you tell him, "but it was just a trick of the light." Justinian gives you a long look. "All right," he says eventually. "In that case... you really do need to rest. You look like someone with far too much on your mind." The two of you exit the surgery room in silence. Doctor Cavala's eyes are on you as you take your seat. "Marid," she murmurs. "If... If you're --" She's interrupted by footsteps approaching the doorway. You barely have time to look before the door swings open and a man in a gray coat barges in. "Justinian!" he rasps. "There you are. Just what have you been doing all morning? Do you know how much time you've cost the Court?" Doctor Justinian stiffens. "Yes, of course, Doctor Serpens," he replies. "I wasn't aware that meetings took precedence over saving the life of a friend." The man called Serpens narrows his eyes. "Don't get lippy with me, Justinian. This is not a 'meeting.' It's an emergency inquest from the Philosophers themselves. And mark my words, you'll have your hide strung up if you don't move your damn fool behind." Doctor Justinian sighs and looks to you. "I'm sorry, Marid. We'll see each other again." They depart. A small group of Vigiles salutes the doctors as they exit, and escorts them down the street and out of sight. Beside you, Doctor Cavala shakes her head. "Doctor Serpens," she mumbles. "Twenty years on and still a curmudgeon." 1) "Who is Doctor Serpens?" 2) "You knew him, Doctor?" 3) "What was that he said about an emergency inquest?" >1 "Who is Doctor Serpens?" you ask. "I'm surprised you haven't heard of him," she says. "He was... is... one of the foremost experts on physiology. A close rival of Doctor Arturus, back when they were both still practicing." 1) "You knew him, Doctor?" 2) "What was that he said about an emergency inquest?" >1 "You knew him, Doctor?" "Before your time," she says. "I apprenticed under him at the Valetudinarium. That was... twenty years ago? Before I enlisted..." 1) "What was that he said about an emergency inquest?" >1 "What was that he said about an emergency inquest?" Doctor Cavala stiffens. "Right. We... we haven't told you. Much has changed in the district while you were out. Take a look outside." She tilts her head at the door. You follow her gaze, and the shadows of soldiers can be seen through the glass. "The death toll of the affliction has climbed into the hundreds," she says. "The entire district is in a -- a panic. Word has reached the higher-ups and martial law has been declared. There are Vigiles patrols, checkpoints in the streets... and the quarantine. "No one can leave the district until a cure has been produced by the inquest, or until everyone up and down the canal is dead." 1) "Oh, Primes." 2) "What did you mean by checkpoints?" 3) "What about food and water? Or correspondence?" 4) "So this inquest is to find a cure for the affliction?" 5) "Didn't we establish that the deaths were murders, not a result of infection?" 6) "So what do we do now?" >* So much for the murder theory Comment recorded. 1) "Oh, Primes." 2) "What did you mean by checkpoints?" 3) "What about food and water? Or correspondence?" 4) "So this inquest is to find a cure for the affliction?" 5) "Didn't we establish that the deaths were murders, not a result of infection?" 6) "So what do we do now?" >5 "Didn't we establish that the deaths were murders, not a result of infection?" She fixes you with a hard look. "Hypotheses can change, Marid. Hundreds have turned up dead. Whether this is an epidemic or a slaughter, measures have to be taken." 1) "What did you mean by checkpoints?" 2) "What about food and water? Or correspondence?" 3) "So this inquest is to find a cure for the affliction?" 4) "So what do we do now?" >1 "What did you mean by checkpoints?" "The -- The Vigiles have divided the district into cells," she replies. "Do you remember the Golden Reckoning?" You rack your memory. "Now that you mention it, I remember something like that. Lots of walls and calomel curtains?" "It's the same system. Each section of the district has been partitioned off and quarantined. It's a way to forestall the spread of the disease until a cure is found." "And no one is allowed to move between these cells?" "Very few can." Doctor Cavala sighs. "Doctor Justinian wasn't even supposed to be here. He's needed for the inquest, which is why Doctor Serpens made an exception for him. Magisterial fiat aside, not even I can pass through the checkpoints... and neither can you." 1) "What about food and water? Or correspondence?" 2) "So this inquest is to find a cure for the affliction?" 3) "So what do we do now?" >1 "What about food and water? Or correspondence?" "We can still receive packages from the rest of the city," Doctor Cavala says. "There's a crew of physickers at the tram station -- they're teleporting rations to each section of the district, to be distributed by the Vigiles. We can also pass along messages through the Vigiles network, though obviously nothing material can be sent out." She pauses. "I... I've already asked Horatio to pass along my messages. If there's anyone outside the Channelwork District you want to contact, you should do so." 1) "So this inquest is to find a cure for the affliction?" 2) "So what do we do now?" >1 "So this inquest is to find a cure for the affliction?" "It is," Doctor Cavala replies. "A research station has been set up in Doctor Arturus's clinic. Doctor Serpens is the head of operations. I'd have recommended you, but after what happened..." 1) "So what do we do now?" >1 "So what do we do now?" Doctor Cavala leans her head back. She closes her eyes, and for a terrible moment she looks like a corpse bereft of life. "I don't know," she says. "I don't know." Her fingers twitch. Her voice cracks. "Honestly, Marid, there's nothing we can do. There's nothing either of us can do. All we can do is wait." You feel a cold pit in your stomach. 1) "Doctor? Are you all right?" 2) "You don't have any ideas?" 3) "I could go out there on your behalf, like last time." >1 "Doctor? Are you --" "Marid," she says quietly. "I know what you're thinking. You want to go out there. Make a difference. Marid, you just recovered from a case of severe hypoxia. You shouldn't even be standing right now." She chuckles bitterly, and sinks into her makeshift cot like a wretched leaden thing. "You were dead, Marid," she says, very quietly. "Just moments ago, you were clinically dead on the tarp." 1) "What?" 2) "This isn't the time for jokes, Doctor." 3) >1 You feel a chill down the back of your neck. "What?" "I told Justinian you were still in there." she says. "I was so scared -- I was so scared I'd watch your animus leave your body -- and I'd lose you again --" Doctor Cavala chokes up, and begins to sob. "Is it worth it?" she asks. "Is it worth it to risk your life like this? To gaze into death?" 1) "I'm not afraid of death..." 2) >2 You are at a loss for words. Doctor Cavala has lost a lot of people, you realize. You've been her apprentice for a long time, but in all that time, she's never spoken of those who couldn't make it. Soldiers who died of their wounds, mothers who died in childbirth, patients who never saw another sunrise... You don't know how many there have been. She has never told you. Now, in this moment of weakness, you glimpse the unthinkable burden that weighs on Doctor Cavala's soul. There have been too many. There always have been. And you know that her deepest, darkest fear, beneath that impenetrable shell, is the fear of losing the one person who has made it worthwhile. Her deepest, darkest fear is that you will be next. "Please," she says, in a trembling voice. "Please." 1) 2) "I'm sorry..." >save Ok. 1) 2) "I'm sorry..." >1 Are you sure you want to end the story this way? (You can still >undo afterwards.) Please answer yes or no. >yes ... You feel a terrible crushing certainty, an upwelling of emotion surging past any attempt to contain it. And tears come, like searing pinpricks of shame, as your world collapses inward. There are no footholds in the unthinkable horror of your guilt. You fall, with bile rising in your throat, curling up on the floor crying and rocking like a fool. Your pendant is icy and painful against your skin -- -- as you tear yourself down, bleeding into the cracks of the tiles, as you sob for Doctor Cavala to forgive you, promise her that you will be good -- -- because you never wanted any of this why did it happen here why did it have to be you -- -- and you don't know why you ever thought you could make a difference. * * * Weeks pass. Your things are brought from your ruined dormitory room to Doctor Cavala's clinic, and there you stay with her, under guard and lock and key. You look after Doctor Cavala. Doctor Cavala looks after you. Horatio tries to make conversation, but you don't feel like talking to anyone any more. Reports from the outside world filter in. Lists of names and pictures. Lists of people you once knew. You stop reading through them after the third week. At least the lists get shorter over time. The guards posted to Doctor Cavala's clinic grow fewer and fewer in number. New faces are rotated in, and just as quickly disappear. Eventually, with no apparent threats to you or Doctor Cavala, they stop sending anyone at all. Six weeks in, Doctor Cavala's correspondence machine stops working. * * * On the eighth week, Doctor Cavala's dressing becomes infected. There are no usable supplies left in the clinic. Faced with a slow death in safety, or a risky journey to Doctor Justinian's clinic, she chooses the latter. She sets out on her own with her cutter in one hand and a walking stick in the other. You never see her again. On the ninth week, you break down crying in Horatio's arms. * * * Sometimes you think about ending your own life. It would be easy. It's not like anyone could stop you, if you really put your mind to it. But you remember the weight of the pendant around your neck -- your vision when you came back from the dead -- the promise you made to Doctor Cavala -- and you never go through with it. You feel as though you have a duty to see things through. And so you sit with Reden's ghost in the surgery room, remembering the day the nightmare started, and close your eyes and wait for everything to end. * * * You hear the news almost a year after it began, on the Tenth of Opis, Auritium V. After three months of silence, the disease is considered eradicated and the quarantine is lifted. You, Horatio, and Justinian rank among the few hundred survivors of a district that once had a population of thousands. Picked up by a rescue airship, you spend another week in a decontamination ward before you are allowed to rejoin society. In the following days, you are interviewed by Revelaris Press. Flowers are sent to your interim address. A clinic in the Commercial District offers you a job, and your life returns to something almost resembling normalcy. You know you should be happy for yourself. Against all odds, you survived the epidemic and went on to live your life. It's what Doctor Cavala and your parents would have wanted. But in the end, you feel nothing. You feel empty inside whenever you think about the year -- and the people -- that you lost. You remember the disease that set the Channelworks District aflame and reduced your old life to ashes, and it walks with you even as you leave its scars behind. To this day, no one understands the affliction that killed nine-tenths of the Channelworks District's population. Once, perhaps, you had the chance to discover the truth behind it all. If things had been different, you might even have been able to end the epidemic -- to save all those people. To go back and halt the specter of Death with your own two hands. But it's no use to speculate on what could have been. The truth is that no one knows what truly happened in those days. No one knows why any of those people had to die. And perhaps they never will. *** The End *** Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >undo Clinic [Previous turn undone.] 1) 2) "I'm sorry..." >2 In all your life, you have never come across a more terrible decision to make. Yet the more you have thought on it, the more the choice has become clear. It is the same choice you made when you applied to Doctor Cavala's clinic a lifetime ago. "I'm sorry," you tell her. "This is what I have to do." "Marid --" "I'll take care of myself. It'll all be fine. I promise." "Marid --" Doctor Cavala reaches madly for you as you pull away. She tries to stand and almost falls out of her cot. Like a nurse subduing a patient, you push her back into her cot and draw a white blanket over her body. She stares at you with eyes like a terrified deer. You blink back tears. "I'll be fine," you say, "I promise. And I promise you this: no one else has to die." Doctor Cavala has no words for you. She is quiet, whimpering, sobbing to herself like a child. It is almost too much for you to see her in this state. So you do the only thing you can do. You turn around and place your hand on the door handle. With a final forlorn step, you leave everything behind. Via Terminalis, West End You stand in the terminus of the Via Terminalis, a dead end of steel spires and buildings grasping fruitlessly at the sky. In the ceaseless rain, smears of animus-light weakly glow, winking in and out of existence like so many wandering souls. The dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The way east to the Via Terminalis has been barricaded by a Vigiles checkpoint. >j Sixth of Aquaria, Auritum IV There's nothing left to say. I've burned my bridges. I'm sorry. Now it's time to do what I set out to do. Reden, Doctor Arturus, all of them -- I'm going to make sure they didn't die in vain. Current objectives: - Find the place from Reden's vision Marid's notes: - Reden's vision showed me a canal or sewer somewhere in the Channelworks, where he was drinking. Please press SPACE to continue. Via Terminalis, West End You stand in the terminus of the Via Terminalis, a dead end of steel spires and buildings grasping fruitlessly at the sky. In the ceaseless rain, smears of animus-light weakly glow, winking in and out of existence like so many wandering souls. The dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The way east to the Via Terminalis has been barricaded by a Vigiles checkpoint. >s You shuffle through the gap... Crooked Alley A thin, twisting thread that winds between buildings. Rubbish accumulates around pipes and corners, not quite blocking the smoking vents of underground distilleries. You can escape by a gap between buildings to the north or a hanging banner to the northeast. >* This really feels like it's goingt o be important sometime Comment recorded. >ne You duck under the banner... Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. You are trying to make out the end of the bridge in the rain, when -- "Marid?" -- you freeze. A voice echoes through the mist, anxious, painfully familiar in its concern. You look away. A young Vigile in a gas mask is pushing through the billowing rain. He's wiping raindrops from his lenses, struggling to make you out. "Marid, is that you?" 1) "Horatio." 2) >1 "Horatio." "Marid? Oh, Primes, what's happened to you?" Horatio's uniform is faded and a little ragged, and his natron-inlaid overcoat is ill-fitting. Rain pools in the crevices of his leather gloves as he takes your hand. "I thought you were with Doctor Cavala," he says. "I... She didn't..." 1) "Where were you?" 2) "I'm not with Doctor Cavala any more..." 3) "She's just sent me on an errand..." >1 "Where were you?" Horatio looks at his feet. "The Captain told me to get a mask," he says. "And this coat. We have to wear these now. I didn't want to -- to leave the clinic, but --" 1) "I'm not with Doctor Cavala any more..." 2) "She's just sent me on an errand..." >1 "I'm not with Doctor Cavala any more," you tell Horatio. "Things have changed." His eyes widen. "What?" "I'm investigating the epidemic, Horatio." You push his hand away. "People are dying. I can't just sit and wait in the clinic. I can't just give up on everything we've done." "Marid..." Horatio moves as though to embrace you, but you stop him with your hand. He dares not come closer. His dark eyes beseech you from behind gas-mask glass, as if to say: why? "Marid, don't do this," he whispers. "You don't..." "I don't what?" Horatio shakes his head. "...Marid, I was there when they brought you in. You were dying." Do you know --" His voice cracks. "Do you know how I felt, seeing you like that? You think of your father's face wreathed in flame. "I know," you tell Horatio. "I know. I'm sorry. Take care of Doctor Cavala for me." You turn away from your old friend and start walking. You don't look back, for fear that you won't have the willpower to break his heart again. Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. >n Condemned Block Here crouch the blackened husks of buildings, now little more than skeletons awaiting demolition. A chained-up gate bars access to the plot. The only remaining path leads south, back to the lights of the Via Terminalis. Blood is pooling in the crevices of the pavement, just behind the gate. >x blood Is that blood... yours? >*ick Comment recorded. >x gate The gate is crisscrossed with chains and rusted shut. >n (first opening the chained-up gate) The gate won't open. >s Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. *** Run-time problem P22: Attempt to look up a non-existent row in the table 'Table of Day Three Upper Perioch Ambience'. A carriage roars down the street, pulled by a smoke-belching mechanical longhorn. >* uh-oh Comment recorded. >z Time passes. >z Time passes. >s Following the Canal Glittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown. The entrance to Riggertown appears to be blocked by a Vigiles checkpoint. There will be no going south from here. >x checkpoint From the scrap metal of Riggertown, the walls of the checkpoint rise like a gray fortress. >s The Vigiles checkpoint will stop you if you go that way. There must be another way to the Channelworks. >n Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. >se Via Terminalis Bridge Here your footsteps echo like a crowd among the arches and cobblestones. Endlessly does the rain dash itself against the bridge, making the Bilious Canal churn with forbidding mist and the eyes of the wayside statues run with tears. A Vigiles checkpoint blocks the path to the southeast. You can only retrace your steps northwest, or failing that, descend a clandestine stairway to the south. As you take a moment to catch your bearings, a mysterious hooded woman climbs up the steps from the south. She takes a fleeting glance at you -- She withdraws as if stung, and walks away quickly across the bridge to the northwest. >nw Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. You spy the hooded woman on the side of the street. As you catch up with her, she notices you and flees south along the canal. >s Following the Canal Glittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown. The entrance to Riggertown appears to be blocked by a Vigiles checkpoint. There will be no going south from here. The hooded woman is climbing down through the manhole, having opened it by unknown means. As you approach, she lifts her head. Only darkness is visible beneath her hood. She regards you like that -- the rain and the wind tugging at the hem of her cloak -- before she disappears into the manhole and slams it firmly shut behind her. You rush over and pull at the manhole cover, but it's useless. However she did it, the manhole seems to be locked from the inside. But the chase may not have been in vain after all. In her haste, the woman seems to have left an odd-looking stone behind. >x stone (the stonework key) An artificially carved stone fragment that reminds you of a puzzle piece or key. One of its faces is crescent-shaped and covered in moss and graffiti paint. >take it Taken. >n Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. An inkblot ooze burbles down the street, trailing a dark and viscous stain along the cobbles. >x blot That is either not important or not something you can see. >x ooze That is either not important or not something you can see. >n Condemned Block Here crouch the blackened husks of buildings, now little more than skeletons awaiting demolition. A chained-up gate bars access to the plot. The only remaining path leads south, back to the lights of the Via Terminalis. Blood is pooling in the crevices of the pavement, just behind the gate. >s Via Terminalis, West Street You drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot. To the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south. >se Via Terminalis Bridge Here your footsteps echo like a crowd among the arches and cobblestones. Endlessly does the rain dash itself against the bridge, making the Bilious Canal churn with forbidding mist and the eyes of the wayside statues run with tears. A Vigiles checkpoint blocks the path to the southeast. You can only retrace your steps northwest, or failing that, descend a clandestine stairway to the south. >se The Vigiles checkpoint will stop you if you go that way. There must be another way to the Channelworks. >d Canalside Steps The mist of the Bilious Canal slicks this cramped and winding stairway, and the rusted railings are battered with white spray. The bustle of the bridge reverberates cascading down the steps until it sinks beneath the dark rushing water. Among the moss and graffiti of the east embankment, a mysterious iron door is set into the stone. >x door An iron door flush with the embankment. It is dirty, but without rust, and unmarked except for a crescent-shaped window. There is no handle. >open it It's better to keep the stonework key on your person. >open door It's better to keep the stonework key on your person. >* huh? Comment recorded. >unlock door That doesn't seem to be something you can unlock. >x stone Which do you mean, the ancient embankment, the stonework key, or the animus pendant? >key An artificially carved stone fragment that reminds you of a puzzle piece or key. One of its faces is crescent-shaped and covered in moss and graffiti paint. >put key in window The window is the wrong size, and the stonework key doesn't fit through the bars. The key must belong somewhere else. >x crescent (the crescent in the graffiti) Running your fingers over the graffiti, you are startled to discover that the crescent in the graffiti conceals some kind of keyhole. >put key in graffiti (the stonework key) You can't put something inside itself. >* ugh Comment recorded. >put key in keyhole The stonework key fits into the mural with a tingle, as though an alchemical glyph has been completed. The world blurs into the rain, and the rain into the world, and you see it -- a change in the order of the skeins that are woven before you. The iron door swings open. >x me You feel alert and well. Slightly on edge, perhaps, but that's nothing unusual considering the circumstances. You are wearing an animus pendant (containing the spirit of your father), your natron jacket, and your clothes. On your person are your practitioner's badge, your scalpel, your purse, an antiseptic cloth, an endoscope, Doctor Cavala's signum, an animus lantern, yesterday's copy of the Libri Liberi, a Fourth of Aquaria copy of the Libri Liberi, a note with Zoiro's address, some drink coupons, and a gift note. >in Passage of Tears In this lightless passage, the air is still and the sounds of the world seem to die. Yet the tunnel is alive nonetheless: it teems with raindrops, seeping from unseen cracks, sparkling with mirth as they reflect the dancing eye of your animus-light. To the west, you hear the echoing roar of the Bilious Canal. In the east, there is murmuring, and a candlelit glow. >w Canalside Steps The mist of the Bilious Canal slicks this cramped and winding stairway, and the rusted railings are battered with white spray. The bustle of the bridge reverberates cascading down the steps until it sinks beneath the dark rushing water. Among the moss and graffiti of the east embankment, a mysterious iron door leads into darkness. >e Passage of Tears In this lightless passage, the air is still and the sounds of the world seem to die. Yet the tunnel is alive nonetheless: it teems with raindrops, seeping from unseen cracks, sparkling with mirth as they reflect the dancing eye of your animus-light. To the west, you hear the echoing roar of the Bilious Canal. In the east, there is murmuring, and a candlelit glow. >listen The Bilious Canal rumbles, but it cannot pierce the silence. >e Church of One Thousand Faces You are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god. A crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. A green-robed patriarch stands among them, overseeing the ceremony; and he looks at you. "Hello, child." His is a voice that throbs, as though it were bubbles of vocalization escaping from broth. He regards you with a face full of holes and crinkles his jaw in a way approximating a smile. 1) 2) "Hello." >2 "H -- Hello," you muster. Your voice is trembling. "Oh... Oh!" the mutant exclaims. "You are not of our kind. My sincerest apologies." He -- at least you think it is a he -- he reaches behind himself with a gaunt arm and pulls his hood up. Colorful streamers dangle in front of his face, veiling its ragged angles from sight. "I am so very sorry for the shock." He steps closer. "We receive so few visitors. Especially from the world above." 1) "My name is Marid." 2) "Who are you?" 3) "What is this place?" 4) "I hope I'm not trespassing..." 5) "Are you aware that the Channelworks District is under quarantine?" >* Oh phew, it's a nice cult Comment recorded. 1) "My name is Marid." 2) "Who are you?" 3) "What is this place?" 4) "I hope I'm not trespassing..." 5) "Are you aware that the Channelworks District is under quarantine?" >1 "My name is Marid," you say. "Greetings, Marid." The mutant inclines his head. "Marid Orpheia, is it not? You are a brave woman to venture so far from home." 1) "Who are you?" 2) "What is this place?" 3) "I hope I'm not trespassing..." 4) "Are you aware that the Channelworks District is under quarantine?" >1 "Who are you?" "Ah! I have forgotten my manners." He clasps his hands together. "Forgive me. I am Natos, Natos Web-eye; but most here call me Patriarch Natos. "Here I am..." He sweeps a robed arm around the chamber. "Here is my congregation." 1) "What is this place?" 2) "I hope I'm not trespassing..." 3) "Are you aware that the Channelworks District is under quarantine?" >1 "What is this place?" You gaze at the terrible hydra in steel, and the dozens of mutants prostrating themselves before it. "You are not from the basilica, then. Thank the stars." The patriarch laughs wetly and shakes his head. "And here I was, preparing to offer you a bribe." "A bribe?" "We are outcasts, my child. Cast out from the temple of your people to walk the dark places. Tell me --" He fixes you with an eyeless gaze. "What do you know of Reason, and of mutantkind?" 1) "Reason is the law that governs all things, just as the Philosophers govern society." 2) "Mutants -- your people -- you were exiled to the Dark Lands, and mutated by the irradiata." 3) "...I've come to realize that I know a lot less about the world than I thought I did." >3 "...I've come to realize that I know a lot less about the world than I thought I did." The patriarch regards you quietly for a while, a little eerily, though not without fondness. "You are wiser than I was at your age," he says. "There are many things I don't know," you say. "And I've seen some things that made me question myself." "Very well... very well..." He nods, and for a moment you wonder if he is not smiling beneath his hood. Then, with a gnarled hand, he gestures at the statue of the hydra. "Now it is my turn to answer," he says. "You asked me, my child: what is this place? It is a church, if you would like to call it that. Here we worship, and we pray, and we venerate the old traditions from the Dark Lands. Our rites have been handed down through generation after generation of mutants; and so they have passed into my care. "Before you is a likeness of Anu Va, the Hydra God. It is one of the powers in the world, although the Philosophers would have you believe that it is not so. Trust me, for I have seen the Hydra with my own eyes. We worship and give offerings so that its terrible chaos does not consume us." "And you do this in secret," you say. "Indeed," Patriarch Natos says. "The Philosophers do not take kindly to those who challenge their sacred idols: Reason, or Knowledge, or the Scientific Method. They call us 'cultists,' or else 'subversives,' and persecute us as they persecuted our ancestors. They will not admit that there are answers that cannot be found in textbooks, or that there are things Reason cannot explain. "That is why we hold our services in this abandoned cistern... and why we have to bribe Council officials from time to time." 1) "I hope I'm not trespassing..." 2) "Do you know a mutant woman with a distinctive smile? One with lots of teeth?" 3) "Are you aware that the Channelworks District is under quarantine?" >1 "I hope I'm not trespassing," you say. "I... There was a woman who dropped a key in a hurry, and..." The patriarch tilts his head. "You are a friend of ours, are you not?" "Um..." "If you are not, I am afraid this conversation will take a rather unpleasant turn." "...Yes," you say. "Yes, I'm a friend." "Then you have nothing to worry about." He chuckles, his chest heaving wetly. "As long as you pledge to leave us in peace, we shall afford you the same respect. I trust we are clear on this." "Yes, sir." "Very good." 1) "Do you know a mutant woman with a distinctive smile? One with lots of teeth?" 2) "Are you aware that the Channelworks District is under quarantine?" >1 "Do you know a mutant woman with a distinctive smile? One with lots of teeth?" The patriarch nods grimly. "I knew the one of whom you speak," he says. "Carnicer was her name. We had not seen her here in some time... I had my misgivings about the paths in life she had chosen. It is a tragedy that her choices led her to such a terrible end." 1) "Are you aware that the Channelworks District is under quarantine?" >1 "Are you aware that the Channelworks District is under quarantine?" "Ah. Is that what this is about?" Patriarch Natos exhales softly. The streamers covering his face flutter. "We know of the quarantine," he says. "We knew before the Council announced it. It is difficult to miss the movement of the Vigiles, the roadblocks appearing along the carriageways, if you have eyes and ears." "I'm investigating the disease," you tell him. "I need to get to the Channelworks. I have reason to believe it may be the source of the outbreak." "Is that so?" He pauses. "Are you certain about this, child?" "I'm certain enough to stake my life on it." Patriarch Natos eyes you gravely, his robes billowing in the candlelight. Finally, he turns and beckons for you to follow. He leads you to an abandoned aqueduct, cracked and tunnel-like, running north and south through the center of the dome. To the north, through a grate, you see a curtain with a black cross crudely painted on it. "We are beneath the alchemical junction along the Via Terminalis," he says. "This is an ancient maintenance tunnel. If you go straight along the aqueduct, it will take you directly to the Channelworks pumping station; and if you wish to stay beneath the notice of the quarantine enforcers, it may be the only way to reach the Channelworks. "But I am loath to see you go, my child. You see, my congregation has avoided this tunnel for as long as I have ever known. It is said to be cursed." 1) "What do you mean, 'cursed'?" 2) "You can't believe that." >1 "What do you mean, 'cursed'?" "I mean what I say." He lowers his head solemnly. "Ever since we began our worship here, all who have chanced to go into the passage have died." 1) "How did the deaths happen?" 2) "Can I see the bodies?" 3) "Does anyone else know about this curse?" 4) "Thank you for the warning. I'll be careful." >1 "How did the deaths happen?" you ask. "It is different every time," Patriarch Natos says. "Now and again, one of us is foolhardy enough to brave the passage. They will go, and they will return, seemingly none the worse for wear. They always say the same thing: that it is only an old, disused aqueduct, and there is nothing for us to fear. "And yet, within the week, it will transpire that some terrible malady has befallen the explorer. They will bleed from within, or they will go insane, or their flesh will melt off their bones. And then they will die." 1) "Can I see the bodies?" 2) "Does anyone else know about this curse?" 3) "Thank you for the warning. I'll be careful." >1 "Can I see the bodies?" "I am afraid not," Patriarch Natos says. "There was a time when we buried those who had succumbed to the curse, but we soon found that the curse could linger in the graves. These days, we incinerate the bodies. We do not take chances." 1) "Does anyone else know about this curse?" 2) "Thank you for the warning. I'll be careful." >* OK so even more (magic?) radiation Comment recorded. 1) "Does anyone else know about this curse?" 2) "Thank you for the warning. I'll be careful." >1 "Does anyone else know about this curse?" He shrugs. "In the beginning, we tried to get help. Discreetly, of course. There is an appeal, somewhere in the basilica, that a magistrate sympathetic to us has filed. But no one has come. I can only assume that it has fallen through the cracks of your bureaucracy." 1) "Thank you for the warning. I'll be careful." >1 "Thank you for the warning," you say. "I'll be careful." "You do not seem to be dissuaded," Patriarch Natos observes. You think of Reden's black eyes, full of forlorn hope. You feel the weight of your pendant on your skin. "...I see," the patriarch says. "You are determined. Very well. I hope you know what you are doing." He unlocks the grate, and with a tumultous creaking, pulls it open on its hinges. The ink-stained curtain billows like a flag. "Thank you," you say. "For showing me the way." He nods. "Good luck on your journey, Marid Orpheia. May the Hydra have mercy upon you." Church of One Thousand Faces You are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god. To the west is the passage back to the surface. To the north, an abandoned aqueduct leads to a Channelworks maintenance tunnel. A crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. Patriarch Natos stands before them, overseeing the ceremony. >save Ok. >x pipes Pipes for water, sewage, and many other things. >x lines (the subterranean galvanic lines) This must be a nexus for the Channelworks District power supply. >x glyphs It looks like the patterns mirror those on the rotunda of the Via Terminalis above. >x hydra It is a strange and terrible mutant built of optical illusions and alien angles. Many times larger than a man, it looks down on the worshipping congregation with one thousand fearsome heads, each one an impressionistic smear blending into the next. >x worshippers Some wear work uniforms or plain coats, but most are wearing the hooded garments popular among mutants. >talk to them It seems the worshippers are busy with more important things. >x natos He has the bearing of a prince, and a face like a spiderweb. >talk to him He's already told you everything that you need to know. >n Terminal Vein The candlelight dies here, where the aqueduct narrows. The ragged curtain hides a dark and dismal tunnel which bristles with rusted wires and broken pressure valves. And all around you, pale and half-formed, lurking in the crevices of your consciousness, are the spirits of the dead. You can follow the aqueduct south to the underground church, or northwest where it opens out onto the pouring rain. >x valves Old fixtures ruptured by the weight of years, and never mended. >x spirits They are the apparitions of unfamiliar mutants, somehow damaged and tied to this place. Some are skeletal, missing flesh. Others are without faces or limbs. >* umm so this is a thing we can do now I guess? Comment recorded. >nw Reden's Haunt In the shadow of the Channelworks is this little crumbling ledge, where the roof has caved in and rain batters stone. Here is a manhole, and a waterway heaving with the Hydra Aquifera's runoff; beside it is a broken old chair surrounded by dozens of wine bottles. In their glass, you see distorted the face of the Channelworks above and the fury of the Bilious Canal below. To the southeast, the aqueduct leads back to the mutant church. To the north, you can enter the bowels of the Channelworks. A tiny string of glistering black runs along the ground and disappears into the north pipe. >x black It's a trail of some kind of liquid, shadowy in its consistency. You would have missed it if not for the way it caught your lantern's animus-light. Something about it feels wrong. >taste black Something in the back of your mind -- in that newly opened chamber of your perception -- is screaming at you not to touch the string. >* is that newly-opened chamber actually the common sense god gave gravel? Comment recorded. >x roof It appears the Council of Works only repairs damage that is visible from the main thoroughfares. >x ledge That is either not important or not something you can see. >x manhole A rusted manhole with a dented grille. On closer examination, it's too small for you to fit into. But a goblin-sized person might be able to climb in. It looks like a shaft runs all the way from this manhole to Riggertown. Your guess is that a certain goblin has been using this manhole to sneak onto this ledge beneath the Channelworks. >x waterway A solution of horrible-smelling alchemical detritus. It runs from the wastewater channels leading out of the Channelworks. >x chair A tiny, rickety folding steel chair. You see the stamp of the Council of Works on its backrest. >x bottles It's the same brand you saw in Reden's shack. >n Transfusion Pipe Scorpio You are in the belly of the beast now, in one of the many pipes that radiate from the Channelworks' pumping heart. Here the walls are sloped and plated in ancient sigiled brass, leaving you only a precarious steel catwalk to tread upon. Below and alongside you, rushing water flows, filling the pipe with a roaring echo like a tempestuous ocean. You can follow the pipe north or south. A black ribbon winds through a hairline crack in the brass plating, flowing in a steady drip from the north. >x walls Sigils against corrosion are inscribed upon the brass, covering the entire interior of the pipe like an interlinked web. >x water It's the dark, vile wastewater of the Channelworks' alchemical processes. It fills the entire pipe with a terrible stench. >x ribbon Its shadowy length is a throbbing scar on your retina. >n Hydromotive Control From this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums. A foul-smelling tunnel leads out of the Channelworks to the south. There is a console here, and a hydraulic door to the east which stands out from all the others. The black trail flows from one of the leaking pipes near this door. >x machinery These are the workings that underpin a society, which so few are able to glimpse. >x chambers It echoes an ancient cathedral, but there is no divinity here except in the sublime efficiency of the machine. >x arches It echoes an ancient cathedral, but there is no divinity here except in the sublime efficiency of the machine. >x trail The leak is thin and insidious, so difficult to see that you might not have noticed it under any other circumstance. It seems to be coming from the other side of the hydraulic door. >x door A steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock. "HYDRAULIC PRESSURE BELOW SAFETY LIMITS," the rotary disc informs you. >x console A grand table finished in rosewood and orichalcum. There are a myriad different needles and indicator bulbs, labeled with arcane symbols and organized with geometric precision. An inkstained memo has been left on one wing of the console. Beside it, there is a row of pistons with handles that can be pushed or pulled. Currently, the I piston is retracted, the II piston is extended, the IV piston is retracted, the VII piston is extended, and the X piston is extended. >* OK let's fiddle with the pumping station for the whole district/city, what's the worst that could happen Comment recorded. >x symbols You have no idea what any of these readings mean. >x memo I've shut the laboratory until the crisis blows over. No seal yet, but the pressure safety lock should be enough to keep muties out. -S >* interesting Comment recorded. >x pistons You'll have to specify which one. >x i A brass piston labeled with the number 1. It can be pushed or pulled using the handle on its end. At the moment, it is retracted. >x ii A brass piston labeled with the number 2. It can be pushed or pulled using the handle on its end. At the moment, it is extended. >extend 1 That object or command isn't available. >pull 1 The I piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is retracted, the VII piston is extended, and the X piston is extended. >pull iv (the Fourth of Aquaria copy of the Libri Liberi) Nothing obvious happens. >pull 4 (the Fourth of Aquaria copy of the Libri Liberi) Nothing obvious happens. >* blarg Comment recorded. >pull piston 4 The IV piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is extended. >x valve That is either not important or not something you can see. >l Hydromotive Control From this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums. A foul-smelling tunnel leads out of the Channelworks to the south. There is a console here, and a hydraulic door to the east which stands out from all the others. The black trail flows from one of the leaking pipes near this door. >x door A steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock. "HYDRAULIC PRESSURE BELOW SAFETY LIMITS," the rotary disc informs you. >x gauge "HYDRAULIC PRESSURE BELOW SAFETY LIMITS," the rotary disc informs you. >push 1 The I piston retracts into the console with a weighty hiss. Now, the I piston is retracted, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is extended. >push 2 The II piston retracts into the console with a weighty hiss. Now, the I piston is retracted, the II piston is retracted, the IV piston is extended, the VII piston is extended, and the X piston is extended. >push 7 The VII piston retracts into the console with a weighty hiss. Now, the I piston is retracted, the II piston is retracted, the IV piston is extended, the VII piston is retracted, and the X piston is extended. The pressure lock on the door makes a pinging sound. Now it says "HYDRAULIC PRESSURE ABOVE SAFETY LIMITS." >undo Hydromotive Control [Previous turn undone.] >open door There seems to be some kind of safety lock on the door. >x door A steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock. "HYDRAULIC PRESSURE BELOW SAFETY LIMITS," the rotary disc informs you. >push 10 The X piston retracts into the console with a weighty hiss. Now, the I piston is retracted, the II piston is retracted, the IV piston is extended, the VII piston is extended, and the X piston is retracted. The pressure lock on the door makes a pinging sound. Now it says "HYDRAULIC PRESSURE ABOVE SAFETY LIMITS." >pull 1 The I piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is retracted, the IV piston is extended, the VII piston is extended, and the X piston is retracted. >pull 2 The II piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is retracted. >x door A steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock. "HYDRAULIC PRESSURE ABOVE SAFETY LIMITS," the rotary disc informs you. >l Hydromotive Control From this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums. A foul-smelling tunnel leads out of the Channelworks to the south. There is a console here, and a hydraulic door to the east which stands out from all the others. The black trail flows from one of the leaking pipes near this door. >x console A grand table finished in rosewood and orichalcum. There are a myriad different needles and indicator bulbs, labeled with arcane symbols and organized with geometric precision. An inkstained memo has been left on one wing of the console. Beside it, there is a row of pistons with handles that can be pushed or pulled. Currently, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is retracted. >push vii The VII piston retracts into the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is retracted, and the X piston is retracted. >pull x The X piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is retracted, and the X piston is extended. The pressure lock on the door makes a grating sound. Now it says "HYDRAULIC PRESSURE BELOW SAFETY LIMITS." >push 4 The IV piston retracts into the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is retracted, the VII piston is retracted, and the X piston is extended. The pressure lock on the door makes a pinging sound. Now it says "HYDRAULIC PRESSURE ABOVE SAFETY LIMITS." >pull 1 The I piston is already extended. >push 1 The I piston retracts into the console with a weighty hiss. Now, the I piston is retracted, the II piston is extended, the IV piston is retracted, the VII piston is retracted, and the X piston is extended. >x door A steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock. "HYDRAULIC PRESSURE ABOVE SAFETY LIMITS," the rotary disc informs you. >* Hmm, so it's not balancing the numbers Comment recorded. >pull 1 The I piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is retracted, the VII piston is retracted, and the X piston is extended. >pull 4 The IV piston extends out of the console with a weighty hiss. Now, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is retracted, and the X piston is extended. The pressure lock on the door makes a grating sound. Now it says "HYDRAULIC PRESSURE BELOW SAFETY LIMITS." >push 2 The II piston retracts into the console with a weighty hiss. Now, the I piston is extended, the II piston is retracted, the IV piston is extended, the VII piston is retracted, and the X piston is extended. With a satisfying metallic click-click-clicking, the hydraulic door unlocks and telescopes open. >* OK close enough Comment recorded. >l Hydromotive Control From this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums. A foul-smelling tunnel leads out of the Channelworks to the south. There is a console here, and a hydraulic door to the east which stands open. The black trail flows from one of the leaking pipes near this door. >e Clandestine Laboratory It is dusky here, and cold. The walls are austere bunker-brass. Looming about are locked cabinets and metal crates stamped with esoteric ciphers; there is a laboratory counter that bristles with papers, alembics, syphons, the skeletons of mice, the detritus of knowledge. The floor is dirty and scuffed. The counter has been used recently. >x walls Like the underside of a behemoth's shell. >x cabinets These look like filing cabinets for highly restricted treatises, the sort you would find in the Philosophers' animological research libraries. Each is labeled according to what you assume is a secret cataloguing system. All are physically locked and sealed by dozens of warding glyphs. There is one odd cabinet, though, that seems newer than the rest. The wards are the same, but the metal is a little less tarnished. >x crates You recognize them as the type of crate used to transport dangerous substances. >x conunter That is either not important or not something you can see. >x counter A cold desk light illuminates dated scientific theses and yellowed medical reports. By the looming shadows of old alembics and syphons, there is a glass containment cage filled with skeletal corpses of mice. You feel like you need to investigate the items more closely. >open crates All of the crates are locked and bolted shut. You don't think you will be able to get them open. >open cabinet Which do you mean, the suspiciously odd cabinet or the sealed cabinets? >* I mean when you ask it like that That is either not important or not something you can see. >open odd The sealed cabinets are warded with military-grade glyphs. Touching them without the appropriate counter-signs would almost certainly fry your nervous system. >open suspiciously odd cabinet The sealed cabinets are warded with military-grade glyphs. Touching them without the appropriate counter-signs would almost certainly fry your nervous system. >wipe cabinet Which do you mean, the suspiciously odd cabinet or the sealed cabinets? >odd The sealed cabinets are warded with military-grade glyphs. Touching them without the appropriate counter-signs would almost certainly fry your nervous system. >l Clandestine Laboratory It is dusky here, and cold. The walls are austere bunker-brass. Looming about are locked cabinets and metal crates stamped with esoteric ciphers; there is a laboratory counter that bristles with papers, alembics, syphons, the skeletons of mice, the detritus of knowledge. The floor is dirty and scuffed. The counter has been used recently. >x coutner That is either not important or not something you can see. >x counter A cold desk light illuminates dated scientific theses and yellowed medical reports. By the looming shadows of old alembics and syphons, there is a glass containment cage filled with skeletal corpses of mice. You feel like you need to investigate the items more closely. >x reports There are human, goblin, and mutant anatomical diagrams; skeletons, musculatures, and circulatory systems. And there are other diagrams: ones with concentric circles, amorphous cross-hatched zones, rays of differing magnitude. Slowly you realize what the diagrams are depicting. They are charts of the other light, the unseen light. They are meticulously measured and recorded diagrams of souls. Some are fulgurant and whole, looking much as the spirits in the aqueduct did. Others are fractured, like Reden's animus, and torn apart. The fractured souls are labeled "NOCTIS TEST RESULTS." There is some writing on the back of one of the reports. It reads: "I cannot do this anymore. My conscience weighs too heavily. Philosopher Scepter is no more and it is for the best that her atrocities are forgotten." A line below it, in a newer hand: "You always were too cautious, Arturus, my friend." >* Blarg Comment recorded. >x cage A box for the observation of small creatures. The insides are dirty and coated with fungus. >open cage It's locked, and besides, you don't have any use for the dead mice. >* so you assume! Comment recorded. >search counter A cold desk light illuminates dated scientific theses and yellowed medical reports. By the looming shadows of old alembics and syphons, there is a glass containment cage filled with skeletal corpses of mice. You feel like you need to investigate the items more closely. >search theses There are stacks and stacks of these papers. You'll have time to sort through them after you finish investigating this place. >read theses Old medical treatises on the nature of diseases and afflictions. Co-authored by Doctors Arturus and Serpens, if the headers are to be believed. You had to read many of these for homework at the Physicians' College. These remind you of the historical ars vitalis journals, the dry decade-old treatises that you had to write essays on. Except you've never seen any of these papers. You don't remember seeing these in any published journal. And you would remember, because these papers have unbelievable, groundbreaking implications. If these are real, it means Doctors Arturus and Serpens have been conducting cutting-edge medical research in secret for decades. You skim through the papers with mounting disquiet. From what you can gather, the treatises were about creating artificial poisons and weaponizing them for mass deployment. There are pages and pages of Mutant War-era field testing logs. There are graphic tables of transmission and observation and casualty statistics. The last paper is more than twenty years old, but someone has crossed out numbers here and there and replaced them with fresh values. Scribbled notes in the margins, about test effectiveness and control groups and avenues of exploration. Some of the ink is so fresh that it smudges when you turn the page. The Mutant Wars may have ended years ago, but someone is studying their weapons still. The project is named "Noctis." >l Clandestine Laboratory It is dusky here, and cold. The walls are austere bunker-brass. Looming about are locked cabinets and metal crates stamped with esoteric ciphers; there is a laboratory counter that bristles with papers, alembics, syphons, the skeletons of mice, the detritus of knowledge. The floor is dirty and scuffed. The counter has been used recently. >x coutner That is either not important or not something you can see. >x coutner That is either not important or not something you can see. >oops counter A cold desk light illuminates dated scientific theses and yellowed medical reports. By the looming shadows of old alembics and syphons, there is a glass containment cage filled with skeletal corpses of mice. You feel like you need to investigate the items more closely. >* for the love of god Comment recorded. >x alembics Opaque liquids in warped glass. They look like solutions of bile left to stand, or perhaps what is left after oxygen is purged from blood. >x syphons Droppers, needles, and syringes, glistening and ruddy from recent use. You notice a protruding shape hidden behind the syphons, cleverly concealed in the clutter of the laboratory counter. >x shape It's a small push-button. >push button One of the cabinets swings open, revealing a secret passage to the east. >* oh yay Comment recorded. >e Noctis Storage A freezing cold storage chamber not meant for the living. Desolate mist fills the aisles between banks of opaque black vats, which cast long and looming shadows in the flickering light. In the faint glow of floor-to-ceiling sigilwork, the silhouettes of isolation chambers are outlined along the walls. The exit is to the west. >x mist Like the breath of dead men congealed. >x chambers Person-sized capsules with a single door and a small crystal window. You recognize them from the College laboratories for the study of infectious diseases. >x window The windows are a little difficult to see through, but it doesn't look as though the chambers contain anything. >open chamber You open the chambers one by one. They're all empty. >x vats Huge alchemical storage vats. They are merciless pillars with empty visages. At first you think they are painted black. Then you look closer. The vats are filled with darkness. It is the ineffable blackness that you saw leaking from the pipes. It is the night that descends when you go to sleep or die. It is broiling and it is seething and it hurts your eyes -- it hurts to see -- like looking into a hole in the fabric of the universe. This is what you are looking at, in these massive, chilled storage vats. This is a laboratory for making more. >lick vats That can't be hygienic. >* likely not! Comment recorded. >taste vat That can't be hygienic. >eat vat They're plainly inedible. >* OK, time to withdraw and not at all be attacked by the baddies Comment recorded. >w You stumble back, away from the cold, away from the terrible nothingness that in those pillars broils. You are fumbling, looking for the exit, when -- "...someone there?" You draw back, your heart racing. A voice rings through the Channelworks, and it is a familiar one. "Damned mutants," Doctor Serpens's murmuring echoes. "Who's there? Identify yourself!" There is a loud hiss from the hydromotive control room. For a moment you hear nothing. Then it is there: the cold, atonal clanging of footfalls on metal, drawing closer and closer to where you are. You need to hide. Now. >enter chamber They're small, they're hidden, they're difficult to see into... they will have to be enough. You quickly tap all of the sigils to close the open isolation chambers, before picking one and sealing yourself inside. The door closes on you. The room warps and bends through the prism of its tiny window. The sarcophagus shuts. You snuff your animus lantern and crouch down as low as you can, huddled in the horrible, sinking darkness. The seconds stretch on as you listen to that muffled thumping, thumping, thumping, drawing ever closer and closer in the outside world. Here he comes. The floor reverberates dully with the impact of his passing. A second passes, and there is another footstep; and then another second, with an almost interminable held breath between. The darkness closes in on you, and the cold seems to worm its way into your fingers, and you bite down on the scream-sob that threatens to escape your lungs as a shadow flits momentarily across the glass. It is torturous. And it does not end -- it will not end. You dare not come out, because you can see nothing, feel nothing. You hear nothing but those plodding footfalls, which will not leave. You taste nothing but the stifling dampness of your own exhalation. You are beginning to wonder if you will die here. And then you hear him. "...what... doing here..." "...Justinian, boy! What... permission from the inquest..." "I don't need your damned permission, Doctor. What in the name of Reason..." He's outside. Oh, Primes. You stand up in the chamber, very, very slowly, making sure that you are out of the thin light streaming through the crystal window. Then you brace yourself against the door and put one eye to the scene in the warped glass. You see the receding shape of Doctor Serpens's coat. He steps out of the room, arguing with an adversary just out of earshot. The argument dies down, and you hear the distant echo of footfalls fading into noise. Then Justinian comes into the room, his coat billowing, his eyes flashing. It is almost as though you can see firelight following him. He stops in the room and looks around, clearly distraught. "Marid?" he yells. "Are you there? Marid?" 1) "Justinian?" 2) >* hmm, smart option or melodramatic option? Comment recorded. 1) "Justinian?" 2) >1 "Justinian?" Your voice is a thin thread, a whisper that must be almost inaudible from outside the walls of your prison. But if it is a whisper, it is one with the power of a lightning bolt. Justinian stands bolt upright, and his eyes widen and he looks around madly. "Marid!" he says. "Marid? Marid, is that you?" "Justinian. I'm here." You tap the safety release glyph and the door opens. With a hiss the cool air rushes in, and the light, and a feeling of relief like a held breath finally letting go. Justinian takes a couple of steps forward and embraces you. His dirty cheeks are stained with tears. You feel weightless with Justinian's arms wrapped around you. He is close, and he is warm, and his heart is filled with fire. A part of you notifies your conscious mind that your cheeks are burning. But the embarrassment is less, somehow, after you have already died once. "Marid," he murmurs, almost under his breath. "I've been looking everywhere for you. Do you know how insane this is? You could have died." "I know," you say. "I know. Listen --" "Marid, it's not safe here. You need to --" "Justinian, listen to me," you say. "I've found the source of the contagion. It's being produced right here in this laboratory. There's a stack of research notes on that desk. You need to tell the inquest to get a team down here so that... so that..." Something is wrong. Justinian's demeanor has not changed. He has shown no surprise, no reaction apart from his concern. You try to pull away, but you cannot. His embrace has turned rigid. You look up, and his eyes sear into yours like dark sunsets. 1) "Justinian?" >1 "Justinian?" "Yes, Marid?" His voice is soft. 1) "What's going on?" 2) "Why are you here?" 3) "You already know, don't you?" >3 "You already know, don't you?" Those unreadable eyes of his flicker across your face. Slowly, very slowly, he inclines his head in a nod. "I do." You begin to feel something creeping in your heart. It is a kind of pain. 1) "How long have you known?" 2) "Why didn't you tell me?" 3) "...What else have you not told me?" >3 There is a sense of a voice in the back of your mind that has been silenced, for a long time, and which you are only now able to hear. Now it is telling you something you had never wished to believe could be true. For perhaps the first time you look at Doctor Justinian, and in the other-light that follows him, you see it. "...What else have you not told me?" you say. "You still aren't ready," Justinian whispers. "There's so much I wanted to tell you, Marid. If only --" "If only what?" There is no more warmth in his embrace -- only a kind of sickening smoldering hurt that makes you want to throw up. You shove him with such force that he lets you go, and you stumble into the cold brass of the isolation chamber at your back. He looks away. His brow is furrowed with pain. Sorrow. "I wish I didn't have to do this," he says. "I promise, Marid. I promise that one day you will forgive me." "Justinian, what have you done?" "One day you will forgive me," he repeats, and then he lunges at you with a cloth in his hand, and You hear the sound of the pistons being rearranged outside. you can't breathe, and your vision swims and the world ceases to be but for shadows cast in flame. D A Y F O U R The weather is cool outside, and Father is gardening. The towers of the Lake District are silvery bronze against the sky. The streamers on the balcony sway with a late-afternoon wind. You watch as Father reaches into the bucket and pulls out a fully grown pigeon, which struggles and twitches in his grip. "Why do we have to bury the pigeons?" you ask. Father turns to you and smiles warmly as he holds the scalpel in his hand. "So they will make the flowers grow," he says. He slits the pigeon's throat with a quick and brutal motion, and black blood pours from the wound, staining the soil in the pot with the dark, viscous consistency of ink. Father buries the pigeon in the pot, and as he covers its body with cold black soil, you feel a fog coming over your mind and something wet and clammy pressing into you, and Your head hurts. It's hard to think. Your body is numb and prickly all over. You're hungry and thirsty, and the back of your throat tastes like bitter wine. You try to move your arms and legs, only to realize they have been bound. You rock experimentally and find yourself tied to a chair. Rope bindings chafe and dig into your skin. It is dark; very dark. But then you remember, and you force yourself to wake up so you can see the other light. It works for you, after a fashion. You see your breath, swirling around in the nothingness, catching the emanations of your weakly glimmering animus. There are motes and sparks trailing from above, probably the afterimage of some ceiling light seared into the fabric of the veil. And you see him. He switches on the light. It's blinding; you reflexively squeeze your eyes shut. You feel the rhythm of his heart, the unevenness of his exhalation, as he draws closer. He kneels down right next to you and presses a bowl of warm porridge to your lips. "Go on," comes the soft voice of Doctor Justinian. "Drink up." 1) 2) >undo Noctis Storage [Previous turn undone.] 1) "How long have you known?" 2) "Why didn't you tell me?" 3) "...What else have you not told me?" >undo Noctis Storage [Previous turn undone.] 1) "What's going on?" 2) "Why are you here?" 3) "You already know, don't you?" >undo Noctis Storage [Previous turn undone.] 1) "Justinian?" >undo Noctis Storage [Previous turn undone.] 1) "Justinian?" 2) >2 You stare out of the window with bated breath, not quite able to believe your eyes. Justinian's face is twisted with the specter of anguish. He looks around, but he does not see you. He paces through the freezing aisles, clutching his coat close to his shivering shoulders as he scans the corners and the shadows. "Marid, Marid, Marid," he says, in a voice that is almost cracked from grief. "Please... Marid... tell me you're here." 1) "Justinian?" 2) >2 You dare not emerge, but you feel tears welling up in your eyes. You watch as Justinian painstakingly searches the room, sometimes sobbing, sometimes begging for a sign. His hands are shaking as he struggles with the glyphs on the isolation chambers. He opens one only to find it empty, and slams the door shut with a scream of frustration. "Please, Marid, please," he repeats hoarsely. "Please be okay. I can't lose you. I can't lose you..." You are beginning to feel horrible. 1) "Justinian?" 2) >2 He goes around the room, opening and closing each isolation chamber in turn, calling your name over and over with such despair that you can't take it any longer. You just can't. There are some things that you have to do. 1) "Justinian?" >* Oh well Comment recorded. 1) "Justinian?" >1 "Justinian?" Your voice is a thin thread, a whisper that must be almost inaudible from outside the walls of your prison. But if it is a whisper, it is one with the power of a lightning bolt. Justinian stands bolt upright, and his eyes widen and he looks around madly. "Marid!" he says. "Marid? Marid, is that you?" "Justinian. I'm here." You tap the safety release glyph and the door opens. With a hiss the cool air rushes in, and the light, and a feeling of relief like a held breath finally letting go. Justinian takes a couple of steps forward and embraces you. His dirty cheeks are stained with tears. You feel weightless with Justinian's arms wrapped around you. He is close, and he is warm, and his heart is filled with fire. A part of you notifies your conscious mind that your cheeks are burning. But the embarrassment is less, somehow, after you have already died once. "Marid," he murmurs, almost under his breath. "I've been looking everywhere for you. Do you know how insane this is? You could have died." "I know," you say. "I know. Listen --" "Marid, it's not safe here. You need to --" "Justinian, listen to me," you say. "I've found the source of the contagion. It's being produced right here in this laboratory. There's a stack of research notes on that desk. You need to tell the inquest to get a team down here so that... so that..." Something is wrong. Justinian's demeanor has not changed. He has shown no surprise, no reaction apart from his concern. You try to pull away, but you cannot. His embrace has turned rigid. You look up, and his eyes sear into yours like dark sunsets. 1) "Justinian?" > Please choose a response from the list by typing the corresponding number. 1) "Justinian?" >1 "Justinian?" "Yes, Marid?" His voice is soft. 1) "What's going on?" 2) "Why are you here?" 3) "You already know, don't you?" >2 "Why are you here?" "I followed Doctor Serpens," he says. "I had a feeling I would find you here." 1) "What's going on?" 2) "You already know, don't you?" >1 "What's going on?" Justinian does not reply. He just gazes at you with a terrible calmness. 1) "You already know, don't you?" >1 "You already know, don't you?" Those unreadable eyes of his flicker across your face. Slowly, very slowly, he inclines his head in a nod. "I do." You begin to feel something creeping in your heart. It is a kind of pain. 1) "How long have you known?" 2) "Why didn't you tell me?" 3) "...What else have you not told me?" >1 "How long have you known?" Justinian's lips tighten with sadness, with unspoken regret. "A long time," he says, very quietly. "I had hoped to be the one to tell you." 1) "Why didn't you tell me?" 2) "...What else have you not told me?" >1 "Why didn't you tell me?" His eyes flash. "You were not ready." 1) "...What else have you not told me?" >1 There is a sense of a voice in the back of your mind that has been silenced, for a long time, and which you are only now able to hear. Now it is telling you something you had never wished to believe could be true. For perhaps the first time you look at Doctor Justinian, and in the other-light that follows him, you see it. "...What else have you not told me?" you say. "You still aren't ready," Justinian whispers. "There's so much I wanted to tell you, Marid. If only --" "If only what?" There is no more warmth in his embrace -- only a kind of sickening smoldering hurt that makes you want to throw up. You shove him with such force that he lets you go, and you stumble into the cold brass of the isolation chamber at your back. He looks away. His brow is furrowed with pain. Sorrow. "I wish I didn't have to do this," he says. "I promise, Marid. I promise that one day you will forgive me." "Justinian, what have you done?" "One day you will forgive me," he repeats, and then he lunges at you with a cloth in his hand, and You hear the sound of the pistons being rearranged outside. you can't breathe, and your vision swims and the world ceases to be but for shadows cast in flame. D A Y F O U R The weather is cool outside, and Father is gardening. The towers of the Lake District are silvery bronze against the sky. The streamers on the balcony sway with a late-afternoon wind. You watch as Father reaches into the bucket and pulls out a fully grown pigeon, which struggles and twitches in his grip. "Why do we have to bury the pigeons?" you ask. Father turns to you and smiles warmly as he holds the scalpel in his hand. "So they will make the flowers grow," he says. He slits the pigeon's throat with a quick and brutal motion, and black blood pours from the wound, staining the soil in the pot with the dark, viscous consistency of ink. Father buries the pigeon in the pot, and as he covers its body with cold black soil, you feel a fog coming over your mind and something wet and clammy pressing into you, and Your head hurts. It's hard to think. Your body is numb and prickly all over. You're hungry and thirsty, and the back of your throat tastes like bitter wine. You try to move your arms and legs, only to realize they have been bound. You rock experimentally and find yourself tied to a chair. Rope bindings chafe and dig into your skin. It is dark; very dark. But then you remember, and you force yourself to wake up so you can see the other light. It works for you, after a fashion. You see your breath, swirling around in the nothingness, catching the emanations of your weakly glimmering animus. There are motes and sparks trailing from above, probably the afterimage of some ceiling light seared into the fabric of the veil. And you see him. He switches on the light. It's blinding; you reflexively squeeze your eyes shut. You feel the rhythm of his heart, the unevenness of his exhalation, as he draws closer. He kneels down right next to you and presses a bowl of warm porridge to your lips. "Go on," comes the soft voice of Doctor Justinian. "Drink up." 1) 2) > Please choose a response from the list by typing the corresponding number. 1) 2) > Please choose a response from the list by typing the corresponding number. 1) 2) > Please choose a response from the list by typing the corresponding number. 1) 2) > Please choose a response from the list by typing the corresponding number. 1) 2) > Please choose a response from the list by typing the corresponding number. 1) 2) >1 You gaze into the bowl. It's millet porridge that smells like it's fresh from the stove. There are almonds in it, and an egg, and a bit of honey. It smells exactly like the fare you used to have at the Physicians' College. Like the fare that your father used to make. Tears run down your cheeks as you lap up the porridge. Justinian holds the bowl to your mouth as you finish your meal. Then he takes a handkerchief out of his pocket and delicately dabs around your lips. You cannot bear to look at your captor any longer. You turn away, shoving his hand aside with the motion. "What's wrong?" he asks. Everything is wrong. But in a way that you cannot describe. Your heart sinks as it hits you -- the full ramifications of what has happened, and what is now happening. You feel as though your head is spinning and the world is slipping away. "Justinian," you whisper. "Please. Don't... don't do this." "Marid..." There is warmth in his voice still, like a fireplace in the evening. But there is also pain, and anger. Justinian walks up to you and grabs your chin. He forces you to look at him. His jaw is set; his brow is furrowed with sorrow. "Marid." "Please," you beg. "Please..." Slowly, he releases his grip. He turns around, clenching and unclenching his fists. There is silence for a long moment before he speaks again. "I don't understand." His voice is low. "I'm just trying to help you. Why do you keep struggling, Marid? Why do you force yourself to suffer?" 1) "Where have you taken me?" 2) "Why have you tied me to a chair?" 3) "Did you do it, Justinian? Did you kill all those people?" >save Ok. 1) "Where have you taken me?" 2) "Why have you tied me to a chair?" 3) "Did you do it, Justinian? Did you kill all those people?" >1 "Where have you taken me?" Justinian sighs. You watch the particles of his breath swirl dispassionately in the air. "You're safe, Marid," he says. "If you must know, we are still in the Channelworks. Not far from where I knocked you out. But this time, Doctor Serpens will not find you. The quarantine enforcers will not find you. Here we are in a safe space, where no one will break down your door, or hurt you, or threaten you again." "I would feel safer if you let me go," you say. Justinian shakes his head. "Marid... when will you learn to trust me? I will not hurt you, Marid. I could never hurt you." 1) "Why have you tied me to a chair?" 2) "Did you do it, Justinian? Did you kill all those people?" >1 "Why have you tied me to a chair?" "Marid." He pauses. "You must understand that I take no pleasure in doing this. I wish that I did not have to treat you like... like a common asylum patient. But you are not ready. "I know that you hate me, Marid. You must hate me, after what I have done. But if I were to let you go free, you would run at the first opportunity. You would undermine everything that I have worked to accomplish." He looks at you with a fire in his eyes. "I can't let that happen." 1) "Did you do it, Justinian? Did you kill all those people?" >1 The air is heavy in the chamber, the rope bindings like leaden weights upon your skin. You can hear Justinian's quiet breathing; feel the labored pulse of your own heartbeat, and how the contractions and releases mark the passage of the hours. "Did you do it, Justinian?" you ask, very softly. "Did you kill all those people?" Justinian turns away from you and begins to pace. His eyes are dark; his hands are trembling. He is searching for the right words, like a lyrist trying to grasp the pain in his heart. "Do you remember the Physicians' College?" he murmurs. "Not so long ago, when we were young and foolhardy, and thought we could learn the origins of life. When we believed we could change the world." He turns around and gazes into the distance. He sighs. He begins again. His voice is quieter now, drawn tightly like a bowstring. "The Physicians' College lied to us, Marid. We were fools. "Think, Marid. Humor me for a moment. We are both the apprentices of doctors. We have seen death aplenty. How many times has Doctor Cavala succeeded? And how many times has she failed? How many patients of yours have slipped away, no matter how much you tried to save them?" His gloved hands ball into fists. "Do you want to know the truth, Marid?" he says. "Let me tell you the truth. The truth is that death will happen with or without us. By illness, by injury, by old age, it hardly matters. The truth is that all our reason, all our years of learning -- they are nothing in the face of Death. "We cannot change the world. We cannot even save lives. All we do, Marid, is lie to ourselves. All we do is prolong the suffering, the uncertainty, before the fire and light of existence turn to ash." There are tears glistening in Justinian's eyes, but his gaze does not waver as he speaks to you. You find that you cannot look away. "Listen to me, Marid," he says. "For four years we have known each other. You know me. You know that I am a principled man, and educated in the ars vitalis. I have sworn to do no harm. I have always upheld Reason. "And I know you, Marid. I know that you see what others do not. I know that you have experienced more loss than anyone. Marid, you are the one person who could possibly understand what I relate to you now. "I tell you this because I trust you, and I know you, and... and I... I love you. I love you, Marid. I always have. "So listen to me. Listen to me, Marid. Listen to me when I say that there is no use going in circles, trying and trying only to fail and fail again. Listen to me when I say that something has to change. That is why we have to do away with the old, and we have to tear out the rot, and we have to act. "You asked me, Marid, if I killed those people. I didn't answer your question because you weren't ready. I never told you because... because perhaps deep down, I always knew that it would come to this, with one of us tied to a chair. "But now, Marid... now you know. Now I have told you the truth. And perhaps now you will understand when I tell you the answer to your question. "I killed those people, Marid. I found Doctor Arturus's weapon, and I brought it back from the grave, and now it is my scalpel to wield. "No one can fight Death, Marid. That is why it is the only thing with the power to change the world." Justinian grips your shoulders and gazes at you, and you feel like you are about to cry. 1) "Why did you kill Reden?" 2) "Why did you kill Creditor Nacarat and the thugs?" 3) "Why did you kill Doctor Arturus?" 4) "Why did you start the epidemic?" 5) "Why did the assassin try to kill me and Doctor Cavala?" 6) "How much does Doctor Serpens know?" 7) "What will you do with me now?" >1 "Why did you kill Reden?" "Reden? You must mean the drunkard." Justinian places his hands on his hips and starts to pace. "He was..." he begins. "He was an unfortunate casualty. He kept coming to the outflow of the Channelworks. He tripped our alarm sigils. At first I believed he had discovered something. "In the end, we decided to let him drink in peace. But we were careless. One of our Noctis tanks... sprung a leak." You recall the thin black strand that led you from Reden's haunt to the storage room. Justinian lowers his eyes. "It was a hairline fracture. I didn't notice until it was too late. By then, he had already been exposed." "Then Reden's death... was an accident?" Justinian folds his arms. "I would have taken more precautions in hindsight. I don't... Perhaps he didn't deserve to die. But I knew the risks when I set out to do this. If a few accidents are the cost of changing the world... so be it." 1) "Why did you kill Creditor Nacarat and the thugs?" 2) "Why did you kill Doctor Arturus?" 3) "Why did you start the epidemic?" 4) "Why did the assassin try to kill me and Doctor Cavala?" 5) "How much does Doctor Serpens know?" 6) "What will you do with me now?" >1 "Why did you kill Creditor Nacarat and the thugs?" "Why?" Justinian looks almost surprised. "Marid, you've been all over the Channelworks District. You know the Greater Corindia Trading Company, don't you? They are criminals, Marid. They are parasites. They are the worst aspects of society congealed into a tumor." "They don't kill people with biological weapons." "Marid, Doctor Arturus was in debt to them." Justinian's eyes flash. "You weren't there, Marid. You don't know what they did. What they were capable of. Scum like that doesn't deserve to... to even breathe the same air as us. "When I needed test subjects for Noctis, I didn't have to think twice. Nacarat and his goons were the first ones to die because I knew the Channelworks District would be a better place without them." 1) "Why did you kill Doctor Arturus?" 2) "Why did you start the epidemic?" 3) "Why did the assassin try to kill me and Doctor Cavala?" 4) "How much does Doctor Serpens know?" 5) "What will you do with me now?" >1 "Why... why did you kill Doctor Arturus?" Justinian's face darkens, and he turns away. "Arturus..." He gazes contemplatively at his hands. "I held him in high regard. I believed in his ideals. He was the best pathologist in Furopolis, I'm certain. Perhaps the best in the world." His jaw tightens. "I wish..." he says. "I wish he had understood. What he had on his hands... a weapon that could topple nations. A power that could change things for the better. But he didn't see it that way. All he saw, when he looked at Noctis, was a tool of destruction." "Maybe he was right," you say. "He was wrong." Justinian clenches his fists. "He was wrong, and he was deluded. Trapped in the past. Death is not an end, Marid. It is a means, a tilling of the soil for a new beginning. We could have done so much..." He exhales. "I tried to reason with him," he finishes. "But he was too set in his ways." "And you killed him for that?" "There was no other way." His voice is quiet. "There was... there was nothing else I could have done. He would have ended the plan before it started. Destroyed his own creation, after I had spent so long following in his footsteps. "I couldn't let that happen. I had to make him look like another victim." You gaze at Justinian. "If I don't agree with you, will you kill me too?" He looks away and does not reply. 1) "Why did you start the epidemic?" 2) "Why did the assassin try to kill me and Doctor Cavala?" 3) "How much does Doctor Serpens know?" 4) "What will you do with me now?" >3 "How much does Doctor Serpens know?" "Doctor Serpens is my accomplice," Justinian says. "He has helped to misdirect the authorities, to manage the logistics of transmission. He is the kind of person you need on your side when performing an operation on this scale. "How should I say this..." He exhales. "I wish I didn't have to work with him. Doctor Serpens is an evil man -- he sees this as a cruel game, an opportunity to perfect his masterpiece in spite of the cancellation of his project. "I can only hope that I have turned his cruel impulses towards a more productive cause." 1) "Why did you start the epidemic?" 2) "Why did the assassin try to kill me and Doctor Cavala?" 3) "What will you do with me now?" >2 "Why did the assassin try to kill me and Doctor Cavala?" "Carnicer." Justinian clenches his fists. "I didn't... She was out of line. I told her specifically that you were not to be harmed. But she took matters into her own hands." "Why?" you whisper. "Why send her?" Justinian shakes his head. "I never had a choice. If I could have resolved this any other way... "After Doctor Arturus, I realized you and Doctor Cavala were the only remaining obstacles to my plan. Doctor Cavala is too paranoid... too set in her ways, like Arturus was. Given time she would realize what was happening and formulate a cure. And all of this --" He sweeps his hand across the room. "All my plans would have been for nothing." "So you... you sent an assassin after her?" "There was no other option." His voice is strained. "Negotiating with her was too risky. A bomb or poison would have put you in danger. I believed -- I thought that hiring a hitman was the best solution. "I didn't account for Carnicer's unprofessionalism. Her cruelty. Had I known that she would go after you... I would have killed her myself." 1) "Why did you start the epidemic?" 2) "What will you do with me now?" >1 "Why did you start the epidemic?" Justinian puts his hands in his pockets and looks into the distance. "I thought you might ask that question," he says. "Let me ask you a question in return. "Marid, have you ever wondered why the people of the Shanty Quarter suffer? They are good people. Hardworking people. Their hands are just as able as yours or mine. So why do they still starve? Why do they languish without homes? Without jobs? Without even the pity of the Council of Works to protect them? "The truth is that there is no place for them here. The Channelworks District has no room for them. Furopolis has no room for them. There is an upper limit to the number of people that can be made to live in one space." You glare at Justinian. "And the epidemic is your way of... of culling them?" Justinian's face hardens, and his voice becomes humorless. "Don't get me wrong, Marid. I don't enjoy killing. I never have. But do you remember what I said? Death will happen with or without us. The people in the Shanty Quarter will die with or without me. The only question is -- should they be made to bear a lifetime of suffering first? Scrounging for scraps and inflicting the same burden on generations of children? Should their descendants be forced to suffer because we couldn't imagine an alternative? "With Noctis, we have a choice. They have a way out. And it pains me to say this, but killing them may be the only moral choice. Even an atrocity such as this may be justified if it averts countless lifetimes of suffering. "That is why I am doing this, Marid. I am killing them, yes -- but I am euthanizing them. I am setting them free." 1) "What will you do with me now?" >* missing quotation mark at begnning of sentence beginning "the only question is..." Comment recorded. 1) "What will you do with me now?" >1 "What will you do with me now?" Justinian takes a long moment to reply. The light flickers a little. "I don't know," he says. He takes a couple of steps forward, placing his hand on the backrest of your chair. He gazes at the wall behind you. "I..." he begins. "I have told you everything, now. I have laid myself bare to you. Now you see... the full magnitude of what I have been fighting for. What I have sacrificed everything to accomplish. "The other doctors could never understand. They could not know... what a terrible thing it is, that has to be done. But you, Marid, you are different. I know you are. I know you can see things differently, and perhaps you too will know, and understand the truth. "One day... one day, we may even..." He trails off, and shakes his head. "It doesn't matter. I... I don't expect you to understand me now, Marid. But I hope -- I know that you will understand, too, in the end. That this is the best way. The only way." The man you once knew walks back around to the front of your chair, and he gazes quietly into your eyes. "You understand why I'm doing this, Marid. Don't you?" "I..." It is too much. It is all too much. You are hungry, and you are exhausted, and you feel like a hollow and broken and dead thing inside. The weight that is now pressing upon you -- that Justinian has forced upon you -- is too much to bear. You try to imagine the hundreds of lives -- the thousands of lives that Justinian has snuffed. You look at him and you see, in his animic wake, ten thousand skulls weeping black tears. You feel light-headed. You feel like you cannot move, you cannot breathe. Your pendant weighs on your heart like a stake, and you can feel your blood rushing in your ears, thumping, congealing like a tumor. You close your eyes. You block out the image of Justinian, and you try to breathe. It helps, a little. "Justinian," you say. "Stop. Please." He is very quiet. He does not make a move as you take deep breaths, as you tremble in your seat and try to regain your composure. "I'm sorry, Marid," he says, his voice low. "You weren't ready. I should have... I should have waited..." You open your eyes, and he is walking away, his head bowed. He does not look at you, as though he cannot bear to see you in such pain. "You need time to think," he says. "I understand. I won't rush you. Take as long as you need." "Justinian..." "I'll be back for you." He places his hand on the light switch. "I have things to do now, but I will come back for you. I'll be back, Marid. I promise." You gaze at him mutely, your heart pounding, your thoughts a disastrous jumble. You open your mouth but find that you have nothing to say. Justinian looks at you one last time, sadly, silently, and then switches off the light. Your world collapses into darkness. At last you find your voice. "Justinian --" But he is already gone. Further and further his footsteps echo, until they too melt and vanish into the pitiless silence. And you are alone. 1) 2) >2 You close your eyes and take a ragged breath. The thrum of the Channelworks envelops you. You can hear the machinery of the Hydra Aquifera -- of the sanitation of the entire district -- churning ceaselessly. You hear the displacement of hundreds of tons of water, and the grinding of mechanical turbines, and distant hisses of steam like a great creature's exhalation. It is the lifeblood of the district that you are hearing. It is that which bears the lives of the thousands that live here. You think of Horatio in the rain, his face dirty after a long shift. You think of Doctor Cavala and her self-assured smile. There is the bartender with his mask, and the ice-cream salesman, and the boy with the cap who hands out the newspapers every morning. You take another breath. You try to hold it steady. Your heart isn't pounding as hard any more. You aren't okay. Not really. But you're a little better. It will have to be enough. 1) >1 You will your sore muscles to move. You test the limits of the ropes Justinian has tied you with. They're tight -- but not so tight that you can't wiggle a little. One of the ropes binding your hands is perhaps a little looser than it should be. You can feel it give when you twist your wrist just so -- feel the knot shifting, letting your wrist move an infinitesimal distance further than before. Was Justinian in a hurry? Or is this just another mercy he chose to grant you? It doesn't matter. What matters is that you have a way out of this chair. It will take a long time. It will take hours. But it's not as if you have anything else to do. Now, at least, you have something to work at, to take your mind off things. Perhaps without the ropes constricting your blood flow, you will be able to think clearly -- to think of something that will make Justinian return to his old self. It must be possible. It must -- -- because you don't know what you're going to do otherwise. * * * You think an hour has passed. You have a stinging rope burn and a terrible cramp in your wrist. But it's done, and your right hand is free. You reach over and painstakingly loosen the bonds around your left wrist and your left elbow, and then with your left hand reach into your coat pocket and pray. There it is -- your scalpel. You have to pause for a moment, take deep breaths to steady yourself. Your heart is racing. You draw out your scalpel and use your free hand to remove the safety cover. Fumbling in the darkness, you press the blade into the rope binding your right elbow -- and it parts. You work slowly, carefully, but not without a tremor of excitement. The circulation returns to your limbs as you free yourself from rope after rope. Each cut makes the next one easier. At last you reach down and slice through the ropes binding your ankles in a single stroke. You are free. Now you need to figure out how to get out of here. Oubliette You are somewhere dingy and humid and shut off from the outside world. There is no light here, and even your second sight is not enough to pierce the suffocating gloom. At the foot of the chair, a faint glimmer of other-light outlines the shape of your animus lantern. But the lantern is dark, and its phylactery cathode no longer shines. >save Ok. >x lantern You pick up the animus lantern, finding its rough angles, its weight. You trace the alchemical lines to its fuse glyph, and strike the fuse to light it. But nothing happens. You peer into the lantern, and you see that the animus that once danced within its cage is still. The life in the lantern has gone out. Without an animus to replace the one in the phylactery cathode, the animus lantern will be of no use to you in the dark. >put pendant in lantern Your pendant... You run your fingers along your collarbone and find the weight of the pendant resting against your heart. You pull it out and look at it. In your mind's eye it seems to glow against the animic veil. How long have you worn this reminder of your father around your neck? "Father," you say -- But even before you open your mouth, you know there will be no reply. "We can make no promises," the animologist said, his brow knitted. "If indeed your father died there, we can bind the residual energies to an animus stone, residual, you understand; there's no telling how much of his energy remains, or indeed if any of his energy has remained. Consider the pendant a memorial to your father, rather than a way to bring him back. The sooner you accept that, the sooner both of you will find peace." You will never speak with your father again. There was a time when you dared not admit that to yourself. But now it seems impossible to imagine that things could have happened any other way. Perhaps there is a better way to remember your father, after all, which does not bind him to a stone. You use your scalpel to make a chip in the stone of the pendant, and the other-light streams from it like sunlight rippling in the ocean. You touch it to the fuse glyph of the animus lantern, and brilliance fills the animic lines and the metal grows warm beneath your hand. The pendant is empty now. It is the lantern that glows, and is alive. Oubliette The light of your lantern reveals what looks to be an industrial cistern, now emptied and repurposed as a holding cell. A metal chair has been placed among dingy grates and concentric water-purification rings. There is only one door leading out of this prison, and it appears to be locked. But beside the disconcerting stains and discarded pieces of rope, there is a drain cover that looks like it can be opened. >x rope What remains of your rope bindings is scattered on the floor. >take it You already have that. >i You are wearing your animus pendant, your natron jacket, and your clothes. On your person are an animus lantern (containing the spirit of your father), your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >take rope The leftover bits of rope are too short to be of any use. >x chair You're glad to be free of it. >x door It doesn't seem to be openable from the inside. >open it The door doesn't seem to be openable from the inside. There has to be another way out. >x drain On the other side of the drain, there is the sound of rushing water. >d You pull the drain cover open and carefully lower yourself into the opening. The cold and clammy walls of the pipe swallow you whole, and the shadows from your lantern turn the nooks and crannies into long billowing black stains. Into them you descend. The walls are close enough that you can keep yourself propped up with your elbows and the soles of your shoes. But then your left foot slips on something and you find yourself losing purchase. You grab your lantern close and tuck in your head as you find yourself accelerating, rapidly, sliding out of control into a drainage system not built for human traversal -- -- and the Bilious Canal opens up before you, vast and writhing and pungent, the carrier of all the district's fury and decay, and you plummet from the drain pipe into cold noxious water twenty meters deep -- flailing, squeezing your eyes shut, holding your breath -- -- a gasp, as your head bobs above water, and the sun burns your face, wind, klaxons -- -- and then you crash into the Canal proper, and it buffets you without mercy. You cling on to the lantern for dear life as you are thrown across stretches and around bends, as arches and bridges fly past, as the lights of the city stretch out into streams of aquamarine other-light. You swim for dear life. You breathe, and breathe again -- -- and then you see a dangling rope, and on bare instinct reach out and grab it like a lifeline. You slip a couple of inches -- your grip holds. And there you are, swaying from a rope as the rest of the Canal washes away before you. You take a couple of deep breaths, and then you climb up. Flooded Row Between towering foundations, the rain lashes rusting hulks and flapping canvas shelters; it eats away at corpses piled in ankle-deep water. Where once there were buildings, posters, lamplights, the Bilious Canal has burst through the polder and swept them all away, carrying off the detritus of innumerable unknown lives. Through an open sewage pipe, you see lights to the south. >save Ok. >x hulks Antique carriages and other machines, dumped here to rust. >x shelters It seems almost impossible that someone would choose to live here. But then again, perhaps they never had a choice. >x corpses "No one can fight Death, Marid. That is why it is the only thing with the power to change the world." >x polder This waterway has not been maintained in decades. >i You are wearing your animus pendant, your natron jacket, and your clothes. On your person are an animus lantern (containing the spirit of your father), your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x me You feel hollow and tired. You are wearing your animus pendant, your natron jacket, and your clothes. On your person are an animus lantern, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >map Please press SPACE to continue. Flooded Row Between towering foundations, the rain lashes rusting hulks and flapping canvas shelters; it eats away at corpses piled in ankle-deep water. Where once there were buildings, posters, lamplights, the Bilious Canal has burst through the polder and swept them all away, carrying off the detritus of innumerable unknown lives. Through an open sewage pipe, you see lights to the south. >s Rats' Run The Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom. A sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter. The bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms. >x buildings Ruins, husks, collapsed remnants of the buildings that came before. They are nothing but stepping-stones now. >x bridges They creak and bend with every step. >x pope That is either not important or not something you can see. >x ladders They hang from above, knotted, rotted. >x pipe Black water gushes from a grille of broken teeth. >x bouncer Webster stares into the water, transfixed. >x crow She isn't moving. A thin stream of black liquid runs from the edge of her mouth. >talk to webster You step gingerly between the rivers of bile as you approach him. The rain is merciless, and it has not stopped since you left the Channelworks. It stings your cheeks where it lands; it runs in the joints of Webster's walking-chassis, pooling in his shadow. As your reflection appears in the water, he starts. He turns to face you with disbelieving eyes. "You?" He looks you up and down. "What on earth happened to you?" 1) "I fell into the canal." 2) "It's a long story." >2 "It's... a long story." Water drips from your disheveled hair. His eyes flicker across your tattered clothes. "You don't say," he replies. The tide of decay rises and falls around you. The rain plays on the face of the girl in his arms, and her eyelids run black like ink. 1) "Are you all right?" 2) "Is she..." 3) "I'm sorry." 4) "Aren't you worried her body will be contagious?" 5) "Listen. I've found out the truth about the disease..." 6) "I need to get into the Channelworks. Can you help me?" >3 "I'm sorry." You feel numb as the rain falls around you. You don't know what to say. Webster just gazes at the body of his friend, before reaching up and wiping his goggles with the back of his hand. "It's none of your fault, sweetheart," he says. "You've got nothing to be sorry about. Don't go around feeling sorry for other people, you understand?" 1) "Are you all right?" 2) "Aren't you worried her body will be contagious?" 3) "Listen. I've found out the truth about the disease..." 4) "I need to get into the Channelworks. Can you help me?" >1 "Are you all right?" A moment passes. Webster stares mutely at you. Then he looks down at himself, as though he has forgotten his tired arms and creaking joints for some time. "I'm... I'm fine," he says. "Don't worry yourself about me." The silence returns. The rain traces the world in stinging white. 1) "Is she..." 2) "Aren't you worried her body will be contagious?" 3) "Listen. I've found out the truth about the disease..." 4) "I need to get into the Channelworks. Can you help me?" >3 "Listen," you begin. "I... I've found out the truth about the disease. It isn't an epidemic. It's a genefactured weapon, and someone is using it to kill people." Webster stares at you. "Uh huh," he says. You feel yourself growing flustered. "I'm serious. I've seen the laboratory where it was produced. I... I read the research papers." Your voice cracks. "Webster, I nearly drowned trying to escape --" "Calm down." He shakes his head. "I... You're serious, aren't you? You aren't joking." He stares at the sky for a moment. He takes a couple of deep breaths. "It... it really is. Primes. It's just another fucking alchemist's joke..." He chokes, a little. His gaze falls to the earth, to the filthy water lapping at his mechanical legs. "I'm so fucking tired," he says. "I'm tired of feeling like a pawn in someone else's game." 1) "Is she..." 2) "Aren't you worried her body will be contagious?" 3) "I need to get into the Channelworks. Can you help me?" >1 "Is she..." Webster's shoulders stiffen. He looks down at Crow -- at her unmoving form. She has been dead for a while. You can see the black blood settling in her body. You can see the skeins trailing from what remains of her animus. "I should have listened." Webster murmurs. "When you talked about the disease... I thought it was just another run of bad luck. Another bug. The kind that happens in the Shanty Quarter all the time." He touches Crow's cheek and his shoulders shake silently. He does not meet your eye. "She didn't deserve this. No one deserves this." 1) "Aren't you worried her body will be contagious?" 2) "I need to get into the Channelworks. Can you help me?" >1 "Aren't you worried her body will be contagious?" He laughs. "What does it matter? She's dead. The Crow's Nest is dead. I'm living on borrowed time anyhow. It's only a matter of... of when." He strokes her hair. "Maybe a pair like us wasn't ever meant to last. Maybe we just weren't meant to be part of this world." 1) "You don't know that." 2) "I need to get into the Channelworks. Can you help me?" >1 "You don't know that," you say. He gazes at Crow's face for a long while, and does not reply. 1) "I need to get into the Channelworks. Can you help me?" >1 "I... I need to get into the Channelworks," you say. "Can you help me?" Webster gives you a long, probing look. After a moment, he reaches into his jacket pocket. "You'll need this," he says. He tosses something small and oblong in your direction, and you catch it with a fumble. It's slick from the rain, glowing with faint sigil-work and warm with alchemical energy. The insignia of the Council of Works is etched into its face. You look back up at Webster, who simply regards you quietly. "It's the disease, isn't it?" he says. "That's what you're heading back to the Channelworks for. You have unfinished business." "I... Yeah." He smiles grimly. "Crow won't need her passkey any more. You, on the other hand... Go spit in the guy's face, you hear? It's what she would have wanted." You turn over the passkey in your hands. It is only a small weight in your hands, but it feels heavy all the same. 1) I have to go." >1 "I have to go." The canal-water heaves around you, and the mist curls around the passkey in your hand. You grip it tightly. Webster gazes at the body he is carrying in his arms. "You do that, sweetheart," he replies. "You do whatever you have to do. I... I think I'm going to stay here for a while." Rats' Run The Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom. A sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter. The bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms. >j Seventh of Aquaria, Auritum IV My heart is pounding. I can feel white fire in my blood. There's nothing to do now but go -- go and finish what Justinian began. Current objectives: - Find Justinian in the Channelworks Please press SPACE to continue. Rats' Run The Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom. A sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter. The bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms. >* I'm a little unclear why running after Justinian would be helpful at this point... Comment recorded. >u Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You can feel death about you, like a fog that clings to every corpse and every brick. In the edges of your perception there are dozens or hundreds of spirits, broken and fractured and too incoherent to utter a whisper -- but you can feel their misery and longing all the same. Tangled rope ladders lead up and down. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >w Cadaver Walk You are on a bridge, if it can be called that: a haphazard assortment of ropes, planks, chains, warning signs, layers upon layers bound up in incomprehensible knots. Below the lines trail where they have snapped and never been repaired, and the Bilious Canal gobbles them up as they descend. A quarantine checkpoint is blocking the way to Riggertown. You can only return east to the Shanty Quarter. >e Shanty Quarter A labyrinthine morass of concrete and claustrophobia. You can feel death about you, like a fog that clings to every corpse and every brick. In the edges of your perception there are dozens or hundreds of spirits, broken and fractured and too incoherent to utter a whisper -- but you can feel their misery and longing all the same. Tangled rope ladders lead up and down. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk. >n Via Mercurii The Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, and rivers of black blood like festering scars in the city's skin. To the north is the grand forum, bleak and empty, while to the south the Shanty Quarter begins. A rusting patrol golem thump-thump-thumps down the street. >x golem That is either not important or not something you can see. >e The grand forum is to the north, and the Shanty Quarter is to the south. >ne The grand forum is to the north, and the Shanty Quarter is to the south. >n Grand Forum A mural of Solphos hangs over a desolate paved square, against the spires of the Channelworks District and the pungent smell of the dead. All around you are crowds of formless spirits and empty-eyed apparitions, which writhe and weep and claw at the mist like an unquiet sea. To the north, framed in illuminated mist, the Via Terminalis glimmers. >x spirits "No one can fight Death, Marid. That is why it is the only thing with the power to change the world." For a moment, inexplicably, there is the smell of rotting meat. Then it is gone. >x mural The mural is a three-dimensional work of art magically inscribed upon the aether. Walking through it you see the world exquisitely captured, so finely detailed that you can make out the pinprick-lights of the constellations. There are the continents Terra Munda and Terra Nova, the great black sea of the Pelagus, and the four domed periochs -- Kardiapolis, Kreopolis, Furopolis, and Neopolis. >x pelagus A vast dark expanse that seems to undulate as you move around the mural. >x terra munda The Old Continent is captured with precise black strokes, perfectly tracing its coastline, its mountainous ridges and valleys. The four periochs glow amid the darkened wastes; to the north spreads a solemn spiderweb of golden. >x wastes The Old Continent is captured with precise black strokes, perfectly tracing its coastline, its mountainous ridges and valleys. The four periochs glow amid the darkened wastes; to the north spreads a solemn spiderweb of golden. A gargoyle swoops between rooftops overhead, and is gone as quickly as it came. >n Via Terminalis Junction The armillary sphere that marks this place is dormant, and the traffic-guiding glyphs have been replaced by hazard signs and quarantine barricades. You must flatten yourself against the walls to avoid the watchful eyes of the Vigiles patrols, which stalk the crossroads like masked interlopers in the mist. The checkpoints are a stark reminder that you aren't supposed to be traveling around the city at this hour. You doubt you will be able to convince the Vigiles of your innocence if they are on Doctor Serpens's payroll. And Justinian... Even if the authorities were to recognize his guilt, the idea of his execution makes your skin crawl. The thought of him being brought to trial on your account -- -- beheaded for treason, remembered as a mass murderer -- The thought sends a cold stabbing pain through your heart. It is almost too horrible to envision. He... he isn't a mass murderer. He never has been. Surely if you just talked to him... There has to be another way. You can still make things right. Can't you? You watch the patrolling Vigiles for some time, but you cannot see an angle of approach. They are too observant, and the searchlights too numerous. You would be spotted instantly no matter which path you took, and you are beginning to lose hope in finding a way across, when -- Is that...? It's him. You'd recognize that mop of hair anywhere. Horatio is posted at one of the crossings not too far from where you are, rubbing his mask and staring into the mist. 1) 2) >1 You pass between shadows, being careful to avoid the notice of the other enforcers. As you approach Horatio, he freezes. Slowly he lowers his hand from his face, and reaches out as though to touch you. He stops short halfway, and takes an awkward step back. "Marid," he whispers. "I... I thought you left." 1) "I did." 2) "I'm sorry. About yesterday." >2 "I'm... I'm sorry," you say, not quite meeting his eyes. "I'm sorry about yesterday." Your hands are trembling. You clasp them behind your back, and you shrink in the too-bright lamplight. You feel as though you have not said enough, that you should apologize more -- but what words in all of existence would make Horatio forgive you? "I..." His mouth opens and closes. "Marid..." A searchlight passes perilously close to you, and you instinctively take a step back. Horatio realizes that you are both in the open, and he leads you behind a nearby concrete pillar, just out of sight. An awkward moment passes. Neither of you can quite look at each other, until Horatio clears his throat. "Listen," he says. He glances back at the scanning searchlight. "You shouldn't be here." 1) "I can't turn back now..." 2) "Doctor Justinian tried to silence me..." 3) "Horatio, I need to get to the Channelworks..." >2 You take a deep breath. "Doctor Justinian tried to silence me," you say. "He... he's behind it all, somehow. He's using this affliction as a weapon -- a tool to kill people. He wants to change the world." Horatio stares at you, and his eyes widen. For a moment time stops. "Primes," he says. "Oh Primes. What are you saying? What did he do to you?" "He locked me in a room. He... he talked to me, and it was like... it was like he was a completely different person. He was totally different from the Justinian I knew. But it was -- that was a lie, wasn't it? He had always been that way. I just never realized it." You realize you are shivering again, and you cross your arms, pulling your jacket tighter to try to block out the cold. Horatio puts a hand on your shoulder. "I can't believe it," he says softly. "Doctor Justinian..." "I... Horatio, I can't believe it myself. I still keep thinking that -- perhaps it was a dream, a hallucination. But it was real. The cistern he locked me in was real. I had to swim my way out -- I had to cut myself free and wash down the Bilious Canal. And I can't stop thinking about it, Horatio, I just can't..." "I..." Horatio takes your hands. "It's okay, Marid, it's okay. You're here now, aren't you? You're going to be fine." "Horatio, I..." You close your eyes. "Horatio, I'm scared. Because Justinian... the Justinian I knew... he always knew what he was doing. Horatio, what if Justinian knows what he's doing? What if he's right?" Horatio just watches you, stunned, and you can tell he has no idea how to respond. The wind rises and tugs and whips at the two of you. The rain falls. 1) "I can't turn back now..." 2) "Horatio, I need to get to the Channelworks..." >1 "I can't turn back now," you whisper. "I've... Horatio, I've seen things. I've learned too much. There's so much going on, and... and... he knows who I am. I have to finish this, Horatio. I can't go back anymore --" Horatio steps forward and hugs you. The world seems to fade away. The mist billows around you, but Horatio's arms are there, and steady, and warm. After a while he steps back. His eyes beseech you behind the lenses of his mask. "Marid," he says. "Are you okay? Do you need to sit down?" "I'm... I'm fine," you say. "I... I'm just... I just need a moment." Horatio stands there with you for a while, his hands on your shoulders, his great coat shielding you from the worst of the rain. The pillar's shadow envelops both of you, and in its embrace there is a kind of sanctuary. "I'm okay," you say. "I'm okay." Horatio nods and squeezes your shoulders. "I..." he says. "Marid, I'm going to be honest with you. I can hardly wrap my head around what you're saying. You've always been the bright one, Marid -- I've always been running after you, clinging to your britches, trying to follow your train of thought. It's been like that since we were children. "But I don't have to understand you to know that you're on the right path. You're doing the right thing. Because if it makes sense to you, then it has to be something worth doing." You look up at him. "Horatio... I..." He squeezes your shoulders again. "Maybe I'll always be a blockhead," he says. "Maybe I'll never figure out how the world works. But I'll be here for you, Marid. I'll help you out how I can. Because you're my friend... and... and it's the least a blockhead like me can do. It's the least that you deserve. You understand?" You can feel tears forming in your eyes. But they are good tears -- warm tears. "Horatio," you say. "Thank you. Really." Horatio looks away. "It's... it's okay. It's okay, Marid. Don't mention it." 1) "Horatio, I need to get to the Channelworks..." >1 "Horatio, I... I need to get to the Channelworks," you say. "It's the only way. If I get there I can fix everything... I can make things right." You reach out and squeeze Horatio's hands, and he gazes at you with a look approaching awe. "I..." he says. He looks you up and down and takes a deep breath. You see yourself doubled in his lenses, staring back with eyes wide. Then he nods. "Okay, Marid," he says, very simply. "What do you need?" "Can you get me there?" Horatio looks out across the junction, at the patrolling enforcers and the swiveling lights. "I... Let me see." He scratches his head. "If I make it look like you're a lost civilian, I can walk you to the concourse out front. I don't think anyone will bother us if we look like we're supposed to be there. But I... I don't know how to get you across the bridge. The Channelworks is closed, and the bridge only comes down for workers with passes." 1) "I have a pass." >1 "I have a pass." You reach into your jacket and take out the little oblong device that Webster gave you. The rain sparkles around it, its sigils reflected over and over in droplets. "That..." Horatio rubs the lenses on his mask. "Huh. Where did you get that?" "A friend said it would get me into the Channelworks," you say. He studies the glowing lines. "You've... really thought this through. All right. Since you already have what you need..." He walks over to the pillar and peers around the side. "Nobody's looking. If you want to get to the Channelworks, now's the time." You nod. He takes your hand and leads you into the billowing rain. It is nerve-wracking at first: being out in the open, in full view of the sentries and the searchlights. Your heart skips each time one of the patrolling enforcers looks in your direction. Each time, you tense in anticipation of a shout and raised alarm -- but that moment never comes. Somehow, the looks cast in your direction slide off you like drops of oil, like you are the tiniest speck beneath the scrutiny of the Vigiles machine. So the rings of the armillary sphere loom like thunderclouds; and the black banner of the Turris Infinita billows like a specter in the sky; and Horatio leads you, steady in the grip of his hand, beyond the spotlights and the covered bodies and the battered barricade walls. By the light of your lantern, the two of you walk the ancient paths in the stonework, through the oppressive drizzling rain, until you have left the sight of the other enforcers and followed the northernmost crossing to its end. And there the Hydra Aquifera awaits you. The concourse stretches out before your eyes, and the Channelworks rises at the end of the district -- or perhaps the beginning. Horatio lets go of your hand and turns to you. "This is your stop," he says. "I..." You find that you cannot look Horatio in the eye. "Thanks, Horatio," you say. "You've been a good friend. I won't forget this." Horatio nods, and he grows solemn. He looks at the Channelworks, at that golden-white fortress that almost seems to glow in the rain. "Don't worry about it," he says. "I suppose... I suppose this is where we part ways again. Isn't it?" He gazes at you. "Marid... will I see you again?" 1) "I'm counting on it." 2) "I'm glad I met you, Horatio." >2 "I... I'm glad I met you, Horatio." The wind whips at your hair. Horatio gazes at you quietly, and for a few seconds there are no words between you. Then he steps forward and hugs you one last time. He grips you tightly, and the feeling is almost enough to make you cry. It is a feeling from when you and Horatio were children -- when death and disease were things that only happened in stories and history books. "Good luck," he says. You nod, slowly. You let him hug you, for a moment, and then you stand up on your tiptoes and give him a peck on the cheek, just like old times. "You should go," you say. "You'll get caught for deserting your post again." Horatio pauses, as though shaken out of a dream, then nods. He squeezes your arm and heads back to the Via Terminalis junction at a steady trot, his collar turned up and his head down. He glances over his shoulder once or twice, and you look back at him with a kind of wordless certainty. You watch him until he has vanished out of sight. Then you turn back to the Channelworks concourse with a new sense of resolve in your heart. Now there is only one thing left to do, and fate has placed the responsibility upon you to see it done. Channelworks Concourse You stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth. The bridge to the Channelworks floats disconnected above the fosse, like the suspended pieces of a puzzle. Yet you see dozens of wandering ghosts here, shimmering animii treading paths around the Channelworks concourse in cycles; and they cross the empty air to the Channelworks in a spectral procession. >x ghosts The ghosts move as though following the steps of a dance. They pour in from the streets and the side roads, congregating on the concourse; they take something out of their coats or their handbags and make a motion with it like turning a crank. And then, as though guided by some invisible signal, they walk across air over the fosse and disappear into the mouth of the Channelworks. >l Channelworks Concourse You stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth. The bridge to the Channelworks floats disconnected above the fosse, like the suspended pieces of a puzzle. Yet you see dozens of wandering ghosts here, shimmering animii treading paths around the Channelworks concourse in cycles; and they cross the empty air to the Channelworks in a spectral procession. >x azoth A representation of the Staff of the Philosophers that stands for the Ineffable Truth. Or so you were taught in school. >turn key The passkey grows warm in your hand, and there is a sensation like pulling on invisible strings in the air. You feel as though something tremendous is happening which you cannot directly observe. After a second, the parts of the bridge lower into place with a thunk. Orichalcum fuses to orichalcum, forming an unbroken crossing over the fosse. >x bridge Curving plates of orichalcum hover in midair over the fosse. You only know them to be parts of a bridge from watching workers cross back and forth. >n Hydra Aquifera Past the swooping gates and the gilded halls, there is a weight: the weight of ten thousand tons of brass and machinery and art, of hundred-year-old frescoes and pumping mechanisms, all bearing the weight of the district which upon this building rests. This, then, is the Channelworks, in all its grandeur, its might, its immensity, its capacity to change lives. There are dozens of halls here and hundreds of stations, but you know almost on instinct where Justinian will be. You have known him for too long -- his penchant for drama, his desire for control -- and it only seems clearer now that you have seen his true self. There could only be one place where everything would end. The stairs spiral from the heart of the Channelworks, and they lead upward. >x machinery If the Channelworks District is a body, the Channelworks is its beating heart. >x freschoes That is either not important or not something you can see. >x frescoes In the shadows of the rafters they look more like hazy visions, or portents of things to come. >l Hydra Aquifera Past the swooping gates and the gilded halls, there is a weight: the weight of ten thousand tons of brass and machinery and art, of hundred-year-old frescoes and pumping mechanisms, all bearing the weight of the district which upon this building rests. This, then, is the Channelworks, in all its grandeur, its might, its immensity, its capacity to change lives. The stairs spiral from the heart of the Channelworks, and they lead upward. >x stairs Step by step, the stairway ascends. >u Tarnished Landing Here the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above. As you emerge upon the landing, you hear voices and footsteps, and you instinctively look about for somewhere to hide. You crouch behind a nearby sculpture and turn your eyes to the end of the landing with bated breath. A door opens. Doctor Justinian steps out into the walkway, followed by the spittle-flecked protests of Doctor Serpens -- "This was not in the agreement," he barks, gesturing and yelling as though he could skewer his junior with words. "We had a plan, and you have overturned it. You have ruined everything -- ruined the most basic integrity of our project!" "Your 'project,' Doctor?" Justinian whirls around to face him. "You would claim ownership of this too? Is there nothing that you will not twist to serve your perverted interests?" Doctor Serpens's expression darkens yet further. "You? You accuse me of twisting Noctis's purpose? You little -- you petulant child. You know nothing about what Arturus and I sacrificed for this. You could not stomach the plans we had, the power we crafted. Now you use our work to live out your little fantasy and you threaten me -- you threaten me --" Doctor Justinian chuckles lowly. "What I said was not a threat," he says. "It was a declaration. I have no need to threaten something that has already been done." The older man's eyes widen. Justinian closes his hand into a fist in a sudden motion, and it hits you -- you see an emptiness and a sun and an ocean and a beginning. For an instant something brilliant swims at the edges of your vision. Doctor Serpens wails as the fingers of Noctis burrow into his animus and begin to rip it apart. He collapses to his knees, convulsing like a man possessed, ichor spilling from his slack-jawed mouth and bloodshot eyes. It reminds you of the way that Reden died in Doctor Cavala's clinic -- only this time you see what is truly happening. You see every gory, unpleasant detail of what is happening to Doctor Serpens's soul. He screams, incoherently at first, then desperately, deliriously. "You -- bastard -- the wine --" Justinian shakes his head. "You are no longer useful to me, Doctor. You should have thought about that before making demands." He spits on the ground beside the flailing Serpens, before walking down the landing and through the double doors of a waiting lift. Doctor Serpens crawls pitifully after him, in fits and starts, leaving a trail of dripping black blood. Justinian turns and looks directly in your direction. He gazes at you for a while, his lower lip stiff, his hands shaking ever so slightly. Then he presses an unseen button and the doors close. Doctor Serpens whimpers and cries, and slams his fist on the panel and vomits a puddle of blood at their feet. >l Tarnished Landing Here the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above. Justinian has sealed the doors of the control room lift, leaving Doctor Serpens to die on the landing. To reach him, you will have to ascend the rest of the stairway to the top of the Channelworks. >x serpens He's moaning, spasming, coughing his own guts up. He will not see another sunrise. >talk to serpens Serpens chokes and gasps for air as you approach him. He clutches his hands to his eyes, trying to staunch the flow of blood that trickles forth. "You," he manages to utter. "Come... agh... come to gloat, did you?" 1) "I'm so sorry." 2) >1 "I'm... I'm so sorry," you say. Doctor Serpens scowls. He raises a quivering, accusatory finger. "I... don't need... your pity," he breathes. 1) "Why did Doctor Justinian turn on you?" 2) "Is it true? What he said about you?" 3) "Is there anything I can do?" 4) >1 "Why did Doctor Justinian turn on you?" Doctor Serpens gazes at you with bloodshot eyes. "He is a fool," he croaks. "A naive... reckless... fool. He thinks... he can change the world... alone." 1) "Is it true? What he said about you?" 2) "Is there anything I can do?" 3) >1 "Is it true? What he said about you?" The doctor retches and spits a glob of blood onto the floor. He takes a ragged breath. "Hypocrite," he says. "The boy... is out for himself. Like everyone else..." 1) "Is there anything I can do?" 2) >1 Your hands tremble. "Is there anything I can do?" Doctor Serpens cranes his head up with some effort. His mouth opens in a gape -- he closes his bleeding eyes. "Nothing," he whispers. "Nothing. Our weapon... designed too well. Leave me be." 1) >1 You step back from the quivering wreck of a man. He is moving less, now. Waiting to die. You can feel the weight of your scalpel in your coat pocket. >kill serpens As Doctor Serpens writhes in pain on the floor, he does not notice you standing over him. 1) 2) >1 It is so easy. It is so simple. You can see his carotid artery bulging on his neck. It will be a clean cut. All you have to do is press. This is to put him out of his misery, you tell yourself. You crouch down and take out your scalpel. In one clean motion you slit Doctor Serpens" throat. A bit of his blood spatters your gloves, but it does not penetrate the warded rubber. He stiffens, gurgling soundlessly, airlessly. And then he is still. You stand up. Your heart is pounding. A thin sheen of black blood covers your scalpel blade. It's time to go. >undo Tarnished Landing [Previous turn undone.] 1) 2) >* apostrophe error Comment recorded. 1) 2) >2 You step back. >l Tarnished Landing Here the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above. Justinian has sealed the doors of the control room lift, leaving Doctor Serpens to die on the landing. To reach him, you will have to ascend the rest of the stairway to the top of the Channelworks. >x dust They remind you of the pinpricks of animus-light you saw when you died. >x plants Not real plants, but dead models made out of filigree. >x statues Impressionistic works of art -- yet all they remind you of is the ghosts you have witnessed, shapeless and voiceless, frozen in their dying likenesses. >u Climb the stairs and confront Doctor Justinian? Please answer yes or no.>n >d Hydra Aquifera Past the swooping gates and the gilded halls, there is a weight: the weight of ten thousand tons of brass and machinery and art, of hundred-year-old frescoes and pumping mechanisms, all bearing the weight of the district which upon this building rests. This, then, is the Channelworks, in all its grandeur, its might, its immensity, its capacity to change lives. The stairs spiral from the heart of the Channelworks, and they lead upward. >d The stairs lead up. >u Tarnished Landing Here the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above. Justinian has sealed the doors of the control room lift, leaving Doctor Serpens to die on the landing. To reach him, you will have to ascend the rest of the stairway to the top of the Channelworks. >u Climb the stairs and confront Doctor Justinian? Please answer yes or no.>y The stories of the Channelworks control tower are almost as old as the Channelworks itself. You heard many of these stories as a girl, even growing up in a different part of the city: how the first Philosophers used it to control the weather and turn back the hours of the day. In a world of wonders such as Solphos, such stories did not seem impossible. It was a disappointment when you arrived in the Channelworks District and you were told that it was a glorified water distributor. That for all the Philosophers' power and learning, they could not build a tower that defied the laws of nature or brought back that which was lost. Even so, as you climb the steps, you understand why so many stories arose around this place. There is something special here. Here, where the evening sun pierces the stained glass and the power of the alchemical lines prickles the skin, it is easy to believe that a solitary magus might rewrite history. You climb the last step, and the animus-light beckons you. You step forth. Channelworks Control Tower You are in a bubble suspended above the city wrought of glass and gold and dreams. The air hums with aetheric screens and controls, like the workstation of a divine puppeteer. Outside, a tempest batters the skylights and casts the shadows of transient wriggling raindrops. Before you he stands, gazing into the turning clouds, bending the animic skeins of the world with his fingertips. He pauses as he sees you enter in the reflection of the glass. >x city The city stretches out in every direction. >x tempest The sky howls and bleeds black. Justinian watches you calmly. >x controls You feel like a theater-goer who has wandered too far and glimpsed the smoke and mirrors behind the stage. >x skeins You feel like a theater-goer who has wandered too far and glimpsed the smoke and mirrors behind the stage. >x justinian His immaculate white coat is flecked with blood. Justinian folds his arms. >talk to him "Justinian," you say. Doctor Justinian's face is haggard in the storm-light. You can see the crevices in his cheeks, the cracks in his lips. He lowers his hands and looks at you with those smoldering eyes of his, like coals that might burn through your breast and make a blackened husk of your heart. "You shouldn't have come here," he says. He turns his eyes to the raging storm outside. "You could have stayed in the cistern," he says. "You were safe there. Dry. Why did you leave?" 1) "I had to find you..." 2) "I don't appreciate your idea of safety..." >1 "I had to find you." You take a step forward. You can feel the air of the Channelworks parting around you, heavy and buzzing with enchantment. You can feel all the threads of power that touch this place. "Justinian," you say. "This can't go on. This... all of this... this nightmare. This insanity." Justinian closes his eyes and purses his lips. "Marid, I told you -- you still do not understand --" 1) "No, Justinian. I've finally seen the light..." 2) "Shut up, Justinian..." >1 "No, Justinian. I've finally seen the light." You ball your hands into fists. Tight enough for your fingernails to jab into your skin. "I've been all over the district," you say. "I've seen things that no one should have to see. I've seen through the curtain between life and death. You keep talking down to me about your great plan, about your vision. Haven't you ever wondered what I've seen? What I think?" "I..." "I've seen a lot of things, Justinian. I've done things that no one should have to do. And all for what? I've been thinking, Justinian, thinking about what I did and whether -- whether any of it was worth it." You close your eyes. 1) "Because until today, I haven't saved a single life..." 2) "Because you're right, Justinian. No one can outrun Death..." >2 "Because you're right, Justinian. No one can outrun Death. I've been chasing you for so long... chasing something that I didn't have a name for... and I'm starting to realize that perhaps it was a dream that never existed. "For the longest time, I held on to the memory of my father. I kept clinging to that day when I was fourteen years old and my life went up in flames... as if I could have gone back in time and done something to bring him back. I kept thinking -- could I have stopped Reden's death? Could I have fought the Trading Company? Could I have solved the Shanty Quarter's problems, if I had only looked close enough to find the answer?" You touch your pendant. "I was mistaken," you say. "I never had a choice. "I grew up thinking Furopolis was beautiful. The gleaming statues, the towers and the lights. But it's all a lie, isn't it? It's a mask over a city that has been falling apart from the beginning. Looking down from above, we only see the glittering machine, not the blood and mud and tears that keep it going." A flash of lightning. It scores the Channelworks District in white, every skylight and spire rendered in a twisted tapestry. A peal of thunder rolls over the city, making the windows of the tower shudder; yet you wonder if the people of the Shanty Quarter, buried in concrete and neglect, will know its passing. "So you do understand," Justinian murmurs. "I'm tired of chasing after a dream," you say. "It's about time I owned up to the truth. And the truth is that Death has always been here, in our city, in our world. We just chose not to see it." He nods, steps forward, takes your hand. He is alive now, eyes aglow, and there is an electric current in his fingers that touches yours. "You see it," he says. "The Channelworks District I see. Finally you understand. Then you see --" He turns and sweeps his arm across the whole panorama of glass, encompassing the skyline of the city. "You see why this has to be done," he says. "We cannot change the city alone. We cannot change it with our clinics, our medicines, our surgeries. But with Noctis... With Noctis, we have a choice. We can make a difference. "You see the purpose in all of this. The potential that this has to change the world for the better. Don't you?" 1) "Noctis isn't the answer, Justinian..." 2) "Noctis is a means to an end. I see that now..." >* Umm that wasn't really where I was going with that but oh well Comment recorded. 1) "Noctis isn't the answer, Justinian..." 2) "Noctis is a means to an end. I see that now..." >1 "Noctis isn't the answer, Justinian." Lightning flashes once more, illuminating the two of you. The clouds beyond the glass broil and rage and whimper. "I wish it was so easy," you say. "If only it were so easy -- that we could stand in this tower, and snap our fingers, and it would fix everything. But life isn't like that. Death isn't like that. Death is like a fire, taking and taking and taking, until there's nothing left to take. "You've seen it, haven't you? You've seen how death tears people apart. It leaves scars that our eyes can't see -- in our city, in our souls, in the world. It never creates something without taking something away. "I gave up everything to stop you, Justinian. What did you give up? What did you sacrifice to get to where you are now?" He looks out the window. His eyes are hard, his jaw set. Doctor Serpens's blood oozes down the front of his coat, slowly, in long dark fingers. "It will all be worth it," he says. "Will it, Justinian? Will it?" You circle around and grab his shoulders, making him face you. "How many lives have you destroyed? How many people have you put in the ground? Justinian, you took everyone who I cared about away from me. I died and came back because you couldn't stop your own people from killing. Do you really want to bet on a biological weapon? Are you willing to stake the Channelworks District on that bet?" Justinian pushes you away with sudden force. "You think I don't know that?" he says. "You think I don't regret what I've done? "Everything has a cost, Marid, and the cost is highest when we are trying to change the world. But it will be worth it. Pharmacos knew this. The Philosophers knew this. I can create a better world -- I know I can -- and I have weighed the consequences --" 1) "No, Justinian. No one can measure the weight of a soul." >* oooh! Comment recorded. 1) "No, Justinian. No one can measure the weight of a soul." >1 "No, Justinian. No one can measure the weight of a soul." You stare down Justinian as the storm rages around the two of you, setting your confrontation to a chorus of wind and rain. Your heart hammers in your chest and the world spins, and you close your eyes and let the bitter tears fall. "I understand," you say. "Believe me. I understand. I've seen just how little anyone matters in the grand scale of things... like pigeons that are born to fight for breadcrumbs and die. So why do we keep going? Why do we fight Death in a war that we can never win?" You turn to the windows and place a hand on the cold glass. It mists around your fingertips, tinging the city lights in somber white. "Because we have to," you whisper. "Because without us, there's no one else. "It's a thankless profession we chose, Justinian, to be the keepers of life and death. We keep the oath, and we hold the line, knowing that our faith may never be rewarded. We gather all the knowledge and the wisdom and the strength we can harness in ourselves, hoping that we can mend a broken world one patient at a time... "Perhaps one day, our strength will run out. We'll lose our knowledge, and our wisdom, and our hope. Perhaps one day the sea will claim us. "Until that day comes... I'm going to fight." Justinian shakes his head. He averts his gaze, whirls around, clenches and unclenches his fists -- he wails at the sky, a long and loud and inhuman cry of rage and terror and anguish. His eyes are wild and his cheeks are wet with tears. "I don't believe it," he whispers. "I don't understand. Why? Why? Why? I loved you, Marid, I loved you! So why must you be the same as all the others? Why... after all you've gone through... why do you still cling to that stupid -- fucking -- delusion?" His head falls. He grips the railing around the chamber, the life gone from his body, a shuddering wreck of the man you once knew. With your second sight, you see all the power of the Channelworks control tower wound up and clenched tightly in his hands. "It's over, Justinian," you say. He shakes his head slowly, his shoulders trembling, his knuckles bone-white. Slowly, he draws himself up, inch by inch. He struggles to compose himself, twitching and shivering, as though your words have carved open one of his arteries and drained dry his beating heart. "No," he breathes. "No. You will not stop me, Marid. You... cannot... stop me. "I see now. You could never understand. You are as deluded as everyone else is. No matter -- I won't allow you to hold me back any longer. I will keep my promise, Marid, and not lay a finger on you -- but from now on, we part ways, and all ties are severed between us. "If you still wish to end my life's work, you can do it over my cold, dead body." He gazes at you. His eyes are alight; his chest rises and falls in ragged breaths. His is the countenance of a man prepared to die. 1) 2) >* Umm this feels like giving up pretty easily? Comment recorded. 1) 2) >2 You turn away. You cannot meet his gaze. It seems a strange thing, to come this far, to have endured so many horrors and threats to your life, only for this to be the barrier that you cannot surmount. Everything in the past week has led to this conclusion. Every cell in your body screams at you to make things right. But you cannot do it. You cannot do it. Is it a kind of weakness, to love someone to the point that it hurts? Is it selfish to let thousands die in order to remain true to yourself? For so long you have clung to the hope that everything will be all right in the end -- that saving so many lives will have been worth it. You have suffered so much, and for so long, for the chance to become the heroine you always dreamed of becoming. Yet in the end, the final cost proved too much for you to bear. Perhaps you really are a weak and selfish girl. Perhaps you were a fool from the beginning to believe in kindness. But as you look up at Justinian, your hands shaking and your heart racing, you realize, with a strangely comforting certainty, that there is nothing you can do after all. Because you can't kill him. You can't lose anyone else. You turn your back on the man you love. After a lingering moment, you walk away, the storm raging around you, the rain-streaked windows darkened by the mourning sky. There is nothing more that can be done, and nothing more that needs to be said -- there is only a parting, and the last wistful moments of a dream that could have been. You enter the lift and the doors close. On the way down, you cry your heart out. You think of Reden, Doctor Arturus, your parents, the bodies in the streets. Perhaps their deaths were simply fated to pass, like all moments in time. E P I L O G U E It's faded now, a little discolored in the sunlight. The film has degraded somewhat since you removed it from the Collegiate archives. But Justinian's face is stark and clear in the photograph, and it leaves as vivid an impression as ever in your mind. It's been more than a year since you walked away from him. So why does it still hurt? Why is it still painful to remember? You sit up and shake off the unwanted memories, idly massaging the old ache in your wrist. It may be a slow day at the clinic, but you have better things to do than reminisce like an old woman about the past. There's someone you're waiting for. Clinic The late-afternoon sunlight creeps into the waiting area. It casts long shadows on plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern sits on a stack of newspapers; further on is the consulting study, home to a desk strewn with unfinished notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >save Ok. >undo Clinic [Previous turn undone.] >undo Channelworks Control Tower [Previous turn undone.] 1) 2) >1 You close your eyes and walk forward. It is all so easy. You have imagined this many times; first morbidly, then purposefully, with deliberation, as you realized the nature of the power entrusted in your hands. You practiced with your peers at the Physicians' College until it became second nature to you, and you learned to wield your scalpel as easily as an extension of yourself. For to save a life is difficult, and exhausting, and never guaranteed; but to take a life with the flick of your wrist is the simplest thing in the world. You stab Justinian in the neck with your scalpel. He collapses on the floor, blood spurting from his wound; and you see the world swim as his soul is shorn from his body in the same fluid motion. His animus stares at you, eyes bulging in shock, a dark river running from its neck. Then the other souls in his wake, ten thousand strong, grasp his hair and clothes and phantom limbs, and his mouth distends in a wordless scream. Together they are pulled into a windless vortex, and they are borne away, into the reaches of the veil beyond your second sight. You take deep breaths. Your knees are weak. You close your eyes and rest on the railing for a moment, trying to steady your hammering heart, and to ignore the sight and scent of pooling blood. In death Justinian looks almost content. Perhaps you have failed him. Perhaps you have failed the Philosophers, by dishonoring your oath. Certainly, by the standards of the Physicians' College, you are no longer worthy of bearing a scalpel. But you have not failed the Channelworks District. Justinian will kill no one else. You have made sure of that. You step over Justinian's body and gaze upon the city and its lights, and all its meandering souls. The storm has passed, leaving a myriad glimmering raindrops to flow into each other on the other side of the glass. There is a feeling in the air that you have almost forgotten: a feeling of weightlessness, of a time without fear. And there -- on the horizon, on the clouds, on the flashing lenses of your animus lantern -- the first rays of dawn. E P I L O G U E The sunlight hits the counter, and you blink the dust of sleep out of your eyes. You sit up, stretching your sore arms and rubbing the old ache in your neck. Those old dreams -- have you fallen asleep on the job again? What Doctor Cavala would think if she saw you now... You straighten your jacket and brush your hair into some semblance of presentability. Your mentor will back from the hearing soon, and you need to be ready for whatever tidings she brings. Clinic The waiting area is bathed in late-afternoon sunlight, illuminating plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern casts a comforting glow. Further on is the consulting study, home to a desk strewn with unfinished notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >x ghost You have grown accustomed to the sight of wandering spirits. They walk among the living, and you among them. >x me You're eighteen now, you remind yourself. You have responsibilities -- a mission. >i You are wearing your animus pendant, your natron jacket, and your clothes. On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x pendant You've worn this for so long that you can't imagine going to work without it. >l Clinic The waiting area is bathed in late-afternoon sunlight, illuminating plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern casts a comforting glow. Further on is the consulting study, home to a desk strewn with unfinished notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >x counter You've worked here for so long now that you know all the patterns in the latticework screen by heart. >n It's best to stay in earshot of the front door. >d It's best to stay in earshot of the front door. >x study You'd rather not think about work right now. It's been a long day. A chime issues from the front door. Is she back? >open door You open the door and Doctor Cavala barges through, her greatcoat flapping and her mechanical leg hissing and clicking. She has a boy on her back with his arms wrapped over her shoulders. "You took your sweet time, Marid," your mentor quips. "Get over here and help me --" Damn it. "I'll handle him," you say. "You prep the gurney --" Cavala lifts the boy's forearms, and you shoulder his weight with quick, practiced motions. He's coughing and gasping, and his breath is cold -- probably inhaled some kind of halitus or wraith disturbed by the Shanty Quarter remodeling. You steal a glance at Cavala, and your assumption is confirmed when she retrieves an emetic and an air pump from under the counter. "Breathe slowly," you tell the boy as you carry him to the surgery room. "You're going to be fine. Just take deep breaths -- in and out -- in and out, okay?" "I'm scared," he cries. "I can't breathe... Am I... Am I going to die?" "No, you're not," you say firmly. "Just keep breathing deeply. As long as you keep it steady, you'll be fine." "I -- I want to live..." "You'll live," you tell him. "You'll live. We'll make sure of that." The two of you pass through the calomel curtain into the cold light of the surgery room. Cavala nods at you, a hint of a smile on her lips. You sit the boy down on the gurney, head back, arms apart. You kiss your pendant for luck before pulling your gloves on. The boy might live, or he might not. Ever since the Council demolished the Shanty Quarter without consulting its residents, you've seen dozens of cases like his. And if you save him, the chances are that he'll die a week later of a knife wound or a throat infection. There's nothing you can do to change that. But here and now, you can do something. You can make sure the kid gets the chance to live one more day. Your mentor looks at you. "Ready, Doctor Marid?" "Always." *** The End *** You achieved Ending 3 of 7. Thank you for completing the Spring Thing 2021 release of The Weight of a Soul. You can send me feedback at the following link: https://tinyurl.com/TWOASFeedback Alternatively, you can contact me directly at chinkeeyong@gmail.com. Thanks again for playing The Weight of a Soul! Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >restore Ok. >l Clinic The late-afternoon sunlight creeps into the waiting area. It casts long shadows on plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern sits on a stack of newspapers; further on is the consulting study, home to a desk strewn with unfinished notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. >n It's best to stay in earshot of the front door. >x me You're eighteen now, you remind yourself. You have responsibilities -- a mission. >i You are wearing your animus pendant, your natron jacket, and your clothes. On your person are a photograph of Justinian, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth. >x photograph You regret taking it home from the Physicians' College -- but you can't bear to throw it away. >w It's best to stay in earshot of the front door. >s It's best to stay in earshot of the front door. >open door You should remain in the clinic in case anyone comes in. >l Clinic The late-afternoon sunlight creeps into the waiting area. It casts long shadows on plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern sits on a stack of newspapers; further on is the consulting study, home to a desk strewn with unfinished notes and diagrams. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east. A chime issues from the front door. Is he back? >open door You open the door. Horatio returns your gaze, looking weary; natron dust billows from the filters of his mask. Behind him is a black carriage loaded with dead bodies. "Hey, Marid," he says. "Less victims this week. Sorry -- I went as fast as I could, but all of them were dead by the time I heard about them." "It's fine." You lower your eyes. "Let's talk inside." Horatio draws up the carriage and the two of you begin unloading the bodies. They come tumbling out, rows and rows of natron-lined body bags, soft and moist to the touch -- for some of the victims have lost so much blood that their bags are all but flooded. After a while Horatio has to take a break. He disinfects his hands and pulls off his mask, shaking his hair loose and taking short sharp breaths. "It never gets easier, does it?" His voice is low. "I feel like I'm going to be sick. I've seen so many people die. Are we really making a difference? Are we just stooges chasing Justinian's coattails?" A long pause. "I know you said not to rat him out," he continues. "You said that we could still fix things... I don't know if I can keep doing this, Marid. Nothing has changed. You're a Doctor now, but you're still dealing with Noctis... day in... day out... and it's like we'll be doing this for the rest of our lives." You pause. "You don't believe in me anymore?" He looks at you. "I believe you're a good person, Marid. I just... I don't know if this is the right way." For a moment words fail you. You close your eyes and exhale. You think of your father's animus, flickering and dancing in your second sight. "I'm not a good person, Horatio," you say quietly. "I'm not proud of what I've done. Do you think I wanted all of this to happen? To let Justinian live so all these people could die? I'm weak, and I'm sentimental, and I -- I failed. In the end, I couldn't do what I knew I had to do. "Saving lives, developing vaccines... it's all as you said. It doesn't solve anything. It just prolongs the end. But I have to do something. I have to do something that makes me sleep better at night. Because... because I don't think I could live with myself otherwise. "I'm weak, Horatio. Saving lives is all I can do -- and I can't do it by myself. I need you to help me atone. That's all I can ask for." Horatio is quiet for a while. He meets your gaze with his tired, bloodshot eyes, his hair as messy as ever. Then he nods. "Alright, he says. "Alright. I'm with you, Marid. I'm with you." In another time, in another place, you might have hugged Horatio and cried on his shoulder. But both of your hands are dirty and contaminated, and there is no time to grieve. There are still blood samples to be taken; vaccine candidates to be tested; victims of Noctis to be sorted, studied, and avenged. So you just look into Horatio's eyes, and his look of mutual understanding is enough. You reach for the next body bag and pull it open. Death waits for you inside, but you are not afraid. *** The End *** You achieved Ending 5 of 7. Thank you for completing the Spring Thing 2021 release of The Weight of a Soul. You can send me feedback at the following link: https://tinyurl.com/TWOASFeedback Alternatively, you can contact me directly at chinkeeyong@gmail.com. Thanks again for playing The Weight of a Soul! Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >help > List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands > About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game > How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back Seventh of Libra, Auritum V How long will I keep doing this? In a way, I only have myself to blame. I've always had the key to saving the district in the palm of my hand. If the Vigiles knew what I knew, if they saw in Justinian what I saw, so many lives would be saved -- but I can't bring myself to tell them. I can't incriminate him. I keep clinging to the hope that he can be saved, that my choice won't have been in vain. Perhaps I really am an idiot. He certainly thinks I am. It takes a special kind of idiot to see the world as it is and believe that things can be different... that you can save the world without ending the life of someone you care about. But what if I wasn't? What if there's still kindness left in his heart -- still hope left in this corpse of a city? I want to believe. I really do. Primes forgive me. Perhaps you were right, Justinian. In the end, I was the same as all the others. I didn't have it in me to take the final step. But I told you, on that day, that until I lost every ounce of hope I would continue to fight. I'm still fighting, Justinian. I owe you that much. Current objectives: - Wait for Horatio to return Marid's notes: - Now that I think about it, the clinic has changed quite a bit since then... Please press SPACE to continue. List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play > Journal Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back You have encountered the following notable characters: Doctor Marid Orpheia (yourself) An eighteen-year-old graduate of the Physicians' College, and full-time medical practitioner. You have taken care of yourself ever since your parents died five years ago. Doctor Cavala Your mentor in the ars vitalis. A former army doctor and a surgeon of commanding skill. Reden A goblin bum who died in Doctor Cavala's surgery room of an hitherto unknown affliction. Vigile Horatio A guardsman of the Channelworks District, and a childhood friend of yours. Zoiro The brother of Reden. An assembly-worker who is employed at the Riggertown Mechanistry and lives at VII Layabout Row. ??? (the assassin) A mutant woman who tried to kill you and Doctor Cavala. You led her to her death in the abandoned block. Doctor Arturus A reclusive doctor in his waning years. Some of his patients had Reden's disease; now he is dead of the same contagion. Doctor Justinian Volontis Doctor Arturus's protégé, and your senior from the Physicians' College. He is the mastermind of a plot to use the bioweapon Noctis to reshape life in the Channelworks District. Creditor Nacarat One of Doctor Arturus's patients. A well-to-do financial businessman. Sal and Piper Two of Doctor Arturus's patients. A notorious pair of underworld thugs. Doctor Serpens The pathologist who oversaw the quarantine of the Channelworks District. He conspired with Justinian to unleash Noctis on the captive population. Please press SPACE to continue. List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal > Characters Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters > Map Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back You have visited the following notable locations: - Clinic - Dormitory Block - Channelworks Concourse - Turris Infinita - Grand Forum - Shanty Quarter - Riggertown, Lower Level - Riggertown, Upper Level - Justinian's Clinic - Crow's Nest - Reden's Haunt Please press SPACE to continue. List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map > Places Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places > Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places > Hints Send Me Feedback! Acknowledgements Back > General Hints Prologue Day One Day Two Midnight Day Three Day Four Back General hints for play The Weight of the Soul is a game about investigation and problem-solving. Take your time and examine your surroundings, especially things that seem out of place or things that could be connected to the greater mystery at hand. Don't be afraid to ask around, explore, and get your hands dirty. Only look at hints if you're completely stuck and need guidance. Marid is a capable and perceptive protagonist, and she usually has a good idea of where to go next. The Journal shows your current objective, a list of clues you've found, and Marid's thoughts on the situation. You can also consult Characters to refresh your memory on important personages you've encountered, or Map or Places for an overview of the Channelworks District. The Weight of a Soul is a very forgiving game. (It's rated "Polite" on the Zarfian Cruelty Scale, if you know what that is.) Nevertheless, some sections of it have deadly time limits, and it is possible for the story to end badly for Marid. It is recommended to >save if you find yourself in a dire situation. If you get a game over, you can >undo a few times to retrace your steps and try again. Please press SPACE to continue. > General Hints Prologue Day One Day Two Midnight Day Three Day Four Back > General Hints Prologue Day One Day Two Midnight Day Three Day Four Back General Hints > Prologue Day One Day Two Midnight Day Three Day Four Back General Hints > Prologue Day One Day Two Midnight Day Three Day Four Back > How do I save the patient? Back 1/7: He doesn't look good. Press SPACE to return to the menu or H to reveal another hint. > How do I save the patient? Back > How do I save the patient? Back 1/7: He doesn't look good. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. 3/7: If you don't see something at first, try looking again. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. 3/7: If you don't see something at first, try looking again. 4/7: The soporific is the inhaler labeled aer soporifer on the shelves of medical supplies. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. 3/7: If you don't see something at first, try looking again. 4/7: The soporific is the inhaler labeled aer soporifer on the shelves of medical supplies. 5/7: The stethoscope is hidden behind the gurney. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. 3/7: If you don't see something at first, try looking again. 4/7: The soporific is the inhaler labeled aer soporifer on the shelves of medical supplies. 5/7: The stethoscope is hidden behind the gurney. 6/7: The breath of catholicon is on the shelves of medical supplies, but only appears after you examine the shelves several times. Press SPACE to return to the menu or H to reveal another hint. 1/7: He doesn't look good. 2/7: Follow Doctor Cavala's instructions. 3/7: If you don't see something at first, try looking again. 4/7: The soporific is the inhaler labeled aer soporifer on the shelves of medical supplies. 5/7: The stethoscope is hidden behind the gurney. 6/7: The breath of catholicon is on the shelves of medical supplies, but only appears after you examine the shelves several times. 7/7: It's impossible to keep Reden from dying. However, if you see the sequence all the way through, you unlock a special dialogue option in the conversation with Doctor Cavala that follows. Press SPACE to return to the menu. > How do I save the patient? Back > How do I save the patient? Back How do I save the patient? > Back How do I save the patient? > Back How do I save the patient? > Back General Hints > Prologue Day One Day Two Midnight Day Three Day Four Back General Hints Prologue > Day One Day Two Midnight Day Three Day Four Back General Hints Prologue > Day One Day Two Midnight Day Three Day Four Back > How do I deliver the documents? I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back 1/6: First, you have to get to the basilica. Press SPACE to return to the menu or H to reveal another hint. 1/6: First, you have to get to the basilica. 2/6: To reach the basilica, follow the Via Terminalis east to the junction, then go south to the grand forum and west to the basilica. Press SPACE to return to the menu or H to reveal another hint. 1/6: First, you have to get to the basilica. 2/6: To reach the basilica, follow the Via Terminalis east to the junction, then go south to the grand forum and west to the basilica. 3/6: The censor isn't in any condition to receive you, though. Press SPACE to return to the menu or H to reveal another hint. 1/6: First, you have to get to the basilica. 2/6: To reach the basilica, follow the Via Terminalis east to the junction, then go south to the grand forum and west to the basilica. 3/6: The censor isn't in any condition to receive you, though. 4/6: Try various actions to wake the censor up. Press SPACE to return to the menu or H to reveal another hint. 1/6: First, you have to get to the basilica. 2/6: To reach the basilica, follow the Via Terminalis east to the junction, then go south to the grand forum and west to the basilica. 3/6: The censor isn't in any condition to receive you, though. 4/6: Try various actions to wake the censor up. 5/6: The easiest way is to >hit him. Press SPACE to return to the menu or H to reveal another hint. 1/6: First, you have to get to the basilica. 2/6: To reach the basilica, follow the Via Terminalis east to the junction, then go south to the grand forum and west to the basilica. 3/6: The censor isn't in any condition to receive you, though. 4/6: Try various actions to wake the censor up. 5/6: The easiest way is to >hit him. 6/6: There are eight different ways to wake him up, each eliciting a different oath from the censor. See if you can find all of them. Press SPACE to return to the menu. > How do I deliver the documents? I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back > How do I deliver the documents? I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back How do I deliver the documents? > I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back How do I deliver the documents? > I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back 1/7: The Shanty Quarter isn't a welcoming place. Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? 3/7: You seem to be getting somewhere... Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? 3/7: You seem to be getting somewhere... 4/7: ...out of the frying pan and into the fire, it would seem. Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? 3/7: You seem to be getting somewhere... 4/7: ...out of the frying pan and into the fire, it would seem. 5/7: Marid struggles with her fear of fire, but she's strong enough to overcome it. Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? 3/7: You seem to be getting somewhere... 4/7: ...out of the frying pan and into the fire, it would seem. 5/7: Marid struggles with her fear of fire, but she's strong enough to overcome it. 6/7: Open your eyes and take another look. Press SPACE to return to the menu or H to reveal another hint. 1/7: The Shanty Quarter isn't a welcoming place. 2/7: Maybe if you >go in a random direction...? 3/7: You seem to be getting somewhere... 4/7: ...out of the frying pan and into the fire, it would seem. 5/7: Marid struggles with her fear of fire, but she's strong enough to overcome it. 6/7: Open your eyes and take another look. 7/7: Type >look. Press SPACE to return to the menu. How do I deliver the documents? > I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back How do I deliver the documents? > I'm lost in the Shanty Quarter! Doctor Cavala needs my help! Back How do I deliver the documents? I'm lost in the Shanty Quarter! > Doctor Cavala needs my help! Back How do I deliver the documents? I'm lost in the Shanty Quarter! > Doctor Cavala needs my help! Back 1/6: Doctor Cavala is injured, and you need to apply first aid. Press SPACE to return to the menu or H to reveal another hint. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. Press SPACE to return to the menu or H to reveal another hint. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. 3/6: The first step is to >take the first aid bag. Press SPACE to return to the menu or H to reveal another hint. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. 3/6: The first step is to >take the first aid bag. 4/6: Next, >take the antiseptic dressing and the elastic bandage. Press SPACE to return to the menu or H to reveal another hint. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. 3/6: The first step is to >take the first aid bag. 4/6: Next, >take the antiseptic dressing and the elastic bandage. 5/6: Finally, >take Doctor Cavala's leg. Press SPACE to return to the menu or H to reveal another hint. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. 3/6: The first step is to >take the first aid bag. 4/6: Next, >take the antiseptic dressing and the elastic bandage. 5/6: Finally, >take Doctor Cavala's leg. 6/6: That wasn't so hard, was it? Press SPACE to return to the menu. 1/6: Doctor Cavala is injured, and you need to apply first aid. 2/6: Marid knows first aid. Examining Doctor Cavala or consulting your journal will show you what to do next. 3/6: The first step is to >take the first aid bag. 4/6: Next, >take the antiseptic dressing and the elastic bandage. 5/6: Finally, >take Doctor Cavala's leg. 6/6: That wasn't so hard, was it? Press SPACE to return to the menu. How do I deliver the documents? I'm lost in the Shanty Quarter! > Doctor Cavala needs my help! Back How do I deliver the documents? I'm lost in the Shanty Quarter! > Doctor Cavala needs my help! Back General Hints Prologue > Day One Day Two Midnight Day Three Day Four Back General Hints Prologue Day One > Day Two Midnight Day Three Day Four Back General Hints Prologue Day One > Day Two Midnight Day Three Day Four Back > How do I use the correspondence machine? The landlord won't let me in! How do I get past the bouncer? Back 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. 6/9: Next, you need to set the machine to the right channel. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. 6/9: Next, you need to set the machine to the right channel. 7/9: The dial sets which channel is active. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. 6/9: Next, you need to set the machine to the right channel. 7/9: The dial sets which channel is active. 8/9: For example, >turn dial to channel 1. Press SPACE to return to the menu or H to reveal another hint. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. 6/9: Next, you need to set the machine to the right channel. 7/9: The dial sets which channel is active. 8/9: For example, >turn dial to channel 1. 9/9: Now you can press the playback button (>press play or similar). Press SPACE to return to the menu. 1/9: The machine in Doctor Arturus's study contains an optional clue you can find. 2/9: Try examining each of the components individually. 3/9: First, something needs to be put into the empty feed wheel. 4/9: It's something in Doctor Arturus's study. 5/9: >put tape in feed wheel. 6/9: Next, you need to set the machine to the right channel. 7/9: The dial sets which channel is active. 8/9: For example, >turn dial to channel 1. 9/9: Now you can press the playback button (>press play or similar). Press SPACE to return to the menu. > How do I use the correspondence machine? The landlord won't let me in! How do I get past the bouncer? Back > How do I use the correspondence machine? The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back 1/12: The landlord won't allow you in unless you have the proper key. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. 8/12: The clue can be found in Doctor Arturus's patient records. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. 8/12: The clue can be found in Doctor Arturus's patient records. 9/12: Justinian has an idea of where the patient records might be. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. 8/12: The clue can be found in Doctor Arturus's patient records. 9/12: Justinian has an idea of where the patient records might be. 10/12: The patient records are in Doctor Arturus's domicile, in the Turris Infinita. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. 8/12: The clue can be found in Doctor Arturus's patient records. 9/12: Justinian has an idea of where the patient records might be. 10/12: The patient records are in Doctor Arturus's domicile, in the Turris Infinita. 11/12: They're in the storage cabinet in the study. Press SPACE to return to the menu or H to reveal another hint. 1/12: The landlord won't allow you in unless you have the proper key. 2/12: The key can be taken from the previous owner of the room. 3/12: It's on one of Doctor Arturus's patients. 4/12: Specifically, it's with Sal. 5/12: It's on his belt (his torso). 6/12: The landlord isn't satisfied with just the key, though. You have to know which room it unlocks as well. 7/12: It doesn't unlock any of the three rooms you can see. 8/12: The clue can be found in Doctor Arturus's patient records. 9/12: Justinian has an idea of where the patient records might be. 10/12: The patient records are in Doctor Arturus's domicile, in the Turris Infinita. 11/12: They're in the storage cabinet in the study. 12/12: Once you find the note, you can go back and tell the landlord what you've learned. Press SPACE to return to the menu. How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back General Hints Prologue Day One > Day Two Midnight Day Three Day Four Back > How do I use the correspondence machine? The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? > The landlord won't let me in! How do I get past the bouncer? Back How do I use the correspondence machine? The landlord won't let me in! > How do I get past the bouncer? Back How do I use the correspondence machine? The landlord won't let me in! > How do I get past the bouncer? Back 1/9: Webster won't let you past unless you can convince him somehow. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. 5/9: One of the victims you're investigating. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. 5/9: One of the victims you're investigating. 6/9: Reden. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. 5/9: One of the victims you're investigating. 6/9: Reden. 7/9: If you search his lodgings, you'll find an important clue. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. 5/9: One of the victims you're investigating. 6/9: Reden. 7/9: If you search his lodgings, you'll find an important clue. 8/9: Reden's shack is to the west of Lower Riggertown. Press SPACE to return to the menu or H to reveal another hint. 1/9: Webster won't let you past unless you can convince him somehow. 2/9: You need to find someone or something that matters to him. 3/9: To be precise, you need to know that someone is connected to the place he's guarding. 4/9: It's someone who you've seen before. 5/9: One of the victims you're investigating. 6/9: Reden. 7/9: If you search his lodgings, you'll find an important clue. 8/9: Reden's shack is to the west of Lower Riggertown. 9/9: Once you've examined the drink coupons, you can return to Webster and tell him what you've learned. Press SPACE to return to the menu. How do I use the correspondence machine? The landlord won't let me in! > How do I get past the bouncer? Back How do I use the correspondence machine? The landlord won't let me in! > How do I get past the bouncer? Back General Hints Prologue Day One > Day Two Midnight Day Three Day Four Back General Hints Prologue Day One Day Two > Midnight Day Three Day Four Back General Hints Prologue Day One Day Two > Midnight Day Three Day Four Back > I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back 1/5: You need to get out of there. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to get out of there. 2/5: The door isn't an option. Press SPACE to return to the menu or H to reveal another hint. > I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back > I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back 1/5: You need to get out of there. 2/5: The door isn't an option. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to get out of there. 2/5: The door isn't an option. 3/5: Take a look around. Is there any other way you could escape? Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to get out of there. 2/5: The door isn't an option. 3/5: Take a look around. Is there any other way you could escape? 4/5: Try the window. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to get out of there. 2/5: The door isn't an option. 3/5: Take a look around. Is there any other way you could escape? 4/5: Try the window. 5/5: >go east. Press SPACE to return to the menu. > I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back > I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back I'm cornered in my room! > The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back I'm cornered in my room! > The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back 1/7: The creatures will attack you if you stay in the room for too long. Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. 3/7: What action will open the door? Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. 3/7: What action will open the door? 4/7: You have to >turn the wheel to open it. Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. 3/7: What action will open the door? 4/7: You have to >turn the wheel to open it. 5/7: Just once isn't enough. You have to do it multiple times. Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. 3/7: What action will open the door? 4/7: You have to >turn the wheel to open it. 5/7: Just once isn't enough. You have to do it multiple times. 6/7: If you run out of time, you can leave the room and return. You'll escape the creatures and be free to try again. Press SPACE to return to the menu or H to reveal another hint. 1/7: The creatures will attack you if you stay in the room for too long. 2/7: You have to open the door to the service lift within the time limit. 3/7: What action will open the door? 4/7: You have to >turn the wheel to open it. 5/7: Just once isn't enough. You have to do it multiple times. 6/7: If you run out of time, you can leave the room and return. You'll escape the creatures and be free to try again. 7/7: Once you turn the wheel enough times, you'll open the door and be able to escape. Press SPACE to return to the menu. I'm cornered in my room! > The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back I'm cornered in my room! > The monsters in the basement keep eating me! How do I escape through the corridor without being caught? Back I'm cornered in my room! The monsters in the basement keep eating me! > How do I escape through the corridor without being caught? Back I'm cornered in my room! The monsters in the basement keep eating me! > How do I escape through the corridor without being caught? Back 1/15: You have to get through the corridor to escape the abandoned block. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. 12/15: If you >take the ladder and >drop it in the service lift, you'll make it safe to traverse. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. 12/15: If you >take the ladder and >drop it in the service lift, you'll make it safe to traverse. 13/15: But now you need something else to climb on to reach the maintenance shaft. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. 12/15: If you >take the ladder and >drop it in the service lift, you'll make it safe to traverse. 13/15: But now you need something else to climb on to reach the maintenance shaft. 14/15: You can >take the kitchen stool and >drop it in the scullery to use as a step. Press SPACE to return to the menu or H to reveal another hint. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. 12/15: If you >take the ladder and >drop it in the service lift, you'll make it safe to traverse. 13/15: But now you need something else to climb on to reach the maintenance shaft. 14/15: You can >take the kitchen stool and >drop it in the scullery to use as a step. 15/15: Now you can sabotage the lift, confront the assassin, and lead her to her demise. Press SPACE to return to the menu. 1/15: You have to get through the corridor to escape the abandoned block. 2/15: To do that, you'll have to get rid of the assassin. 3/15: She starts chasing you as soon as you get her attention, though. 4/15: What if you set a trap for her? 5/15: Is there anything in her path that you could sabotage? 6/15: That service lift seems rather unsafe. 7/15: You can get to the suspension system by climbing up into the hoistway access. 8/15: If you >cut the glyphs, the lift will fall when anyone steps in it. 9/15: But if you do that, you need to make sure you can get back through the lift yourself. 10/15: Is there anything you could use as a bridge? 11/15: The ladder might work. 12/15: If you >take the ladder and >drop it in the service lift, you'll make it safe to traverse. 13/15: But now you need something else to climb on to reach the maintenance shaft. 14/15: You can >take the kitchen stool and >drop it in the scullery to use as a step. 15/15: Now you can sabotage the lift, confront the assassin, and lead her to her demise. Press SPACE to return to the menu. I'm cornered in my room! The monsters in the basement keep eating me! > How do I escape through the corridor without being caught? Back I'm cornered in my room! The monsters in the basement keep eating me! > How do I escape through the corridor without being caught? Back I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? > Back I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? > Back I'm cornered in my room! The monsters in the basement keep eating me! How do I escape through the corridor without being caught? > Back General Hints Prologue Day One Day Two > Midnight Day Three Day Four Back General Hints Prologue Day One Day Two Midnight > Day Three Day Four Back General Hints Prologue Day One Day Two Midnight > Day Three Day Four Back > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back 1/18: You need to find the place from the vision, which is near the Channelworks. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. Press SPACE to return to the menu or H to reveal another hint. > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. 14/18: The door doesn't have a keyhole, but the material of the key might clue you into where the keyhole is. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. 14/18: The door doesn't have a keyhole, but the material of the key might clue you into where the keyhole is. 15/18: What else under the bridge is made of stone and covered in moss and graffiti? Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. 14/18: The door doesn't have a keyhole, but the material of the key might clue you into where the keyhole is. 15/18: What else under the bridge is made of stone and covered in moss and graffiti? 16/18: Try examining the graffiti on the east embankment further. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. 14/18: The door doesn't have a keyhole, but the material of the key might clue you into where the keyhole is. 15/18: What else under the bridge is made of stone and covered in moss and graffiti? 16/18: Try examining the graffiti on the east embankment further. 17/18: You can discover the keyhole by examining the crescent in the graffiti, or by touching the graffiti. Press SPACE to return to the menu or H to reveal another hint. 1/18: You need to find the place from the vision, which is near the Channelworks. 2/18: But you can't get past the roadblocks set up by the quarantine checkpoints. 3/18: You have to go around the checkpoints. 4/18: You can go around the first checkpoint by going south from the Via Terminalis West End, to the Crooked Alley, and then northeast. 5/18: To get around the other checkpoints, you'll have to take an even more obscure route. 6/18: It's through a door that you may have noticed before, but never gone through. 7/18: Go down the steps from the Via Terminalis Bridge. 8/18: You'll notice that someone was coming the other way and ran when she saw you. 9/18: Go after her. 10/18: From the Bridge, she goes west to the West Street, then south to Following the Canal. 11/18: Although you can't catch her, she drops something you can use. 12/18: It's a key. It can be used to open a lock. 13/18: Specifically, it opens the door under the bridge, where she came from. 14/18: The door doesn't have a keyhole, but the material of the key might clue you into where the keyhole is. 15/18: What else under the bridge is made of stone and covered in moss and graffiti? 16/18: Try examining the graffiti on the east embankment further. 17/18: You can discover the keyhole by examining the crescent in the graffiti, or by touching the graffiti. 18/18: Now you can put the key in the keyhole and open the door. Press SPACE to return to the menu. > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back > How do I get to the Channelworks? How do I open the hydraulic door? I need to hide in the laboratory! Back How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back 1/12: You need to open the hydraulic door to see what's inside. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. Press SPACE to return to the menu or H to reveal another hint. How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. 9/12: Since the door tells you if the sum is too high or too low, you can guess different numbers and make the pistons total those numbers. The more guesses you make, the more clues you will have about the total you need to reach. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. 9/12: Since the door tells you if the sum is too high or too low, you can guess different numbers and make the pistons total those numbers. The more guesses you make, the more clues you will have about the total you need to reach. 10/12: You need to make the pistons add up to 9. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. 9/12: Since the door tells you if the sum is too high or too low, you can guess different numbers and make the pistons total those numbers. The more guesses you make, the more clues you will have about the total you need to reach. 10/12: You need to make the pistons add up to 9. 11/12: Some quick arithmetic tells you that 2 + 7 = 9. Press SPACE to return to the menu or H to reveal another hint. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. 9/12: Since the door tells you if the sum is too high or too low, you can guess different numbers and make the pistons total those numbers. The more guesses you make, the more clues you will have about the total you need to reach. 10/12: You need to make the pistons add up to 9. 11/12: Some quick arithmetic tells you that 2 + 7 = 9. 12/12: So if the II and VII pistons are retracted and the other pistons are extended, the door will open. Press SPACE to return to the menu. 1/12: You need to open the hydraulic door to see what's inside. 2/12: The gauge on the door says that the pressure isn't within safety limits. The memo on the console says it's a "pressure safety lock." 3/12: In other words, if the pressure is within safety limits, the door should open. 4/12: The nearby console seems to control the pressure. Try pushing and pulling some pistons and see what happens. 5/12: If a piston is retracted (pushed in), it increases the water pressure. If a piston is extended (pulled out), the water pressure decreases. 6/12: The pistons are marked in Roman numerals, and the higher-numbered pistons seem to have a greater effect on the pressure. 7/12: (If you don't know Roman numerals, you can have Marid examine each piston and she will tell you what number the marking represents.) 8/12: Think of this as a number puzzle. Each piston corresponds to a number (the one it's marked with). You need to find the right sum of numbers that corresponds to the pressure needed to unlock the door. 9/12: Since the door tells you if the sum is too high or too low, you can guess different numbers and make the pistons total those numbers. The more guesses you make, the more clues you will have about the total you need to reach. 10/12: You need to make the pistons add up to 9. 11/12: Some quick arithmetic tells you that 2 + 7 = 9. 12/12: So if the II and VII pistons are retracted and the other pistons are extended, the door will open. Press SPACE to return to the menu. How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back How do I get to the Channelworks? > How do I open the hydraulic door? I need to hide in the laboratory! Back How do I get to the Channelworks? How do I open the hydraulic door? > I need to hide in the laboratory! Back How do I get to the Channelworks? How do I open the hydraulic door? > I need to hide in the laboratory! Back 1/5: You need to hide before the doctor catches you snooping around. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to hide before the doctor catches you snooping around. 2/5: You can't hide in the shadows or behind the vats. You need a hiding place isolated enough that Doctor Serpens won't see you walking around. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to hide before the doctor catches you snooping around. 2/5: You can't hide in the shadows or behind the vats. You need a hiding place isolated enough that Doctor Serpens won't see you walking around. 3/5: What here is isolating and concealing? Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to hide before the doctor catches you snooping around. 2/5: You can't hide in the shadows or behind the vats. You need a hiding place isolated enough that Doctor Serpens won't see you walking around. 3/5: What here is isolating and concealing? 4/5: Try hiding in the isolation chambers. Press SPACE to return to the menu or H to reveal another hint. 1/5: You need to hide before the doctor catches you snooping around. 2/5: You can't hide in the shadows or behind the vats. You need a hiding place isolated enough that Doctor Serpens won't see you walking around. 3/5: What here is isolating and concealing? 4/5: Try hiding in the isolation chambers. 5/5: Type >enter isolation chamber. Press SPACE to return to the menu. How do I get to the Channelworks? How do I open the hydraulic door? > I need to hide in the laboratory! Back How do I get to the Channelworks? How do I open the hydraulic door? > I need to hide in the laboratory! Back General Hints Prologue Day One Day Two Midnight > Day Three Day Four Back General Hints Prologue Day One Day Two Midnight Day Three > Day Four Back General Hints Prologue Day One Day Two Midnight Day Three > Day Four Back > How do I lower the Channelworks bridge? Back 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. Press SPACE to return to the menu or H to reveal another hint. 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. 2/5: Marid can see the ghosts of people who have come this way in the past. They appear to be repeating the actions they did in life. Press SPACE to return to the menu or H to reveal another hint. 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. 2/5: Marid can see the ghosts of people who have come this way in the past. They appear to be repeating the actions they did in life. 3/5: Try examining the ghosts and doing whatever they are doing. Press SPACE to return to the menu or H to reveal another hint. 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. 2/5: Marid can see the ghosts of people who have come this way in the past. They appear to be repeating the actions they did in life. 3/5: Try examining the ghosts and doing whatever they are doing. 4/5: They seem to be taking out their passkeys and making a turning motion with them. Press SPACE to return to the menu or H to reveal another hint. 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. 2/5: Marid can see the ghosts of people who have come this way in the past. They appear to be repeating the actions they did in life. 3/5: Try examining the ghosts and doing whatever they are doing. 4/5: They seem to be taking out their passkeys and making a turning motion with them. 5/5: Type >turn passkey. Press SPACE to return to the menu. 1/5: You have the passkey for the bridge, so you just need to figure out how to use it. 2/5: Marid can see the ghosts of people who have come this way in the past. They appear to be repeating the actions they did in life. 3/5: Try examining the ghosts and doing whatever they are doing. 4/5: They seem to be taking out their passkeys and making a turning motion with them. 5/5: Type >turn passkey. Press SPACE to return to the menu. > How do I lower the Channelworks bridge? Back > How do I lower the Channelworks bridge? Back General Hints Prologue Day One Day Two Midnight Day Three > Day Four Back General Hints Prologue Day One Day Two Midnight Day Three Day Four > Back General Hints Prologue Day One Day Two Midnight Day Three Day Four > Back General Hints Prologue Day One Day Two Midnight Day Three Day Four > Back List of Commands About This Game How to Play Journal Characters Map Places > Hints Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints > Send Me Feedback! Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! > Acknowledgements Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements > Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements > Back List of Commands About This Game How to Play Journal Characters Map Places Hints Send Me Feedback! Acknowledgements > Back Would you like to >restart, >restore a saved story, >quit, >undo the last command, or view the >help menu? >quit