Start of a transcript of Dr Horror's House of Terror A horrifying tale of the restless dead and their world of unspeakable evil!!! by Ade Release 1 / Serial number 210930 / Inform 7 build 6M62 (I6/v6.33 lib 6/12N) Identification number: //37AABAE4-E3A1-4D80-BBFB-8FA3D820BC26// Interpreter version 1.3.5 / VM 3.1.2 / Library serial number 080126 Standard Rules version 3/120430 by Graham Nelson >restart Are you sure you want to restart? y At last, after so much terror and death, you have tracked the Count to his lair in the old forest. So many have fallen. Poor Alexander, drowned in the sucking mud of the moors. Geoffrey, falling into that unexpected pool of acid. Even Susan is gone - screaming in horror as the swinging pendulum chopped her into pieces. You grit your teeth - their sacrifices will not have been in vain. One thing remains. Take your stake and drive it through the very heart of the Count. But the hour is late. The undead stir restlessly in their dreams of evil. Hurry, before all is lost. The Count's Lair The gnarled, twisted trees silhouette against the lowering sky. Thunder rumbles over the howl of the wind. In the hollow something stirs and rises through the layer of mist that creeps and winds amongst the tree trunks and mossy boulders. It is the Count! With one arm he holds his cloak in front of his face and advances towards you, the other taloned hand outstretched. Behind him, the Countess, clad in revealing diaphanous white, leers and snarls and she is followed by the Count's vampire thralls, their fangs bared. "Now is the time you die, Professor," hisses the Count. "One more soul for my army, and then nothing can stop me!" >eek "CUT!" screams an exasperated voice behind you. You turn. Behind the set, hunched like a malevolent gnome in his chair is Harry Higginbotham, the Director. "The line," he snaps at you, "is 'I will rid the world of your evil.' Do you think you can manage that? Twenty one takes so far." He sighs heavily. Across the set you hear Blake Lively mutter "Amateurs, darling, we're working with amateurs." "For heaven's sake," says Harry, "this isn't Shakespeare. Just SAY I will rid the world of your evil. And try and look like you mean it. I want to get out of here before the bar closes." He raises his megaphone. "OK you lot, back to starting positions. Take twenty two. Lights. Camera! Action!" ...Press any key........ At last, after so much terror and death, you have tracked the Count to his lair in the old forest. So many have fallen. Poor Alexander, drowned in the sucking mud of the moors. Geoffrey, falling into that unexpected pool of acid. Even Susan is gone - screaming in horror as the swinging pendulum chopped her into pieces. You grit your teeth - their sacrifices will not have been in vain. One thing remains. Take your stake and drive it through the very heart of the Count. But the hour is late. The undead stir restlessly in their dreams of evil. Hurry, before all is lost. The Count's Lair The gnarled, twisted trees silhouette against the lowering sky. Thunder rumbles over the howl of the wind. In the hollow something stirs and rises through the layer of mist that creeps and winds amongst the tree trunks and mossy boulders. It is the Count! With one arm he holds his cloak in front of his face and advances towards you, the other taloned hand outstretched. Behind him, the Countess, clad in revealing diaphanous white, leers and snarls and she is followed by the Count's vampire thralls, their fangs bared. "Now is the time you die, Professor," hisses the Count. "One more soul for my army, and then nothing can stop me!" >say I will rid the world of your evil The Count recoils - a look of hate and fear on his face. "Your threats are empty, Professor," he snarls. "My horde will feast on your living flesh and my Bride will take your very soul as a plaything." The Countess, his bride, shrieks with maniacal laughter and the horde continue to advance slowly. Slowly enough, perhaps, that you might have a chance to end the Count's evil forever! "Cut!" yells Harry. "That's a wrap for today." There is a brief burst of muffled sarcastic clapping from various people on set. Including, you notice with indignation, some of the extras, who, given that they are paid by the hour, ought to be thanking you. "Finally, darling," says Blake Lively, removing his cloak. "I thought we'd never get that." He turns to Charlotte Day, who plays his Bride. "You were marvellous, dear. We are too good for this film and," and here he glances at you, "some of the talent we have to work with." They link arms and walk towards the exit. "You!" shouts Harry from his chair, and you know he means you. "Me and you need to have a chat with the Boss. Don't you think? He's not gonna be happy that I've wasted more than twenty takes of film on your inability to say a simple line. Now march yourself over to Arnie's office and we'll see what he's got to say." Ouch. This isn't going to be much fun. ...Press any key........ Ah, the Boss. Arnie Mallet. Known to everyone as Dr Horror because of the many many low budget horror films Mallet Studios churns out year after year. You've never met him, but you've heard he's hard as nails and that he really really dislikes spending money. At this present time, you rate your chances of getting out of this meeting with your job and career still intact as vanishingly small. The one faint hope you have is that they seem to have forgotten about you. You've been sitting outside his office for hours. The cleaners have come and gone. The lights have gone dim. It must be nearly midnight. You've come straight from the set so the only watch you've got is a big gold pocketwatch. Given that it's only a prop and doesn't have any inner workings, it's not much use. The hands say two thirty. But, then again, they're glued in place. Dr Horror's House of Terror A horrifying tale of the restless dead and their world of unspeakable evil!!! by Ade Release 1 / Serial number 210930 / Inform 7 build 6M62 (I6/v6.33 lib 6/12N) Outside Dr Horror's Office The lights of the corridor outside Arnie Mallet's office are dimmed. The only furniture is a hard wooden bench against the wall. Opposite it, to the north, is the door to the office. The corridor stretches into the shadows to the east and west. It's getting really late. Maybe if you just crept away, Harry might forget by tomorrow. Or you could knock on the door. But then again, you know that Arnie, famously, really dislikes being disturbed. That is, even if he's in there. Which, given that the frosted glass of the door is dark, you don't think he is. Or perhaps you should just keep waiting. (If you are new to interactive fiction, try typing help to get you started.) >help Welcome to Dr Horror's House of Terror - an Interactive Fiction To play, just try typing, in normal English, something you might want to do. There are several ways of interacting with the world. You can: Move around the map : Type in the directions you might see in the text. Use compass directions like "NORTH" or "WEST" or "NORTH WEST". For ease of typing, you can abbreviate these to their initials - "N" or "W" or "NW". You may also be able to go "UP" or "DOWN". Sometimes, you can go "IN" or "OUT" - or perhaps you might need to ENTER something. For example: ENTER CUPBOARD. (Note: You don't need to type in capitals. They are just used here for emphasis) Interact with objects : You can EXAMINE (or "X" as shorthand) something for a closer look. You can try and TAKE it, or DROP it - if you are carrying it. Other verbs you might want to try include: PUSH, PULL, PUT it IN something, LOOK UNDER, GIVE it TO someone?or any other command you might think of! (In normal English, we tend to use "the" a lot. In Interactive Fiction, you can type "the", but it's usually quicker not to!) Here's an example of how you could interact with an object: You can see a lamp. >take lamp You take the lamp. >examine lamp A small brass lantern >rub lamp Nothing happens, unfortunately. >light lamp The lamp emits a faint glow. See what you are carrying : Type "INVENTORY" or "I" for short. Have another look at the room you are in : Type "LOOK" Interact with people :To talk to another character, simply type TALK TO . Try talking to them a few times! They might have something interesting to say. Or you could HIDE, RUN AWAY or even ATTACK them! Or you can try and ask them to do things - BOB, TAKE LAMP for example. You you can SHOW or GIVE something to them maybe. Here's an example of how you could interact with another person: You can see Bob here. >talk to bob "Oh ho," says Bob, "Great talking to you." >Bob, open door "Sure thing," says Bob and opens the kitchen door. >give lamp to Bob "Hey, thanks," says Bob and grabs the lamp from you. Wait around : Just type WAIT or Z for short. Interact with the world : Try SMELL, or LISTEN, or TASTE. Saving and Restoring your game : Just type SAVE or RESTORE Undoing last command : UNDO will allow you to undo your last command. Restarting the game : RESTART will restart the game from the beginning. If something doesn't work, just try re-phrasing it a little, or another way of saying it. >x me After a long day on the set, your stage makeup, thickly applied, is all over the place. Your ill-fitting clothes from wardrobe chafe and itch in unexpected places, and, to be quite honest, you could do with a good lie down and a cup of tea. >* OK I heard about the Blake Lively thing from the forum, but it was still funny Fyi You seem to want to talk to someone, but I can't see whom. >x clothes A grey old-fashioned suit over a white shirt. Given that it's all from wardrobe, it's deeply uncomfortable to wear, managing to be both too tight and too loose in various places at the same time. >i You are carrying a wooden stake. You are wearing a gold pocketwatch, a grey suit and a jaunty hat. >remove suit It's the only thing protecting your modesty. Better to remain dressed. >x hat Ever so slightly too small for your head. You dread to think how many other heads have worn this prop over the years. >remove hat You take off the jaunty hat. >x hat Ever so slightly too small for your head. You dread to think how many other heads have worn this prop over the years. >x me After a long day on the set, your stage makeup, thickly applied, is all over the place. Your ill-fitting clothes from wardrobe chafe and itch in unexpected places, and, to be quite honest, you could do with a good lie down and a cup of tea. >i You are carrying a jaunty hat and a wooden stake. You are wearing a gold pocketwatch and a grey suit. >x stake Basically a stick sharpened at one end. It looks like it might once have been a chair leg. You're not completely sure why you're still carrying it around. >x pocketwatch This probably used to be a real watch, but now it's just a prop. There's no innards and the hands are glued in place at two thirty. It is closed. >open it You open the gold pocketwatch. >x it This probably used to be a real watch, but now it's just a prop. There's no innards and the hands are glued in place at two thirty. It is open. >l Outside Dr Horror's Office The lights of the corridor outside Arnie Mallet's office are dimmed. The only furniture is a hard wooden bench against the wall. Opposite it, to the north, is the door to the office. The corridor stretches into the shadows to the east and west. >x bench It looks like someone found an old park bench and dragged it in. You know Arnie Mallet likes to cut costs, but come on. Or maybe it's a message to the people waiting outside his office. >look under bench You find nothing of interest. >x door On the frosted glass of the door is written in large capital letters, "Arnie Mallet". The room behind the glass seems to be dark and you can see no sign of life. >knock on door You hesitantly tap on the glass. No answer. Doesn't seem like anyone is in there. >open door You hesitate. Perhaps this isn't a good idea. You gingerly try the handle and are relieved to find that the door is locked. >g It seems to be locked. >knock on door You hesitantly tap on the glass. No answer. Doesn't seem like anyone is in there. >g You hesitantly tap on the glass. No answer. Doesn't seem like anyone is in there. >* oh well That's not a verb I recognise. >score You're still in one piece. That's a good start. You haven't yet encountered a perilous situation! >l Outside Dr Horror's Office The lights of the corridor outside Arnie Mallet's office are dimmed. The only furniture is a hard wooden bench against the wall. Opposite it, to the north, is the door to the office. The corridor stretches into the shadows to the east and west. >e Executive Offices The corridor ends here in shadow. The darkened glass of doors in the north and south walls reflect you like a pale creeping ghost. The corridor brightens to the west. >x doors All is dark behind the glass of the doors. >x north door All is dark behind the glass of the doors. >knock on north door The doors are closed and locked. Who knows what terrors lie behind them. >open door You gingerly try the handle. Locked. >w Outside Dr Horror's Office The lights of the corridor outside Arnie Mallet's office are dimmed. The only furniture is a hard wooden bench against the wall. Opposite it, to the north, is the door to the office. The corridor stretches into the shadows to the east and west. >w Top of the Stairs Here, the lights of the corridor are even dimmer, brightening towards the east. Stairs lead downward into stygian darkness. From far below, you can hear what sounds like muffled voices, but you can't make out any words. >listen It sounds like chanting. An evil sinuous chant winding up the stairs. >* huh That's not a verb I recognise. >* well they seem better than Dr Horror That's not a verb I recognise. >d Dark Stairwell It is very dark. Above you, a faint light shines through the entrance to the stairs. Set into the east wall is a door, and the stairs continue down into darkness. No. Not darkness. A faint glimmer of green light shines through the gloom from far below. The voices are louder now. You can almost make out the words - but they are not in any language you know! >listen The words and phrases wind around you horribly. They build to a crescendo then die away again. This is no language you have ever heard. >* maybe it's esperanto? That's not a verb I recognise. >x door Just a blank faced door on the east wall. It is closed. >open door It seems to be locked. >knock on door You rap your knuckles on the door. No-one answers. >d You slowly creep down the stairs. They seem to go on forever. As you approach the pulsing green light, the chanting grows louder and louder - echoing from the narrow walls of the stairwell. Dank Cavern The stairwell from above opens into a large rocky cavern, lit by a horribly organic green light that seems to emanate from a dip in the cave's floor to the east. Stalactites drip from the ceiling and eldritch things chitter and move amongst them, just out of sight. The sound of chanting is almost unbearable now! It seems to be drawing you in - the words curling horribly through air that feels almost viscous. >* you know I don't remember the way to the parking lot being this dank That's not a verb I recognise. >x dip The cavern dips over a lip in the floor to the east. You can't see what's beyond it from here. >x stalactites The stalactites hang like white worms from the ceiling. The green light makes them glow unpleasantly. >x stalagmites You can't see any such thing. >* how can you have stalactices without stalagmites? SPOOKY That's not a verb I recognise. >listen It's almost like the chant is reaching a crescendo. >chant That's not a verb I recognise. >* aww, I can't join the winning team? You seem to want to talk to someone, but I can't see whom. >l Dank Cavern The stairwell from above opens into a large rocky cavern, lit by a horribly organic green light that seems to emanate from a dip in the cave's floor to the east. Stalactites drip from the ceiling and eldritch things chitter and move amongst them, just out of sight. >e You creep to the edge of the dip in the floor, your heart pounding in your chest. Above the Temple The cavern continues to the west and below you, to the east, the floor ramps down to a large open space. It seems to be a Temple of some sort. A circle of standing stones surround serried ranks of benches and at the far end, an altar pulses with a hideous green light. The benches are full. A crowd of people, all in hooded robes of deep crimson, sit at them. It is from these robed figures that the chanting is emanating as they sway in time to the rhythms of the chant. Just in front of the altar a single figure stands, its red robe resplendent with a trim of gold, face hidden behind its hood, hands raised. In one hand it holds a knife - wicked and curved. Suddenly, the figure at the front throws up its arms. The chanting stops immediately and the crowd lean forward as one as if in anticipation. Slowly, the lone figure pushes back its hood. You start with shock. It's Dr Horror himself! Arnie Mallet. The Head of the Studio. No! Arnie throws his head back and cackles maniacally. The crowd sigh and whisper. "Brethren," says Arnie, "the Ritual is complete. Tonight, we summon Astaroth and all the minions of hell!" The crowd cheer. "And yet," continues Arnie, his voice lowering, "there is one more task for us to complete. The Sacrifice!" The crowd gives a pleasurable collective groan. Arnie waves his knife. "Even now," he says, "the sacrificial body is waiting outside my office. Brother Higginbotham, will you do us the honor of bringing the lamb to the altar." "I will, Arch-vector," says one of the congregation members, getting to its feet. Wait. That's a voice you recognize. It's Harry, your Director! The shit. Harry scurries up the ramp. Oh no! Fortunately you are well hidden in the shadows and he runs straight past you and up the stairs. >* It's always the ones you most expect That's not a verb I recognise. >* BTW I think it should be "surrounds serried ranks" since it's the circle that's doing the surrounding That's not a verb I recognise. >x dr horror if that's his real name I only understood you as far as wanting to examine the robed figure. >x robed figure With his hood thrown back, the cruel face of Arnie Mallet transfixes the crowd. He is resplendent in his red robes trimmed with gold. While they are waiting for Harry, the crowd below you seem a little unsure of what to do. There is a kind of awkward silence. Arnie, at the front, coughs. "Shouldn't be long," he says. "I'm sure Brother Higginbotham will be back momentarily." As the minutes tick by, there is a rash of murmuring across the congregation and heads begin to turn towards the stairwell - you shrink back further into the shadows. Arnie looks irritated. "Well," he begins, "perhaps someone could....." Then all at once Harry rushes out of the stairwell, and straight past you - almost within touching distance, his face red and flustered. "There's no-one there," he shouts. "I can't find them anywhere." The crowd's heads snap back towards Arnie who rolls his eyes to the ceiling. Arnie seems to be struggling to control himself. "So," he says, eventually, "you're telling me we don't have a sacrifice." >cough politely That's not a verb I recognise. >cough That's not a verb I recognise. >ahem That's not a verb I recognise. >* this is awkward That's not a verb I recognise. >talk to arnie Best not to let anyone know you're here. "They can't have gone far," says Harry, defensively. "The Studio is locked up as tight as your purse strings, Arnie." "You think this is a joke," yells Arnie, "You'd better find us a sacrifice, Harry, or you'll be going on the block. And that's Arch-vector to you." "No need for that," replies Harry, blanching, "Don't worry. We'll sort it out. I'm sure between us, all the brethren can find them." Yes," says Arnie, "we'd better. All of you lot get out there and start looking. We need this done and dusted by midnight. Astaroth won't be best pleased if we keep him waiting. Find the Sacrifice and then we will rule this world and the next!" He breaks into his crazy laughter once more but his heart doesn't seem quite in it and he quickly stops. He sighs heavily. "Come on then, let's get on with it. Find our sacrifice." The congregation stands and moves up the ramp towards the stairwell. Oh no! This could spell trouble. You're in peril! (There's only a few things to do in a perilous situation like this. You could try and HIDE, or perhaps RUN AWAY. Or maybe, if you're feeling brave, you could try and ATTACK. Well, there's too many to attack and nowhere to run, so you'd better try to HIDE. Quick!) >attack What do you want to attack? >whomever You can't see any such thing. >attack that rat harr You can't see any such thing. >attack that rat harry You can't see any such thing. >attack harry You can't see any such thing. >l The cultists will find you! you need to HIDE! Quick! >hide You crouch deeper into the shadows behind a fortuitous little rocky outcrop on the cavern floor. Surely they must see you! The congregation run up the ramp to the stairs, closely followed by Arnie. The last thing you hear as they disappear up the stairwell is Arnie's voice. "Go, Astaroth's flock," he yells, his voice disappearing into the distance "Find our sacrifice for glory and power!" Well, that was a close call. Looks like you are safe. For now! You have survived a perilous situation! Try typing SCORE to keep track. >score You're still in one piece. That's a good start. You have survived one perilous situation! - You avoided the murderous attentions of the Cult of Astaroth! >l Above the Temple The cavern continues to the west and below you, to the east, the floor ramps down to a large open space. It seems to be a Temple of some sort. A circle of standing stones surround serried ranks of benches and at the far end, an altar pulses with a hideous green light. The benches are empty, the temple quiet. >x temple (the temple view) The ramp leads down to the temple area. >x stones The stones loom ominously around the Temple. >x altar The black altar glows a baleful green. >x benches The wooden benches look like they've been bought wholesale from a church. >sing You're a little tone-deaf at the best of times. Best not to advertise your presence. You never know who's listening! >l Above the Temple The cavern continues to the west and below you, to the east, the floor ramps down to a large open space. It seems to be a Temple of some sort. A circle of standing stones surround serried ranks of benches and at the far end, an altar pulses with a hideous green light. The benches are empty, the temple quiet. >sit What do you want to sit on? >benches You can't do anything with the benches from here. >i You are carrying a jaunty hat and a wooden stake. You are wearing a gold pocketwatch and a grey suit. >d Temple of Astaroth In the body of the Temple, in the aisle between the ranks of benches, all is quiet. The cavern ramps up to the west towards the bottom of the stairs. Looming around you are thirteen great black stones and at the heart of the Temple is the balefully glowing altar that fills the place with its pulsing green light. >praise astaroth That's not a verb I recognise. >ia ia astaroth fthaghn That's not a verb I recognise. >x stones The forbidding stones look like they've been here since the dawn of time. It is as though they are waiting for something. >x benches On closer inspection, these have definitely been sourced from some sort of church yard sale. They were probably cheap. >sit on benches They look soaked in evil. You don't want to go anywhere near them! >push stones The smooth surface of the stone defeats your efforts. >climb stones The smooth surface of the stone defeats your efforts. >touch them I'm not sure what 'them' refers to. >touch it The smooth surface of the stone defeats your efforts. >l Temple of Astaroth In the body of the Temple, in the aisle between the ranks of benches, all is quiet. The cavern ramps up to the west towards the bottom of the stairs. Looming around you are thirteen great black stones and at the heart of the Temple is the balefully glowing altar that fills the place with its pulsing green light. >x temple Temple of Astaroth In the body of the Temple, in the aisle between the ranks of benches, all is quiet. The cavern ramps up to the west towards the bottom of the stairs. Looming around you are thirteen great black stones and at the heart of the Temple is the balefully glowing altar that fills the place with its pulsing green light. >x altar The square black bulk of the altar glows evilly, emitting a pulsing green light. Along its side is some kind of lettering, but it's no language that you have ever seen before.. >* double periods at the end there That's not a verb I recognise. >x lettering The green letters are unpleasantly organic and inset into the side of the altar. They glow with a deeper green light. >read it You're not going anywhere near that thing. >get on altar You're not going to go anywhere near that thing! >taste altar You're not going to go anywhere near that thing! >pray That's not a verb I recognise. >chant That's not a verb I recognise. >praise That's not a verb I recognise. >* OK I guess we can't cut a side-deal with Astaroth That's not a verb I recognise. >l Temple of Astaroth In the body of the Temple, in the aisle between the ranks of benches, all is quiet. The cavern ramps up to the west towards the bottom of the stairs. Looming around you are thirteen great black stones and at the heart of the Temple is the balefully glowing altar that fills the place with its pulsing green light. >w Above the Temple The cavern continues to the west and below you, to the east, the floor ramps down to a large open space. It seems to be a Temple of some sort. A circle of standing stones surround serried ranks of benches and at the far end, an altar pulses with a hideous green light. The benches are empty, the temple quiet. >w Dank Cavern The stairwell from above opens into a large rocky cavern, lit by a horribly organic green light that seems to emanate from a dip in the cave's floor to the east. Stalactites drip from the ceiling and eldritch things chitter and move amongst them, just out of sight. >x things Things - shadows maybe - seem to cluster and writhe in the spaces between the stalactites. But maybe it's just your fevered imagination. >listen The Cavern is quiet. Too quiet. As if it is waiting for something horrific to happen! >wait Time passes. >u Dark Stairwell It is very dark. Above you, a faint light shines through the entrance to the stairs. Set into the east wall is a door, and the stairs continue down into darkness. No. Not darkness. A faint glimmer of green light shines through the gloom from far below. From above, you can hear bad-tempered voices and stamping feet. The door to the east is slightly ajar! It lets in a sliver of welcome white light through the gap. >listen From above, you can hear people wandering around and shouting at each other. >u You can hear the cultists clumping around up there. Better not go any further up the stairs. You're bound to be discovered. >e You creep through the doorway into the welcoming lights of the entrance vestibule of the building. The door swings closed behind you and you hear the lock click into place. Well - at least they won't be following you through there! Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is a closed smaller door with a small keypad next to it. This is where you had arrived when you auditioned for the part of the Professor in "The Revenge of the Bride of the Vampire". It had seemed so exciting then - the bustle of the studios, the faces welcoming. You never thought your first big film role would end up like this! It's really starting to dawn on you. With a sense of mounting dread, you realise you need to stop the Cult before they summon the end-times, or whatever it is they're up to! Or escape and get someone else to stop them. Preferably both. You have survived a perilous situation! >* I mean I'd be satisfied with option B That's not a verb I recognise. >* Like have you seen the world lately, the end-times don't seem so bad You seem to want to talk to someone, but I can't see whom. >l Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is a closed smaller door with a small keypad next to it. >x doors Which do you mean, the stairwell door, the exterior glass doors, the interior glass doors or the smaller door? >exterior The large frosted glass doors lead out into the main studio Lot. They are closed. >x interior The glass doors lead into the shadowed interior of the building. They are closed. >* "Lot" doesn't need to be capitalized I don't think That's not a verb I recognise. >x smaller The small plain door, with the word "Security" on it in black letters, is closed. >l Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is a closed smaller door with a small keypad next to it. >x keypad The keypad has the numbers 0 to 9 in a small square. At the top shines a small red light. You could, perhaps, ENTER a code. If you knew what it was. Which you don't. >x desk The plain desk has the logo of Mallet Studios emblazoned across the front of it. Usually, during the day, a bored security guard stands behind it. >open desk The desk is far too heavy for that. >lift desk That's not a verb I recognise. >look under desk The desk is far too heavy for that. >* alas That's not a verb I recognise. >open exterior You open the exterior glass doors. >s Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. You emerge from the Studio offices into the night air, but something is wrong. It doesn't feel right. There's an oppressiveness about the sky. Pendulous clouds hang above you, eerily lit by a reddening moon. In the distance, you are sure you can hear the low rumblings of nascent thunder. A low mist is creeping across the ground. It feels like a night for dark deeds - where evil lurks in the shadows - a night for Dr Horror! >x sign Which do you mean, Studio 1 sign or Studio 2 sign? >1 (Studio 1 sign) The sign reads "Blood of the Werewolf's Claw" and then, in slightly smaller letters, "Dir: Benny Tibbings". >x 2 Which do you mean, Studio 2 door or Studio 2 sign? >sign The sign reads "The Things That Could Never Die!" and then, "Dir: Herbert Blom". >x door Which do you mean, the office doors, Studio 1 door or Studio 2 door? >2 The door, set in a shadowy doorway, is closed. On it is a sign. >open 1 door (the office doors) That's already open. >open 2 door It seems to be locked. >open studio 1 door It seems to be locked. >l Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. > I beg your pardon? >e (first opening Studio 2 door) It seems to be locked. >w (first opening Studio 1 door) It seems to be locked. >x offices The ugly offices squat at the north end of the lot like a malevolent toad. >x windows Who knows what peering eyes are looking out at you. >n Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is a closed smaller door with a small keypad next to it. >e (first opening the smaller door) It seems to be locked. >n (first opening the interior glass doors) It seems to be locked. >s Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Oh no! As you walk through the lot, out of the shadows springs a crazed Cultist. His eyes gleam with a mad light in a face that is strained in a rictus of madness! "I have found you," he yells in a hoarse voice. "Now you will be sacrificed for the glory of Astaroth!" He moves towards you slowly, his arms wide, ready to enclose you in a grasping embrace. You are in a perilous situation. The crazed cultist advances on you! >attack (the crazed cultist) You brandish the wooden stake at the Cultist, but he just throws back his head and laughs. "I don't fear your weapons," he spits and launches himself at you. You grapple, your arms locked together. He tries to wrest the stake away from you, but you hold onto it tightly. Back and forth you tussle. His strength seems to be demonic! The stake is only inches away from your eyes and he presses ever more strongly. But then an opening. You take a step back and he trips over his long robe. You both go down in a heap, and when you recover your senses you realise that the Cultist has fallen onto the sharp wooden stake impaling his heart! You push the limp body off you and stand. The wooden stake is gone, buried deep in the breast of the cultist. You have survived a perilous situation! > I beg your pardon? >undo Studio Lot South [Previous turn undone.] >undo Studio Lot North [Previous turn undone.] >undo Entrance vestibule [Previous turn undone.] >s Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Oh no! As you walk through the lot, out of the shadows springs a crazed Cultist. His eyes gleam with a mad light in a face that is strained in a rictus of madness! "I have found you," he yells in a hoarse voice. "Now you will be sacrificed for the glory of Astaroth!" He moves towards you slowly, his arms wide, ready to enclose you in a grasping embrace. You are in a perilous situation. The crazed cultist advances on you! >run away You run. From behind you hear the Cultist's crazed laughing. "You can't run forever, fool!" he shouts, but then you are gone - sprinting up the Lot towards the offices. You stop, panting for breath, and turn around fearful that you have been followed. But no, the shadows of the night have come to your aid and you seem to have lost him. Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. You have survived a perilous situation! >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. The cultist is still here! He turns towards you. "So you think you can escape," he sneers. "Well, Astaroth sees all. Come, the sacrificial altar is waiting." He advances towards you, his arms wide, hands ready to strangle. You are in a perilous situation! >ide That's not a verb I recognise. >hide There is nowhere to hide in the open spaces of the Lot! The cultist advances. "Now you are mine!" he leers. >attack cultist You brandish the wooden stake at the Cultist, but he just throws back his head and laughs. "I don't fear your weapons," he spits and launches himself at you. You grapple, your arms locked together. He tries to wrest the stake away from you, but you hold onto it tightly. Back and forth you tussle. His strength seems to be demonic! The stake is only inches away from your eyes and he presses ever more strongly. But then an opening. You take a step back and he trips over his long robe. You both go down in a heap, and when you recover your senses you realise that the Cultist has fallen onto the sharp wooden stake impaling his heart! You push the limp body off you and stand. The wooden stake is gone, buried deep in the breast of the cultist. You have survived a perilous situation! >* OK, guess we'll stick with that You seem to want to talk to someone, but I can't see whom. >* Seems like it was one of those fire-and-forget one-off stakes That's not a verb I recognise. >x cultist The cultist sprawls, limbs splayed, on the ground. He wears a blood stained crimson robe. >search him The cultist sprawls, limbs splayed, on the ground. He wears a blood stained crimson robe. >x robe The robes, deep crimson, at least partially hide the darker patch around the hole in the chest area. >x chest You can't see any such thing. >x stake You can't see any such thing. >take it You reluctantly peel the crimson robe away from the body. It has a dark stain and a ragged hole at the breast, but at least it looks like it might fit. >wear robe You manage to pull the robe on over your suit. It itches a little and is a bit...sticky...but it more or less fits. >save Ok. >l Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >x 3 sign The title, "The Curse of the Mummy of Death", the director, "Susan McDougal". >x 4 sign "The Vengeance of the Monster" and, under the title, "Dir: Cecil DeCrancy". >x 5 sign The sign reads: "The Revenge of the Bride of the Vampire" and, "Dir. Harry Higginbotham". >open 5 Which do you mean, Studio 5 sign or Studio 5 door? >door You open Studio 5 door. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. You've spent too much time in this room, trying to make desultory conversation with other actors and extras. Not Blake or Charlotte though, oh no! They're the stars. They seemed to have their own private rest areas and never deigned to spend time with other, lesser actors. Occasionally, someone would be invited into their quarters for drinks and nibbles - but not you. Not that you're bitter. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. You can hear footsteps to the west. They seem to be slowly receding into the distance. >undo Studio Lot South [Previous turn undone.] >e (first opening Studio 3 door) It seems to be locked. >w (first opening Studio 4 door) It seems to be locked. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. You've spent too much time in this room, trying to make desultory conversation with other actors and extras. Not Blake or Charlotte though, oh no! They're the stars. They seemed to have their own private rest areas and never deigned to spend time with other, lesser actors. Occasionally, someone would be invited into their quarters for drinks and nibbles - but not you. Not that you're bitter. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. You can hear footsteps to the west. They seem to be slowly receding into the distance. >l Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >x lights The lights, dimmed for night, don't illuminate much. >x chairs The ramshackle collection of chairs look like they were picked up from a refuse site. You're not sure, but you've got a feeling there are things living in them. >search chairs The ramshackle collection of chairs look like they were picked up from a refuse site. You're not sure, but you've got a feeling there are things living in them. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >w (first opening Studio 4 door) It seems to be locked. >e (first opening Studio 3 door) It seems to be locked. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. A security guard walks in through the door to the east. He sees you immediately. "Hey," he calls. "You're not supposed to be in here!" He chuckles good naturedly and grabs you by the arm. "Come on, you, it's more than my jobsworth to let people wander around in here at night. It's dangerous." You struggle feebly, but it's no use. The Guard shuffles you outside the studio. "You actors," he chuckles. "Always getting into trouble." He gives you a final wave before disappearing back into the Studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >* "jobsworth" is a typo That's not a verb I recognise. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. You can hear footsteps to the west. They seem to be slowly receding into the distance. >x coutner You can't see any such thing. >oops counter It's a plain worktop, really. Not much to be done with it. Your tea caddy sits on top of the counter. >take caddy You pick up the caddy and notice it rattle slightly. >x it It's red and green, with pictures of elephants on the side. It is closed. It's also stuck tight! You're going to need someone really strong to help you get this open. >shake it Something metallic is definitely rattling around in there. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He sighs heavily and stretches his back. >* inconsistent capitalization of "guard" That's not a verb I recognise. >x guard The guard looks like a decent sort of fellow in his neat red uniform. He is well muscled and of indeterminate age. His slightly florid face bears a cheerful grin. You notice a glint of gold around his neck. The security guard saunters out through the west door. You come out of hiding. >l Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. You can hear footsteps to the west. They seem to be slowly receding into the distance. >look under counter It's a plain worktop really. Not much to be done with it. >e Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A sewing machine sits on a workbench in front of the clothes hangers. A cleared space in the centre of the room is covered with a stained persian rug. >x props The props are a tangled mass of mostly indescribable film set junk. Bits of wall, foam rocks, strange gizmos, plywood contraptions. It's probably all been used in one film or another and is now waiting here for the audience to forget about it so it can be used again. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He hums a sad little tune under his breath. >x gold (the gold pocketwatch) This probably used to be a real watch, but now it's just a prop. There's no innards and the hands are glued in place at two thirty. It is open. The security guard saunters out through the west door. You come out of hiding. >undo Studio Store [Previous turn undone.] >x glint The guard looks like a decent sort of fellow in his neat red uniform. He is well muscled and of indeterminate age. His slightly florid face bears a cheerful grin. You notice a glint of gold around his neck. The security guard saunters out through the west door. You come out of hiding. >l Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A sewing machine sits on a workbench in front of the clothes hangers. A cleared space in the centre of the room is covered with a stained persian rug. You can hear footsteps to the west. They seem to be slowly receding into the distance. >x machine The sewing machine looks old and heavy. A small compartment on the top is closed. >open it You open the sewing machine, revealing a reel of strong cotton. >take reel Taken. >x it Strong black cotton wound onto a reel. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He whistles a little between his teeth. >x guard The guard looks like a decent sort of fellow in his neat red uniform. He is well muscled and of indeterminate age. His slightly florid face bears a cheerful grin. You notice a glint of gold around his neck. The security guard saunters out through the west door. You come out of hiding. >* is this all the same guard? That's not a verb I recognise. >l Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A sewing machine sits on a workbench in front of the clothes hangers. A cleared space in the centre of the room is covered with a stained persian rug. You can hear footsteps to the west. They seem to be slowly receding into the distance. >x rug The old patterned rug is threadbare and unloved and has definitely seen better days - its once vibrant colours now faded and worn. >move it You manage to roll up the rug, revealing a closed trapdoor in the floor! >* duh duh duh! That's not a verb I recognise. >x trapdoor The trapdoor is closed. >open it The trapdoor opens with a creak, revealing a square of forbidding darkness! You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He hums a sad little tune under his breath. >* Huh, didn't notice the trapdoor? i guess you get what you pay for You seem to want to talk to someone, but I can't see whom. >l Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A beefy security guard wanders around the set. A rolled up rug is next to an open trapdoor, leading down into darkness. A sewing machine sits on a workbench in front of the clothes hangers. The security guard saunters out through the west door. You come out of hiding. >x hangards You can't see any such thing. >oops hangars You can't see any such thing. >x cothes You can't see any such thing. >o clothes (the grey suit) A grey old-fashioned suit over a white shirt. Given that it's all from wardrobe, it's deeply uncomfortable to wear, managing to be both too tight and too loose in various places at the same time. You can hear footsteps to the west. They seem to be slowly receding into the distance. >x clothes hangars You can't see any such thing. >l Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into darkness. A sewing machine sits on a workbench in front of the clothes hangers. >x clothing A thousand old wardrobe items jammed onto the hangers haphazardly. >* whew, there we go You seem to want to talk to someone, but I can't see whom. >s Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He sighs heavily and stretches his back. >l Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. A beefy security guard wanders around the set. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. The security guard saunters out through the north door. You come out of hiding. >x wires The tangle of multi-colored wires is draped all over the floor and up the walls, attached to all the bits of film making stuff in the room You can hear footsteps to the north. They seem to be slowly receding into the distance. >x camera The two cameras look pretty old fashioned. You're no expert, but you reckon these would be considered antiques ten years ago. >x microphones The microphones, arrayed on metal struts above the stage, have large spoffles on. >x lighting Various lights are arrayed near the ceiling. There seems to be a preponderance of green filters over them. >x spoffles You're not sure whether that's the right word - "spoffle", but it looks like it ought to be - domes of grey foam covering the ends of each microphone. They probably do something technical. But you don't really know. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He whistles a little between his teeth. >z Time passes. The security guard saunters out through the north door. You come out of hiding. >take spoffle That's hardly portable. You can hear footsteps to the north. They seem to be slowly receding into the distance. >* But I always wanted a spoffle That's not a verb I recognise. >* like since I learned about their existence thirty seconds ago That's not a verb I recognise. >l Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >x chair It has the word "Director" written across the back in white lettering. >sit in chair You would never sit in a Director's chair! It's really bad luck for an actor to sit in a chair other than their own! It's as bad as the Scottish play thing. >say macbeth (to yourself) There is no reply. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >SPOOKY! That's not a verb I recognise. >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He sighs heavily and stretches his back. >z Time passes. The security guard saunters out through the north door. You come out of hiding. >w The Count's Lair Twisted trees made from plywood grow unconvincingly out from plastic grass matting. Dotted amongst them, foam rubber boulders are speckled with green cotton wool that, in the low light, does look a little bit like moss if you squint your eyes. Dark doorways lead north and south and the set continues into the gloom to the east. Unbelievably it was only a few hours ago you were here with the cameras rolling, take after take. How much terror has happened since then! If only you could go back in time and get that line right first time. You wouldn't be here now! I will rid the world of your evil. It shouldn't have been that hard! You're a trained actor for heaven's sake. >x trees The flimsy plywood trees look look a little battered. Like they've been used many times on many sets in many films. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation!! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He hums a sad little tune under his breath. >z Time passes. The security guard saunters out through the south door. You come out of hiding. >push trees The trees are surprisingly resistant to your efforts. You can hear footsteps to the south. They seem to be slowly receding into the distance. >l The Count's Lair Twisted trees made from plywood grow unconvincingly out from plastic grass matting. Dotted amongst them, foam rubber boulders are speckled with green cotton wool that, in the low light, does look a little bit like moss if you squint your eyes. Dark doorways lead north and south and the set continues into the gloom to the east. >x grass Threadbare matting of a type you'd find on an indoor sports pitch. At least on camera, this was always mostly hidden by a layer of mist from a smoke machine. >x moss Lumps of cotton wool have been sprayed green to look a little bit like moss. >x boulders The boulders have been carved out of foam rubber and spray painted grey. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation!! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He sighs heavily and stretches his back. >z Time passes. The security guard saunters out through the south door. You come out of hiding. >w You can't go that way. You can hear footsteps to the south. They seem to be slowly receding into the distance. >n The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The axe looks really sharp. You're glad you weren't the actor that had to lie under that take after take! Poor Melissa. It must have been terrifying. Her character, Susan, the Professor's beautiful and intelligent assistant had met her end here, tied onto the floor by the Count while the Countess laughed maniacally as she'd pulled the release handle. You'd got on well with Melissa. It was a shame about her mother falling ill, so she'd had to leave the set straight after this last scene The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. >* we're rather dumb, aren't we? You seem to want to talk to someone, but I can't see whom. >x axe Wickedly sharp, the axe dangles from the centre of the ceiling. >l The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He whistles a little between his teeth. >z Time passes. The security guard saunters out through the south door. You come out of hiding. >l The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. You can hear footsteps to the south. They seem to be slowly receding into the distance. >x walls The walls are just made of painted on boards. They look good on screen, but closer up, they look like badly painted stones. >x cobwebs The straggly cobwebs cover the uppers corners of the room. >x equipment A set maker's impression of the type of thing an evil vampire would have in its dungeon. Mostly made from scraps of plywood. >x slot The slot in the ceiling holds the axe in place until the cameras are ready to roll. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He sighs heavily and stretches his back. >z Time passes. The security guard saunters out through the south door. You come out of hiding. >l The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. You can hear footsteps to the south. They seem to be slowly receding into the distance. >x release The handle is a simple wooden lever that, when pulled, releases the axe. >pull it There is a faint click from the ceiling, but nothing else happens. >push axe With difficulty, you push the axe into its slot in the ceiling, where something clicks and the axe is held in place, ready to fall. > I beg your pardon? >z Time passes. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines his torch around the set, playing it into the shadows. Fortunately, it doesn't look like he sees you! He hums a sad little tune under his breath. >pull lever You wrestle with yourself for a moment. Can this be the right thing to do? But there's no use - surely you'll be forgiven if you manage to save the world, or, at least stop whatever Mallet and the Cult are up to. You pull the handle. Your sudden movement causes the guard, standing in the center of the room, to look straight at you. "Hey..." he begins. But the rest of his words are lost. The enormous axe descends from the ceiling with a whickering whuummmm and chops straight through the centre of his body, separating him into two pieces! You look away as the gradually settling blade continues to swing back and forth, cutting the guard up into smaller and smaller parts. It eventually stops directly over the remains of what once was the Security guard. You have survived a perilous situation! >score You're still in one piece. That's a good start. You have survived five perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! >* that last one doens't feel quite so good That's not a verb I recognise. >x body You can't see any such thing. >l The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The chunky remains of the security guard are scattered horribly across the floor. You notice a glint of golden chain amongst the remains. The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. >* I mean I guess it's more kibble now That's not a verb I recognise. >x remains There's too much blood! You can hardly bear to look at it. You notice a bright glint in the viscera. It looks like something on the end of a chain. >x chain You'd need to get it to have a closer look. >take it You close your eyes and reach into the horrible mass of what was once a security guard. You manage to snag your finger over the chain and pull it out. On the end of the chain is a crucifix! >x crucifix A simple gold cross on a chain long enough to wear around your neck. >wear it You put on the crucifix. >* can't hurt That's not a verb I recognise. >* wearing the crucifix I mean, not dropping an axe on an unsuspecting rent-a-cop, that definitely hurt You seem to want to talk to someone, but I can't see whom. >n You can't go that way. >e Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >save Ok. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >e Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into darkness. A sewing machine sits on a workbench in front of the clothes hangers. >s Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >w The Count's Lair Twisted trees made from plywood grow unconvincingly out from plastic grass matting. Dotted amongst them, foam rubber boulders are speckled with green cotton wool that, in the low light, does look a little bit like moss if you squint your eyes. Dark doorways lead north and south and the set continues into the gloom to the east. >e Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >s The Pool of Death The set walls are covered in badly painted-on stonework and the ubiquitous nylon cobwebs sway menacingly in the dim light of the upper corners. In the center of the room, carved stone-like figures surround a clear pool of what, in the film, was supposed to be acid so strong it could dissolve flesh in mere seconds! Doorways lead north and west into the Studio and a metal ladder climbs up the back wall toward the shadowy ceiling. It was never made entirely clear by the script why the Count would have a pool of acid in his castle or what he did with it, but it was here that Beanie Havell's character, Geoffrey, the love interest, met his untimely end - running to escape the thralls only to fall into the pool and be dissolved in what, Harry assured you all, were extremely expensive special effects. Good old Beanie. Straight after this scene, according to Harry, he'd had to leave the Studios to do a stage production of "If you like it, Missus" in Brazil of all places! Nice work if you can get it. You wish you'd had chance to wish him luck. In the center of the floor is a sandbag. It is tied to a rope that stretches up into the shadowy recesses of the ceiling. >* We really are dumb That's not a verb I recognise. >l The Pool of Death The set walls are covered in badly painted-on stonework and the ubiquitous nylon cobwebs sway menacingly in the dim light of the upper corners. In the center of the room, carved stone-like figures surround a clear pool of what, in the film, was supposed to be acid so strong it could dissolve flesh in mere seconds! Doorways lead north and west into the Studio and a metal ladder climbs up the back wall toward the shadowy ceiling. In the center of the floor is a sandbag. It is tied to a rope that stretches up into the shadowy recesses of the ceiling. >x stonework Just stonework painted onto wooden boards. >x cobwebs The straggly cobwebs cover the uppers corners of the room. >x figures The figures surrounding the pool, carved from some sort of dense foam and painted grey, are an eclectic mix of angels, gargoyles and demons of some kind. >x acid The pool looks deep. The liquid inside is opaque and murky and seems to fizz a little at the edges. But surely it's just a set! >touch acid You're sure it's just a set, but even so, you don't want to go anywhere near that liquid! >i You are carrying a reel of strong cotton, a tea caddy and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >l The Pool of Death The set walls are covered in badly painted-on stonework and the ubiquitous nylon cobwebs sway menacingly in the dim light of the upper corners. In the center of the room, carved stone-like figures surround a clear pool of what, in the film, was supposed to be acid so strong it could dissolve flesh in mere seconds! Doorways lead north and west into the Studio and a metal ladder climbs up the back wall toward the shadowy ceiling. In the center of the floor is a sandbag. It is tied to a rope that stretches up into the shadowy recesses of the ceiling. >x sandbag A large quantity of sand wrapped up in a hessian sack. They used to use this sort of thing for counterweighting bits of scenery and the like. Old fashioned, but, you suppose, cheaper than these new-fangled electric scenery trolleys. >pull rope You give the rope a yank. It's firmly fixed to the ceiling. >take rope You lift the sandbag with a grunt. >jump You jump around a little, but nothing much comes of it. >take rope You're already carrying the sandbag. >pull rope You give the rope a yank. It's firmly fixed to the ceiling. >i You are carrying a sandbag, attached by a long rope to the ceiling, a reel of strong cotton, a tea caddy and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >open caddy It's stuck tight. Bah. It's forever sticking, this thing. You were always faintly embarrassed to have to ask a strong looking extra to open it for you when you fancied a cup of tea. You'd been meaning to get a new one, but you do like elephants. >n You're pulled up short. The rope attached to the sandbag just isn't long enough to reach through the doorway. >drop sandbag With a groan, you set the heavy sandbag down on the floor. >n Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >e You can't go that way. >w The Count's Lair Twisted trees made from plywood grow unconvincingly out from plastic grass matting. Dotted amongst them, foam rubber boulders are speckled with green cotton wool that, in the low light, does look a little bit like moss if you squint your eyes. Dark doorways lead north and south and the set continues into the gloom to the east. >w You can't go that way. >e Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >n Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into darkness. A sewing machine sits on a workbench in front of the clothes hangers. >w Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >w The Vampire's Dungeon Painted on slime drips from the faux stone walls, glowing vaguely fluorescent under the dim lights. Dark doorways lead to the east and south deeper into the Studio. Nylon cobwebs thickly cover the upper corners of the room and various torture equipment surrounds the set's centerpiece, an enormous shining pendulum axe. The chunky remains of the security guard are scattered horribly across the floor. The axe hangs, sharp and forbidding, straight down from the centre of the room. The slot on the ceiling into which it can be pushed, is empty. On the north wall, half hidden in shadow, is the axe release handle. >s The Count's Lair Twisted trees made from plywood grow unconvincingly out from plastic grass matting. Dotted amongst them, foam rubber boulders are speckled with green cotton wool that, in the low light, does look a little bit like moss if you squint your eyes. Dark doorways lead north and south and the set continues into the gloom to the east. >s As you walk through the doorway into the dimly lit set you stop suddenly in fear, your heart pounding! There's a dark figure in the midst of the moors reaching out towards you with evil grasping hands and sharp fingers. You half-turn, ready to run, but then you realise it's just a prop. It's just a tree that, for a moment, looked like a dreadful creature in the gloom ready to pull you into its deadly embrace. Your heart slows down and you take a deep breath. Bleak and Windswept Moors In front of a backdrop of painted, menacing hills, the room is filled with a nasty-looking dark marsh, dotted with plastic reeds. Forbidding doorways lead north and east deeper into the Studio. This is where Mel Crispin had made his exit from the movie. Playing Alexander, the stocky, slightly comic sidekick to the Professor, he was, for fairly unconvincing narrative reasons, required to run into the bog and then get sucked down into the deep mud. That had been his last scene - he must have left the Studios pretty quick afterwards as you don't recall seeing him to say goodbye. Shame, that. You had liked Mel. A lone plywood tree rears out of the center of the bog, its twisted arms seemingly reaching out toward the north doorway! >save Ok. >x tree Even though it's only made from cheap plywood, the tree looks like a figure out of a nightmare - like a ghoul reaching out with its grasping claws ready to rip and rend! >push tree The tree is in the middle of a deep-looking bog! >x bog The black marsh mud looks deep and horrible and shines with a hideous oily gleam under the half light. It looks dangerous - but surely it's just a set! >enter bog You decide against it as the marsh looks deep and dangerous. It can't be though, can it? Surely it's only a set. >l Bleak and Windswept Moors In front of a backdrop of painted, menacing hills, the room is filled with a nasty-looking dark marsh, dotted with plastic reeds. Forbidding doorways lead north and east deeper into the Studio. A lone plywood tree rears out of the center of the bog, its twisted arms seemingly reaching out toward the north doorway! >x hills The painted wooden boards line the back of the set. They're supposed to represent mysterious and distant hills. Hopefully, they look better on film than they do up close. >x reeds The clumps of reeds stick out of the marsh at regular intervals. >take reed You can't reach them - they're too far out in the mud.. >e The Pool of Death The set walls are covered in badly painted-on stonework and the ubiquitous nylon cobwebs sway menacingly in the dim light of the upper corners. In the center of the room, carved stone-like figures surround a clear pool of what, in the film, was supposed to be acid so strong it could dissolve flesh in mere seconds! Doorways lead north and west into the Studio and a metal ladder climbs up the back wall toward the shadowy ceiling. In the center of the floor is a sandbag. It is tied to a rope that stretches up into the shadowy recesses of the ceiling. >d You can't go that way. >u Lighting Gantry The gently swaying wooden planks of the gantry stretch across the length of the room. Here, above the set, all is in shadow. Above you, in the ceiling, you can just make out a large hook, tied to which is one end of a long rope. Far below you, the set stretches out, made small by distance. It's a long way down! A metal ladder, set into the wall at the end of the gantry, leads downward. The rope, just within touching distance, stretches down into the set. >x hook The hook, scarcely visible in the dim light, is attached to the ceiling. A rope dangles from it. >untie rope You can't reach the hook. >take rope With difficulty, you heave at the long rope until, finally, the sandbag makes an appearance over the side of the gantry. You grab at it gratefully, your muscles shaking. >save Ok. >l Lighting Gantry The gently swaying wooden planks of the gantry stretch across the length of the room. Here, above the set, all is in shadow. Above you, in the ceiling, you can just make out a large hook, tied to which is one end of a long rope. Far below you, the set stretches out, made small by distance. It's a long way down! A metal ladder, set into the wall at the end of the gantry, leads downward. The rope, mostly coiled on the gantry, is tied to the sandbag you are holding. >jump Whoah there! it's a bit wobbly up here! >d You won't be able to grip the rungs while you're carrying the heavy bag of sand. >throw sandbag You drop the heavy bag of sand. It immediately falls over the edge of the gantry and lands with a resounding thump on the set floor directly below you. >undo Lighting Gantry [Previous turn undone.] >jump off gantry I only understood you as far as wanting to jump. >i You are carrying a sandbag, attached by a long rope to the ceiling, a reel of strong cotton, a tea caddy and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >x reel Strong black cotton wound onto a reel. >tie rope to hok You can't see any such thing. >tie rope to hook You would achieve nothing by this. >d You won't be able to grip the rungs while you're carrying the heavy bag of sand. >drop sand You drop the heavy bag of sand. It immediately falls over the edge of the gantry and lands with a resounding thump on the set floor directly below you. >d The Pool of Death The set walls are covered in badly painted-on stonework and the ubiquitous nylon cobwebs sway menacingly in the dim light of the upper corners. In the center of the room, carved stone-like figures surround a clear pool of what, in the film, was supposed to be acid so strong it could dissolve flesh in mere seconds! Doorways lead north and west into the Studio and a metal ladder climbs up the back wall toward the shadowy ceiling. In the center of the floor is a sandbag. It is tied to a rope that stretches up into the shadowy recesses of the ceiling. >d You can't go that way. >n Production Area Behind the set, a mess of wires trail across the floor, connecting haphazardly to cameras, microphone arrays and lighting rigs. Dark doorways lead north and south into the Studio. The Director's chair sits in front of the two cameras, facing the set, which continues to the west. >d You can't go that way. >n Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into darkness. A sewing machine sits on a workbench in front of the clothes hangers. >d You nervously grab hold of the sides of the trapdoor and let yourself down into the darkness below. Fortunately, you feel a wooden floor under your feet and you continue down into the unknown! Studio Crypt It is very dark. The only light comes from a square hole in the ceiling. Suddenly, unexpectedly, from the darkness, there's a disembodied voice! "Who's that?" it says. It's a female voice. It sounds annoyed. "Whoever it is, you might want to turn the light on before you trip over something." >talk to woman You can't see any such thing. >feel floor You can't see any such thing. >turn on light You run your hands along the walls and find a switch. You press it and the room is bathed in light. Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is closed. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. The room is full of people! You start with shock, then you realise that, in fact, the cage is full of people. They are all standing or sitting behind the iron bars. Suddenly, you realise who they all are. It's your fellow actors and all the extras from your last scene. They've all been imprisoned down here in this dreadful place in the dark! Charlotte Day, who plays the Countess, leans against the iron bars. Behind her, sat with his back against the wall, is the Count, the famous Blake Lively, the finest vampire actor in the world, and over on the other side huddle the extras who played the vampire's thralls. "What the hell are you doing here," says Charlotte. "We all thought you'd been fired." "Well, darling," says Blake, with a listless wave of his hand, "It appears that standards are slipping even further. Who would have thought it?" (You can interact with other people if they're amenable! For some pointers on different ways try typing HELP. To start, why not try and TALK TO Charlotte.) Blake gets up, stretches his back lethargically, and sits back against the wall. >l Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is closed. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. On one side of the room, inside the cage, a small group of extras stand in a little huddle. Blake languishes in the corner of the cage, his back against the wall. Charlotte leans against the iron bars, looking bored and annoyed. >x cage The cage fills most of the room, iron bars around three walls. Only a patch of floor in the centre of the room and the staircase leading up are outside of it. Charlotte sighs heavily. >x fridge It is an old kitchen refrigerator! The large white fridge sits incongruously in the middle of the room. It is securely closed by a steel chain wrapped around its middle. >open fridge The fridge is held tightly closed by the steel chain. >x chain (the crucifix) A simple gold cross on a chain long enough to wear around your neck. >x steel The steel chain is securely wound around the centre of the fridge. The extras mutter amongst themselves and shoot hate filled glances at you. >unwind chain (the crucifix) That's not unwindeable. >unwind steel The steel is super strong. >x charles You can't see any such thing. >l Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is closed. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. On one side of the room, inside the cage, a small group of extras stand in a little huddle. Blake languishes in the corner of the cage, his back against the wall. Charlotte leans against the iron bars, looking bored and annoyed. >x blake Blake is a slim, ascetic man in what seems to be his mid-forties. Although, from his filmography, you know he's quite a bit older than that. His suspiciously black hair is receding from a high forehead in a widow's peak and large sad brown eyes are deep-set in a cadaverous white face. He still wears the red-lined black cloak he wore during your last scene. >x charlotte Charlotte is a smallish slim woman in her early twenties. She has raven black hair that falls over her white face. Her full blood-red lips seem to be set in a permanent scowl. She is wearing the same diaphanous white dress she wore on set. >talk to blake "My dear," declaims Blake. "I simply cannot engage with you while I am trapped in this terrible place." >g "My dear," declaims Blake. "I simply cannot engage with you while I am trapped in this terrible place." >talk to charlotte "So," says Charlotte. "Have you come to rescue us, then?" She is still wearing her stage makeup and the diaphanous white gown from wardrobe. She smiles at you, but there is something unpleasant about it. You notice she still has her prop teeth in - long white fangs that curve down over her lower lip. Strange, that. You think they'd be uncomfortable and she would take them out. (1) - "What are you doing here?" You say >1 "What are you doing here?" you ask. "Isn't it obvious?" replies Charlotte. "We're being imprisoned here by Arnie Mallet and his gang of demon worshipping reprobates." She sighs. "It's a lot cheaper to keep us here in cages than, you know, actually pay real actors." "Yeah," yells across one of the extras. "It's not as though we can form a union, can we boss?" Blake doesn't move, but raises a languid eyebrow. "Ah," he says, sadly. "Heckling from the stalls. Who would have thought it." (1) - "Wait - what? You're not real actors?" (2) - "Why don't you escape?" You say >1 "Wait," you say, "what are you talking about?" The Countess looks at you oddly. "Really?" she says. "Long teeth? White skin? Unable to go out in daylight? Super strength? Worried about things with crosses in them? You really didn't know. Well," she pauses for a moment, "I suppose you wouldn't. We just assumed everyone was in on it. We're vampires." (1) - "Vampires!?" You say >1 "Vampires!" you whisper, your throat constricted with terror. "No!" "Well, of course," says Charlotte. "I am," and here she draws herself up to her full height, "the Countess! It's a lot cheaper for Mallet to capture real vampires to star in his films than it is to employ actors. He doesn't have to pay us anything, keeps us locked up in here. And we don't need expensive makeup or clothing. We're very cost effective. All he has to do is feed us the occasional extra." So if this is the Countess, then Blake must be the Count! And the extras are really his thralls! Blake Lively sees you looking at him. "Of course, my dear," he says, "one must really live the role. Method acting can only take you so far." (1) - "You could have killed us all!" You say >1 "But we've all been working together for weeks!" you gasp. "You could have killed us at any time!" One of the extras, no, you suppose you must now call them the thralls, giggles. "Not till the film's done!" she shouts. There's a burst of laughter from the crowd. "Quiet you," snaps the Countess. She turns to Blake. "Can't you keep these idiots in line?" Blake just shrugs. "I'm afraid, darling," he says, "that you are much better at controlling the mob than I." Charlotte sighs and turns back to you. "No," she says, "we couldn't. Firstly, most of the cast and crew are protected. Secondly, they film during the day. Where would we go? Outside in the sun? And thirdly, it wouldn't be long before Arnie and the rest of his Cult were here with their stakes and demonic hexes and then we'd be screwed." (1) - "You know about the Cult?" (2) - "What did she mean - not till the films done?" You say >1 "You know about the Cult of Astaroth?" you ask, remembering your own recent close encounter. The Countess hisses between her white fangs. "Don't say that name," she snarls. "That lot are idiots. They think they can control Ast.... the demon. They think it'll give them dominion over this world and the next. Fools! You wait and see. When they eventually get round to summoning it, they're in for an unpleasant surprise." Well, this is awkward. "Bad news," you begin, "I think they're summoning it tonight. I was supposed to be the sacrifice." If possible, the Countess goes even whiter than she already was. The Count breaks the silence. "The life of an actor," he declaims, "is beset by these unfortunate moments. Why, I remember when I starred in The Dreadful Kiss of the Vampire, that..." The Countess interrupts him with a snarl. "If it wasn't for you and your method acting we wouldn't be here. So be quiet." She turns back to you. "This is bad. We can help. You need to get us out of here." (1) - "You'll help?" You say >1 "You want to help defeat the Cult?" you gasp. "Of course," replies the Countess. "I'm telling you now, if Ast... that thing is summoned, it won't be good for humans. Not at all. With all our vampiric strength, we can help." "So?" shouts one of the thralls. "Why should we care about the humans? They persecute us every chance they get!" There is a mutter of agreement from the other thralls. The Countess sighs heavily. "You see," she says to you, "this is the kind of duncery I have to deal with. He," and here she nods her head at the Count, "doesn't choose his victims for their brains. Do you dear?" The Count just waves a languid hand. She turns to the thralls. "You seem to forget that humans are what we feed on and the reason they persecute us is because we drain them of all their blood. We'd not last long if there were none left. So, yes, we're going to help. All of us. As can the other undead." (1) - "How can I trust you?" (2) - "Other undead?" You say >1 "How can I trust you," you ask. You feel it's a fair question. These are vampires after all! "Well you can't," says the Countess matter-of-factly. "We're vampires. But, then again, I can't see what other choice you've got." (1) - "Other undead?" You say >1 "What do you mean by other undead?" "Well it's not just us Mallet has got captured," replies the Countess. "There's others locked up in the other studios. I don't know what other films they're making at the minute, but I'm guessing that Arnie's cutting costs by capturing and using the undead in them all. If we've got any chance of defeating the Cult - especially if they've found another sacrifice and summoned you know who and all his minions, we're gonna need an Undead Army. You need to get out there and rescue as many undead as you can and persuade them to join the cause." "But the other studios are all locked up," you blurt out. "Hmmm," says the Countess. She sighs. "Then we're screwed." "Hey," shouts a thrall from the other side of the room. "I know how to get in. I overheard one of the guards talking about it. If you get into the security room in the lobby, there's an override button. And I know the code. Get us out of here and I'll tell you it." "There you go," says the Countess. "Problem solved." (1) - "You want me to gather an Undead Army?" (2) - "How do I get you out of here?" You say >* this seems like a terrible idea You are in the middle of a conversation! You say >1 "You want to gather an Undead Army?" you ask, almost unable to believe what you are saying. "Unless you can think of a better way to battle against hordes of cultists and the evil they've summoned," shrugs the Countess. (1) - "How do I get you out of here?" You say >1 "So how do I get you out of here?" It sounds like a terrible plan, but you really can't think of an alternative. The Countess just looks at you for a moment. "Really? A good start might be to find the key to this cage. I know they keep it in the Studio somewhere, but I don't know where. I've got vampiric strength so if it's locked in a key safe or lock-box or anything and you bring it to me, I can probably get it open. Now, get us out of here and we can get going on this. Enough chat." (1) - "Goodbye." You say >1 The Countess turns away from you. So, you're definitely thinking about trying to help these Vampires escape, creating an Undead Army and then leading it into battle against hordes of demons and occultists. This night is starting to get a little odd. >give caddy to charlotte "Really," says the Countess. "A cup of tea, now?" She sighs and grabs the tea caddy from your hands. With a single twist, she uses what seems to be a vampiric strength and the tea caddy pops open. She hands it back to you and sighs. "There you go." >x caddy It's red and green, with pictures of elephants on the side. It is open. In the tea caddy is a small brass key. >x key Just a small brass key. "Hurry up," yells one of the vampire thralls. "Get us out of here." >charlotte, unwind steel "I don't take orders from a human!" snaps the Countess. >blake, unwind steel "Would you ask Da Vinci to paint your walls?" says the Count. "I have no time for such mundane matters." >x brass (the barred door) More iron bars form a door into the cage, The door has a small keyhole in a brass plate set about halfway up it. >unlock brass with brass (the barred door with the small brass key) (first taking the small brass key) Taken. "Oh my god," says the Countess, with a roll of her eyes. "A tea caddy of all places. How much they value us." Wait a minute, this is your tea caddy. They've been using it to store the key to a vampiric dungeon! You don't recall them asking your permission. The key turns in the lock, and you step back, your heart pounding! Surely the vampires will descend on you with their sharp fangs. The Countess pushes the cage door open and the horde of vampires creep into the room. The Countess smiles at you nastily. "Good thing you've got that around your neck," she says. "Remember, you need to protect yourself from the undead if you're thinking about releasing them. Now," and here she turns to the thralls. "Who said they knew the code to open up the rest of the studios?" "Me," says one of the thralls, "I overheard them talking about it. It's 1967. Apparently there's an override in the security room off the lobby that will open everything up." "Finally," declaims the Count, emerging from the cage. "Freedom at last. No longer will we be persecuted for who we are..." "Will you be quiet, you pompous arse," snaps the Countess at him. "Right, you," she turns to you. "That's your job. We'll wait for you outside in the Studio Lot. When you release the other undead, send them to us. We can't come into the other studios. They're.....protected. It's up to you." She turns away as if to go and then pauses. "Oh, and one more thing." She suddenly reaches out and rips the chain from the fridge, snapping it as if it were cotton. "You might want to look in there before you go. It will help you....focus." With a sweep of her diaphanous gown, the Countess stalks from the room, swinging the chain, closely followed by the thralls and the Count. You have survived a perilous situation! You are building an Undead Army! (Try typing SCORE to keep track) >score You're still in one piece. That's a good start. You are building an undead army! So far, it consists of the Count, the Countess and their bloodthirsty vampire thralls. You have survived six perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! >x fridge It is an old kitchen refrigerator! The large white fridge sits incongruously in the middle of the room. It is closed. >open it You open the fridge and immediately turn away in horror! It's full of gruesome body parts! After a moment, you collect yourself and inspect the terrible contents more closely. It seems to be the remains of two people. One of the bodies has been chopped into pieces and all that is left whole are two white legs, with red painted toenails. Wait! You recognize those toenails! The last time you saw them was when Melissa Clumb, playing Susan, was doing the axe scene! No! A terrible truth begins to dawn on you. Maybe her mother wasn't sick after all! Heart in mouth, you look at the other body. All that's left of it is a partially dissolved skeleton, two relatively whole arms and part of a face. A face you recognize. It's Beanie Havell! Not playing Bertie Foppish in 'If you like it, Missus' on a Brazilian stage, but dissolved by acid instead! Surely Arnie Mallet can't have gone this far! But maybe he has - you realise you need to stop his evil forever! >x beanie A partially dissolved skeleton connected to a couple of relatively unscathed arms. Beanie seems to look at you with one good eye! >x eye A partially dissolved skeleton connected to a couple of relatively unscathed arms. Beanie seems to look at you with one good eye! >take it Beanie's skeleton is far too bulky to carry around. >x melissa Just two legs on top of a mound of chopped up body parts. You can hardly bear to look. >* gross That's not a verb I recognise. >l Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is open. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. >u Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >l Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >i You are carrying a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >w Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess shoots you a troubled glance. "It's getting late." >talk to cont You can't see any such thing. >oops count "I do not wish to speak of that," says the Count. "My mind is focussed on greater matters." >talk to countess "Oh, you again," says the Countess, with a dismissive flick of her head. (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me more about the other Undead." (4) - "Tell me about yourselves." (5) - "Remind me how to get into the other studios." (6) - "Goodbye." You say >1 "There's not much else I can tell you that would be useful," sighs the Countess. "Arnie's got this idea that somehow this demon is going to give him great power. To do what with, I don't know." (1) - "I'd like to know more about Arnie Mallet." (2) - "Tell me more about the other Undead." (3) - "Tell me about yourselves." (3) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >1 "The money grubbing, spineless, power mad....." The Countess is almost spitting with rage. "Don't get me started. He began this whole Cult thing about five years ago and the first thing they did was to perfect the hexes that allowed them to capture and control the undead. Then they used it to save money. As you see." (1) - "Tell me more about the Cult." (2) - "Tell me more about the other Undead." (3) - "Tell me about yourselves." (4) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >1 "There's not much else I can tell you that would be useful," sighs the Countess. "Arnie's got this idea that somehow this demon is going to give him great power. To do what with, I don't know." (1) - "I'd like to know more about Arnie Mallet." (2) - "Tell me more about the other Undead." (3) - "Tell me about yourselves." (3) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >2 "Well, there's a lot of us about, you know. Mallet's been capturing all sorts over the last five years and using them in his films. Very cost effective. If you can free them, then there's a good chance that we can create an Undead Army and defeat the Cult. Remember to protect yourself before you free them. We undead can be a little..... cranky." (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me about yourselves." (4) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >3 "If you must know, this piece of work, my husband, thought it would really help his career if he could really experience the reality of being a vampire. He'd been playing vampire roles for years, but no, he had to go one step further. Got himself bitten. Bit us. The rest is history." (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me more about the other Undead." (4) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >4 "Well, one of that lot overheard a security guard saying the code for the guardroom in the lobby was 1967, and that there's a security override thing in there," says the Countess. "Whether that's true or not, who knows. You'll just have to try it out." (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me more about the other Undead." (4) - "Tell me about yourselves." (5) - "Goodbye." You say >5 The Countess turns away from you. >talk to count "I do not wish to speak of that," says the Count. "My mind is focussed on greater matters." >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >n Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is a closed smaller door with a small keypad next to it. >e (first opening the smaller door) It seems to be locked. >x keypad The keypad has the numbers 0 to 9 in a small square. At the top shines a small red light. You could ENTER the code you've learned. >enter 1967 The light on the keypad turns green and the security door unlocks with a click. >e (first opening the smaller door) Guard room Banks of monitors, showing only dark screens, cover one wall of the small dingy room. Underneath them is a desk on which is a keyboard and some sort of control panel. The door in the west wall is open. >save Ok. >w Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is an open smaller door with a small keypad next to it. >w (first opening the stairwell door) It seems to be locked. >e Guard room Banks of monitors, showing only dark screens, cover one wall of the small dingy room. Underneath them is a desk on which is a keyboard and some sort of control panel. The door in the west wall is open. >x desk On the functional desk is a keyboard and some sort of control panel. >x keyboard An old fashioned and blocky keyboard attached to the desk. The lettering on the keys has worn away from years of use. >x panel A square thing covered in various knobs and buttons that presumably have something to do with security cameras and alarms. But you have no idea what any of them do. Apart from a big red button that says "Security override". That looks important. >push button You poke the button with your finger. It clicks down and then pops back up. Maybe it did something. Who can tell. >w Entrance vestibule At last! Somewhere brightly lit. The big square vestibule has double doors opposite one another on both north and south walls. The doors to the south seem to lead outside. To the north, the glass doors are dark and forbidding and lead into the interior of the building. On the east wall, opposite the closed stairwell door to the west and behind an unmanned security desk is an open smaller door with a small keypad next to it. >s Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the closed Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >e (first opening Studio 2 door) The studios are unlocked! Who knows what terrors lie in wait for you over the course of this night? You take a deep breath and pluck up your courage. The dreadful undead await! Guard's Break Room Someone has carved out a comfortable nook in this little space in between the door and the studio proper. There's a small table next to a comfy chair in one corner and on the table is a lit lamp, creating a welcoming pool of light in the gloom. A dingy gap in the wall to the east leads deeper into the studio and the door out to the lot, to the west, is closed. A Security Guard sits in the chair, feet up on the small table, reading a newspaper. The Guard looks up at you over her paper. "Well, hello," she says. "We don't get many visitors at this hour." >x table The small, beat-up old table looks like it might have been rescued from the trash. >x chair Despite its threadbare appearance, the chair does look comfy. >x lamp The lamp throws a welcome pool of light into the corner. >x guard The security guard is an apple-cheeked middle-aged woman, with her hair tied up severely in a bun, and dressed in the red uniform of the studio. She sits in a chair with her feet up on the table, reading a newspaper. >x newspaper It's a red top. In the low light, you can just make out the headline on the front page - "Actor missing after police search". >read it It's a red top. In the low light, you can just make out the headline on the front page - "Actor missing after police search". >talk to guard "How can I help you?" asks the Guard. (1) - "Aren't you supposed to be on patrol?" (2) - "Tell me more about what's in the studio." (3) - "Are you going to stop me going in?" (4) - "You worked here long?" (5) - "Goodbye." You say >1 "Shouldn't you be patrolling the studio?" you ask. The Guard sighs. "Technically, yes," she says, "but I'm not going in there. There's something not right in that place. It's cold. There's weird unnatural sounds in the dark. They don't pay me enough." (1) - "Tell me more about what's in the studio." (2) - "Are you going to stop me going in?" (3) - "You worked here long?" (4) - "Goodbye." You say >1 "So what's going on in the Studio?" you ask, The Guard shivers as if something is frightening her. "Oh," she replies, "don't ask. We all hate working in there. That's why we've made this little room. There's definitely something awful haunting the place. You can feel it as soon as you go in. So whenever we draw this shift, we just sit in here. Nobody's noticed or complained, so.." she shrugs. (1) - "Aren't you supposed to be on patrol?" (2) - "Are you going to stop me going in?" (3) - "You worked here long?" (4) - "Goodbye." You say >2 "So can I go in, then?" you say. "Or are you going to stop me." "If you really want to," says the Guard. "I wouldn't recommend it though. I'm not supposed to let anyone in, but, to be honest, if you went through there, I'm not going to come in after you." (1) - "Aren't you supposed to be on patrol?" (2) - "Tell me more about what's in the studio." (3) - "You worked here long?" (4) - "Goodbye." You say >3 "You worked here for long?" you ask. "Yeah, on and off for a few years. There have been some changes, let me tell you." The Guard frowns. "But, you know, we all just come in and do our jobs and try not to think about it." She goes silent, obviously unwilling to say more. (1) - "Aren't you supposed to be on patrol?" (2) - "Tell me more about what's in the studio." (3) - "Are you going to stop me going in?" (4) - "Goodbye." You say >4 The Guard smiles at you. "Good luck!" >l Guard's Break Room Someone has carved out a comfortable nook in this little space in between the door and the studio proper. There's a small table next to a comfy chair in one corner and on the table is a lit lamp, creating a welcoming pool of light in the gloom. A dingy gap in the wall to the east leads deeper into the studio and the door out to the lot, to the west, is closed. A Security Guard sits in the chair, feet up on the small table, reading a newspaper. >e As you walk out of the little break room and into the dimly lit studio, a cold shiver runs down your spine. It feels like there is an evil presence here! Something terrible is waiting and watching in the shadows! It doesn't feel like this during the day. You worked a couple of scenes on this film as an extra, so you've been here a few times. But now, in the gloom of the night, you are sure that a horrific presence haunts this place! Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >l Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >x townhouses It's pretty impressive work by the set designer. It really does feel, at least a little, like you are walking along a street in New Orleans. >x balconies Cleverly painted plywood does look a little like cast iron! A flicker of movement at a window! But no, it must just be your imagination. >x window They're not real glass of course, just painted wood with some sort of reflective film over it to make it look like glass. The hairs on your neck stand up as if something awful is behind you! You turn around quickly, but the alleway is empty. >x plants The vines and assorted plastic plants cascade over the balconies and down the side of the buildings. >search plants The vines and assorted plastic plants cascade over the balconies and down the side of the buildings. >search windows They're not real glass of course, just painted wood with some sort of reflective film over it to make it look like glass. A flicker of movement at a window! But no, it must just be your imagination. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. This set, you know for a fact, has been used in various incarnations in at least a dozen Mallet Studios films over the years. Why, even in your own film, The Revenge of the Bride of the Vampire, it had been re-purposed as a magnificent dining room - you had sat down here with Lord Heskley-Smytheson over dinner and had told him (and thus, the audience) about the terrible vampire threat and how you intended to deal with it. "You must find and destroy this terrible evil, Professor," declaimed Crispin Bowdler, playing the Lord and trying to chew the scenery as usual. The ham. "Only then will my daughter be safe." You think you see something in one of the mirrors! You quickly turn your head, but there is nothing. >x mirror The gilded mirrors reflect your face a dozen times on every wall! The hairs on your neck raise. You swear you are being watched. >l The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >x staircase The stairs look impressive, but, really they're just a plywood prop, ending at a false door on the wall. >u The stairs are just a prop, really. They end at a pretend door on the wall. >x door The double doors look pretty realistic, but really it's just a wooden doorframe stuck onto the wall. >x chandelier The huge chandelier drips with crystals that would sparkle and shine if there was any real light. Which there isn't. In the corner of your eye, you see a hand reaching out towards you from one of the mirrors! You gasp and back away, but there's nothing there. Just your own reflection. >touch mirror The huge mirrors are firmly fixed to the walls. The hairs on your neck raise. You swear you are being watched. >l The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >x stage The wooden stage is a square area for the band to stand on. In the corner of your eye, you see a hand reaching out towards you from one of the mirrors! You gasp and back away, but there's nothing there. Just your own reflection. >x floor You can't see any such thing. >stand on stage You get onto the raised stage. >l The Grand Ballroom at the Governor's Mansion (on the raised stage) An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >dance That's not a verb I recognise. >break mirrors The huge mirrors are firmly fixed to the walls. >s (first getting off the raised stage) Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. A shadow on the wall! Something is behind you! You spin around but there is only the empty set. >x wall The painted walls do make the set look a little bit like a mouldy, water stained, subterranean room. >x ducts The pipes, going nowhere in particular, run in a tangled mass across the ceiling. There's a dark shape lying in the confines of the white outline! No - no there isn't. It's just your fevered imagination. >x pipes The pipes, going nowhere in particular, run in a tangled mass across the ceiling. In the corner of the room, something lurks in the shadows! You stare, but there is only the empty gloom. >l Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. >x outline It's a series of straight lines roughly in the shape of a person lying on the floor, their legs and arms outstretched. You hear a moaning whispering noise coming from the ducts. You listen, but there is nothing. >listen The studio is silent, but underneath the silence it's like there are evil voices and creaks and groans. But it's probably just your imagination. There's a dark shape lying in the confines of the white outline! No - no there isn't. It's just your fevered imagination. >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >x walls The set backdrop is a painted city in front of wooded hills. >x tombs The tombs, draped with vines and made from large blocks of painted foam, are of all different shapes and sizes. Some are painted in vibrant greens and reds. Each has a blocked up entrance - every tomb seems to hide forbidden secrets, walled in forever! >x vines The plastic vines dangle from the tombs, partially covering the blocked up entrances. >l The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >x graves There are at least a dozen piles of, what looks like, real earth. None of them have gravestones. The earth is still moist - they look as if they were dug very recently indeed. >dig graves You have nothing to dig with. And surely, these are just piles of earth, not real graves. >i You are carrying a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >x wheelbarrow The old and slightly rusty wheelbarrow wobbles along on its single wheel. >look in wheelbarrow The old and slightly rusty wheelbarrow wobbles along on its single wheel. >put earth in wheelbarrow (first taking the freshly dug graves) The earth is dirty and wet. You decide to leave it be. >l The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Lying on the table and exuding an air of palpable menace, is a book, its cover completely black. Scattered across the table are small fragments of bone. Poking out from underneath the throne, you can see the top of an empty plastic bottle. >x bottle The bottle looks like it used to contain strawberry milk. At least that's what the label says. The drapes seem to bulge and ripple with an unseen wind, but you look closely and they are still. >take it You snag the bottle from underneath the throne. According to the label, it used to contain strawberry milk. But now it's empty, which is a shame. You bet this was Gemma's drink! She loved this stuff - she was always getting told off for bringing drinks and food onto set. The back of your neck prickles. For a moment, you think someone is sitting in the throne. >drink it There's nothing suitable to drink here. You think you hear terrible hollow cackling laughter, but it must just be your imagination. >drink bottle There's nothing suitable to drink here. >l Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Lying on the table and exuding an air of palpable menace, is a book, its cover completely black. Scattered across the table are small fragments of bone. A hand with sharp fingernails reaches out at you from the shadows! You quickly turn your head, but there is nothing there. >x bone There are about twelve of the small bone fragments, of all different shapes and sizes. >take bones Taken. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a ballroom. A child greets his mother in a shadowy alleyway. A woman dances with her husband. A young woman in the shadows watches a child play. The back of your neck prickles. For a moment, you think someone is sitting in the throne. >x throne The horrible carvings on the throne seem to writhe and change under your gaze! >take bones Taken. The drapes seem to bulge and ripple with an unseen wind, but you look closely and they are still. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a ballroom. A child greets his mother in a shadowy alleyway. A young woman in the shadows watches a child play. A woman dances with her husband. You swear one of the carved figures in the alcoves turns its head to look at you, but no, surely not! >g You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A young woman in the shadows watches a child play. A soldier strides into a ballroom. A child greets his mother in a shadowy alleyway. A woman dances with her husband. >* huh That's not a verb I recognise. >l Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. Lying on the table and exuding an air of palpable menace, is a book, its cover completely black. >x table Inscribed onto the top of the table is a five pointed star! On the black table are the bones of fate and a black book. You think you hear terrible hollow cackling laughter, but it must just be your imagination. >x star Inscribed onto the top of the table is a five pointed star! On the black table are the bones of fate and a black book. >x bones There are about twelve of the small bone fragments, of all different shapes and sizes. >x book The black book seems to have something terrible and ancient and evil about it! You would need to take it to get a better look. A terrible presence brushes past you, ruffling your hair. >take it As you pick up the book, you swear you can hear horrific laughter coming from all around you! It's cold in your hands, like ice, and it seems to throb with a powerful malevolence! >read it You cautiously open the cover of the book. The pages inside are yellowed and ancient and marked with mould. It seems to be a book of black magic! According to the title page, the book is called "Malleus Malum Habentis Mortem" - whatever that means. You can't understand most of it, and much of it is so faded and stained that you can't read it, but flicking through, there are a few pages you can make out. One page is titled "Summon," another "Raise Dead" and a third is "Banish". You could probably READ each of these pages. Read Summon, for example. >* The hammer of the bad people who have died? That's not a verb I recognise. >read summo You can't see any such thing. >read summon The page is titled "For the Summoning of thee most evil Spirits in Darkness and Power". The lengthy text begins "Although in this life thee may have strength in thy limbs and heart, only in the presence of an object of satanic power can thee summon the most dreadful of spirits...." and then it goes on for ages. Just a bunch of dire warnings which you can't be bothered to read. According to the instructions at the end, you make three "sinistrus" turns around the room, wave your hands about in three complicated gestures, then you're supposed to say a whole passage of latin mumbo-jumbo, ending with "exspiravit, esto subjecto voluntati meae!" repeated three times. It seems straightforward enough. You could probably cast this summon spell if you had a mind to. (To cast a spell, just CAST the spell by name. CAST SUMMON for example.) >save Ok. >cast summoon I didn't understand that sentence. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. >* maybe for the best That's not a verb I recognise. >read banish The page is titled "For the Banishing of thee most Persistent of Spirits and Entrapping them in a Thing of Power". The lengthy text begins "To banish a spirit it must be named, for it is the truth that a name is a thing of power, and an object of satanic power may be entrusted to hold a dreadful spirit and the most powerful of these things to hold many...." and then it goes on for the rest of the page with a whole bunch of terrible warnings which you can't be bothered to read. According to the instructions at the end, you make a complicated gesture with your fingers, then you're supposed to repeat "Spiritus replebatur!" and yell the spirit's name three times. It seems straightforward enough. You could probably cast this banish spell if you had a mind to. You swear one of the carved figures in the alcoves turns its head to look at you, but no, surely not! >cast banish You go through the incantation, but the banish spell does nothing. There seems to be something missing. >read create You can't see any such thing. >read raise dead The page is titled "For thee Raising of most real Bodies of the Dead from their dreadful Eternal Sleep under goode Earth". The dense text begins "And only by the power of blood upon the soil under which these bodies are interred, can this spell be successful, for without the blood of a human in thee earth there shall be no link to this life to which the dead can make their own..." and then it's just warning after dire warning and you lose interest. According to the instructions at the end, you simply say "Mortuos surgere et e sepulcris!" really loudly three times. It seems straightforward enough. You could probably cast this raise dead spell if you had a mind to. The drapes seem to bulge and ripple with an unseen wind, but you look closely and they are still. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >case raise dead That's not a verb I recognise. >cast raise You go through the incantation, but the raise dead spell does nothing. There seems to be something missing. >cut me Cutting you up would achieve little. >i You are carrying an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! You were an extra on this set! They had needed a crowd of worshippers while they filmed the ritual scene. There had been some chanting and you were supposed to wave your arms about a bit. You hadn't really paid much attention to what was going on. After all, you are a lead actor. It's a bit rich asking you to do extra work! Everyone else had gotten pretty into it, though - swaying and chanting, their eyes fixed on the stone. Great commitment to their roles, you suppose. You had been standing next to Gemma Bellerton, your friend who was playing one of the Voodoo priestesses in the film. Gemma hadn't been happy. She was supposed to be filming the possession sequence later in the day, but there had been delays. "They told me it was something technical," she had said. "But I can't imagine what." A whispering in your ears! You turn around in shock, but there's nothing behind you. >l Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! You feel a terrible presence focussing all its hate and anger on you! >save Ok. >x trees Quite literally, just the trunks of enormous trees. Each painted tree trunk, carved from blocks of foam, has thick roots coming out of the Bayou, extends from the floor for about three metres, and then ends suddenly. They're only built for close-ups. >x stone The stone, carved with horrible organic figures, seems to be surrounded by an aura of pure evil power! >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! Someone is chanting something evil in a low voice, but you listen and hear nothing. It must just be your imagination. >cast summon You follow the instructions in the black magic book as closely as you can. As soon as you finish, the sacred stone pulses with a terrible power and the air seems to tingle. Gradually, a shape coalesces on the grassy knoll. It's a ghost! It's the ghost of a middle aged man wearing an old-style army uniform! The ghostly spirit stands in the centre of the grass, one hand on the cutlass at his side. He stares off into the distance, as if unsure where to go. >cast summon You go through the incantation, but the summon spell does nothing. You feel the power of the stone flow through you, but there are no unquiet spirits here to summon. >cast banish You try and mumble the words of the spell, but you don't know the ghost's name! The stone is still and silent. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. >cast bones I didn't understand that sentence. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a ballroom. A woman dances with her husband. A child greets his mother in a shadowy alleyway. A young woman in the shadows watches a child play. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Standing on the grassy knoll is the ghostly man, staring off into the distance. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! >talk to man "Pleased to make your acquaintance," says the ghost in clipped military tones. "Colonel Phillipe Meribeaux at your service. Ah am not sure why you would want to be in this forsaken place, but as for myself, ah am just passing through. If you would excuse me, ah must get to the governor's mansion where my wife awaits at the Centenary ball. But it has been so many years since I was home that ah am quite unsure of my bearings." He nods sharply in your direction, as if dismissing you, then it's like you aren't there, and he continues to stare off into the distance. >man, w Colonel Phillipe Meribeaux, the spirit of an army officer has better things to do. >man, go west Colonel Phillipe Meribeaux, the spirit of an army officer has better things to do. >man, got to ballroom His spirit is as insubstantial as air. He ignores you completely as if you are not there. >talk to man "Ah must meet mah wife at the ball," snaps the Colonel. "I got no time to tarry." >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. The hairs on your neck stand up as if something awful is behind you! You turn around quickly, but the alleway is empty. >summon That's not a verb I recognise. >csat summon That's not a verb I recognise. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. There's something moving in one of the windows! You turn your head, but there's nothing there. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. The hairs on your neck raise. You swear you are being watched. >e You can't go that way. You think you see something in one of the mirrors! You quickly turn your head, but there is nothing. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. You hear a moaning whispering noise coming from the ducts. You listen, but there is nothing. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. >cast raise dead You go through the incantation, but the raise dead spell does nothing. There seems to be something missing. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring off into the distance. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >l Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! >take stone You just about manage to pick the stone up, but it's far too heavy to carry about, so you drop it onto the floor again! >push stone The stone wobbles when you tug at it. It looks like it's not fixed to the ground. >push stone w The sacred voodoo stone cannot be pushed from place to place. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. A terrible presence brushes past you, ruffling your hair. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! Next to the new graves is an old rusty wheelbarrow. >take barrow You grab hold of the wheelbarrow's handles. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. You swear one of the carved figures in the alcoves turns its head to look at you, but no, surely not! >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the centre of the Bayou, emerging from a small grassy knoll and giving off an aura of evil power, is a sacred voodoo stone! >put stone in barrow (first taking the sacred voodoo stone) It's too heavy to carry, but fortunately you have a wheelbarrow! With a grunt of effort, you manage to get the stone into the barrow. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a ballroom. A child greets his mother in a shadowy alleyway. A woman dances with her husband. A young woman in the shadows watches a child play. A hand with sharp fingernails reaches out at you from the shadows! You quickly turn your head, but there is nothing there. >cast summon You nervously follow the instructions in the black magic book. As soon as you finish, the sacred stone pulses with a terrible power and the air seems to tingle. Gradually, a shape coalesces in the centre of the set. It's a ghost! It's the ghost of a old woman wearing ragged black clothing! Wait. Hang on a moment. That's not an old woman. That's Gemma Bellerton in her Voodoo priestess costume and make-up! Gemma sits in the wooden throne with a sigh of satisfaction. >talk to woman "Gemma?" you say. "Is that you?" "Ah ain't no Gemma," begins the spirit with a harsh cackle. But then she stops as if confused and shakes her head. "Or maybe I am." It's Gemma's voice! "I'm not sure anymore," she continues, "she's trying to get in. I don't have long." (1) - "Who's trying to get in? You say >1 "Oh no!" you say. "Who's trying to get in, Gemma?" "It's her spirit," replies Gemma. "The old one. She's got a story to finish and she won't stop till it's done. I can't hold her off for long. She's stronger than me." "I sure am," says Gemma, and her voice has changed into a hoarse croak. "You ain't never gonna...." Gemma shakes her head once more. "Give me a few minutes," she says plaintively in her normal voice again, "it's not as though we're going anywhere." "Well hurry it up girl," she says croakily once more, "I got things to be doing." (1) - "Is there anything I can do to help?" (2) - "What happened to you?" (3) - "What story?" You say >1 "Is there anything I can do to help?" you ask. "Help them," replies Gemma, earnestly. "They're stuck. She's stuck. They can't get out. They were brought here with the job lot of scenery stuff Mallet Studios bought cheap from an estate sale. If you help them, you can free them." She seems to be struggling to stay in control. (1) - "What happened to you?" (2) - "How can I help them?" You say >1 "What happened to you?" you ask. "Huh," says Gemma. "Remember that ritual scene I was in where my character's soul was sucked into the very depths of hell? Turns out it wasn't just a made up thing. As soon as I'd got done, my soul was sucked into the very depths of hell. Fortunately, I met the old one and she brought me back so I could finish her story. Good job, too. Astaroth was waiting down there and he was not in a good mood." She shakes her head. She seems to be struggling to stay in control. (1) - "What story?" You say >1 "What's all this about a story and helping them?" you ask. "I just know that she's stuck," replies Gemma. "She needs you to finish their story, but time's not the same for them. They don't always go through it in order like we do. If they're not at the same point in time, then they can't see each other. The bones can help. Throw the bones. That's all she'll let me say." Gemma's face changes suddenly. It seems to become much older. "That's enough of that," she says, her voice as old and dusty as a desert. "You know what you need to do. I know what you need. You finish mah story and there will be a reward in this world for you." She cackles long and loud until she subsides in a fit of coughing. (1) - "Goodbye" You say >1 The Priestess seems to lose interest in you, as if you are not there. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a ballroom. A young woman in the shadows watches a child play. A child greets his mother in a shadowy alleyway. A woman dances with her husband. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >cast summon You go through the incantation, but the summon spell does nothing. You feel the power of the stone flow through you, but there are no unquiet spirits here to summon. >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. There seems to be movement in the dark. Something terrible is lurking. You swiftly turn towards it, but there is nothing there. >cast summon You follow the instructions in the black magic book as closely as you can. As soon as you finish, the sacred stone pulses with a terrible power and the air seems to tingle. Gradually, a shape coalesces in the shadows of the set. It's a ghost! It's the ghost of a young woman wearing a long white dress! There's something else! Behind the young woman something dark and viscous is dripping down the wall of the set. You look closely. It seems to be blood! The walls of the basement are weeping blood! The spirit steps back further into the shadows, her pale face hidden behind a curtain of dark hair. >x woman It's difficult to make out her features because her long dark hair straggles over her face. She is wearing a simple white dress that, on closer inspection, seems to be covered in blood! Her arms hang loosely by her side and she stands, head down, in the shadows. >talk to wwoman You can't see any such thing. >talk to woman "They done me wrong," she whispers, although it's hard to make out the words. "They done me wrong and poor Evangeline ain't seen her boy for too long. Ah need to see mah boy. They won't let me see him and ah done everything they said." She retreats back into the shadows, hiding behind her curtain of hair. >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >x gemma Gemma is still wearing the stage makeup and ragged black clothing she wore as the Priestess. It's still Gemma under all that though. Well, at least you think it is. You think she might have been possessed by the ancient spirit of the real Voodoo priestess! Or she's really living the role. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A woman dances with her husband. A child greets his mother in a shadowy alleyway. A young woman in the shadows watches a child play. A soldier strides into a ballroom. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. >x woman It's difficult to make out her features because her long dark hair straggles over her face. She is wearing a simple white dress that, on closer inspection, seems to be covered in blood! Her arms hang loosely by her side and she stands, head down, in the shadows. >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >cast summon You carry out the instructions in the black magic book to the letter. As soon as you finish, the sacred stone pulses with a terrible power and the air seems to tingle. Gradually, a shape coalesces in the centre of the set. It's a ghost! It's the ghost of a middle aged woman wearing a huge pink dress! The ghostly woman paces elegantly back and forth in the centre of the ballroom, fanning herself with a brightly coloured fan. She seems to be looking for something or someone. >talk to woman "Well now, if you ain't the cutest little thing ah evah did see," says the spirit, absently. "Clarissa Meribeaux. Pleased to make your acquaintance, I am sure." She seems agitated in some way, wringing her hands together and glancing nervously out of the set. "Ah, simply cannot converse with you now, sugar," she continues. "Ah need to meet mah husband, just home from the war, here at the ball. Ah'm sure I cannot say where he has got to. That man is gonna be the death of me." She turns away from you, and continues to look around the set as if searching for something or someone. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >cast summon You carry out the instructions in the black magic book to a tee. As soon as you finish, the sacred stone pulses with a terrible power and the air seems to tingle. Gradually, a shape coalesces in the centre of the set. It's a ghost! It's the ghost of a dark haired child wearing an old fashioned short trousered suit! The ghostly child seems to be playing a game on his own, skipping around in a circle in front of the houses, and counting under his breath. Occasionally, he glances along the alleyway anxiously, as if he is waiting for someone. >* OK there's our lot That's not a verb I recognise. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring off into the distance. >talk to philip You can't see any such thing. >sorry, phillipe Oh, don't apologise. That's not a verb I recognise. >talk to phillipe "Ah must meet mah wife at the ball," snaps the Colonel. "I got no time to tarry." >tell phillipe about wife To talk to a person, in Dr Horror's House of Terror, just TALK TO them! >talk to phillipe "Ah must meet mah wife at the ball," snaps the Colonel. "I got no time to tarry." >phillipe, go to ballroom His spirit is as insubstantial as air. He ignores you completely as if you are not there. >phillipe, w Colonel Phillipe Meribeaux, the spirit of an army officer has better things to do. >* Why are you calling me Colonol Phillipe Meribeaux? That's not a verb I recognise. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >talk to gemma The priestess ignores you as if you were not there. >* Geez That's not a verb I recognise. >cast bones I didn't understand that sentence. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A young woman in the shadows watches a child play. A child greets his mother in a shadowy alleyway. A soldier strides into a ballroom. A woman dances with her husband. >take bones Taken. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring off into the distance. >throw bones Dropped. >take bones Taken. >push phillipe w His spirit is as insubstantial as air. He ignores you completely as if you are not there. >i You are carrying the bones of fate, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You are pushing a wheelbarrow along. It contains a sacred voodoo stone. >x bottle The bottle looks like it used to contain strawberry milk. At least that's what the label says. >open bottle It isn't something you can open. >put ghost in bottle His spirit is as insubstantial as air. He ignores you completely as if you are not there. >* worth a shot That's not a verb I recognise. >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >* ah there we go That's not a verb I recognise. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips the ghostly child. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. In the centre of the ballroom, Clarissa Meribeaux paces elegantly back and forth, fanning herself with a brightly coloured fan. She seems to be looking for something or someone. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. "Clarissa, mah dear," says the Colonel, and opens his arms. "Darling," yells Clarissa, and runs over to her husband, her arms wide. "Why, ah thought you were nevah coming back to me!" The Colonel swings her around in his arms. "Ain't nuthin gonna stop me coming home to you," he says and kisses her passionately. She leans back and raises one foot off the floor. "Why," she says, when she eventually comes up for air, "ah am quite overcome." She glances around, fanning herself rapidly. "But mah deah, not in front of all these people." She straightens up and pats her dress down. "You look tired, honey," she continues. "You need feeding up. I will ask Elizabeth to make a casserole tonight. Then later..." and here she taps him on the chest with her fan and smiles coquettishly, "well, mayhap it's time we started on that family. Ah got a good feeling about it now." The Colonel, surprisingly, grimaces. "Now don't you start already, Clarissa," he says. "Sometimes these things take time. Ain't no use fretting none. We're still young." Clarissa just laughs and takes up the Colonel's arms in her own. "Dance with me, dear," she says. "Ah missed you so much." The couple dance to unheard music. Round and round they go, eyes locked together. But then they suddenly stop. The light goes out of the ghost's eyes and they part. It's like they can't see each other anymore! >l The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >talk to clarissa You notice that Clarissa looks older now, her face a little more lined, some grey peeping out of her hair. It's like years have passed. She shakes her head at you, absently. "Ah, simply cannot converse with you now, sugar," she says. "Ah need to pick my boy up." >talkto colonel That's not a verb I recognise. >talk to colonel The Colonel, if you are being honest, looks a little flustered. His uniform is unkempt and he has at least a week's stubble. "I need to find Evangeline in our meeting place," he says. "Ah need to talk to her and reach an arrangement." >e You can't go that way. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips the ghostly child. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips the ghostly child. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. The ghosts in the room continue to drift around, as if they are oblivious of one another! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. >cast bones I didn't understand that sentence. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A young woman in the shadows watches a child play. A child greets his mother in a shadowy alleyway. A soldier strides into a darkened basement. A woman and a child embrace in a dark alley. >w You can't go that way. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips the ghostly child. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips the ghostly child. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - a dark-haired child wearing an old fashioned short-trousered suit Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >talk to kid You can't see any such thing. >talk to child "Mah Momma told me not to talk to no strangers," says the young boy, stopping his game. "Why, I might be kidnapped away and no-one would know where ah was." He thinks for a moment. "Well I guess it can't do no harm. I'm Jacques Meribeaux. Mighty pleased to meet you." He holds out a small grimy hand, which you try and take, but it's as insubstantial as smoke. "Ah'm supposed to be meeting mah Momma here," continues Jacques, anxiously looking around. "But she's real late." Then, seeming to forget about you, he continues his game, skipping around the fronts of the houses. >cast banish You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Evangeline, a wronged young woman (2) - Jacques Meribeaux, a ghostly young boy Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. "This isn't where ah'm supposed to be," wails the child. "I need to meet Momma near the house!" He turns away from you and runs straight through the wall of the set! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips Jacques Meribeaux. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. In the centre of the ballroom, Clarissa paces worriedly back and forth. She seems to be getting ready to go somewhere. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Clarissa Meribeaux, a faded southern belle Banish ?2 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Around the front of the buildings, occasionally glancing anxiously along the alleyway, skips Jacques Meribeaux. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. "Dahling," shouts Clarissa, waving one elegant hand. "Over here!" The boy turns and for a moment, you swear there is a grimace of dislike on his face, but it quickly smooths. "Hi Momma," he says. "Where's Poppa? I thought we were going to catch some crawfish in the Bayou today." Clarissa ruffles the child's hair and straightens his collar and bowtie. "Poppa's busy," she says. "He's got important work to do. You know that, Jacques. Don't you want to spend some time with your Momma? We can go into town and do some shopping. Why, ah'm sure you'd like to see the new guns Mr Delacroix has just gotten into his shop. They come all the way from Texas." "Sure Momma," says Jacques, but you can hear the reluctance in his voice. "But Poppa's always busy these days. I don't think he likes me no more." "Why that's a terrible thing to say," scolds Clarissa. "Your Poppa loves you very much. He's just so busy. Now ah do not want to hear you say that again. Especially in front of Poppa." Jacques does not look convinced, you notice. His mother takes his hand and leads him along the alleyway. "Now don't dawdle," she says. "If you're a good boy, maybe we'll get us some taffy." But then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore! >n You can't go that way. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A young woman in the shadows watches a child play. A woman speaks to an old priestess. A child plays in an alley while being watched. A soldier strides into a darkened basement. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. The ghosts in the room continue to drift around, as if they are oblivious of one another! >l Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Wearing a simple white dress, Evangeline stands head-down in the shadows. Her long dark hair covers her face. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Evangeline, a wronged young woman Banish ?2 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >l Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >cast summon You go through the incantation, but the summon spell does nothing. You feel the power of the stone flow through you, but there are no unquiet spirits here to summon. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Clarissa paces up and down. She looks both nervous and determined. Also, a little scared. Around the front of the buildings, occasionally glancing anxiously around the set, skips Jacques Meribeaux. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. Evangeline sinks deeper into the shadows of the alleyway so she is almost entirely hidden. "Jacques, mah boy" she whispers so quietly you can only just hear her. The young boy, seemingly unable to see her, continues to skip around the front of the houses. It's difficult to tell what Evangeline is thinking or feeling because you can hardly see her, and the bits you can see are covered in lank dark hair, but she reaches out one small hand slowly towards the child and you swear you hear her whisper "my baby" before she drops her hand again and turns away. You can't help but wonder why she doesn't talk to the child. The plot thickens! There's definitely something odd going on here! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Clarissa Meribeaux, a faded southern belle (3) - Jacques Meribeaux, a ghostly young boy Banish ?2 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. Clarissa looks nervous. She cautiously approaches the throne where the old Priestess sits like a malevolent spider. "Ah was told to come here," she says, her voice quavering. "They said you was the only one could help me with mah husband's little problem." The Priestess gives an evil cackle. "So you finally decided to pay me a visit," she wheezes. "Well, girl, ah can help you with your little problem, but you gonna have to pay..." then she stops talking and her face changes. "Don't listen to her," says the Priestess and suddenly it's Gemma's voice! "You don't need to have a kid. You should just leave him. He's an asshole. You've got money - you can live without him and all his bulsh..." then she stops and it's as if the Priestess is undergoing a titanic internal struggle. Clarissa just looks confused. "You be quiet," says the Priestess to herself. Then she turns to Clarissa "Ignore her," she says, looking a little embarrassed, "she don't know what she's talking about. As ah was saying, ah can help you, but you gotta pay." "Ah will pay anything!" replies Clarissa. "Will you now," cackles the Priestess. "Will you indeed?" Then a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore! >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a darkened basement. Two women and a child converse in a huge room. A child weeps in a ballroom. A young woman sits in a basement, waiting. >* PEople are making some bad decisions That's not a verb I recognise. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Clarissa wanders around the set. She is wringing her hands, fretfully. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Jacques Meribeaux, a ghostly young boy Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast banish You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Evangeline, a wronged young woman (2) - Jacques Meribeaux, a ghostly young boy Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah need to meet mah man," whispers Evangeline. "This ain't right." She turns and fades out of the room straight through the wall! >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Clarissa wanders around the set. She is wringing her hands, fretfully. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Clarissa Meribeaux, a faded southern belle (2) - Gemma Bellerton, in costume as a voodoo priestess Banish ?1 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >cast banish You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Clarissa Meribeaux, a faded southern belle (2) - Jacques Meribeaux, a ghostly young boy Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. The ghosts in the room continue to drift around, as if they are oblivious of one another! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. Clarissa wanders around the set. She is wringing her hands, fretfully. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Jacques Meribeaux, a ghostly young boy (2) - Clarissa Meribeaux, a faded southern belle Banish ?1 You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. The ghosts in the room continue to drift around, as if they are oblivious of one another! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Jacques Meribeaux, a ghostly young boy (2) - Evangeline, a wronged young woman Banish ?1 You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Clarissa wanders around the set. She is wringing her hands, fretfully. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Clarissa wanders around the set. She is wringing her hands, fretfully. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Jacques Meribeaux, a ghostly young boy (2) - Colonel Phillipe Meribeaux, the spirit of an army officer Summon ?2 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. He looks around him wildly. "What in damnation is happening," he shouts. "I need to find Evangeline in our meeting place." He turns away from you and walks straight through the wall of the set! >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Clarissa wanders around the set. She is wringing her hands, fretfully. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Jacques Meribeaux, a ghostly young boy (2) - Evangeline, a wronged young woman Summon ?2 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah need to meet mah man," whispers Evangeline. "This ain't right." She turns and fades out of the room straight through the wall! The ghosts in the room continue to drift around, as if they are oblivious of one another! >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier strides into a darkened basement. A child weeps in a ballroom. Two women and a child converse in a huge room. A young woman sits in a basement, waiting. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Clarissa wanders around the set. She is wringing her hands, fretfully. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. >i You are carrying an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You are pushing a wheelbarrow along. It contains a sacred voodoo stone. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Pacing impatiently around the set is Colonel Meribeaux. He looks anxious, as if he needs to be somewhere. Clarissa wanders around the set. She is wringing her hands, fretfully. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Clarissa Meribeaux, a faded southern belle Banish ?1 You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast banish You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Jacques Meribeaux, a ghostly young boy (2) - Colonel Phillipe Meribeaux, the spirit of an army officer (3) - Clarissa Meribeaux, a faded southern belle Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A young woman sits in a basement, waiting. A child weeps in a ballroom. A soldier strides into a darkened basement. Two women and a child converse in a huge room. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Clarissa Meribeaux, a faded southern belle (3) - Evangeline, a wronged young woman Summon ?3 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. In a corner of the set stands Evangeline, her face hidden behind a curtain of hair. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >i You are carrying an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You are pushing a wheelbarrow along. It contains a sacred voodoo stone. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Clarissa Meribeaux, a faded southern belle Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. "Don't you do this, Phillipe," says the young woman in a low voice. "Don't you dare take mah baby! It's all ah got." The colonel stamps angrily away from her. "Don't be foolish, Evangeline," he snaps. "What do you think is gonna happen. You ain't got nothing. You want that poor boy to be growing up poor? He's mah son too, and ah sure as hell don't. We can take care of him. He'll grow up with good clothes and food and a good name. Ah'll make sure you get to see him. Clarissa just wants a baby. She don't care where it come from." Evangeline runs forward and grabs desperately at the Colonel's arm. "It don't have to be that way," she says. "Let's leave, me and you and Jacques. We can go south. Over into Mexico. We can have a life together." The Colonel just snorts with derision and pulls his arm out from her grasp. "With what," he says, coldly. "It's all Clarissa's family money. I leave, I lose everything. And don't tell me we don't need money. This is the real world." "I will tell her about us," says Evangeline, desperately. "I'll tell her who you been with all these years." Colonel Meribeaux just gives a cruel laugh. "You think she don't know? Why if she ain't the one who's been encouraging it given our problems procreating and all. Now ah'm gonna take that baby, Evangeline or I swear ah will have him into the poor house." Evangeline turns away weeping. Then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore. Well, that's a plot twist you didn't see coming. Turns out the Colonel is an awful person. And, by the sounds of it, so is Clarissa! >* I mean who could have possibly predicted that the over-the-top antebellum gentry would be ethically challenged That's not a verb I recognise. >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >s You can't go that way. >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A child weeps in a ballroom. Two women and a child converse in a huge room. A young woman argues with two others in a ballroom. In front of a row of houses, a soldier furiously stalks away from a blond woman. >w You can't go that way. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Colonel Meribeaux paces angrily up and down the set. Half hidden in shadow, Evangeline stands near the wall of the set. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Colonel Phillipe Meribeaux, the spirit of an army officer (2) - Evangeline, a wronged young woman Banish ?1 You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Clarissa Meribeaux, a faded southern belle (2) - Colonel Phillipe Meribeaux, the spirit of an army officer (3) - Evangeline, a wronged young woman Summon ?2 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Clarissa Meribeaux, a faded southern belle (2) - Evangeline, a wronged young woman Summon ?2 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "This ain't right. Ah gotta see him," whispers Evangeline. "Gotta try and get mah boy before it's too late." She turns and fades out of the room straight through the wall! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >e You can't go that way. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Half hidden in shadow, Evangeline stands near the wall of the set. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux skips around the set, occasionally glancing anxiously around. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Clarissa Meribeaux, a faded southern belle (2) - Evangeline, a wronged young woman Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. The ghosts in the room continue to drift around, as if they are oblivious of one another! >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "You can't have him," yells Clarissa at Evangeline. "He's mah boy. Bought and paid for." Evangeline grabs hold of the boy's arm. "Ah'm taking him away," she says, her voice suddenly steely. "He don't love you. He needs his Momma. We're going far away from here and ain't nevah coming back. He's just another thing to you like your dresses or your house or your fancy silverware." "Momma?" wails Jacques. "Who's she? Why's she pulling me so?" "Don't you worry, honey," snaps Clarissa, grabbing the boy's other arm. "She's just a lonely mad woman who don't understand the ways of this world." She turns to Evangeline. "Why if ah evah see you again, or you evah come near mah boy, ah will have you in the asylum before you can say jack-rabbit," hisses Clarissa, her voice hard and cold. "Do you understand me? The Governor is a personal acquaintance of mine and you got nothing to bargain with. You got no hand to play with. You think this boy wants to live dirt-poor like you? Get outa here before ah summon mah husband." With a sob, Evangeline releases the boy's arm. Then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore!! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Clarissa Meribeaux, a faded southern belle (3) - Jacques Meribeaux, a ghostly young boy Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. Evangeline looks confused. "Ah am not where I need to be," she whispers. "Ah got to go and see her. She'll make them pay." She turns and fades out of the room straight through the wall! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Evangeline, face lost in shadow, stands at the side of the set. Clarissa stands, looking dejected, in the centre of the set. Jacques Meribeaux stands, expressionless, near the wall. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Clarissa Meribeaux, a faded southern belle (3) - Jacques Meribeaux, a ghostly young boy Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast summo I didn't understand that sentence. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah need help," whispers Evangeline, kneeling at the feet of the old Priestess. "They done me wrong and ah need them to pay." The Priestess leans forward and puts a gnarled hand on the girl's shoulder. "How far you willing to go, girl?" she says, her voice a sharp whisper. "What you willing to do?" "Anything," replies the girl, with steely resolve. "Ah'll do anything to make them pay for what they done." "Well, then, here's what ah need you to do...." begins the Priestess, but then shakes her head in confusion. "Don't listen to her," continues the Priestess, in Gemma's voice, her face suddenly looking younger. "She's going to tell you to do something horrible. It won't end well. You should just..." The Priestess's face changes once more, becoming older in a heartbeat. "Why don't you just mind your business," she snaps to herself. "This ain't no concern of yours." "Well," she says sharply, in Gemma's voice once more. "Perhaps if you weren't so blatantly plotting to kill everyone in this story for no reason at all that I can see, then maybe I'd just let you get on with it." "Don't you tell me what to do," hisses the Priestess. "Why, you don't know jack. You only just dead. When you been dead these one hundred years, then you can have a say in these matters." Gemma sighs. "Well I can't stop you," she says. "But what's your character's motivation? You should re-consider your choices in my opinion." Then Gemma is gone and the Priestess flexes her shoulders. "Now as ah was saying before ah was so rudely interrupted, what you willing to do, girl?" Evangeline has been watching the exchange, looking utterly bewildered, her mouth gaping like a fish. "Anything," she eventually says. "Ah'll do anything for mah revenge." Then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore! >* nice commentary! That's not a verb I recognise. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. In front of a row of houses, a soldier furiously stalks away from a blond woman. A boy hovers behind his mother. A woman and a soldier argue in an alleyway. A young woman hides in a swamp. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Gemma Bellerton, in costume as a voodoo priestess Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. >cast banish You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah'm gonna save him," she says. "He ain't evil. He needs his Momma." She turns and fades out of the room straight through the wall! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Clarissa stands, looking dejected, in the centre of the set. Jacques Meribeaux stands, expressionless, near the wall. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Clarissa Meribeaux, a faded southern belle (2) - Jacques Meribeaux, a ghostly young boy Banish ?2 You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! > I beg your pardon? >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. "Ah'm gonna see Momma at the mansion," smiles Jacques, and you step back in horror! That wasn't a nice smile at all! He turns away from you and runs straight through the wall of the set! The ghosts in the room continue to drift around, as if they are oblivious of one another! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Gemma Bellerton, in costume as a voodoo priestess Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux stands, expressionless, near the wall. Clarissa stands, looking dejected, in the centre of the set. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah'm gonna save him," she says. "He ain't evil. He needs his Momma." She turns and fades out of the room straight through the wall! The ghosts in the room continue to drift around, as if they are oblivious of one another! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux stands, expressionless, near the wall. Clarissa stands, looking dejected, in the centre of the set. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Gemma Bellerton, in costume as a voodoo priestess Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. "Ah'm gonna save him," she says. "He ain't evil. He needs his Momma." She turns and fades out of the room straight through the wall! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A boy hovers behind his mother. A young woman hides in a swamp. In front of a row of houses, a soldier furiously stalks away from a blond woman. A woman and a soldier argue in an alleyway. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux stands, expressionless, near the wall. Clarissa stands, looking dejected, in the centre of the set. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Jacques Meribeaux, a ghostly young boy (2) - Clarissa Meribeaux, a faded southern belle Banish ?2 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Colonel Meribeaux paces angrily up and down the set. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. "Ah can't bear it," sobs Clarissa. "He's changed, Phillipe. He's not the same boy. There's something...evil...about him. He means us harm, ah am sure of it." "Don't be foolish, Clarissa," says the Colonel, his face red with anger. "You got what you wanted. I got you a child. Now you're telling me he ain't what you thought. He's just a young boy. Ain't nothing evil about him." "You seen it," wails Clarissa. "You seen it in his eyes when he looks at you. That's why you don't spend no time with him. That's why you're always out of the house, working. Don't tell me that's not the reason." "You know what ah think?" replies the Colonel, turning away. "Ah think you're bored of him like you get bored of every possession you evah had. You wanted a child, you got a child. Clarissa Meribeaux gets everything she wants, don't she. From her Daddy and now from me." "Don't you say that," yells Clarissa. "I know my mind. I know what I seen. Why, with that cat. It was horrible what he done, Phillipe. Ah sometimes see him looking at me the same way he looks at those animals." The Colonel snorts with derision. "You're seeing things you want to see," he says. "He's just a boy, doing what boy's do." "Ah know what ah seen," weeps Clarissa. "Ah know what he is." Then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore. Oh, dear. This doesn't sound good! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A mother stands in a ballroom, a dark child behind her. A young woman hides in a swamp. A boy hovers behind his mother. A soldier chases through a swamp. >save Ok. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. Clarissa stands in the middle of the set. If you didn't know better, you would say she looked frightened. The Colonel stands in the centre of the set, his face set in a scowl. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Clarissa Meribeaux, a faded southern belle (2) - Colonel Phillipe Meribeaux, the spirit of an army officer Banish ?1 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. Jacques Meribeaux stands, expressionless, near the wall. >cast sumon I didn't understand that sentence. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. "Come along, Jacques," says Clarissa and, at least to you, her voice sounds forced and full of fear. "We gonna go for a walk in the Bayou." "I hear you been talking about me," replies Jacques, with a dry chuckle. "I hear you been telling Poppa stories." "Why, that's a strange thing to say," quavers Clarissa. "I'm sure that it's nothing. Now, let's go. Poppa will be home tonight and we ain't got long for our walk." "Why, Momma, ah would be happy to escort you on your walk," says the boy, but the way he says it makes the hair stand up on the back of your neck. There's something wrong with his eyes! It obviously frightens Clarissa also. She draws back. "What are you?" she whispers. "Where's mah boy gone?" "What do you mean, Momma?" says Jacques, innocently. "It's just me. Your boy." He grabs her wrist, and you see Clarissa wince with pain. "Now maybe it's time for our walk. Ah been looking forward to it for a long time." Then, a strange thing happens. The light goes out of the ghost's eyes and they drift apart. It's like they can't see each other anymore! You shudder. That's one creepy kid! >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Clarissa Meribeaux, a faded southern belle (2) - Jacques Meribeaux, a ghostly young boy Banish ?1 You mumble the words of the spell and banish Clarissa Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >cast banish You mumble the words of the spell and banish Jacques Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. The Colonel stands in the centre of the set, his face set in a scowl. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >cast summon There are many spirits inside the stone! Who do you wish to summon? (1) - Clarissa Meribeaux, a faded southern belle (2) - Jacques Meribeaux, a ghostly young boy Summon ?1 You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Clarissa Meribeaux. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Jacques Meribeaux. The ghosts in the room continue to drift around, as if they are oblivious of one another! >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Evangeline stands half hidden in the shadows, hair hiding her face. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >cast banish There are many spirits here! Who do you wish to banish and entrap in the sacred stone? (1) - Evangeline, a wronged young woman (2) - Gemma Bellerton, in costume as a voodoo priestess Banish ?1 You mumble the words of the spell and banish Evangeline into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. In the corner of the set, Jacques Meribeaux stands malevolently, half covered in shadow. Clarissa runs back and forth across the set, her hair in disarray. She looks terrified. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Evangeline. The ghosts in the room continue to drift around, as if they are oblivious of one another! >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier chases through a swamp. A woman stands weeping in a swamp. A child runs through a swamp. A young woman hides in a swamp. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Evangeline stands half hidden in the shadows, hair hiding her face. In the corner of the set, Jacques Meribeaux stands malevolently, half covered in shadow. Clarissa runs back and forth across the set, her hair in disarray. She looks terrified. >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. The Colonel stands in the centre of the set, his face set in a scowl. >* lots going on in the swamp That's not a verb I recognise. >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Evangeline stands half hidden in the shadows, hair hiding her face. In the corner of the set, Jacques Meribeaux stands malevolently, half covered in shadow. Clarissa runs back and forth across the set, her hair in disarray. She looks terrified. >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. Something odd is happening! As you release the last of the four ghosts, the scenery comes alive. The bayou fills with ghostly water and a warm breeze blows across your face. The set is full of the chittering of insects, the sounds of birds and the smell of brackish swamp water. Branches and leaves grow out of the set walls, casting their moving shadows over everything. "Why you brought me here, Momma?" asks Jacques, standing on the edge of the Bayou, his voice a low snarl. "Poppa's gonna come looking. What you planning? What you gonna tell him?" Clarissa stands behind him, a rock clenched in her fist. "Don't call me Momma," she suddenly yells, raising the rock high. "You ain't mah boy!" She brings the rock down and it connects with the boy's head with a sharp crack. He falls into the ghostly water, face down. Clarissa drops to her knees gasping and weeping and still holding the rock cradled to her breast. Suddenly, out of the shadows dashes Evangeline, a wickedly sharp kitchen knife in her hand. She darts forward and slices Clarissa's throat from ear to ear! You turn away in horror! Clarissa falls, blood soaking the front of her dress. "He was mah boy," snarls Evangeline at Clarissa's lifeless body. "You had no right." Then, seeming to hear something in the distance, she turns and runs out of the set, straight through the wall! The Colonel runs up to Clarissa's body and lifts it in his arms. "What have ah done," he yells and hugs the body close to his chest. "Ah should have listened to you." He stands up and releases Clarissa. "She did this," he snarls. "There needs to be a reckoning." Then, as you watch, a strange thing happens. The bodies of Jacques and Clarissa become even more transparent and gradually they fade away into nothing along with the ghostly scenery. Their story must be done! >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. >throw bones You throw the bones onto the black table. They click and skitter across its dark surface forming a loose pattern. Suddenly, in the shapes they make, you can see strange images. A soldier stands alone in a gloomy basement, staring at his hands. A woman backs away from a looming shadow. >n Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. Colonel Meribeaux stalks back and forth across the set as if searching for something. His face is a thundercloud of rage. >cast banish You mumble the words of the spell and banish Colonel Phillipe Meribeaux into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >w Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >s The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >s Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Evangeline stands quietly in the shadows, hair hiding her face. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >cast summon You undertake the strange actions and declaim all the words of the summon spell. The spirit emerges from the stone like smoke and coalesces into Colonel Phillipe Meribeaux. "You!" yells the Colonel. "You done this! You took mah family away from me!" "No ah did not," says Evangeline, calmly. "It was you done this. You with your thoughtless arrogance and your greed. You took mah boy away from me. Did you think ah was just gonna lie down? Did you think ah was just gonna accept what you done? Nevah. You know you done wrong and you will not never rest until you accept what you done. This is mah curse on you, Phillipe Meribeaux. Now, you do what you come here to do and be damned." With a howl of rage, the Colonel draws his cutlass and runs it straight through Evangeline's breast! You turn away in horror! "No!" he screams at her, as she slides to the floor, her body enclosed by the white outline. "Ah will nevah forgive you no matter how long ah live. You did this, not me!" He stands over Evangeline's body, swaying back and forth. "You did this, not me," he whispers. But then a strange thing happens! Evangeline becomes more and more transparent until her body completely disappears. Her story must be over! You watch the Colonel expectantly but he doesn't disappear! His body expands into a thing of darkness and shadows. He becomes a terrible malevolent spirit, howling back and forth across the set! >cast banish You mumble the words of the spell and banish the terrible malevolent ghost of the Colonel into the stone. The spirit is sucked wailing into its depths, there to be trapped till it is once again summoned! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >n Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, sits on the wooden throne. Scattered across the table are small fragments of bone. The Priestess turns and looks at you. "You done well," she croaks. "Now you fetch that boy to me and we'll end this once and for all." >throw bones You throw the bones onto the black table. They click and skitter across its dark surface. >cast summon The spirit of the Colonel howls out of the stone and rages around the set. The Priestess seems unconcerned. "Now you listen to me, boy," she says, raising her voice to be heard over the ghost's din. "It's time to break Evangeline's curse. It's time you accepted what you done and took your share of the blame. You been raging round these parts for more'n a hundred years. And we all been stuck here with you. Now I command you to let us go. Accept what you done, Phillipe Meribeaux and be saved." She holds out her arms towards the ghost as if to embrace it. "Nevah," moans the spirit of the Colonel. "Ah will nevah accept it. Ah will walk this place for eternity if that's what it takes." The old Priestess seems a little surprised by this response, to be honest. As if she wasn't expecting it. "Don't you want to be finally free?" she says, hopefully. >* you people That's not a verb I recognise. >talk to colonol You can't see any such thing. >oops colonel The terrible spirit ignores you and continues in its howling rage, unabated. The ghost seems to get even angrier if that's possible. It swirls around the Priestess, making her hair fly around her face and billowing her dress. "Free?" he says. "How can ah be free when it was Evangeline what done wrong. Ah am not to blame." The Priestess is silent for a moment. "Well, then. Ah got no choice," she says and thrusts out a hand towards the spirit. "With the power of the ancient ones, ah command thee to leave this plane and be damned for eternity. By mah ancient blood, ah have the right to do so." There is an instant of silence as the ghost digests this. "No," it says, "ah don't think ah will, old woman." This seems to completely surprise the old Priestess, leaving her nonplussed. "Well....." she begins, but then her face changes. "Leave this to me, Élise," she says, determinedly, and it's Gemma's voice coming out of the Priestess's mouth! "I've dealt with his sort before." >* oh fun That's not a verb I recognise. >z Time passes. "Who in tarnation are you?" asks the ghost, seemingly a little put out. "This ain't your business." "Never you mind about that," snaps Gemma. "What the hell do you think you're doing? I know your type. You're a thick headed, weak willed, foolish and vain little man. Well, Élise is gone now. They're all gone, anyone who might have been bothered by your little act. It's just me. And I'll make eternity seem like forever to you, just you wait and see." Wow. Go, Gemma. The ghost triples its efforts. It roars around Gemma, buffeting all the props, and the whole set shakes with its rage. "You can't speak to me like that," it screams. "Ah am Colonel Phillipe Meribeaux, formerly of...." But Gemma doesn't let him finish. "Formerly of an idiot!" she yells right back and advances on him, poking her finger at his chest. "Formerly of a weak man who stole his lover's baby because he was so ashamed of his little problem! Formerly of a man who was so afraid of his own child that he let his wife kill him while he hid in the shadows and watched. You think I don't know?" Ouch. That's got to sting. >z Time passes. The ghost stops completely and the air is still. "Even so," it says, and there is desperation in the Colonel's voice. "Ah cannot rest. Ah cannot. They're waiting for me in the place beyond. Ah cannot face them." "Yes you can," says Gemma, and her voice is gentler now. "Let it go. Leave this place. You can face them. All you need to do to lift Evengeline's curse is to accept what you did. It's either that, or," and here she shrugs and looks at the ghost directly, her eyes flinty, "spend an eternity here. With me." "Well," says the ghost, reluctantly, "Ah suppose ah could accept some of the blame for the proceedi...." But he doesn't get chance to finish. His dark spirit becomes transparent and then winks out completely. You look at Gemma. "Hmm," she says to you "I suppose that's the best we're going to get. Well, bye then." But you don't get a chance to respond. Gemma's spirit becomes insubstantial and then disappears. The last thing you hear before she's gone completely is the old Priestess's croaky voice. "Not bad," she says. "We'll make a witch of you yet." Suddenly, a hidden compartment in the black table pops open with a click. You have survived a perilous situation! >* OK I guess I'm getting the zombie army rather than the ghostly throng That's not a verb I recognise. >* Probably for the best, I couldn't have stood that accent much longer You seem to want to talk to someone, but I can't see whom. >x compartment The compartment is a small space in the table that had been cleverly hidden as part of the design. In the small compartment is a wicked little voodoo doll. >take doll Taken. >x it The featureless little doll is made from coarse sacking and roughly stitched into the shape of a person. Out from its breast sticks a bone needle! >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! >cast raise dead You go through the incantation, but the raise dead spell does nothing. There seems to be something missing. >cast summon You go through the incantation, but the summon spell does nothing. You feel the power of the stone flow through you, but there are no unquiet spirits here to summon. >drop barrow You let go of the wheelbarrow's handles. >x doll The featureless little doll is made from coarse sacking and roughly stitched into the shape of a person. Out from its breast sticks a bone needle! >x needle The sharp needle has been carved from white bone! >take it You pull the needle out of the doll. >cut me Cutting you up would achieve little. >prick me What do you want to prick yourself with? >needle That won't do much good, here! >s You can't go that way. >s You can't go that way. >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! You can also see a wheelbarrow (which contains a sacred voodoo stone) here. >read raise dead The page is titled "For thee Raising of most real Bodies of the Dead from their dreadful Eternal Sleep under goode Earth". The dense text begins "And only by the power of blood upon the soil under which these bodies are interred, can this spell be successful, for without the blood of a human in thee earth there shall be no link to this life to which the dead can make their own..." and then it's just warning after dire warning and you lose interest. According to the instructions at the end, you simply say "Mortuos surgere et e sepulcris!" really loudly three times. It seems straightforward enough. You could probably cast this raise dead spell if you had a mind to. >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >take blood Distastefully, you manage to fill the milk bottle with blood. >e The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! You can also see a wheelbarrow (which contains a sacred voodoo stone) here. >put blood on graves You pour the blood onto the graves. It glistens horribly for a moment then sinks into the soil. >cast raise dead You go through the incantation. At first, you think nothing is going to happen, but then a hand rises through the earth of a grave! A horrific green hand! More hands come through the soil and you step back in terror as a horde of zombies slowly emerge from the graves, clawing their way out! One by one, they lurch to their feet. They are dressed in tattered clothing, and their flaking green skin hangs from their bones. Wait a moment. You recognise some of these zombies! They were extras on the set of the movie being filmed here. You were in scenes with them! But now they are the horrifying undead! Oh no! They see you and begin to move towards you in a shambling mass, holding out their decaying hands towards you and groaning! You are in a perilous situation. The zombies see the voodoo doll! As one, they begin to moan and sway. "The power," they moan in unison, their voices like gravel. "The power of the Priestess!" They put their arms down and continue to shamble around the graveyard. That was close! You have survived a perilous situation! >score You're still in one piece. That's a good start. You are building an undead army! So far, it consists of the Count, the Countess and their bloodthirsty vampire thralls. You have survived eight perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! The zombie horde shambles up behind you, holding their arms out towards the wicked little voodoo doll you are carrying! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. The zombie horde shambles up behind you, holding their arms out towards the wicked little voodoo doll you are carrying! >w You can't go that way. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. The zombie horde shambles up behind you, holding their arms out towards the wicked little voodoo doll you are carrying! >w Guard's Break Room Someone has carved out a comfortable nook in this little space in between the door and the studio proper. There's a small table next to a comfy chair in one corner and on the table is a lit lamp, creating a welcoming pool of light in the gloom. A dingy gap in the wall to the east leads deeper into the studio and the door out to the lot, to the west, is closed. A Security Guard sits in the chair, feet up on the small table, reading a newspaper. The zombie horde shambles up behind you, holding their arms out towards the wicked little voodoo doll you are carrying! Oh no! The zombies see the poor Security Guard sitting in her comfy chair and begin to move towards her! She leaps up and screams but she has no time to escape. The zombies are on her! They fasten on to her exposed flesh and bite. It isn't long before she goes down under the mass of decaying bodies. The zombies back away, their grisly work done. But then, the Security Guard opens her eyes and sits up! No! She's been infected! She's turned into a zombie! She stands unsteadily, her skin already an unpleasant green. She looks down at herself, and then back up at you. "Well," she says, bitterly, "thanks a lot." With a sigh of resignation, she joins the zombie horde. "Right, you lot," she says, "You're with me now. No more of your nonsense. And," and here she turns to you, "while I might not be able to eat you because of that doll thing for some reason, don't think we're just going to be your puppets. We're still our own people, even though we're zombies now." She glances at the other zombies, stumbling around mindlessly, "OK," she concedes, "some of us." You have survived a perilous situation! >talk to guard This is a little awkward. "Sorry?" you venture. "So you should be," snaps back the Security Guard. "Fifteen years I've worked here and I've always managed to avoid these things. Then you come along. Still, I suppose there's no use crying over spilled milk. I'll have to make the best of it I suppose." (1) - "What's it like, being a zombie?" (2) - "So you knew about the zombies then?" You say >1' You are in the middle of a conversation! You say >1 "So," you ask, "what's it like, you know, being a zombie?" The Security Guard looks at you and raises an eyebrow. "It's not as bad as you'd think," she says. She reaches up and touches her face with her fingers. "I can't feel anything, I can't smell anything, I can't, you know, move faster than a shamble, and I have an insatiable desire to come over there and bite your warm flesh, kill you and infect you with my zombie curse, but I'm not entirely sure whether that's because I'm a zombie or whether it's because I'm still pretty angry at you for bringing these things here." (1) - "So, you knew about the zombies then?" You say >1 "So you all knew about the zombies then?" you ask. "Sort of," says the Security Guard. "Most of us knew, But it was just actors, you know? They never bothered us. Most of the time, depending on what studio you're in, they give you something to keep you safe." She sighs heavily. "We did all feel pretty bad about it to tell the truth." (1) - "Why didn't you tell anyone?" (2) - "Didn't you think you should do something about it?" You say >1 "Don't you think you should have told someone or done something about it?" you say. "Yeah, right," says the Security Guard. "And what would we hae done? We're just security. Someone did say something once. Lost his job you might say. And when I say job, I mean life. From what I heard, he ended up as one of these things. And even if they don't kill us, some of us still need these jobs." She shakes her head and looks suddenly angry and sad. "I do feel bad, though," she says. "I feel like all these years I've been ignoring the truth and pretending it wasn't happening. Just to keep my job. There's something about being dead. It strips away all the layers of self-deception you seem to think you need when you're alive." (1) - "There's a way you can make it right!" You say >* "hae" -> "have" You are in the middle of a conversation! You say >1 "How about I offer you a way to make it right," you say. "Oh yeah," she replies, scornfully, "and how are you going to do that? Make me magically alive again? Send me back in time to undo some of the poorer decisions I made in life?" She snorts with derision. "Don't tell me you're going to go to the police and call me, an undead zombie, as a witness." (1) - "Arnie is summoning a demonic army." (2) - "I'm building an undead army to stop Arnie Mallet. You in?" You say >2 "I'm building an undead army," you say. "Join up. We can defeat Arnie and his Cult and all the demons they're summoning!" "What, you've persuaded all the undead to join you in defeating Arnie's Cult?" says the Security Guard, then she breaks into gales of what, you feel, is unfair laughter. "Oh, that's a good one," she eventually says. "That's done me good, that has." Then she looks closely at you. "Oh, you're being serious?" You nod. The Guard thinks for a moment. "And you've already got some of the undead to join up?" You nod again. The Guard glances at the horde of shambling zombies milling around her as if to assess them. "Hmm," she says, and you cross your fingers behind your back, "I've heard worse ideas I suppose. It would be nice to do something positive about all the years we all spent ignoring what was going on." She pauses and thinks for a long time, and you hold your breath. "Right," she says, eventually, "Let's do it. I've got a horde of zombies here. Where do you need us?" "In the southern end of the studio lot," you say, unable to hide the delight in your voice. The guard nods brusquely and turns to leave. "Oh," she says. And, by the way, don't think I've forgotten about who's fault it is that I'm a zombie now." (1) - "Goodbye." You say >1 "Goodbye," you say, "and thank you!" The Security Guard turns way from you. "Come on, you lot," she says with a resigned sigh and leads them shambling out of the studio. You have grown your Undead Army! >save Ok. >w Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is closed. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >* OK we've got 2 and 5 That's not a verb I recognise. >w (first opening Studio 1 door) Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. This is exciting. The Blood of the Werewolf's Claw is a closed set. You have absolutely no idea about this film. Your friend Davor Slyzvak, who is playing, as he put it with a wink and a tap of his nose, one of the main supporting characters, had been uncharacteristically evasive when you had asked him about the movie. "I cannot tell you," he had said in his thick Eastern European accent (which you know for a fact is put-on, given that he's from a little town not far away from your hometown). "I am sworn to secrecy, yes?" You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >l Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the northwest. They seem to be getting closer! You might be in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in from the northwest. He gives you a genial smile. This guard seems to have eagle eyes! You thought you were getting good at hiding by now, but he spotted you straight away. But, then again, he doesn't seem to care that you're on set. Looks like you have nothing to fear here! >x guard The security guard looks like a jolly fellow. His florid face nicely matches his red uniform which is stretched tight over his stocky body. The security guard waves to you and saunters off to the southwest. >talk to guard You can't see any such thing. >x pit It's dug directly into the studio floor. You look into it. You'd never get out of there if you got in! You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >l Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the northwest. They seem to be getting closer! >x trees The bottom tow thirds of the densely packed pine trees are made from painted plywood and modelling foam. They haven't bothered creating the tops. A security guard walks in from the northwest. He gives you a genial smile. >talk to guard "Come for a pint, have you?" asks the Security Guard. "Can't blame you. I'd kill for one, myself! Got to work right now. No rest for the wicked!" The security guard waves to you and saunters off to the southwest. >l Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >x path The path is made from large squares of gravel covered plywood laid down onto the studio floor. You can hear footsteps to the northwest. They seem to be getting closer! >x cage It's a simple wooden cage with one side missing to allow entry. It is attached by a rope to a pulley system. A security guard walks in from the northwest. He gives you a genial smile. >x rope The pulleys, atop a wooden gantry, have a rope running through them, one end of which is attached to the top of a cage, which hovers overs one side of the pit. The other end is wrapped around a winch. The security guard waves to you and saunters off to the southwest. >pull rope You can't reach most of it, and the bits you can are solidly built. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >x winch The heavy winch is attached to the floor at the side of the pit. A rope is wound around it which rises up a gantry and through a pulley and then to a wooden cage suspended above the pit. It doesn't look too difficult. You could probably turn it if you had a mind to. You can hear footsteps to the northwest. They seem to be getting closer! >turn winche You can't see any such thing. >turn winch You turn the winch. As you turn, the cage lowers into the darkness of the pit until it is out of sight. A security guard walks in from the northwest. He gives you a genial smile. >turn winch You turn the winch. As you turn, the cage raises from the pit until it is level with the edge. The security guard waves to you and saunters off to the southwest. >l Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >nw Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >x backdrop The hills have been painted onto the studio wall in dark greens and various shades of grey and black. under a dark sky. You imagine they might look quite effective with a very good camera filter. The security guard sighs and wanders southeast. >x mound The mound, probably formed by clever wooden scaffold and hardboard, is covered in plastic tufts of heather and grass. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. >x sculpture The sculpture of a gigantic man is made from a complex weave of willow sticks and branches. You can hear footsteps to the southwest. They seem to be getting closer! >l Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >x moon Set into the wall, like a porthole, the lamp behind the glass is lit and glows brightly through the crescent shaped hole left by the half-open shutter. You could probably open and close it if you wanted to. The security guard sighs and wanders southeast. >cose shutter That's not a verb I recognise. >close shutter You close the shutter, eclipsing the moon. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. >l Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel in the shadowed darkness, is a giant man-shaped sculpture made entirely from sticks and branches! It is a moonless night. The moon is eclipsed, and all is in shadow. You can hear footsteps to the southwest. They seem to be getting closer! >z Time passes. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >open shutter You open the shutter halfway, revealing a sliver of moonlight in a crescent. The security guard sighs and wanders southeast. >z Time passes. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. >z Time passes. You can hear footsteps to the southwest. They seem to be getting closer! >z Time passes. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >open shutter You open the shutter, revealing the glory of a full moon! In the distance, suddenly, there is a blood-chilling howl! It reverberates around the studio triumphantly and it seems to be getting closer! Oh no! That doesn't sound good! The security guard gives a shout of terror! "Don't do that," he gasps "you'll get us into all sorts of trouble." He closes the moon so it's only a crescent again. "That was a close one," he continues. "Best not to touch that." There is another, fainter, howl. It trails off in what seems like disappointment. The security guard sighs and wanders southeast. >* hmm That's not a verb I recognise. >s The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You look closely at the buildings, expecting them to just be scenery propped up with beams, but no! They look like real three dimensional houses! That's odd. It's not like Mallet Studios to actually build something. But then, as you look around, some of the doors of the small houses open and, one by one, the villagers come out of them and into the square! They form a small crowd and mutter and whisper to each other, shooting suspicious glances at you. You swear you hear the word "Witch," at least a couple of times. The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. You hear footsteps moving to the south of you. >save Ok. >x sign The sign is painted with the image of a wolf's head on a spike. The name of the pub, under it in red letters is "The Slaughtered Calf" You hear footsteps moving to the west of you. >take sign The sign and its post are sturdily fixed in place. "Witch," shouts one of the villagers at you. The others nod and mutter. You hear footsteps moving to the north of you. >x post The sign is painted with the image of a wolf's head on a spike. The name of the pub, under it in red letters is "The Slaughtered Calf" You hear footsteps moving to the east of you. >l The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the south of you. >x noose The noose, made from thick old rope, hangs threateningly down from one of the tree's lower branches. Its very presence gives you a sense of that terrible deeds have been committed here! You hear footsteps moving to the west of you. >take it The noose is out of reach. You hear footsteps moving to the north of you. >i You are carrying a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. You hear footsteps moving to the east of you. >l The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the south of you. >x villagers Each of the villagers is dressed in what only can be described as some kind of sacking. Their faces are dirty, hair unkempt and when you get glimpses of teeth, they are rotting and brown. All of them are carrying some sort of farming implement. You don't know what any of them are for, but each piece of agricultural hardware has at least one sharp edge on it. Somehow, you get the feeling that they don't trust you. The group of villagers advance towards you, their farming equipment raised! Then they seem to think better of it. You hear footsteps moving to the west of you. >x tree The large gnarled, leafless tree, obviously a well-made prop, dominates the centre of the square. Hanging from one of its lower branches is a noose! You hear footsteps moving to the north of you. >climb tree There are no good footholds on the trunk of the tree. You hear footsteps moving to the east of you. >talk to villagers "What dost thou want, Witch?" says one of the villagers, stepping forward. This must be a head man or mayor or whatever. He's slightly less aromatic than the others and his clothes made from a better cut of sacking. "We shall have no truck with thy evil," he continues. "This is a godly place. We suffer no witches to live here. The noose awaits those with evil intent." (1) - "I'm not a witch." You hear footsteps moving to the south of you. You say >1 "I'm not a witch," you say, defensively. "Hah," replies the villager. "Only a witch would say thus, for is it not written that only the most evil of witches would deny their evil witchery? Witch, I name thee and thrice damn thee to eternal damnation!" He shakes his sharp rake-thing at you, and the villagers edge closer. There's something odd here, though. Something is niggling at you. You take a closer look at the villager's face. Hang on a minute! (1) - "Derek?" You say >1 "Derek," you say. "Is that you?" "Sssh," hisses the villager, sharply, and grabs your arm and leads you out of earshot of the group of villagers. "Don't break my character." Why, it is! It's Derek Paisley. Only last year you had been treading the boards with him in a production of "Mrs Palmer's Pantaloons" at the Old Albert theatre! Derek glances over your shoulder at the villagers. "OK," he says, "we can talk now. How are you, darling? Last time I saw you, we were playing at the Old A. Your Dinkie Bletherly was a triumph!" (1) - "I'm fine! It's great to see you," (2) - "What on earth are you doing here?" You say >1 "I'm doing well," you say. "It's wonderful to see you, Derek." "You too, darling," replies Derek. "Not doing too well myself at the minute. In rather a pickle to tell the truth." (1) - "What on earth are you doing here?" You say >1 "What are you doing here of all places?" you ask. Derek looks uncomfortable. "Embarrassed to say to be honest," he replies. "In somewhat reduced circumstances at the moment. When the play finished I was out of work for a while, ran rather low on the old funds and found myself without a place to rest my head. Answered an ad in the Actor and it turned out Mallet was looking for extras to live-in on set. Free housing, Free food. Have to dress like this, though. Always the danger of...well, never mind that." (1) - "So all these villagers are out of work actors?" You say >1 "So these are all out work actors?" you gasp. "Oh yes," replies Derek. "Plenty of out of work actors about. Much cheaper to house and feed them than pay them, one supposes. It's not all bad though." He shrugs. "One really gets to live the role. A little worried about having to carry a lot of silver about all the time, and the wardrobe rather leaves something to be desired. But I really shouldn't complain. Best foot forward and all that." (1) - "You mentioned danger?" (2) - "Do you know what Mallet is up to?" (3) - "I'm raising an army of the undead." (4) - "Is there anything I can do to help?" (5) - "What's all this nonsense about witches?" (6) - "Goodbye." You say >* extra space before "of silver" You are in the middle of a conversation! You say >1 "You mentioned danger?" you say. "There are trials in every profession, darling," replies Derek, evasively. "We don't like to speak about it to be perfectly honest with you. Not good form so to say." (1) - "Do you know what Mallet is up to?" (2) - "I'm raising an army of the undead." (3) - "Is there anything I can do to help?" (4) - "Goodbye." You say >1 "I know what Mallet is up to," you say. "Did you know?" "Of course, darling," says Derek, looking at you with surprise. "But what's to be done? One can't jeopardise one's career by rocking the boat." (1) - "You mentioned danger?" (2) - "I'm raising an army of the undead." (3) - "Is there anything I can do to help?" (4) - "Goodbye." You say >1 Derek doesn't seem to want to talk about it. (1) - "Do you know what Mallet is up to?" (2) - "I'm raising an army of the undead." (3) - "Is there anything I can do to help?" (4) - "Goodbye." You say >2 "I'm raising an army of the undead to defeat Mallet," you say. "Oh, I say," replies Derek. "Good form. A rather brave although maybe somewhat futile endeavour. I'd heard the undead were tremendous hams when it comes to acting." (1) - "You mentioned danger?" (2) - "Do you know what Mallet is up to?" (3) - "Is there anything I can do to help?" (4) - "Goodbye." You say >3 Is there anything I can do to help?" you ask. "Oh, I don't know," replies Derek. "One has become rather comfortable here. Somewhere to lay my head, I suppose. It is rather a shame about...well. All good things have their trials don't you think?" (1) - "You mentioned danger?" (2) - "Do you know what Mallet is up to?" (3) - "I'm raising an army of the undead." (4) - "Goodbye." You say >4 "Goodbye, then," you say. "So soon?" says Derek. "I really must be off, then." He pats you on the shoulder "Awfully nice to see you again, darling. Must catch my forty winks, what? And don't worry about this rabble. They're all in character, but they won't bother you, really. All show and no action, eh? Such is a thespian's life." He gives you another friendly pat and then turns and disappears into one of the village houses. >l The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! "Witch," shouts one of the villagers at you. The others nod and mutter. You hear footsteps moving to the west of you. >in You can't go that way. You hear footsteps moving to the north of you. >s The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northeast. They seem to be getting closer! >x entry You can't see any such thing. >x cave The foam rocks and thorny branches form an arch that, at least to the camera, looks to lead in to a forbidding cave. It doesn't though. It's just a bit of the wall, painted black. A security guard walks in from the northeast. He gives you a friendly nod. >talk to guard "Come for a pint, have you?" asks the Security Guard. "Can't blame you. I'd kill for one, myself! Got to work right now. No rest for the wicked!" The security guard gives you a friendly wave and saunters northwest. >l The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >x bones The bones are scattered in hideous, blood-stained mounds around the front of the den. You can hear footsteps to the northeast. They seem to be getting closer! >x blood The dark blood is splashed on everything. You hope it's just paint! A security guard walks in from the northeast. He gives you a friendly nod. >take bones It seems like they're just a prop. They're all glued together. The security guard gives you a friendly wave and saunters northwest. >l The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >x body The corpse is real! For a moment, you had hoped it was just a prop. But no! You look closer. You recognise the face! It's Davor! Davor Slyzvak, your friend who had been working on this film. He's been half eaten! You thought you hadn't seen him around because he'd just been busy. Davor has definitely been gnawed on. He's wearing some form of sacking tunic, but it has been shredded from some vicious attack and reduced to strips. Tied around his waist is an open pouch. You see a gleam of silver inside it. You can hear footsteps to the northeast. They seem to be getting closer! >x pouch The pouch is tied around the corpse's waist. You see a gleam of silver inside it. A security guard walks in from the northeast. He gives you a friendly nod. >take it You'd have to touch the half-eaten corpse to do that! You decide against it. The security guard gives you a friendly wave and saunters northwest. >open pouch It's already gaping open. You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >look in pouch The pouch is tied around the corpse's waist. You see a gleam of silver inside it. You can hear footsteps to the northeast. They seem to be getting closer! >take pouch You'd have to touch the half-eaten corpse to do that! You decide against it. A security guard walks in from the northeast. He gives you a friendly nod. >take silver You gingerly reach inside the pouch, trying to avoid all the blood. You grab the silver thing and pull it out. Why's it's a large silver coin. On one side is a badly stamped picture of some sort of queen's head. On the other, it say "One Groat". The security guard gives you a friendly wave and saunters northwest. >nw The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. As you enter, the barman gives you a slow smile. "Welcome to the Slaughtered Calf," he says, his voice a gentle drawl. "Are you wanting to buy a drink?" Wait a minute. You recognise him. It's Bert, the barman who works most evenings at the studio bar! He must be moonlighting here! A rotund, red-faced security guard pokes around the set. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. Hanging on one wall, in pride of place near the fire, is an ancient antique Blunderbuss. Bert spits into the glass he's holding and continues to polish it, holding it up to the light. The security guard gives Bert a friendly wave and saunters northeast. >* lot going on here That's not a verb I recognise. >l The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. Hanging on one wall, in pride of place near the fire, is an ancient antique Blunderbuss. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >x beams The oak beams and plaster walls and ceiling look a thousand years old. You bet they aren't though. They're probably just cleverly painted plywood. Bert pulls a pint and then hands it to a regular. You can hear footsteps to the southeast. They seem to be getting closer! >x blunderbuss The old gun is an ancient thing. At one end, its barrel flares out into a bell. At the other, a simple trigger under an oiled wooden stock. A security guard walks in from the southeast. "Not a bad evening, eh Bert," says the guard, smiling at you. >take it You pick the Blunderbuss up. It's a heavy old thing! "Now you be careful with that," says Bert in his slow drawl. "It's an antique." "Fine weather today," drawls Bert to no-one in particular. The security guard gives Bert a friendly wave and saunters northeast. >x bert Bert is huge! His perpetually smiling face under a shaved head sits atop a well muscled torso wrapped around with a stained apron. It's a surprise he can fit behind the bar. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >talk to bert Bert notices the silver groat in your hand. "You'll be buying a pint, will you?" he says in his big slow voice. "You've got enough." There is a sudden noise outside and all the customers glance fearfully at one another. You can hear footsteps to the southeast. They seem to be getting closer! >save Ok. >buy pint Bert takes the silver groat from you and pockets it. In return, he gives you a foaming pint of beer. You force the pint down. It's warm. You never really drink beer, preferring a crisp glass of white wine perhaps, but beggars can't be choosers. Bert and the rest of the patrons watch you drink the beer as if it's the most fascinating thing they've ever seen. "Hmm," you say. "Very nice. Very...earthy." The locals turn away and shake their heads as if you have failed some kind of test. You hand the empty glass back to Bert and he gives you a handful of small silver coins as change. "You don't want to go out there at night," whispers one of the patrons to you, glancing around. A security guard walks in from the southeast. "You keep one in the pipe for me," says the Guard to Bert, winking at you. >i You are carrying a handful of small silver coins, an ancient antique Blunderbuss, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. "I'll have a pint, Bert," shouts a customer. Bert nods slowly. The security guard gives Bert a friendly wave and saunters northeast. >x coins The small silver coins are of all denominations. They're all stamped on the back with a tiny queen's head. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >l The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. The regulars laugh nastily to one another and glance at you. You can hear footsteps to the southeast. They seem to be getting closer! >put coins in blunderbuss You put the coins into the bell end of the Blunderbuss. They rattle and jingle all down the barrel. You tap the butt end of the gun on the floor so they will settle firmly in. A security guard walks in from the southeast. "Not a bad evening, eh Bert," says the guard, smiling at you. >x regulars The regulars sit in small surly groups at the worn tables, nursing pints of beer and desultorily playing cards or chess. They occasionally glance at you and mutter amongst themselves. Bert spits into the glass he's holding and continues to polish it, holding it up to the light. The security guard gives Bert a friendly wave and saunters northeast. >talk to regulars "We were having a quiet pint," says a customer. "We want no trouble here." One of the regulars moves a chess piece. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >talk to bert Bert smiles at you. "Afraid we don't take credit cards here," he says. "Doesn't look like you have enough money for a pint." "You don't want to go out there at night," whispers one of the patrons to you, glancing around. You can hear footsteps to the southeast. They seem to be getting closer! >l The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. A security guard walks in from the southeast. "You keep one in the pipe for me," says the Guard to Bert, winking at you. >x fire The fire roars merrily in the fireplace, filling the room with smoke "Nothing better than a fire on a cold night, eh?" says one of the locals. "Makes you feel safe from...." He doesn't get chance to finish. One of the other patrons hushes him sharply. One of the regulars moves a chess piece. The security guard gives Bert a friendly wave and saunters northeast. >cast summon You go through the incantation, but the summon spell does nothing. There seems to be something missing. "A bit late to be walking out there, isn't it," says Bert to you. "Be careful." You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >l The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. Bert spits into the glass he's holding and continues to polish it, holding it up to the light. You can hear footsteps to the southeast. They seem to be getting closer! >x star The five pointed star, no, the pentagram, has been crudely scratched into the plaster of the wall. One of the locals sees you looking at it. "Never mind that, you," he says, sharply. "That's not for outsiders." "A bit late to be walking out there, isn't it," says Bert to you. "Be careful." A security guard walks in from the southeast. "Not a bad evening, eh Bert," says the guard, smiling at you. >e "Now you have a good day," calls Bert in his gentle drawl. "We'll see you next time." The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the north of you. >s The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northeast. They seem to be getting closer! >u Balcony Halfway up the studio wall, the staircase from below ends at a little platform, bounded by an iron railing. On the southern wall is a closed door. >x door The door, set into the wall of the studio, is closed. >x railoing You can't see any such thing. >x railing The railing surrounds the platform at the top of the stairs. Presumably to stop anyone falling off. >open door You open the Apartment door. >s Comfortable Apartment The door opens up into a very nice little apartment! The curtains are drawn for the night and the room is lit by a standard lamp in the corner, which casts its gentle glow over the comfortable furnishings. A young woman sits, legs curled up, on the sofa. The young woman starts with surprise when you enter the room. "Who the hell are you?" she snaps. "You can't just go wandering into people's homes at night." (1) - "I'm really sorry! I didn't know this was an apartment." (2) - "Never mind who I am, who are you?" You say >1 "I'm sorry," you say, "I didn't know this was an apartment." The young woman does not appear mollified. "Well you should leave, then. This is my home. It's private. I should be able to leave my door unlocked and not have to worry about strangers coming and going." She jumps up from the sofa and begins herding you towards the door. (1) - "Who are you?" You say >1 "Who are you," you ask. "I didn't know anyone lived in the Studios." "Never you mind," snaps the young woman. "You just get the hell out of here and stop thinking you can invade people's privacy willy nilly." She continues to herd you out of her flat and towards the door. (1) - "At least tell me why you're living above the studios." You say >1 "At least tell me why you're living above the studios," you say, as nicely as you can. The young woman narrows her eyes. "I...help out. With the films," she says. Then, grudgingly. "I'm Annie. Now, get out and don't bother me again. It's late. I'm tired. Knock, next time. Not that I'll be answering tonight. Goodnight!" (1) - "Goodnight." You say >1 Annie finally hustles you out of the door. Balcony Halfway up the studio wall, the staircase from below ends at a little platform, bounded by an iron railing. On the southern wall is an open door. "Now stop walking into people's homes. It's not cool." says Annie, severely. She slams the apartment door and you hear the click of the lock. >d The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. A rotund, red-faced security guard pokes around the set. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! The security guard gives you a friendly wave and saunters northwest. >n The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the north of you. >save Ok. >open shutter You can't see any such thing. >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. A security guard walks in from the northwest. He gives you a genial smile. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the south of you. >n Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. You can hear footsteps to the southwest. They seem to be getting closer! >z Time passes. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >z Time passes. The security guard sighs and wanders southeast. >z Time passes. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. >open shutter You open the shutter, revealing the glory of a full moon! In the distance, suddenly, there is a blood-chilling howl! It reverberates around the studio triumphantly and it seems to be getting closer! Oh no! That doesn't sound good! All at once, a security guard runs onto the set. "Don't do that," he gasps, panting and out of breath, "you'll get us into all sorts of trouble." He closes the moon so it's only a crescent again. "That was a close one," he continues. "Best not to touch that." There is another, fainter, howl. It trails off in what seems like disappointment. The security guard sighs and wanders southeast. >se Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. A rotund, red-faced security guard pokes around the set. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. The security guard waves to you and saunters off to the southwest. >i You are carrying an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >sw The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >take corpse It's far too heavy and gruesome! You decide to leave it alone. You can hear footsteps to the northeast. They seem to be getting closer! >n The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! You hear footsteps moving to the south of you. >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >enter cage It's a bit too small and it doesn't look like it would hold your weight. You can hear footsteps to the northwest. They seem to be getting closer! >nw Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. A rotund, red-faced security guard pokes around the set. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. The security guard sighs and wanders southeast. >sw The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. "Good evening to you," says Bert, smiling gently. "You after buying a drink?" "Fine weather today," drawls Bert to no-one in particular. You can hear footsteps to the southeast. They seem to be getting closer! >talk to bert Bert smiles at you. "Afraid we don't take credit cards here," he says. "Doesn't look like you have enough money for a pint." "I ought to be getting home," says one of the regulars, settling back more comfortably in her seat. A security guard walks in from the southeast. "Now then, Bert," he says, winking at you. "How are you?" >e "Now you have a good day," calls Bert in his gentle drawl. "We'll see you next time." The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The villagers wave their farming implements at you, threateningly. You hear footsteps moving to the north of you. >talk to villagers Now Derek has gone, none of the villagers seem interested in breaking character and talking to you. They just look at you suspiciously and wave their farm implements. The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. You hear footsteps moving to the east of you. >save Ok. >n Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. >push sculpture The willow is tightly woven and very sturdy. You can hear footsteps to the southwest. They seem to be getting closer! >shoot sculpture You pull the trigger. It just gives a faint click. Of course it does - it's just an antique - it's obviously not got any gunpowder in it. A security guard walks in from the southwest. He grins at you and gives you a friendly nod. >i You are carrying an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The security guard sighs and wanders southeast. >* darn That's not a verb I recognise. >s The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! "Get thee hence," yells one of the villagers. You hear footsteps moving to the south of you. >s The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. A rotund, red-faced security guard pokes around the set. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! The security guard gives you a friendly wave and saunters northwest. >u Balcony Halfway up the studio wall, the staircase from below ends at a little platform, bounded by an iron railing. On the southern wall is a closed door. >knock on door You rap your knuckles on the door. No-one answers. >s (first opening the Apartment door) It seems to be locked. >d The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. A rotund, red-faced security guard pokes around the set. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! The security guard gives you a friendly wave and saunters northwest. >nw The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. A rotund, red-faced security guard pokes around the set. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. "Good evening to you," says Bert, smiling gently. "You after buying a drink?" The security guard gives Bert a friendly wave and saunters northeast. >e "Now you have a good day," calls Bert in his gentle drawl. "We'll see you next time." The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! "Witch," shouts one of the villagers at you. The others nod and mutter. You hear footsteps moving to the east of you. >* maybe we need to come back? Areas have been self-contained so far but that might not be the pattern That's not a verb I recognise. >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. A rotund, red-faced security guard pokes around the set. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. The security guard waves to you and saunters off to the southwest. >e Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. > I beg your pardon? >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess wanders over to you when you enter the lot. "Nice work," she says, gesturing with one thumb at the zombies. "Me and Chloe are getting on well at least. And the rest of them, despite the lack of speed or any independent thought, will be great cannon fodder." The Countess grins at you. "Now get out there and find us more undead recruits!" The vampire thralls mutter to one another. "We should be getting out of here," says one. >talk to guard "Yes?" snaps the Security Guard. You think for a moment. It's difficult making small talk with a zombie. Especially when it's your fault they're in that condition. (1) - "Are you getting used to being a zombie?" (2) - "How are you getting on with the other zombies?" (3) - "Goodbye" You say >2 "How are you getting on with the others," you ask, "making any friends?" "Well," says the Guard, rolling her eyes, "they're not great company, you know. Their conversation is rather limited. Fortunately, me and Charlotte seem to have a few things in common, so it's not a complete loss." She looks over at the Countess and waves. The Countess smiles and waves back. (1) - "Are you getting used to being a zombie?" (2) - "Goodbye" You say >1 "Are you getting used to...your condition," you ask. "Oh, thank you for asking," says the Guard, her voice dripping with sarcasm. "Still dead. Still not loving it." (1) - "How are you getting on with the other zombies?" (2) - "Goodbye" You say >2 The Security Guard turns away and resumes her shambling. >talk to charlotte "Oh, you again," says the Countess, with a dismissive flick of her head. (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me more about the other Undead." (4) - "Tell me about yourselves." (5) - "Remind me how to get into the other studios." (6) - "Goodbye." You say >3 "Well, there's a lot of us about, you know. Mallet's been capturing all sorts over the last five years and using them in his films. Very cost effective. If you can free them, then there's a good chance that we can create an Undead Army and defeat the Cult. Remember to protect yourself before you free them. We undead can be a little..... cranky." (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me about yourselves." (4) - "Remind me how to get into the other studios." (5) - "Goodbye." You say >5 The Countess turns away from you. >w (first opening Studio 4 door) Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. On one of the trestles is a coiled up length of cord. You can hear footsteps to the south. They seem to be slowly receding into the distance. >save Ok. >x plywood The pieces of plywood are all sorts of shapes and sizes. >x foam You don't think you've seen this foam in its natural state before! Usually, when you get to see it, it's already been carved into some form of scenery. >x paint Stacked up in the corners, the paints seems to be all colours of the rainbow, although it's hard to tell in this dim light. You can hear footsteps to the west. They seem to be getting closer! You are in a perilous situation! >hidee That's not a verb I recognise. >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the west. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >* pronoun mismatch That's not a verb I recognise. >x trestle You're not very handy yourself, but you reckon these must be for sawing things on. Or hammering nails in. Or something. On the wooden trestle is a coil of cord. The security guard closes her book and saunters out through the south door. You come out of hiding. >undo Studio Workshop [Previous turn undone.] >x book (the evil book of black magic) You cautiously open the cover of the book. The pages inside are yellowed and ancient and marked with mould. It seems to be a book of black magic! According to the title page, the book is called "Malleus Malum Habentis Mortem" - whatever that means. You can't understand most of it, and much of it is so faded and stained that you can't read it, but flicking through, there are a few pages you can make out. One page is titled "Summon," another "Raise Dead" and a third is "Banish". You could probably READ each of these pages. Read Summon, for example. The security guard closes her book and saunters out through the south door. You come out of hiding. >undo Studio Workshop [Previous turn undone.] >x guard's book You can't make out the title from here, bur the cover is pretty lurid. The security guard closes her book and saunters out through the south door. You come out of hiding. >x bord You can't see any such thing. >oops cord It looks like electric cabling. On both ends of the long piece of cord is some sort of metal clip. You imagine that you could attach the cord to something. If you could find something to attach it to. You can hear footsteps to the south. They seem to be slowly receding into the distance. >take cord Taken. >l Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >s The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. There's something in the center of the slab. You can't work out what it is at first, but then you realize. The shapeless mass is a human torso with no limbs or head! You turn away in horror! Surely it's just a prop, but it's so realistic looking! >x slab The waist high sturdy slab, angled slightly and supported by an iron plinth, seems to be stained and rusted with age. One end, the end that is highest, has a sort of metal helmet welded to it, to the top of which is fixed a round metal ring. At the bottom end of the slab is attached a brass handle. In its centre, lies a human torso! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >save Ok. >z Time passes. A security guard walks in through the door to the north. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >take book (the guard's book) Your movement attracts the attention of the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. You can't reach into The Laboratory of Dr Von Hummels. The Countess sighs heavily. >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the south. They seem to be slowly receding into the distance. >x sla You can't see any such thing. >x slab The waist high sturdy slab, angled slightly and supported by an iron plinth, seems to be stained and rusted with age. One end, the end that is highest, has a sort of metal helmet welded to it, to the top of which is fixed a round metal ring. At the bottom end of the slab is attached a brass handle. In its centre, lies a human torso! >x helmet More of a skull cap, really, with holes in it. To be honest it looks like someone in props has taken a metal colander and re-imagined it. Attached to the top of the helmet is a round metal ring. >wear it (first taking the metal helmet) It's firmly welded to the slab. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >x ring The ring is welded to the top of the helmet. The security guard closes her book and wanders out through the south door. You come out of hiding. >take ring It's firmly welded to the helmet. You can hear footsteps to the south. They seem to be slowly receding into the distance. >attach cord to helmet The clip on the end of the cord doesn't seem to fit on that. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! >x beakers The complicated mess of glass pipes, flasks, bottles, beakers and tubes contain colored liquids that give off a terrible chemical smell. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >x handle The brass handle, attached to the end of the slab, is connected to a thick cable that runs into the floor. The security guard closes her book and wanders out through the south door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the south. They seem to be slowly receding into the distance. >push handle You pull on the handle. Nothing obvious happens. >x cable (the coil of cord) It looks like electric cabling. On both ends of the long piece of cord is some sort of metal clip. You imagine that you could attach the cord to something. If you could find something to attach it to. >x thick The thick cable is attached to the handle and disappears into the floor. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard flicks her torch around the set in a half hearted fashion. Then, with a guilty glance around, she lies on the gurney and puts her feet up! She opens her book and starts to read, chuckling to herself every now and again. Oh no! You hope she's not going to be here for long! The fate of the world is at stake! She sighs heavily and turns the page over. >push gurney You leap out from the shadows and before the Guard knows what's happening you push on the end of the gurney and it slides smoothly into the oven with the Guard still on it! "Hey" she shouts, in a muffled voice, "what's going on?" >x over You can't see any such thing. >oops oven You don't have time! The Guard grabs the edge of the oven door and pulls the gurney out into the room. "Whoah," she says, "that was a trip." She jumps off the trolley. "That was not cool!" she continues, "you shouldn't be in here and you definitely shouldn't be doing stuff like that." She grabs your arm and before you know it, despite your struggles, you're outside the Studio once again. "Now come on, cut me some slack," grins the guard with a shake of her head, and disappears back into the Studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. Inside the open metal door, the cremation oven is just a rectangular box, with holes in the floor and sides. The interior is slightly charred and blackened with who knows what! Next to the oven door is a large green button. A metal gurney extends from the oven into the room. >undo Crematorium [Previous turn undone.] >* hmm, did the crematorium overn come with me out to the parking lot? You seem to want to talk to someone, but I can't see whom. >push button You don't have time! The Guard grabs the edge of the oven door and pulls the gurney out into the room. "Whoah," she says, "that was a trip." She jumps off the trolley. "That was not cool!" she continues, "you shouldn't be in here and you definitely shouldn't be doing stuff like that." She grabs your arm and before you know it, despite your struggles, you're outside the Studio once again. "Now come on, cut me some slack," grins the guard with a shake of her head, and disappears back into the Studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. You can't reach into Crematorium. >undo Crematorium [Previous turn undone.] >undo Crematorium [Previous turn undone.] >l You don't have time! The Guard grabs the edge of the oven door and pulls the gurney out into the room. "Whoah," she says, "that was a trip." She jumps off the trolley. "That was not cool!" she continues, "you shouldn't be in here and you definitely shouldn't be doing stuff like that." She grabs your arm and before you know it, despite your struggles, you're outside the Studio once again. "Now come on, cut me some slack," grins the guard with a shake of her head, and disappears back into the Studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. Crematorium A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Crematorium [Previous turn undone.] >undo Crematorium [Previous turn undone.] >l Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. A slim young security guard saunters around the set. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. The security guard closes her book with a sigh, gets off the gurney, and ambles out through the west door. You come out of hiding. >x oven Inside the open metal door, the cremation oven is just a rectangular box, with holes in the floor and sides. The interior is slightly charred and blackened with who knows what! Next to the oven door is a large green button. A metal gurney extends from the oven into the room. You can hear footsteps to the west. They seem to be slowly receding into the distance. >x button The big button must be what makes the cremation oven cremate. >push button The button clicks as you press it, but nothing else happens. >push gurney You push on the gurney, and it smoothly slides into the cremation oven. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard flicks her torch around the set in a half hearted fashion. Then, with a guilty glance around, she pulls the gurney out of the cremation oven, lies on it and puts her feet up! She opens her book and starts to read, chuckling to herself every now and again. Oh no! You hope she's not going to be here for long! The fate of the world is at stake! She flicks over a page. >z Time passes. The security guard closes her book with a sigh, gets off the gurney, and ambles out through the west door. You come out of hiding. >x oven Inside the open metal door, the cremation oven is just a rectangular box, with holes in the floor and sides. The interior is slightly charred and blackened with who knows what! Next to the oven door is a large green button. A metal gurney extends from the oven into the room. You can hear footsteps to the west. They seem to be slowly receding into the distance. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! >x torso The limbless, headless torso is so realistic! There's even a tattoo of a bird on its shoulder. A bit like the one your actor friend, Jimmy McLart, has! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >take torso The torso is much too bulky to carry around. You can hear footsteps to the south. They seem to be slowly receding into the distance. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the west. They seem to be slowly receding into the distance. >push gurney north The metal gurney cannot be pushed from place to place. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >x dome The roof curves up from the catwalk into a dome. Atop it is a huge metal spike. >x spike The spike is attached to the centre of the dome. A copper band runs from it down the side of the roof to just above the walkway. At the bottom end of the copper band is a round metal ring. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >l The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. A slim young security guard saunters around the set. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. The security guard shuts her book and saunters out through the north door. You come out of hiding. >x guard You can't see any such thing. >x gargoyles You know they're made out of painted foam, but they're pretty good. They actually look....forbidding and slightly evil. Someone in the set design department has a talent for this sort of thing. You can hear footsteps to the north. They seem to be slowly receding into the distance. >x wheel The wheel is set into the floor. It definitely looks like it could be turned by hand. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >attach cord to spike The clip on the end of the cord doesn't seem to fit on that. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >x handle The brass handle, poking out of the set wall, is connected to a thick cable that runs into the floor. You can hear footsteps to the north. They seem to be slowly receding into the distance. >pull handle You pull the handle and, suddenly, impressive bolts of lightning shoot down from the ceiling, into the metal spike and down the copper band on the dome. Wow! You can't help but be impressed by the special effects. You bet they look good on screen! >x band The copper band runs from the bottom of the metal spike and down the dome to just above the walkway. At the bottom end of it is a round metal ring. >x ring The ring is welded to the bottom of the copper band. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >attach cord to ring You clip one end of the cord onto the metal ring. You can hear footsteps to the north. They seem to be slowly receding into the distance. >e The cord trails behind you, the coils getting smaller in your hands. Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. An electric cord stretches back through the doorway to the west. You are carrying the rest of the coil. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >push button The button clicks as you press it, but nothing else happens. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard flicks her torch around the set in a half hearted fashion. Then, with a guilty glance around, she lies on the gurney and puts her feet up! She opens her book and starts to read, chuckling to herself every now and again. Oh no! You hope she's not going to be here for long! The fate of the world is at stake! She flicks over a page. >z Time passes. The security guard closes her book with a sigh, gets off the gurney, and ambles out through the west door. You come out of hiding. >n The cord trails behind you, the coils getting smaller in your hands. The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. In the center of the slab is a limbless, headless human torso! >attach cord to ring You clip the end of the cord onto the metal ring. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. An electric cord stretches across the room, running through the north and west doorways. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the east. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. An electric cord stretches across the room, running through the north and west doorways. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the south. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the south. They seem to be slowly receding into the distance. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. An electric cord stretches across the room, running through the north and west doorways. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the west. They seem to be slowly receding into the distance. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the east. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. You can hear footsteps to the north. They seem to be slowly receding into the distance. >pull handle You pull on the handle. Nothing obvious happens. >g You pull on the handle. Nothing obvious happens. >g You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. You recognise this set very well! It was in your movie too! This is where you met with the distraught villager who had escaped from the Count's clutches and was usefully able to fill you in on the location of his secret lair. Very cost effective to re-use sets you suppose. It would be interesting to know if the audience even notice. A slim young security guard saunters around the set. Next to the river is a conveniently placed mossy log. As soon as you enter the room, you see the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Castle Rooftop [Previous turn undone.] >z Time passes. You can hear footsteps to the north. They seem to be slowly receding into the distance. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. You recognise this set very well! It was in your movie too! This is where you met with the distraught villager who had escaped from the Count's clutches and was usefully able to fill you in on the location of his secret lair. Very cost effective to re-use sets you suppose. It would be interesting to know if the audience even notice. Next to the river is a conveniently placed mossy log. You can hear footsteps to the north. They seem to be slowly receding into the distance. >x floor It's the same type of plastic grass your friend Cicily uses so she has a low maintenance garden. >x river The channel in the floor, edges raised a little, is made from blue rubber. It doesn't take much water and, with the right lighting and someone paddling at one end with a board, this would look almost but not quite entirely unlike a real river. >l Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. Next to the river is a conveniently placed mossy log. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >x logg You can't see any such thing. >x log The log is made from some sort of heavy foam and painted brown and green. It was on this very log your character, the Professor, encountered the unnamed female villager, exhausted and injured during her escape from the Count's lair. The security guard closes her book and saunters out through the north door. You come out of hiding. >take log The log must be attached to the floor in some way. It won't budge. You can hear footsteps to the north. They seem to be slowly receding into the distance. >push log The log must be attached to the floor in some way. It won't budge. >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. You'd been on set when they filmed this scene, invited by Jimmy McLart, your actor friend who was playing Duke, the handsome lead. It had been his big scene with the mad scientist. "This is madness, Dr Von Hummels," Duke had shouted while Von Hummels threw switches and twirled dials. "You are dabbling with the natural laws of Gods and men!" A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >x valves The valves look suspiciously like the bottoms of plastic soda bottles. >x handle The brass handle, poking out of the machinery, is connected to a thick cable that runs into the floor. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She chuckles under her breath at something she's reading. >z Time passes. The security guard closes her book and saunters out through the east door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be slowly receding into the distance. >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >x board The control board seems to be made from steel and is covered with all sorts of big switches and levers and lights. They're all probably just props though, and won't do anything. Attached to the side of the control board is a round metal ring. >x ring The ring is welded to the side of the control board You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >n You can't go that way. A security guard walks in through the door to the south. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Evil Machinery of Dr Von Hummels [Previous turn undone.] >e Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. You can hear footsteps to the west. They seem to be getting closer! You are in a perilous situation! >s The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the south. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. Next to the river is a conveniently placed mossy log. >push handle You can't see any such thing. >hide You back into the darker shadows of the set as the footsteps tap ever closer. >z Time passes. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >push log Your movement attracts the attention of the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. You can't reach into Glade in the Forest. >undo Glade in the Forest [Previous turn undone.] >z Time passes. The security guard closes her book and saunters out through the north door. You come out of hiding. >i You are carrying an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You can hear footsteps to the north. They seem to be slowly receding into the distance. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the east. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >push handle You pull on the handle. Nothing obvious happens. A security guard walks in through the door to the east. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Castle Rooftop [Previous turn undone.] >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. A slim young security guard saunters around the set. An electric cord stretches across the room, running through the north and west doorways. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. As soon as you enter the room, you see the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Castle Rooftop [Previous turn undone.] >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. Next to the river is a conveniently placed mossy log. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >e Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. You can hear footsteps to the west. They seem to be getting closer! You are in a perilous situation! >s The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the south. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hike That's not a verb I recognise. >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >take cord You unclip the end of the cord from the metal ring. You can hear footsteps to the south. They seem to be slowly receding into the distance. >n You pull up short. Something is holding you back! The coil of electric cord you're holding just isn't long enough. >w You pull up short. Something is holding you back! The coil of electric cord you're holding just isn't long enough. >s You wind the cord in as you walk. Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. An electric cord stretches back through the doorway to the west. You are carrying the rest of the coil. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >w You wind the cord in as you walk. The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome is one end of a long cord. You are carrying the rest of the coil. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >n The cord trails behind you, the coils getting smaller in your hands. Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. Next to the river is a conveniently placed mossy log. >n The cord trails behind you, the coils getting smaller in your hands. The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >tie cord to ring You clip the end of the cord onto the metal ring. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She flicks over a page. >z Time passes. The security guard closes her book and saunters out through the east door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be slowly receding into the distance. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. A security guard walks in through the door to the east. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >undo Glade in the Forest [Previous turn undone.] >e The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the south. They seem to be slowly receding into the distance. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the west. They seem to be slowly receding into the distance. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. You can hear footsteps to the north. They seem to be slowly receding into the distance. >pull handle You pull on the handle. Nothing obvious happens. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard flicks her torch around the set in a half hearted fashion. Then, with a guilty glance around, she lies on the gurney and puts her feet up! She opens her book and starts to read, chuckling to herself every now and again. Oh no! You hope she's not going to be here for long! The fate of the world is at stake! She sighs heavily and turns the page over. >z Time passes. The security guard closes her book with a sigh, gets off the gurney, and ambles out through the west door. You come out of hiding. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! >pull handle You pull on the handle. Nothing obvious happens. >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. A security guard walks in through the door to the west. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. You can hear footsteps to the north. They seem to be slowly receding into the distance. >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. You can hear footsteps to the east. They seem to be slowly receding into the distance. >pull handle You pull on the handle. Nothing obvious happens. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >z Time passes. The security guard closes her book and saunters out through the north door. You come out of hiding. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >hide handle I only understood you as far as wanting to hide. >pull handle You pull on the handle. Nothing obvious happens. >x dome The roof curves up from the catwalk into a dome. Atop it is a huge metal spike. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >z Time passes. You can hear footsteps to the north. They seem to be slowly receding into the distance. >z Time passes. >z Time passes. >z Time passes. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. A slim young security guard saunters around the set. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. As soon as you enter the room, you see the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Castle Rooftop [Previous turn undone.] >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >x gurney It's a flat topped metal trolley, about long enough for a person. It's attached to the oven by metal rods. It looks like you could push it and it would go into the oven, or pull it out again. >pull gurney The gurney won't go any further out of the oven. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard flicks her torch around the set in a half hearted fashion. Then, with a guilty glance around, she lies on the gurney and puts her feet up! She opens her book and starts to read, chuckling to herself every now and again. Oh no! You hope she's not going to be here for long! The fate of the world is at stake! She flicks over a page. >z Time passes. The security guard closes her book with a sigh, gets off the gurney, and ambles out through the west door. You come out of hiding. >push buyyon You can't see any such thing. >oops button The button clicks as you press it, but nothing else happens. You can hear footsteps to the west. They seem to be slowly receding into the distance. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! >x torso The limbless, headless torso is so realistic! There's even a tattoo of a bird on its shoulder. A bit like the one your actor friend, Jimmy McLart, has! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >wear helmet (first taking the metal helmet) It's firmly welded to the slab. You can hear footsteps to the south. They seem to be slowly receding into the distance. >get on slab You get onto the metallic slab. >wear helmet (first taking the metal helmet) It's firmly welded to the slab. >up (first getting off the metallic slab) You can't go that way. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >x guard The guard is a youngish, slim and academic looking woman in a red uniform. She has her nose in the pages of a book as she wanders around the set. You notice a squarish bulge in her back pocket. As you look, she pats it protectively as if to check it's still there. The security guard closes her book and wanders out through the south door. You come out of hiding. >x bulge You can't see any such thing. >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >x bulge You can't see any such thing. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the south. They seem to be slowly receding into the distance. >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >z Time passes. You can hear footsteps to the south. They seem to be slowly receding into the distance. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. In the center of the slab is a limbless, headless human torso! >pull handle You pull on the handle. Nothing obvious happens. >x handle The brass handle, attached to the end of the slab, is connected to a thick cable that runs into the floor. You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >x bulge There's definitely something squarish in her pocket. As you look, she pats it protectively as if to check it's still there. The security guard closes her book and wanders out through the south door. You come out of hiding. >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >w The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She chuckles under her breath at something she's reading. >z Time passes. The security guard closes her book and saunters out through the east door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be slowly receding into the distance. >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >pull handle You pull on the handle. Nothing obvious happens. >x handle The brass handle, poking out of the machinery, is connected to a thick cable that runs into the floor. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She sighs heavily and turns the page over. >x cable The thick cable is attached to the handle and disappears into the floor. The security guard closes her book and saunters out through the east door. You come out of hiding. >pull cable The strong cable resists your efforts entirely! You can hear footsteps to the east. They seem to be slowly receding into the distance. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. >x channel The channel in the floor, edges raised a little, is made from blue rubber. It doesn't take much water and, with the right lighting and someone paddling at one end with a board, this would look almost but not quite entirely unlike a real river. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >z Time passes. The security guard closes her book and saunters out through the north door. You come out of hiding. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >pull handle You pull on the handle. Nothing obvious happens. >g You pull on the handle. Nothing obvious happens. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. You can hear footsteps to the north. They seem to be slowly receding into the distance. >pull handle You pull the handle and, suddenly, impressive bolts of lightning shoot down from the ceiling and into the metal spike. Wow! You can't help but be impressed by the special effects. You bet they look good on screen! The electricity sparks down the copper band on the dome and into the electric cabling stretching out of the room. You're glad you weren't holding that when you pulled the handle. That would have been instant death! You have survived a perilous situation! >* there we go That's not a verb I recognise. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >x board The control board seems to be made from steel and is covered with all sorts of big switches and levers and lights. They're all probably just props though, and won't do anything. Attached to the side of the control board is a round metal ring. >pull levers It's all just props. They don't actually do anything. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She flicks over a page. >z Time passes. The security guard closes her book and saunters out through the east door. You come out of hiding. >take cord You unclip the end of the cord from the metal ring. You can hear footsteps to the east. They seem to be slowly receding into the distance. >s You wind the cord in as you walk. Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. Next to the river is a conveniently placed mossy log. >e The cord trails behind you, the coils getting smaller in your hands. The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. An electric cord stretches back through the doorway to the west. You are carrying the rest of the coil. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the south. They seem to be slowly receding into the distance. >attach cord to ring You clip the end of the cord onto the metal ring. >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. A slim young security guard saunters around the set. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. As soon as you enter the room, you see the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. "Hurry," says the countess, impatiently. "It won't be long before we'll be in real trouble." >undo The Laboratory of Dr Von Hummels [Previous turn undone.] >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >pull handle You pull the handle and, suddenly, impressive bolts of lightning shoot down from the ceiling and into the metal spike. Wow! You can't help but be impressed by the special effects. You bet they look good on screen! The electricity sparks down the copper band on the dome and into the electric cabling stretching out of the room. You can hear footsteps to the east. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the east. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She flicks over a page. >z Time passes. The security guard shuts her book and saunters out through the north door. You come out of hiding. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >wait Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >pull handle You pull on the handle. Nothing obvious happens. You can hear footsteps to the south. They seem to be slowly receding into the distance. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. You can hear footsteps to the west. They seem to be slowly receding into the distance. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. You can hear footsteps to the north. They seem to be slowly receding into the distance. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >e The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. A slim young security guard saunters around the set. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! As soon as you enter the room, you see the security guard. She sees you immediately. "Whoah," she says. "You shouldn't be in here, friend!" She sighs, closes her book, and grabs you by the arm. "Let's go. I can't have people in here at night. I'll get fired!" You struggle feebly, but it's no use - she's stronger than she looks. The Guard shuffles you outside the studio. "Wow," she grins. "You actors are killing me." She gives you a big thumbs up before disappearing back into the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Glade in the Forest [Previous turn undone.] >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >e Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >s The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! >pull handle You pull the handle and suddenly the large slab in the centre of the room begins to crackle and spit out sparks of pure electricity! The torso on the slab is lit up with crawling blue veins of force. It twitches and jerks with the terrible power running through it. After a moment, the power seems to run out and all is still. >x torso The limbless, headless torso is so realistic! There's even a tattoo of a bird on its shoulder. A bit like the one your actor friend, Jimmy McLart, has! You can hear footsteps to the north. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the north. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She sighs heavily and turns the page over. >z Time passes. The security guard closes her book and wanders out through the south door. You come out of hiding. >take cord You unclip the end of the cord from the metal ring. You can hear footsteps to the south. They seem to be slowly receding into the distance. >n You pull up short. Something is holding you back! The coil of electric cord you're holding just isn't long enough. >w You wind the cord in as you walk. Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. A slim young security guard saunters around the set. Next to the river is a conveniently placed mossy log. >hide There's nothing you really need to hide from. You can hear footsteps to the north. They seem to be slowly receding into the distance. >n The cord trails behind you, the coils getting smaller in your hands. The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. You can hear footsteps to the east. They seem to be slowly receding into the distance. >attach cord to ring You clip the end of the cord onto the metal ring. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set, playing it into the shadows. Fortunately, it looks like her mind is only half on his job as she's not really looking. She's got her nose in a book! She chuckles under her breath at something she's reading. >z Time passes. The security guard closes her book and saunters out through the north door. You come out of hiding. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >pull handle The evil machinery of Dr Von Hummels lives! When you pull the handle, there is a crackle of energy and steel-blue sparks through the steel control panel and, with a great scream of tortured gears, the plywood cogs and wheels of the terrible engine burst into ponderous life! They turn for a few moments, looking extremely impressive, and then grind to a halt once more. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >undo The Evil Machinery of Dr Von Hummels [Previous turn undone.] >z Time passes. You can hear footsteps to the south. They seem to be getting closer! You are in a perilous situation! >hide You back into the darker shadows of the set as the footsteps tap ever closer. A security guard walks in through the door to the south. The Guard shines her torch around the set quickly then leans up against the steel control panel. She opens her book and starts to read, smiling to herself every now and again. How long is she going to be here! The clock is ticking! She sighs heavily and turns the page over. >pull handle With your heart in your mouth, you pull the handle. Even though you try and do it surreptitiously, the guard notices you immediately. "You..." she begins but you will never know what she is going to say next as suddenly, against a background of the moving evil machinery, a billion volts of electricity shoot through the steel of the control panel and into the poor guard's body! She is engulfed in dancing electric sparks and flashes which burn her book to ash and turn her almost instantly into a terrible charred skeleton! Her remains fall in the floor in an untidy heap and something metallic skitters away from her and across the floor, coming to a rest in the corner of the room. You have survived a perilous situation! >* eek That's not a verb I recognise. >* Coulda sworn the crematorium would do it, but guess this is a good bait-and-switch! You seem to want to talk to someone, but I can't see whom. >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. In the corner of the room is a small metallic looking box. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >x remains Such horror! You don't even want to look. The bones of the poor security guard are still smoking slightly. You can't help but feel a little guilty. >x box You'd have to take it to get a closer look. >take box You grab the metallic box. Why, it's a little music box with a small wind-up handle on the side! >open box It isn't something you can open. >turn handle (the music box handle) The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. >g (the music box handle) The music box is already playing. The plunking sounds from the plinky little music box fills the air. >z Time passes. You can't help but hum along to the little tune coming out of the music box. >z Time passes. The little music box is still playing a tinkly little tune. >z Time passes. The music box finishes its tune and the tinny music stops. >z Time passes. >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >save Ok. >take remains The still smoking pile of bones is too horrific to even look at, let alone touch! >score You're still in one piece. That's a good start. You are building an undead army! So far, it consists of, a horde of shambling zombies led by an understandably annoyed Security Guard, the Count, the Countess and their bloodthirsty vampire thralls. You have survived eleven perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >x book You cautiously open the cover of the book. The pages inside are yellowed and ancient and marked with mould. It seems to be a book of black magic! According to the title page, the book is called "Malleus Malum Habentis Mortem" - whatever that means. You can't understand most of it, and much of it is so faded and stained that you can't read it, but flicking through, there are a few pages you can make out. One page is titled "Summon," another "Raise Dead" and a third is "Banish". You could probably READ each of these pages. Read Summon, for example. >l The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >take ring It's firmly attached to the control board. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the north and south doorways. Next to the river is a conveniently placed mossy log. >n The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. Attached to a metal ring on the control board is one end of a long cord which stretches through the doorway to the south. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >take cord You unclip the end of the cord from the metal ring. >s You wind the cord in as you walk. Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches back through the doorway to the south. You are carrying the rest of the coil. Next to the river is a conveniently placed mossy log. >e The cord trails behind you, the coils getting smaller in your hands. The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. An electric cord stretches back through the doorway to the west. You are carrying the rest of the coil. In the center of the slab is a limbless, headless human torso! >attach cord to ring You clip the end of the cord onto the metal ring. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >w The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! >pull handle (the brass handle) You pull the handle and suddenly the large slab in the centre of the room begins to crackle and spit out sparks of pure electricity! The torso on the slab is lit up with crawling blue veins of force. It twitches and jerks with the terrible power running through it. After a moment, the power seems to run out and all is still. >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >x log The log is made from some sort of heavy foam and painted brown and green. >sit on log You get onto the mossy log. >l Glade in the Forest (on the mossy log) Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. >stand You get off the mossy log. Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >enter channel It's just part of the floor, really. >* not sure what else to do here, need some limbs maybe? You seem to want to talk to someone, but I can't see whom. >e The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! > I beg your pardon? >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >e Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >save Ok. >e (first opening Studio 3 door) Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Ew. Spiders. You have a thing about spiders. And snakes. Scorpions, you really don't like. And you hate a cockroach. First and only time you came here, your friend Billy Ambler, who was an extra on the movie, had forced you to hold a snake. "They're pretty tame," he had said, "but be careful, or they get awful mad." You had been very careful to be careful, and had handed the snake back to Billy as soon as you could. Come to think of it, you've not seen him for a while. He was only an extra, playing a robed Badari tribesman, but still, he could have asked you to come and watch his one scene. Leaning against one of the cages is a leather whip. Hanging on the wall is the Menagerie keeper's worn stetson hat. Wilma, the studio sheep, sits contentedly in the corner of the room. A lead trails from a collar around her neck. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Leaning against one of the cages is a leather whip. Hanging on the wall is the Menagerie keeper's worn stetson hat. Wilma, the studio sheep, sits contentedly in the corner of the room. A lead trails from a collar around her neck. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >smell The air is heavy with the reek of animal dung and musk. >take whip Buster's whip! You've been longing to have a go with this, but Buster would never let anyone touch it. It was one of the first things they taught you in stageschool - how to CRACK a WHIP. They said it was going to come in useful for all sorts of movies and that no good actor could go into the business without at least having the basics of on-screen whip cracking down. >x it A long thin piece of leather. You thank your lucky stars that you were taught how to crack a whip at stageschool. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >x hat (the jaunty hat) Ever so slightly too small for your head. You dread to think how many other heads have worn this prop over the years. >wear hat (the jaunty hat) You put on the jaunty hat. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Hanging on the wall is the Menagerie keeper's worn stetson hat. Wilma, the studio sheep, sits contentedly in the corner of the room. A lead trails from a collar around her neck. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >x stetson The old hat is worn and stained through many years service of animal husbandry. >take it You grab the hat from the wall. This is Buster's hat. Ah, Buster "Scoggers" Drayburn. What a guy. As the animal keeper for the Studio, he was a constant presence in the canteen and wandering about the lot, wearing his stetson and carrying his whip and showing everyone the various scars he'd accumulated over the years from his charges. >wear it You'd have to take the jaunty hat off first. >remove jaunty You take off the jaunty hat. >wear stetson You put on Buster's Stetson. >x it The old hat is worn and stained through many years service of animal husbandry. >look in stetson The old hat is worn and stained through many years service of animal husbandry. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma, the studio sheep, sits contentedly in the corner of the room. A lead trails from a collar around her neck. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >x collar The collar round Wilma's neck is attached to a long lead. >x lead The long lead is attached to Wilma's collar. >take lead You grab Wilma's lead. The sheep looks at you resignedly. >x wilma Wilma is a small sheep. She's kind of the studio pet. She must getting quite old now and her temperament isn't great, to be honest. Around her neck is a collar, and, attached to it, a lead. >pet wilma Wilma just tries to bite your hand. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma stands near your legs, looking bored, Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >smell The air is heavy with the reek of animal dung and musk. >x rats The rats scurry around the cage and bare their fangs at you. >x cockroaches The roaches are huge! They're almost the size of small dinner plates. They wave their antennae at you threateningly. >x snakes The snakes are a boiling hissing mass of scales. Their forked tongues flick out like they are trying to taste you. >x scorpians You can't see any such thing. >oops scorpions The scorpions rear their stingers at you. >x spiders The black spiders, each with a little red hourglass on their back, raise their front legs at you. >x crocodile The huge crocodile just stares back at you with heavy lidded eyes. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma stands contentedly near your legs. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >e It's always a surprise, this, even though you've been on set a few times. Compared to the smaller sets of the other Studios, the openness of this one is unexpected. It's a desert scene that covers most of the hanger like Studio. You can see all across it, even though the lights way up on the ceiling are slightly dimmed for the night. The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. Oh no! There seems to be someone else here on set. The light from a flickering torch plays fitfully around the tents to the southeast. Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the tents. >x legs The Sphinx's legs, made from blocks of sandy painted foam and ending in something akin to lion's feet and claws, extend out into the set from the Studio wall. A tightly focussed shot, and you suppose these could represent the whole thing. The torchlight moves southwest to flicker around the ruins. >l The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the ruins. Wilma stands contentedly near your legs. >x shrine (the Mummy's shrine) The shrine, a tall block carved with vaguely egyptian looking figures and made from construction foam, sits between the two front legs of the Sphinx. The torchlight moves northwest to play around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the southwest. >x guard The guard is an older white-haired gentleman, resplendent in his red uniform. He shines his torch carefully around the set, peering into the nooks and crannies. Around his wrist, the guard is wearing what seems to be a shiny bronze bracelet. As you look, he touches it, as if to check it's still there. >x bracelet You can't make out much at this distance, but it seems to be some sort of circular bracelet made from bronze. It looks important, because the Guard touches it every now and again as if to make sure he's still wearing it. The security guard wanders southeast towards the tents. You come out of hiding. >enter shrine It's just a tall block of foam. You can't get a good grip to climb onto it. >se The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. This was the scene of Billy's line. He was supposed to emerge from the tent, brandishing a scimitar, and say "Who goes there?". This was before his eventual on-set death scene as a completely different extra who got pierced by spears through some elaborate trap or other. It's always nice when they give an extra a line. You hope Billy builds on it and gets a better part next time! Wilma snuffles around just nearby. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands contentedly near your legs. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Shrine of the Sphinx [Previous turn undone.] >z Time passes. The torchlight moves southwest to glimmer around the ruins. >se The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. This was the scene of Billy's line. He was supposed to emerge from the tent, brandishing a scimitar, and say "Who goes there?". This was before his eventual on-set death scene as a completely different extra who got pierced by spears through some elaborate trap or other. It's always nice when they give an extra a line. You hope Billy builds on it and gets a better part next time! Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the ruins. >x tents (the small tents) The small canvas tents are really just a sheet of canvas stretched over a wooden frame and painted to look like a colorful tent. They don't even have a real opening. The torchlight moves northwest to flicker around the dunes. >x large The domed, open fronted tent is made from colorful, patterned canvas. >enter large You get into the large tent. >l The Tent City of the Badari (in the large tent) The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. In the distance, a torch flickers near to the desert dunes. Wilma snuffles around just nearby. >sw You would have to get out of the large tent first. >out You get out of the large tent. The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. In the distance, a torch flickers near to the desert dunes. Wilma stands near your legs, looking bored, >sw The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. Wilma snuffles around just nearby. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to glimmer around the Sphinx. >x skeleton Lying propped up against the wall, just next to the holes in the floor, the skeleton seems to be giving you a hideous knowing smile! >x bones The pile of bones, next to one of the slots in the wall, are too far down the dingy passageway to make out any detail. The torchlight moves southeast to play around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. >z Time passes. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >jode That's not a verb I recognise. >s You bravely step into the gloom. Oh no! As soon as your foot hits the floor of the passage you realise your terrible mistake! Suddenly, a small forest of razor sharp spears shoot out through the floor! They pierce your body agonizingly! They retreat slowly, releasing your poor perforated body, and you fall to the floor next to the grinning skeleton, which seems to embrace you in its bony arms. Your vision darkens until everything is black. ***Roll Credits. The End*** You built an undead army! It consisted of, a horde of shambling zombies led by an understandably annoyed Security Guard, the Count, the Countess and their bloodthirsty vampire thralls. You managed to survive eleven perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo The Ruins of Men-nefer [Previous turn undone.] >l The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the desert dunes. Wilma stands near your legs, looking bored, >lead wilma s That's not a verb I recognise. >wilma, south Wilma looks at you as if she doesn't understand. The torchlight moves northeast to flicker around the Sphinx. >* It's like she doesn't speak english That's not a verb I recognise. >x passage The passageway leads south into darkness. >x holes It's a strange square pattern of small evenly spaced holes on the floor. Just next to them is propped a grinning skeleton. The torchlight moves southeast to play around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. >x guard The guard is an older white-haired gentleman, resplendent in his red uniform. He shines his torch carefully around the set, peering into the nooks and crannies. Around his wrist, the guard is wearing what seems to be a shiny bronze bracelet. As you look, he touches it, as if to check it's still there. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >z Time passes. >nw Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. Wilma stands contentedly near your legs. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands near your legs, looking bored, A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Ruins of Men-nefer [Previous turn undone.] >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. This must be the entrance to the tomb of the ancient pharaoh Nefer-Kare! According to the script to The Curse of the Mummy of Death, which you'd manage to get a glimpse of while Billy had been trying to commit his line to memory, he had been "the most evil of all the rulers of ancient Egypt." Wilma snuffles around just nearby. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to flicker around the Sphinx. >l Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the Sphinx. Wilma stands near your legs, looking bored, >x buildings Constructed from what seems like plywood, and propped up with wooden scaffolding, the ancient building frontages surround the entrance to the Mummy's tomb. The torchlight moves southeast to play around the tents. >d You'll not get Wilma down that ladder. You'd need to drop her lead first. >drop lead You let go of Wilma's lead. Wilma just looks at you and continues to stand there, quietly. The torchlight moves southwest to glimmer around the ruins. >d The Tomb of Nefer-Kare Above you, the square hole in the ceiling lets in just enough light to see the whole of this small, stone lined room. The air is oppressive, and dust, in a thick layer, covers the floor, stirring up with each of your footsteps. A wooden ladder stretches up into the studio. Against the walls of three sides of the tomb are ranks of closed ornate sarcophagi! On the north wall, all by itself, rests one huge closed golden sarcophagus. In the centre of the room, eerily lit by the light from the studio above, is a single stone pedestal. >x sarcophagi Which do you mean, the ornate sarcophagi or the golden sarcophagus? >ornate They're all made from stone and about the size of a large man. Strange hieroglyphs cover the front of each. >open ornate The ornate sarcophagi won't budge an inch. They are all very firmly closed. >x pedestal It's a single unadorned stone emerging from the floor of the tomb to about waist height. The top is flat, with a slight circular depression in the centre. >x depression The little circular depression is about a quarter of an inch deep and a little bit smaller than your hand. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >x golden (the golden sarcophagus) The huge sarcophagus seems to be made from pure gold! It is in the shape of a man, with crossed arms. The carved face has pitiless blank black eyes that seem to stare into your very soul! >open it The golden sarcophagus won't budge an inch. It's very firmly closed. >push golden (the golden sarcophagus) The huge sarcophagus easily resists your efforts. >u Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the ruins. Wilma, the studio sheep is standing quietly here. A lead trails from a collar around her neck. The torchlight moves northwest to play around the dunes. >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Archaeological Dig Site [Previous turn undone.] >z Time passes. >z Time passes. The torchlight moves northeast to flicker around the Sphinx. >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. In the distance, a torch flickers near to the Sphinx. >x ruins The ruins are over to the southeast of the studio. The torchlight moves southeast to play around the tents. >se The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the tents. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. A security guard wanders in from the northeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves northwest to glimmer around the dunes. >undo The Ruins of Men-nefer [Previous turn undone.] >hide There's nothing you really need to hide from. A security guard wanders in from the northeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves northwest to flicker around the dunes. >undo The Ruins of Men-nefer [Previous turn undone.] >s You bravely step into the gloom. Oh no! As soon as your foot hits the floor of the passage you realise your terrible mistake! Suddenly, an incredibly sharp circular disk emerges from one of the slots on the wall, shoots across the passage, slices you into two pieces, and disappears through the opposite slot! Your separated halves fall on top of the pile of bones and your vision darkens until everything is black. ***Roll Credits. The End*** You built an undead army! It consisted of, a horde of shambling zombies led by an understandably annoyed Security Guard, the Count, the Countess and their bloodthirsty vampire thralls. You managed to survive eleven perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo The Ruins of Men-nefer [Previous turn undone.] >nw Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. In the distance, a torch flickers near to the tents. The torchlight moves southwest to flicker around the ruins. Oh no! It looks like it's heading your way! You are in a perilous situation! >hinde That's not a verb I recognise. >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the southeast. >z Time passes. >z Time passes. The security guard wanders northeast towards the Sphinx. You come out of hiding. >e Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the Sphinx. Wilma, the studio sheep is standing quietly here. A lead trails from a collar around her neck. >take lead You grab Wilma's lead. The sheep looks at you with a big huffing sigh. The torchlight moves southeast to play around the tents. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. Wilma snuffles around just nearby. In the distance, a torch flickers near to the tents. >throw lead south I only understood you as far as wanting to throw Wilma's lead. >drop lead You let go of Wilma's lead. Wilma just looks at you and continues to stand there, quietly. A security guard wanders in from the northeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves northwest to glimmer around the dunes. >undo The Ruins of Men-nefer [Previous turn undone.] >hide There's nothing you really need to hide from. A security guard wanders in from the northeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands near your legs, looking bored, A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves northwest to glimmer around the dunes. >undo The Ruins of Men-nefer [Previous turn undone.] >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. Wilma stands contentedly near your legs. In the distance, a torch flickers near to the tents. The torchlight moves southwest to flicker around the ruins. >z Time passes. >z Time passes. The torchlight moves northwest to play around the dunes. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the desert dunes. >drop wilma You let go of Wilma's lead. Wilma just looks at you and continues to stand there, quietly. The torchlight moves northeast to flicker around the Sphinx. >z Time passes. >z Time passes. The torchlight moves southeast to play around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. >z Time passes. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the desert dunes. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. A security guard wanders in from the southwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess sighs heavily. >undo Archaeological Dig Site [Previous turn undone.] >l Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to flicker around the Sphinx. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Archaeological Dig Site [Previous turn undone.] >nw You can't go that way. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >undo Archaeological Dig Site [Previous turn undone.] >z Time passes. The torchlight moves southeast to play around the tents. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >open rat cage You open the cage, but the rats squeak nervously and refuse to emerge. There must be something here they don't like. You quickly close the cage again. >open cockroaches You open the cage, but the roaches hiss nervously and refuse to emerge. There must be something here they don't like. You quickly close the cage again. >open crocodile You see the crocodile's huge stained teeth and think better of it! You'd definitely want someone between you and that thing before you opened the cage up! >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. The torchlight moves southwest to flicker around the ruins. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the ruins. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The torchlight moves northwest to play around the dunes. >x sheep You can't see any such thing. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the desert dunes. Wilma, the studio sheep is standing quietly here. A lead trails from a collar around her neck. >take lead You grab Wilma's lead. The sheep looks at you in mild surprise. The torchlight moves northeast to glimmer around the Sphinx. >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. Wilma stands contentedly near your legs. In the distance, a torch flickers near to the Sphinx. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. Wilma stands near your legs, looking bored, A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands contentedly near your legs. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Archaeological Dig Site [Previous turn undone.] >z Time passes. The torchlight moves southeast to play around the tents. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the tents. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma stands contentedly near your legs. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >open crocodile You see the crocodile's huge stained teeth and think better of it! You'd definitely want someone between you and that thing before you opened the cage up! >tie lead to crocodile Wilma swiftly turns her head and snaps at your fingers with yellowing teeth. >drop lead You let go of Wilma's lead. Wilma just looks at you and continues to stand there, quietly. >open crocodile You see the crocodile's huge stained teeth and think better of it! You'd definitely want someone between you and that thing before you opened the cage up! >give wilma to crocodile You can't see any such thing. >take wilma You grab Wilma's lead. The sheep looks at you resignedly. >give wilma What do you want to give Wilma the sheep? >crocodile (first taking the crocodile cage) The huge crocodile stares at you with its dead eyes and you think better of it. >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma stands near your legs, looking bored, Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >i You are carrying Wilma's lead, a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. Wilma stands contentedly near your legs. In the distance, a torch flickers near to the tents. The torchlight moves southwest to flicker around the ruins. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the ruins. The torchlight moves northwest to play around the dunes. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >hide There's nothing you really need to hide from. The torchlight moves northeast to glimmer around the Sphinx. >z Time passes. >z Time passes. The torchlight moves southeast to play around the tents. >z Time passes. >z Time passes. The torchlight moves southwest to flicker around the ruins. >z Time passes. >z Time passes. The torchlight moves northwest to glimmer around the dunes. >z Time passes. >z Time passes. The torchlight moves northeast to play around the Sphinx. >z Time passes. >z Time passes. The torchlight moves southeast to flicker around the tents. >l Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the tents. Wilma stands contentedly near your legs. >ne You can't go that way. The torchlight moves southwest to glimmer around the ruins. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. Wilma stands near your legs, looking bored, A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma snuffles around just nearby. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >undo Archaeological Dig Site [Previous turn undone.] >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. Wilma stands near your legs, looking bored, In the distance, a torch flickers near to the ruins. >z Time passes. A security guard wanders in from the southeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands contentedly near your legs. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess sighs heavily. >undo Deep in the Desert [Previous turn undone.] >ne The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. Wilma snuffles around just nearby. In the distance, a torch flickers near to the ruins. The torchlight moves northwest to flicker around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. A security guard wanders in from the southwest. >crack whip Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands contentedly near your legs. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Shrine of the Sphinx [Previous turn undone.] >s Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands near your legs, looking bored, A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >undo The Shrine of the Sphinx [Previous turn undone.] >z Time passes. >z Time passes. The security guard wanders southeast towards the tents. You come out of hiding. >save Ok. >l The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. Wilma stands near your legs, looking bored, >* hmm, I kinda need to feed Wilma to the crocodile I think You seem to want to talk to someone, but I can't see whom. >n You can't go that way. The torchlight moves southwest to play around the ruins. >nw You can't go that way. >l The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the ruins. Wilma snuffles around just nearby. The torchlight moves northwest to glimmer around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the southwest. >z Time passes. >z Time passes. The security guard wanders southeast towards the tents. You come out of hiding. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Wilma stands near your legs, looking bored, Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >open spiders You open the cage, but the spiders wave their front legs nervously and refuse to emerge. There must be something here they don't like. You quickly close the cage again. >open scorpions You open the cage, but the scorpions wave their tails nervously and refuse to emerge. There must be something here they don't like. You quickly close the cage again. >open snakes You open the cage, but the snakes writhe nervously and refuse to emerge. There must be something here they don't like. You quickly close the cage again. >put wilma in cage Which do you mean, the empty cages, the cage of rats, the cage of cockroaches, the cage of snakes, the cage of scorpions, the cage of spiders or the crocodile cage? >empty What do you want to empty? >put wilma in empty cages Wilma swiftly turns her head and snaps at your fingers with yellowing teeth. >tie lead to empty cage Wilma swiftly turns her head and snaps at your fingers with yellowing teeth. >w Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Wilma stands contentedly near your legs. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. Wilma snuffles around just nearby. >w Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Wilma stands contentedly near your legs. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. >put wilma in cage You lead Wilma into the cage. She doesn't seem to mind. It's like she's used to it. She stands there, bleating softly. You can hear footsteps to the northwest. They seem to be getting closer! >close cage It isn't something you can close. A security guard walks in from the northwest. He gives you a genial smile. >pull lever You can't see any such thing. >pull rope You can't reach most of it, and the bits you can are solidly built. The security guard waves to you and saunters off to the southwest. >turn winch You turn the winch. As you turn, the cage lowers into the darkness of the pit until it is out of sight. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. Deep inside the pit, Wilma's plaintive bleating is magnified by the pit walls and echoes eerily around the set. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. You hear footsteps moving to the north of you. >n Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. A rotund, red-faced security guard pokes around the set. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. The security guard sighs and wanders southeast. >open shutter You open the shutter, revealing the glory of a full moon! In the distance, suddenly, there is a blood-chilling howl! It reverberates around the studio triumphantly and it seems to be getting closer! Oh no! That doesn't sound good! All at once, a security guard runs onto the set. "Don't do that," he gasps, panting and out of breath, "you'll get us into all sorts of trouble." He closes the moon so it's only a crescent again. "That was a close one," he continues. "Best not to touch that." There is another, fainter, howl. It trails off in what seems like disappointment. The security guard sighs and wanders southeast. >se Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. A rotund, red-faced security guard pokes around the set. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. The Guard has one last look inside the Pit, then shrugs and saunters off to the southwest. Deep inside the pit, Wilma's plaintive bleating is magnified by the pit walls and echoes eerily around the set. >save Ok. >* OK this feels like progreess That's not a verb I recognise. >l Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. You can hear footsteps to the southwest. They seem to be slowly receding into the distance. Deep inside the pit, Wilma's plaintive bleating is magnified by the pit walls and echoes eerily around the set. >sw The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >u Balcony Halfway up the studio wall, the staircase from below ends at a little platform, bounded by an iron railing. On the southern wall is a closed door. >knock on door You rap your knuckles on the door. No-one answers. >d The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. A rotund, red-faced security guard pokes around the set. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! The security guard gives you a friendly wave and saunters northwest. >talk to guard You can't see any such thing. >x corpse Davor has definitely been gnawed on. He's wearing some form of sacking tunic, but it has been shredded from some vicious attack and reduced to strips. Tied around his waist is an open pouch. You can hear footsteps to the northwest. They seem to be slowly receding into the distance. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You can hear footsteps to the northeast. They seem to be getting closer! >crack whip You crack the whip. It makes a satisfying sharp cracking sound. A security guard walks in from the northeast. He gives you a friendly nod. >talk to guard "Come for a pint, have you?" asks the Security Guard. "Can't blame you. I'd kill for one, myself! Got to work right now. No rest for the wicked!" The security guard gives you a friendly wave and saunters northwest. >nw The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. A rotund, red-faced security guard pokes around the set. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. "Good evening to you," says Bert, smiling gently. "You after buying a drink?" The regulars laugh nastily to one another and glance at you. The security guard gives Bert a friendly wave and saunters northeast. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >take pint The regulars scowl and pull their pints closer to their chests. You can hear footsteps to the southeast. They seem to be getting closer! >buy pint "I'm sorry," says Bert, looking genuinely sad. "You don't have enough money, I'm afraid. Bert pulls a pint and then hands it to a regular. A security guard walks in from the southeast. "Not a bad evening, eh Bert," says the guard, smiling at you. >talk to guard "Come for a pint, have you?" asks the Security Guard. "Can't blame you. I'd kill for one, myself! Got to work right now. No rest for the wicked!" "Snap," yells one of the customers and slaps a card down on the table, making you jump. The security guard gives Bert a friendly wave and saunters northeast. >talk to bert Bert smiles at you. "Afraid we don't take credit cards here," he says. "Doesn't look like you have enough money for a pint." You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. You can hear footsteps to the southeast. They seem to be getting closer! >l The Slaughtered Calf The pub, dominated by the large bar on one side, is smoky and warm. The walls and ceilings are all beamed with blackened oak that frames yellowing plaster. The ceiling is low, causing the smoke to twine around at head level, and the floorboards are covered with a layer of sawdust. Doorways out of the pub lead east into the village square and northeast and southeast into the darkened Studio. Opposite the bar, a roaring fire crackles and spits in a blackened stone fireplace. On the wall above the fireplace, a five-pointed star is scratched into the plaster of the wall! A few regular patrons sit in surly groups at the tables and watch you suspiciously over their beer glasses. Bert, the barman stands behind the bar polishing a glass with a dirty towel. The regulars laugh nastily to one another and glance at you. A security guard walks in from the southeast. "Now then, Bert," he says, winking at you. "How are you?" >talk to bert Bert smiles at you. "Afraid we don't take credit cards here," he says. "Doesn't look like you have enough money for a pint." Bert pulls a pint and then hands it to a regular. The security guard gives Bert a friendly wave and saunters northeast. >x fire The fire roars merrily in the fireplace, filling the room with smoke "I ought to be getting home," says one of the regulars, settling back more comfortably in her seat. You can hear footsteps to the northeast. They seem to be slowly receding into the distance. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You can hear footsteps to the southeast. They seem to be getting closer! >x box The little metal music box has a small handle on the side. It looks like you could wind it, maybe. A security guard walks in from the southeast. "Not a bad evening, eh Bert," says the guard, smiling at you. >wind box The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. The security guard gives Bert a friendly wave and saunters northeast. >e "Now you have a good day," calls Bert in his gentle drawl. "We'll see you next time." The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The group of villagers advance towards you, their farming equipment raised! Then they seem to think better of it. You hear footsteps moving to the east of you. The plunking sounds from the plinky little music box fills the air. >n Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. You can hear footsteps to the southeast. They seem to be slowly receding into the distance. The little music box is still playing a tinkly little tune. >s The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The villagers whisper to one another. You swear you hear the word "Witch"! You hear footsteps moving to the west of you. The plunking sounds from the plinky little music box fills the air. >s The Den of the Beast This seems to be a set representing a den of some kind of animal, maybe. A forbidding entranceway has been made with foam rocks and twisted thorny branches, forming an arch leading into what, at first glance, looks like a dark cave. On closer inspection though, there's no cave behind it at all, just a bit of the set wall painted black. A metal staircase runs up the wall to a balcony above you, and openings in the set lead north into gloom and northeast and northwest deeper into the studio. Mounds of bones are scattered around the front of the entrance to the den, and the pretend rocks are covered in splashes of red, that you suppose is meant to be blood. Lying near the entrance, its lifeless eyes staring at the ceiling, is the half-eaten corpse of a man! You can hear footsteps to the northwest. They seem to be slowly receding into the distance. The music box finishes its tune and the tinny music stops. >take al You can't see any such thing. >take all There are none at all available! >ne Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. A security guard walks in from the northwest. He gives you a genial smile, then he hears Wilma's plaintive bleating coming from inside the pit. "What on earth is that?" he says to himself, and walks right to the edge of the pit to have a good look in. He peers into the darkness, but can't seem to see anything. Deep inside the pit, Wilma's plaintive bleating is magnified by the pit walls and echoes eerily around the set. >push guard Plucking up all your courage, you rush up to the Security Guard and give him a quick push in the back. He teeters for a moment and then falls forward into the pit! There is a crash from below, and then out of the darkness the guard shouts up to you. "Thanks alot! Very funny! Now get me out of here." Phew! For a moment, you were worried that the guard would get hurt! You survived a perilous situation! Deep inside the pit, Wilma's plaintive bleating is magnified by the pit walls and echoes eerily around the set. "Come on," yells the Guard from the pit. "Get me out of here!" >nw Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. >save Ok. >open shutter You open the shutter, revealing the glory of a full moon! You hear a blood-chilling howl in the distance! It reverberates around the studio triumphantly and it seems to be getting closer. Oh no! That doesn't sound good! The howling moves around the studio to the southeast of you. But then it suddenly stops. You hear a terrible snarling and then a long howl that seems to have a note of frustration in it! >se Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. There seems to be a terrible beast trapped! The beast in the pit lets out a frustrated howl. >x beast The raging beast sounds pretty angry. A loud scrabbling sound is coming out of the pit as if something is trying to get out! >talk to beast The creature just snarls even more loudly. The vicious beast in the pit yelps and snarls. >shoot beast You pull the trigger. It just gives a faint click. Of course it does - it's just an antique - it's obviously not got any gunpowder in it. A tremendous snarling and growling is coming from the pit. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The villagers wave their farming implements at you, threateningly. >talk to villagers Now Derek has gone, none of the villagers seem interested in breaking character and talking to you. They just look at you suspiciously and wave their farm implements. "Get thee hence," yells one of the villagers. >x sign The sign is painted with the image of a wolf's head on a spike. The name of the pub, under it in red letters is "The Slaughtered Calf" "Witch," shouts one of the villagers at you. The others nod and mutter. >take sign The sign and its post are sturdily fixed in place. "Get thee hence," yells one of the villagers. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. >whip rope That's not a verb I recognise. >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. A loud scrabbling sound is coming out of the pit as if something is trying to get out! >e Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. >save Ok. >w Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A rope stretches into the darkness of the pit from a pulley system above. The other end is attached to a winch. A tremendous snarling and growling is coming from the pit. >turn winch You turn the winch. As you turn, the cage raises from the pit until it is level with the edge. The beast in the pit lets out a frustrated howl. >x beast The raging beast sounds pretty angry. A loud scrabbling sound is coming out of the pit as if something is trying to get out! > pit That's not a verb I recognise. >x pit It's dug directly into the studio floor. You look into it. You'd never get out of there if you got in! The vicious beast in the pit yelps and snarls. >d You can't go that way. The beast in the pit lets out a frustrated howl. >talk to beast The creature just snarls even more loudly. The vicious beast in the pit yelps and snarls. >d You can't go that way. The beast in the pit lets out a frustrated howl. >enter cage It's a bit too small and it doesn't look like it would hold your weight. A tremendous snarling and growling is coming from the pit. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The vicious beast in the pit yelps and snarls. >turn winch You turn the winch. As you turn, the cage lowers into the darkness of the pit until it is out of sight. A tremendous snarling and growling is coming from the pit. >turn winch You turn the winch. As you turn, the cage raises from the pit until it is level with the edge. The beast in the pit lets out a frustrated howl. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! "Witch," shouts one of the villagers at you. The others nod and mutter. >n Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall hangs the full moon, filling the set with a ghostly pale light. >close shutter You close the shutter halfway, limiting the moon to a sliver of moonlight in a crescent. In the distance, to the east of the studio, you hear a howl of disappointment that suddenly trails away into silence. >se Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. A voice suddenly calls from the pit. "Hello? Anybody up there?" It's the voice of, what sounds like, a young woman! "If you're up there," she continues, "If you'd be so kind as to lower the cage and then winch me up, I'd be very grateful." >x woman The young woman's voice sounds fairly relaxed. As if she's been in this situation before. "A little help?" shouts the young woman in the pit. >talk to woman "Come on," she shouts. "Just get me out of here." "Hello up there," calls the voice. "I could do with some help!" >turn winch You turn the winch. As you turn, the cage lowers into the darkness of the pit until it is out of sight. "I'm on!"" calls the young woman from the darkness. "Now winch me up!" "A little help?" shouts the young woman in the pit. >turn winch You turn the winch. As you turn, the cage raises from the pit until it is level with the edge. A young woman in tattered clothing jumps from the top of the cage. "Oh, hello," she says. "Thanks. I could've been stuck down there all night. I'm Annie, by the way." Annie yawns and stretches. "I really should be getting some sleep." She grins at you. "Still, no rest for the wicked." (1) - "What are you doing in the pit?" (2) - "You must be a Werewolf!" You say >2 "You must be a Werewolf!" you gasp. Anie gives you a thumbs up. "Bingo!," she says and shrugs. "Woman and girl." (1) - "What's it like?" (2) - "You're one of the undead!" You say >1 "What's it like," you ask, "being a Werewolf?" "Most of the time, not so bad," replies Annie. "You know - once or twice a month I need to feed on human flesh, but, really, you just get on with your life, you know? Well, up until the last couple of years. I got," and here she scowls, "trained." She finishes with a scowl and shakes her head. (1) - "What do you mean, trained?" You say >1 What do you mean, trained?" you ask. Annie looks directly at you and her eyes are like thunder. "Like an animal," she says. "It was fun, at first, making movies, but when Arnie realized I could only film a few nights a month, they installed that moon on the Studio wall. I mean, it's just a lamp behind a pane of glass, but they started putting prey out when they opened it, and eventually, I couldn't help myself. The whole Lycanthropy thing took over and I was changing at their whims, to their schedule." Now she seems to be getting really angry. "Do you know," she growls, "how many times I've been stuck in that pit?" (1) - "Why don't you escape?" You say >* missing quotation mark before "what do you mean" You are in the middle of a conversation! You say >1 "Why don't you escape?" you ask. "They're all protected," she says and gives a sad smile. "I've tried. They've got their hexes and their silver. I never get far." (1) - "I'm raising an undead army. Join us!" You say >1 "I'm raising an undead army?" you say. "Join us! We're gathering in the studio lot." Annie looks at you quizzically. "Why?" she says. "No offence, but you're human. Why would you want to help the undead. And me." (1) - "Arnie and his Cult are summoning Astaroth and his demonic hordes." You say >1 "Arnie and his Cult are summoning Astaroth and his demonic hordes." Annie laughs "So it's not just out of the goodness of your heart then. Helping the undead in distress." She sees you looking chastened and grins at you. "Only kidding. Of course I'll help. If it will give Arnie and all his sycophants a black eye, I'm in." It's all you can do to stop yourself giving a cheer. You have a werewolf for your army! "But first," continues Annie, determinedly, "there's something I need to do." She grabs your hand and marches you both to the northwest, to the hills set. Desolate Windswept Hills It's not much, this set. A swathe of plastic grass and heather in a rounded mound is set against a painted backdrop on the studio wall that's supposed to represent distant hills. The set opens to the south, southeast and southwest, leading deeper into the gloomy studio. Rising out of the top of the mound, standing like a great sentinel lit eerily by the light from the moon, is a giant man-shaped sculpture made entirely from sticks and branches! Low on the studio wall, hangs the moon, its crescent filling the set with a ghostly pale light. Annie grins at you and flexes her shoulders. "Right," she says. "Let's go to war, but first." She suddenly turns and rips the moon's shutters clean off the wall, revealing the full moon in all its glory. "I should have done that years ago," she continues, as hair begins to sprout on her face. "I'm not letting that thing control me any moroooooh..." Her voice becomes a prolonged howl. Annie changes. Her face lengthens and she begins to get bigger. A lot bigger. Her legs and arms sprout hair, as does the rest of her body. Her teeth - well, they become sharp, shining fangs in a long wolf-like face. It is over in a moment, and the Werewolf, in its full ravenous glory, stands in front of you, panting. Its red, furious eyes fix on yours and it begins to snarl. >talk to werewolf The Werewolf doesn't seem to understand you. Or care. It just snarls at you, dismissively. The Werewolf sees the Blunderbuss you are carrying and sniffs the air. It seems to smell something it doesn't like! The hackles on its back raise up and it looks at you balefully. It gives a heavy sigh and gestures to you, pointing out towards the main lot. With one final shrug, it lopes out of the set. It must be off to join your undead army! You punch the air with delight! You have grown your Undead Army! Suddenly, the air is rent by what sounds like the pealing of a huge bell! But it's cracked. The note of the bell is awful - a dreadful warped clanging. It tolls three times, each time getting louder, until it feels like your very eyeballs are vibrating. The last peal of the bell dies away. Something has changed! The very texture of the air is different. There is evil afoot! You have survived a perilous situation! >e You can't go that way. >save Ok. >se Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. >e Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. Wait! Something is different. It takes you a moment, but then you realise. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. On one of the spikes is impaled a human head! >x bones The huge closed doors are made entirely from human bones surrounded by a frame of skulls! >x head You look closely at the head and turn away in horror! It's the decapitated head of Harry Higginbotham, your Director! So Arnie carried out his threat of using him as the sacrifice, then! Harry's head is wide eyed and set in an expression of terror! >take head Shaking with horror, you pull the head from the spike. Harry's head is wide eyed and set in an expression of terror! >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess comes up to you when you enter the lot. "Oh, good work," she says and you think you detect a faint note of admiration in her voice. She nods towards the Werewolf. "She's powerful and fast. Just what we need. I'm beginning to think we might actually have a chance in this war." Suddenly, the Countess snaps her head up to face the studio office building. "The demon has been summoned, the sacrifice made!" she shrieks, her face going even whiter. "Can't you feel it! The Cathedral of Bone has been built and locked with the power of all of Hell's dominion! You need to hurry. The demonic hordes gather strength even as we speak!" >talk to werewolf The Werewolf doesn't seem to understand you. Or care. It just snarls at you, dismissively. The Count looks as if he might speak, then seems to think better of it. >talk to countess "Oh, you again," says the Countess, with a dismissive flick of her head. (1) - "Tell me more about the Cult." (2) - "I'd like to know more about Arnie Mallet." (3) - "Tell me more about the other Undead." (4) - "Tell me about yourselves." (5) - "Remind me how to get into the other studios." (6) - "Goodbye." You say >6 The Countess turns away from you. >w Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >w The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >e The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! >put head on torso Putting things on the human torso would achieve nothing. >put head on slab You put Harry's head onto the slab and arrange it just above the torso. It fits neatly into the metal helmet. >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless, headless human torso! On the metallic slab is Harry Higginbotham's decapitated head. >pull handle (the brass handle) You pull the handle and suddenly the large slab in the centre of the room begins to crackle and spit out sparks of pure electricity! The torso on the slab is lit up with crawling blue veins of force. It twitches and jerks with the terrible power running through it. After a moment, the power seems to run out and all is still. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >put cotton in needle That can't contain things. >sew head to torse You can't see any such thing. >sew head to torso It is like Harry is watching you as the bone needle seems, through some awful witchcraft, to relish the horrific task! You sew the head onto the torso's neck with rough stitches until it is firmly attached. >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless human torso. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >pull handle (the brass handle) You pull the handle and suddenly the large slab in the centre of the room begins to crackle and spit out sparks of pure electricity! The torso on the slab is lit up with crawling blue veins of force. Harry's head seems to gurn and blink with the terrible power running through it, but, after a moment, the power seems to run out and all is still. >save Ok. >* OK need limbs now That's not a verb I recognise. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless human torso. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >e You can't go that way. >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >e Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >save Ok. >* OK so taking stock, I need to knock off this guard and get into the secret passage ((probably two birds one stone type situation) You seem to want to talk to someone, but I can't see whom. >* And get some limbs, which I'm guessing happens here You seem to want to talk to someone, but I can't see whom. >* And I haven't used the stetson, the whip, or the music box yet? You seem to want to talk to someone, but I can't see whom. >* Getting these animals freed also seems like a key task (maybe the first step?) That's not a verb I recognise. > I beg your pardon? >l Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >x empty The empty cages fill most of the room. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >open crocodile cage You see the crocodile's huge stained teeth and think better of it! You'd definitely want someone between you and that thing before you opened the cage up! >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. The torchlight moves southwest to play around the ruins. >ssw That's not a verb I recognise. >sw Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. In the distance, a torch flickers near to the ruins. >z Time passes. A security guard wanders in from the southeast. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >open crocodile You see the crocodile's huge stained teeth and think better of it! You'd definitely want someone between you and that thing before you opened the cage up! >* Someone, eh? You seem to want to talk to someone, but I can't see whom. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >g You crack the whip. It makes a satisfying sharp cracking sound. >g You crack the whip. It makes a satisfying sharp cracking sound. >g You crack the whip. It makes a satisfying sharp cracking sound. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the Sphinx. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. >z Time passes. The torchlight moves southwest to flicker around the ruins. >z Time passes. >z Time passes. The torchlight moves northwest to play around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the southwest. >w Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The vampire thralls mutter to one another. "We should be getting out of here," says one. >undo The Shrine of the Sphinx [Previous turn undone.] >undo The Shrine of the Sphinx [Previous turn undone.] >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >* Like I want to lure the guard over That's not a verb I recognise. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. A security guard wanders in from the southwest. >talk to guard Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Shrine of the Sphinx [Previous turn undone.] >attack What do you want to attack? >guard Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >z Time passes. >z Time passes. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. >z Time passes. The torchlight moves southwest to flicker around the ruins. >z Time passes. >z Time passes. The torchlight moves northwest to glimmer around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >attack What do you want to attack? >guard You can't see any such thing. >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >n You can't go that way. >w Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >* maybe the bone cathedral is a good place to go after all? That's not a verb I recognise. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >n (first opening the great doors of bone) It seems to be locked. >* alas That's not a verb I recognise. >unlock door Which do you mean, Studio 1 door, Studio 2 door or the great doors of bone? >great What do you want to unlock the great doors of bone with? >key That doesn't seem to be something you can unlock. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. > I beg your pardon? >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >s You can't go that way. >* hmm, never did anything with the sandbag You seem to want to talk to someone, but I can't see whom. >* maybe alternate way to kill the guard, now I think of it You seem to want to talk to someone, but I can't see whom. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >wind music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. >z Time passes. The music box continues to plink out its song. >z Time passes. The little music box is still playing a tinkly little tune. >z Time passes. You can't help but hum along to the little tune coming out of the music box. >z Time passes. The music box finishes its tune and the tinny music stops. >wind music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. >z Time passes. The plunking sounds from the plinky little music box fills the air. >z Time passes. You can't help but hum along to the little tune coming out of the music box. >z Time passes. The plunking sounds from the plinky little music box fills the air. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. The music box finishes its tune and the tinny music stops. >wind music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. A security guard wanders in from the southwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. You can't help but hum along to the little tune coming out of the music box. >z Time passes. The music box continues to plink out its song. >z Time passes. The little music box is still playing a tinkly little tune. >z Time passes. The music box finishes its tune and the tinny music stops. >z Time passes. >wind music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. You can't help but hum along to the little tune coming out of the music box. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the tents. The torchlight moves southwest to play around the ruins. The little music box is still playing a tinkly little tune. >d The Tomb of Nefer-Kare Above you, the square hole in the ceiling lets in just enough light to see the whole of this small, stone lined room. The air is oppressive, and dust, in a thick layer, covers the floor, stirring up with each of your footsteps. A wooden ladder stretches up into the studio. Against the walls of three sides of the tomb are ranks of closed ornate sarcophagi! On the north wall, all by itself, rests one huge closed golden sarcophagus. In the centre of the room, eerily lit by the light from the studio above, is a single stone pedestal. The music box continues to plink out its song. >x pedestal It's a single unadorned stone emerging from the floor of the tomb to about waist height. The top is flat, with a slight circular depression in the centre. The music box finishes its tune and the tinny music stops. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >u Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the ruins. >* hmm That's not a verb I recognise. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Archaeological Dig Site [Previous turn undone.] >e The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. In the distance, a torch flickers near to the ruins. The torchlight moves northwest to flicker around the dunes. >x larg tent You can't see any such thing. >oops large The domed, open fronted tent is made from colorful, patterned canvas. >enter large You get into the large tent. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >* guard doesn't come here? That's not a verb I recognise. >z Time passes. >out You get out of the large tent. The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to play around the Sphinx. Oh no! It looks like it's heading your way! You are in a perilous situation! >enter tent Which do you mean, the large tent or the small tents? >large You get into the large tent. >z Time passes. >z Time passes. >z Time passes. >out You get out of the large tent. The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. In the distance, a torch flickers near to the Sphinx. >x small (the small brass key) Just a small brass key. A security guard wanders in from the northwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves southwest to glimmer around the ruins. >undo The Tent City of the Badari [Previous turn undone.] >sw The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the Sphinx. The torchlight moves southeast to glimmer around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. A security guard wanders in from the northeast. >crack whip Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. "Hurry," says the countess, impatiently. "It won't be long before we'll be in real trouble." >undo The Ruins of Men-nefer [Previous turn undone.] >s Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess sighs heavily. >undo The Ruins of Men-nefer [Previous turn undone.] >l The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. A Security Guard shines his torch around the set. >talk to guard Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess shoots you a troubled glance. "It's getting late." >undo The Ruins of Men-nefer [Previous turn undone.] >l The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. A Security Guard shines his torch around the set. The security guard wanders northwest towards the dunes. You come out of hiding. >crack whip You crack the whip. It makes a satisfying sharp cracking sound. >x slots Opposite one another in pairs and spaced evenly down both walls of the passage, the vertical slots go from ceiling to floor. The torchlight moves northeast to flicker around the Sphinx. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >help Welcome to Dr Horror's House of Terror - an Interactive Fiction To play, just try typing, in normal English, something you might want to do. There are several ways of interacting with the world. You can: Move around the map : Type in the directions you might see in the text. Use compass directions like "NORTH" or "WEST" or "NORTH WEST". For ease of typing, you can abbreviate these to their initials - "N" or "W" or "NW". You may also be able to go "UP" or "DOWN". Sometimes, you can go "IN" or "OUT" - or perhaps you might need to ENTER something. For example: ENTER CUPBOARD. (Note: You don't need to type in capitals. They are just used here for emphasis) Interact with objects : You can EXAMINE (or "X" as shorthand) something for a closer look. You can try and TAKE it, or DROP it - if you are carrying it. Other verbs you might want to try include: PUSH, PULL, PUT it IN something, LOOK UNDER, GIVE it TO someone?or any other command you might think of! (In normal English, we tend to use "the" a lot. In Interactive Fiction, you can type "the", but it's usually quicker not to!) Here's an example of how you could interact with an object: You can see a lamp. >take lamp You take the lamp. >examine lamp A small brass lantern >rub lamp Nothing happens, unfortunately. >light lamp The lamp emits a faint glow. See what you are carrying : Type "INVENTORY" or "I" for short. Have another look at the room you are in : Type "LOOK" Interact with people :To talk to another character, simply type TALK TO . Try talking to them a few times! They might have something interesting to say. Or you could HIDE, RUN AWAY or even ATTACK them! Or you can try and ask them to do things - BOB, TAKE LAMP for example. You you can SHOW or GIVE something to them maybe. Here's an example of how you could interact with another person: You can see Bob here. >talk to bob "Oh ho," says Bob, "Great talking to you." >Bob, open door "Sure thing," says Bob and opens the kitchen door. >give lamp to Bob "Hey, thanks," says Bob and grabs the lamp from you. Wait around : Just type WAIT or Z for short. Interact with the world : Try SMELL, or LISTEN, or TASTE. Saving and Restoring your game : Just type SAVE or RESTORE Undoing last command : UNDO will allow you to undo your last command. Restarting the game : RESTART will restart the game from the beginning. If something doesn't work, just try re-phrasing it a little, or another way of saying it. >smell The studio smells old and dry and dusty. The torchlight moves southeast to play around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >listen The Studio is filled with the sound of dry wind stirring sand. But that's probably just your imagination. A security guard wanders in from the northeast. >g Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo The Ruins of Men-nefer [Previous turn undone.] >z Time passes. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >l The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the desert dunes. >s You bravely step into the gloom. Oh no! As soon as your foot hits the floor of the passage you realise your terrible mistake! Suddenly, an incredibly sharp circular disk emerges from one of the slots on the wall, shoots across the passage, slices you into two pieces, and disappears through the opposite slot! Your separated halves fall on top of the pile of bones and your vision darkens until everything is black. ***Roll Credits. The End*** You built an undead army! It consisted of, a horde of shambling zombies led by an understandably annoyed Security Guard, a fearsome ravening werewolf, the Count, the Countess and their bloodthirsty vampire thralls. You managed to survive thirteen perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! - You pushed a decent hard-working security guard into a deep pit for some reason. - You loaded an ancient Blunderbuss with a handful of silver pocket-change and bluffed a Werewolf! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo The Ruins of Men-nefer [Previous turn undone.] >fly That's not a verb I recognise. >climb (the floor holes) You can't reach them from here. The torchlight moves northeast to glimmer around the Sphinx. >x holes It's a strange square pattern of small evenly spaced holes on the floor. Just next to them is propped a grinning skeleton. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The torchlight moves southeast to play around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. >z Time passes. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >put cotton in holes You can't reach them from here. >* OK, might need a hint You seem to want to talk to someone, but I can't see whom. >hint Welcome to Dr Horror's House of Terror - an Interactive Fiction To play, just try typing, in normal English, something you might want to do. There are several ways of interacting with the world. You can: Move around the map : Type in the directions you might see in the text. Use compass directions like "NORTH" or "WEST" or "NORTH WEST". For ease of typing, you can abbreviate these to their initials - "N" or "W" or "NW". You may also be able to go "UP" or "DOWN". Sometimes, you can go "IN" or "OUT" - or perhaps you might need to ENTER something. For example: ENTER CUPBOARD. (Note: You don't need to type in capitals. They are just used here for emphasis) Interact with objects : You can EXAMINE (or "X" as shorthand) something for a closer look. You can try and TAKE it, or DROP it - if you are carrying it. Other verbs you might want to try include: PUSH, PULL, PUT it IN something, LOOK UNDER, GIVE it TO someone?or any other command you might think of! (In normal English, we tend to use "the" a lot. In Interactive Fiction, you can type "the", but it's usually quicker not to!) Here's an example of how you could interact with an object: You can see a lamp. >take lamp You take the lamp. >examine lamp A small brass lantern >rub lamp Nothing happens, unfortunately. >light lamp The lamp emits a faint glow. See what you are carrying : Type "INVENTORY" or "I" for short. Have another look at the room you are in : Type "LOOK" Interact with people :To talk to another character, simply type TALK TO . Try talking to them a few times! They might have something interesting to say. Or you could HIDE, RUN AWAY or even ATTACK them! Or you can try and ask them to do things - BOB, TAKE LAMP for example. You you can SHOW or GIVE something to them maybe. Here's an example of how you could interact with another person: You can see Bob here. >talk to bob "Oh ho," says Bob, "Great talking to you." >Bob, open door "Sure thing," says Bob and opens the kitchen door. >give lamp to Bob "Hey, thanks," says Bob and grabs the lamp from you. Wait around : Just type WAIT or Z for short. Interact with the world : Try SMELL, or LISTEN, or TASTE. Saving and Restoring your game : Just type SAVE or RESTORE Undoing last command : UNDO will allow you to undo your last command. Restarting the game : RESTART will restart the game from the beginning. If something doesn't work, just try re-phrasing it a little, or another way of saying it. >* OK didn't realize I could move the cages! That's not a verb I recognise. >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to glimmer around the Sphinx. >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. In the distance, a torch flickers near to the Sphinx. >w You can't go that way. The torchlight moves southeast to flicker around the tents. >n You can't go that way. >ne The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. The torchlight moves southwest to glimmer around the ruins. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. Rats skitter and scratch in their cage. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >take rats You gingerly pick up the cage. The rats squeak viciously, but they can't bite you through the narrow bars. >take scorpions The cages are not too heavy, but they are bulky. You aren't able to hold more than one at once. >save Ok. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the ruins. The torchlight moves northwest to flicker around the dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the desert dunes. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to play around the Sphinx. >open rats You would need to put the cage down first. >drop rats Dropped. The torchlight moves southeast to flicker around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. >z Time passes. >z Time passes. The security guard wanders northwest towards the dunes. You come out of hiding. >open rats You open the cage. The rats stream out of it in a hideous mass of black haired bodies! >l The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to glimmer around the Sphinx. >x rats The small red eyes and hairy bodies of the rats fills you with dread! >z Time passes. The torchlight moves southeast to flicker around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. The Guard sees the rats you have loosed and gives a tremendous yell of terror. He runs north towards the buildings. You come out of hiding. >z Time passes. >z Time passes. The torchlight moves west to play around the desert dunes. >z Time passes. >z Time passes. The torchlight moves northeast to flicker around the Sphinx. >z Time passes. >z Time passes. The torchlight moves southeast to glimmer around the tents. >z Time passes. >z Time passes. The torchlight moves west to play around the buildings. >z Time passes. >z Time passes. The torchlight moves west to flicker around the desert dunes. >z Time passes. >z Time passes. The torchlight moves northeast to play around the Sphinx. >z Time passes. >z Time passes. The torchlight moves southeast to flicker around the tents. >z Time passes. >z Time passes. The torchlight moves west to glimmer around the buildings. >z Time passes. >z Time passes. The torchlight moves west to flicker around the desert dunes. >z Time passes. >crack whip You crack the whip. The rats, as they've obviously been trained to do, immediately stream back into their cage. You hurriedly shut the cage door. A security guard wanders in from the northwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The torchlight moves northwest to play around the dunes. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >s You can't go that way. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the desert dunes. The torchlight moves northeast to flicker around the Sphinx. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the Sphinx. You can also see a cage of rats here. >ope cage That's not a verb I recognise. >open cage You open the cage. The rats stream out of it in a hideous mass of black haired bodies! The torchlight moves southeast to glimmer around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. The Guard sees the rats you have loosed and gives a tremendous yell of terror. He runs north towards the buildings. You come out of hiding. >undo The Ruins of Men-nefer [Previous turn undone.] >crack whip You crack the whip. The rats, as they've obviously been trained to do, immediately stream back into their cage. You hurriedly shut the cage door. A security guard wanders in from the northeast. >take rats Your movement attracts the attention of the security guard. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. A hissing mass of snakes writhe around their cage. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >drop rats You can't see any such thing. >take snakes You gingerly pick up the cage. The snakes try and bite you with their poisonous fangs, but they can't reach you through the narrow bars. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. A security guard wanders in from the southwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The vampire thralls mutter to one another. "We should be getting out of here," says one. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >s You can't go that way. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the tents. The torchlight moves southwest to play around the ruins. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. A Security Guard shines his torch around the set. You can also see a cage of rats here. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >undo Archaeological Dig Site [Previous turn undone.] >z Time passes. >z Time passes. The torchlight moves northwest to flicker around the dunes. >s The Ruins of Men-nefer This is quite a set! Against the southern studio wall of the studio are the fronts of a row of crumbling ruins. They are all covered in statues and carvings of monsters and ancient gods - really impressive work by the set designer. They loom over you, the faces of the statues, they seem to leer at you, giving a terrible air of horrifying menace to the whole set! Opposite the ruins, to the north, you can see some buildings. Dunes rise up from the ground to the northwest and northeast are some distant tents. Right in the centre of the row of ruins is an entranceway to a dark passage, leading south. You can see a little way in. There seem to be holes in the floor and narrow slots in the wall. Part way down, slumped against one wall, is an evilly grinning skeleton! Further along, and you can see a pile of bones near one of the wall slots. In the distance, a torch flickers near to the desert dunes. You can also see a cage of rats here. >drop snakes Dropped. The torchlight moves northeast to glimmer around the Sphinx. >open snakes You open the cage. The snakes slither out of it in a tangled mass of scales and flickering tongues! >x snakes The snakes writhe over the scenery, their tongues flicking, and their dead eyes watching you closely! The torchlight moves southeast to flicker around the tents. Oh no! It looks like it's heading your way! You are in a perilous situation! >hide You back into the darker shadows of the set as the torchlight flickers ever closer. >z Time passes. A security guard wanders in from the northeast. The Guard sees the snakes you have loosed and gives a tremendous yell of terror. He runs north towards the buildings. You come out of hiding. >take rats You gingerly pick up the cage. The rats squeak viciously, but they can't bite you through the narrow bars. >n Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A Security Guard shines his torch around the set. The guard sees you immediately. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess sighs heavily. > e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the desert dunes. A security guard wanders in from the southwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The vampire thralls mutter to one another. "We should be getting out of here," says one. >e Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. The torchlight moves west to play around the buildings. >drop i You can't see any such thing. >drop snakes You can't see any such thing. >i You are carrying a cage of rats, a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >drop rats Dropped. The torchlight moves west to glimmer around the desert dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >open rats You open the cage. The rats stream out of it in a hideous mass of black haired bodies! >z Time passes. A security guard wanders in from the southwest. The Guard sees the rats you have loosed and gives a tremendous yell of terror. He runs south towards the buildings. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A terrified Security Guard shines his torch around the set. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. The torchlight moves east to flicker around the tents. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >take crocodile The huge crocodile stares at you with its dead eyes and you think better of it. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. Spiders lurk in the corners of their cage. On one side of the room, a large cage contains a huge crocodile. >take spiders You gingerly pick up the cage. The spiders try and bite you with their poisonous fangs, but they can't reach you through the narrow bars. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. The torchlight moves west to play around the buildings. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A terrified Security Guard shines his torch around the set. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" >drop scorpions You can't see any such thing. >i You are carrying a cage of spiders, a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The security guard wanders east towards the tents. >drop spiders Dropped. >n The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the tents. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. The torchlight moves west to glimmer around the buildings. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. Caged scorpions wave their tails menacingly. On one side of the room, a large cage contains a huge crocodile. >take scorpions You gingerly pick up the cage. The scorpions try and sting you with their poisonous tails, but they can't reach you through the narrow bars. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. >e You can't go that way. The torchlight moves east to flicker around the tents. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. In the distance, a torch flickers near to the tents. You can also see a cage of spiders here. >e The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. A terrified Security Guard shines his torch around the set. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" The security guard wanders west towards the buildings. >drop scorpions Dropped. >w Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A terrified Security Guard shines his torch around the set. You can also see a cage of spiders here. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" The security guard wanders east towards the tents. >e The Tent City of the Badari The city comprises, in total, of four small tents and a large one arranged around a campfire. At least they're quite colorful. Some buildings rear out of the set to the west, to the northwest is the Sphinx and southwest of you, a ruin. A terrified Security Guard shines his torch around the set. You can also see a cage of scorpions here. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" >z Time passes. The security guard wanders west towards the buildings. >open scorpions You open the cage. The scorpions slither out of it in a tangled mass of claws and stinging tails! >nw The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. The torchlight moves east to play around the tents. In the distance, you hear a yell of terror! The torchlight hurriedly moves west towards the buildings. >w Studio Menagerie This small dingy room is filled with mostly empty cages for the animals the Studio uses in its movies. It smells quite bad, to be honest. A door lies open to the west and, opposite it, a relatively brightly lit space in the wall opens up to the east. A cage full of cockroaches chitter and scurry. On one side of the room, a large cage contains a huge crocodile. >take cockroaches You gingerly pick up the cage. The cockroaches try and claw you, but they can't reach you through the narrow bars. >e The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. >s Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A terrified Security Guard shines his torch around the set. You can also see a cage of spiders here. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" The security guard wanders west towards the desert dunes. >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. A terrified Security Guard shines his torch around the set. The guard sees you immediately. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" >z Time passes. The security guard wanders east towards the buildings. >drop cockroaches Dropped. >open it You open the cage. The roaches stream out of it in a boiling hissing mass of chitin and waving antennae! A security guard wanders in from the east. The Guard sees the cockroaches you have loosed and gives a tremendous yell of terror. He runs east towards the buildings. >e Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. A terrified Security Guard shines his torch around the set. You can also see a cage of spiders here. The guard sees you immediately. "We're trapped, trapped!" yells the Guard. "There's no way out. You need to save yourself!" >open spiders Oh no! You can't believe you are doing this to the poor security guard, but, yes! You open the cage of spiders. They immediately creep out towards the guard. He lets out a yell of pure terror, but there is nowhere for him to run! In dreadful silence, the spiders scuttle onto the guard's legs and up his body. They bite into his exposed flesh with their huge fangs and the guard collapses to the floor, killed by their terrible poison! In his death throes, the bronze bracelet the guard is wearing comes loose and rolls onto the floor. You survived a perilous situation! >x bracelet The round bronze bracelet is adorned with strange patterns and symbols around its edge. It's slightly smaller than your hand, but it looks like you can squeeze it on. >take it Taken. >d The Tomb of Nefer-Kare Above you, the square hole in the ceiling lets in just enough light to see the whole of this small, stone lined room. The air is oppressive, and dust, in a thick layer, covers the floor, stirring up with each of your footsteps. A wooden ladder stretches up into the studio. Against the walls of three sides of the tomb are ranks of closed ornate sarcophagi! On the north wall, all by itself, rests one huge closed golden sarcophagus. In the centre of the room, eerily lit by the light from the studio above, is a single stone pedestal. >put bracelet on pedestal You place the bracelet into the circular depression in the stone pedestal. It fits perfectly! Suddenly, from underneath your feet, there is a tremendous grinding sound! The huge mass of the pedestal begins to sink into the floor and, as it does, some machinery below the tomb is opening the doors of all the sarcophagi lined up on the walls! As they open, each one reveals an ancient mummified figure wrapped in decaying bandages. When the grinding stops, the pedestal has disappeared into the floor, leaving the Bracelet of Nefer-Kare lying in the dust. Inside the great golden sarcophagus is a figure larger than the rest. There is quiet for a moment and then, abruptly, the largest Mummy raises its arms and starts to move towards you, groaning hideously. You glance wildly around. Now all the other dreadful mummified creatures are following its lead. You are surrounded by a circle of slowly advancing Mummies, each with their arms raised towards you! You are in a perilous situation! >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. The huge Pharaoh and his ancient servants stagger towards you, groaning hideously through their bandaged faces, their arms outstretched. >wind music box The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. Nefer-Kare and his horde of mummified servants continue to advance on you, grasping hands ready to rip you into pieces. You had better do something soon or they will have you! Nefer-Kare glances at the Bracelet on the ground and lets out an evil chuckle. "You have no power over me," he hisses in a dry, dusty voice. >undo The Tomb of Nefer-Kare [Previous turn undone.] >take bracelet Taken. Nefer-Kare and his horde of mummified servants continue to advance on you, grasping hands ready to rip you into pieces. You had better do something soon or they will have you! Nefer-Kare glances at the Bracelet in your hands and lets out an evil chuckle. "You have no power over me," he hisses in a dry, dusty voice. >wear it You hurriedly push the bracelet over your hand and onto your wrist. As soon as you are wearing it, all of the Mummies let loose a terrible howl of dismay, but they stop their movement towards you. It must be the power of the bracelet! It must allow you to master Nefer-Kare and all his ancient servants! "Shit," says Nefer-Kare in his tomb-like dusty voice. You have survived a perilous situation! >talk to mummy Will Nefer-Kare understand you? You gesture to the Mummy, point at the bracelet on your wrist, then point towards the opening in the ceiling. Surely the Mummy must understand what you mean. "What is it you want, foolish mortal," snaps the Mummy. "How dare you not genuflect before the greatest of Pharaohs" (1) - "You speak our language well." You say >1 "You've really got to grips with our language," you say. "Of course!" replies Nefer-Kare. "I have had many years in this world. I have learned the language of your people. It was no hardship. And it was...required of me to do so." At this last part, the Mummy shakes his great head. "Never before have I been in the power of mortals. It is not right that such a great king as I should be so." (1) - "Why are you here?" (2) - "Who has power over you?" You say >1 "Why are you here?" you say. "I would have thought you'd be in Egypt." The Mummy hisses angrily. "I slept the great sleep of the dead with my servants around me," he says, his voice cold and harsh. "Then, one day, I awoke in my tomb, surrounded by humans in crimson robes. With the power of demons, they had spun hexes around me that bound my limbs and clouded my mind! It was that man Arnie Mallet. He calls me by my name and I must obey! He had, like you have now, my bracelet. And thus I am required to," and here, he is almost spitting with contempt, "read out lines from a script for the entertainments of the commoner!" (1) - "Tell me more about the bracelet." (2) - "Would you like to be free?" You say >1 "Tell me more about the bracelet," you say. "Ah," says Nefer-Kare, "a wise question, mortal. The bracelet you wear was crafted by the greatest of Egyptian magicians at the behest of the great queen Balthamer! She had a mind to rule all of Egypt and she thought to control me and thus destroy me! Me, the great pharaoh Nefer-Kare! Foolish!" (1) - "and....?" You say >1 "And?" you say. "What happened?" "Never you mind," snaps the Pharaoh. "I do not wish to discuss it." (1) - "Would you like to be free?" You say >1 "Would you like to be free to return to your tomb?" you ask. Nefer-Kare gives a monstrous dusty laugh. "My tomb?" he says, his voice booming with derision. "I am awake now, mortal, after an eternity in darkness. I will have my revenge! All those who stood against me will fall to my undead servants. I will rend them limb from limb. I will commit their souls to the pitiless demons of the pit. Then, when all my enemies have fallen, I will take power over this world and rule for all eternity!" You risk a glance at the mummified servants stumbling about. They probably looked in better shape in the past. Maybe in ancient Egypt, they might have been a force to be reckoned with. (1) - "One step at a time, maybe?" You say >1 "Maybe we should focus on Arnie and his cult first," you say. "They're about to summon a demon called Astaroth and all his demonic hordes." "Astaroth, eh," says Nefer-Kare. You're not sure - it's difficult to read the body language of a mummified corpse - but you think he might be a little worried. "I have heard of this demon," continues the Pharaoh, "despite its...reputation...I am sure he will be no match for me and my guard." "And all his demonic hordes?" you ask. There is a moment's silence while Nefer-Kare digests this. "Well," he says, eventually, "what would you suggest, mortal?" (1) - "Join my undead army!" You say >1 "There are other undead enslaved in the studio," you say. "I'm building an undead army!" The Mummy nods his great head. "Yes, this is a good plan," he says, "The great Nefer-Kare will command this army! I will lead them to a glorious victory over the stain on this world that is Arnie Mallet. I will crush his demonic hordes and send them howling back to hell!" You can't help but wince a little on the inside. Things might get interesting when Nefer-Kare meets the Countess. Oh well, not your problem. "Where is this army of which you speak," continues the Pharaoh. "I will take my servants and assess it." (1) - "We're meeting in the southern end of the main lot." You say >1 "We're meeting in the southern end of the main lot," you tell the Mummy. "Very well," says the Pharaoh, "Onwards to victory and power!" Nefer Kare turns away from you and gestures to his servants. One by one, the Mummies awkwardly climb the ladder and disappear into the studio. You have grown your Undead Army! >save Ok. >* OK still missing some limbs That's not a verb I recognise. >l The Tomb of Nefer-Kare Above you, the square hole in the ceiling lets in just enough light to see the whole of this small, stone lined room. The air is oppressive, and dust, in a thick layer, covers the floor, stirring up with each of your footsteps. A wooden ladder stretches up into the studio. Against the walls of three sides of the tomb are ranks of open ornate sarcophagi! On the north wall, all by itself, rests one huge open golden sarcophagus. >x golden (the golden sarcophagus) The huge sarcophagus seems to be made from pure gold! It is in the shape of a man, with crossed arms. The carved face has pitiless blank black eyes that seem to stare into your very soul! >enter golden (the golden sarcophagus) You get into the golden sarcophagus. >close it The golden sarcophagus won't close no matter how much you try. >x ornate They're all made from stone and about the size of a large man. Strange hieroglyphs cover the front of each. >u You would have to get out of the golden sarcophagus first. >out You get out of the golden sarcophagus. The Tomb of Nefer-Kare Above you, the square hole in the ceiling lets in just enough light to see the whole of this small, stone lined room. The air is oppressive, and dust, in a thick layer, covers the floor, stirring up with each of your footsteps. A wooden ladder stretches up into the studio. Against the walls of three sides of the tomb are ranks of open ornate sarcophagi! On the north wall, all by itself, rests one huge open golden sarcophagus. >u Archaeological Dig Site The dark entrance to the Mummy's tombs leads down a ladder through a hole in the ground in-between the exposed ancient buildings. But they're not actually buildings. They're just the front walls of buildings held up with wooden scaffolding at the back. Here, right in the middle of the Studio, you can see all across the huge set. To the north is the looming Sphinx, to the west, rolling sand dunes. On the east side of the building are the tops of some colorful tents and to the south of you, what seem like ruins. The bloated poisoned body of the poor security guard is slumped on the floor. An empty cage lies open on the floor. A creeping mass of spiders crawl all over the set. >x bod You can't see any such thing. >x body You don't even want to look at the horror you have created! >crack whip You crack the whip. The spiders, as they've obviously been trained to do, immediately creep back into their cage. You hurriedly shut the cage door. >w Deep in the Desert A small sea (well, seven) of waist high sand dunes rise up from the floor until they hit the painted backdrop of a deep blue sky with a horizon of shimmering dunes stretching out into the far distance. To the northeast, you can see the sphinx rising up against the studio wall, to the east is a cluster of buildings and southeast some sort of ruin. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A mob of horrific cockroaches scutter in and out of the scenery. >crack whip You crack the whip. The roaches, as they've obviously been trained to do, immediately scutter back into their cage. You hurriedly shut the cage door. A security guard wanders in from the east. "I can't get you out," yells the guard at you. "There's creatures, terrible creatures, loose in the studio! They're blocking the way out! Save yourself!" >* umm That's not a verb I recognise. >n You can't go that way. >w You can't go that way. The security guard wanders east towards the buildings. >ne The Shrine of the Sphinx They've only bothered to actually build the front legs of the Sphinx. For longer shots, you assume they use the matte backdrop of the whole thing painted onto the Studio wall to the set's left. The Sphinx's legs extend out from the Studio walls and between them is the Mummy's shrine, carved from greyish sandy painted construction foam. To the west, there is an opening in the Studio wall. Southwest, towards the other side of the Studio, you can see distant sand dunes. The set opens out to the south to reveal some sort of building and beyond it, a group of ruins. To the southeast, you can see the tops of a group of tents. In the distance, a torch flickers near to the buildings. An empty cage lies open on the floor. A hideous mass of rats scurry furiously across the set. >crack whip You crack the whip. The rats, as they've obviously been trained to do, immediately stream back into their cage. You hurriedly shut the cage door. The torchlight moves west to glimmer around the desert dunes. Oh no! It looks like it's heading your way! You are in a perilous situation! >d You can't go that way. >n You can't go that way. A security guard wanders in from the southwest. "Well, now," he says, "you can't be in here! I can't be having you young whippersnappers running around. There's all sorts of mischief you could get into!" He shakes his head with a rueful smile. "Come on, let's be getting you somewhere safe." You struggle feebly, but it's no use - he's stronger than he looks. The Guard shuffles you outside the studio. "You should be getting home," he says and pats your shoulder, "it's late." He disappears back inside the studio. Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Count looks as if he might speak, then seems to think better of it. >talk to mummy "Yes, mortal," says Nefer-Kare, coldly. "What is it you would have me speak about." (1) - "I'd like to know more about you." (2) - "Tell me more about how you got here." (3) - "Tell me about your servants." (4) - "Goodbye." You say >1 "Have you not read of the great pharaoh Nefer-Kare in your history books!" declaims the Mummy. "Surely all my achievements are taught across the globe! Why, was it not I who created the first of the great tombs! Was I not the first Pharaoh to cross the Nile with an army of elephants and defeat the Syrians!" (1) - "Tell me more about how you got here." (2) - "Tell me about your servants." (3) - "Goodbye." You say >1 "Treachery! They must have been informed how to get past the traps so carefully laid in my tomb. Or maybe a demon helped them. I was shipped to your country in a wooden box like so much cargo! How dare they treat one such as I so." (1) - "I'd like to know more about you." (2) - "Tell me about your servants." (3) - "Goodbye." You say >2 "Ah! My loyal servants! They were buried alongside me and went gladly to that fate! Their brains were drawn through their noses while they still lived. Their innards taken from their bodies and placed into jars, before their skin was wrapped in the finest muslin. They serve me, even now, in death!" (1) - "I'd like to know more about you." (2) - "Tell me more about how you got here." (3) - "Goodbye." You say >3 Nefer-Kare turns his regal head away from you. >save Ok. >* OK anybody seen some limbs? That's not a verb I recognise. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >x spikes The wooden spikes stick out of the ground at all angles. >x bones The huge closed doors are made entirely from human bones surrounded by a frame of skulls! >x skulls The huge closed doors are made entirely from human bones surrounded by a frame of skulls! >take bones The doors are very firmly constructed. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess grabs your arm. "Well done," she hisses. "Good work with the Mummy and his servants. Shame he's a bit of an idiot. I've had to have a few strong words with him. He came in here like he owned the place." She looks over at Nefer-Kare and waves. The Mummy looks away quickly. "Don't worry," she says. "He knows who's in charge now." The Countess grins at you. "Now get out there and find us more undead recruits!" The Countess sighs heavily. >x limbs The cultist sprawls, limbs splayed, on the ground. >take limbs The body is heavy and dripping with blood. You decide to stay well away. >cut limbs The body is heavy and dripping with blood. You decide to stay well away. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >w Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >w The Evil Machinery of Dr Von Hummels Huge interlocking plywood cogs, painted like rusty metal, form a complex machine all across one side of the room. Giant glass valves are lined up along the walls, connected by thick wires which stick out at various points in great winding loops. Doorways lead east and south deeper into the Studio. The smoking charred skeletal remains of the security guard lie in a macabre pile on the floor. A smooth brass handle pokes out of the side of the machinery. In the centre of the room is a huge complicated semi-circular control board. >n You can't go that way. >s Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >x log The log is made from some sort of heavy foam and painted brown and green. >take log The log must be attached to the floor in some way. It won't budge. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >take gargoyles The gargoyles, despite being made from modelling foam, are firmly attached to the set. >e Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. >x overn You can't see any such thing. >x oven Inside the open metal door, the cremation oven is just a rectangular box, with holes in the floor and sides. The interior is slightly charred and blackened with who knows what! Next to the oven door is a large green button. A metal gurney extends from the oven into the room. >x gurney It's a flat topped metal trolley, about long enough for a person. It's attached to the oven by metal rods. It looks like you could push it and it would go into the oven, or pull it out again. >take limbs You can't see any such thing. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless human torso. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >x limbs You can't see any such thing. >put helmet on head It's firmly welded to the slab. >put head in helmet Your stitching is strong. Harry's head is firmly attached to the torso. >l The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless human torso. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >e Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >w Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. >d You can't go that way. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! >u You can't go that way. >l The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! The villagers spread out slightly as if they are trying to surround you. Then they seem to have a change of heart and draw together in a tight crowd again. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. "Witch," shouts one of the villagers at you. The others nod and mutter. >x noose The noose, made from thick old rope, hangs threateningly down from one of the tree's lower branches. Its very presence gives you a sense of that terrible deeds have been committed here! A villager makes a sign to ward off evil at you. >* Oh wait, CTRL-F through the transcript to the rescue! You seem to want to talk to someone, but I can't see whom. >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. >e Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >d You can't go that way. >e Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >d Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is open. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. >x fridge It is an old kitchen refrigerator! The large white fridge sits incongruously in the middle of the room. It is open. In the kitchen refrigerator are Melissa's chopped-up remains and Beanie's partially dissolved skeleton. >take remains The remains are far too bulky to carry around. >x remains Just two legs on top of a mound of chopped up body parts. You can hardly bear to look. >take legs The remains are far too bulky to carry around. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >cut legs Cutting it up would achieve little. >cut off legs You can't see any such thing. >x arms A partially dissolved skeleton connected to a couple of relatively unscathed arms. Beanie seems to look at you with one good eye! >take arms Beanie's skeleton is far too bulky to carry around. >take arm Beanie's skeleton is far too bulky to carry around. >l Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is open. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. >break arms Violence isn't the answer to this one. >sever arms That's not a verb I recognise. >break skeleton Violence isn't the answer to this one. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >* Hrm this seems like it should be the answer That's not a verb I recognise. >take leg The remains are far too bulky to carry around. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. >u Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >w Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >e Guard's Break Room Someone has carved out a comfortable nook in this little space in between the door and the studio proper. There's a small table next to a comfy chair in one corner and on the table is a lit lamp, creating a welcoming pool of light in the gloom. A dingy gap in the wall to the east leads deeper into the studio and the door out to the lot, to the west, lies open. >e Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >e Deep in the Bayou Surrounded by the trunks of enormous trees, the Bayou has been emptied for the night. It's just a rubber lined dip in the floor now, with a few sad plastic plants lying in the bottom of it. >s Voodoo Temple All the masks lining the walls of the set seem to regard you with narrowed, suspicious eyes. There are dozens of them in all shapes and sizes. In between and around them hang colourful drapes, their attractive patterns at odds with the skulls on the floor and statuettes of frightening figures in little alcoves. Unlit candles cover almost every surface and everything is draped in a patina of nylon cobwebs. Doorways in the set walls lead into the gloom to the north and south. Dominating one wall is a large ornately carved wooden throne. In front of the throne is a small black table. A small compartment in the table is open. Scattered across the table are small fragments of bone. >s The Cemetery of St. Louise de Marillac What a set this is! Mallet Studios must have actually spent some real money on this. The large space, bounded by walls painted with distant scenery, is row after row of forbidding tombs, ornamented gravestones and imposing hooded statues. Vines and tropical looking plastic plants wind over everything, giving a real atmosphere of age and shadowy menace. Openings in the set walls lead north and west deeper into the studio. To one side of the set is a row of freshly filled in graves! You can also see a wheelbarrow (which contains a sacred voodoo stone) here. >take wheelbarrow You grab hold of the wheelbarrow's handles. >w Basement Ventilation ducts and pipes cover the ceiling of this small set. The three walls have been painted with splashes of green and brown that you suppose is meant to represent mould and water staining. Gaps in the set walls lead north and east into the studio gloom. Near the middle of the set is the white outline of a person painted onto the grimy floor. Dripping down one of the set walls and pooling on the floor is a horrific dark substance! It looks like blood! >n The Grand Ballroom at the Governor's Mansion An ostentatious staircase, ending at the top at a false door on the Studio wall, sweeps down into a large grand ballroom set dominated by a huge chandelier that hangs in crystalline profusion from the ceiling. On the side of the set opposite the stairs is a small raised stage for the band. The rest of the floor is clear for the dancers. The walls are lined with gilded baroque mirrors, reflecting you endlessly! Gaps in the set walls lead north and south, deeper into the Studio. >n Alleway, Rue des Verrièrs A set designer has gone to great lengths to re-imagine a narrow alleyway running between rows of townhouses in somewhere like New Orleans. The facades of the houses, propped up by beams at the back, are painted in dusky oranges, reds and creams to resemble stucco rendering. Arches, separated by ornate columns, cover the frontages, each with its own darkened window. Elaborate iron balconies, created from plywood, stretch in between each arch, complete with hanging plastic plants and vines. Here, in the semi-darkness, the false buildings feel oppressive. Like they are hiding secrets! Gloomy openings in the set walls lead south and east deeper into the studio. To the west, a brighter gap opens into the guard's break room. >w Guard's Break Room Someone has carved out a comfortable nook in this little space in between the door and the studio proper. There's a small table next to a comfy chair in one corner and on the table is a lit lamp, creating a welcoming pool of light in the gloom. A dingy gap in the wall to the east leads deeper into the studio and the door out to the lot, to the west, lies open. >w Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >s Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >e Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >d Studio Crypt The square windowless room, grimly lit by a bright light from the naked lightbulb on the ceiling, is surrounded on three sides by a large cage made from iron bars that run from ceiling to floor. A barred door into the cage is open. One one side, next to a lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. The walls are made from grey stone and drip with moisture. The whole room seems to give off a damp earthy smell of decay! In the centre of the room is a large white box that looks like a kitchen refrigerator. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You are pushing a wheelbarrow along. It contains a sacred voodoo stone. >put arms in wheelbarrow Beanie's skeleton is too bulky to carry about. Luckily, you have a wheelbarrow with you! Feeling ill, you grasp the relatively unscathed arms of the skeleton and pull. With a terrible sucking sound, Beanie's arms come away from the skeleton and drop horribly into the wheelbarrow! >put legs in wheelbarrow (first taking Melissa's chopped-up remains) The remains are far too bulky to carry around. But fortunately, you have a wheelbarrow. Shuddering with horror, you grasp at Melissa's poor ankles. The two legs come away from the rest of the remains and plop into the wheelbarrow. >u Studio Store Props from a hundred bad movies loom out of the dim light in piles on the floor and stacked on metal shelving. Wide hangers hold arrays of multi-colored clothing. There may be a storage methodology at work here, but you can't see it. To your eyes, it just looks like random piles of junk made from cloth and plywood. Dimly lit doorways in the west and south walls lead into shadow. A rolled up rug is next to an open trapdoor, leading down into a brightly lit room. A sewing machine sits on a workbench in front of the clothes hangers. >* how exactly is the wheelbarrow getting up and down this trapdoor? That's not a verb I recognise. >n You can't go that way. >w Studio Waiting Room The dim lights barely illuminate the scattering of uncomfortable chairs where actors are supposed to spend their time between takes. A door to the north leads outside and dark doorways lead to the east and west deeper into the studio. The kitchen counter along one wall, stained with coffee mug rings, holds the accumulated detritus of a hundred extras' various drink making ingredients. >n Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >w Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. >w The Village of Nether Hallows The cobbled square, gloomy and shadowed by the surrounding pretend stone buildings, is dominated in the centre by a gnarled, blackened old tree. Gaps between the houses lead north and south deeper into the Studio. A track disappears to the east and to the west, the entrance to the pub is a square of welcoming yellow light. A small crowd of villagers are gathered in a tight, scowling group to one side of the square. Outside the pub, a weathered sign hangs from a large wooden post. A noose hangs from one of the trees branches, swaying in a non-existent wind! >e Path through the Forest Surrounded by the bottom two thirds of densely packed plywood fir trees, the path, covered in glued down gravel, runs west, deeper into the studio and east, where it ends at the studio door. Gaps in the scenery lead northwest and southwest into gloom. Just next to the path is a deep, earthy pit in the floor. It's at least as twice as deep as you and pretty big. It's so deep that the bottom is all in darkness. A cage dangles from a rope to one side of the pit, its floor level with the top of the pit wall. The rope is attached to a pulley system and winch. >s You can't go that way. >e Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. >s Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. >w Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >s The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a limbless human torso. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >sew arms to torso You would need to put the arms on the slab first. >put arms on slab You pull Beanie's arms onto the slab and arrange them on either side of the torso. >put legs on slab You pull Melissa's legs onto the slab and arrange them just below the torso. >sew arms to torso The needle leaps in your hand as if some terrible black magic is controlling it! You roughly stitch Beanie's arms onto the torso's shoulders until they are firmly attached. You can't help but feel horrified at what you're doing - surely this is the worst of the terrors you will face! >sew legs to slab The needle won't penetrate hard objects! >sew legs to torso You begin to sew Melissa's legs onto the lower half of the torso. The needle seems to drag at your hands with a terrible eagerness. as it undertakes the grisly task. When you are done, Melissa's legs are firmly attached to the torso. >save Ok. >w Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >s The Castle Rooftop Ah, the roof of Dr Von Hummel's Castle. The set consists of a small catwalk around a tiled dome. The narrow walkway is surrounded by crenelated battlements and the set designers have really gone over the top with the gargoyles! There are dragons, imps, devils and things you don't even know the name of. They all have one thing in common - they seem to stare directly at you with their empty evil eyes! Or you could be just imagining it. Spaces in the set walls lead into dimly lit areas of the studio to the north and east. On top of the dome is a huge metal spike that stretches almost all the way to the studio ceiling. Attached to a metal ring on the dome, an electric cord stretches out of the room to the north. A smooth brass handle pokes out of the set wall. Behind one of the battlements, set into the floor, is a large iron wheel. >turn wheel (the large iron wheel) You turn the wheel. It's easy at first but gradually gets harder and harder until you can't turn it anymore. For some reason, the hairs on the back of your neck begin to rise and your skin prickles. >n Glade in the Forest Behind some plywood trees, the rest of the forest is just painted onto the walls. The floor is covered in unconvincing plastic grass, and across the length of the set stretches the riverbed, which is currently just a channel lined with blue rubber sheeting. You suppose they put water in there when they're ready to film. Shadowy doorways lead north and south, and a gap between the forest-painted set boards opens to the east. An electric cord stretches across the room, running through the south and east doorways. Next to the river is a conveniently placed mossy log. >e The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. In the center of the slab is a human torso. Beanie's amputated arms are crudely sewn onto the torso's shoulders. Roughly stitched to its pelvis are Melissa's dismembered white legs. Sewn onto its neck with haphazard stitches is Harry Higginbotham's decapitated head! >pull handle (the brass handle) You pull the handle and suddenly the large slab in the centre of the room begins to crackle and spit out sparks of pure electricity! The torso on the slab is lit up with crawling blue veins of force. All of the torso's limbs twitch and jerk horribly as the terrible power courses through them. And then, suddenly, Harry's eyes flick open! You back away as the monster on the slab slowly sits up. Out if its mouth comes a great groaning sound and it slowly pulls its legs over the side of the slab and stands up. It is huge! It towers over you. "Must...kill..." it snarls, its voice a deep bass rumble and it extends its muscled arms and takes a faltering step towards you. You are in a perilous situation! >talk to monster The Monster just growls and continues to advance towards you! The Monster lurches towards you, growling and snarling, its hands outstretched. >i You are carrying a leather whip, a music box, an antique blunderbuss loaded with a handful of small silver coins, a bone needle, a wicked little voodoo doll, an evil book of black magic, a strawberry milk bottle, a small brass key, a tea caddy, a reel of strong cotton and a jaunty hat. You are wearing the Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a stained crimson robe, a gold pocketwatch and a grey suit. You are pushing a wheelbarrow along. It contains a sacred voodoo stone. The Monster advances on you, hands ready to crush and strangle. You had better do something soon or it will have you! >play music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. The Monster hears the tinny little tune and seems entranced! It stop in its tracks and gives what seems to be a smile. "Music!" it says, "Nice...music!" You have survived a perilous situation! >* whew That's not a verb I recognise. >talk to monster "So," you begin, "how are you, Harry?" There is a moment's pause as the Monster seems to digest this. "Well," it says, "I've been better. No thanks to you." It seems to be able to speak! Maybe it's the music. It's difficult to know what to say, really. Harry certainly doesn't look too pleased. (1) - "What happened to you? You say >1 "What happened to you?" you ask. That might be a good place to start. "I found your head." Harry snorts. "Pah," he says, "I was supposed to find the sacrifice for the Ritual, and then you ran off. We looked for you, but then midnight approached and Arnie decided that he couldn't keep Astaroth waiting. The whole bunch of them unanimously voted me to be the Sacrifice just because you couldn't do what you were told. Me, with twenty Mallet Studios films under my belt! All of them coming in under budget! The ungrateful swine. So they had me on the altar as quick as you like." The Monster sighs heavily. "In fact," it continues, "given that this is all your fault, when this music finishes, I'm going to crush you like a bug." Oh dear. (1) - "Well, at least you're sort of alive again." (2) - "What exactly is the cult up to?" You say >2 "So what, exactly, is the Cult up to?" you ask. "Wouldn't we all like to know," replies Harry. "Arnie's been banging on about summoning Astaroth for ages. Keeps talking about riches and power beyond our wildest imaginings. I can't see it myself, but you've got to play along in this game. The boss wants something? He gets it. The boss wants you to do something? You do it. The boss wants you to dress up in crimson robes, do some chanting and summon Demons? Well, you get the picture." He pauses and thinks for a moment. "Come to think of it, I only got my first directing gig after I put on the robes." (1) - "Aren't you worried about summoning a Demon?" (2) - "Maybe we should stop him." (3) - "I know what Mallet has been doing to actors." (4) - "I know about the undead." You say >1 "Aren't you worried that the Cult is going to summon a Demon?" you ask. The Monster just looks at you, his brows raised. "Seriously?" he says, sarcastically, "You're asking me this now? After I've had my head cut off?" He sighs once more. "I wasn't," he continues, "but now maybe I'm thinking I should have thought it through. You can't trust anybody in this business. Arnie least of all." (1) - "Maybe we should stop him." (2) - "I know what Mallet has been doing to actors." (3) - "I know about the undead." You say >2 "I know all about the terrible things Arnie's been doing..." you begin. "Yeah, yeah," interrupts Harry, "killing actors, feeding them to the undead, keeping undead in cages. Cutting costs. Yada , yada, yada. What do you want me to do about it? I wasn't gonna lose my job over it. Maybe I should have. Better than losing my head, I suppose." (1) - "Maybe we should stop him." You say >1 "Maybe we should stop Arnie and his Cult forever," you say. "Hah," replies Harry, "and how do you intend to do that, eh? Once Astaroth and all his minions of hell are here, it's gonna take an army to stop them." (1) - "Well, it's funny you should say that." You say >1 "Well, there might be a way of stopping him," you say. "I'm gathering an undead army." Harry looks at you incredulously. "What?" he says, "you're letting the undead out of their cages? That's madness." Then he stops, his brow furrows and he looks down at his own somewhat undead body. "Although," he continues, "given my current state of being, maybe I shouldn't protest too much." (1) - "We need you to be part of the army!" You say >1 "We need you," you say. "With your strength, and the rest of the undead, we can defeat Arnie's evil!" Harry goes silent for a long while, appearing to be pondering. "Well, I suppose I would like a bit of revenge," he says. "Quite honestly, given what's happened to me, I couldn't care less about what Astaroth and his minions are going to do, but I would like a chance to shove Arnie's head up his ass. Tell you what, I'm in. I'll put crushing you like a grape on hold until after we show Astaroth who he's dealing with." It's all you can do to stop yourself from punching their air with delight. You have the Monster! (1) - "The army is meeting in the Studio Lot." You say >1 "The rest of the army is in the Studio Lot," you say. "When I release all the undead, we're going to march on Astaroth's forces." "I'll be there," says Harry. "I'll try not to kill you, but I'm not sure I'll be able to stop myself. I am a Monster, after all. Hope you've got something to protect yourself with." The Monster turns away from you and shambles out of the Laboratory. You have grown your Undead Army! >save Ok. >e You can't go that way. The plunking sounds from the plinky little music box fills the air. >s Crematorium The whole set is painted the same light green you see in a hospital ward. You know this is a crematorium because of the word "Crematorium" written in large white letters on the wall. You assume this is to let the audience know too without too much exposition. Dark gaps in the set walls lead north and west. On one wall is the open door to what must be the cremation oven! Extending from the oven into the centre of the room is a wheeled metal gurney. The music box continues to plink out its song. >e You can't go that way. You can't help but hum along to the little tune coming out of the music box. >n The Laboratory of Dr Von Hummels The center of the room is dominated by an ominous metallic slab atop an iron plinth. On a large wooden table next to it, tubes, pipes, flasks and beakers bubble and hiss with strange looking liquids that make the room reek with their stinging chemical smell. Around the walls are prop bookcases filled with painted book spines. Doorways gape to the north and west into shadowed darkness and a gap in the fake walls leads south. Attached to one end of the slab is a metal helmet, to the other, a smooth brass handle. Connected to a metal ring on the helmet is one end of a long cord which stretches through the doorway to the west. The music box finishes its tune and the tinny music stops. >n Studio Workshop This must be where they build the sets! The walls and most of the floor is covered in offcuts of plywood. Large rectangular pieces of the foam they use to carve all sorts of things out of like boulders and statues lie in piles in between wooden trestles. Pots of paint, dripped and smeared with a hundred different colours, are roughly stacked in the corners. Forbidding doorways lead into shadow to the west and south and the door out of the Studio, to the east, lies open. >e Studio Lot South Here, the lot is surrounded on three sides by Studios, looming out of the night like ancient guardians. The lot continues to the north into shadow. To the east side is the door to Studio 3, to the west, Studio 4 and to the south the door to Studio 5 where you have spent so much time over the last two weeks. A sign over each door proclaims the movie that is being made there. The Monster shambles and lurches around the Studio Lot. In the distance, a torch flickers near to the buildings. Nefer-Kare's ancient servants skulk in a dusty group around their leader. The huge mummified form of Nefer-Kare stands menacingly near the centre of the lot, wrapped in dirty bandages. A ravening Werewolf paces the lot restlessly. A horde of shambling zombies, led by a slightly less decomposed Security Guard, stumble around. Vampire thralls stand in a surly group, shooting suspicious glances at you. Over by the studio walls, the Count stands listlessly, staring off into the sky. The Countess paces impatiently around the lot. A dead cultist lies sprawled on the ground, his face frozen in a horrifying rictus. The Countess gives you a big thumbs up. "That's awesome," she says, pointing at the Monster. "I nearly laughed myself to death when that thing wandered in with Harry's head on its shoulders. Couldn't have happened to a nicer guy." She grins viciously. "That's what you get for chumming up with people like Arnie Mallet and thinking they give two figs about you." She looks over at the army. "I think that's everyone," she says. "It's nearly time to go to battle. One more thing, though. You should reconnoiter first and get us some info about the enemy. They've finally opened the bone gates." She glances at the crimson robe you are wearing. "You look a bit like a cultist. You can probably get in and see what's what." She grins. "Don't worry. If they catch you, we'll still fight the good fight." As soon as you enter the south end of the lot, the Monster sees you. With a terrible growl, it raises its arms and comes towards you, strangling hands grasping! The Monster lurches towards you, growling and snarling, its hands outstretched. >play music The music box begins to play a tinny, but pleasant little tinkly tune. You almost recognize it, but not quite. The Monster hears the tinny little tune and seems entranced! It stop in its tracks and gives what seems to be a smile. "Music!" it says, "Nice...music!" >save Ok. >n Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. On either side of the open bone doors stands a red-robed Cultist! The two guards look at your robes and then look at each other. "Hey," says one. "They're Bill's robes." Well, that didn't work. They look closely at your face. "You were supposed to be the Sacrifice," one of them says. "We had to sacrifice Harry instead. I think Arnie's going to want to have a word with you." They grab your arms and frogmarch you through the bone doors and into the horror of Hell! ...Press any key........ As you are led through the doors, it's like you are walking into a furnace. The heat blasts your face, and the smell of sulphur almost makes you gag. The doors open up into an enormous room. The decor of the Studio offices has gone. No more light green walls and glass doors. This is a Cathedral. A Cathedral made from bone! The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. On the huge throne sits a great demon who must surely be Astaroth. His clawed hands hold a great flaming whip! Other demons are gathered around the dais. Demons with leathery skin and sharp teeth. Demons with wings and scales! So many! You recoil in terror. Even the Cultists holding your arms seem afraid. You are led around the room to where the rest of the Cultists are gathered in a nervous-looking group. One of them turns. It's Arnie Mallet! Dr Horror himself! "Look who we found creeping about outside," says one of the Cultists holding your arms. Arnie glances at you. "So?" he says, shortly. "What you bringing him to me for? We don't need another sacrifice." The Cultist flinches. "We just thought, you know," he says, "that you'd want to..." he trails off. Arnie sighs and looks directly at you. You couldn't say for sure, but he looks nervous. He is sweating, and his eyes dart about, first settling on you, then glancing away at the demons. Then again, this is the first time you've ever met him, and he might always be like this. You doubt it, though. "So," he says, "We had to sacrifice Harry because of you. Still, can't blame you, really. I wouldn't want to hang around and be sacrificed either. And Harry's no great loss. Directors like him are ten a penny." (1) - "You're not going to kill me?" You say >1 "So you're not going to have me killed, then?" you say, as bravely as you can. Arnie looks genuinely surprised. "No," he says, "we're going to need all the souls we can get over the next few years. Why would I kill you?" (1) - "I know about what you've been doing to cut costs!" (2) - "I know you've been keeping the undead imprisoned!" (3) - "I know about the Cult and what they're up to!" (4) - "What you're doing's not right!" You say >3 I know all about what your Cult are up to," you say. "I watched the ritual." "Oh, you think you do, do you? replies Arnie, narrowing his eyes. "So we've summoned Astaroth and all his infernal demons, we sacrificed a few actors, and suddenly we're the bad guys." (1) - "I know about what you've been doing to cut costs!" (2) - "I know you've been keeping the undead imprisoned!" (3) - "Well it's not right!" You say >2 You pluck up your courage. "I know about how you're keeping the undead locked up in the Studios," you say. "You've been talking to her, haven't you," says Arnie. "Well, you shouldn't believe everything you hear. Of course I am. What, you want them out there in the world, do you?" (1) - "I know about what you've been doing to cut costs!" (2) - "I know about the Cult and what they're up to!" (3) - "Well, it's not right!" You say >1 "I know everything," you say "I know about how you're cutting costs by killing actors." "Oh, you do, do you?" he replies. "Well, good for you. Killing actors am I? What are you complaining about? You think you'd be in the movies if the herd hadn't thinned out a bit?" (1) - "I know you've been keeping the undead imprisoned!" (2) - "I know about the Cult and what they're up to!" (3) - "Well, it's not right!" You say >3 "Well it's not right," you say, heatedly. There is a roar from behind you as Astaroth stirs on his throne. For a moment you were so angry, you'd forgotten than you are surrounded by a demonic horde! Arnie blanches when he hears Astaroth and starts to sweat a bit more profusely. "What's not right?" he snaps at you, nervously. "Sacrificing a few actors? Keeping the undead locked up? Feeding a few extras to the undead to cut costs? It's suddenly not right is it? It was ok last week. Everyone knew about it and they all thought it was alright. And now, suddenly it isn't according to you." (1) - "I didn't know!" You say >1 "I didn't know," you shout, surprising yourself with your bravery. Arnie just looks at you incredulously. "Bullshit," he replies. "Yes, you did. You might have pretended to yourself that you didn't to make yourself feel better, but there's no way you can be in this business and not have known. What - you believed all the crap about actors suddenly going to visit their sick mother, or away to play a role overseas? You knew, and now that something might affect you directly, you're suddenly telling me how terrible it all is? Yeah, we do terrible things. Because we can. Because it's ok as long people can see the movies they like and actors like you get paid the big bucks. No one says squat if it's profiting them." No. This isn't right. You didn't know. But, there is an awful wriggling worm of doubt in the back of your mind. (1) - "Well, you're planning to rule the world, now!" You say >1 "Well, I have to stop you," you shout, "I heard you say you were planning to rule this world and the next." "Yeah, of film-making," says Arnie, "The world of the box office. What the hell did you think I meant. We're gonna hit box office gold. Astaroth wants to be a star! He's sick to death of an eternity in hell and all the politics down there. He thinks it's a good career move, acting. Let's be honest, we've taken the whole undead thing as far as it'll go. I mean, the Return of the Return of the Revenge of the Child of the Vampire? Public are tired of it. It's a whole new series of movies. The Creature from Hell or The Demonic Hordes. And just think of the cost savings. Astaroth, well, he just wants paying in souls. And those are easy to come by in this business. Everyone'll sign that contract. And he says they'll let us use Hell for on-location shooting! For free! No more expensive sets." (1) - "I'm going to stop you!" You say >1 "Well, I'm still going to stop you," you yell, "I've raised an undead army and we're coming for you." Ouch. Your anger is getting the better of you. Maybe it wasn't such a good idea to tell Arnie your plans. Arnie looks surprised for a moment and then thoughtful. He rubs his chin with his hand and looks around him at the swirling, terrible demons. "An undead army?" he says, slowly. "You've freed the undead, then." He thinks for a moment more and then seems to come to a decision. "Good," he says. "That's good news. I wasn't expecting so many demons. Astaroth has brought quite a horde with him. We certainly don't need this many. It might be difficult to keep them under ... control. I was going to deal with the undead one by one, but, to be honest, having a battle with an army of the undead might make this demon problem a bit more manageable." Well, you were not expecting that. Arnie looks at you directly, and you think there is what might be the beginnings of a grudging respect on his face. "You're going to lead the undead army into battle with us," he orders. "Astaroth will crush you, but I think, on the whole, I'd prefer a few less demons in the Studio." (1) - "Well, OK then. I suppose. But we will defeat you!" You say >1 "Well, that's alright then," you reply, somewhat taken-aback by Arnie's attitude. "But my army will defeat you and Astaroth!" "Hmmm," says Arnie. "It's a possibility." He glances once more at the huge form of Astaroth and seems to be wrestling with terrible indecision. "No," he says eventually. "My mind's made up. Off you go. You lead your army to us and we'll defeat you and then nothing will stop us!" He turns to the two Cultists who are still holding onto your arms. "Go on," he says, "let the undead army have their leader." He turns away. (1) - "I'll be back!" You say >1 "I'll be back," you shout, but Arnie ignores you. He walks away, shaking his head. The cultists march you out of the great Cathedral and into the welcoming cool night air of the studio lot. Studio Lot North The northern end of the huge lot, oppressively surrounded by the looming, darkened studio buildings, is overlooked to the north by the ugly and squat offices, their windows watching over the lot like great eyes. Who knows what lurks behind them. To the west, the door to Studio 1 is open. To the east, the open Studio 2 door. On each door, a sign. The lot continues to the south into shadow. The glass doors into the offices to the north have been replaced by gigantic doors that seem to be made entirely from human bones. The doorframe is made from hideous grinning human skulls! Sharp wooden spikes stick out from the ground around the door at all angles. "I wouldn't come back here if I was you," says one of the Cultists, as they turn and march back into the building. "Things are going to get real." >save Ok. >s You hear a shout from behind you. "Stop!" You turn, and it's Arnie Mallet running after you, his face red. He catches you up and puts one hand on your shoulder. "Hang on," he says, a little out of breath. "I've changed my mind." That doesn't sound right. You'd always heard that Arnie, once he makes up his mind, never changes it. Maybe actually coming face to face with a demon has shaken him up a bit. "Look," he continues. "There's a win win here. It's pretty impressive what you've done with the undead. Forming them up into an army. We need you. Why don't you come and join my army instead. We'll sort out the undead and then we'll make movies. There's gonna be plenty of great roles to go around." Well, that's an unexpected offer! You are genuinely stunned! "Wait," yells a voice behind you. You turn and see the Countess striding up the lot, her face like thunder. "Don't you dare, Arnie Mallet," she yells. "That's mine. Hands off." The plunking sounds from the plinky little music box fills the air. >talk to arnie There's no way you're doing anything until you see how this turns out! You can't help but hum along to the little tune coming out of the music box. "Oh," says Arnie, looking none too pleased. "Hello, Charlotte." "That's Countess to you, Arch-vector," snarls the Countess. "You're that desperate are you? You're so scared of those things you've summoned that you need this idiot," and here she points at you, "to lead your army because you've got no idea what you're doing. You think you can control them? Think again. You're screwed, Arnie Mallet, now get the hell out of here and go back to your army, because we're coming for you." "Oh, yeah," replies Arnie. "You're the one who needs to think again. There's no way your grab-bag of undead losers is going to defeat Astaroth. We're gonna make movies together. You should be thanking me. Where were you when I found you? Holed up in that draughty old castle with that useless husband of yours, surrounded by villagers waving pitchforks. Now you're a super star. What are you going to do when this poor idiot," and here he points at you, "realises that you just want to get out of here to continue to wage your war against humanity." You can't help but feel this is all getting a bit personal. It's difficult not to get offended. >z There's no way you're doing anything until you see how this turns out! The music box continues to plink out its song. "Thanking you?" yells the Countess, her voice rising by at least three octaves. "You imprison me in a cage for years, and I'm supposed to thank you? You're lucky I don't rip your throat out right now." "Yeah, yeah, well try it!" yells Arnie right back. "You know you can't. Now get back down there, and get that ridiculous army of your together and Astaroth will crush you like bugs." "Oh don't you worry about that Arnold," replies the Countess. "I will. And It's gonna be you that's looking at an eternity in hell by the end of tonight, whichever way this ends." >x arnie Arnie is a surprisingly small and inconspicuous man, wearing a nondescript black suit. There's nothing really of note about him. You certainly wouldn't notice him in a crowd. The music box finishes its tune and the tinny music stops. "Come on," says Arnie to you, "don't listen to her. She's just using you to get out of here so she can lead the undead into war against the whole of humanity. Join us. Let's make movies." "Hah," responds the Countess, turning to you. "Don't listen to him. He's lying. He won't be able to control those demons. Come and join us and help us defeat Mallet and his evil forever!" With that, both of them turn on their heels and stamp away. Arnie into the Cathedral, the Countess down the lot. Oh no! Here's a terrible choice. Do you go south and join the undead army and risk them running wild in the human world, or do you go north and join Arnie's army despite all the evil he does? well? >save Ok. well? >n You take a deep breath and walk into the Cathedral, turning your back on the undead. "Good for you," says Arnie, as you enter the huge, smoke-filled, demon-infested furnace. "It was the right decision. Now, come on, we've got a war to win." You flex your shoulders and can't help but feel that no matter what happens, this isn't going to end well. Suddenly, you hear the sound of marching feet. It's the undead amy with the Countess at their head. They march into the cathedral, ready for battle! The demons line up in front of the throne, howling, and eager to kill! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your demonic army yearn for battle! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The terrible army of the undead await your forces! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. Arnie grabs you by the arm. "This is it," he says. "The final battle. I might be the head of the Studio, but none of us have got any clue what we're doing. Astaroth and all the demons don't seem able to plan their way out of a paper bag. So we need you to be our general and tell us who to fight. Otherwise everyone's just gonna run around like headless chickens." "All the fighters have got different strengths and weaknesses. you can see them better than I can. Take a good look at everyone (Examine Monster, for example), and work out who will do well against their opponent. Then, when you think you know, tell one of us to attack one of them." (You can order one of the demonic army to attack by telling them who: Demons, attack zombies, for example) "You can check out our army if you lose track of who's attacking who (Examine, or X ARMY) and when everyone's got an opponent, just tell us to go into battle!" (To order your army into battle, just type BATTLE) "Be warned, though," says Arnie. "These are demons. Once you give them an opponent, there's no going back. They'll fight till someone is dead. You can't change your mind." >x army You have not yet ordered any of your army to attack. >x monster The monster made from assorted body parts is extremely strong and his special attack, using his monstrous strength to squeeze the life out of his opponents is extremely powerful. Unfortunately, he is also very slow and a bit clumsy. The amount of damage he deals to his opponent is very high. >x mummy The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. They are very strong and they use this strength to deliver a devastating unstoppable crushing attack which is extremely powerful. They are also quite slow and very clumsy. They dish out a reasonable amount of damage. >x zombies The zombies shuffle mindlessly around a plucky Security Guard. Their special ability, a sort or relentless gradual grinding down of their opponent, is not bad. They are very strong and a bit clumsy. They do a very low amount of damage. Obviously, they are also very slow. >x werewolf The fearsome werewolf snarls at the opposition. She is pretty quick and really agile, but quite weak, and her special attack, a furious berserk rage, is not powerful at all. She deals a quite low amount of damage to her foes. >x vampires The Countess, the Count and their vampire thralls look hungrily at the demonic army. They are reasonably strong, really agile and of average speed. They have a range of abilities like turning into bats or smoke, or becoming invisible which they can use to disconcerting and devastating effect, making their attacks really quite powerful. The amount of harm they inflict is extremely high. >x astaroth Astaroth sits brooding on the throne of Hell. He is quite slow and extremely strong. Astaroth is agile enough and his special ability, a flaming whip which contains all the fires of hell is really quite powerful. The amount of damage he deals to his opponent is extremely high. >astaroth, fight monster You order Astaroth to attack the Monster! Astaroth inclines his great head and looks eagerly across the battlefield. >x cultists The cultists look a little worried, to be honest. As if they're having second thoughts. They are really agile and quite weak. They are also quite slow. The amount of damage they dish out is very low and their main weapon, the power of their black magic hexes is not very powerful. >cultists, fight zombies You order the red-robed cultists to attack the zombies! The cultists mutter under their breath, shuffle their feet a bit, and look anything but eager. >x balphegor You can't see any such thing. >l The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your demonic army yearn for battle! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The terrible army of the undead await your forces! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. >x belphegor Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The troup don't have much of a special weapon - a sort of song that lures their opponents in. It is not powerful at all. To make up for it, they are very strong, really agile and pretty quick. The amount of damage Belphegor and the succubi deals to their opponent is very high. >x beelzebub Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. They are agile enough, very fast and quite weak. Their unique ability, a swooping attack with the sharp pinions of their black wings, is not bad. They deal a reasonable level of damage to their foes. >beelzebub, fight werewolf You order Beelzebub and his choir of demented Angels to attack the werewolf! The angels screech and wail in anticipation. >army That's not a verb I recognise. >x army Your orders are: You have sent Astaroth into battle with the Monster. At your command, the red-robed cultists will attack the zombies. You have sent Beelzebub and his choir of demented Angels into battle with the werewolf. >belphegor, fight vampires You order Belphegor and his succubi to attack the vampires! The succubi flock around Belphegor like a crowd of excited starlings. >l The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your demonic army yearn for battle! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The terrible army of the undead await your forces! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. >x demons A coven of lesser demons and archfiends surround the dais near the throne. The amount of damage they deal to their opponent is quite low. The demons are reasonably strong. They have a natural ability to emit noxious clouds of gasses, which means their abilities are not very powerful. They are also agile enough and of average speed. >demons, fight mummy You order the lesser demons and archfiends to attack the mummies! The demons leap and caper about - definitely ready to go. >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ Astaroth goes into glorious battle with the Monster! Astaroth cracks his great flaming whip at the Monster, searing him with heat from the very depths of hell! The Monster uses his huge strength, grappling at Astaroth until they are both standing at the centre of the armies like huge wrestlers. Hurray! Astaroth wins the fight! The Monster falls in glorious battle. After the fight, Astaroth is wounded! He's lost some agility, strength and speed. ...Press any key........ The red-robed cultists go into dreadful battle with the zombies! The Cultists mumble and chant and cast great hexes of pulsing green light, which burn and sear the zombies decaying flesh. The zombies take a lot of damage, but they can handle it! They continue to advance mindlessly, grasping towards their opponents and using their teeth to rip at exposed skin! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ Beelzebub and his choir of demented Angels go into glorious battle with the werewolf! The werewolf advances on the Angels, moving quicker than you can follow, snapping her strong jaws and biting at them with white fangs. The angels swoop down from the ceiling at her, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Hurray! Beelzebub and his choir of demented Angels win the fight! The werewolf falls in dreadful battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some special ability power and speed. ...Press any key........ Belphegor and his succubi go into dreadful battle with the vampires! Belphegor blows his terrible horn and the sound reverberates around the Cathedral, allowing the flock of succubi to descend on the Vampires and sing their evil songs. The vampires turn to smoke to evade the succubus attacks, fighting back as bats or great rats. Oh no! The vampires win the fight! Belphegor and his succubi fall in glorious battle. After the fight, the vampires are wounded! They've lost some special ability power, strength, speed and agility. ...Press any key........ The lesser demons and archfiends go into horrifying battle with the mummies! The demons clamber up the walls and drop down on themummies from above, using their sharp claws to terrible effect and the bandaged bodies. Nefer-Kare and his servants endure their attacks and advance on the demons, crushing them against the floor and walls like bugs. Oh no! The Mummies win the fight! The lesser demons and archfiends fall in dreadful battle. After the fight, the mummies are wounded! They've lost some special ability power and strength. ...Press any key........ The armies withdraw. Both sides have suffered losses. The corpses of the losing creatures pile up in terrible stacks of both undead and demons! All the remaining combatants have injuries and look the worse for wear. But there can only be one victor in this war between undead and demon! You must order the survivors back into battle and finish your foes once and for all! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your demonic army yearn for battle! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. The terrible army of the undead await your forces! The Countess, the Count and their vampire thralls look hungrily at the demonic army. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. >astaroth, fight vampires You order Astaroth to attack the vampires! Astaroth inclines his great head and looks eagerly across the battlefield. >beelzebub, fight mummy You order Beelzebub and his choir of demented Angels to attack the mummies! The angels screech and wail in anticipation. >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ Astaroth goes into glorious battle with the vampires! The vampires flicker between forms faster than you can see. They attack Astaroth as bats or as great red-eyed rats, They turn to smoke and coil around his form. Astaroth responds by cracking his great flaming whip at them, searing them with heat from the very depths of hell! Hurray! Astaroth wins the fight! The vampires fall in horrifying battle. After the fight, Astaroth is wounded! He's lost some agility, special ability power, strength and speed. ...Press any key........ Beelzebub and his choir of demented Angels go into dreadful battle with the mummies! The angels swoop down from the ceiling at the mummies, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Nefer-Kare and his servants shrug off their attacks and advance on Beelzebub, swatting the succubi out of the air like moths. Hurray! Beelzebub and his choir of demented Angels win the fight! The Mummies fall in glorious battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some special ability power, strength and speed. ...Press any key........ The battle is over! The battle is won! The undead army lie strewn across the Cathedral floor in untidy piles. The remainder of your demonic army roars with triumph and you pump your fist into the air with relief. You notice a disturbance in one of the piles of corpses. It's Arnie Mallet! He looks a little disheveled to say the least, his crimson robes ripped and blackened. He staggers to his feet. Of course Arnie survived, you think, people like him always do. Arnie runs his hands up and down his body as if he can't believe he's in one piece. He glances over at the remainder of your demon army and nods in satisfaction. Arnie looks in your direction and gives you a big thumbs up. Stepping delicately over the dead bodies, he walks over to stand at your side. "Not bad," he says, grabbing your hand and pumping it up and down. "Good work, kid." He surveys the room. "We're gonna make it big," he continues. "These demons, once they get used to the lifestyle, are gonna be pussycats. And you," he continues, "well I think you might have a bright future ahead of you!" You're not so sure you like the look in his eyes, to be honest. Is he going to keep his word? Are the demons going to be happy making films and not burst out of the studio to destroy the world? Should you just make a break for it now and try and leave all this behind? Arnie puts his arm around your shoulders. "Yes," he says, "if you've got a soul to sell, the sky's the limit, kid." ...Press any key........ Dr. Horror's House of Terror Starring You, the Player as Unnamed Protagonist Charlotte Day as The Countess Harry Higginbotham as Himself Arnie Mallet as Himself ...Press any key........ Also featuring Blake Lively - A vampire Gemma Bellerton - Elise, the Voodoo Priestess Melissa Clumb - A pair of white legs Beanie Havel - Some dismembered arms Chloe - A security guard Jim McBean - a crazed cultist Derek Paisley - a medieval villager Billy Ambler - Corpse #1 and introducing Wilma the Sheep ...Press any key........ Tested for the screen by Christopher Merriner, Mandy, ChrisP and Jay ...Press any key........ Written and Directed by Ade McT ...Press any key........ Six Months Later.... ...Press any key........ Phew. That was a tough day! It's been quite an itinerary. You had to get out of bed before eleven, and then your friend, Alice, had absolutely insisted you join her on a shopping trip. She can shop like a demon, that one! Then had been lunch with Barney Pursley and a lengthy discussion of why you should abandon Mallet Studios and "move up in the world" as Barney had put it. You had to set him straight of course. Then, after lunch at about four had been script read throughs for The Demonic Fires of Hell for an hour, and to top it all off, Alice had meet you again and, once again, insisted that you join her at the opening of a new show. Your Penthouse Apartment Your apartment, on the top floor of the tower block, overlooks the waving trees of the park. Through the large double glass doors, a balcony goes all the way across the building where you sometimes sit out at night with colleagues and drink champagne. In the main room, a huge three sided white sofa surrounds a white fur rug. Expensive ornaments line tastefully lit shelving. A huge TV hangs on the wall in front of the sofa. You sigh and throw your tired body onto the sofa. Never mind. Some TV will relax you. You grab the remote from the top of your lovely glass vallentina occasional table. >x me You're tired, now, and just want to relax for a while. >i You're too tired. All you want to do now is turn on the TV and relax for an hour. >watch tv You're too tired. All you want to do now is turn on the TV and relax for an hour. >turn on tv You press the power button on the remote. The TV flickers to reluctant life. Not much on really, but it doesn't matter. You're content to just sit here and let it flow over you. An old Mallet Studios horror film is on later. You might watch that. You might even see someone you used to know. In your pocket, your phone begins to ring. You take it out and look at the screen. Hmmm.... Unknown number. Who could be ringing you at this hour? you really should answer it, you suppose. >answer phone You sigh and put the phone to your ear. "Hello?" you say. There is a clicking noise at the other end of the line. A horrible organic sound, like someone is cracking chicken bones. Eventually, there is a voice. "It's time," it whispers. "It's time to pay what you owe." Oh no! You cast your mind back to the deal you made with Arnie. "Come on, kid," he had said, "fame and fortune await," and had thrust the contract under your nose. It had sounded pretty good to you at the time. "It's time we took your soul," the terrible voice continues. "We own it. It's ours. An eternity in Hell awaits you." "Is there no way out?" you gasp. "Surely I can get more time." This shouldn't be happening to you right now! You've got a life here. You're famous for goodness sake. The voice on the other end of the line breaks into an evil chuckle. "A way out?" it says. "Of course there's a way out. Collect us a hundred souls. A hundred souls in exchange for your own worthless soul." You pause for a moment. A hundred souls? Easy. But should you do it? Is your newfound fame and acting career that important to you? Would you lure a hundred people into this fate just to save your own soul? "Well," you begin, "I......." ...Press any key........ ***The End. Thank you for Watching*** You built an undead army! It consisted of, the mummified Pharaoh Nefer-Kare and his shuffling ancient servants, a monster manufactured from body parts and brought to terrible life, a horde of shambling zombies led by an understandably annoyed Security Guard, a fearsome ravening werewolf, the Count, the Countess and their bloodthirsty vampire thralls. You then abandoned your undead army and decided to lead the forces of Astaroth and his demonic hordes. You won a glorious victory! You managed to survive sixteen perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! - You pushed a decent hard-working security guard into a deep pit for some reason. - You loaded an ancient Blunderbuss with a handful of silver pocket-change and bluffed a Werewolf! - Hideous spiders you let loose poisoned a nice security guard with their huge fangs! - You tamed Nefer-Kare and his mummified servants with the ancient magic of his own bracelet! - You soothed the savage heart of a terrible Monster with some sweet music! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. well? >s You take a deep breath and walk down the lot toward your undead army, turning your back on Arnie Mallet. "Good choice," says the Countess, as you enter the undead-infested southern end of the lot. "It was the right decision. Now, come on, we've got a war to win." You flex your shoulders and can't help but feel that no matter what happens, this isn't going to end well. Your army form up into ranks and you march north into the huge, smoke-filled furnace of the Cathedral of Bone! The demons line up in front of the throne, howling and eager to kill! The undead face them, ready for battle! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. The terrible demonic army await your forces! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The Countess puts one hand on your shoulder. "This is it," she says. "This is where you really earn your keep. We're the undead. Good at some things. Not so much at others. Like organizing ourselves with a sensible plan, for example. We need you to be our general and tell us who to fight. Otherwise we'll just be all over the place." "Everyone's got different strengths and weaknesses," she continues. "You can see them better than we can. Take a good look at everyone (Examine Astaroth, for example), and work out who will do well against their opponent. Then, when you think you know, tell one of us to attack one of them." (You can order one of the undead to attack by telling them who: Zombies, attack demons, for example) "You can check out our army if you lose track of who's attacking who (Examine, or X ARMY) and when everyone's got an opponent, just tell us to go into battle!" (To order your army into battle, just type BATTLE) "Be warned, though," says the Countess. "We're undead. Once you give us an opponent, there's no going back. We'll fight till one of us is dead. You can't change your mind." >vampires, fight astaroth You order the vampires to attack Astaroth! "Good," snarls the Countess. "About time." >zombies, fight cultists You order the zombies to attack the red-robed cultists! The zombies moan and raise their arms ready for battle! >monster, fight belphegor You order the Monster to attack Belphegor and his succubi! Harry gives a ghastly smile. "I'll stomp them, good," he says. >werewolf, fight demons You order the werewolf to attack the lesser demons and archfiends! The Werewolf snarls viciously, obviously ready to go. >mummy, fight beelzebub You order the mummies to attack Beelzebub and his choir of demented Angels! Nefer-Kare raises his arms and declaims "To battle!" >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The vampires go into glorious battle with Astaroth! The vampires flicker between forms faster than you can see. They attack Astaroth as bats or as great red-eyed rats, They turn to smoke and coil around his form. Astaroth responds by cracking his great flaming whip at them, searing them with heat from the very depths of hell! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The zombies go into dreadful battle with the red-robed cultists! The Cultists mumble and chant and cast great hexes of pulsing green light, which burn and sear the zombies decaying flesh. The zombies take a lot of damage, but they can handle it! They continue to advance mindlessly, grasping towards their opponents and using their teeth to rip at exposed skin! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The Monster goes into horrifying battle with Belphegor and his succubi! The Monster takes great damage from the claws of the Succubi, but he swats them out of the air like so many flies and grapples with Belphegor fiercely. The succubi sing their evil songs, which seem to affect the Monster! But he shakes his head as if to clear it and continues to fight. It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The werewolf goes into dreadful battle with the lesser demons and archfiends! The werewolf advances on the demons, moving quicker than you can follow, snapping her strong jaws and biting at them with white fangs. The demons respond by raking at her fur with their sharp claws and skittering along the ceiling to fall down on her from above. It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The Mummies go into glorious battle with Beelzebub and his choir of demented Angels! The angels swoop down from the ceiling at the mummies, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Nefer-Kare and his servants shrug off their attacks and advance on Beelzebub, swatting the succubi out of the air like moths. It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The battle is over! Everyone is dead! Undead and demon lie strewn across the floor in untidy piles. You gaze over the carnage. Well. Now what? Is that it? Could this be the end of both these threats to humanity? The Cathedral begins to fade, the throne disappearing back to wherever it came from. Hell, you suppose. Gradually, the walls become, once again, the light green of the studio offices. The doors slowly turn back into glass. It's nearly dawn. Through the windows, a gentle light is beginning to shine. Can it really have been that long since all this terror and death began? As you walk away from the piled up corpses, you can't help but think of all the terrible things you had to do to stop the Cult's evil. Can you live with yourself? What's going to become of Mallet Studios? What are you going to do now? Has this evil ended forever? You step cautiously over the carnage. Surely there's a way out of these studios. Surely there a life out there waiting for you to live that doesn't involve such horror! ...Press any key........ Dr. Horror's House of Terror Starring You, the Player as Unnamed Protagonist Charlotte Day as The Countess Harry Higginbotham as Himself Arnie Mallet as Himself ...Press any key........ Also featuring Blake Lively - A vampire Gemma Bellerton - Elise, the Voodoo Priestess Melissa Clumb - A pair of white legs Beanie Havel - Some dismembered arms Chloe - A security guard Jim McBean - a crazed cultist Derek Paisley - a medieval villager Billy Ambler - Corpse #1 and introducing Wilma the Sheep ...Press any key........ Tested for the screen by Christopher Merriner, Mandy, ChrisP and Jay ...Press any key........ Written and Directed by Ade McT ...Press any key........ Six Months Later.... ...Press any key........ Phew. That was a long day! You open your front door with relief. It's time to sit down, rest for a while and watch some TV. Your feet are killing you. You rip off your apron and drape it over the back of the kitchen chair. Difficult customers today. Sometimes you think it's pure madness just how complicated making a simple cup of coffee is getting. What is wrong with people? Coffee, white or black. Decaf or low fat milk. It should be that simple. Customers coming in and ordering low fat double soy expresso macche latte with an extra shot of something or other. You swear they're only doing it so other people think they have good taste. Your Tiny Apartment Basically, just a tiny kitchen area and a tiny living area, your flat came pre-populated with a smelly old sofa, a kitchen chair and a pull-down bed. A small TV sits on the floor in the corner. You sigh and throw your tired body onto the sofa. Never mind. Some TV will cheer you up. You grab the remote from the floor thinking once again that you really ought to get a table. If you ever have any spare cash, that is. >turn on tv You press the power button on the remote. The TV flickers to reluctant life. Not much on really, but it doesn't matter. You're content to just sit here and let it flow over you. An old Mallet Studios horror film is on later. You might watch that. You might even see someone you used to know. In your pocket, your phone begins to ring. You take it out and look at the screen. Hmmm.... Unknown number. Who could be ringing you at this hour? you really should answer it, you suppose. >answer phone You sigh and put the phone to your ear. "Hello?" you say. "Darling," replies a shrieking voice. A voice you know very well. "How are you! It's been for ever since we spoke!" It's your agent, Daphne! Well, it's been a while since you heard from her! "Now, don't hang up, darling," continues Daphne, "I know I should have called, but since Mallet went bust, there's simply been nothing in the pipeline. But, exciting news! I just got a call today from Heinrich Werner! You know him, darling, of course you do. He's the head honcho at Bavaria Studios in Germany of all places! Are you still there, dear?" "Well, I'm not really.." you begin. Daphne doesn't let you finish. "So they're beginning a line of horror movies," she burbles, "Low budget of course. And they called me and asked me if I knew anyone, and I thought of you straight away. In fact, there's a film The Evil of The Crypt of the Walking Dead about to start shooting right now. I told them you were interested of course...." She continues to speak, but your mind is elsewhere. A way back in! But should you take it? Daphne has finished speaking and is waiting on the other end of the line expectantly. "Well," you say, "I.........." ...Press any key........ ***The End. Thank you for Watching*** You built an undead army! It consisted of, the mummified Pharaoh Nefer-Kare and his shuffling ancient servants, a monster manufactured from body parts and brought to terrible life, a horde of shambling zombies led by an understandably annoyed Security Guard, a fearsome ravening werewolf, the Count, the Countess and their bloodthirsty vampire thralls. You led the undead army you built into battle against Astaroth and his demonic hordes. It was a draw. Everyone killed each other. You managed to survive sixteen perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! - You pushed a decent hard-working security guard into a deep pit for some reason. - You loaded an ancient Blunderbuss with a handful of silver pocket-change and bluffed a Werewolf! - Hideous spiders you let loose poisoned a nice security guard with their huge fangs! - You tamed Nefer-Kare and his mummified servants with the ancient magic of his own bracelet! - You soothed the savage heart of a terrible Monster with some sweet music! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. well? >s You take a deep breath and walk down the lot toward your undead army, turning your back on Arnie Mallet. "Good choice," says the Countess, as you enter the undead-infested southern end of the lot. "It was the right decision. Now, come on, we've got a war to win." You flex your shoulders and can't help but feel that no matter what happens, this isn't going to end well. Your army form up into ranks and you march north into the huge, smoke-filled furnace of the Cathedral of Bone! The demons line up in front of the throne, howling and eager to kill! The undead face them, ready for battle! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. The terrible demonic army await your forces! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The Countess puts one hand on your shoulder. "This is it," she says. "This is where you really earn your keep. We're the undead. Good at some things. Not so much at others. Like organizing ourselves with a sensible plan, for example. We need you to be our general and tell us who to fight. Otherwise we'll just be all over the place." "Everyone's got different strengths and weaknesses," she continues. "You can see them better than we can. Take a good look at everyone (Examine Astaroth, for example), and work out who will do well against their opponent. Then, when you think you know, tell one of us to attack one of them." (You can order one of the undead to attack by telling them who: Zombies, attack demons, for example) "You can check out our army if you lose track of who's attacking who (Examine, or X ARMY) and when everyone's got an opponent, just tell us to go into battle!" (To order your army into battle, just type BATTLE) "Be warned, though," says the Countess. "We're undead. Once you give us an opponent, there's no going back. We'll fight till one of us is dead. You can't change your mind." >monster, fight astaroth You order the Monster to attack Astaroth! Harry gives a ghastly smile. "I'll stomp them, good," he says. >zombies, fight cultists You order the zombies to attack the red-robed cultists! The zombies moan and raise their arms ready for battle! >werewolf, fight beelzebub You order the werewolf to attack Beelzebub and his choir of demented Angels! The Werewolf snarls viciously, obviously ready to go. >vampires, fight belphegor You order the vampires to attack Belphegor and his succubi! "Good," snarls the Countess. "About time." >mummies, fight demons You order the mummies to attack the lesser demons and archfiends! Nefer-Kare raises his arms and declaims "To battle!" >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The Monster goes into glorious battle with Astaroth! Astaroth cracks his great flaming whip at the Monster, searing him with heat from the very depths of hell! The Monster uses his huge strength, grappling at Astaroth until they are both standing at the centre of the armies like huge wrestlers. Oh no! Astaroth wins the fight! The Monster falls in dreadful battle. After the fight, Astaroth is wounded! He's lost some speed, special ability power, agility and strength. ...Press any key........ The zombies go into dreadful battle with the red-robed cultists! The Cultists mumble and chant and cast great hexes of pulsing green light, which burn and sear the zombies decaying flesh. The zombies take a lot of damage, but they can handle it! They continue to advance mindlessly, grasping towards their opponents and using their teeth to rip at exposed skin! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The werewolf goes into horrifying battle with Beelzebub and his choir of demented Angels! The werewolf advances on the Angels, moving quicker than you can follow, snapping her strong jaws and biting at them with white fangs. The angels swoop down from the ceiling at her, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Oh no! Beelzebub and his choir of demented Angels win the fight! The werewolf falls in glorious battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some special ability power and strength. ...Press any key........ The vampires go into dreadful battle with Belphegor and his succubi! Belphegor blows his terrible horn and the sound reverberates around the Cathedral, allowing the flock of succubi to descend on the Vampires and sing their evil songs. The vampires turn to smoke to evade the succubus attacks, fighting back as bats or great rats. Hurray! The vampires win the fight! Belphegor and his succubi fall in horrifying battle. After the fight, the vampires are wounded! They've lost some special ability power, speed, strength and agility. ...Press any key........ The Mummies go into dreadful battle with the lesser demons and archfiends! The demons clamber up the walls and drop down on themummies from above, using their sharp claws to terrible effect and the bandaged bodies. Nefer-Kare and his servants endure their attacks and advance on the demons, crushing them against the floor and walls like bugs. Hurray! The Mummies win the fight! The lesser demons and archfiends fall in glorious battle. After the fight, the mummies are wounded! They've lost some special ability power. ...Press any key........ The armies withdraw. Both sides have suffered losses. The corpses of the losing creatures pile up in terrible stacks of both undead and demons! All the remaining combatants have injuries and look the worse for wear. But there can only be one victor in this war between undead and demon! You must order the survivors back into battle and finish your foes once and for all! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The Countess, the Count and their vampire thralls look hungrily at the demonic army. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. The terrible demonic army await your forces! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. >vampires, fight astaroth You order the vampires to attack Astaroth! "Good," snarls the Countess. "About time." >mummies, fight beelzebub You order the mummies to attack Beelzebub and his choir of demented Angels! Nefer-Kare raises his arms and declaims "To battle!" >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The vampires go into horrifying battle with Astaroth! The vampires flicker between forms faster than you can see. They attack Astaroth as bats or as great red-eyed rats, They turn to smoke and coil around his form. Astaroth responds by cracking his great flaming whip at them, searing them with heat from the very depths of hell! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The Mummies go into dreadful battle with Beelzebub and his choir of demented Angels! The angels swoop down from the ceiling at the mummies, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Nefer-Kare and his servants shrug off their attacks and advance on Beelzebub, swatting the succubi out of the air like moths. Oh no! Beelzebub and his choir of demented Angels win the fight! The Mummies fall in dreadful battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some strength and special ability power. ...Press any key........ The battle is over! The battle is lost! Your undead army lie strewn across the Cathedral floor in untidy piles. The remainder of the demonic army roars with triumph and you shrink back into the shadows. Surely now you will be dragged down to hell! You notice a disturbance in one of the piles of corpses. It's Arnie Mallet! He looks a little disheveled to say the least, his crimson robes ripped and blackened. He staggers to his feet. Of course Arnie survived, you think bitterly to yourself. It's not a fair world. If it was, you would never have been here in the first place. Arnie runs his hands up and down his body as if he can't believe he's in one piece. He glances over at the remainder of his demon army and nods in satisfaction. Then he sees you and bursts into cruel laughter. Can you make a break for it before Arnie orders the surviving demons to rip your soul from your body? You look wildly around. Is there anywhere to run to? Will the demons conquer the world of mortals? Will they become stars of the silver screen? Will you even live to tell the tale? Arnie walks towards you, and you begin to run, not caring where you end up as long as it's not here! ...Press any key........ Dr. Horror's House of Terror Starring You, the Player as Unnamed Protagonist Charlotte Day as The Countess Harry Higginbotham as Himself Arnie Mallet as Himself ...Press any key........ Also featuring Blake Lively - A vampire Gemma Bellerton - Elise, the Voodoo Priestess Melissa Clumb - A pair of white legs Beanie Havel - Some dismembered arms Chloe - A security guard Jim McBean - a crazed cultist Derek Paisley - a medieval villager Billy Ambler - Corpse #1 and introducing Wilma the Sheep ...Press any key........ Tested for the screen by Christopher Merriner, Mandy, ChrisP and Jay ...Press any key........ Written and Directed by Ade McT ...Press any key........ Six Months Later.... ...Press any key........ Phew. That was a tough day! It's been quite an itinerary. You had to get out of bed before eleven, and then your friend, Alice, had absolutely insisted you join her on a shopping trip. She can shop like a demon, that one! Then had been lunch with Barney Pursley and a lengthy discussion of why you should abandon Mallet Studios and "move up in the world" as Barney had put it. You had to set him straight of course. Then, after lunch at about four had been script read throughs for The Demonic Fires of Hell for an hour, and to top it all off, Alice had meet you again and, once again, insisted that you join her at the opening of a new show. Your Penthouse Apartment Your apartment, on the top floor of the tower block, overlooks the waving trees of the park. Through the large double glass doors, a balcony goes all the way across the building where you sometimes sit out at night with colleagues and drink champagne. In the main room, a huge three sided white sofa surrounds a white fur rug. Expensive ornaments line tastefully lit shelving. A huge TV hangs on the wall in front of the sofa. You sigh and throw your tired body onto the sofa. Never mind. Some TV will relax you. You grab the remote from the top of your lovely glass vallentina occasional table. >turn on tv You press the power button on the remote. The TV flickers to reluctant life. Not much on really, but it doesn't matter. You're content to just sit here and let it flow over you. An old Mallet Studios horror film is on later. You might watch that. You might even see someone you used to know. In your pocket, your phone begins to ring. You take it out and look at the screen. Hmmm.... Unknown number. Who could be ringing you at this hour? you really should answer it, you suppose. >answer phone You sigh and put the phone to your ear. "Hello?" you say. There is a clicking noise at the other end of the line. A horrible organic sound, like someone is cracking chicken bones. Eventually, there is a voice. "It's time," it whispers. "It's time to pay what you owe." Oh no! You cast your mind back to the deal you made with Arnie. He'd been running short of actors, so "I've got to use you, despite the fact you fought against us" he had said and had thrust the contract under your nose. The remains of the demon army had been hanging around, and, to be honest, you'd been so frightened, you'd have signed anything. "It's time we took your soul," the terrible voice continues. "We own it. It's ours. An eternity in Hell awaits you." "Is there no way out?" you gasp. "Surely I can get more time." This shouldn't be happening to you right now! You've got a life here. You're famous for goodness sake. The voice on the other end of the line breaks into an evil chuckle. "A way out?" it says. "Of course there's a way out. Collect us a hundred souls. A hundred souls in exchange for your own worthless soul." You pause for a moment. A hundred souls? Easy. But should you do it? Is your newfound fame and acting career that important to you? Would you lure a hundred people into this fate just to save your own soul? "Well," you begin, "I......." ...Press any key........ ***The End. Thank you for Watching*** You built an undead army! It consisted of, the mummified Pharaoh Nefer-Kare and his shuffling ancient servants, a monster manufactured from body parts and brought to terrible life, a horde of shambling zombies led by an understandably annoyed Security Guard, a fearsome ravening werewolf, the Count, the Countess and their bloodthirsty vampire thralls. You led the undead army you built into battle against Astaroth and his demonic hordes. Unfortunately, you lost. You managed to survive sixteen perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! - You pushed a decent hard-working security guard into a deep pit for some reason. - You loaded an ancient Blunderbuss with a handful of silver pocket-change and bluffed a Werewolf! - Hideous spiders you let loose poisoned a nice security guard with their huge fangs! - You tamed Nefer-Kare and his mummified servants with the ancient magic of his own bracelet! - You soothed the savage heart of a terrible Monster with some sweet music! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > restore Ok. well? >s You take a deep breath and walk down the lot toward your undead army, turning your back on Arnie Mallet. "Good choice," says the Countess, as you enter the undead-infested southern end of the lot. "It was the right decision. Now, come on, we've got a war to win." You flex your shoulders and can't help but feel that no matter what happens, this isn't going to end well. Your army form up into ranks and you march north into the huge, smoke-filled furnace of the Cathedral of Bone! The demons line up in front of the throne, howling and eager to kill! The undead face them, ready for battle! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The Countess, the Count and their vampire thralls look hungrily at the demonic army. A horde of zombies, led by a determined Security Guard, shuffle mindlessly. A monster made from body parts growls and rages. The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. The terrible demonic army await your forces! Astaroth sits brooding on the throne of Hell. Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. A coven of lesser demons and archfiends surround the dais. A small group of red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the corner. Belphegor, in all his malevolent glory, is tended by a flock of ravening Succubi. The Countess puts one hand on your shoulder. "This is it," she says. "This is where you really earn your keep. We're the undead. Good at some things. Not so much at others. Like organizing ourselves with a sensible plan, for example. We need you to be our general and tell us who to fight. Otherwise we'll just be all over the place." "Everyone's got different strengths and weaknesses," she continues. "You can see them better than we can. Take a good look at everyone (Examine Astaroth, for example), and work out who will do well against their opponent. Then, when you think you know, tell one of us to attack one of them." (You can order one of the undead to attack by telling them who: Zombies, attack demons, for example) "You can check out our army if you lose track of who's attacking who (Examine, or X ARMY) and when everyone's got an opponent, just tell us to go into battle!" (To order your army into battle, just type BATTLE) "Be warned, though," says the Countess. "We're undead. Once you give us an opponent, there's no going back. We'll fight till one of us is dead. You can't change your mind." >vampires, fight astaroth You order the vampires to attack Astaroth! "Good," snarls the Countess. "About time." >zombies, fight beelzebub You order the zombies to attack Beelzebub and his choir of demented Angels! The zombies moan and raise their arms ready for battle! >monster, fight beelzebub You can't attack Beelzebub and his choir of demented Angels twice! They've already been assigned the zombies as their opponent. >werewolf, fight cultists You order the werewolf to attack the red-robed cultists! The Werewolf snarls viciously, obviously ready to go. >mummy, fiight demons There's no time for that! You need to give orders to your army! >monster, fight belphegor You order the Monster to attack Belphegor and his succubi! Harry gives a ghastly smile. "I'll stomp them, good," he says. >mummy, fight demons You order the mummies to attack the lesser demons and archfiends! Nefer-Kare raises his arms and declaims "To battle!" >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The vampires go into dreadful battle with Astaroth! The vampires flicker between forms faster than you can see. They attack Astaroth as bats or as great red-eyed rats, They turn to smoke and coil around his form. Astaroth responds by cracking his great flaming whip at them, searing them with heat from the very depths of hell! It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The zombies go into glorious battle with Beelzebub and his choir of demented Angels! The angels swoop down from the ceiling at the zombies, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. The zombies shrug off their attacks and advance mindlessly, taking great damage to their bodies. Oh no! Beelzebub and his choir of demented Angels win the fight! The zombies fall in dreadful battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some special ability power. ...Press any key........ The werewolf goes into dreadful battle with the red-robed cultists! The cultists cast great hexes of green light at the wolf, which burns her fur wherever it touches. The werewolf is quick, though. She races into the group of cultists, biting and snapping at their fragile skin. Hurray! The werewolf wins the fight! The red-robed cultists fall in dreadful battle. After the fight, the werewolf is wounded! She's lost some special ability power. ...Press any key........ The Monster goes into glorious battle with Belphegor and his succubi! The Monster takes great damage from the claws of the Succubi, but he swats them out of the air like so many flies and grapples with Belphegor fiercely. The succubi sing their evil songs, which seem to affect the Monster! But he shakes his head as if to clear it and continues to fight. It is a draw! Both groups of combatants fall, mortally wounded! ...Press any key........ The Mummies go into horrifying battle with the lesser demons and archfiends! The demons clamber up the walls and drop down on themummies from above, using their sharp claws to terrible effect and the bandaged bodies. Nefer-Kare and his servants endure their attacks and advance on the demons, crushing them against the floor and walls like bugs. Hurray! The Mummies win the fight! The lesser demons and archfiends fall in glorious battle. After the fight, the mummies are wounded! They've lost some speed. ...Press any key........ The armies withdraw. Both sides have suffered losses. The corpses of the losing creatures pile up in terrible stacks of both undead and demons! All the remaining combatants have injuries and look the worse for wear. But there can only be one victor in this war between undead and demon! You must order the survivors back into battle and finish your foes once and for all! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. A fearsome werewolf snarls at the opposing army showing vicious white fangs. The terrible demonic army await your forces! Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. >werewolf, fight beelzebub You order the werewolf to attack Beelzebub and his choir of demented Angels! The Werewolf snarls viciously, obviously ready to go. >mummy, fight beelzebub You can't attack Beelzebub and his choir of demented Angels twice! They've already been assigned the werewolf as their opponent. >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The werewolf goes into dreadful battle with Beelzebub and his choir of demented Angels! The werewolf advances on the Angels, moving quicker than you can follow, snapping her strong jaws and biting at them with white fangs. The angels swoop down from the ceiling at her, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Oh no! Beelzebub and his choir of demented Angels win the fight! The werewolf falls in horrifying battle. After the fight, Beelzebub and his choir of demented Angels are wounded! They've lost some speed and strength. ...Press any key........ The armies withdraw. Both sides have suffered losses. The corpses of the losing creatures pile up in terrible stacks of both undead and demons! All the remaining combatants have injuries and look the worse for wear. But there can only be one victor in this war between undead and demon! You must order the survivors back into battle and finish your foes once and for all! ...Press any key........ The Cathedral of Bone The Cathedral ceiling, made from the gigantic bones of forgotten creatures, soars high above your head. In the centre of the huge sept, on a raised dais, is the throne of Hell. The Cathedral seems to be alive! The faces and limbs of humans, devils and other terrible creatures writhe and gibber from the walls where they are trapped for eternity. Fires in deep pits light the room with a flickering orange glow and fill the air with an evil, oily smoke that burns your lungs. Your army of the undead yearn for battle! The hulking Mummy Nefer-Kare and his malevolent servants line up for battle. The terrible demonic army await your forces! Beelzebub and his choir of demented Angels swoop and soar in the vaulted ceiling. >mummy, fight beelzebub You order the mummies to attack Beelzebub and his choir of demented Angels! Nefer-Kare raises his arms and declaims "To battle!" >battle "To battle," you cry, and your army roars in anticipation! As one, they charge the enemy, and the enemy army, in response, screams their own defiance at your forces and breaks into a chaotic charge of their own. This is it! This is where the fate of this world (and, incidentally, your own) will be decided! The army of the undead and the demonic army of Astaroth clash! ...Press any key........ The Mummies go into horrifying battle with Beelzebub and his choir of demented Angels! The angels swoop down from the ceiling at the mummies, wailing in unison, their great black wings swept back. Beelzebub uses his terrible strength, swinging his black sword to great effect. Nefer-Kare and his servants shrug off their attacks and advance on Beelzebub, swatting the succubi out of the air like moths. Hurray! The Mummies win the fight! Beelzebub and his choir of demented Angels fall in horrifying battle. After the fight, the mummies are wounded! They've lost some agility and strength. ...Press any key........ The battle is over! The battle is won! The demonic army lie strewn across the Cathedral floor in untidy piles. The remainder of your undead army roars with triumph and you pump your fist into the air with relief. Wait. Something is stirring in the piles of corpses! Why, it's the Countess! She survived! She looks somewhat disheveled and her skin is extremely pale but then again, it always was. The Countess casts her eyes over the chaos in the Cathedral and strides to the centre of the dais. She gazes at the throne thoughtfully and then nods her head as if coming to a decision. "Come to me," cries the Countess, raising her arms into the air. "Come to me all you creatures of the night!" The remaining undead flock to her and form a loose semi-circle around the throne. "We have been imprisoned too long," continues the Countess. "We have been hunted and killed and forced to live in the shadows! Now we shall take our rightful place and rule all of mankind!" Oh, dear. You try and sneak further into the shadows. You had been about to go and congratulate the Countess, but now you're beginning to think it might be a good idea to get out of here. The Countess spots you and bursts into cruel laughter. Can you make a break before the undead descend on you? Will your protection still hold? Is there anywhere even to go? Will the undead rise up and defeat all of mankind? The Countess walks towards you, and you begin to run, not caring where you end up as long as it's not here! ...Press any key........ Dr. Horror's House of Terror Starring You, the Player as Unnamed Protagonist Charlotte Day as The Countess Harry Higginbotham as Himself Arnie Mallet as Himself ...Press any key........ Also featuring Blake Lively - A vampire Gemma Bellerton - Elise, the Voodoo Priestess Melissa Clumb - A pair of white legs Beanie Havel - Some dismembered arms Chloe - A security guard Jim McBean - a crazed cultist Derek Paisley - a medieval villager Billy Ambler - Corpse #1 and introducing Wilma the Sheep ...Press any key........ Tested for the screen by Christopher Merriner, Mandy, ChrisP and Jay ...Press any key........ Written and Directed by Ade McT ...Press any key........ Six Months Later.... ...Press any key........ Phew. That was a tough day. You and the squad had uncovered a nest of zombies in the ruins of the old Post Office. It had been a difficult fight. There had been more of them than you thought. The main problem with zombies is that they seem to be learning. All the other undead are still stuck in the old ways of doing things. Declaiming their intent pompously and then advancing on you slowly, giving you chance to think. Zombies though. They seem to have suddenly realised they don't need to shamble. They've actually realised it's ok to run. And work as a team. A bit of a nightmare, really. Your Basement Hide-out It's not much, but it's home. At least for now. It's pretty dingy in here, what with the tiny windows all boarded up. The only furniture is the army issue bunk in the corner, an old and worn leather chair and a rickety table on which sits your radio. You don't need much, these days. You sigh, throw your shotgun onto the table, and your tired body onto the chair. Never mind. Some radio will relax you. >x table You're too tired. All you want to do now is turn on the radio and relax for an hour. >turn on radio You lean over and flick the radio on. It crackles reluctantly to life. Good. The batteries aren't dead. You sit back. There's not much on, just the usual dire army warnings to stay indoors and advice about how to best prepare rats and cats for the table. You're content to let it flow over you. At your breast, the walkie talkie suddenly begins to chirrup. Oh hell, what now? You'd been looking forward to a nice evening in with the radio and a can of dog food you'd looted. You had best answer it, you suppose. >answer walkie-talkie You sigh and press the receive button. "Delta team captain receiving, over" you say. "Delta team captain, this is Company Charlie requesting immediate assistance," someone says, the voice crackly and distant. "We've found her. Over." You sit sharply up in your chair. No! "Repeat," you say, trying to keep your voice calm. "Confirm who you've found. Over." "Come on, Delta," replies the voice. "You know exactly who we mean. Her. The Countess. She's holed up with her family underneath the old Odeon. We're outside and have established a perimeter. We need assistance. Over." You had never expected to see her again. For some reason, known only to herself, she had let you go that night at the studios. You think she might even have surprised herself. "It's the end of the world," she had hissed at you. "And I think I want you to see it." But now, you've got a chance to take her. To take The Family. It might even be a chance to even the odds, to begin the fightback of humanity and turn the tide! But it's going to be dangerous. You probably won't survive, and you're comfortable here. Perhaps it would be best to skip this one. Or maybe you could be a hero and finally end the Countess's evil! "Waiting for response, Delta," crackles the voice on the radio. "Please confirm assistance. Over." You press the transmit button. "Well," you begin, "I........." ...Press any key........ ***The End. Thank you for Watching*** You built an undead army! It consisted of, the mummified Pharaoh Nefer-Kare and his shuffling ancient servants, a monster manufactured from body parts and brought to terrible life, a horde of shambling zombies led by an understandably annoyed Security Guard, a fearsome ravening werewolf, the Count, the Countess and their bloodthirsty vampire thralls. You led the undead army you built into battle against Astaroth and his demonic hordes. You won a glorious victory! You managed to survive sixteen perilous situations! - You avoided the murderous attentions of the Cult of Astaroth! - You managed to escape from the Cult's Lair! - You bravely ran away from a crazed Cultist! - You killed a crazed Cultist with a wooden stake! - You chopped a relatively blameless security guard into little pieces with a huge axe! - You protected yourself from vampires with a simple golden crucifix! - You managed to sort out a bunch of squabbling ghosts! - A horde of shambling zombies stopped attacking you because you were holding a voodoo doll of power! - You inadvertently led a horde of zombies to a poor Security Guard and they bit and infected her! - You cleverly managed to not be holding a conductive electric cable when you created lightning! - You zapped a young security guard with a billion volts of electricity! - You pushed a decent hard-working security guard into a deep pit for some reason. - You loaded an ancient Blunderbuss with a handful of silver pocket-change and bluffed a Werewolf! - Hideous spiders you let loose poisoned a nice security guard with their huge fangs! - You tamed Nefer-Kare and his mummified servants with the ancient magic of his own bracelet! - You soothed the savage heart of a terrible Monster with some sweet music! Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? >