Transcript enabled. > about Frankenfingers - A Gothic Tale of Love, Redemption, and Dismemberment An interactive fiction by Charles Moore, Jr. Release 1.0 Serial number 250923. Dialog compiler version 1a/01-dev. Library version 0.46. Special thanks to R.J. Kowalski, Garry Francis, Doug Egan, Andrew Apted, and Daniel M. Stelzer for input and beta-testing. > x me You're a handsome left hand, seemingly male, from the wrist two bones protrude. Around the ring finger you see an impression, where once was a band but now nude. > i You are empty-handed. > * lol so to speak > l Parts Room You find yourself shrouded in deathly quiet in this dark stone-lined cell. Bloodless body parts encircle you, a pale marble-white clientele. The room smells of death and formaldehyde, a stew for preservation, Churning the stomach and blurring one's sight in this blasphemous room of curation. The stone walls are bare save a tarnished brass sconce on the north wall firmly attached. Its presence in here seems quite out of keeping, it's decor in this pit quite mismatched. Among the other parts, a pale disembodied arm is leaning up against the wall. > x arm It's a pale doughy right arm. Judging from the span, likely from a male. > touch arm The arm feels as expected. > take arm You take the arm. > wear arm The arm can't be worn. > i You have an arm. > x arm It's a pale doughy right arm. Judging from the span, likely from a male. > x me You're a handsome left hand, seemingly male, from the wrist two bones protrude. Around the ring finger you see an impression, where once was a band but now nude. > attach myself to arm There's no obvious way to tie yourself to the arm. > * OK > x sconce It's a dull tarnished brass sconce affixed to the wall. It's slightly askew, as if it's been manipulated. > turn it You can't reach the sconce. > l Parts Room You find yourself shrouded in deathly quiet in this dark stone-lined cell. Bloodless body parts encircle you, a pale marble-white clientele. The room smells of death and formaldehyde, a stew for preservation, Churning the stomach and blurring one's sight in this blasphemous room of curation. The stone walls are bare save a tarnished brass sconce on the north wall firmly attached. Its presence in here seems quite out of keeping, it's decor in this pit quite mismatched. > smell It smells sickly sweet in here, which is strange because you have no nose. > * that's true! > stand on arm It's not possible to get onto the arm. > climb arm It's not possible to get onto the arm. > drop arm Dropped. > clim barm (I'm sorry, I didn't understand what you wanted to do.) > cimb arm (I'm sorry, I didn't understand what you wanted to do.) > climb arm It's not possible to get onto the arm. > l Parts Room You find yourself shrouded in deathly quiet in this dark stone-lined cell. Bloodless body parts encircle you, a pale marble-white clientele. The room smells of death and formaldehyde, a stew for preservation, Churning the stomach and blurring one's sight in this blasphemous room of curation. The stone walls are bare save a tarnished brass sconce on the north wall firmly attached. Its presence in here seems quite out of keeping, it's decor in this pit quite mismatched. You see an arm here. > x parts It's a gruesome collection of pale white limbs and headless torsos. > take parts They're too large or awkward for you to take. > take arm You take the arm. > turn sconce with arm Holding tight to your gruesome prize, you grasp at the brass with the hand. Manuevering the limb, a trophy quite grim, you turn the sconce on command. You feel a vibration beneath you, a rumble transmits through the floor, The wall to the north slowly rotates, and now serves as a passable door. Suddenly, the shadows move and seem to come to life, As the body parts around you take their cue. A pale leg squirms into the center of the room, Then an arm, then the whole motley crew. They pause for a moment, as if in consultation, Then turn and writhe north into the night. You drop the arm and watch it pull itself after the others, Then find yourself alone, a woeful sight. > l Parts Room You find yourself shrouded in deathly quiet in this dark stone-lined cell. You notice the body parts are all now missing, an ominous suspicious tell. The room still smells of formaldehyde, a stew for preservation, assaulting the senses and blurring sight in this blasphemous room of curation. The stone walls are bare save a tarnished sconce on the north wall firmly attached. The north wall itself has rotated aside, a doorway now oddly unlatched. > n You scurry north. Dark Chamber A wooden doorway to the west is closed against the light. To the south, the wall has been rotated. The silent darkness clings to you, it looms and packs in tight, Cover for the oddly amputated. There's a slip of paper on the ground here. > x paper It's a handwritten note in a fine cursive script. > read it (first attempting to take the note) You take the note. "Igor, we seem to have accumulated quite a number of personal items (jewelry, watches, etc.) from our 'donors'. After you have disinterred the very large fellow we discussed earlier today, place these items back into his coffin before you rebury it in the village cemetery. It would be quite inconvenient if they were to be discovered and traced back to us." Below this you see the whorled initials "V.F." The note is dated several days ago. > open door You open the door. > n There doesn't appear to be an exit in that direction. > e There doesn't appear to be an exit in that direction. > w You scuttle west through the door. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. Dr. Frankenstein and Igor are here, standing by the table. "Why won't it work?" Frankenstein, disconsolate, whispers to himself. After a moment, he seems to regain his composure. Looking up at Igor, he points upward. "We need to extend the lightning rod higher. So far we've had little luck attracting a powerful enough bolt." He paces over to the massive panel in the wall. "And if that doesn't work we may need to take this entire infernal thing apart. God knows how many wires in there may have shorted out or be broken." He pauses. His eyes narrow and stare at nothing in particular. "And if that doesn't work, my friend," his voice now a low whisper, "then we may need to seek out other donors in other villages." Igor stands silently. In a moment the Doctor turns and heads up the stairs. Igor follows him. Then, silence. > l Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > x skylight Two large glass panes are embedded high above in the ceiling. They're partially open and a tall metal spire extends upward and passess between them out into the night. You see an occasional lightning flash through the glass. > x machines Strange mechanical contraptions are scattered throughout the laboratory. You have no need of any of them and no idea what they're for. > xspire (I'm sorry, I didn't understand what you wanted to do.) > x spire It's a tall metal spire that extends from the machinery below to the skylights above where it passes between the panes. > x machines Strange mechanical contraptions are scattered throughout the laboratory. You have no need of any of them and no idea what they're for. > x panel It's a large metal panel covered with seemingly hundreds of dials and lights. At the base of the panel where it meets the floor you see a small gap in a seam, approximately the size of a mouse hole. > open it The metal panel doesn't open. > x table It's a spartan metal table. On it you see the creature. > x body (I only understood you as far as wanting to examine something.) > x switch It's a large 'wishbone' switch. It's currently in the 'up' position. > x creature He's certainly an impressive corpse, this promethean lump of clay, His height a third more than average man and his bulk would a bear outweigh. His eyes are closed, his features coarse and marred by scars and stitches. He's covered in a rough-hewn gown and a pair of burlap britches. His hands, you notice, are not his own, the skin tones poorly matched, As if improvised somewhat later and sloppily attached. He wears a metal skullcap, it seems bolted to his head. Wires protruding from it attach to the spire high overhead. He's shackled to the table, which seems a bit dispensable. He doesn't look as if he'll soon be anything but insensible. > pull switch You pull the switch but nothing seems to happen. The switch snaps back to the up position. > x britches (I only understood you as far as wanting to examine something.) > x skullcap It's a kind of metal skullcap. Wires and cables sprout from it and connect to the panel and to the spire above. > x shackles (I only understood you as far as wanting to examine something.) > open shackles (I only understood you as far as wanting to open something.) > l Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > enter panel You squeeze yourself through the gap in the panel. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. One exit lies out to the south, a second upward and higher. > x wire (I only understood you as far as wanting to examine something.) > x conduit (I only understood you as far as wanting to examine something.) > x conduits It's an incomprehensible tangle to you. > x wires It's an incomprehensible tangle to you. > u You climb up. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. There's nowhere to go except down below, no way to climb any higher. There's a particularly important-looking wire here within the panel. > x wire It's a thick wire here within the panel. It runs left to right. The wire has snapped into two halves and the two ends, right and left, dangle freely with a gap of several inches between them. > tie wire Do you mean the left half or the right half? > left Did you want to: 1. go left, or 2. tie the left end? (Type the corresponding number) > 1 There doesn't appear to be an exit in that direction. > tie left half To what? > right half There's a gap between them and you can't pull them together. > i You have a note. > d You climb down. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. One exit lies out to the south, a second upward and higher. > s You skitter south. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > d There doesn't appear to be an exit in that direction. > u You climb up. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > x alcove (I only understood you as far as wanting to examine something.) > x door (I only understood you as far as wanting to examine something.) > x doorway (I only understood you as far as wanting to examine something.) > s You scurry south. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > x seats Finely carved plush chairs surround the dining room table. > x table It's fashioned from highly polished expensive-looking wood. It's very wide, and improbably long. Substantial wooden legs support the shiny top and it looks to seat at least twenty diners. > x fireplace It's a large grand fireplace, clean and, apparently, unused for quite a while. It's currently rotated allowing passage through it to the north. > look under table You find nothing under the table. > e There doesn't appear to be an exit in that direction. > w You scramble west. Kitchen This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see an apple. On the stove you see a tea kettle. Inga is off to the west. > x apple It's a ripe red apple. > take it You spring up onto the table. You take the apple, dropping the note. > x kettle It's a battered metal tea kettle. > open kettle You get off the table. You get onto the stove. The tea kettle is already open. > look in kettle In the tea kettle you see some water. > take water You can't take the water. > drink it You seem to have misplaced your digestive tract. > * alas > l Kitchen (on the stove) This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see a note. With you on the stove you see a tea kettle. Inga is off to the west. > x table It's a rough wooden table in the center of the room, scarred by years of use. On it you see a note. > x cookware Cooking gadgets and utensils are scattered on the shelves. You have no use for these. > x dishes It's the Frankenstein family china, Royal Copenhagen. > x stove It's a large flat coal-fired stove. The top is scratched and greasy. The open firebox below is full of coal. On it you see a tea kettle. > x firebox It's the firebox in the bottom of the stove. In it you see a heap of coal. > x coal It's a pile of coal. > take coal You get off the stove. You get into the firebox. You don't need the coal. > x inga (I only understood you as far as wanting to examine something.) > w (first attempting to get out of the firebox) You get out of the firebox. You scoot west. Maid's Quarters This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. Inga the maid is here, slowly rocking back and forth in the chair. On the sewing table you see a ball of yarn and a knitting needle. > x bed It's a small plain bed. The mattress is thin and frayed. > x wardrobe It's a simple wooden wardrobe, currently closed. > look under mattres (I only understood you as far as wanting to look under something.) > look under mattress (I only understood you as far as wanting to look under something.) > look under bed Unfortunately, before you can react Inga catches sight of you and, understandably disconcerted by your disembodied appearance, screams in horror and surprise. With a kick she launches you into the nearest wall where you quickly lose consciousness and do not wake up again. *** You have died. Again. *** Would you like to: UNDO the last move, RESTORE a saved position, QUIT the program, or RESTART from the beginning? > undo Undoing the last turn (look under bed). Maid's Quarters > e You scutter east. Kitchen This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see a note. On the stove you see a tea kettle. Inga is off to the west. > w You scoot west. Maid's Quarters This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. Inga the maid is here, slowly rocking back and forth in the chair. On the sewing table you see a ball of yarn and a knitting needle. > open wardrobe Unfortunately, before you can react Inga catches sight of you and, understandably disconcerted by your disembodied appearance, screams in horror and surprise. With a kick she launches you into the nearest wall where you quickly lose consciousness and do not wake up again. *** You have died. Again. *** Would you like to: UNDO the last move, RESTORE a saved position, QUIT the program, or RESTART from the beginning? > undo Undoing the last turn (open wardrobe). Maid's Quarters > e You skitter east. Kitchen This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see a note. On the stove you see a tea kettle. Inga is off to the west. > z Time passes. > z Time passes. > z Time passes. > w You scramble west. Maid's Quarters This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. Inga the maid is here, slowly rocking back and forth in the chair. On the sewing table you see a ball of yarn and a knitting needle. > take needle Unfortunately, before you can react Inga catches sight of you and, understandably disconcerted by your disembodied appearance, screams in horror and surprise. With a kick she launches you into the nearest wall where you quickly lose consciousness and do not wake up again. *** You have died. Again. *** Would you like to: UNDO the last move, RESTORE a saved position, QUIT the program, or RESTART from the beginning? > undo Undoing the last turn (take needle). Maid's Quarters > e You scuttle east. Kitchen This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see a note. On the stove you see a tea kettle. Inga is off to the west. > enter kettle You get onto the stove. It's not possible to get into the tea kettle. > out (first attempting to get off the stove) You get off the stove. In what direction? > e You scutter east. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > * hmm > s You scramble south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an umbrella. > x portraits You see the family patriarchs proud and libertine, They pose in rich mens' finery contemplating. You also see the matriarchs, pale-faced and serene, With covert smiles shrewd and calculating. > x chandelier It's a massive crystal chandelier. Countless glass fractals glisten in the darkness. > n You scuttle north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > s You scramble south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an umbrella. > w You scurry west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > undo Undoing the last turn (w). Grand Foyer > l Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an umbrella. > x stand It's a brass metal cylinder. In it you see an umbrella. > x umbrella It's quite old. Most of the fabric is torn away and gone, leaving mainly a metal frame. It's currently folded closed. > take it You get into the umbrella stand. You take the umbrella, dropping the apple. > open it You open the tattered umbrella and the metal ribs extend outward. > x umbrella It's quite old. Most of the fabric is torn away and gone, leaving mainly a metal frame. It's currently open. > n (first attempting to get out of the umbrella stand) You get out of the umbrella stand. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. You scuttle north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > d There doesn't appear to be an exit in that direction. > n You scramble north. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > d You climb down. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > x spire It's a tall metal spire that extends from the machinery below to the skylights above where it passes between the panes. > climb spire You can't reach the lightning rod. > put umbrella on spire You can't reach the lightning rod. > drop umbrella Dropped. > u You climb up. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > u There doesn't appear to be an exit in that direction. > s You scutter south. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > s You scramble south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > w You skitter west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > x iga (I only understood you as far as wanting to examine something.) > x inga (I only understood you as far as wanting to examine something.) > n You scutter north through the wooden door. Maid's Quarters This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. Inga the maid is here, slowly rocking back and forth in the chair. On the sewing table you see a ball of yarn and a knitting needle. > s You scurry south through the wooden door. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > shout (I'm sorry, I didn't understand what you wanted to do.) > yell (I'm sorry, I didn't understand what you wanted to do.) > say (I'm sorry, I didn't understand what you wanted to do.) > hit wall With what? > * maybe I can make a distraction to lure her out? > e You scuttle east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > e You scutter east. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. > x trees (I only understood you as far as wanting to examine something.) > x statues They're white marble and depict the nine muses. They line the room on either side. > x muses They're white marble and depict the nine muses. They line the room on either side. > x erato (I only understood you as far as wanting to examine something.) > x clio (I only understood you as far as wanting to examine something.) > * ah well > l East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. > x tiles The tiles are white marble. > e You scramble east. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. On the side table you see a brass lighter and a pipe. Dr. Frankenstein is off to the south. > x lighter It's a cylindrical brass trench lighter, currently unlit. > x pipe It's a smooth, red, wooden billard-style pipe. > take pipe You get onto the side table. You take the pipe. > w (first attempting to get off the side table) You get off the side table. You skitter west. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. > drop pipe Dropped. > e You scutter east. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. On the side table you see a brass lighter. Dr. Frankenstein is off to the south. > take lighter You get onto the side table. You take the brass lighter. > l Sitting Room (on the side table) You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > x sofa It's a large leather davenport. > x table It's a decorative side table of cherry wood. > l Sitting Room (on the side table) You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > x piano It's a shiny black concert grand. > x bench It's a leather cushioned bench. Black and shiny like the piano. > open bench You get off the side table. The piano bench doesn't open. > x rug (I only understood you as far as wanting to examine something.) > s You skitter south. Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. The room appears a cul-de-sac, a dead-end, a termination. The exit to the north seems the only navigation. Dr. Frankenstein is here lying on the chaise longue. > x figurine It's an ivory figurine, carved into the shape of a lion. His mouth is open and you can see a keyhole inside. > x books You see thick hardback leather books written on every topic imaginable. > x dr He's in his middle fifties and retains a noble bearing, With full black hair flecked through with bits of gray. His face is pale, his eyes are blue, his forehead broad and smooth. His chin is cleft and unshaven today. He's taller than the average man, his limbs are long and lanky, Not muscular but not exactly lean. In gentleman's attire he's clothed, a white lab coat included, In rich man's trousers made from gabardine. > x coat It's a long white lab coat. > x trousers They're finely tailored paints of thick wool. > l Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. The room appears a cul-de-sac, a dead-end, a termination. The exit to the north seems the only navigation. Dr. Frankenstein is here lying on the chaise longue. > n You scutter north. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > play piano You get onto the grand piano. Unfortunately, you weren't a very good musician even when you still had both hands and ears. > g You're already on the grand piano. > g You're already on the grand piano. > play piano You're already on the grand piano. > push it You apply a bit of force to the grand piano, but it doesn't budge. > s (first attempting to get off the grand piano) You get off the grand piano. You scurry south. Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. The room appears a cul-de-sac, a dead-end, a termination. The exit to the north seems the only navigation. Dr. Frankenstein is here lying on the chaise longue. > n You skitter north. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > w You scoot west. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. You see a pipe here. > w You scuttle west. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > e You scoot east. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. You see a pipe here. > e You scramble east. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > w You scoot west. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. You see a pipe here. > light pipe You open the brass cylinder and flick the sparkwheel. A small flame blooms. You have no lungs so you can't puff it to light it. You 'snap' the lighter closed. > take pipe You take the pipe, dropping the brass lighter. > e You scramble east. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > s You skitter south. Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. The room appears a cul-de-sac, a dead-end, a termination. The exit to the north seems the only navigation. Dr. Frankenstein is here lying on the chaise longue. > drop pipe Unfortunately, before you can react Dr. Frankenstein catches sight of you and, understandably disconcerted by your disembodied appearance, screams in horror and surprise. With a kick he launches you into the nearest wall where you quickly lose consciousness and do not wake up again. *** You have died. Again. *** Would you like to: UNDO the last move, RESTORE a saved position, QUIT the program, or RESTART from the beginning? > undo Undoing the last turn (drop pipe). Library > n You scutter north. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. Dr. Frankenstein is off to the south. > w You skitter west. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. You see a brass lighter here. > w You scoot west. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > w You scurry west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > e You scutter east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > n You scuttle north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > u There doesn't appear to be an exit in that direction. > s You scurry south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > u You climb up. Landing You're halfway up or down the stairs on a marble landing. Portraits stare down from the walls, expressions reprimanding. > x portraits You see the family patriarchs proud and libertine, They pose in rich mens' finery contemplating. You also see the matriarchs, pale-faced and serene, With covert smiles shrewd and calculating. > u You climb up. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > e You scuttle east. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A rope and handle dangle from a ceiling hatch above you, and to the west the hallway navigates. > x rope It's a cord suspended from a hatchway leading to the attic. There's a handle on the end. > pull rope You can't reach the rope. > jump Wheeeee! > pull handle You can't reach the rope. > e You skitter east through the door. Master Bedroom This is, by any logic, the manor's master bedroom, Judging by its size and its dimension. A large four-poster featherbed is pushed against the wall, Plus, of course, a wardrobe, not to mention. Beside the massive bed stands an unpretentious table, But the room is, otherwise, quite stark and bare. The only way out is through the doorway to the west, Back out to the hallway thoroughfare. > x bed It's a four-poster bed. > x wardrobe It's a plain but large teak armoire, currently closed. > open it You open the wardrobe, revealing some clothing. > x clothing The wardobe is full of gentlemen's shirts, trousers, jackets, ties, and the like. > search clothing You get into the wardrobe. You find nothing of interest among the clothing. > l Master Bedroom (in the wardrobe) This is, by any logic, the manor's master bedroom, Judging by its size and its dimension. A large four-poster featherbed is pushed against the wall, Plus, of course, a wardrobe, not to mention. Beside the massive bed stands an unpretentious table, But the room is, otherwise, quite stark and bare. The only way out is through the doorway to the west, Back out to the hallway thoroughfare. > x table It's a small wooden table next to the bed. > look under table You get out of the wardrobe. You find nothing under the night table. > n There doesn't appear to be an exit in that direction. > e There doesn't appear to be an exit in that direction. > s There doesn't appear to be an exit in that direction. > w You scramble west through the door. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A rope and handle dangle from a ceiling hatch above you, and to the west the hallway navigates. > n There doesn't appear to be an exit in that direction. > s There doesn't appear to be an exit in that direction. > w You skitter west. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > w You scuttle west. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > w You scurry west. Hallway West End The hallway here comes to an end and returns back to the east. South of here, you see a door that deserves a look at least. > e You scutter east. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > n You scramble north. Exercise Room This room is dedicated to health and calisthenics, A kind of gymnasium of sorts. Surrounding you lie weights and barbells scattered here and there. A pull-up bar is bolstered by supports. A small one-person trampoline is sitting in the corner, Suitable for light aerobic bouncing. The only exit from this odd room lies off to the south. There are no other exits worth announcing. > x weights They're an array of weights and dumbbells of various shapes and sizes. > x bar It's a metal bar supported between two thick wooden blocks. > pull bar You can't reach the pull up bar. > x trampoline It's a tautly stretched circle of canvas held in place by a round metal stand. It's quite small and there's only room for a single jumper. > jump on it You get onto the trampoline. > jump You jump once on the trampoline. > jump to bar You can't reach the pull up bar. > push trampoline south (first attempting to get off the trampoline) You get off the trampoline. You push the trampoline south. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. You see a trampoline here. > push trampoline east You push the trampoline east. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. You see a trampoline here. > push trampoline east You push the trampoline east. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A rope and handle dangle from a ceiling hatch above you, and to the west the hallway navigates. There's a trampoline here under the hatch. > jump on trampoline You get onto the trampoline. > jump You jump once on the trampoline. > jump to handle You can't reach the rope. > take handle You can't reach the rope. > jump You land and bounce again, higher this time. > jump You jump again, this time high enough that you're floating for an instant. > jump You jump again, this time high enough that you're floating for an instant. > take handle (first dropping the pipe) You grasp madly at the handle and are just able to reach it. Dangling from the cord, you bounce and sway. Luckily, your weight is just adequate enough, That the hatch above you creaks and then gives way. It swings ajar and opens wide. It makes a raucus clatter, A cloud of dust appears then dissipates. Sliding down from up above extends a wooden ladder, Upward through the hatch it penetrates. You release the rope and fall back to the floor. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A ceiling hatch is open and a ladder here leads upward, and to the west the hallway navigates. You see a pipe here. You see a trampoline here. > w You scoot west. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > w You skitter west. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > n You scuttle north. Exercise Room This room is dedicated to health and calisthenics, A kind of gymnasium of sorts. Surrounding you lie weights and barbells scattered here and there. A pull-up bar is bolstered by supports. The room's a dead-end otherwise, a gymnastic cul de sac. The only exit's to the south should you wish to double back. > s You scurry south. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > w You scutter west. Hallway West End The hallway here comes to an end and returns back to the east. South of here, you see a door that deserves a look at least. > s You skitter south through the dark door. Bedroom This guestroom is furnished like a million others like it, Comfortable but far from ostentatious. A tall wardrobe looms above a bed against the wall. The room is neither cramped nor is it spacious. > x bed It's a standard single feather bed. > look under bed You find nothing under the bed. > x wardroe (I only understood you as far as wanting to examine something.) > x wardrobe It's a plain but large oak armoire, currently closed. > open it You open the wardrobe, revealing a handbag. > x handbag It's a surprisingly roomy lady's handbag. You could wear it by means of the strap. You can smell a strangely familiar perfume coming from it. > take it You get into the wardrobe. You take the handbag. You wrap the strap around you, leaving your fingers free. You take the purse and, like a bolt, the perfume from it hits you. It's like she's standing right here in the room. Penelope, your one true love, used to wear this scent, A gift from you, her favorite French perfume. Your vision swims a moment as the room dissolves around you. In front of you, you only see her face. You have to reach her one last time, but she won't recognize you. Unless your wedding band is back in place. > x bag It's a surprisingly roomy lady's handbag. You could wear it by means of the strap. > look in bag The handbag is empty. > x me You're a handsome left hand, seemingly male, from the wrist two bones protrude. Around the ring finger you see an impression, where once was a band but now nude. > i You are empty-handed. You're wearing a handbag. > e (first attempting to get out of the wardrobe) You get out of the wardrobe. There doesn't appear to be an exit in that direction. > n You scurry north through the dark door. Hallway West End The hallway here comes to an end and returns back to the east. South of here, you see a door that deserves a look at least. > e You skitter east. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > n You scoot north. Exercise Room This room is dedicated to health and calisthenics, A kind of gymnasium of sorts. Surrounding you lie weights and barbells scattered here and there. A pull-up bar is bolstered by supports. The room's a dead-end otherwise, a gymnastic cul de sac. The only exit's to the south should you wish to double back. > take weight The weights are too heavy for a single hand to hold. > e There doesn't appear to be an exit in that direction. > s You scuttle south. Hallway You find yourself in an otherwise empty east-west running hall. And to the north a doorway offers passage wherewithal. > e You scurry east. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > n There doesn't appear to be an exit in that direction. > e You scramble east. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A ceiling hatch is open and a ladder here leads upward, and to the west the hallway navigates. You see a pipe here. You see a trampoline here. > take pipe You take the pipe. > u You climb up. Attic West The angled roof looms high above you in this dusty attic, Floorboards creak upon their splintered beams. A hatchway's standing open and leads downward through the floor, While sporadic lightning flashes through the seams. Trunks and boxes fill the garret long undisturbed, And a thick dusty coating covers all. The space continues to the east deeper into darkness, Weaving through the clutter and the sprawl. > * OK now we have a goal > open window (I only understood you as far as wanting to open something.) > x roof (I only understood you as far as wanting to examine something.) > x trunks Useless crates and trunks are stacked around you, overlaid with dust. > search trunks You find nothing of interest. > open trunks The trunks and crates are sealed shut. > x boxes Useless crates and trunks are stacked around you, overlaid with dust. > e You scurry east. Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently secured, closed tight against the storm, Resisting best it can the thunder's pealing. > x trunks Useless crates and trunks are stacked around you, overlaid with dust. > open trunks The trunks and crates are sealed shut. > x stairway It's a rickety wooden staircase leading upwards towards a hatch. > x atch (I only understood you as far as wanting to examine something.) > x hatch It's a closed wooden hatch. > open hatch You open the wooden hatch. > u You climb up through the wooden hatch. Widow's Walk You're standing on a widow's walk, a railed rooftop platform. A cupola provides some sanctuary. Precariously perched on the highest manor peak, The walk leads east, a bold itinerary. From here you have a view out on the local countryside, Lit at intervals by lightning flashes. A rough wooden staircase leads down into the attic, As all around the chilly rainfall splashes. > d You climb down through the wooden hatch. Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently swung upward and open to the night, Through it, you see scuttling rain clouds reeling. > l Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently swung upward and open to the night, Through it, you see scuttling rain clouds reeling. > u You climb up through the wooden hatch. Widow's Walk You're standing on a widow's walk, a railed rooftop platform. A cupola provides some sanctuary. Precariously perched on the highest manor peak, The walk leads east, a bold itinerary. From here you have a view out on the local countryside, Lit at intervals by lightning flashes. A rough wooden staircase leads down into the attic, As all around the chilly rainfall splashes. Bolts of lightning flash dangerously close by. > x countryside You can see out over black forests, heavy with the rain. Occasionally, a small farm building interrupts the carpet of trees. Lightning flashes all around you. > d You climb down through the wooden hatch. Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently swung upward and open to the night, Through it, you see scuttling rain clouds reeling. > w You scramble west. Attic West The angled roof looms high above you in this dusty attic, Floorboards creak upon their splintered beams. A hatchway's standing open and leads downward through the floor, While sporadic lightning flashes through the seams. Trunks and boxes fill the garret long undisturbed, And a thick dusty coating covers all. The space continues to the east deeper into darkness, Weaving through the clutter and the sprawl. > d You climb down. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A ceiling hatch is open and a ladder here leads upward, and to the west the hallway navigates. You see a trampoline here. > w You scutter west. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > d You climb down. Landing You're halfway up or down the stairs on a marble landing. Portraits stare down from the walls, expressions reprimanding. > d You climb down. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > w You scramble west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > e You scuttle east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > n You scutter north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > n You scramble north. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > d You climb down. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. You see an umbrella here. > take umbrella You take the umbrella, dropping the pipe. > put pipe in bag (first attempting to take the pipe) You take the pipe, dropping the umbrella. You put the pipe in the handbag. > take umbrella You take the umbrella. > u You climb up. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > u There doesn't appear to be an exit in that direction. > s You scutter south. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > s You skitter south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > e You scoot east. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. You see a brass lighter here. > put lighter in bag (first attempting to take the brass lighter) You take the brass lighter, dropping the umbrella. You put the brass lighter in the handbag. > take umbrella You take the umbrella. > w You scutter west. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. In it you see an apple. > put apple in bag (first attempting to take the apple) You get into the umbrella stand. You take the apple, dropping the umbrella. You put the apple in the handbag. > take umbrella You take the umbrella. > w (first attempting to get out of the umbrella stand) You get out of the umbrella stand. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. You skitter west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > w There doesn't appear to be an exit in that direction. > e You scoot east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. > n You scutter north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > n You scoot north. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > u There doesn't appear to be an exit in that direction. > d You climb down. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > u You climb up. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > u There doesn't appear to be an exit in that direction. > s You scurry south. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > u There doesn't appear to be an exit in that direction. > s You scramble south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. > u You climb up. Landing You're halfway up or down the stairs on a marble landing. Portraits stare down from the walls, expressions reprimanding. > n There doesn't appear to be an exit in that direction. > e There doesn't appear to be an exit in that direction. > u You climb up. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > e You scuttle east. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A ceiling hatch is open and a ladder here leads upward, and to the west the hallway navigates. You see a trampoline here. > u You climb up. Attic West The angled roof looms high above you in this dusty attic, Floorboards creak upon their splintered beams. A hatchway's standing open and leads downward through the floor, While sporadic lightning flashes through the seams. Trunks and boxes fill the garret long undisturbed, And a thick dusty coating covers all. The space continues to the east deeper into darkness, Weaving through the clutter and the sprawl. > e You scoot east. Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently swung upward and open to the night, Through it, you see scuttling rain clouds reeling. > u You climb up through the wooden hatch. Widow's Walk You're standing on a widow's walk, a railed rooftop platform. A cupola provides some sanctuary. Precariously perched on the highest manor peak, The walk leads east, a bold itinerary. From here you have a view out on the local countryside, Lit at intervals by lightning flashes. A rough wooden staircase leads down into the attic, As all around the chilly rainfall splashes. Bolts of lightning flash dangerously close by. > e You scutter east. Above The Skylights You're standing on the widow's walk, the skylights are below. Far beneath, you see the lab, a peculiar tableau. Rising upward through the skylight, stands a lightning rod. It stops here just within your reach, a brobdingnagian cattle prod. The tip of the spire is hollow, a receptacle in waiting, The end a hollow cylinder, ready for its mating. The widow's walk continues west, a rain-soaked slippery ramp. Up here, the lightning's much too close. You wisely should decamp. > x lab (I only understood you as far as wanting to examine something.) > put umbrella in spire You put the umbrella in the spire tip. Lightning flashes all around you. > * progress! > x spire The tip of the metal rod is a narrow hollow open cylinder. There's currently an umbrella stuck in it. > l Above The Skylights You're standing on the widow's walk, the skylights are below. Far beneath, you see the lab, a peculiar tableau. Rising upward through the skylight, stands a lightning rod. It stops here just within your reach, a brobdingnagian cattle prod. The end of the spire is hollow, an umbrella sits inside it, Like some exotic fruity cocktail with a curious garnish provided. The widow's walk continues west, a rain-soaked slippery ramp. Up here, the lightning's much too close. You wisely should decamp. In the spire tip you see an umbrella. Lightning flashes all around you. > w You scurry west. Widow's Walk You're standing on a widow's walk, a railed rooftop platform. A cupola provides some sanctuary. Precariously perched on the highest manor peak, The walk leads east, a bold itinerary. From here you have a view out on the local countryside, Lit at intervals by lightning flashes. A rough wooden staircase leads down into the attic, As all around the chilly rainfall splashes. Lightning flashes ominously around you. > d You climb down through the wooden hatch. Attic East This is the eastern half of the sprawling manor attic, A dark and dusty space beneath the peak. It continues west through trunks and boxes, pathway through the clutter, The boards above you groan, crack, and creak. A wooden stairway begins here and climbs up to the rooftop, Leading to a hatchway in the ceiling. It's currently swung upward and open to the night, Through it, you see scuttling rain clouds reeling. The sky outside flashes white and a low roar follows after almost instantaneously. > save Game state saved successfully. > * seems like we need to distract Inga to get the needle > * to fix the panel > d There doesn't appear to be an exit in that direction. > w You scutter west. Attic West The angled roof looms high above you in this dusty attic, Floorboards creak upon their splintered beams. A hatchway's standing open and leads downward through the floor, While sporadic lightning flashes through the seams. Trunks and boxes fill the garret long undisturbed, And a thick dusty coating covers all. The space continues to the east deeper into darkness, Weaving through the clutter and the sprawl. The lightning seems to be closer and to have increased in frequency. > d You climb down. Hallway East End A long hallway ends here at its final terminus. East of here a bedroom door awaits. A ceiling hatch is open and a ladder here leads upward, and to the west the hallway navigates. You see a trampoline here. The manor rattles as another thunderclap penetrates the walls. > w You scoot west. Top Of Stairs You're standing in a hallway that from west to east extends. From here the grand staircase to the entry hall descends. > s There doesn't appear to be an exit in that direction. The sky outside flashes white and a low roar follows after almost instantaneously. > d You climb down. Landing You're halfway up or down the stairs on a marble landing. Portraits stare down from the walls, expressions reprimanding. > d You climb down. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. > w You scramble west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Through a door to the north you see Inga. > x ingo (I only understood you as far as wanting to examine something.) > x ingo (I only understood you as far as wanting to examine something.) > x inga (I only understood you as far as wanting to examine something.) > x door It's an unremarkable wooden door, currently open. The sky outside flashes white and a low roar follows after almost instantaneously. > throw apple (first attempting to take the apple) You take the apple. At what? > inga (I only understood you as far as wanting to throw the apple at something.) > throw apple at wall Throwing the apple at this location would achieve little. > e You scuttle east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. A crash of thunder very close by seems to shake the house. > n You scoot north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. The manor rattles as another thunderclap penetrates the walls. > w You scutter west. Kitchen This seems to be the kitchen, a small no-nonsense chamber. The floor is tiled and shelves surround the space. A large wooden table fills the center of the room. The cookware and the dishes take their place. A squat black cast-iron stove occupies one corner. In its firebox sits a pile of coal. The greasy stovetop up above is blackened, scratched, and greasy. Long years of use have taken quite a toll. The exits from this stuffy room are limited in number, But an open doorway lies off to the east. To the west, one would guess, lies the quarters for the servants, Those who cook but never taste the feast. On the table you see a note. On the stove you see a tea kettle. Inga is off to the west. > turn on stove The stove can't be switched on. The manor rattles as another thunderclap penetrates the walls. > light stove Light it with what? > lighter (first attempting to take the brass lighter) You take the brass lighter, dropping the apple. You open the brass cylinder and flick the sparkwheel. A small flame blooms. You get into the firebox. You touch the flame to the coal. With a quiet 'poof' it catches fire and starts to burn. You get out of the firebox. You 'snap' the lighter closed. > take apple You take the apple, dropping the brass lighter. > e You scuttle east. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. You can hear a tea kettle whistling from somewhere nearby. > s You scoot south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. You can hear a tea kettle whistling from somewhere nearby. > w You scramble west. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. A crash of thunder very close by seems to shake the house. You can hear a tea kettle whistling from somewhere nearby. > n You scutter north through the wooden door. Maid's Quarters This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. On the sewing table you see a ball of yarn and a knitting needle. Inga is off to the east. You can hear a tea kettle whistling from somewhere nearby. > put yarn in bag (first attempting to take the ball of yarn) You get onto the sewing table. You take the ball of yarn, dropping the apple. You can hear a tea kettle whistling from somewhere nearby. You put the ball of yarn in the handbag. The manor rattles as another thunderclap penetrates the walls. You can hear a tea kettle whistling from somewhere nearby. > put needle in bag (first attempting to take the knitting needle) You take the knitting needle. You can hear a tea kettle whistling from somewhere nearby. You put the knitting needle in the handbag. > take apple You take the apple. A crash of thunder very close by seems to shake the house. > l Maid's Quarters (on the sewing table) This dark snug room serves as quarters for the maid, Furnished in a style one would expect. A small plain bed is pushed against the wall, Alongside that a wardrobe stands erect. You see a wooden rocking chair, rustic and unvarnished. Beside it a small sewing table sits. A doorway beckons to the east into a nearby kitchen, And passage to the south a door permits. Inga is off to the east. > open wardrobe You get off the sewing table. You struggle a bit but, you're finally able to open the wardrobe one-handed. The sky outside flashes white and a low roar follows after almost instantaneously. > look in wardrobe In the wardrobe you see some accoutrements. Inga is off to the east, heading to the west. Inga enters from the east. Suddenly, Inga, already suspicious, catches sight of you, a disembodied hand scuttling about. She shrieks a blood-curdling scream and pulls a knitting needle from an inner fold of her dress. Before you can escape, she skewers you through the palm which is, apparently, fatal. *** You have died. Again. *** Would you like to: UNDO the last move, RESTORE a saved position, QUIT the program, or RESTART from the beginning? > undo Undoing the last turn (look in wardrobe). Maid's Quarters > s You scramble south through the wooden door. West Hallway About this unassuming hallway there's little to be said. A door lies to the north or it continues east instead. Inga appears to the north. > e You scurry east. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry is to the south, substantial French doors stout. It's unclear at the moment what they're keeping in or out. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. > n You skitter north. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. > n You scuttle north. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. > d You climb down. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. A crash of thunder very close by seems to shake the house. > in You squeeze yourself through the gap in the panel. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. One exit lies out to the south, a second upward and higher. > tie needle to left (I only understood you as far as wanting to tie the knitting needle to something.) > tie needle to left half (I only understood you as far as wanting to tie the knitting needle to something.) > u You climb up. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. There's nowhere to go except down below, no way to climb any higher. There's a particularly important-looking wire here within the panel. > tie needle to left half You wrap the left end of the wire around one end of the knitting needle. > tie needle to right You wrap the right end of the wire around one end of the knitting needle. There's suddenly a tiny spark and a hint of ozone in the air. The manor rattles as another thunderclap penetrates the walls. > d You climb down. Inside The Panel You're enclosed within a metal box, surrounded by conduits and wire. One exit lies out to the south, a second upward and higher. A crash of thunder very close by seems to shake the house. > s You scramble south. Laboratory This complicated stone-lined room is foreign to your eyes. An open skylight high above looks down from midnight skies. The floor is cluttered with machines, derelict technology, That dare you comprehend their preposterous morphology. The north wall is a metal panel, filled with dials and switches. Wires and cables cascade down from high ceiling niches. Sprouting from the panel top, you see a spire arise. It climbs up through the glassy roof and out into the skies. A metal table occupies the center of the floor, It's holding up a burly hulk, a complicated chore. The whole thing seems controlled by a large switch to one side, Awaiting its sole purpose and to be electrified. A doorway here leads to the east and upward leads a stony stair. It spirals up one floor at least, a rocky winding thoroughfare. You see a gap within the panel, near the floor, not very wide. But wide enough, most certainly, for something small to squeeze inside. > pull switch You pull the switch and smell a spark of ozone in the air. The metal panel brightly lights, a brilliant luminaire. A bolt of lightning hits the spire, a thunderous ovation. It passes through the manor all the way to the foundation. Machines around you spring to life as gadgets in them spin. Dials flicker, wires hum, millions of volts within. The body on the gurney starts to writhe, jerk, and spasm. As concentrated lightning bolts pass through the protoplasm. Frankenstein bursts in, alarmed by the commotion. He stands amazed, mouth agape, his plan somehow in motion. A final bolt crashes down, the creature sits upright. With his first breath in many days he screams into the night. Finally, there's a thudding 'clank'. The machines fall still and quiet. You stay hidden, sight unseen, witness to the riot. Roaring in anger and confusion, the creature rampages up the stairs. Frankenstein chases after him. > save Game state saved successfully. > u You climb up. Above The Laboratory You're standing at the top of a stony spiral staircase, Below you lies the laboratory sprawl. A small simple alcove, there's nothing much to see here, Except the doorway in the southern wall. Bellowing in fear and anger, the creature stomps off to the south. Frankenstein stumbles behind, calling to him. > s You skitter south. Dining Room This is the formal dining room, a chamber elongated. High-backed seats surround the table, centrally located. The manor lords would passage through the formal southern entry. The kitchen doorway to the west lies unused by the gentry. Embedded in the northern wall an unused fireplace lies. At the current moment it's ajar, a doorway in disguise. Releasing an unhumanly scream, the creature heads to the south. Yelling ineffectually after him, Frankenstein continues to chase after him. > s You scuttle south. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry stands to the south, French doors smashed to bits. Free passage to the dark wet night the ravaged gate admits. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. Angrily smashing the entry doors apart, the creature pushes through the wreckage and disappears outside. Frankenstein steps through the smashed remains of the entryway and follows the creature outside. In a moment you hear a pained scream and then silence. > s You scoot south through the doors. Courtyard The sky seems to have wearied of all its protestations, As you watch the clouds blow by and dissipate. The air is wet and raindrops drip a steady syncopation, While the moon and stars return to their estate. This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. You see a key lying next to the unconscious doctor. > x building It's an imposing stone building, eerily sillhouetted against the sky. > x doctor He's in his middle fifties and retains a noble bearing, With full black hair flecked through with bits of gray. His face is pale, his eyes are blue, his forehead broad and smooth. His chin is cleft and unshaven today. He's taller than the average man, his limbs are long and lanky, Not muscular but not exactly lean. In gentleman's attire he's clothed, a white lab coat included, In rich man's trousers made from gabardine. He looks just like he always has, again, of noble bearing. But, currently, he's quite unconcious and well past even caring. > x key It's a brass key. > take key You take the brass key, dropping the apple. > n You scramble north through the doors. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry stands to the south, French doors smashed to bits. Free passage to the dark wet night the ravaged gate admits. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. Through a door to the south you see Dr. Frankenstein. > s You scuttle south through the doors. Courtyard This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. You see an apple here. > Come again? > put apple in bag (first attempting to take the apple) You take the apple, dropping the brass key. You put the apple in the handbag. > take key You take the brass key. > n You scoot north through the doors. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry stands to the south, French doors smashed to bits. Free passage to the dark wet night the ravaged gate admits. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. Through a door to the south you see Dr. Frankenstein. > e You scutter east. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. > e You scurry east. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. > s You skitter south. Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. The room appears a cul-de-sac, a dead-end, a termination. The exit to the north seems the only navigation. > unlock statue (with the brass key) You get onto the bookcase. You put the brass key in the keyhole. You turn the key with a 'click'. You hear a mechanical hum from within the wall and the bookcase begins to slowly open, revealing an exit in the wall to the east. > e (first attempting to get off the bookcase) You get off the bookcase. You scutter east. Study This hidden recess seems to be the Doctor's private study, A secret room reserved for his obsessions. Anatomic diagrams are pinned up on the walls, Witnesses to medical transgressions. A sturdy chair abuts the desk and on that sits a statue, An eagle figurine carved from jade. You notice that one of the walls has rotated aside, An exit to the west ready-made. On the desk you see a newspaper and a locket. > x diagrams They're detailed hand-drawn anatomic sketches, simultaneously beautiful and grotesque. Nerves, muscles, and viscera are portrayed in fine colored pencil lines. > x chair It's a plain but sturdy wooden chair. > x statue It's a carved jade statue, an eagle figurine. > take statue You get onto the desk. It seems to be fixed to the desk. > turn it Turning the statue has no apparent effect. > l Study (on the desk) This hidden recess seems to be the Doctor's private study, A secret room reserved for his obsessions. Anatomic diagrams are pinned up on the walls, Witnesses to medical transgressions. A sturdy chair abuts the desk and on that sits a statue, An eagle figurine carved from jade. You notice that one of the walls has rotated aside, An exit to the west ready-made. With you on the desk you see a newspaper and a locket. > x newspaper It's a section of the local newspaper. It's dated two weeks ago. > read it (first attempting to take the newspaper) You take the newspaper. It lists the local deaths within the past month. Most are terse announcements with name and date of death. Those announcing the passing of more affluent citizens display a picture alongside more verbose text. > x locket It's a locket on a chain. It's currently closed. > open it You open the locket. > x it It's a locket on a chain. It's open and inside there's a tiny black and white photo of a smiling couple, a large bear of a man with dark hair and a tiny blonde woman. The man looks familiar. > x man (I only understood you as far as wanting to examine something.) > take locket You take the locket, dropping the newspaper. > wear it The locket can't be worn. > put locket in bag You put the locket in the handbag. > put newspaper in bag (first attempting to take the newspaper) You take the newspaper. You put the newspaper in the handbag. > l Study (on the desk) This hidden recess seems to be the Doctor's private study, A secret room reserved for his obsessions. Anatomic diagrams are pinned up on the walls, Witnesses to medical transgressions. A sturdy chair abuts the desk and on that sits a statue, An eagle figurine carved from jade. You notice that one of the walls has rotated aside, An exit to the west ready-made. > w (first attempting to get off the desk) You get off the desk. You skitter west. Library The air is dry and musty in this chamber lined with shelves, The Frankenstein family library. Countless volumes line the walls and reach up to the ceiling, On subjects diverse and arbitrary. On one shelf, a figurine stands a silent watch. It's unclear if it's useful or cosmetic. A chaise longue is stationed here, a soft upholstered perch, For the studious or simply apathetic. One bookcase has pivoted and you see a room behind. Otherwise, the exit north the only one you find. > n You scramble north. Sitting Room You notice here the scent of tobacco pipe and leather, Phantoms of bygone conversation. A large sofa occupies the center of the room, Beside it a small table waits on station. A piano and its fellow bench abide here on the rug, A lacquered mass lurking in the corner, A Pleyel grand, Chopin's choice, ivories exposed, Deathly black like a tearful mourner. An exit through an open doorway lies to the west. A second doorway south would be the next best. > w You scoot west. East Atrium You peer out into darkness in this lavish hall of glass. The storm has turned the trees outside into a black morass. Beneath you at your fingertips lie Italian marble tiles, And arrayed against the wall stand Grecian statues all in files. If you still had feet, your steps would echo harshly in this grotto. Instead, the only sound your knuckles, on the floor staccato. Two exits lie available and open to your quest, An open doorway to the east, another to the west. > s There doesn't appear to be an exit in that direction. > w You scuttle west. Grand Foyer This is the formal entry hall into the castle Frankenstein, In bygone days a nave of light but recently in slow decline. Life-sized portraits dot the walls, a record of the family tree. Frankenstein progenitors stare ahead impassively. A massive chandelier above draws the eyes up high. The crystals catch the faintest light, the darkness they belie. The main entry stands to the south, French doors smashed to bits. Free passage to the dark wet night the ravaged gate admits. Open marble archways allow passage east and west. An unassuming hallway to the north may be accessed. A grand staircase sprouts here and rises in its tread, Bending upward to a marble landing overhead. There's an umbrella stand in the corner by the doors. Through a door to the south you see Dr. Frankenstein. > s You scoot south through the doors. Courtyard This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. > w You skitter west. Southwest Corner Here, the muddy path turns the corner of the manor, The gray facade stares down austere and mute. The gluey trace continues to the northwest and the east, As you continue on your strange commute. Dr. Frankenstein is off to the east. > nw You scuttle northwest. West Side A narrow roadway threads between the manor and the stable, A dark and narrow passage through the pair. The stable lies off to the west, a stone wall to the east. And a muddy path southeast must lead somewhere. > x wall The west side seems as described... West Side A narrow roadway threads between the manor and the stable, A dark and narrow passage through the pair. The stable lies off to the west, a stone wall to the east. And a muddy path southeast must lead somewhere. > climb wall There doesn't appear to be an exit in that direction. > w You scoot west through the doors. The Stable This barn-like room smells of animals and straw, And high above you wooden beams are strung. On the packed dirt floor you see hay and so much worse, As you delicately navigate the dung. Vacant open stalls line each side of the stable. Up against the north wall hay is stacked. Open dutch doors stand ajar to the east, Their creaking hinges rusted, brown, and cracked. Buttercup is standing here. > x hay It's a mound of straw piled up against the north wall. > search hay You throw yourself into the pile and find yourself immersed. You fling it by the handful and soon the straw's dispersed. The straw now gone, the wall exposed, you see a mouse's hole. You probably could pass inside, if such should be your goal. > l The Stable This barn-like room smells of animals and straw, And high above you wooden beams are strung. On the packed dirt floor you see hay and so much worse, As you delicately navigate the dung. Vacant open stalls line each side of the stable. A pile of hay's been thoroughly ransacked. Open dutch doors stand ajar to the east, Their creaking hinges rusted, brown, and cracked. Buttercup is standing here. > x dung (I only understood you as far as wanting to examine something.) > x stall You see empty horse stalls lining the walls. > x buttercup She's an old cart horse, an aging mare with sagging withers. She's saddled and wearing a bridle. Two reins stand ready. > ride buttercup You get onto Buttercup. > pull left The horse pulls left to face northeast. > l The Stable (on Buttercup, facing northeast, stopped) This barn-like room smells of animals and straw, And high above you wooden beams are strung. On the packed dirt floor you see hay and so much worse, As you delicately navigate the dung. Vacant open stalls line each side of the stable. A pile of hay's been thoroughly ransacked. Open dutch doors stand ajar to the east, Their creaking hinges rusted, brown, and cracked. > pull right The horse pulls right to face east. > pull bot (I only understood you as far as wanting to pull something.) > pull both (I only understood you as far as wanting to pull something.) > hit buttercup With what? > i You are empty-handed. You're wearing a handbag. In the handbag you see a newspaper, a locket, an apple, a ball of yarn, and a pipe. > d You get off Buttercup. > in In what direction? > enter hole You squeeze yourself through the mouse hole. Inside The Wall You find yourself inside the wall, a dusty intersection, Between two mouse holes north and south, awaiting your selection. > n You squeeze through the mouse hole to the north. Igor's Shack This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. You see Igor lying on the bed. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > save Game state saved successfully. > x igor He's tall and gaunt with bony limbs. His skin is tan and slick. His eyes are a ferocious blue, his black hair short but thick. He wears a plain tunic, infantryman gray, well-worn and a little frayed and stained. You see dark patches of old dried blood, deep in the fabric ingrained. He's holding a riding crop and idly waving it in the air. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > x armoire It's a plain and cheaply made pine armoire, currently closed. Suddenly, you hear it from the opening in the wall. You peer and see a disembodied hand. It's followed by an arm, one you've met before, Then emerge the grotesque bloodless band. They pass you by on either side and move along towards Igor, Persistent as the tide they make their way. He doesn't see them right away but then they catch his eye. He tries to blink away the strange display. He screams and leaps out of the bed as they advance upon him. He scrambles to the door and turns the knob. Running out into the night, with surprising speed they follow, Intent only on finishing the job. The night falls deathly quiet in a momentary pause, Igor's final outcome now suspended. Suddenly a blood-chilling scream disrupts the night, And it's quite clear that the villain's time has ended. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > l Igor's Shack This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > take crop (I only understood you as far as wanting to take something.) > x radio It's a 'cathedral' style console, a substantial wooden appliance. Two shiny knobs dominate the front. One is is for power, the other is the tuner. The radio is on and glowing. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > turn tuner You get onto the table. You turn the tuning knob. Through the radio you hear a ragtime band playing. > turn tuner You turn the tuning knob. You hear a sports event of some kind through the radio but there's too much static to make out what it is. > z Time passes. You hear a sports event of some kind through the radio but there's too much static to make out what it is. > z Time passes. You hear a sports event of some kind through the radio but there's too much static to make out what it is. > turn tuner You turn the tuning knob. A voice on the radio is reading crop reports. > z Time passes. A voice on the radio is reading crop reports. > turn tuner You turn the tuning knob. Through the radio you hear the second movement of Mozart's "Piano Concerto number 21 in C major". > turn tuner You turn the tuning knob. Through the radio you hear a ragtime band playing. > l Igor's Shack (on the table) This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. Through the radio you hear a ragtime band playing. > x armoire It's a plain and cheaply made pine armoire, currently closed. Through the radio you hear a ragtime band playing. > open it You get off the table. You open the wardrobe, revealing Igor's personal effects and a uniform. Through the radio you hear a ragtime band playing. > x effects There's an infantryman's uniform hanging here neatly pressed. Accompanied by muddy boots and workingman's attire. Through the radio you hear a ragtime band playing. > x uniform It's the simple gray uniform of an infantryman. Through the radio you hear a ragtime band playing. > x boots (I only understood you as far as wanting to examine something.) > x boot (I only understood you as far as wanting to examine something.) > search effects You get into the wardrobe. You find nothing of interest. Through the radio you hear a ragtime band playing. > l Igor's Shack (in the wardrobe) This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. Through the radio you hear a ragtime band playing. > e (first attempting to get out of the wardrobe) You get out of the wardrobe. Through the radio you hear a ragtime band playing. You skitter east through the door. Outside The Shack The muddy path runs between a shack here and the manor, Passing to the south as it proceeds. A faint trace commences and sneaks off to the north. Through a gap in the dripping trees it leads. There's a bloody torso here in the mud. > x torso It's a headless bloody torso wrapped in a gray infantryman's tunic. The left arm and both legs are gone. The right arm is intact and the right hand is holding a riding crop. > take crop You take the riding crop. > i You have a riding crop. You're wearing a handbag. In the handbag you see a newspaper, a locket, an apple, a ball of yarn, and a pipe. > l Outside The Shack The muddy path runs between a shack here and the manor, Passing to the south as it proceeds. A faint trace commences and sneaks off to the north. Through a gap in the dripping trees it leads. There's a bloody torso here in the mud. > n You scoot north. Rocky Path You're standing on a rocky path embraced by dripping leaves, And the wind rustles through the twisted limbs. The path descends steeply down a small and muddy hill. The meager light in that direction dims. To the south you just make out an area of brightening, A hopeful gap within the vegetation. If you hadn't passed that way before through tangled trees and brush, You'd think it might be just hallucination. > x leaves You see the blackness of thick wet trees. > d You climb down. Dark Path You can't see much of anything in this leafy hollow, As the narrow path continues on its course. Here it rises up a slope, a muddy rocky grade, Precariously climbing towards its source. The slippery trace continues west through the dripping branches, Disappearing quickly through the trees. You hear the sound of rushing water off in that direction, Carried by the damp and misty breeze. > listen You hear the sound of rushing water. > w You scutter west. Behind Waterfall This cramped rocky vault is slippery and dark, Surrounded on three sides by thick wet stone. The third side is water, a dark splashing curtain, Swirling like a pocket-sized cyclone. Slimy rocks are piled here, some larger than the others. Muddy bootprints trace across the ground. A gap behind the waterfall heads back towards the east, The roar of rushing water all around. At first your vision overlooks what seems another boulder, Piled up in a heap with all the rest. You look again and realize you're looking at the creature, His head slumped down, his chin touching his chest. He glances as you enter but doesn't seem to care, As he turns back to a numb and empty stare. He gives off such a sadness that you quickly realize, That this grotto is a refuge not a lair. The creature is here in the darkness, slumped on one of the larger rocks. > x creature He's a mountain of flesh with a wingspan to match, His features are irregular and scarred. His clothes were fashioned with apparent little care, The sides of his head are shaved and charred. His eyes are bloodshot and of alternating hue, One is brown the other grayish green. He's covered in bruises, violet and blue, This multicolored jury-rigged machine. > give locket to creature (first attempting to take the locket) You take the locket, dropping the riding crop. His eyes fall on the locket and a flicker of recognition passes across his coarse features. He gently takes it from you. His eyes fix on the tiny portrait inside. > take crop You take the riding crop. > z Time passes. > x creature He's a mountain of flesh with a wingspan to match, His features are irregular and scarred. His clothes were fashioned with apparent little care, The sides of his head are shaved and charred. His eyes are bloodshot and of alternating hue, One is brown the other grayish green. He's covered in bruises, violet and blue, This multicolored jury-rigged machine. > i You have a riding crop. You're wearing a handbag. In the handbag you see a newspaper, an apple, a ball of yarn, and a pipe. > give newspaper to creature (first attempting to take the newspaper) You take the newspaper, dropping the riding crop. He takes the newspaper. A tiny ironic half-smile creases his face as he realizes that it's the recent death announcements. Holding the locket and the newspaper, he sighs and closes his bruised eyes. After a moment he opens them again and peers at you closely then holds up the paper and points to a name, his name: Charles Scott. He pulls himself to his feet and nods to you nearly imperceptibly. He turns and passes through the waterfall, briefly parting the water, and disappears into the night. > take crop You take the riding crop. > l Behind Waterfall This cramped rocky vault is slippery and dark, Surrounded on three sides by thick wet stone. The third side is water, a dark splashing curtain, Swirling like a pocket-sized cyclone. Slimy rocks are piled here, some larger than the others. Muddy bootprints trace across the ground. A gap behind the waterfall heads back towards the east, The roar of rushing water all around. > e You scuttle east. Dark Path You can't see much of anything in this leafy hollow, As the narrow path continues on its course. Here it rises up a slope, a muddy rocky grade, Precariously climbing towards its source. The slippery trace continues west through the dripping branches, Disappearing quickly through the trees. You hear the sound of rushing water off in that direction, Carried by the damp and misty breeze. > w You skitter west. Behind Waterfall This cramped rocky vault is slippery and dark, Surrounded on three sides by thick wet stone. The third side is water, a dark splashing curtain, Swirling like a pocket-sized cyclone. Slimy rocks are piled here, some larger than the others. Muddy bootprints trace across the ground. A gap behind the waterfall heads back towards the east, The roar of rushing water all around. > x rock It's a nondescript tumble of boulders. > x waterfall It's the backside of a curtain of water. > e You scoot east. Dark Path You can't see much of anything in this leafy hollow, As the narrow path continues on its course. Here it rises up a slope, a muddy rocky grade, Precariously climbing towards its source. The slippery trace continues west through the dripping branches, Disappearing quickly through the trees. You hear the sound of rushing water off in that direction, Carried by the damp and misty breeze. > s There doesn't appear to be an exit in that direction. > u You climb up. Rocky Path You're standing on a rocky path embraced by dripping leaves, And the wind rustles through the twisted limbs. The path descends steeply down a small and muddy hill. The meager light in that direction dims. To the south you just make out an area of brightening, A hopeful gap within the vegetation. If you hadn't passed that way before through tangled trees and brush, You'd think it might be just hallucination. > s You skitter south. Outside The Shack The muddy path runs between a shack here and the manor, Passing to the south as it proceeds. A faint trace commences and sneaks off to the north. Through a gap in the dripping trees it leads. There's a bloody torso here in the mud. > s You scurry south. West Side A narrow roadway threads between the manor and the stable, A dark and narrow passage through the pair. The stable lies off to the west, a stone wall to the east. And a muddy path southeast must lead somewhere. > s There doesn't appear to be an exit in that direction. > e There doesn't appear to be an exit in that direction. > se You skitter southeast. Southwest Corner Here, the muddy path turns the corner of the manor, The gray facade stares down austere and mute. The gluey trace continues to the northwest and the east, As you continue on your strange commute. Dr. Frankenstein is off to the east. > e You scurry east. Courtyard This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. > save Game state saved successfully. > e There doesn't appear to be an exit in that direction. > s You scuttle south. On The Road This dirt road reaches east and west, a rutted squishy pike. The manor courtyard's to the north, a short but muddy hike. Dr. Frankenstein is off to the north. > w You scutter west. On The Road The muddy road heads west into black and endless woods. It heads east past the manor and to unknown neighborhoods. > w There's nothing that way but wolves and endless forests. > x woods (I only understood you as far as wanting to examine something.) > n There doesn't appear to be an exit in that direction. > s There doesn't appear to be an exit in that direction. > nw There doesn't appear to be an exit in that direction. > sw There doesn't appear to be an exit in that direction. > n There doesn't appear to be an exit in that direction. > s There doesn't appear to be an exit in that direction. > e You skitter east. On The Road This dirt road reaches east and west, a rutted squishy pike. The manor courtyard's to the north, a short but muddy hike. Dr. Frankenstein is off to the north. > e The road is too muddy to proceed on hand. > n You scoot north. Courtyard This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. > w You skitter west. Southwest Corner Here, the muddy path turns the corner of the manor, The gray facade stares down austere and mute. The gluey trace continues to the northwest and the east, As you continue on your strange commute. Dr. Frankenstein is off to the east. > nw You scramble northwest. West Side A narrow roadway threads between the manor and the stable, A dark and narrow passage through the pair. The stable lies off to the west, a stone wall to the east. And a muddy path southeast must lead somewhere. > w You scuttle west through the doors. The Stable This barn-like room smells of animals and straw, And high above you wooden beams are strung. On the packed dirt floor you see hay and so much worse, As you delicately navigate the dung. Vacant open stalls line each side of the stable. A pile of hay's been thoroughly ransacked. Open dutch doors stand ajar to the east, Their creaking hinges rusted, brown, and cracked. Buttercup is standing here. > ride buttercup You get onto Buttercup. > hit her with crop You tap her with the crop but she doesn't seem very motivated to leave the stables on such a dark wet night. > hit her with crop You tap her with the crop but she doesn't seem very motivated to leave the stables on such a dark wet night. > i You have a riding crop. You're wearing a handbag. In the handbag you see an apple, a ball of yarn, and a pipe. > d You get off Buttercup. > n You squeeze yourself through the mouse hole. Inside The Wall You find yourself inside the wall, a dusty intersection, Between two mouse holes north and south, awaiting your selection. > n You squeeze through the mouse hole to the north. Igor's Shack This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. Through the radio you hear a ragtime band playing. > x table It's a small plain table. On it you see a radio. Through the radio you hear a ragtime band playing. > x uniform It's the simple gray uniform of an infantryman. Through the radio you hear a ragtime band playing. > take it You get into the wardrobe. It's too awkward and you don't need it. Through the radio you hear a ragtime band playing. > l Igor's Shack (in the wardrobe) This dark and spartan cell is furnished as expected, Small table, an armoire, and a bed. Dark shadows fill the nooks and crannies of the chamber, Daylight having long since turned and fled. A large radio console occupies the table, A hefty and substantial wooden beast. A mouse hole is carved in the wall to the south And the only door's positioned to the east. Through the radio you hear a ragtime band playing. > s (first attempting to get out of the wardrobe) You get out of the wardrobe. Through the radio you hear a ragtime band playing. You squeeze through the mouse hole. Inside The Wall You find yourself inside the wall, a dusty intersection, Between two mouse holes north and south, awaiting your selection. > i You have a riding crop. You're wearing a handbag. In the handbag you see an apple, a ball of yarn, and a pipe. > s You squeeze through the mouse hole to the south. The Stable This barn-like room smells of animals and straw, And high above you wooden beams are strung. On the packed dirt floor you see hay and so much worse, As you delicately navigate the dung. Vacant open stalls line each side of the stable. A pile of hay's been thoroughly ransacked. Open dutch doors stand ajar to the east, Their creaking hinges rusted, brown, and cracked. Buttercup is standing here. > give apple to buttercup (first attempting to take the apple) You take the apple, dropping the riding crop. Buttercup happily takes the apple between her meaty lips. She quickly crunches it down. Suddenly, her mood seems significantly improved. > ride buttercup You get onto Buttercup. > hit her with crop (first attempting to take the riding crop) You get off Buttercup. You take the riding crop. You get onto Buttercup. She shakes her ears and suddenly seems eager to step off. With a 'clip clop', Buttercup heads to the east. West Side (on Buttercup, facing east, on the move) A narrow roadway threads between the manor and the stable, A dark and narrow passage through the pair. The stable lies off to the west, a stone wall to the east. And a muddy path southeast must lead somewhere. > pull right The horse pulls right to face southeast. With a 'clip clop', Buttercup heads to the southeast. Southwest Corner (on Buttercup, facing southeast, on the move) Here, the muddy path turns the corner of the manor, The gray facade stares down austere and mute. The gluey trace continues to the northwest and the east, As you continue on your strange commute. Dr. Frankenstein is off to the east. > pull left The horse pulls left to face east. With a 'clip clop', Buttercup heads to the east. Courtyard (on Buttercup, facing east, on the move) This cobble-stoned courtyard is open to the night. The air is wet and thin mist floats upon it. Screeching songs of frogs and crickets echo off the stones, Combining in a dark nocturnal sonnet. The manor's main entryway lies just off to the north, Right now a hulk of broken wood and glass. To the south, lies the dirt road leading into town, The recent rains have left it a morass. A path starts here and reaches west across the manor yard. You see a building off in that direction. Otherwise, the stony walls loom silently above, Brooding with a sullen gray complexion. You see Dr. Frankenstein here lying unconscious on the ground. > pull right The horse pulls right to face southeast. > pull right The horse pulls right to face south. With a 'clip clop', Buttercup heads to the south. On The Road (on Buttercup, facing south, on the move) This dirt road reaches east and west, a rutted squishy pike. The manor courtyard's to the north, a short but muddy hike. Dr. Frankenstein is off to the north. > pull left The horse pulls left to face southeast. > pull left The horse pulls left to face east. With a 'clip clop', Buttercup heads to the east. On The Road (on Buttercup, facing east, on the move) You're on a dirt road. It leads to the east and west, brown snake under moon. > * oh hailu > e You should dismount first. With a 'clip clop', Buttercup heads to the east. On The Road (on Buttercup, facing east, on the move) Grasping mud squishes. The road here angles south to west. A single owl hoots. > pull right The horse pulls right to face southeast. > pull right The horse pulls right to face south. With a 'clip clop', Buttercup heads to the south. On The Road (on Buttercup, facing south, on the move) A still junction waits. The road heads north and south here. A spur leads westward. > pull right The horse pulls right to face southwest. > pull right The horse pulls right to face west. With a 'clip clop', Buttercup heads to the west. Spur (on Buttercup, facing west, on the move) You're standing on a desolate and weedy patch of ground, To the south you see a long-deserted shack. Rotting wood comprises what's left of its remains. Now only vacant window frames stare back. > off (I'm sorry, I didn't understand what you wanted to do.) > d You get off Buttercup. > s You skitter south. Abandoned Shack The walls are wet and moldy and they creak beneath the wind. Through gaping holes above you see the sky. The exit north is through a leaning doorway with no door, And you smell some things you can't identify. Abandoned in the rubble you see a hatchet. > smell It's a sweet and sickly mixture of rotting wood, mildew, and animal droppings. > x hatchet It's a small muddy hatchet. > take it You take the hatchet, dropping the riding crop. > put hatchet in bag You put the hatchet in the handbag. > take crop You take the riding crop. > n You scuttle north. Spur You're standing on a desolate and weedy patch of ground, To the south you see a long-deserted shack. Rotting wood comprises what's left of its remains. Now only vacant window frames stare back. Buttercup is standing here. > ride buttercup You get onto Buttercup. > pull right The horse pulls right to face northwest. > pull right The horse pulls right to face north. > pull right The horse pulls right to face northeast. > pull right The horse pulls right to face east. > hit with crop (I only understood you as far as wanting to tap something with the riding crop.) > tap buttercup with crop She shakes her ears and suddenly seems eager to step off. With a 'clip clop', Buttercup heads to the east. On The Road (on Buttercup, facing east, on the move) A still junction waits. The road heads north and south here. A spur leads westward. > pull right The horse pulls right to face southeast. > pull right The horse pulls right to face south. With a 'clip clop', Buttercup heads to the south. On The Road (on Buttercup, facing south, on the move) The road continues. Faint lights of a town lie south. The road leads north, too. > z Time passes. With a 'clip clop', Buttercup heads to the south. On The Road (on Buttercup, facing south, on the move) The dirt road here runs north and south through saturated trees. A second road of cobblestone starts here and eastward flees. You see a hamlet off that way, your own town it would seem. A picturesque and rustic spot like something from a dream. Suddenly, you recognize your town, your family village. The main street stretching off into the east. In the distance stands the church, the church in which you married. Your mind's eye sees your bride, her dress, the priest. Timbered houses line the lane, one of them your own. The shops are closed, the streets are dark and quiet. It all comes flooding back to you, the town's configuration, Real enough that you could certify it. > d You get off Buttercup. > save Game state saved successfully. > e You scoot east. In Town This cobblestone street leads through and into town. Modest timbered houses line each side. Pale light glistens on the shiny cobblestones, Beneath the moon a town beatified. This main rocky thoroughfare continues to the east, The glowing white stone church lies at the end. A smaller branch diverges into darkness to the north, And a dirt road to the west you apprehend. > w You scutter west. On The Road The dirt road here runs north and south through saturated trees. A second road of cobblestone starts here and eastward flees. You see a hamlet off that way, your own town it would seem. A picturesque and rustic spot like something from a dream. Buttercup is standing here. > x hamlet (I only understood you as far as wanting to examine something.) > s The road is too muddy to proceed on hand. > u There doesn't appear to be an exit in that direction. > climb buttercup You get onto Buttercup. > tap her with crop She shakes her ears and suddenly seems eager to step off. With a 'clip clop', Buttercup heads to the south. On The Road (on Buttercup, facing south, on the move) The night closes in. The muddy road continues, North and south it leads. > z Time passes. Buttercup rears up and refuses to go any further, knowing that there's nothing out there but wolves and endless forests. > turn right Turning the right rein has no apparent effect. > turn right Turning the right rein has no apparent effect. > turn right Turning the right rein has no apparent effect. > pull right The horse pulls right to face southwest. > pull right The horse pulls right to face west. > pull right The horse pulls right to face northwest. > pull right The horse pulls right to face north. > tap buttercup with crop She shakes her ears and suddenly seems eager to step off. With a 'clip clop', Buttercup heads to the north. On The Road (on Buttercup, facing north, on the move) The dirt road here runs north and south through saturated trees. A second road of cobblestone starts here and eastward flees. You see a hamlet off that way, your own town it would seem. A picturesque and rustic spot like something from a dream. > pull right The horse pulls right to face northeast. > pull right The horse pulls right to face east. With a 'clip clop', Buttercup heads to the east. In Town (on Buttercup, facing east, on the move) This cobblestone street leads through and into town. Modest timbered houses line each side. Pale light glistens on the shiny cobblestones, Beneath the moon a town beatified. This main rocky thoroughfare continues to the east, The glowing white stone church lies at the end. A smaller branch diverges into darkness to the north, And a dirt road to the west you apprehend. > x moon (I only understood you as far as wanting to examine something.) > d You get off Buttercup. > e You scoot east. Street East End The street ends here outside the rundown village church, Directly to the east its double doors. Darkened homes line the roadway back towards the west, The town asleep with soft contented snores. > x church The tallest structure in the area, it's a plain church built from plain gray stones. The slanted roof is wood-tiled and a turret-like stone tower is topped with a wooden steeple. Carved double doors face the front and lead inside. > x steeple Did you want to examine the church or the steeple? > church The tallest structure in the area, it's a plain church built from plain gray stones. The slanted roof is wood-tiled and a turret-like stone tower is topped with a wooden steeple. Carved double doors face the front and lead inside. > open door You push as hard as you can and are just able to nudge one of the doors ajar. > e You scuttle east through the church doors. Church Nave You're standing in the nave of the local village church, The stone floor is lined with wooden pews. Stained glass windows are set into the walls, Simply made in geometric hues. To the east a golden light, the sanctuary glowing, Where candles offer faint illumination. To the west lies the exit through the double doors, Passage for those restless for salvation. (the church doors quietly shut behind you.) > x pews They're unadorned wooden pews, arranged in two ranks with an aisle down the center. > x windows It's not a wealthy parish so the windows are simply geometric blocks of color. > x candles (I only understood you as far as wanting to examine something.) > e You skitter east. Sanctuary This sanctuary occupies the east end of the church, The burnished air aglow by candlelight. The simple stone altar huddles in the center, The walls climb to a half dome of some height. The waiting congregation would be seated to the west, Filling in the pews there in the nave. To the south you see an unobtrusive wooden door, Presumably the minister's enclave. > x candlelight A handful of candles are scattered about, burning in their holders. > x altar It's a table-like block of marble laid across two marble supports. > s (first attempting to open the plain door to the south) You open the plain door. You scurry south through the plain door. Church Office This dim room is small, cramped, and minimally furnished. A wooden desk nearly fills the space. A very thick leather book rests atop its surface, And to the north a door most commonplace. > x desk It's a battered wooden desk that's seen better days. On it you see the leather volume. > x book It's a large leather-bound volume. The cover simply reads "Register". > open it You get onto the desk. You open the leather volume. > read it You flip through the pages. It seems to be a registry of all the graves in the village cemetery. > look up scott (in the leather volume) It lists his burial plot as grave f2. > l Church Office (on the desk) This dim room is small, cramped, and minimally furnished. A wooden desk nearly fills the space. A very thick leather book rests atop its surface, And to the north a door most commonplace. > n (first attempting to get off the desk) You get off the desk. You scutter north through the plain door. Sanctuary This sanctuary occupies the east end of the church, The burnished air aglow by candlelight. The simple stone altar huddles in the center, The walls climb to a half dome of some height. The waiting congregation would be seated to the west, Filling in the pews there in the nave. To the south you see an unobtrusive wooden door, Presumably the minister's enclave. > n There doesn't appear to be an exit in that direction. > e There doesn't appear to be an exit in that direction. > w You scurry west. Church Nave You're standing in the nave of the local village church, The stone floor is lined with wooden pews. Stained glass windows are set into the walls, Simply made in geometric hues. To the east a golden light, the sanctuary glowing, Where candles offer faint illumination. To the west lies the exit through the double doors, Passage for those restless for salvation. > n There doesn't appear to be an exit in that direction. > w (first attempting to open the church doors to the west) You push as hard as you can and are just able to nudge one of the doors ajar. You skitter west through the church doors. Street East End The street ends here outside the rundown village church, Directly to the east its double doors. Darkened homes line the roadway back towards the west, The town asleep with soft contented snores. (the church doors quietly shut behind you.) > n There doesn't appear to be an exit in that direction. > s There doesn't appear to be an exit in that direction. > se There doesn't appear to be an exit in that direction. > ne There doesn't appear to be an exit in that direction. > * graveyard somewhere > w You scuttle west. In Town This cobblestone street leads through and into town. Modest timbered houses line each side. Pale light glistens on the shiny cobblestones, Beneath the moon a town beatified. This main rocky thoroughfare continues to the east, The glowing white stone church lies at the end. A smaller branch diverges into darkness to the north, And a dirt road to the west you apprehend. Buttercup is standing here. > * ? > n You scoot north. Street Junction Here the street branches in a three-way roadway junction, To north, east, and south the stones traverse. The shops and houses on each side stand a silent vigil, Unaware of your peculiar curse. > x shops (I only understood you as far as wanting to examine something.) > w There doesn't appear to be an exit in that direction. > e You scuttle east. Cul De Sac The street ends here in a cul de sac, surrounded by yards and homes. The night is silent, the houses dark, like domestic catacombs. A sudden spark of cognizance flashes through your mind, A cascade of neurologic excitation. You recognize your yard and home directly to the north, Your memory jogged serving confirmation. The wooden gate you meant to fix, the one with broken slats, Stands here in the darkness like a guide. Beyond it lies the house itself, your little piece of heaven, Where you sorely hope your loved ones still reside. > x gate It's a simple white wooden gate. It's currently ajar. > w You scutter west. Street Junction Here the street branches in a three-way roadway junction, To north, east, and south the stones traverse. The shops and houses on each side stand a silent vigil, Unaware of your peculiar curse. > n You scuttle north. In Town The street passes through the trees, A dreary patch of weeds and brush. To the south you see the village, Sleeping 'neath a moonlit hush. Northeast the road cuts through a forest, Piercing through the dismal gloom, Moonlight filters through the branches. On the ground their shadows bloom. > ne You scramble northeast. Cemetery Entrance You're standing at the entrance of the local cemetery, Beneath a decomposing wooden arch. To the southwest lies the road back to the village. It steps off through the moonlight on its march. There once was writing on the arch but now it's quite unreadable. From the other side the gravestones shine. Some still stand and some are fallen, lying in the muck, Strewn across this faded silent shrine. Footpaths lead northeast and southeast, weaving through the graves, Heading deep into the graveyard proper. A second path leads north from here into the potter's field, The final resting place for the pauper. > * there we go > x arch It's a rotted crumbling arch over the cemetery entrance. > x graves (I only understood you as far as wanting to examine something.) > n You skitter north. Potter's Field You're standing at the entrance of the local potter's field, Final resting place for the unknown. The plots are set summarily in rows off to the east, Some are new and some are overgrown. The field is ringed with leafless trees, gnarled and silent witnesses, To the ones interned here and their plight. The main cemetery lies slumbering to the south, Its arch is sillhoueted by the night. > s You scramble south. Cemetery Entrance You're standing at the entrance of the local cemetery, Beneath a decomposing wooden arch. To the southwest lies the road back to the village. It steps off through the moonlight on its march. There once was writing on the arch but now it's quite unreadable. From the other side the gravestones shine. Some still stand and some are fallen, lying in the muck, Strewn across this faded silent shrine. Footpaths lead northeast and southeast, weaving through the graves, Heading deep into the graveyard proper. A second path leads north from here into the potter's field, The final resting place for the pauper. > e There doesn't appear to be an exit in that direction. > ne You scurry northeast. Cemetery North This is the northern section of the village cemetery, The gravestones neatly lined all in their rows. The path here turns to southeast and southwest, Past moldy long-gone loved ones in repose. > x gravestones They seem to be harmless. > se You scoot southeast. Cemetery East From northwest and southwest the paths meet right here, a well-trod intersection in the tombs. Directly to the west lies a tiny rundown hovel, the caretaker's cottage one assumes. > sw You skitter southwest. Cemetery South This section of the graveyard is in questionable condition, With many markers fallen on the ground. The walkway bends and curves from northwest to northeast, Weaving through the gloom that crowds around. > x garves (I only understood you as far as wanting to examine something.) > x markers They seem to be harmless. > ne You scramble northeast. Cemetery East From northwest and southwest the paths meet right here, a well-trod intersection in the tombs. Directly to the west lies a tiny rundown hovel, the caretaker's cottage one assumes. > e There doesn't appear to be an exit in that direction. > w (first attempting to open the door to the west) You open the door. You scuttle west through the door. Caretaker's Shed This small cramped shed is packed with miscellanea, Tools of no apparent use to those who've lost their crania. The open door is to the east, the only means of leaving, Back out to the graves and the accoutrements of grieving. Among the clutter you see a hand trowel in the corner. You see a battered lighter discarded here on the floor. > i You have a riding crop. You're wearing a handbag. In the handbag you see a hatchet, a ball of yarn, and a pipe. > x tools (I only understood you as far as wanting to examine something.) > x lighter It's a battered tin cylindrical trench lighter, currently unlit. > put it in bag (first attempting to take the battered tin lighter) You take the battered tin lighter, dropping the riding crop. You put the battered tin lighter in the handbag. > x trowel It's a rusted hand trowel. > take it You take the trowel. > put crop in bag (first attempting to take the riding crop) You take the riding crop, dropping the trowel. You put the riding crop in the handbag. > take trowel You take the trowel. > e You skitter east through the door. Cemetery East From northwest and southwest the paths meet right here, a well-trod intersection in the tombs. Directly to the west lies a tiny rundown hovel, the caretaker's cottage one assumes. > nw You scoot northwest. Cemetery North This is the northern section of the village cemetery, The gravestones neatly lined all in their rows. The path here turns to southeast and southwest, Past moldy long-gone loved ones in repose. > sw You scramble southwest. Cemetery Entrance You're standing at the entrance of the local cemetery, Beneath a decomposing wooden arch. To the southwest lies the road back to the village. It steps off through the moonlight on its march. There once was writing on the arch but now it's quite unreadable. From the other side the gravestones shine. Some still stand and some are fallen, lying in the muck, Strewn across this faded silent shrine. Footpaths lead northeast and southeast, weaving through the graves, Heading deep into the graveyard proper. A second path leads north from here into the potter's field, The final resting place for the pauper. > n You scoot north. Potter's Field You're standing at the entrance of the local potter's field, Final resting place for the unknown. The plots are set summarily in rows off to the east, Some are new and some are overgrown. The field is ringed with leafless trees, gnarled and silent witnesses, To the ones interned here and their plight. The main cemetery lies slumbering to the south, Its arch is sillhoueted by the night. > e You scurry east. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "C1", on the other side "C2". The entrance to the potter's field lies to the west and you can move north, east, and south among the graves. > e You scutter east. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "C3", on the other side "C4". You can move north, east, south, and west among the graves. > s You scuttle south. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "E3", on the other side "E4". You can move north, east, and west among the graves. Thick dark woods block movement otherwise. > s There doesn't appear to be an exit in that direction. > e You skitter east. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "F1", on the other side "F2". You can move north, east, and west among the graves. Thick dark woods block movement otherwise. > dig f2 (with the trowel) You scratch at the ground with the trowel, breaking up the overlying dirt. > dig f2 (with the trowel) You dig deeper into the soft muddy ground. > dig f2 (with the trowel) You dig deeper and, with a "thunk" hit something that sounds like wood. Whatever it is, it's down below you in a fairly deep hole. > dig f2 (with the trowel) You've dug about as deep as you can. You've created a fairly large hole that you can enter. > d You clamber down into the hole. In A Hole You find yourself in a muddy hole. You're standing on a wooden lid beneath you. > open lid The box lid doesn't open. > break it With what? > hatchet (first attempting to take the hatchet) You take the hatchet, dropping the trowel. You chop at the box lid with the hatchet. Soon you've created a hole large enough to enter. > d You climb down. In the dark You are surrounded by darkness. > light ligher (I only understood you as far as wanting to light something.) > light lighter (first attempting to take the battered tin lighter) You take the battered tin lighter, dropping the hatchet. You open the tin cylinder and flick the sparkwheel. A small flame blooms. > l In The Box This is the interior of a dark wooden crate, an opening in the lid is just above you. It's filled with testimony to the twisted doctor's victims, Belongings of every type and purview. Watches, jewels, and glasses twinkle in the light, Ornaments and baubles of each kind, Are locked away and hidden here in this silent vault, Forever to the silent earth consigned. You see a hatchet here. Nearly buried among the scattered items, you see a gold band glinting in the light. > x ring It's a gold wedding band. Your wedding band, in fact. There's a wavy line and "Always...P" engraved on the side. > take it You take the wedding band, dropping the battered tin lighter. > wear it You put on the wedding band. > take lighter You take the battered tin lighter. > put hatchet in bag (first attempting to take the hatchet) You take the hatchet, dropping the battered tin lighter. Suddenly, the lighter "poofs" out. You put the hatchet in the handbag. > take lighter You take the battered tin lighter. > l In the dark You are surrounded by darkness. > ligh lighter (I'm sorry, I didn't understand what you wanted to do.) > light lighter You open the tin cylinder and flick the sparkwheel. A small flame blooms. > l In The Box This is the interior of a dark wooden crate, an opening in the lid is just above you. It's filled with testimony to the twisted doctor's victims, Belongings of every type and purview. Watches, jewels, and glasses twinkle in the light, Ornaments and baubles of each kind, Are locked away and hidden here in this silent vault, Forever to the silent earth consigned. > u You climb up. In A Hole You find yourself in a muddy hole. You're standing on a wooden lid beneath you. Among the clutter you see a hand trowel in the corner. > u You scramble upward through mud and dirt clods. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "F1", on the other side "F2". You can move north, east, and west among the graves. Thick dark woods block movement otherwise. The ground around grave f2 has been disturbed. > w You scoot west. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "E3", on the other side "E4". You can move north, east, and west among the graves. Thick dark woods block movement otherwise. > w You scramble west. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "E1", on the other side "E2". You can move north and east among the graves. Thick dark woods block movement otherwise. > w There doesn't appear to be an exit in that direction. > n You scutter north. Among The Graves You're standing among the nameless plots. On one side you see a marker engraved "C1", on the other side "C2". The entrance to the potter's field lies to the west and you can move north, east, and south among the graves. > w You skitter west. Potter's Field You're standing at the entrance of the local potter's field, Final resting place for the unknown. The plots are set summarily in rows off to the east, Some are new and some are overgrown. The field is ringed with leafless trees, gnarled and silent witnesses, To the ones interned here and their plight. The main cemetery lies slumbering to the south, Its arch is sillhoueted by the night. > s You scramble south. Cemetery Entrance You're standing at the entrance of the local cemetery, Beneath a decomposing wooden arch. To the southwest lies the road back to the village. It steps off through the moonlight on its march. There once was writing on the arch but now it's quite unreadable. From the other side the gravestones shine. Some still stand and some are fallen, lying in the muck, Strewn across this faded silent shrine. Footpaths lead northeast and southeast, weaving through the graves, Heading deep into the graveyard proper. A second path leads north from here into the potter's field, The final resting place for the pauper. > s There doesn't appear to be an exit in that direction. > sw You scutter southwest. In Town The street passes through the trees, A dreary patch of weeds and brush. To the south you see the village, Sleeping 'neath a moonlit hush. Northeast the road cuts through a forest, Piercing through the dismal gloom, Moonlight filters through the branches. On the ground their shadows bloom. > s You scoot south. Street Junction Here the street branches in a three-way roadway junction, To north, east, and south the stones traverse. The shops and houses on each side stand a silent vigil, Unaware of your peculiar curse. > e You scuttle east. Cul De Sac The street ends here in a cul de sac, surrounded by yards and homes. The night is silent, the houses dark, like domestic catacombs. Your own abode lies to the north, beyond your own front yard. The street turns back towards the west, an empty boulevard. > n You scoot north through the wooden gate. Yard This small patch of green is your own front yard, Bordered by Penelope's favored flowers. Your white front gate stands open to the south. The grass glistens, moonlit from the showers. You already know that the door will be secured, Locked up like a dusty pharoah's tomb. You also know a downspout starts here climbing to the roof, Leading upward past the baby's room. > climb spout (I only understood you as far as wanting to get onto something.) > x downspout It's a metal downspout leading from the gutters above along the side of the house to the ground. > climb it You scramble up the downspout to the second floor. Outside Window You're clinging to the downspout high above the yard, A window here is just within your reach. You can head straight downward back into the yard, Or climb into the nursery through the breach. > x window The window is ajar. > in You scramble in. Nursery Moonlight floods this small quiet room. A crib casts shadows on the floor. Flowers dance across the brightly painted walls, To the east lies the closed nursery door. Beside the crib a sturdy wooden rocking chair awaits. You built it back when you were still complete. The nursery window's open and the house stands deathly still, As you take it in, your daughter's nursery suite. "The window slides closed behind you with a 'thunk'. > * extra quotation mark at the bottom there > x crib It's a wooden crib, simple but sturdy. > x chair It's an unvarnished but well-made rocking chair. > x daughter She's a toddler sleeping peacefully, sighing in her crib. You pause to watch her chest fall and rise. Her blonde hair, from her mother, spills across her pillow. Were they open, you would see her mother's eyes. Suddenly, the nursery door opens and Penelope slips into the room. Owing to your absence, her face is lined with worry. Her hair's dishevelled owing to the hour. But she's every bit as beautiful as the first day that you met her, Penelope your golden-haired wildflower. Dressed simply in a nightgown, she's thinner than before, Your disappearance weighing on her mind. Not knowing if you're still alive a deep malignant sore, Alone with the baby left behind. Alerted by the noise, she's carrying your pistol, Peering in the darkness for a thief. Determined to protect her child, the only thing left to her, Her resolution far outweighs her grief. You wait with resignation for the blast from the pistol, At least you got to see her just once more. Instead, you hear her stammer as she whispers out your name. Shaking, she drops the gun onto the floor. She stares at you, uncertain of exactly what she's seeing. But she knows the golden wedding band you're wearing. Her eyes begin to glisten and a disbelieving smile, Tranforms her horrified and desperate bearing. She slowly moves forward and reaches out her hand, An unsure touch becomes a sweet caress. If you still had eyes you'd close them tightly, lost within the moment, The best thing that you've ever felt, no less. Your vision starts to darken and you feel yourself receding. Your borrowed extra time seems to have ended. You look up at her face as the room grows cold around you. You slip away, your love having transcended. *** You have won. ***