Surely you are not so foolish as to transcribe... Ryan Veeder Presents Several Other Tales from Castle Balderstone Release 1 / Serial number 201031 / Inform 7 build 6M62 (I6/v6.34 lib 6/12N) SD >about (This entry in ECTOCOMP 2020 is brought to you by the generous support of many wonderful Patreon backers: Carl Muckenhoupt. Carolyn VanEseltine. Cat Manning. Q. Pheevr. Zachary Dillon. Doug Orleans. Janice M. Eisen. Emily Boegheim. Emily Short. Rapscallion. Greg Frost. Yerrik. Ivan R. silentphantom. Jason McIntosh. Josh Labelle. Jordan Jay Eash. Karl Ove Hufthammer. Kenneth Hon. Lance Campbell. Jenni Polodna. Mark Vian. Matt Schneider. Michael Knowles. Maiko Ziegler. Derek Sotak. Nils Fagerburg. Rich Cheng. Paul Stanley. quollish. Catherine O'Sullivan. Jenelle Marie. Gosh, this is a lot of people. I feel like I've been typing for a while. Ropert Paloutzian. Robin Johnson. Sarah Nerboso. Robert Egglestone. Matthew Zimmermann. Allen Tan. Sammy El-Bahwary. Jacques Frechet. PHEW. Thanks, guys!!! This is the third "Castle Balderstone" game. The previous entries in the series are on IFDB at https://ifdb.tads.org/viewgame?id=bpp58cwqb8gfu1wk and https://ifdb.tads.org/viewgame?id=cvy76hm1db0zpnem. If you're interested in my other games or the other stuff I do, my website is rcveeder.net, my Twitter is @rcveeder, my email address is rcveeder@me.com, and my Patreon is patreon.com/rcveeder. Okay bye!) >l School Their headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die. To the east of the school was the town graveyard. To the west of the school was the museum. There was a magic chalice that they could make a potion to cure the curse if they had all the ingredients. They found a map in the library that showed where all the ingredients were. >i They were carrying nothing. >x us There was a girl named Leana and a boy named Garrin. They were best friends. Their other best friend was Chloe, who suffered from the banshee's curse. >x chloe Chloe had dark curly hair and she wore glasses. She couldn't talk, she was so sick from the curse. >take all chalice: Taken. map: Taken. >x chalice The chalice was a fancy type of cup. It had an engraving on it of a selkie, which is an Irish mythological creature. They had to put all the potion ingredients in there to create the potion. >x map The map told where all the ingredients for the potion to cure the curse of the banshee were: A Forever Fern, in the Garden of Doom A coalflower, in the goblin coal mine A pinch of mummy dust, from a mummy's sarcophagus ...and one more ingredient that was smudged. But they could see the path leading up to the smudge, and it had a special crow's stone on one side. A stone in the shape of a crow. >w Museum At the town's museum there was an exhibit about Ancient Egypt. They had a mummy in a sarcophagus, and it came to life. If it touched you, you would die. To the east of the museum was their school. Some of its dust was left inside its sarcophagus. >take dust The dragonfly buzzed over to the mummy and started flying around its head to confuse it. While the mummy was distracted, Leana and Garrin took the dust out of its sarcophagus. >x mummy The mummy walked around in a slow lumbering way. But it could suddenly run very fast and grab you. >touch it They felt nothing unexpected. >take it They already had that. >touch mummy The mummy moaned and groaned. Then it touched Leana and Garrin, and they died. Lake of the Dead When they woke up, they were at the lake of the dead, where every dead person goes when they die. There were some skeletons carrying a coffin across the water. To the west of the lake of the dead was the goblin court, and there was also a cave at the lake. >x skeletons The skeletons were actually walking on the water. And they had a coffin that they were carrying. >x coffin The coffin had a dead body in it that the skeletons were carrying to the other side of the lake of the dead. >open it It wasn't something they could open. >x cave The cave went down underneath the lake of the dead. >d Twisted Cave In the cave there was a giant dragonfly caught in a web. They could go up to get outside of the cave. The cave went further down, too. >take dragonfly Garrin got out his pocket knife and cut all the strands of the spider web, and the dragonfly got free. Garrin told the dragonfly to fly away and be free, but the dragonfly said he owed his life to Garrin and he would follow him forever. >d Garden of Doom At the bottom of the cave was the Garden of Doom. Every poisonous deadly plant grew there. They could go up to the rest of the cave. Leana looked around and she saw the Forever Fern growing there. >take forever fern Taken. >x map The map told where all the ingredients for the potion to cure the curse of the banshee were: A Forever Fern, in the Garden of Doom A coalflower, in the goblin coal mine A pinch of mummy dust, from a mummy's sarcophagus ...and one more ingredient that was smudged. But they could see the path leading up to the smudge, and it had a special crow's stone on one side. A stone in the shape of a crow. >u Twisted Cave In the cave there was a sliced-up web. They could go up to get outside of the cave. The cave went further down, too. >u Lake of the Dead They were at the lake of the dead, where every dead person goes when they die. There were some skeletons carrying a coffin across the water. To the west of the lake of the dead was the goblin court, and there was also a cave at the lake. >w Goblin Court The Goblin King sat on a huge throne and there were a hundred other goblins hanging around him. He said, "Little girl, and little boy, I can bring you back to life, but you have to answer my riddle." To the east of the goblin court was the lake of the dead, and underneath the court was the goblins' coal mine. >d Coal Mine As they walked around the coal mine there were all these flowers that sprang up. The mine was about to explode, but they didn't know that. If they went up out of the mine they would go back to the goblin court. There was one coalflower right at Leana's feet. >take coalflower (the coalflower) Taken. >u Goblin Court The Goblin King sat on a huge throne and there were a hundred other goblins hanging around him. He said, "Little girl, and little boy, I can still bring you back to life, but you still have to answer my riddle." To the east of the goblin court was the lake of the dead, and underneath the court was the goblins' coal mine. >talk to king The goblin king told them his riddle: "What is the longest word you can write with the top row of a typewriter?" And Garrin said, "That's easy! It's TYPEWRITER!" And the Goblin King got really mad, and swore they cheated, but he had to honor his end of the deal, so he brought Leana and Garrin back to life. When they woke up, they were back at the school library with Chloe. School Their headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die. To the east of the school was the town graveyard. To the west of the school was the museum. >x map The map told where all the ingredients for the potion to cure the curse of the banshee were: A Forever Fern, in the Garden of Doom A coalflower, in the goblin coal mine A pinch of mummy dust, from a mummy's sarcophagus ...and one more ingredient that was smudged. But they could see the path leading up to the smudge, and it had a special crow's stone on one side. A stone in the shape of a crow. >e Graveyard The graveyard was full of these scraggly trees that looked like hands. And there were stars shining up above. There was a ghost dog there, who kept digging up human bones. To the east of the graveyard was the haunted house. To the west of the graveyard was the school. >x dog The ghost dog was nice. It didn't try to hurt them. It pointed its nose at the haunted house, to say, "go there." >talk to dog Leana wanted to take the ghost dog home with her, but it was cursed to have to stay in the graveyard forever. >pet dog Leana wanted to take the ghost dog home with her, but it was cursed to have to stay in the graveyard forever. >x bones (That noun is not implemented.) >i They were carrying: a coalflower a Forever Fern a giant dragonfly some mummy's dust a map a chalice >e Haunted House In the house there was a bedroom with chains and blood. In the front of the house there was a carriage with a skeleton horse. In the back yard of the house there was a garden. >x bedroom There were bones on the floor in the bedroom. The banshee had eaten the body, leaving the skeleton. >x bones There were bones on the floor in the bedroom. The banshee had eaten the body, leaving the skeleton. >search skeleton Which do you mean, the bedroom or the carriage? >bedroom They found nothing of interest. >x carriage A long time ago there was a girl whose birthday was on Halloween. Her friends never came to her birthday party, even though she invited all of them, because they were out trick or treating. She went out to look for them, and she was never seen again. She is seen on Halloween, in a carriage with a skeleton horse. If you go inside the carriage, you will be cursed to be at her party forever. >enter it Leana and Garrin got inside the carriage, and the ghost girl was inside, and she made the skeleton horse go faster and faster, and they got to the side of a cliff, and then the ghost girl made the horse go off the side of the cliff, and Leana and Garrin died. Lake of the Dead They were at the lake of the dead, where every dead person goes when they die. There were some skeletons carrying a coffin across the water. To the west of the lake of the dead was the goblin court, and there was also a cave at the lake. >w Goblin Court The Goblin King sat on a huge throne and there were a hundred other goblins hanging around him. He said, "Little girl, and little boy, I can still bring you back to life, but you still have to answer my riddle." To the east of the goblin court was the lake of the dead, and underneath the court was the goblins' coal mine. >talk to king The goblin king told them his riddle: "What is the longest word you can write with the top row of a typewriter?" And Garrin said, "That's easy! It's TYPEWRITER!" And the Goblin King got mad again, but he still had to bring Leana and Garrin back to lif. When they woke up, they were back at the school library with Chloe. School Their headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die. To the east of the school was the town graveyard. To the west of the school was the museum. >e Graveyard The graveyard was full of these scraggly trees that looked like hands. And there were stars shining up above. There was a ghost dog there, who kept digging up human bones. To the east of the graveyard was the haunted house. To the west of the graveyard was the school. >e Haunted House In the house there was a bedroom with chains and blood. In the front of the house there was a carriage with a skeleton horse. In the back yard of the house there was a garden. >x garden The garden was full of red and black roses, and there was an odd stone way in the back. >x stone The stone was shaped like a crow. The crow's stone! That meant that the last ingredient was behind the house, to the east! >take it (That's not for taking.) >e Cherry Orchard They followed the path to a hill covered in cherry trees. To the west of the cherry orchard was the haunted house. There was one magic cherry hanging from a branch. >take cherry (the magic cherry) Taken. >x it Leana and Garrin looked at each other and said "This must be the last ingredient!" >eat it Garrin almost ate the cherry for himself, but Leana stopped him. >w Haunted House In the house there was a bedroom with chains and blood. In the front of the house there was a carriage with a skeleton horse. In the back yard of the house there was a garden. >w Graveyard The graveyard was full of these scraggly trees that looked like hands. And there were stars shining up above. There was a ghost dog there, who kept digging up human bones. To the east of the graveyard was the haunted house. To the west of the graveyard was the school. >w School Their headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die. To the east of the school was the town graveyard. To the west of the school was the museum. >i They were carrying: a magic cherry a coalflower a Forever Fern a giant dragonfly some mummy's dust a map a chalice >put cherry in chalice They put the magic cherry into the chalice. >put coalflower in chalice They put the coalflower into the chalice. >put fern in chalice They put the Forever Fern into the chalice. >put dust in chalice They put the mummy's dust into the chalice. Now they had all four ingredients! They mixed the potion and brought it to Chloe. Chloe drank it, and her eyes lit up, and she said she felt fine. But the banshee knew that her curse was cured, and she swore that she would have revenge. *** The End *** Daniella Florence bows, and the sitting-room is filled with the sounds of applause. The kids eat it up. The moderator steps up to the dais. "I must say, that was pretty scary, boys and girls! Are there any questions from our audience?" "Yes," someone says. "My question is for the teacher: Why are you here? Why did you bring a bunch of little kids to a meeting of adult horror authors? In the middle of the night?" Miss Shiroiwa glances across the room and catches my eye, and I can see the exact moment when she decides to throw me under the bus: "It was Ryan's idea, actually," she says. Someone mutters something. But the moderator has my back, for once: "I'm sure it is indeed very much past these young authors' bedtimes," he says. "So I think we will bid them bon soir, after we've given them one more round of applause." Everyone can get behind this, and Miss Shiroiwa leads a beaming procession of students out into the hall while avoiding eye contact with me. Now it is time for the next author to step forward and share the next of the evening's unbearable entertainments. ...Hold on. Somebody is looking at us. Giving us the hairy eyeball. Who the heck is this guy and what the heck is his problem? "Hello," I say, sounding very tough and cool. "Who are you, exactly?" "I'm Thomas Ligotti. Who is that with you?" the guy asks. He's talking about you. "This is my guest! The same guest I brought in 2018 and 2019!" "I don't think we're allowed to bring guests," someone else adds unhelpfully. "Well, it's never been a problem before, so let's just move on." I wave at the moderator to let the next author start reading. But the moderator shakes his head: "The convocation at Castle Balderstone is a place for the world's foremost authors of horror to share their work with each other. The charter does not allow for visiting observers. Now, if your guest were prepared to present a horror story, that would be a different matter." The other authors start murmuring in agreement. Looks like we're up against the wall on this one. Dang. Okay, I've got an idea. "As a matter of fact, my guest is prepared to present a horror story, actually! We just need to get psyched up first. So we'll just step out into the hallway for a moment, if you don't mind." Press any key to step out into the hallway with me. Musty Hallway A damp passageway lit only by the firelight from within the library and occasional flashes of lightning. Okay, don't panic. We just have to come up with some ideas. I mean, you have to come up with some ideas. I've got a pretty good outline we can use, but you'll need to supply the specifics. There's no rush on any of this. Take as long as you want. But I don't know if "UNDO" is going to work during this part, so, try and get everything right the first time. First, give me a girl's name, like "Wendy." >Wilma Sure. Now, I need an inanimate natural object, like "fallen log." >blue featherduster Next, something that has wheels?but, not a car. >cart Okay, an adjective next. Something that you'd apply to something creepy. >horrendous Another noun: An innocuous object that's small enough to carry around, but big enough that you wouldn't lose it easily. >dictaphone Okay. How about: an adjective for something old. >ancient That works fine. Next, give me a job title that's respectable, but not impressive. >IF writer Really? Okay. Now, this one is important: A creepy location. A place where you feel uncomfortable. >night club Great. Okay. Now I need a small object that can pick a lock. >twig How about an adjective that means "nice," as in, "a nice person." >groovy And now a horrifying object, something that's smaller than a dictaphone? >lighter Cool. Next I need an adjective that you associate with boring people. >pretentious Next, a dangerous household object. >clawfoot bathtub And a large-ish container, like a suitcase or a treasure chest. >cardboard box A cute dessert? >basil leaf Okay, here's a fun one: A substance or material that is typically dry. >sand How about, what is the most boring US state? Or just name a boring location, I guess. >Galapagos Islands An ominous adjective. >dreary An adjective that you find desirable in a person, like "artistic" or "rich." >humble A tiny cute animal, something that fits in your hand. >bee A type of metal. >titanium A body part. >ear An upsetting color. >yellow An adjective that you'd use to describe a fluid. >runny A smallish container, something that would fit in a drawer. >box Okay, just a couple more details. What name should we credit you with, as the author of this story? >Tentus Imagus And finally, give me any four words from a nursery rhyme or a poem or something like that. (Don't overthink this. Trust me.) >four tomatoes sat quietly Perfect. Awesome. We can work with this. Absolutely. Press any key to head back into the library. Library The authors have started chatting with each other in our absence, but they get really quiet when they see us come in. They're all looking at you expectantly. Don't worry, you're going to do great. The moderator clears his throat. "Well, this wasn't on the schedule, but it appears that now we have a story from Tentus Imagus." Oh my gosh, he cannot deal with the fact that I called his bluff! I mean, we called his bluff, obviously. Together. Now get up there and knock 'em dead! Ryan Veeder Presents Four Tomatoes Sat Quietly by Tentus Imagus Release 1 / Serial number 201031 / Inform 7 build 6M62 (I6/v6.34 lib 6/12N) SD Night Club Wilma finds herself in a night club. There's an oddly dreary energy in the air. Somehow she has the feeling that she has been here before. There is a cardboard box here, which isn't that strange. The presence of a blue featherduster is somewhat more unusual. >open box She opens the cardboard box, revealing a dictaphone. >take all cardboard box: Taken. blue featherduster: Taken. dictaphone: She picks up the dictaphone, revealing a lighter! A creaking noise reaches her ears from far away. >listen She hears nothing unexpected. The creaking noise is getting closer. >x noise (That noun is not implemented.) >x dictaphone "What would a dictaphone be doing here?" she wonders. Something doesn't seem right. A cart rolls into view, its wheels creaking noisily. "Hey there, basil leaf," the cart says. "You're looking good." Wilma backs away slowly. >x cart It seems like a normal cart, until she notices there's an ear sticking out of the side. "What's wrong?" the cart asks in a creaking voice. It keeps coming closer. Wilma keeps backing away. "Why don't you like me anymore? What did I do?" >talk to cart The cart doesn't respond. "Don't be mean to me," the cart pleads. "I don't want you to be mean." Wilma reaches behind herself. Her hand finds a clawfoot bathtub. >take bathtub She already has that. "What are you doing with that clawfoot bathtub?" asks the cart, still coming closer. Closer. >give it to cart You can only do that to something animate. >hug cart (That's not necessary.) "What are you doing with that clawfoot bathtub?" asks the cart, still coming closer. Closer. >l Night Club Wilma is standing in a night club. There's an oddly dreary energy in the air. Somehow she has the feeling that she has been here before. She can see a cart here. "What are you doing with that clawfoot bathtub?" asks the cart, still coming closer. Closer. >throw bathtub at cart Wilma hurls the clawfoot bathtub straight into the cart. The thing splits down the middle and bursts open: A flood of wet sand flows out of the crumpled husk. She holds her breath, waiting for the cart and its horrible ear to start moving again. But it's gone. Now there's only sand oozing everywhere. >x sand She kneels down to inspect the slimy sand. Something in there is moving. It pops out: A tiny bee, covered in runny fluids. The little bee coughs miserably. >take bee Wilma picks up the poor wet bee and strokes its back. The creature is in distress. There's something caught in its throat. The bee coughs up a titanium key. Now it's feeling better. >x key A simple key made of titanium. >l Night Club Wilma is standing in a night club. There's an oddly dreary energy in the air. Somehow she has the feeling that she has been here before. She can see a husk and a sand here. >x husk She doesn't want to touch that. >e She can't go that way. >out But she isn't in anything at the moment. >take all husk: She doesn't want to touch that. sand: Taken. >x sand Wet sand covers the floor of the night club. >l Night Club Wilma is standing in a night club. There's an oddly dreary energy in the air. Somehow she has the feeling that she has been here before. She can see a husk here. >x husk She doesn't want to touch that. >enter it She doesn't want to touch that. >out But she isn't in anything at the moment. >i She is carrying: a sand a titanium key a bee a dictaphone a blue featherduster (closed and locked) a cardboard box (open) a lighter >take lighter The lighter twitches, and Wilma jerks back in revulsion. >use it The lighter twitches, and Wilma jerks back in revulsion. >l Night Club Wilma is standing in a night club. There's an oddly dreary energy in the air. Somehow she has the feeling that she has been here before. She can see a husk here. >u She can't go that way. >exit But she isn't in anything at the moment. >listen She hears nothing unexpected. >wake up The dreadful truth is, this is not a dream. >x energy (That noun is not implemented.) >out But she isn't in anything at the moment. >u She can't go that way. >i She is carrying: a sand a titanium key a bee a dictaphone a blue featherduster (closed and locked) a cardboard box (open) a lighter >x sand Wet sand covers the floor of the night club. >x key A simple key made of titanium. >open it It isn't something she can open. >x bee The poor thing. >x dictaphone "What would a dictaphone be doing here?" she wonders. Something doesn't seem right. >unlock featherduster What do you want to unlock the blue featherduster with? >key She unlocks the blue featherduster. >open it She pries the blue featherduster open. There's a dark space inside. A horrendous voice floats out from the darkness: "Come on, Wilma. It's time." The dark space seems vast enough to swallow her completely. >enter space She climbs into the blue featherduster. She is engulfed by darkness. She wakes up. Room She is in a room with yellow walls. There is a bed here, and a bedside table. There is a door, and high on the wall is an ancient intercom. The intercom buzzes, and a man's pretentious voice fills the room: "Any changes?" it asks. "No," she says. "It was the same dream again. Exactly the same." The pretentious voice grunts, disappointed. >open door The heavy door seems to be locked. "Well, we'll try again in a few hours," says the pretentious voice. "In the meantime?" But another voice comes on: "Is my wife in there? Is that my wife?" >l Room She is in a room with yellow walls. There is a bed here, and a bedside table. There is a door, and high on the wall is an ancient intercom. "We don't allow visitors," the pretentious voice says. But the other voice shrieks: "You have to let her out! Let her out now! Wilma, can you hear me? Get out of there! Get out!" The intercom goes dead. >i She is carrying: some (being worn) a sand a titanium key a bee a dictaphone a blue featherduster (open but empty) a cardboard box (open) a lighter There's a noise outside the door. Somebody is trying to get in. "Wilma, it's locked! Can you open it from in there? Come on, Wilma! We're going home!" >unlock door What do you want to unlock the heavy door with? >key That doesn't seem to fit the lock. Whoever is outside is still trying to open the door, without success. >x door It's impossible to see through the frosted glass. The guards will be here soon. >x table The bedside table has one drawer. "Wilma!" the voice outside cries. "Please! Open the door!" >open drawer She opens the drawer, revealing a box. The guards will be here soon. >take box (the box) Taken. Whoever is outside is still trying to open the door, without success. >open it She opens the box, revealing a twig. "Wilma!" the voice outside cries. "Please! Open the door!" >take twig Taken. Whoever is outside is still trying to open the door, without success. >x it Somehow she snuck her twig in with her. The guards will be here soon. >pick door with twig I only understood you as far as wanting to pick the heavy door. >pick lock with twig I only understood you as far as wanting to pick the heavy door. >unlock door with twig She presses the twig into the lock and wiggles it back and forth desperately. She has no idea what she's doing. But the lock clicks. Whoever is outside is still trying to open the door, without success. >open door She opens the door. The room fills with light. As she looks outside her throat tightens. She can't say anything. She can't scream. Standing in the hallway is the cart, its vestigial ear twitching in excitement. "Come on, basil leaf," it creaks. "Let's get out of here." *** The End *** The room is silent. Your heart sinks: Your story has provoked no reaction at all. But as you look across your audience, you realize there has indeed been a reaction: One of desperate, speechless horror. The authors' mouths hang open. Their eyes stare into the middle distance. That guy who bothered use before is twitching a little. The moderator steps onto the dais. "Th-thank you, T-Tentus Imagus," he says. Hey, you even scared the moderator! I've never seen that before. "I think we can all agree that was..." He swallows. "A contribution worthy of our convocation. Certainly. Are there any questions for our author?" Nobody can get it together enough to say anything. There is a long pause. A very long pause. You return to your seat, next to me. Now it is time for the next author to step forward and share the next of the evening's dreadful entertainments. It is Antonio F. Karnack, who presented that "Fealglass" story a year ago. Two years ago? Antonio's reputation is such that his fellow-authors begin applauding before he can start talking. He's been a big deal on the horror scene since the 80s, when he wrote that dark-urban-fantasy series about Marshal Trevino. Then in the 90s he got tired of that and started writing in other settings, which nobody liked, because they just wanted more Trevino stories. So in the 2000s he went back to writing Trevino stories, which nobody liked, because they weren't the old Trevino stories. So, in the 2010s, he went back to writing other stuff, and people liked that, because?I'm not sure. I guess because he's a good writer. But now it's 2020! What will Karnack's next move be? "I have a new story for you all," he intones: "A story from the world of Marshal Trevino, and the Department of Human Welfare." Every author leans forward. "The story does not deal with Trevino directly, but with a new character. A kindred spirit, I think." The authors settle back into their seats a little. "His name is Christopher Gill, and he is no Marshal for the Department of Human Welfare, but a mere health inspector. He carries a clipboard. And he?But I should let him speak for himself." Antonio opens his notebook, and begins to read... Ryan Veeder Presents A Nice Drive A new story from Antonio F. Karnack's Marshal Trevino universe Release 1 / Serial number 201031 / Inform 7 build 6M62 (I6/v6.34 lib 6/12N) SD Parking Lot Right when I got out of the car, I felt this warm wind coming over the countryside. It smelled like hog feces. I hate the Midwest, to be honest. Especially in the summer. The entrance to the Belle Landing convenience store stood to the northeast. Right outside there was this filthy trash can, overflowing with garbage. A vague sort of path led around the building to the northwest. >x can A trash can in a high-traffic area like that has to be emptied a few times a day. This one hadn't been emptied that day. It hadn't been emptied the day before, either. There was a little mountain of trash forming around it. >search it I didn't have to give it a real close look. >x trash A trash can in a high-traffic area like that has to be emptied a few times a day. This one hadn't been emptied that day. It hadn't been emptied the day before, either. There was a little mountain of trash forming around it. >ne Entryway The convenience store was set up so you'd have to walk through this gallery of snacks and tchochkes and stuff on your way in and out. Usually you want the counter to be closer to the door, but, I dunno, this is how this place was set up. The counter was over to the northeast. But the first thing I noticed was this slimy stuff on the floor. >x stuff Kind of a beige purée of something was smeared over the floor. I remember trying to determine whether it was coming or going, if you get what I mean. Whether the direction of the smear was toward the door or the counter. But I couldn't figure it out. >ne Counter The counter was at the center of the building, and there were wings off to the northeast, southeast, and southwest. There was a door in the northwest, next to a huge mirror. The counter was unattended. Unless you count the giant spider that was sitting on it. >x spider I'm not kidding: It was the size of a baseball mitt. I freaked out a little. >take it I couldn't see 'it' (nothing) at the moment. >take spider I didn't know what I was going to do about the spider. I wanted to shoot it, but they don't let health inspectors carry guns. Luckily, while I was trying to formulate a plan to deal with the situation, the spider just crawled over the edge of the counter. To the other side, where I couldn't see it. Of course, the rest of the time I was in that building, I was looking out for that spider. >x mirror The mirror took up as much of the wall as possible. I remember it was really clean, unlike everything else in that place. >x counter I noticed some more of that slime on the edge of the counter, like something had just brushed against it while walking by. There was no one at the cash register, which struck me as a bad idea, but not exactly a health hazard. >x register I noticed some more of that slime on the edge of the counter, like something had just brushed against it while walking by. There was no one at the cash register, which struck me as a bad idea, but not exactly a health hazard. >nw (first opening the door) The door seemed to be locked. >i I was carrying: my citation pad >l Counter The counter was at the center of the building, and there were wings off to the northeast, southeast, and southwest. There was a door in the northwest, next to a huge mirror. The counter was unattended. >ne Food Court The food court was disgusting. There were more drops of that slime on the floor, and smears of pizza sauce over the walls. There was a kid slumped over one of the tables. He had one of those visors on, so I assumed he was an employee. Nobody was on duty at the cash register, and of course the counter to the southwest was still unattended. >x kid He was kind of draped over the table with his eyes closed. His skin was pale, and his mouth was hanging open, and he was so skinny. He looked malnourished, maybe dehydrated. Really strung-out, to be honest. But this was some teen! Kids aren't supposed to work fifteen hour shifts and then fall unconscious in the workplace. There was a key sitting on the table next to him. >take key Taken. >talk to kid I said hello, but he didn't respond. >push kid (That won't be necessary.) >touch kid I poked the kid's arm. He didn't seem to notice. And his skin had this odd texture. Kind of like clay. >search kid I wasn't about to go rifling through his pockets. >sw Counter The counter was at the center of the building, and there were wings off to the northeast, southeast, and southwest. There was a door in the northwest, next to a huge mirror. The counter was unattended. >se Figurines This one corner of the store was completely devoted to cute little figurines. The shelves were stacked with them. I could see the counter to the northwest. There was still nobody there. >x figurines I guess "cute" is the wrong word. They were supposed to be graceful and beautiful. Willowy mothers holding willowy daughters, angels in long flowing robes. None of the figurines had faces. Just blank heads, but you could infer they were supposed to have beatific expressions. When I looked closely, I noticed there were dozens of tiny spiders skittering up and down the figurines. >x spiders They were the tiniest of spiders, just little dots. But the more I looked, the more of them I saw. The place was crawling with them. >take figurines (That's not for taking.) >nw Counter The counter was at the center of the building, and there were wings off to the northeast, southeast, and southwest. There was a door in the northwest, next to a huge mirror. The counter was unattended. >nw (first opening the door) The door seemed to be locked. >unlock door What do you want to unlock the door with? >key I unlocked the door. >nw (first opening the door) Office The office didn't match the rest of the place at all. It was nicer than my boss's office: There was a wood desk, and a filing cabinet built into the wall. And two big windows: One in the northwest wall, with a view of the field out back, and one in the southwest, next to the door, with a view of the filthy convenience store. >x desk The top of the desk even had a blotter on it, like this was a CEO's office in the fifties. But there was nothing written on the blotter. >x blotter The top of the desk even had a blotter on it, like this was a CEO's office in the fifties. But there was nothing written on the blotter. >search desk There was nothing on the wood desk. >x cabinet The filing cabinet was basically one big drawer, built into the wall. I don't know how swanky that sounds when I say it out loud, but it looked really swanky. >open it I pulled the cabinet open, and imagine my surprise when I saw there were no files in there at all. There was a keychain in there, though. >take keychain Taken. >x it There was just one key on the chain. I remember thinking it was either a very new key, or just a key that rarely got used, because the teeth on it were so sharp. It was attached to a plastic key fob thing that I think just had some business's phone number on it. >x fob I didn't inspect the fob closely, I guess. >l Office The office didn't match the rest of the place at all. It was nicer than my boss's office: There was a wood desk, and a filing cabinet built into the wall. And two big windows: One in the northwest wall, with a view of the field out back, and one in the southwest, next to the door, with a view of the filthy convenience store. >x window Which do you mean, the northwest window or the southeast window? >northwest Outside you could see the field, and the sky, and that windmill they'd built behind the store. >x northeast window I only understood you as far as wanting to examine northeast. >x southeast window You could keep an eye on everything that was going on in the store from in there, especially as regarded what the person behind the counter was doing. Obviously the office window was the other side of the mirror behind the counter. I had assumed it was a one-way mirror, just because it was so impractically large. >x windmill A big fake windmill, lit up by a spotlight. And behind that, the stars. >se Counter The counter was at the center of the building, and there were wings off to the northeast, southeast, and southwest. There was a door in the northwest, next to a huge mirror. The counter was unattended. >sw Entryway The convenience store was set up so you'd have to walk through this gallery of snacks and tchochkes and stuff on your way in and out. The counter was over to the northeast, and the way out was southwest. And there was that trail of slime running along the floor. >sw Parking Lot The entrance to the Belle Landing convenience store stood to the northeast. Right outside there was this filthy trash can, overflowing with garbage. A vague sort of path led around the building to the northwest. My car looked awful inviting, but I couldn't leave quite yet. >nw Field There was a big field of grass around the side of the store. The grass was wet, and it kind of glistened under the stars. I try not to pay too much attention to the stars. I came up to where there was a spotlight stuck in the ground, pointing at this big windmill to the northeast. The path back to the store entrance was southeast from there. And there was a rabbit sitting there, twitching and blinking, trying to figure out if I'd seen it yet. >x rabbit It was just a dark shape in the grass, but I could tell it was a rabbit. >take it As soon as I made any kind of move toward the rabbit, it skedaddled. >i I was carrying: a keychain a steel key my citation pad >ne Windmill Now I was standing at the foot of the windmill, out of the way of the spotlight. The whole thing was a lot bigger than it had looked from far away. To get back to the store entrance, I'd have to go around to the southwest. >x windmill I guess they built it to celebrate the Dutch heritage in the surrounding area. And to attract tourists. It didn't look like a classic windmill, though. It was stumpier, if that makes sense. There was a sort of hatch built into the side. The dark side, that the spotlight wasn't pointed at. >open hatch The hatch seemed to be locked. >unlock hatch with keychain I unlocked the hatch. >open hatch I opened the hatch. >enter hatch Cavity The floor inside the windmill was just dirt, and the walls were bare plywood. Strands of sticky stuff were hanging from the walls. A guy with eight legs was hanging from the ceiling. I checked my notebook. "Are you the proprietor?" I asked. "Mister Luikx?" "Yes, hello," he said. He didn't seem to mind that I'd barged in on him. "You're Mister Gill, from the Health Department, right?" I told him I was, and I mentioned I had looked for him in his office, and he said he was sorry he was so hard to find. >talk to luilx (That noun is not implemented.) >l Cavity The floor inside the windmill was just dirt, and the walls were bare plywood. Strands of sticky stuff were hanging from the walls. A guy with eight legs was hanging from the ceiling. >x guy Well, his arms, or legs, were covered in brownish bristles. He had big, black, shiny eyes. And his hair was slicked back and shiny. I remember he had something stuck in his mandibles, a chunk of something, and I kept looking at it. I felt like I was being rude. But he didn't seem to notice. >ask What do you want to ask Mister Luikx for? >ask luilx about luilx (That noun is not implemented.) >ask luilx about store (That noun is not implemented.) >ask luilx about me (That noun is not implemented.) >ask mister What do you want to ask Mister Luikx for? >ask mister about mister (Use TALK TO to interact with characters.) >talk to mister I told him I had my report on his convenience store. "I noticed a few things that need to be addressed," I said, and I rattled off my list. I told him about the giant spider at the front counter. He said "Oh, she shouldn't be running loose, I'll take care of her," and I nodded and told him to make sure he did that right away. And I told him about the slime everywhere, and he got kind of sheepish. He said his employees left something to be desired as far as attention to detail. So I brought up the kid I saw in the food court. I said, "You wouldn't feed on your employees without a signed release, right?" and he said of course not. He reached up into the rafters (I guess that's where he kept all his files) and pulled out a form with a parent's signature, and I said okay, just checking. But I put on my mean guy face, and I said it was still a lot of violations, and the whole operation was not up to the state's standards of health and safety. He lowered himself down to my eye level, and he put a claw on my shoulder, and he said, "Mister Gill, you've caught me on a bad day. I'm short-staffed, and I can't seem to whip these kids into shape. Do you really have to give me a citation?" >yes I told him I did, and he nodded, and he lifted his claw from my shoulder. Something made me say, "Sorry, it's just..." But he wasn't sulking. He said, "I know, you're just doing your job. We've all got our jobs to do." I signed my citation pad, and tore off his copy, and I told him the full form would be coming in the mail. He put the paper between his mandibles to fold it crisply, and then he pulled himself up in the rafters to file it away. Up where it was too dark for me to see. Then he lowered himself, and he said "Thank you," although I don't know for what. >out I said I needed to head on to the next stop, and I turned toward the exit. Luikx said, "So long! Have a nice drive!" And, just as the hatch was closing behind me, I called back: "You too!" It was mortifying. *** The End *** Everyone applauds, except me. I am wondering: Does Karnack have something against the Dutch? "Are there any questions?" the moderator asks. Someone stands up to ask: "The paperwork in your story, which allows an employer to 'feed on' an employee, reminds me of the story Johanna Quinn presented last year." Not a question, friend! Karnack does a funny little shrug. "I only steal from the best," he says, and everyone laughs. A voice from clear in the back of the room cuts through the good-natured chortling: It's Johanna C. Quinn herself! "Don't worry, Antonio!" she cries. "I only steal from the best, too!" Everyone also laughs at this, although I'm not sure why. Then we wait a little bit, for somebody to say a third witty thing. But nobody can think of anything. Antonio steps down from the dais. Now it is time for the next author to step forward and share the next of the evening's grotesque entertainments. It is Elmir Divkovic, who terrifies so many readers with his intricately-realized world of vampires. Worldbuilding gets a bad rap these days, but you know what you get when it's done right? You get an Elmir Divkovic story, that's what. The stories are also very scary, too. That's the main thing. "I am honored to return to Balderstone and present another of my vampire-tales," Divkovic begins. "With my vampire-tales I seek to raise a mirror to human society: My central theme, that of vampire's invampiricism to vampire, must thrust to the center of the human reader's soul, and convince the reader to overcome those distasteful vampire-like traits lurking within the reader's dark heart. To do this, to pierce the soul, my vampire-tales must be both utterly horrifying and utterly believable. Hence, all of my vampire-tales are enframed within a single carefully constructed world?'The world of vampire-tales,' I call it. And for this vampire-tale I have written a foreword of sorts, which will acclimate you to my little world before we all forget ourselves and inhabit that world for a few moments." He opens his notebook: "The Marquis Semix has long been suspected of dabbling in forbidden melliphytic research. He may believe, like so many members of the nobility, that his position will his protect him from prosecution. "But the Orthodoxy knows no rank: The Orthodoxy punishes the highborn and the peasantry, vampire citizens and mortal helots alike. It is simply a matter, in dangerous cases like this, of procuring an Inquisitor who is equal to the task." Elmir looks up and smiles. He lets it all sink in. And then he turns the page, and begins to read... Ryan Veeder Presents The Inquisitor Vultrine A vampire-tale by Elmir Divkovic Release 1 / Serial number 201031 / Inform 7 build 6M62 (I6/v6.34 lib 6/12N) SD Gateway Grotesques in blackened calcite flank the threshold of the Château Semix. Though rain lashes in nearly horizontal torrents, the scarlet-flamed braziers go on burning imperturbably. EXITS: EAST >e Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The Marquis himself is seated in the balcony overhead. "I've been expecting you, Inquisitor!" he calls down at you. "Make yourself at home." His laughter seems to echo through all the halls of the Château. EXITS: UP EAST DOWN WEST A scimitar lies abandoned at the edge of the pit. >take scimitar Taken. >talk to marquis The balcony is too high up to permit any interation with the Marquis. >u You could climb up the wall here, if only your fingers could get a strong enough grip. >d You leap down into the pit. Pit You land with a soft grunt. Some indeterminate number of unworthy guests rest at the bottom of this pit, their remains mingled by the depredations of scavengers. EXITS: UP EAST A shining mace has landed near the center of the pit. >take mace Taken. >x guests Casting an eye over the decaying assemblage, you notice an impressive battleaxe, still nominally in the grasp of its former possessor. >take battleaxe Taken. >search guests Further inspection reveals nothing left to liberate from the Château's unluckiest guests. >e Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST A monstrous shape scuttles out of the darkness: A hissing stag-beetle the size of a tiger. >x symbols A collection of flagstones near the midpoint of the tunnel are each engraved with the symbol ?. >i You are carrying: a battleaxe a mace a scimitar a silk cape (being worn) a white dagger >attack beetle with battleaxe You wail in fury as you bring the battleaxe down on the giant beetle, dealing 5 damage. The axe is reduced to steel splinters. The insect offers up one last eerie, crackling cry before exploding into moist dust. Only its horn remains, a spear-like length of deadly chitin. Now, alone in the tunnel, you are able to inspect its dark corners properly. A pair of gloves rests on the floor, perhaps dragged from the pit by that beetle as a bizarre trophy. >take gloves Taken. >x gloves These gloves have been fitted with sharp, strong claws. The wearer could keep a firm grip on any number of surfaces. >wear gloves You put on the clawed gloves. >l Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST That awful beetle's spear-like horn rests on the floor. >take horn Taken. >x it The horn of a giant stag beetle: As stiff and strong as iron, but as light as cork. Its attack power is 4. >i You are carrying: a beetle horn some clawed gloves (being worn) a mace a scimitar a torn cape (being worn) a white dagger >x mace A steel club with a flanged head. Its attack power is 3. >x scimitar A curved sword not unlike those you saw employed in the Algerian human uprising a century ago. Its attack power is 2. >x dagger This well-trusted blade was a gift from your mentor, High Inquisitor Urimedonte. She warned you to use it judiciously?which is not to say she told you never to use it. Its attack power is 1. >l Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >x symbols A collection of flagstones near the midpoint of the tunnel are each engraved with the symbol ?. >d There is no obvious way of moving these flagstones aside. >e Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >x sigils Sigils of forbiddance have been drawn across the threshold. Passing through the archway will require engraving the correct counter-formula with an appropriate instrument. >e The archway has been enchanted to prevent your passage. You could circumvent the enchantment, but you would need the counter-formula and an appropriate instrument. >u You dig your claws into the wall and begin climbing. Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST On the long couch are a flail and a cinqueda. >take all flail: Taken. cinqueda: Taken. >x flail A heavy spiked ball on a chain. The spikes are blunted somewhat after repeated impacts on various battlefields. Its attack power is 3. >x cinqueda An Italian blade, broad at its base, pointed at its tip. Its attack power is 3. >x couch This infamous custom-built couch is sure to feature in any conversation related to the Château Semix. Viewed up close, it fails to match its reputation; you will grant, however, that it is the longest couch you have ever seen. >e Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. EXITS: EAST WEST There is a human here, pacing at the far end of the table. He has not marked your arrival. "Are you in the employ of the Marquis?" you call across the hall. His surprise fades quickly. "I am," he says, "by my own will." "That's what thralls are usually commanded to say," you mutter?but he hears you perfectly. "I assure you I am no thrall, Inquisitor. I am Sectiert du Noyes, and my will is my own." He begins traversing the length of the hall to meet you. "The Marquis has promised unimaginable rewards in return for my assistance in his research. He requires human test subjects, their minds unclouded by vampiric magic. Until his experiment is ready, I am free to roam the Château, to do as I please. He has advised me?" Now he stands before you with an expression of despicable self-satisfaction. "?Advised me, not commanded?to prevent any interference by nosy Inquisitors." He draws a cutlass from behind his back. >attack human with horn (That noun is not implemented.) >attack with horn You swing the horn around and thrust it into Sectiert, dealing 4 damage. The horn explodes into moist dust. Sectiert swings his cutlass, but only manages to scratch the hem of your cape. >attack with scimitar With a practiced hand you slice into Sectiert and deal 2 damage. The force of your blow is enough to snap the blade into two pieces of useless steel. A curious expression falls over Sectiert's face. He seems shocked, though you cannot see by what. You wonder if he is about to vomit. Then he melts, all at once. Then his liquid remains begin to bubble and steam, and the so-called human evaporates completely. Left behind on the floor are a cutlass and a key. >take cutlass Taken. >take key Taken. >x key A heavy iron key on a black ribbon. >x cutlass A crude weapon, eminently suitable for a human. Its attack power is 2. >i You are carrying: the master's key a cutlass a cinqueda a flail some clawed gloves (being worn) a mace a torn cape (being worn) a white dagger >x cinqueda An Italian blade, broad at its base, pointed at its tip. Its attack power is 3. >x flail A heavy spiked ball on a chain. The spikes are blunted somewhat after repeated impacts on various battlefields. Its attack power is 3. >l Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. EXITS: EAST WEST >x window (That noun is not implemented.) >e You can't pass through solid ghost-glass. >x glass On the other side of the ghost-glass is the hedge maze, battered by an unnatural storm. >x maze The hedge maze is almost invisible in the pouring rain. >open glass The glass has no hinges or handle. >break glass Ghost-glass like this is impossible to break with brute force?but it can be penetrated by more subtle means. >i You are carrying: the master's key a cutlass a cinqueda a flail some clawed gloves (being worn) a mace a torn cape (being worn) a white dagger >touch glass You feel nothing unexpected. >talk to glass The window doesn't respond. >w Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >w (first opening the huge door) The huge door seems to be locked. >unlock door What do you want to unlock the huge door with? >key You unlock the huge door. >w (first opening the huge door) Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >w Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The Marquis leans over the balcony, following your movements with a bored sneer. EXITS: UP EAST DOWN WEST >e Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >w Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The Marquis leans over the balcony, following your movements with a bored sneer. EXITS: UP EAST DOWN WEST >w Gateway Grotesques in blackened calcite flank the threshold of the Château Semix. Though rain lashes in nearly horizontal torrents, the scarlet-flamed braziers go on burning imperturbably. EXITS: EAST >e Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The Marquis leans over the balcony, following your movements with a bored sneer. EXITS: UP EAST DOWN WEST >e Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >u Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is closed. EXITS: EAST DOWN WEST >x portrait The Marquis sat for this portrait in the hall at the bottom of the stairs; you see his coat of arms on the wall behind him. The xanthic luminosity of his eyes was probably exaggerated by the artist: You recognize the signature of Barthenoïde Aguenisse, an expert flatterer. >x statue The stone Gaspard casts a defiant eye over his shoulder, as if daring his foe to attack from behind. The statue is not, strictly speaking, life-like; Oindre was petrified in 1709, and his remains have been on display in the Château for perhaps thirty years. >x tree This vellum scroll purports to trace the ancestry of the Marquis back to the eleventh century and the legendary ur-vampiress Ëstreg, who sired Ixaron, who sired Nivemes... Undoubtedly the pedigree consists predominantly of fabrications, but this is de rigeuer among the Marquis and his peers. >x equipment (That noun is not implemented.) >open case The steel display case seems to be locked. >unlock case with key You unlock the steel display case. >open case You open the steel display case. >x case The steel bars are worked in intricate designs, offering only tantalizing glimpses of the case's contents. In the steel display case are a suit of samurai armor, a katana, and a wakizashi. >take armor You have no need for such protections. >take katana Taken. >take wakizashi Taken. >x it A Japanese sword with a blade about a foot long. Its attack power is 3. >x katana A single-edged longsword of Japanese manufacture. It is flawless. Its attack power is 5. >l Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is closed. EXITS: EAST DOWN WEST >save Ok. >e (first opening the oak door) The oak door seems to be locked. >unlock door with key You unlock the oak door. >e (first opening the oak door) Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP WEST >x tapestry The tapestry depicts the Battle of Noyes, albeit in highly romanticized manner. The towers of the Château are visible above the trees, though in fact the forest of Noyes is miles away from the castle. Further, the forces of the (former) Marquis Semix and the bandit captain Elandrique as woven here are shown to be evenly matched; in truth, Elandrique was hopelessly outnumbered, and some contemporaneous sources report that she offered surrender. Currents of wind coil around your boots, flowing under the tapestry. >take it (That's not for taking.) >move tapestry (That won't be necessary.) >search it You pull the tapestry to the side and confirm your suspicions: A narrow hallway is hidden behind, leading east. >e Hidden Passage Here the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed redoubt in recent years. A rusty lever is set in the far wall. EXITS: WEST A metallic rattle pierces the eerie silence, and a dark form emerges from the shadows. A figure in black armor?No, a suit of armor itself, acting on its own power, lumbers toward you. It raises an enormous greatsword. >x lever You can deduce that this lever is very rarely used. >pull it You pull back on the lever. It resists, and squeals in hideous protest, but then it gives way?and the chamber rumbles violently. The floor shakes, and sections begin to plunge down as if an insidious trap has been activated. But when the noise and shaking stop, you see that the floor has reformed itself into a staircase leading to the room below. >attack with wakizashi You bring the wakizashi down on the suit of armor and deal 3 damage. The wakizashi is destroyed. The armor swings its greatsword at you, and manages to slice off a bit of your cape. >i You are carrying: a katana the master's key a cutlass a cinqueda a flail some clawed gloves (being worn) a mace a badly torn cape (being worn) a white dagger >attack with mace You slam the mace into the suit of armor. The mace bursts into a cloud of shrapnel, but not before dealing 3 damage. The suit of armor slices back at you?You duck just in time. >attack with flail You swing the flail around and around, building up speed?Then you swing it into the suit of armor, and it explodes, dealing 3 damage. The armor tries to knock you over with a mighty kick, but you're too fast. >attack with cinqueda You drive the cinqueda into the suit of armor and deal 3 damage?but the blade is shattered. The armor stands still. The ? on its helmet fades away. It falls to the floor and crumbles into dust. Only its greatsword remains. Floating above the dust are two motes of magic, which you recognize as a word of animation and a word of injunction: The spells that gave these plates of steel a semblance of life. You take possession of them, predicting you'll find some use for them later. >take greatsword Taken. >x it A huge two-handed sword with a very broad, asymmetrical blade. Its attack power is 5. >i You are carrying: a greatsword a word of injunction a word of animation a katana the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >x injunction The word of injunction is a magic spell which you hold more in your mind than in your hand. Its attack power is 4. >x animation The word of animation is a magic spell which you hold more in your mind than in your hand. Based on your limited expertise in these matters, you believe it to be related to the ? rune you saw etched into the walking armor's helmet. >l Hidden Passage Here the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed redoubt in recent years. A rusty lever is set in the far wall. EXITS: DOWN WEST >d Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST >e You can't pass through solid ghost-glass. >i You are carrying: a greatsword a word of injunction a word of animation a katana the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >use injunction on glass Harming the window would accomplish nothing. >use animation on glass Harming the window would accomplish nothing. >w Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >d Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >e The archway has been enchanted to prevent your passage. You could circumvent the enchantment, but you would need the counter-formula and an appropriate instrument. >x archway Sigils of forbiddance have been drawn across the threshold. Passing through the archway will require engraving the correct counter-formula with an appropriate instrument. >x sigils Sigils of forbiddance have been drawn across the threshold. Passing through the archway will require engraving the correct counter-formula with an appropriate instrument. >i You are carrying: a greatsword a word of injunction a word of animation a katana the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >u You dig your claws into the wall and begin climbing. Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >u You can't go that way. >w Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >u Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST >save Ok. >w You can't pass through solid ghost-glass. >d Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >w Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The Marquis leans over the balcony, following your movements with a bored sneer. EXITS: UP EAST DOWN WEST >u You dig your claws into the wall and begin climbing. Balcony This lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby. EXITS: EAST DOWN The Marquis seems delighted that you've taken the initiative to meet him face-to-face, but he says nothing?He only chortles and swirls his scythe dramatically. >i You are carrying: a greatsword a word of injunction a word of animation a katana the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >attack with greatsword The greatsword smashes into the Marquis and deals 5 damage. Then it explodes. The Marquis swings his scythe?tearing your cape. >attack with katana You plunge the katana into the Marquis. It takes 5 damage. The blade itself crumbles to dust. The Marquis falls to his knees, leaning heavily on his scythe. His form swirls and fades, like a drop of ink dissolving in a glass of water. Your suspicions were correct: This is not the Marquis himself, but a phantom, programmed to taunt and distract you. With a rattling gasp, the specter dissipates into a milky fog, and his scythe clatters to the balcony floor. The gaseous ghost-form, obeying your implicit instructions, rises up into your nostrils and suffuses your body. After taking a moment to integrate the substance, you look down at your hands: With some small concentration, you cause them to fade away for a moment. >take scythe Taken. >i You are carrying: a scythe the form of the ghost a word of injunction a word of animation the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >x scythe A farming implement turned toward violence. Its attack power is 3. >l Balcony This lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby. EXITS: EAST DOWN >e Your body melts into bluish, incorporeal smoke, and you pass through the glass. Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST You reconstitute your physical form. >e Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >w Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST >d Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >e Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >e Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST >e Your body melts into bluish, incorporeal smoke, and you pass through the glass. Hedge Maze A labyrinth of sculpted greenery stretches before you: A frivolous distraction. You climb atop the hedge-wall, and find it solid enough to traverse. The rain is relentless. EXITS: EAST WEST You reconstitute your physical form. >e Rose Garden Those who manage to navigate the hedge maze are rewarded with this nightmarish sight: Giant roses growing wild over what was once a tasteful garden, thorny tendrils spreading like a blight across the yellowed grass. The intense collective aroma of all these flowers, while not unpleasant, is almost enough to make you swoon. EXITS: WEST A woman is growing among the vines. She blinks at you languidly. You wave. "Good evening, mademoiselle. I have come here seeking information concerning the Marquis." "You have come to assassinate the Marquis," she hisses. "I have been apprised of your arrival, Inquisitor." You bow stiffly. "An unnecessary and unbecoming deception. I beg your pardon, mademoiselle." "My name is Mandragora," she says, as lightning illuminates her emerald skin. "and I am bound by duty to destroy the enemies of the Marquis." "I see. I, similarly, am bound by duty to destroy the accomplices of the Marquis, as well as his experiments." "Your duty is of no interest to me, Inquisitor. Come and face me, or else leave my garden." Mandragora's tendrils ripple around her, and the field of brambles lurches toward you as a single body. You nod. "Very well. My name is Vultrine, by the way." >i You are carrying: a scythe the form of the ghost a word of injunction a word of animation the master's key a cutlass some clawed gloves (being worn) a badly torn cape (being worn) a white dagger >attack with scythe You swing the scythe in a deadly arc, dealing 3 damage. The scythe shatters. Mandragora swipes at you with a thorny vine, cutting an ugly gash in your cape. >attack with cutlass You slice into Mandragora with the cutlass and deal 2 damage. The flimsy weapon turns to dust immediately. Another lash from Mandragora's tendrils lands painfully on your cheek. >attack with dagger You stab the dagger into Mandragora and deal 1 damage. The blade shatters. You duck to avoid one of her attacks?and are momentarily ensconced in a pit of brambles. But you pull yourself out. >attack with injunction You speak the word of injunction: The body of Mandragora is racked with intense force, taking 4 damage. But the spell fades away. Mandragora draws a long vine back and snaps it forward, almost grabbing (or slicing off) your arm. >i You are carrying: the form of the ghost a word of animation the master's key some clawed gloves (being worn) a tattered cape (being worn) >attack with animation The word of animation is not a suitable weapon. >l Rose Garden Those who manage to navigate the hedge maze are rewarded with this nightmarish sight: Giant roses growing wild over what was once a tasteful garden, thorny tendrils spreading like a blight across the yellowed grass. The intense collective aroma of all these flowers, while not unpleasant, is almost enough to make you swoon. EXITS: WEST Mandragora remains rooted here, ready to battle. >attack What do you want to attack? >mandragora You must specify with which weapon you intend to attack. >l Rose Garden Those who manage to navigate the hedge maze are rewarded with this nightmarish sight: Giant roses growing wild over what was once a tasteful garden, thorny tendrils spreading like a blight across the yellowed grass. The intense collective aroma of all these flowers, while not unpleasant, is almost enough to make you swoon. EXITS: WEST Mandragora remains rooted here, ready to battle. >w Hedge Maze Standing atop the hedges, you can dash from one end of the maze to the other in a few moments. The rain is relentless. EXITS: EAST WEST >w Your body melts into bluish, incorporeal smoke, and you pass through the glass. Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST You reconstitute your physical form. >w Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >d Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >e The archway has been enchanted to prevent your passage. You could circumvent the enchantment, but you would need the counter-formula and an appropriate instrument. >u You dig your claws into the wall and begin climbing. Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >w Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >x arms The device of Semix: Gules, a unicorn sable horned or. (Violations of the rule of tincture rest outside an Inquisitor's jurisdiction.) Crossed beneath the escutcheon are the poleaxe Thembriaud and the longsword Harcheque. >take poleaxe You claw your way up the wall. You reach out with one hand for Thembriaud and grab it; however, in the same movement you knock Harcheque loose. The longsword falls to the floor. You hop back down with Thembriaud safe in your hands. >take longsword Taken. >x longsword This silver-plated sword beheaded the werewolf Cornegule in 1207. Its attack power is 6. >x poleaxe This long-handled axe was wielded by a previous Marquis Semix in the Battle of Noyes. Its attack power is 5. >e Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >e Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST >e Your body melts into bluish, incorporeal smoke, and you pass through the glass. Hedge Maze Standing atop the hedges, you can dash from one end of the maze to the other in a few moments. The rain is relentless. EXITS: EAST WEST You reconstitute your physical form. >e Rose Garden Those who manage to navigate the hedge maze are rewarded with this nightmarish sight: Giant roses growing wild over what was once a tasteful garden, thorny tendrils spreading like a blight across the yellowed grass. The intense collective aroma of all these flowers, while not unpleasant, is almost enough to make you swoon. EXITS: WEST Mandragora remains rooted here, ready to battle. >attack with poleaxe You bring down Thembriaud with a mighty swing and deal 5 damage. The legendary weapon is destroyed. She stops moving. She blinks. And then she withers away, and her form is not that of a woman, but of a gnarled twig. Her brambles blacken and fall to pieces. Only the roses remain. And one length of vine, covered in thorns. >l Rose Garden A field of oversized roses, filling the air with unbearable sweetness. At their center is the stump that once was Mandragora. EXITS: WEST You can see a thorn whip here. >take whip Taken. >x stump A vaguely humanoid bit of plant matter is all that remains of Mandragora. It's not impossible that she'll manage to regrow herself?Perhaps in a few years. >take roses You pick one rose and install it in your buttonhole. At once you feel yourself surrounded by an aura of its cloying perfume. >l Rose Garden A field of oversized roses, filling the air with unbearable sweetness. At their center is the stump that once was Mandragora. EXITS: WEST >e You can't go that way. >w Hedge Maze Standing atop the hedges, you can dash from one end of the maze to the other in a few moments. The rain is relentless. EXITS: EAST WEST >w Your body melts into bluish, incorporeal smoke, and you pass through the glass. Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST You reconstitute your physical form. >u Hidden Passage Here the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed redoubt in recent years. A rusty lever is set in the far wall. EXITS: DOWN WEST >w Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >u Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >x statues Which do you mean, the copper statue of Nephreine or the copper statue of Alithedora? >nephreine Nephreine is one of the heroines in Yvenne d'Abelune's novel The Scarred Palm, expertly realized here in copper. The character is instantly recognizable from the combination of beauty and ruthlessness in her face, and the harp in her hands. >x alithedora Alithedora is the companion of Nephreine throughout most of The Scarred Palm, that infamous novel of Yvenne d'Abelune. The expression on this copper statue captures not only Alithedora's mischievousness, but the sadness she took such pains to keep hidden. So in that sense, the statue is not entirely accurate. Alithedora holds her walking stick loosely at her side. >take stick Taken. >x it A long copper staff, sculpted to look like gnarled wood. Its attack power is 4. >x harp A nonmusical harp made of copper, for a statue of Nephreine. Its attack power is 4. >take it Taken. >l Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >w The rose's atmosphere surrounds you, forming a bubble of sweet air with enough solidity to repel the toxic gas surrounding the western tower. You continue along the walkway and enter. Laboratory Here, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes. And most damning of all, in the far corner of the chamber is a pinprick of darkness?a rent torn through the very air?through which a viridescent miasma is slowly leaking into this dimension. EXITS: EAST A loose page lies on the workbench, with some sort of formula scrawled on it. >take page At the first step you take toward the workbench, something skitters out from underneath it: A furry, many-legged creature you cannot immediately recognize. It opens a toothy maw and growls breathily at you, standing between you and the pitted desk. It dawns on you that this is a famulus, conjured by the Marquis. Besides interfering with your investigation, the monster itself is illegal. >attack with stick You bring the walking stick down on the famulus and deal 4 damage. The stick itself snaps in half and is destroyed. The famulus leaps forward and closes its massive jaws around your cape, tearing off a sizable strip of fabric. >attack with harp The harp is an awkward weapon, but you quickly judge how best to slam it into the famulus. Your foe takes 4 damage, but the instrument does not survive the process. The famulus tries to bite down on your arm, but you smack it away. >i You are carrying: a rose (being worn) a thorn whip Harcheque the form of the ghost a word of animation the master's key some clawed gloves (being worn) a tattered cape (being worn) >x whip A vine that Mandragora used in her attempt to kill you. The thicker end is smooth enough to grip as a handle; the opposite end is covered in menacing thorns. Its attack power is 7. >x harcheque This silver-plated sword beheaded the werewolf Cornegule in 1207. Its attack power is 6. >attack with it You slice at the famulus with Harcheque and land a powerful blow, dealing 6 damage. The legendary weapon crumbles to dust. The famulus whines pitifully?and then climbs up your shirt, to snap at your neck. You shove it back to the floor. >undo Laboratory [Previous turn undone.] >attack with whip You swipe at the famulus with the thorny whip, slicing deep and dealing 7 damage. But then the whip withers away, like the rest of Mandragora's armament. The famulus utters one last creaking whine?and then it disappears with a hideous popping sound. A magic particle rises into the air over the spot: A spell you recognize as a word of vexation. This must have been what imparted such orneriness to the creature. You take possession of it. >l Laboratory Here, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes. And most damning of all, in the far corner of the chamber is a pinprick of darkness?a rent torn through the very air?through which a viridescent miasma is slowly leaking into this dimension. EXITS: EAST A loose page lies on the workbench, with some sort of formula scrawled on it. >take page Taken. >x it The formula on the scrap of paper is a glyph of interruption, specifically designed to suspend the effects of some other magic for a limited time. To inscribe the glyph would require a specialized ritual instrument. >read it The formula on the scrap of paper is a glyph of interruption, specifically designed to suspend the effects of some other magic for a limited time. To inscribe the glyph would require a specialized ritual instrument. >x materials Your instinct is to destroy the most heretical books at once, but they will need to be taken in as evidence after you've dealt with the Marquis. A spherical vial of hythic acid is sitting atop one shelf. >take vial Taken. >x it Though it has applications in any number of unseemly or unlawful endeavors, mere possession of hythic acid is perfectly legal. Its attack power is 6. >l Laboratory Here, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes. And most damning of all, in the far corner of the chamber is a pinprick of darkness?a rent torn through the very air?through which a viridescent miasma is slowly leaking into this dimension. EXITS: EAST >x diagrams The bizarre deformations drawn out by the Marquis on these parchments are enough to make your forehead ache, even without the knowledge that the entity he purports to force into such contortions is the universe itself. >x rent The perforation is so miniscule in size as to seemingly disappear when observed directly. You have dealt with such things before, however: Even the most diminutive of melliphytic phenomena can have disastrous effects. >take it (That's not for taking.) >use vial on rent Harming the perforation would accomplish nothing. >push it (That won't be necessary.) >touch rent You feel nothing unexpected. >search it You find nothing of interest. >l Laboratory Here, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes. And most damning of all, in the far corner of the chamber is a pinprick of darkness?a rent torn through the very air?through which a viridescent miasma is slowly leaking into this dimension. EXITS: EAST >enter rent (That's not something for entering or getting on or whatever.) >e Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >u You dig your claws into the wall and begin climbing. Roof A lesser Inquisitor might lose one's footing on this steeply pitched roof, in this torrential downpour, but fortunately the Orthodoxy gave this particular assignment to their most skilled agent. A gap in the roof and a few loose bricks indicate that some section of the castle was forcibly removed from this spot. Looking up, you see what happened: The tower is floating in the clouds above the Château. That is most certainly illegal. EXITS: UP DOWN >u You have no way of flying up into that tower! >jump You jump! >x tower Though the places where it formerly connected to the Château bear the impressions of remarkable violence, the better part of the tower is surprisingly intact. It is in the first place surprising (though much of the shock has now worn off) that such a massive structure could be made to levitate independently at all. The melliphytic energies required must be colossal. The Orthodoxy will be furious?unless you bring the Marquis to justice. A glow from within indicates that the tower is currently occupied. >take it (That's not for taking.) >u You have no way of flying up into that tower! >d Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >d Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >x fireplace A merely decorative hearth, devoid of ashes. A silver poker stands nearby. >take poker Taken. >x it A fireplace poker, forged from silver. Such extravagance, while not illegal, is certainly unforgivable. Its attack power is 5. >w Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST >i You are carrying: a silver poker a vial of hythic acid a glyph of interruption a word of vexation a rose (being worn) Harcheque the form of the ghost a word of animation the master's key some clawed gloves (being worn) a tattered cape (being worn) >x interruption The formula on the scrap of paper is a glyph of interruption, specifically designed to suspend the effects of some other magic for a limited time. To inscribe the glyph would require a specialized ritual instrument. >w Your body melts into bluish, incorporeal smoke, and you pass through the glass. Balcony This lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby. EXITS: EAST DOWN You reconstitute your physical form. >x statue The limestone form of some minor demon, its expression carved to create the sense that this statue, resentful of its station, is nonetheless powerless to defy its master. It grips a little sickle in one hand. >take sickle Taken. >x it A moon-shaped blade with a short handle. Its attack power is 2. >l Balcony This lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby. EXITS: EAST DOWN >w You can't go that way. >d Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The balcony overlooking the pit is empty. EXITS: UP EAST DOWN WEST >w Gateway Grotesques in blackened calcite flank the threshold of the Château Semix. Though rain lashes in nearly horizontal torrents, the scarlet-flamed braziers go on burning imperturbably. EXITS: EAST >w You can't go that way. >x braziers To survive this storm without even flickering in the wind, these must be conjured or illusory flames?but such enchantments are well within the limits of the law. >e Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The balcony overlooking the pit is empty. EXITS: UP EAST DOWN WEST >d You leap down into the pit. Pit You land with a soft grunt. Some indeterminate number of unworthy guests rest at the bottom of this pit, their remains mingled by the depredations of scavengers. EXITS: UP EAST >d You can't go that way. >e Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >e Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >w Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >d You speak the word of animation, and the ? glyphs glow as the flagstones themselves rise up out of the floor, revealing a passage into the deeper foundations of the Château Semix. Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP >x urns (You can't use multiple objects with that particular verb. I'm sorry. It's not up to me. Please, just refer to one thing at a time. I'm really sorry.) >x urn Which do you mean, the northern urn, the northeastern urn, the eastern urn, the southeastern urn, the southwestern urn, the western urn, or the northwestern urn? >n The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is closed. >open it You open the northern urn, revealing a pool of quicksilver. >x quicksilver A quantity of liquid hydrargyrum metal rests in the bottom of the urn. >take it Carrying hydrargyrum around is more trouble than it's worth. >open nw urn You open the northwestern urn, revealing a blackened thorn. >take thorn You have no use for that. >x it An inch-long thorn cut from a nameless vine or flower, now extinct. A dark, unidentifiable residue coats the tip. >x residue An inch-long thorn cut from a nameless vine or flower, now extinct. A dark, unidentifiable residue coats the tip. >l Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP >x urn Which do you mean, the northern urn, the northeastern urn, the eastern urn, the southeastern urn, the southwestern urn, the western urn, or the northwestern urn? >open e urn You open the eastern urn, revealing a milky gem. >x gem An unremarkable stone. You are at a loss as to the reason for its interment here. >take it You have no use for that. >open se urn You open the southeastern urn, revealing a shriveled brain. >x brain The oils used to preserve this brain lost their efficacy some centuries ago. >take it You have no use for that. >open sw urn You open the southwestern urn, revealing an ivory needle. >x needle You can detect a primal magic about this needle, which may have been carved from the tusk of a woolly mammoth. Its attack power is 6. >take it Taken. >x w urn The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is closed. >open w urn You open the western urn, revealing a wooden idol. >x idol A humanoid figure, expertly carved. A line painted around its neck may represent some sort of necklace. >take it You have no use for that. >x figure A humanoid figure, expertly carved. A line painted around its neck may represent some sort of necklace. >x nw urn The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the northwestern urn is a blackened thorn. >open it That's already open. >take thron (That noun is not implemented.) >take thorn You have no use for that. >l Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP >x urn Which do you mean, the northern urn, the northeastern urn, the eastern urn, the southeastern urn, the southwestern urn, the western urn, or the northwestern urn? >all Sorry, you can only have one item here. Which exactly? >n The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the northern urn is a pool of quicksilver. >x ne (the northeastern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is closed. >open ne (the northeastern urn) You open the northeastern urn, revealing a clay tablet. >x tablet Some sort of pre-linguistic figures are pressed into the dried clay. >take it You have no use for that. >read it Some sort of pre-linguistic figures are pressed into the dried clay. >x figures Some sort of pre-linguistic figures are pressed into the dried clay. >l Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP >x urn Which do you mean, the northern urn, the northeastern urn, the eastern urn, the southeastern urn, the southwestern urn, the western urn, or the northwestern urn? >x n (the northern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the northern urn is a pool of quicksilver. >x ne (the northeastern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the northeastern urn is a clay tablet. >x e (the eastern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the eastern urn is a milky gem. >x se (the southeastern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the southeastern urn is a shriveled brain. >x sw (the southwestern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. >x w (the western urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the western urn is a wooden idol. >x nw (the northwestern urn) The urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is open. In the northwestern urn is a blackened thorn. >x sarcophagus The sarcophagus was not brought here: It was carved out of the living rock, like the walls and floor. >open it You begin to push the heavy lid aside. This requires some effort, even for a vampire of your considerable strength. A hand reaches out of the casket to assist you. You leap backward in shock, and look on speechlessly as the desiccated appendage completes the task of removing the basalt slab. Then the limb's owner rises from its sarcophagus: A humanoid shape, a full foot taller than you, though of emaciated aspect. Its body was once wrapped in linen bandages; most of these have disintegrated, revealing the time-blackened tissues beneath. An iron torc is fastened round its withered neck. The mummy grips a blade of chipped stone and takes a step toward you. >i You are carrying: an ivory needle a sickle a silver poker a vial of hythic acid a glyph of interruption a word of vexation a rose (being worn) Harcheque the form of the ghost a word of animation the master's key some clawed gloves (being worn) a tattered cape (being worn) >attack with poker You plunge the poker into the mummy, though the holy metal stings your fingers even through your gloves. The weapon deals 5 damage and explodes. The mummy lunges?how could it be so fast??and its blade tears silently through your cape. >attack with sickle You slice into the mummy with the sickle, dealing 2 damage. The blade snaps off, and the weapon is destroyed. The mummy brings its dagger within an inch of your neck. >attack with needle You stick the mummy with the ivory needle, dealing 6 damage. The needle, having waited millennia to serve its purpose, melts and disappears. The mummy's dagger plunges at your heart?but you push its stringy arm to the side. >attack with vial The vial shatters, and hythic acid splashes all over the mummy. The liquid then erupts in flames, dealing 6 damage. A weak groan issues from the mummy's mouth. It slumps forward, about to fall to its knees?but in mid-fall it crumbles to dust. The only sound is of its stone blade clattering to the floor. You step over the mummy's remains to look inside its sarcophagus. It has left behind another artifact: an athame carved from bone. >take athame Taken. >x it The bone of some impossibly ancient beast, carved by the earliest practictioners of magic into a ritual instrument. The brittle point is useless as a weapon, but it would be profoundly effective in the engraving of certain sigils and glyphs. >engrave formula on athame That's not a verb I recognize. >write formula on athame I didn't understand that sentence. >use formula on athame Harming the athame would accomplish nothing. >x formula The formula on the scrap of paper is a glyph of interruption, specifically designed to suspend the effects of some other magic for a limited time. To inscribe the glyph would require a specialized ritual instrument. >inscribe glyph on athame That's not a verb I recognize. >l Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP The mummy's chipped dagger lies on the floor. >take dagger Taken. >x it The material used in the blade's manufacture is beyond the reach of your geologic acumen. Its deadly sharpness appears to have been enhanced by some unrecognizably primitive magic. Its attack power is 9. >u Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >e Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >e You lean down and carve the glyph of interruption with the athame, suspending the enchantment just long enough for you to pass through the archway. Grotto Slumped stalagmites surround a pool of greenish liquid, its depths obscured by unnatural mist. EXITS: WEST >x liquid You peer over the edge of the pool. Something peers back up at you. It swims up at you, undulating eerily, faster and faster until it emerges with a viscous splashing at the water's edge. You recognize its shape: A Nemertean. "Ah, a friend of the Marquis," it utters, the words muffled by its many-lobed mouth. "I was not apprised of your visitation. All the same, I am happy to take on another pupil." "Then it was you who instructed the Marquis in the art of melliphysis?" you ask. Its eye opens in a grim smirk. "I recognize the questioning of an Inquisitor," it spits back. "You may spare me any rehearsed remarks upon the necessity of my eradication?I have had it all from your predecessor, in the moments before he was devoured." You nod. "Then I will proceed directly to the eradication." "Attempt this if you must," it says, unsheathing a chitinous pincer, "but I have fed so recently?It is all the same to me if you choose to flee with your life." >i You are carrying: a stone blade an athame a glyph of interruption a word of vexation a rose (being worn) Harcheque the form of the ghost a word of animation the master's key some clawed gloves (being worn) a barely functional cape (being worn) >attack with blade The sharpened stone slices through the Nemertean with uncanny smoothness. You deal 9 damage?but the weapon shatters. The Nemertean's membranes billow, and it flies up into the dark heights of the cave. It swoops down upon you?you leap out of the way?your cape is caught in its pincer. It yanks on the tattered garment, drawing you in. You pull in the other direction until your cape is torn from your shoulders. You leap out of range and whirl around to see the monster shredding what remained of your cape to ribbons. Then it turns toward you. >attack with harcheque You slice at the Nemertean with Harcheque and land a powerful blow, dealing 6 damage. The legendary weapon crumbles to dust. The Nemertean thrusts in response, but you dodge the blow. >attack with interruption The glyph of interruption is not a suitable weapon. >attack with vexation You speak the word of vexation: The Nemertean shrieks in unfathomable fury, taking 7 damage. But the spell fades away. The bulbous creature stops in its tracks. "Have it your own way, Inquisitor. Go and wreak your justice upon the Marquis. We Nemerteans love nothing more than to see vampire turn against vampire." The noise it produces next might be a hollow laugh, or else a death-rattle: For the Nemertean collapses, its unearthly organs squelching and shriveling before your eyes. You look over the remains: Its air-membrane, shrunken into a form not unlike your beloved silk cape, and its deadly pincer. >take pincer Taken. >x it One of the few rigid elements of Nemertean anatomy is the pincer. A grisly trophy to be sure, but its efficacy in combat far outweighs its distastefulness. Its attack power is 8. >l Grotto Slumped stalagmites surround a pool of greenish liquid, its depths obscured by unnatural mist. EXITS: WEST You can see a membranous cape here. >take cape Taken. >x it The material is remarkably smooth and soft, considering its origin. You have seen firsthand how its folds take in surrounding air and converts the pressure into a powerful upward force. >wear it You put on the membranous cape. >x liquid There is nothing else hidden in the water, so far as you can see. >x stalagmites Each mass of stone seems to ooze indolently over itself, creeping toward the dark pool. A sword is sticking out of one of the stalagmites?It must have been thrust into the rock with considerable force. >take sword You grab hold of the rapier's hilt and pull. It doesn't budge. >i You are carrying: a membranous cape (being worn) a Nemertean pincer an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >x rapier You think you recognize the weapon, but you won't be sure until you'e extracted it from this rock formation. >pull it You set your feet and pull harder at the rapier. The blade seems to shift in the rock. A little. >pull it You heave once more, and the rapier slides out of the stalagmite with such ease that you stumble backward a bit. >x it This rapier was wielded by Udolphon, the first Inquisitor assigned to investigate the Marquis. While examining it closely, you perceive in yourself an unprofessional desire to ensure he is avenged. Its attack power is 6. >l Grotto Slumped stalagmites surround a pool of greenish liquid, its depths obscured by unnatural mist. EXITS: WEST >w Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >u You open the cape wide and let it billow around you. Then with a sudden motion you draw it close to yourself?the force of the wind shoots you up, into the air. Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >d Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >x statue Æternitas is the sister of Death, depicted as a winged skeleton. She holds a metal rod, the symbolism of which has never been made clear to you. >take rod Taken. >x it This metal rod is the symbol of Æternitas and a useful weapon. Its attack power is 4. >w Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >x flagstones A collection of flagstones near the midpoint of the tunnel are each engraved with the symbol ?. >d You speak the word of animation, and the ? glyphs glow as the flagstones themselves rise up out of the floor, revealing a passage into the deeper foundations of the Château Semix. Ancient Tomb A crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This chamber must predate the Château above by some millennia. It made no appearance in any of your researches. The sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns. EXITS: UP >u Tunnel A rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones of the floor are carved with certain strange symbols. EXITS: EAST DOWN WEST >u You can't go that way. >e Crypt A statue of Æternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above. The eastern archway is protected by a potent array of sigils. EXITS: UP EAST WEST >u You open the cape wide and let it billow around you. Then with a sudden motion you draw it close to yourself?the force of the wind shoots you up, into the air. Lounge The walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length of the hall. To the west is a huge door. EXITS: EAST DOWN WEST >e Hall of Feasting There has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Château gardens. There's a staircase sticking out of the ceiling. EXITS: UP EAST WEST >u Hidden Passage Here the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed redoubt in recent years. A rusty lever is set in the far wall. EXITS: DOWN WEST >w Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >u Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >u You open the cape wide and let it billow around you. Then with a sudden motion you draw it close to yourself?the force of the wind shoots you up, into the air. Roof A gap in the roof and a few loose bricks indicate that some section of the castle was forcibly removed from this spot. Looking up, you see what happened: The tower is floating in the clouds above the Château. That is most certainly illegal. EXITS: UP DOWN >save Ok. >u You raise your cape around you and catch a gust of wind? ?It bears you up into the tempest, up to the tower. Floating Tower You land lightly on the rain-slick floor. Thunder shakes the tower, and then a voice booms: "You're too late, Inquisitor." A vortex of twisted space hangs over the tower, whipping the wind and clouds into a maelstrom. You can feel it pulling on you, as well. EXITS: DOWN "Too late for what?" you ask. The Marquis glides toward you, unperturbed by the howling winds. "The Gate is open," he explains, "and shortly it will be under my control. I have solved the equations. All that remains is the psychical component?of bending the Gate to my will." "I'm afraid that won't be possible," you tell him. "Marquis Semix, in the name of the Orthodoxy, I hereby arrest you on charges of research and experimentation in melliphysis, the knowledge or application of which is a capital crime, and on various related charges to be enumerated before a magistrate. You have the right to stand trial and speak or be spoken for in your defense. Do you choose to exercise this right?" "I do not," he sneers. He stretches out his fingers to show you long, barbed claws. "Very well. In that case, the Orthodoxy sentences you to death, and obliges me carry out your execution at my earliest convenience." >i You are carrying: a metal rod a white rapier a membranous cape (being worn) a Nemertean pincer an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >attack with rod You strike with the power of Æternitas and deal 4 damage. The rod disappears in a flash of darkness. The Marquis pounces on you and digs his nails into your arm?You shove him away. >attack with rapier You thrust with the white rapier and deal 6 damage to the Marquis Semix. The blade erupts in silver flames, and you feel that Udolphon's memory has at last been laid to rest. He flashes out of existence. Then he reappears, his claws closing around your throat. You shake him off and leap backward. >attack with pincer You bring the arms of the pincer around the Marquis Semix, crushing it and dealing 8 damage. The pincer itself splits under the force of impact. He shrieks a melliphytic spell, and lightning springs out of the vortex. You activate your membranous cape and propel yourself away before the bolt can connect with the spot where you were standing. >l Floating Tower A vortex of twisted space hangs over the tower, whipping the wind and clouds into a maelstrom. You can feel it pulling on you, as well. EXITS: DOWN As long as you're leaving him alone, the Marquis stares up into the storm, attempting to exert mental control over the vortex. >i You are carrying: a membranous cape (being worn) an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >attack with animation The word of animation is not a suitable weapon. >attack with rose The rose is not a suitable weapon. >restore Ok. >l Roof A gap in the roof and a few loose bricks indicate that some section of the castle was forcibly removed from this spot. Looking up, you see what happened: The tower is floating in the clouds above the Château. That is most certainly illegal. EXITS: UP DOWN >i You are carrying: a metal rod a white rapier a membranous cape (being worn) a Nemertean pincer an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >d Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >d Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >w Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST >d Great Stair Velvet spills over the grand stairway in a crimson flood. The huge door to the east stands open, and wind whistles down the length of the castle. High on the wall are displayed the arms of the Marquis Semix. EXITS: UP EAST WEST >w Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The balcony overlooking the pit is empty. EXITS: UP EAST DOWN WEST >w Gateway Grotesques in blackened calcite flank the threshold of the Château Semix. Though rain lashes in nearly horizontal torrents, the scarlet-flamed braziers go on burning imperturbably. EXITS: EAST >search braziers You find nothing of interest. >take braziers (That's not for taking.) >x grotesques Which do you mean, the bat-faced grotesque or the fox-headed grotesque? >bat A humanoid statue with a bat's pointed ears and hog-nosed scowl stands guard to the left of the gateway. A fauchard (made of wood and iron, not limestone) is clutched in its claws. >take fauchard Taken. >x it A polearm with a long, hooked blade. Its attack power is 2. >x fox A statue with a fox's head (and a fox's smug smile) stands guard to the right of the gateway. Its paws are wrapped around a long-bladed guisarme. >take guisarme Taken. >x it A polearm with a crescent-shaped blade. Its attack power is 2. >e Audience Hall Guests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber. The balcony overlooking the pit is empty. EXITS: UP EAST DOWN WEST >u You open the cape wide and let it billow around you. Then with a sudden motion you draw it close to yourself?the force of the wind shoots you up, into the air. Balcony This lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby. EXITS: EAST DOWN >u You can't go that way. >e Your body melts into bluish, incorporeal smoke, and you pass through the glass. Gallery Numerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindré, a framed family tree, a Japanese warrior's equipment in an elaborate display case. A pane of ghost-glass to the west offers a view of the balcony. The oak door to the east is open. EXITS: EAST DOWN WEST You reconstitute your physical form. >e Master Bedroom The Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless. A chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently. EXITS: UP EAST WEST >u Parapet Rain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other, statues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent. EXITS: UP DOWN WEST >u You open the cape wide and let it billow around you. Then with a sudden motion you draw it close to yourself?the force of the wind shoots you up, into the air. Roof A gap in the roof and a few loose bricks indicate that some section of the castle was forcibly removed from this spot. Looking up, you see what happened: The tower is floating in the clouds above the Château. That is most certainly illegal. EXITS: UP DOWN >save Ok. >u You raise your cape around you and catch a gust of wind? ?It bears you up into the tempest, up to the tower. Floating Tower You land lightly on the rain-slick floor. Thunder shakes the tower, and then a voice booms: "You're too late, Inquisitor." A vortex of twisted space hangs over the tower, whipping the wind and clouds into a maelstrom. You can feel it pulling on you, as well. EXITS: DOWN "Too late for what?" you ask. The Marquis glides toward you, unperturbed by the howling winds. "The Gate is open," he explains, "and shortly it will be under my control. I have solved the equations. All that remains is the psychical component?of bending the Gate to my will." "I'm afraid that won't be possible," you tell him. "Marquis Semix, in the name of the Orthodoxy, I hereby arrest you on charges of research and experimentation in melliphysis, the knowledge or application of which is a capital crime, and on various related charges to be enumerated before a magistrate. You have the right to stand trial and speak or be spoken for in your defense. Do you choose to exercise this right?" "I do not," he sneers. He stretches out his fingers to show you long, barbed claws. "Very well. In that case, the Orthodoxy sentences you to death, and obliges me carry out your execution at my earliest convenience." >i You are carrying: a guisarme a fauchard a metal rod a white rapier a membranous cape (being worn) a Nemertean pincer an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >attack with guisarme When the moment comes, you strike with your guisarme. It deals 2 damage to the Marquis Semix, but in the same instant it snaps in half and is destroyed. The Marquis pounces on you and digs his nails into your arm?You shove him away. >attack with fauchard You plunge the fauchard into the Marquis Semix, dealing 2 damage and destroying the weapon in the process. He flashes out of existence. Then he reappears, his claws closing around your throat. You shake him off and leap backward. >attack with rod You strike with the power of Æternitas and deal 4 damage. The rod disappears in a flash of darkness. He shrieks a melliphytic spell, and lightning springs out of the vortex. You activate your membranous cape and propel yourself away before the bolt can connect with the spot where you were standing. >attack with rapier You thrust with the white rapier and deal 6 damage to the Marquis Semix. The blade erupts in silver flames, and you feel that Udolphon's memory has at last been laid to rest. He raises his hand and calls down the Gate to consume you. The screaming vortex shudders? ?but it doesn't move. >i You are carrying: a membranous cape (being worn) a Nemertean pincer an athame a glyph of interruption a rose (being worn) the form of the ghost a word of animation the master's key some clawed gloves (being worn) >attack with pincer You bring the arms of the pincer around the Marquis Semix, crushing it and dealing 8 damage. The pincer itself splits under the force of impact. The Marquis falls to his knees. His lips move; his words are swallowed in the storm. The vortex sputters. You sprint to the lip of the platform. You fall. An indescribable cacophony shreds the air above you. You land, and look up: The floating tower is gone. The vortex is gone. There is no sign of the Marquis. The storm continues to rage. You cannot spare a moment's rest; there is evidence to collect, and paperwork to complete. You draw your new cape around your shoulders and begin your descent of the Château Semix. *** The End *** Elmir closes his notebook and smiles. "How chilling!" the moderator says, as applause dies down. "And how detailed!" Elmir nods modestly. The moderator turns to the audience: "Are there any questions?" "Yeah, I have a question." I don't recognize the person asking. "How do you call that a 'vampire-tale?'" Elmir frowns. "I don't understand..." "I mean, you say the characters are vampires, but they don't do any vampire stuff. They don't turn into bats. They don't drink blood. I don't think you even mentioned blood once." Elmir starts flipping through his notebook. Someone else speaks up: "There were several vampire elements. There was hypnosis, and caskets." "There was some vampire-adjacent stuff, but if you never told me these characters were vampires, I never would have known they were vampires! They're just spooky guys! You should call them 'spooky-guy-tales,' is all I'm saying." The moderator finally takes control: "Please, authors," he says, even though it's only one person causing the trouble. "This is Castle Balderstone. The occasion demands some decorum." The person with the question sighs loudly. Awkwardness is thick in the air. But Elmir closes his notebook and speaks up: "The querant has a point. I skimmed back through the story, and I don't see any blood. But of course, this is only one of my vampire-tales. The others contain many more of these classic vampire-elements. If you would like to peruse them, they're collected in a volume titled Elmir Divkovic's World of Vampire-Tales. I have a few copies in my car..." The moderator thanks Elmir and ushers him down from the dais. The moderator now stands alone on the dais. There's an odd energy in the room. People are chattering behind us. I halfway get up in my seat and crane my neck to look around the room. Hold on: Where is Allison Chase? Is she not here this year? Why the heck did we come all the way out here if Allison Chase isn't doing a story? "Our revels are at an end," the moderator says. "I'd like to thank all of our presenting authors for their contributions. Of course, I thank all of you, presenters or not, for attending. Before we depart, though, I have something of a personal note." He clears his throat solemnly. Then there is a crash of thunder. The fireplace is snuffed out?