Start of a transcript of: Inform 7 v10.1.2 Identification number: //47E613A7-053F-40E5-8567-A8A940E72A5D// Interpreter version 0.6.0 / VM 3.1.3 Hybrid Choices version 7.1 by AW Freyr >x walls This place is a study in unremarkable scene-setting. "No, I'm a big fan, I promise. Now, if you could tell us..." "What else do you need to hear? Why am I still here?" A Víctor Ojuel film... >x police No, no, get a grip, Eva! Focus. Get your story straight for the cops, come on. >talk (to the policeman) That's what you're doing. That's what you've been doing for hours. "Just a formality, signorina." "Yes, just tell us everything, from the beginning, please." Starring Eva Chantry as Herself... >z Time passes. "From the beginning? That's a long time ago..." Please press SPACE to continue. B A R C A R O L L E I N Y E L L O W (1975, released in Italy as "Barcarolla in Giallo"). Written and directed by Víctor Ojuel. Main photography by Ara Carrasco Camera testing by Ara Carrasco, Hernán Ojuel and Mathbrush. NC-17 (Violence, blood, sexual violence, nudity) Type HELP for instructions. Please press SPACE to continue. Texas, 1862. A lone horseman rides through the desert. All around him, the earth is dry and desolate, sun-blasted canyons and scorched hills accentuating his lonesomeness. Pulling out, we see the outline of a woman watching him from a window. Azure Rose Saloon In the shadowy interior of the saloon, the red-white heat of the desert mellows into a palette of brown wood, blue jeans and purple silk. A dozen or so cowboys are drinking and gambling, their occasional laughing or cursing or singing interrupting the sound of the piano, mingling with the cooing tones of the can-can girls on a break. Behind the bar stands the impassible figure of Blue Johnny, and at the man at the piano is playing a jolly tune. >x me You are a cute saloon girl, eye candy at the Azure Rose. Our hero swaggers into the saloon, all conversations die, all eyes are on him. >x hero A yummy blondie, with a dusty poncho and mild eyes that spell death. The hero walks to the bar, eyes steely. Conversations are slowly starting to resume around him, like water flowing around a stone... >x johnny He's serving drinks with his usual phlegm and impeccably waxed moustache. A man is drinking at the bar, his back turned to the hero. We see his left hand, sliding down his side, out of the hero's view, slowly inching towards his gun... >x man Who do you mean, the cowboy or the hero? >cowboy Cowboys, deserters, gamblers... they are all the same to you: the kind of men who roams these frontier towns, always thirsty for whisky and gold and women. BLAM! BLAM! The hero turns around and guns the bounty hunter down. The poor devil grunts, turns around like a broken doll and, slowly, dramatically, he drops to the floor, dead... >l Azure Rose Saloon In the shadowy interior of the saloon, the red-white heat of the desert mellows into a palette of brown wood, blue jeans and purple silk. A dozen or so cowboys are drinking and gambling, their occasional laughing or cursing or singing interrupting the sound of the piano, mingling with the cooing tones of the can-can girls on a break. Behind the bar stands the impassible figure of Blue Johnny, and at the man at the piano is playing a jolly tune. Everyone stays where they are for a couple of seconds too long, and then... "AAAND CUT!" Everyone stops doing what they are doing and instantly relax into easier postures, easier chat, or a relieved kind of silence. The director stalks out of his chair, expression unreadable, and leaves the set. Almería, southern Spain. A set made to look like a Far West saloon, in the desertic regions of Andalusia. Most of the extras here are actually Spanish conscripts doing their military service in the most unorthodox of ways. A boy arrives running. "¡Telegrama para la señorita Eva!" >x boy He's maybe eight or ten years old, dressed in nondescript clothes covered in dust. He waves a rectangular piece of paper in his grubby hand like it's a passport, or a holy image. >x paper No, no, focus on this scene, don't start dissociating again! >x me You are a cute saloon girl, eye candy at the Azure Rose. >i You are wearing: a stockings a can-can costume You are carrying: a fan >x fan You see nothing special about the fan. >x costume A too-short number in purple silk, with black lace trimmings. >x stockings A pair of black stockings, held in place by lacy garters. The other thing the garters are holding is a small gun. >x garters A pair of black stockings, held in place by lacy garters. The other thing the garters are holding is a small gun. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is closed. >x cylinder It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is closed. >take paper No, no, focus on this scene, don't start dissociating again! >x boy He's maybe eight or ten years old, dressed in nondescript clothes covered in dust. He waves a rectangular piece of paper in his grubby hand like it's a passport, or a holy image. >talk to boy After a few fast words in Spanish you don't understand, he hands you a rectangular, folded piece of paper: a telegram, for you. >x paper == CONGRATULATIONS COMMA BARCAROLLE ROLE SECURED STOP YOU ARE EXPECTED VENICE ASAP STOP TAKE NIGHT TRAIN TO MADRID THEN TEN PAST NINE MORNING EXPRESS TO BARCELONA STOP DEPART ELEVEN MORNING ON TRAIN 3945 TO VENICE VIA MONTEPELLIER COMMA GENOA COMMA MILAN STOP HAVE BOOKED ROOM FOR YOU AT HOTEL ENTREVAUX STOP SOMEONE WILL MEET YOU AT SANTA LUCIA STOP BREAK LEG END == Considering how this movie is already over for you, you waste no time getting back to your pension to pack. You rush to the station to take the first train to Madrid, and thence, to Venice. Please press SPACE to continue. After a long and exhausting trip, your train leaves Mestre behind to cross the long bridge over the lagoon, a trail of steam over the waters. Dead ahead, Venice is a giant lily pad spiked with bell towers. Dark clouds are gathering over the city, blown from the Adriatic. Huffing and puffing, your train pulls into Venezia Santa Lucia. Venezia Santa Lucia Train Station (in the train) You are sitting in a rickety second-class car, stopped at the terminus station of Venice. You should get out of the train. Your suitcase is on the floor by your side. The passengers start getting up from their seats, eager to get out first. >x suitcase A sturdy, battered suitcase, containing a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills. Passengers jostle each other to get out of the train, and home, before the rain. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a silk scarf and a summer dress. The train empties. >x scarf A silk Hermès scarf made of fine red silk, a nice color accent to your outfit. It was a present from someone. A metallic, deformed voice crackles on the tannoy: "TRENO NEL BINARIO DUE VA PARTIRE PER VERONA PORTA NUOVA, BOLZANO E L'AUSTRIA.". >x dress A light but modest summer dress, hopefully good for the Italian weather. The train whistles and, huffing and shaking, slowly at first, it starts pulling out of the station, and into the grey rain, to return to mainland Italy. You take a seat again and watch the lagoon speed past. Was it a mistake, or did you get cold feet at the last second? It doesn't matter now. Your agent might be furious, and you might regret, but in any case, this is... *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Venezia Santa Lucia Train Station [Previous turn undone.] >out Wait! You almost forgot your suitcase! The train whistles and, huffing and shaking, slowly at first, it starts pulling out of the station, and into the grey rain, to return to mainland Italy. You take a seat again and watch the lagoon speed past. Was it a mistake, or did you get cold feet at the last second? It doesn't matter now. Your agent might be furious, and you might regret, but in any case, this is... *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Venezia Santa Lucia Train Station [Previous turn undone.] >undo Venezia Santa Lucia Train Station [Previous turn undone.] >out Wait! You almost forgot your suitcase! A metallic, deformed voice crackles on the tannoy: "TRENO NEL BINARIO DUE VA PARTIRE PER VERONA PORTA NUOVA, BOLZANO E L'AUSTRIA.". >undo Venezia Santa Lucia Train Station [Previous turn undone.] >take suitcase Taken. A metallic, deformed voice crackles on the tannoy: "TRENO NEL BINARIO DUE VA PARTIRE PER VERONA PORTA NUOVA, BOLZANO E L'AUSTRIA.". >out Lugging your heavy suitcase, you get down to the platform and then into the old and dilapidated building of the train station. Venezia Santa Lucia Train Station Santa Lucia is the terminus train station for Venice, a 19th century building slowly crumbling its way across the 20th. There's a little news stand, where a man smokes silently, occasionally selling a paper or a few stamps without as much as a ciao. The gates of the station lead east to the sestiere of Cannaregio. The train that brought you here is stopped at the station. The train whistles and, huffing and shaking, slowly at first, it starts pulling out of the station, and into the grey rain, to return to mainland Italy. >x train Don't start dissociating now! >x gates Don't start dissociating now! >x station The great building seems to be slowly sinking into the lagoon, like the rest of the city. Blue and greyish lights thrown strange shadows on the crumbling walls. A cold breeze blows throught the gates of the station... You shiver in your light dress. >smell You smell nothing unexpected. Lightning flashes, and a few seconds later, thunder replies with fury. Outside, the first droplets are falling. Where is the studio person to pick you up? >listen You hear nothing unexpected. Exasperated, you take another look at the time. Well, you've had quite enough. You'll give someone an earful later, but now, you're out of here. Just find your hotel and call it a day. >x man The man is an Italian man of indefinite age, anywhere from late thirties to late fifties, deep in this thoughts. Played by some local, third-rate character actor. Outside, rain falls on the canals in silvery splatters. >x paper Don't start dissociating now! >talk to man "Excuse me, sir, I'm looking for my hotel, could you give me some directions, please?" He hardly looks up from his smoke and his paper. "No English." "I'm sorry, I don't speak Italian, I... Hotel?" "Hotel, che cosa?", he says impatiently. Out there in the night, dirty water keeps falling on the streets like divine retribution. "It's called "Hotel..." Don't start dissociating now! "It's called "Hotel..." giallo "Excusi, che?" The man seems confused, obviously hasn't understood the hotel name. You should check that you're giving him the right name. Outside, a deluge is drenching the cobblestones with a malignant insistence. >x suitcase A sturdy, battered suitcase, containing a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills. Outside the gates, a downpour is showering the slick pavement uncessantly. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a silk scarf and a summer dress. Out there in the night, dirty water keeps falling on the dirty facades with fury. >x script Don't start dissociating now! >open suitcase You can rummage through your clothes when you find your hotel. Beyond the rain-slicked gates, a downpour is drenching the cobblestones with a maddening monotony. >l Venezia Santa Lucia Train Station Santa Lucia is the terminus train station for Venice, a 19th century building slowly crumbling its way across the 20th. There's a little news stand, where a man smokes silently, occasionally selling a paper or a few stamps without as much as a ciao. The gates of the station lead east to the sestiere of Cannaregio. Outside, a deluge is showering the dirty facades with fury. >save Ok. >e Taking a deep breath, you decide to brave the rain and find the hotel on your own. You step through the gates, into the pouring rain, and are instantly soaked. Alone in a strange city, all streets look the same. You run anxiously, trying to find a hotel or shelter from the rain, cold and miserable in your sodden clothes. Suddenly, a flash of lighting stops your dead on your tracks. There's someone right in front of you! You scream at the horrible sight of the red mask, and turn around to escape. You try to run back to the station, looking behind you. There's a sudden flash of lightning - and for a second it illuminates a sinister masked person, right behind you! Then the light is out, and so is the knife. You fall on your knees, looking at the blood flowing into the drenched cobblestones. The next stab is through your eye, and then you see no more. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Venezia Santa Lucia Train Station [Previous turn undone.] >talk to man "Excuse me, sir, I'm looking for my hotel, could you give me some directions, please?" He hardly looks up from his smoke and his paper. "No English." "I'm sorry, I don't speak Italian, I... Hotel?" "Hotel, che cosa?", he says impatiently. Outside the gates, rain keeps falling on the cobblestones with a malignant insistence. "It's called "Hotel..."ENTREVAUX "Hmmm... ah, dai, Hotel ENTREVAUX?" The man rattles off a long explanation that leaves you none the wiser. Sighing, he points to the doors, and then to somewhere generally south-east of here, and repeats one word a few times, slowly, so you get it: "RIVA." Then he points again, and goes back to his paper, exhausted by the communication effort. That's as close as it gets to directions: some place called "riva", in the south-eastern part of the city? Beyond the rain-slicked gates, dirty water is drenching the streets with fury. >e Taking a deep breath, you decide to brave the rain and find the hotel on your own. You step through the gates, into the pouring rain, and are instantly soaked. Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. Distant thunder punctuates the sound of rain. You have a feeling someone is watching you. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. The grey skies are unleashing a deluge. You hear footsteps behind you. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. There's a brief lull in the rain. The footsteps are getting nearer...Someone grabs your scarf from behind, twisting it around your neck. You twist and kick and try to fight back, but whoever it is is too strong for you. The last thing you see as you die, is a mask made of red glass, before darkness engulfs everything. The next morning, your corpse will be found hanging by the neck from the campanile of San Marco, hanged with your own red scarf... like the other girls. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Castello [Previous turn undone.] >s Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. It's raining cats and dogs. The footsteps are getting nearer...Someone grabs your scarf from behind, twisting it around your neck. You twist and kick and try to fight back, but whoever it is is too strong for you. The last thing you see as you die, is a mask made of red glass, before darkness engulfs everything. The next morning, your corpse will be found hanging by the neck from the campanile of San Marco, hanged with your own red scarf... like the other girls. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Castello [Previous turn undone.] >drop scarf (first taking the silk scarf off) "CUUUUT!" Everyone freezes in place, every conversation dies down, the music stops. Everyone is staring at you now. "MA CHE CAZZO FAI, RAGAZZA!?!? WHAT THE FUCKING HELL DO YOU THINK YOU ARE DOING, EVA? YOU JUST RUINED THE TAKE!" Red in the face, the director storms out of the set. Immediately the cameras stop rolling, every actor and extra goes back to chatting or getting ready for the next take. Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. A boy arrives running. "¡Telegrama para la señorita Eva!" You open your hand, and let the storm claim the piece of red silk, as it disappears carried by the wind a second later. (Why? Was that in the script, or was it your idea?) Distant thunder punctuates the sound of rain. The footsteps are getting nearer...You start running! >x boy Don't start dissociating now! >l Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. After a brief lull in the rain, it starts pouring down again. The footsteps are quick now, he's runinng too! He's closing on you FAST! Someone is coming for you! >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. There's a brief lull in the rain. RUN! RUN FOR YOUR LIFE! >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. You scream, but the scream dies when a gloved hand covers your mouth... A hand lands heavily on your shoulder, and before you can turn around and protest or fight back, a knife sinks between your ribs, expertly finding your heart. The last thing you see is a mask of red glass, before everything turns black. The next morning, your corpse turns out floating down the Gran Canal, artistically decorated with a red silk scarf. Just like the previous girls. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Rialto [Previous turn undone.] >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. It's raining. You scream, but the scream dies when a gloved hand covers your mouth... A hand lands heavily on your shoulder, and before you can turn around and protest or fight back, a knife sinks between your ribs, expertly finding your heart. The last thing you see is a mask of red glass, before everything turns black. The next morning, your corpse turns out floating down the Gran Canal, artistically decorated with a red silk scarf. Just like the previous girls. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >l Venezia Santa Lucia Train Station Santa Lucia is the terminus train station for Venice, a 19th century building slowly crumbling its way across the 20th. There's a little news stand, where a man smokes silently, occasionally selling a paper or a few stamps without as much as a ciao. The gates of the station lead east to the sestiere of Cannaregio. Beyond the rain-slicked gates, rain falls on the cobblestones like divine retribution. >talk to man "Excuse me, sir, I'm looking for my hotel, could you give me some directions, please?" He hardly looks up from his smoke and his paper. "No English." "I'm sorry, I don't speak Italian, I... Hotel?" "Hotel, che cosa?", he says impatiently. Outside, dirty water is showering the canals uncessantly. "It's called "Hotel..."ENTREVAUX "Hmmm... ah, dai, Hotel ENTREVAUX?" The man rattles off a long explanation that leaves you none the wiser. Sighing, he points to the doors, and then to somewhere generally south-east of here, and repeats one word a few times, slowly, so you get it: "RIVA." Then he points again, and goes back to his paper, exhausted by the communication effort. That's as close as it gets to directions: some place called "riva", in the south-eastern part of the city? Outside the gates, a downpour keeps falling on the dirty facades with a malignant insistence. >e Taking a deep breath, you decide to brave the rain and find the hotel on your own. You step through the gates, into the pouring rain, and are instantly soaked. Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. Distant thunder punctuates the sound of rain. You have a feeling someone is watching you. >save Ok. >drop scarf (first taking the silk scarf off) "CUUUUT!" Everyone freezes in place, every conversation dies down, the music stops. Everyone is staring at you now. "MA CHE CAZZO FAI, RAGAZZA!?!? WHAT THE FUCKING HELL DO YOU THINK YOU ARE DOING, EVA? YOU JUST RUINED THE TAKE!" Red in the face, the director storms out of the set. Immediately the cameras stop rolling, every actor and extra goes back to chatting or getting ready for the next take. Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. A boy arrives running. "¡Telegrama para la señorita Eva!" You open your hand, and let the storm claim the piece of red silk, as it disappears carried by the wind a second later. (Why? Was that in the script, or was it your idea?) It's raining. You hear footsteps behind you. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. There's a brief lull in the rain. The footsteps are getting nearer...You start running! >s Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. It keeps raining. The footsteps are quick now, he's runinng too! He's closing on you FAST! Someone is coming for you! >in The gallery is closed for the night. A heavy rain is falling. RUN! RUN FOR YOUR LIFE! >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. It's raining cats and dogs. You scream, but the scream dies when a gloved hand covers your mouth... A hand lands heavily on your shoulder, and before you can turn around and protest or fight back, a knife sinks between your ribs, expertly finding your heart. The last thing you see is a mask of red glass, before everything turns black. The next morning, your corpse turns out floating down the Gran Canal, artistically decorated with a red silk scarf. Just like the previous girls. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Piazza San Marco [Previous turn undone.] >undo Piazza San Marco [Previous turn undone.] >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. The grey skies are unleashing a deluge. RUN! RUN FOR YOUR LIFE! >in Peering through the heavy rain, you spot your hotel. Finally! You step into that little shelter of light and warmth with a sigh of relief. Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. Phew! You made it to your hotel, safe and sound... Turning around, through the lobby windows you spot someone out there in the street, under the rain... his face covered in something RED! There's a flash of lighting... and whoever it was is gone. Or maybe you're just imagining things? With a shiver, you decide to put it out of your mind. You're dying for a warm bath and some shut eye. Through the windows, you can see the rain drenching everything outside. Thank goodness you don't have to go out there again... >save Ok. >talk (to the receptionist) The lady smiles a grannie's smile, seeing you soaked through. "Buona sera, signorina, ah... English? Welcome to Hotel ENTREVAUX, dear. The storm catch you good, eh?" "Yes, the storm and... have you seen someone around here, I mean, in the street, with a sort of... red mask in his face?" "It is carnival time, signorina. A lot of people wear costumes and masks. It's part of the charm!" "Yes, I know, but this man, he was following me, chasing me, and... oh, never mind. My name is Eva Chantry, I should have a reservation." "Let me see... Chantree, Chantree... ah, yes, here. Very good, very good. Can I see papers, per piacere?" It keeps raining outside. Inside it's warm and nice. >open suitcase You can rummage through your clothes in your room. Through the windows, you can see the rain drenching everything outside. Thank goodness you don't have to go out there again... >i You are wearing: a summer dress (soaked) You are carrying: a suitcase a telegram a passport Well, at least this place is cozy and welcoming... >x telegram == CONGRATULATIONS COMMA BARCAROLLE ROLE SECURED STOP YOU ARE EXPECTED VENICE ASAP STOP TAKE NIGHT TRAIN TO MADRID THEN TEN PAST NINE MORNING EXPRESS TO BARCELONA STOP DEPART ELEVEN MORNING ON TRAIN 3945 TO VENICE VIA MONTEPELLIER COMMA GENOA COMMA MILAN STOP HAVE BOOKED ROOM FOR YOU AT HOTEL ENTREVAUX STOP SOMEONE WILL MEET YOU AT SANTA LUCIA STOP BREAK LEG END == It keeps raining outside. Inside it's warm and nice. >x passport A British passport for one CHANTRY, EVA, born 1948. Well, at least this place is cozy and welcoming... >give passport (to the receptionist) You hand her your passport, and wait as she laboriously copies your details in careful, antique longhand. "It's room 13, on second floor. Oh, by the way, someone called earlier, for you." "For me? Must have been someone from the production. The bastards..." "Yes, from the movies, he said he was the director? He is sorry about the, eh, confusion, and he wanted to see you." "Well, not tonight. I'm going to have a long, warm bath, and tomorrow will be another day. Good night." "Good night, and enjoy your stay at Hotel ENTREVAUX, signorina Chantry!"" Through the windows, you can see the rain drenching everything outside. Thank goodness you don't have to go out there again... >x lady She looks so much like your archetypal nonna that she could play one in a movie... It's nice to be out of the rain. >u You climb the stairs, up to your room. Hotel ENTREVAUX - Room 13 The room has large windows, through which you can see the downpour over the lagoon, lit by a large, full moon. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the open door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. >x tub Could fit two like you. >x bed Looks comfy. You can sleep in it. >save Ok. >sleep You're wet and shivering with cold, that is no way to sleep. >x wardrobe A big wardrobe of old, solid wood. It is closed and locked. >open wardrobe (first unlocking the wardrobe) You lack a key that fits the wardrobe. >i You are wearing: a summer dress (soaked) You are carrying: a suitcase a telegram a passport >d You're tired of carrying that suitcase all around Venice. It's staying here until you leave the city. >drop suitcase Dropped. >open suitcase You open the suitcase, revealing a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills. >x pills The pills. You don't want to take them. You need them. You don't want to need them. >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >x jeans A casual look of bell-bottom jeans and a tye-dye blouse. >x red Slightly revealing, but its main virtue is being easy to track visually through a crowd, both for the camera and the audience. Probably the reason it was chosen for the Rialto scene. >x blouse A casual look of bell-bottom jeans and a tye-dye blouse. >x suitcase A sturdy, battered suitcase, containing a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills. >x nightdress It's a short, wispy nightie in pink silk and black lace. >l Hotel ENTREVAUX - Room 13 The room has large windows, through which you can see the downpour over the lagoon, lit by a large, full moon. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the open door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which are a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills) here. >x moon Don't start dissociating now! >x lagoon Don't start dissociating now! >bathe Don't start dissociating now! >i You are wearing: a summer dress (soaked) You are carrying: a telegram a passport >x dress (the summer dress (soaked)) A light but modest summer dress, which you hoped would be good for the Italian weather... now completely soaked through and clinging to your wet body. >remove dress (the summer dress (soaked)) Trembling, you peel off your soaked dress. If this was a scene, the camera would be sliding down as you do, catching the goosebumps in your soft skin to emphasize your vulnerability, and ending with the wet heap on the floor. But it's not a scene. >enter tub Really, you're going to take a bath with a summer dress (soaked), a telegram and a passport? >drop all summer dress (soaked): Dropped. telegram: Dropped. passport: Dropped. >enter tub Sure, leave the door open and take a bath, what could possibly go wrong? >close door You close the door. >enter tub You run a hot bath, waiting until it's half full to slide in, with a sensual moan of pleasure. Again, if this was a scene, the camera would catch you from behind, lingering on your nakedness as you raise one leg, then the other, and ease into the steaming water. Does it matter that it's a scene or not? Only if you're acting for the audience, as your old teacher used to use. If you're doing it for yourself, then the camera is always on. You close your eyes and listen to the patter of the rain on the windows. Fury and violence without, softness and beauty within. A metaphor for something or the other... You're drifting off, when a noise awakens you. Someone is knocking on your door. Again. It's a firm, masculine way of knocking. Here comes the outside world, wanting in. You get out of the bath and towel yourself dry quickly. Who the hell could it be? >l Hotel ENTREVAUX - Room 13 The room has large windows, through which you can see the downpour over the lagoon, lit by a large, full moon. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. Someone is knocking at the door, discreetly but insistently. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a passport, a telegram, a summer dress and a suitcase (in which are a red dress, a jeans and blouse, a nightdress, a film script and a jar of pills) here. >wear jeans (first taking the jeans and blouse) You put on the jeans and blouse. >open door "Who's there?" You open the door a crack, as you often do when you're about to be murdered luridly. Or raped. Often both: occupational hazard. Through the crack, dramatically lighted, you can see a vertical slice of face: that of the director! The slice includes a brown, intense eye, an aquiline nose, a bit of smiling lip and some seriously square jawline. "I know it's late, Eva, but I wanted to drop by to say welcome to Venice, and the best giallo of your career." "Still up, Eva? I know it's late, but... better than never, mmm? Be a good girl and let me in, we could rehearse that sex scene in Act 2, eh?" The tone is inequivocally equivocal. Is this really happening? Why does it feel... like another take? Let him in?no "Good night, boss. I'll see you tomorow in the studio," you reply coldly. "But Eva..." You close the door in his face. You could have gotten lost or mugged or worse, out there in the rain, all because he didn't remember or didn't care to send someone to pick you up. Now he wants you to put out? Screw him. You get in bed and quickly fall asleep, to the sound of the storm raging against the window. Please press SPACE to continue. The next morning, you are awoken by the telephone. "Buon giorno, principessa! Is the lady planning on working, or is she just vacationing in Venice on my dime?" "I'm sorry? I arrived really late last night and I had to find the hotel on my own and then you came around and..." "Can it, Eva. Get that pretty little ass to the studio, pronto! It's in Santa Croce. We're waiting for you. I'm already giving you a chance you didn't deserve with this role, Eva. So move it, or you can go back to shaking your tits on those sword-and-sandal shitshows." Sounds like you are going to have to skip breakfast! Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a passport, a telegram and a suitcase (in which are a red dress, a nightdress, a film script and a jar of pills) here. >save Ok. >take all passport: Taken. telegram: Taken. suitcase: You're not going to carry it around Venice. It's staying here until you leave the city. red dress: Taken. nightdress: Taken. film script: Taken. jar of pills: No. Not now. Not yet. You don't even want to touch then.... >i You are wearing: a jeans and blouse You are carrying: a film script a nightdress a red dress a telegram a passport >drop nightdress Dropped. >i You are wearing: a jeans and blouse You are carrying: a film script a red dress a telegram a passport >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a jeans and blouse. >drop dress Dropped. >l Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a red dress, a nightdress and a suitcase (in which is a jar of pills) here. >sleep You aren't feeling especially drowsy. >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >u You climb the stairs, up to your room. Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a red dress, a nightdress and a suitcase (in which is a jar of pills) here. >x lagoon It's not the time to have another crisis, Eva, we have to work, we need to work... >x islands It's not the time to have another crisis, Eva, we have to work, we need to work... >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >x laldy It's not the time to have another crisis, Eva, we have to work, we need to work... >talk to lady She is speaking with someone on the phone, in very fast and irate Italian. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >n You can't go that way. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >enter You must supply a noun. >in Galleria d'arte You enter an ancient building next to San Marco square, with marble floors featuring intrincate designs that look more Byzantine than Venetian. It's quiet and smells of oil paintings and centuries of patience. A smartly dressed woman looks up from a catalog to smile at you in greeting. The only way is out. >x woman A professional woman maybe in her mid-thirties, dressed in an impeccable combination of dark blue pencil skirt and ruffled white silk blouse, with mother-of-pearl glasses. A name tag on her breast announces she's called Claudia. >talk to woman "Good day? May I..." "Oh, nothing, it's just a lovely building... Do you mind if I take a look?" "Naturally. It's a thirteen-century building, rebuilt in the seventeenth and renovated after Garibaldi. Look as much as you want. If you need me I'll be here," she says with a smile of... amusement? >x floor This place makes you feel strangely at home. It's as if you have been here before... with... someone... or perhaps it was in another movie? >smell You smell nothing unexpected. >x glasses It's not the time to have another crisis, Eva, we have to work, we need to work... >x building This place makes you feel strangely at home. It's as if you have been here before... with... someone... or perhaps it was in another movie? >out Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >n Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >x bridge The bridge is one of only three crossing the Great Canal, and the oldest, with shops and ateliers built directly on its structure. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >x shopkeeper An old, jovial Italian man who could sell seawater to a whale. >talk to shopkeeper He makes some small talk, but his only interest in your is as a buyer. And you are not the kind to buy souvenirs. >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >x boats A powerful motorboat leaves a foamy wake under the bridge. >x boats A powerful motorboat leaves a foamy wake under the bridge. >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >in You make your "grand entrance" to the studio. Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >x director He is a director known for creating horror and panic, on-screen and in the hearts of his actors... >l Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >x projector The magic lantern that turns tiny strips of film into an experience. It is switched off. The reelholder is loaded with a reel ready to view. >x reel A reel with some dailies from last week. >x rack Dozens of tins with dailies, nothing of interest to you. >turn on projector The projector comes to life, sputtering and clicking. A few scenes play out, voiceless: a view of nighttime Venice, lightning on the canals, a girl in a red scarf braving the dark and stormy night alone, a black-gloved hand, close-ups of a sharp knife, a Venetian mask... It's all old stuff. >talk to director He looks at you with a stressed-out expression. "Ah, Eva, finally, you're here! Have you read the script? We're shooting the Rialto scene today, are you ready?" "Good morning, I..." "I want you to check the script one more time before we move to location, va bene? Every minute we are losing money and daylight! "And what the hell is that you're wearing? You're not even in costume yet!? >l Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >out Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >e Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >e Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >n Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >s Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >in Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >u You climb the stairs, up to your room. Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a red dress, a nightdress and a suitcase (in which is a jar of pills) here. >wear dress You are already wearing something. >remove jeans You take off the jeans and blouse. >wear dress (first taking the red dress) You put on the red dress. >take jeans You already have that. >i You are wearing: a red dress You are carrying: a film script a telegram a passport a jeans and blouse >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >s Dorsoduro A quiet, patrician sestiere on the southern edge of Venice, rising higher than the rest of the city over the waters, like the spine of a sea monster. The palazzi stay closed, silent, watchful, keeping the wealth and depravity of the centuries to themselves.. To the north lies Santa Croce. >x palazzi Wealth, ossified into stone, sedimented century over century. >n Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >in You make your "grand entrance" to the studio. Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >talk to director He looks at you with an appraising look. "Presta? We have a scene to shoot today! Are you ready or not? yes "Very well. LISTEN UP EVERYONE! We are shooting the Rialto scene, we move out now. Second unit, to Castello and start shooting as soon as the lady star here shows up. First unit, with me, we go direct to the Rialto Bridge and get some footage in the meanwhile. Paolo, come on man, all the cameras should be in the boat already!" He walks away, followed by a cohort of cameramen, sound technicians and so on. >l Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. >out Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >e Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >e Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. You get to your mark, the make-up girls give your hair some last-minute touch-ups, and one of the assistant producers hands you the photocamera your character is supposed to use on this scene. ACTION! You are in your position. The cameras start rolling, following you through the crowd. Acting time! >take photo What? That makes no sense! That man in the mask must have really spooked you. >photograph bridge What? That makes no sense! That man in the mask must have really spooked you. >w You're supposed to act like a tourist first, and take some pictures! >take picture What? That makes no sense! That man in the mask must have really spooked you. >take photo What? That makes no sense! That man in the mask must have really spooked you. >take photos What? That makes no sense! That man in the mask must have really spooked you. >use camera What? That makes no sense! That man in the mask must have really spooked you. >x camera (the photocamera) For once, this isn't a prop, but a real photo camera. You're supposed to be shooting the sights with this thing. Act like you know how to use it properly. >shoot What do you want to shoot? >bridge What? That makes no sense! That man in the mask must have really spooked you. >l Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >photograph What do you want to photograp? >bridge What? That makes no sense! That man in the mask must have really spooked you. >photograph sights What? That makes no sense! That man in the mask must have really spooked you. >photograph What do you want to photograp? >me You snap a few pictures of yourself. >l Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >photograph canals You take some pictures of the canals, pretending you know how to operate a professional camera. It's convincing, you hope. If it isn't, at least you look good in that red dress. You pretend to take a few more pictures for good measure, in case the director likes this take better. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. You take a leisurely walk towards Rialto, looking around like a tourist. >photograph bridge You keep acting like a tourist, but the unseen presence of that stalker is driving you nu--- watch out, he's right there! >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >talk to shopkeeper You're dragging this too much, it's supposed to be a very tight scene! Move on! >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You see a man moving strangely from the corner of your eye... and he's gone. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. The hair on the back of your neck crawls, and you feel observed. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >e You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >w You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You see a man moving strangely from the corner of your eye... and he's gone. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >photograph bridge You keep acting like a tourist, but the unseen presence of that stalker is driving you nu--- watch out, he's right there! >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You have seen that face before, haven't you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >x man What? That makes no sense! That man in the mask must have really spooked you. >x face What? That makes no sense! That man in the mask must have really spooked you. >x mask What? That makes no sense! That man in the mask must have really spooked you. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You have a feeling you're being followed... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >z Time passes. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You have seen that face before, haven't you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >w You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >e You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >n You can't go that way. >s You can't go that way. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >photograph me You snap a few pictures of yourself. >photograph shop What? That makes no sense! That man in the mask must have really spooked you. >buy What do you want to buy? >souvenir What? That makes no sense! That man in the mask must have really spooked you. >l Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >ask shopkeeper about man Just TALK TO people, Eva. You have your lines, don't ad-lib. >talk to shopkeeper You're dragging this too much, it's supposed to be a very tight scene! Move on! >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You could swear there was someone looking intently at you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >photograph man What? That makes no sense! That man in the mask must have really spooked you. >i You are wearing: a red dress You are carrying: a photocamera a film script a telegram a passport a jeans and blouse >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >x person What? That makes no sense! That man in the mask must have really spooked you. >x canal The great canal sweeps in an inverted S-dash across the city, a jagged wound forever bleeding dirty water. >photograph canal You snap a few pictures of Gran Canal. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. The hair on the back of your neck crawls, and you feel observed. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >drop camera (the photocamera) No, it's a vital prop! >x bridge The bridge is one of only three crossing the Great Canal, and the oldest, with shops and ateliers built directly on its structure. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >x shopkeeper An old, jovial Italian man who could sell seawater to a whale. >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You could swear there was someone looking intently at you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >w You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >e You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >z Time passes. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Is... is someone watching your? Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >talk to director What? That makes no sense! That man in the mask must have really spooked you. >hint Type HELP to see the list of verbs you can use in this story. Type THINK to get a little clue to help you advance. >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): EVA tries to photograph the stalker... >photograph stalker You snap a few pictures of the stalker. You nervously peer across the crowds, looking worried and anxious as you try to catch sight of the stalker... >z Time passes. >z Time passes. >z Time passes. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You have a feeling you're being followed... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >e You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >w You see one of the production assistants frantically gesturing for you to get back to your mark. You're not supposed to be going that direction. >photograph stalker You snap a few pictures of the stalker. You don't dare look... then you do, and he's gone... and then you see him again... no, wait, that wasn't him, was it... >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You could swear there was someone looking intently at you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Is... is someone watching your? Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You see a man moving strangely from the corner of your eye... and he's gone. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >'l What? That makes no sense! That man in the mask must have really spooked you. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. The hair on the back of your neck crawls, and you feel observed. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. You have seen that face before, haven't you... Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): EVA keeps taking pictures of the Rialto bridge... >photograph bridge You take a couple of cute pictures of the Rialto bridge, looking over your shoulder a couple of times to drive home the fact you're worried about that man... are you hamming it too much? Suddenly, you feel someone tugging at your elbow! You turn around with a yelp - but you can't see him, just a blur ahead - someone slipping into a nearby shop! >in You quickly enter the souvenir shop, heart racing... but there's nobody there, except for the jovial shopkeeper, offering you postcards and novelty fridge magnets. Perhaps he's seen the stalker?! Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >talk to shopkeeper "Excuse me, have you seen... A man, I think? Wearing... a black cape? And some sort of mask, red?" "I don't know, signorina. How can you ask me such a thing, eh? To look for a man, to pay attention to a man..." "Look, I think I'm being..." "...when I have signorina as beautiful as yourself before my tired, lucky eyes! Please, signorina, a fridge magnet?" "No, thank you, goodbye!" >out Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. An Italian carabiniere walks around martially, and the most obvious of the pickpockets are giving the policeman a very wide berth. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >x police What? That makes no sense! That man in the mask must have really spooked you. >x carabiniere He looks dashing in that uniform. >talk to carabiniere "Excuse me, officer, someone is following me..." "Signorina, buon giorno. Who?" "I don't know. A man in a cape and a red mask..." "Signorina, look around you. It's the Carnival of Venice, you didn't notice? Half the people are wearing capes and masks, the other half are tourist like yourself." "Yes, yes, but he's following me around, he tried to catch me last night before I got to my hotel, and now he's stalking me, and..." "You have any proof, madam? Or an idea of who he might be? I can't go arresting all masked men who like beautiful women." "What do you mean? He is..." "Madam, this is Italy. If you don't want men to pay too much attention, don't wear a red dress like that. I have crime to fight, now, good day." The pompous nincompoop! You're fuming. Enough, you're out of here! >e You turn around to leave, when... Wait, it's that man over there! You freeze, looking straight at him. He's standing by the side of the bridge, looking at to the Gran Canal, with his back turned to you. The cape, the red mask... He can't have seen you, this is your chance to learn who he is! If you dare... >x man You approach slowly, heart racing, scared to death that he's going to turn around at any moment and see you... and then he's at arm's length... you raise a hand towards him, gathering your courage... And then he turns around and you scream! But it's just an elderly lady, with a black coat and a red handkerchief holding her hair! She looks at you, startled, and then goes away laughing and shaking her head. Crazy foreigners! You pant and try to catch your breath. Thank God you didn't attack her or anything... >l Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >e You don't hear the CUT! Because the director and the camera are very far away, but surely this is it, the scene is a wrap. You're starting to relax -- when someone shoves you, HARD, and before you can tell what's happening, your're FALLING! Please press SPACE to continue. ...FALLING... SCREAMING! FEAR! DEATH! ...the bridge... ...the railing... ...blurring, almost gone... you have a split second to grab something! >grab railing You grab the railing of the bridge at the last moment. The jolt in your shoulder is painful, but you hold on to it, screaming, with your legs dangling under you, for a long second... your sore fingers are slipping, people yell, boat sirens are blaring... and then you fall. Drowning in the Gran Canal! With a scream you splash into the water. For a few seconds of agony the impact drags you under, before rebounding to the surface, panting and spitting. The dirty water of the Gran Canal is all around you! You are going to drown! You struggle to stay afloat... The camera fell... somewhere, it's gone! >swim What? No! No way! There is a roaring sound, and it's not just your ears ringing... something is approaching with a deafening sound! You turn around and see - a motorboat, speeding towards you! >x boat It's coming your way! You scream your lungs out, to no avail. The incoming motorboat hits you at full speed, treating the horrified onlookers to a macabre spectacle: that of your broken body, first knocked unconscious by the impact of the hull and then maimed by the propeller, thrown back into the water like a ragdoll, to float in pieces like detritus, a spot of red on the Gran Canal. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Drowning in the Gran Canal! [Previous turn undone.] >d You take a deep breath and dive down as fast as you can, sinking in the putrid waters. Underwater! You are holding your breath in the murky waters of the Gran Canal, opaque with mud and city detritus. You can't see a thing! Holding your breath, you look up to see the dark, sinister shape of the motorboat wooshing past mere inches above your head! The roar of the engine hurts your ears and the undertow tugs painfully at your hair and limbs. >u Drowning in the Gran Canal! The dirty water of the Gran Canal is all around you! You are going to drown! Your lungs feel ready to implode.The roar of the engine dies down as the motorboat speeds away. >u You can't go that way. Someone throws you a length of rope from the side of the canal. >grab rope You grab the rope and hold on to it for dear life. Slowly they drag you to the side of the canal, and then up the street. A few minutes later, the carabinieri take you to the police station. There follows a long, exhausting series of questions. It's late by the time the cops drop you at your hotel, where you are visited by a doctor. He says you're basically fine except for a few bruises and the shock, and recommends rest and relax. You fall asleep the moment he leaves. Please press SPACE to continue. You wake up the next day, screaming. Some dream about a masked killer following you around rainy streets... You get up from bed. The police aren't taking you seriously, they think you're some dumb tourist who imagines things, clumsy enough to slip and fall down Rialto Bridge. But it's the second time that masked stalker tries to kill you, and the third might be the last! You can't just wait for it to happen. You were attacked while acting, which means the camera might have caught the stalker. The dailies from yesterday should already be at the studio. Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which are a passport, a telegram, a film script, a jeans and blouse and a jar of pills) here. >x wardrobe A big wardrobe of old, solid wood. It is closed and locked. >i You are wearing: a nightdress You are empty-handed. >remove dress The sense of dejà vu... Have you been here before? Done that before? In a movie, maybe...? >i You are wearing: a nightdress You are empty-handed. >remove nightdress You take off the nightdress. >wear jeans (first taking the jeans and blouse) You put on the jeans and blouse. >take all suitcase: You're not going to carry it around Venice. It's staying here until you leave the city. passport: Taken. telegram: Taken. film script: Taken. jar of pills: No. Not now. Not yet. You don't even want to touch then.... >take dress The sense of dejà vu... Have you been here before? Done that before? In a movie, maybe...? >l Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which is a jar of pills) here. >l Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which is a jar of pills) here. >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >talk to lady She greets you and goes back to her paperwork. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >s Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >n Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >in Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio seems much more subdued now, and the director is nowhere to be seen. Outside is the sestiere of Santa Croce. >x dailies The sense of dejà vu... Have you been here before? Done that before? In a movie, maybe...? >x rack You search the rack, reading the labels... and there seems to be a gap yesterday? You dig around the other tins... and your fingertips find a tin behind the others... accidentally slipped there, or purposefully hidden from a casual search? Hmph... >i You are wearing: a jeans and blouse You are carrying: fresh reel a film script a telegram a passport a nightdress >x projector The magic lantern that turns tiny strips of film into an experience. It is switched on. The reelholder is loaded with a reel ready to view. >take reel (old reel) It's spinning! You'll hurt your fingers! >turn off What do you want to turn off? >projector You switch the projector off. >take reel (old reel) Taken. >load fresh The sense of dejà vu... Have you been here before? Done that before? In a movie, maybe...? >i You are wearing: a jeans and blouse You are carrying: old reel fresh reel a film script a telegram a passport a nightdress >put fresh What do you want to put fresh reel in? >projector You put fresh reel into the reelholder. >turn on What do you want to turn on? >projector The projector comes to life, sputtering and clicking. You see yourself, from a distance, a red figurine in a crowd of tourists and locals, looking this way and the other, snapping pictures with your camera... walking hurriedly, as the camera pans into a postcard view of the Rialto bridge - shiver! - and then zooms in to track you, walking in the bridge, zooming rather inappropriately on your derriere... blurs of people passing by... startled by something... going into the shop... getting out... talking to a carabiniere... then approaching the edge of the bridge... You lean forward, holding your breath... And nothing. There's a cut there, and when the image returns, it's a view of the bridge again, commotion amongst the crowds, everyone looking down to the water, the shopkeeper rushing out of the shop to see what's happening, stooping... then the view moves down to the Gran Canal, just in time to catch a blob of red diving under the surface as a motorboat rushes past... You rewind the reel and watch it again in slow motion. Someone has cut the reel, right before the attack! There's no way to see the stalker. But another detail catches your attention this time: the shopkeeper, stooping, picking something from the floor... the photocamera! There is a chance you might have caught the stalker in a picture! >out Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >e Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. >in The door does a little jingle when you enter, earning you a smile from the shopkeeper. Souvenir shop It is a little shop selling guides and trinkets to tourists. The door leads back out to the Rialto bridge. Behind the cramped counter, the shopkeeper smiles encouragingly, hoping you buy something. >talk (to the shopkeeper) "Oh, signorina! You are the one who had an accident here, yesterday, no? Madonna, are you alright? You were not hurt, falling from the bridge?" "It wasn't an acc... well, yes, thanks for asking. Any chance you saw... something, someone?" "No, I was here tending to the shop, I ran out when I heard the screams, everyone screaming... oh, I think this is yours?" He searches behind the counter and hands you the photocamera you were using as a prop. "Thank you. Excuse me, there's something I should do..." Please press SPACE to continue. Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which is a jar of pills) here. The light switches on again. You wipe your fingers of chemicals and contemplate the picture. You've done a pretty good job, considering how long has been since the last time you developed a photograph. The picture is very clear: a multitude in Rialto, centered on... yes, someone wrapped in a black Carnival cape, wearing a very peculiar Venetian mask: it's a lion's head, made in something shiny that looks like red glass? But it could be anyone. That mask... it looks peculiar. Perhaps someone in this city knows more about it? >l Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which is a jar of pills) here. >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >talk (to the receptionist) She is speaking with someone on the phone, in very fast and irate Italian. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >in Galleria d'arte You enter an ancient building next to San Marco square, with marble floors featuring intrincate designs that look more Byzantine than Venetian. It's quiet and smells of oil paintings and centuries of patience. A smartly dressed woman looks up from a catalog to smile at you in greeting. The only way is out. >talk (to Claudia) "Good day, may I help you, madam?" "Perhaps, uhm... Do you know anything about Carnival masks?" "Of course, madam. Venetian art is our specialty. Are you looking for any particular piece?" "Maybe... If you saw a certain mask, would you be able to identify it?" "Possibly. Which mask?" she says with an enigmatic smile... almost as if she was playing along. Is she an actress too? >show camera (to Claudia) (first taking the camera) That's hardly portable. >i You are wearing: a jeans and blouse You are carrying: a picture old reel a film script a telegram a passport a nightdress >show picture (to Claudia) Claudia is unimpressed. >talk (to Claudia) "Good day, may I help you, madam?" "Perhaps, uhm... Do you know anything about Carnival masks?" "Of course, madam. Venetian art is our specialty. Are you looking for any particular piece?" "Maybe... If you saw a certain mask, would you be able to identify it?" "Possibly. Which mask?" she says with an enigmatic smile... almost as if she was playing along. Is she an actress too? >show picture (to Claudia) Claudia is unimpressed. >give picture (to Claudia) She accepts the picture and examines the mask under a magnifying glass. "Most unsual. You see, Venetian masks usually conform to established styles, or fit with the neo-modernistic school... this one is neither. Definitely not a mass-produced one. I would say it is a bespoke piece, and the way the lion's mane of glass curls, here and here, you see? That is characteristic of a certain workshop..." She returns the picture to you, with a smug smile. "That of messer messier Flavio, a master glassblower. His one of the most ancient establishments in Murano." "Murano?" "Yes, the island north of Venice? The one renown for its glass works? It's in every tourist brochure..." she says, almost teasingly. "What hotel is madam staying in? I can make some calls, and let madam know when I learn more about that piece." "The ENTREVAUX. I'll wait by the phone." "Very well, madam..." >talk (to Claudia) "If you need anything else, I'm here, madam," she says, with the faintest touch of irony in her voice. >out Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >n Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. >w Venezia Santa Lucia Train Station Santa Lucia is the terminus train station for Venice, a 19th century building slowly crumbling its way across the 20th. There's a little news stand, where a man smokes silently, occasionally selling a paper or a few stamps without as much as a ciao. The gates of the station lead east to the sestiere of Cannaregio. >talk Whom do you want to talk to? >man No point in bothering him any further. >e Cannaregio Across the water to the north, the cemetery island of San Michele is marked with a bell tower like a pin on a map. Far beyond it is the island of Murano, where the priceless glass is made. South lies the Castello sestiere, and the train station is to the west. >x island An ancient island filled with secrets, set aside and part of, a bigger, more ancient island filled with secrets. >x tower A man-made island, made just so men could be buried in it. There is a Sisyphean absurdity to the notion. >x murano An ancient island filled with secrets, set aside and part of, a bigger, more ancient island filled with secrets. >x michele A man-made island, made just so men could be buried in it. There is a Sisyphean absurdity to the notion. >s Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >s Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >e Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >in As you walk in, the lady from reception smiles at you. "Oh, signorina, how are you today? Feeling better, I hope? Someone left a thing for you... where was it... oh, here." She hands you a calling card of heavy, thick quality cardboard. >x card Made of the blackest, matte paper, seemingly absorving all light around it, with small, red foil letters: Mlle. Leona Psychological insights Via dal Cervo, 40 (Dorsoduro) The plot thickens... >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >s Dorsoduro A quiet, patrician sestiere on the southern edge of Venice, rising higher than the rest of the city over the waters, like the spine of a sea monster. The palazzi stay closed, silent, watchful, keeping the wealth and depravity of the centuries to themselves.. To the north lies Santa Croce. A door without name seems to be the number 40 of Via dal Cervo... it should lead in to mademoiselle Leona's. >in Before you can touch the door, it swings open by itself. Behind it is... nobody, and nothing. Taking a deep breath, you go in, and climb the spiral staircase, ascending as it coils upon itself, tighter, higher, until you reach the high place you seem to remember like a dream... Mademoiselle Leona's studiolo The Persian rug eats the sound of your footsteps. The dusky library is coated in heavy curtains and draperies, in dark red and purple hues, and the atmosphere is stll like a tomb, scented with exuberant Oriental fragrances. Mademoiselle Leona smiles like a Sphinx. "Good to see you again, Eva," she says in an undefinable accent. The shadows in the room twist and shiver. >x leona She is all you can pay attention to. "Tell me, Eva, how have you been feeling? Do you sometimes think... things are not quite real? As if you were reading a piece of fiction and suspending your disbelief for the sake of being a part of it... or, in other words, acting?" >yes That was a rhetorical question. "I can help you... as you already know. Or used to know," she adds pleasantly. The room is spinning. >talk (to Leona) "I feel like... I am not sure where this ends, where it begins... where I end, or begin... "Allow me", she says. She produces an oval of pure blackness. At first you think it's some visual trick of your hallucinating eyes, but when she brings it closer to your face you can see it's real: a mask, without any embellishments, just two round holes for the eyes and a little protruding ball where the mouth should be. >x mask Your ideas melt in Leona's presence like wax in the sun. >x leona She is all you can pay attention to. Leona pushes the mask into your face, the little ball clinking against your teeth. Have you been here before? Why does it feel... like another take? Open your mouth?no You hear a chuckle coming from somewhere far away. "So, we're not going to be friends? Well, I can live with that, my rebel kitten..." Then your jaw slackens on its own, then tightens live a vice around the leather ball in your mouth, holding the mask in place. Island of San Giorgio Maggiore Most of the island is taken by the abbey: red light and macabre chantings ooze from every window and open door. To the north lies greater Lagoon of Venice, in front of San Marco. You are running, nude under the full moon, running away from the black-clad men. They scream behind you, hot on your heels. You are bounding down the marble stairs of the island-abbey of San Giorgio, a fleeing prey under the moonlight. Your face is an oval of black, broken only by your eyes, pupils twin, round black moons. At the foot of the stairs, a moored motorboat rocks gently on the water. Across the lagoon of Venice, to the north, the campanile of san Marco beckons. You only have a few seconds before they catch you. >save Ok. >enter boat You get into the boat. >l Island of San Giorgio Maggiore (in the boat) Most of the island is taken by the abbey: red light and macabre chantings ooze from every window and open door. To the north lies greater Lagoon of Venice, in front of San Marco. >drive No! Run! Get out of here! >turn on boat It isn't something you can switch. >x boat It is a sleek, fast boat, sitting low on the water, lacquered a nocturnal shade of dark red. The horde catches you before you can flee. They grab you, they lift you overhead, and they carry you inside. You are tonight's event. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >n You dive into the water and try to swim away, but you're too slow. They grab you, they lift you overhead, and they carry you inside. You are tonight's event, tonight's sacrifice. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Island of San Giorgio Maggiore [Previous turn undone.] >w You can't go that way. >e You can't go that way. >s You can't go that way. >in You give up and turn around, towards the abbey, from which infernal red light streams out, and the horde of black-clad men charging toward you. They grab you, they lift you overhead, and they carry you inside. You are tonight's event. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Island of San Giorgio Maggiore [Previous turn undone.] >out But you aren't in anything at the moment. The horde catches you before you can flee. They grab you, they lift you overhead, and they carry you inside. You are tonight's event. *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >l Island of San Giorgio Maggiore Most of the island is taken by the abbey: red light and macabre chantings ooze from every window and open door. To the north lies greater Lagoon of Venice, in front of San Marco. At foot of the stairs, a moored motorboat rocks gently on the water. Across the lagoon of Venice, to the north, the campanile of san Marco becons like a pilar of salvation. You only have a few seconds before they catch you... The motorboat is moored here. >enter boat You get into the boat. >n You gun the engine hard, and the roar overpowers the screams. Just as they are reaching the boat, it lurches forward in the water, spraying them and speeding northwards into the lagoon of Venice. You take a sibilant breath between your teeth, still clenching the ball that holds the moretta. The island diminishes, the black tunics and the red light becoming slightly less menacing in the distance. Lagoon of Venice The Lagoon of Venice, an expanse of ink dotted with moonbeams. To the south is the island-monastery of San Michele, raging with unholy ceremonies. North are the spires of San Marco and its campanile, presiding over the main island of Venice. You can sail around it, going northeast. Sail into the city canals, like this? You are crazy, but still keep some sense of decorum. >ne Lagoon East The lagoon extends towards the Adriatic and the open seas. Venice is to your west. To the east lie the long sand bars of Lido. You can go back southwest, or continue skirting the city toward the north. >e Lido A stretch of fine beaches facing the Adriatic Sea. Now an eery desert under the moon. The only way is west, back to the Venetian lagoon. >x desert No, no more nonsense... You must find the killer and deal with them, once and for all. >x b each No, no more nonsense... You must find the killer and deal with them, once and for all. >x beach No, no more nonsense... You must find the killer and deal with them, once and for all. >w Lagoon East The lagoon extends towards the Adriatic and the open seas. Venice is to your west. To the east lie the long sand bars of Lido. You can go back southwest, or continue skirting the city toward the north. >n Lagoon North The lagoon of Venice extends northwards towards the continent. To the north is the island of Murano, famed for its artisanal glass. To the east is the monumental island-cemetery of San Michele. You can go back south, skirting the shores of Cannaregio towards the eastern side. >n Island of Murano North of Venice, this island has a centuries-old reputation for the finest artisanal glass. The only way out is south, over the water. The island is dark and empty, except for an elderly man standing alone at the pier. He must be messer Flavio, the master glassblower. He pales when he sees you arrive, his eyes fascinated with... fear? revulsion? at the sight of your nakedness and your mask. "I was told... the lady called, from the gallery, said someone had been asking about the mask of the Most Serene Lion, but I wasn't... aware, that..." He's at a loss for words. "I want nothing to do with your masters. So I will say this only once, and I won't see you again. Yes, I made that mask. It was a special commission from... He swallows. "Your mistress, Leona. But you already knew that, didn't you? Now, addio!" He leaves you alone with that tantalising realization. A church bell rings in the east. The sound carries over the water, a call, a warning. >l Island of Murano North of Venice, this island has a centuries-old reputation for the finest artisanal glass. The only way out is south, over the water. Across the water, a lone light moves on the nearby cemetery island. Of course, that's where things should end. >x island An ancient island filled with secrets, set aside and part of, a bigger, more ancient island filled with secrets. >x light No, no more nonsense... You must find the killer and deal with them, once and for all. >s Lagoon North The lagoon of Venice extends northwards towards the continent. To the north is the island of Murano, famed for its artisanal glass. To the east is the monumental island-cemetery of San Michele. You can go back south, skirting the shores of Cannaregio towards the eastern side. >e Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >x killer Leona is still wearing that painful smile of hers. >x grave It's ready for you. >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >undo Island of San Michele [Previous turn undone.] >w No. This ends here and now. >s You can't go that way. >n You can't go that way. >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >i You are wearing: a moretta mask You are empty-handed. >x mask A very simple kind of mask: just an oval of black velvet, with round holes for the eyes. A little bullet-shaped piece goes into the mouth, which you bite on to keep the mask in place >take mask You already have that. >remove mask No. Without it, you are just a crazy woman running around on the nude. With it... you are what you are. The mask keeps you together. As masks always do. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a moretta mask. >x leona Leona is still wearing that painful smile of hers. >x cape No, no more nonsense... You must find the killer and deal with them, once and for all. >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >push leona The killer might not like that. >x cloak No, no more nonsense... You must find the killer and deal with them, once and for all. >d You can't go that way. >enter grave Don't be too hasty. You'll end up there anyway. >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >attack leona Violence isn't the answer to this one. >push leona in grave No, no more nonsense... You must find the killer and deal with them, once and for all. >x killer Leona is still wearing that painful smile of hers. >hit leona Violence isn't the answer to this one. >take cloak No, no more nonsense... You must find the killer and deal with them, once and for all. >throw mask (first taking the moretta mask off) No. Without it, you are just a crazy woman running around on the nude. With it... you are what you are. The mask keeps you together. As masks always do. >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >x cypresses No, no more nonsense... You must find the killer and deal with them, once and for all. >x cemetery You are not sure what this place any more. >swim Alas, you never learned to swim. >jump You can't go that way. You jump on the spot. >u You can't go that way. >d You can't go that way. >w No. This ends here and now. >save Ok. >scream No, no more nonsense... You must find the killer and deal with them, once and for all. >deal with leona No, no more nonsense... You must find the killer and deal with them, once and for all. >fight leona Violence isn't the answer to this one. >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >end scene Are you even alive? Are you even yourself? >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a moretta mask. AND CUT! A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. The killer shrugs and drops the prop gun to the floor. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is closed. >x prop Are you even alive? Are you even yourself? >l A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. You can also see a gun (closed) here. >take gun Taken. >n You can't go that way. >w No. This ends here and now. Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo A movie set? [Previous turn undone.] >shoot her It's unloaded! Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > l Please give one of the answers above. Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >end scene Are you even alive? Are you even yourself? >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >x killer Leona is still wearing that painful smile of hers. AND CUT! A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. The killer shrugs and drops the prop gun to the floor. >take gun Taken. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is closed. >open cylinder You open the gun. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is open, and there's a single bullet inside. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a moretta mask. Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo A movie set? [Previous turn undone.] >shoto her Are you even alive? Are you even yourself? >shoot her It's unloaded! Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restoroe Please give one of the answers above. Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >end scene Are you even alive? Are you even yourself? >i You are wearing: a moretta mask You are empty-handed. >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a moretta mask. AND CUT! A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. The killer shrugs and drops the prop gun to the floor. >take prop gun Are you even alive? Are you even yourself? >x prop gun Are you even alive? Are you even yourself? >x me You are Eva Chantry, a mainstay of spaghetti westerns, pepla and gialli - any movie that needs a cute girl to be cutely killed. Hundreds of thousands of people know your face (and anatomy), not so may would recall your name. You are wearing a moretta mask. >l A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. You can also see a gun (closed) here. >take gun Taken. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is closed. >x prop Are you even alive? Are you even yourself? >open cylinder You open the gun. Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): ISLAND OF SAN MICHELE - EXT. NIGHT: Eva faces the KILLER, and talks to them... >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >end scene Are you even alive? Are you even yourself? >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): LIMBO OF THE MIND - INT.? NIGHT?: EVA looks disoriented, about to faint, she tries to grab the GUN... >take gun Are you even alive? Are you even yourself? >x gun Are you even alive? Are you even yourself? >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. AND CUT! A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. The killer shrugs and drops the prop gun to the floor. >take gun Taken. >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): LIMBO OF THE MIND - INT.? NIGHT?: EVA looks disoriented, about to faint, she tries to grab the GUN... >shoot What do you want to shoot? >killer It's unloaded! >open gun You open the gun. >x gun It's a small, not-quite period-appropiate revolver, concealed in your garters. The cylinder is open, and there's a single bullet inside. Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >talk (to the killer) You try to say something, but it's impossible with the moretta. That is the point, exactly. No more talking, no more acting. The mask has become you. Mademoiselle Leona is still wearing that painful smile of hers. "Haven't I explained a thousand times, Eva? Each time you refuse to go along with the treatment, and each time I have to wipe your memories again. How many times have we gone through this charade? Do you think I enjoy it? No, I do not. It is quite insulting, really. You have been quite a professional challenge." She produces a little gun. "Usually I would have done this earlier, but seeing how you are working for the system, well. Turning you would have been double the merit, no? But it was taking too long, and things are getting too hot. I might have to lay low for a decade or two, now that things were starting to get interesting. What a bummer. Well, addio, Eva..." BLAM! *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT, END SCENE or UNDO the last command? >end scene Are you even alive? Are you even yourself? >l Island of San Michele The cemetery of Venice, an island taken up by tightly spaced graves under the quiet shade of leafy cypresses. Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. >z Time passes. AND CUT! A movie set? You are in a movie set that looks vaguely like the cemetery of Venice, but the edges of it are just an iridiscent indefinition, like the sparkles you can see behind closed eyelids, or memories from early childhood... Standing over a freshly dug grave, your tormentor stands sardonically, still dressed in the black velvet cloak, but this time the killer is not wearing the mask. The killer shrugs and drops the prop gun to the floor. >take gun Taken. >open gun You open the gun. >close gun You close the gun. >shoot her It's unloaded! >open gun You open the gun. Are you dead? Alive? Was this all... who even are you... The world spins out of focus, and you faint. Please press SPACE to continue. Police station - Venice, 1975 Dirty grey walls. Harsh white light. The smell of sweat, stale tobacco and cold cofee. On the table, the tape recorder is rolling. The two policemen are sitting across the table from you, their dark eyes piercing. The policemen look at each other in silence, and one of them switches off the recorder. "Eva, you have been incredibly brave. And you got us solid stuff here. I can make no promises, but this is going all the way up to the Department of Justice, so a medal wouldn't be out of the question..." "I don't want a goddamn medal, Carlo," you interrupt him wearily, lighting another cigarrette. "I just want you to jail that pig before he lures more wannabe actresses to that horrible place in San Giorgio. The shit I went through to get you the dirt on those neo-fashos..." "But it had to be done, you know that. Twelve girls missing in Venice, between 1969 and 1975, all of them last seen wearing red silf scarves... We needed proof, you know. The perverts that meet at San Giorgio, that... cult, if you want to call it that... they have friends upstairs." You get up from the table, flicking cigarrette ash on the table. "Next time you do it yourselves, you bastards. Ciao, see you never again." *** ENDING C: UNDERCOVER *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. >l Island of San Giorgio Maggiore Most of the island is taken by the abbey: red light and macabre chantings ooze from every window and open door. To the north lies greater Lagoon of Venice, in front of San Marco. At foot of the stairs, a moored motorboat rocks gently on the water. Across the lagoon of Venice, to the north, the campanile of san Marco becons like a pilar of salvation. You only have a few seconds before they catch you... The motorboat is moored here. >restore Ok. >l Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a passport, a telegram and a suitcase (in which are a red dress, a nightdress, a film script and a jar of pills) here. >take all passport: Taken. telegram: Taken. suitcase: You're not going to carry it around Venice. It's staying here until you leave the city. red dress: Taken. nightdress: Taken. film script: Taken. jar of pills: No. Not now. Not yet. You don't even want to touch then.... >x pills The pills. You don't want to take them. You need them. You don't want to need them. >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >talk (to the receptionist) She greets you and goes back to her paperwork. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >think * * * from the script of "BARCAROLLE IN YELLOW" (1975): EVA goes to work: she reads the script, puts on her red dress and heads out to the studio, in the western side of Venice... >i You are wearing: a jeans and blouse You are carrying: a film script a nightdress a red dress a telegram a passport >in Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >u You climb the stairs, up to your room. Hotel ENTREVAUX - Room 13 The room has wonderful southward-facing views of the lagoon beyond the Riva, and the islands in the distance. It features an antique, Doge-size bed and a large teak wardrobe. The only way out, obviously, is through the closed door and down the stairs, back to the lobby. The room has a spacious en-suite bathroom, featuring a massive antique bathtub. You can also see a suitcase (in which is a jar of pills) here. >remove jeans You take off the jeans and blouse. >wear dress You put on the red dress. >d Hotel ENTREVAUX - Lobby The building used to a merchant's house, now converted into a cozy little hotel. The doors leads back out into the streets, and a marble staircase goes up to the rooms. An elderly lady stands behind the reception desk. >out Riva Degli Sette Martire From the great square of San Marco, a long waterside promenade follows the lagoon towards the eastern side of Venice. Back west lies the square of San Marco. A little sign reads "HOTEL ENTREVAUX", which you can enter. >w Piazza San Marco The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge's Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water. East is the Riva degli Sette Martiri. Back north is the Castello district. There's a discreet art gallery you can enter. >n Castello Venice spills southwards, criss-crossed with a stinky lattice of quaint canals. West across the Grand Canal lies the monumental Rialto Bridge. South is the central San Marco square. To the north is the sestiere of Cannaregio. >w Rialto The ancient Rialto Bridge crosses the Grand Canal, a much-travelled path, a much-worn tourist sight. The bridge is crusted with shops and boutiques like barnacles on a stone keel. The bridge connects Santa Croce to the west with Castello to the east. You can also go inside one of the shops. Gondolas, motorboats and vaporetti make ply the Gran Canal, sailing under the bridge. >w Santa Croce The least-pretty, least-touristy part of Venice, and the closest to the ferry terminals, where the old rickety gradness of yore morphs into old rickety warehouses, looking out west, to the mainland beyond the blue-grey lagoon, towards Mestre and the real Italy, the one not anchored in faded glories. To the east is the lively Rialto Bridge. To the south lies the Dorsoduro quarter. An old decrepit warehouse bears a sign reading "SALOMÉ STUDIOS", which you can enter. >in You make your "grand entrance" to the studio. Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >talk (to the director) He looks at you with a stressed-out expression. "Ah, Eva, finally, you're here! Have you read the script? We're shooting the Rialto scene today, are you ready?" "Good morning, I..." "I want you to check the script one more time before we move to location, va bene? Every minute we are losing money and daylight! >x script STREETS OF CASTELLO - EXT. DAY. EVA is walking around Castello, wearing a red dress, seeing the sights and taking pictures of the canals. CUT to: first-person view of someone following her through the crowd. CUT to: EVA taking a picture of the Rialto Bridge, in profile, then turning towards the camera looking suspicious. She sees a face in the crowd and tries to photograph the stalker. She looks worried. Again we see a first-person view of someone following her, we see her from the back, walking on the bridge. She starts to turn around to face the camera - but the camera abruptly moves sideways, into the threshold of a souvenir shop. CUT to: Eva walking back, entering the souvenir shop, but seeing nothing or nobody suspicious. She asks the SHOPKEEPER (a buxom Italian lady with long black lashes and a very skimpy polka dot dress), but she has seen nothing. Reluctantly, EVA walks out of the shop. She tries to talk to a POLICEMAN, but he's too busy having a heated argument with a crusty NONNA. EVA gives up, makes to leave - and then she notices a SUSPICIOUS PERSON a few feet away, with her back to her, apparently looking out towards the Grand Canal. She approaches him slowly, visibly anxious, MUSIC CRESCENDO as the tension builds, EVA gets within arm distance of him, raises a hand to tap him in the shoulder and SPEAK to him -- CLIFFHANGER! END SCENE >l Studio It looks like it used to be some sort of warehouse for the ships coming to the once-important port of Venice, now repurposed as a film set. It's currently set as a crime scene, with a blood-splattered bedroom and whatnot. Towards the back there's the edition room where they process the dailies, featuring a large projector and a rack of tin cans containing the film. The studio is a swirl of activity, with orders being shouted and people hurrying to follow them. Outside is the sestiere of Santa Croce. The director, is shouting orders and giving instructions, looking stern and funky. >restore Ok. >l Island of San Giorgio Maggiore Most of the island is taken by the abbey: red light and macabre chantings ooze from every window and open door. To the north lies greater Lagoon of Venice, in front of San Marco. At foot of the stairs, a moored motorboat rocks gently on the water. Across the lagoon of Venice, to the north, the campanile of san Marco becons like a pilar of salvation. You only have a few seconds before they catch you... The motorboat is moored here. >script off End of transcript.