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Smell twin

You smell nothing unexpected. "You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?" Sam pauses for a second, but before you can respond: "Well, that was fun! What do you want to play now?"

You examine the pyre

An impressive mound of wood built up around the central stake, it's catching alight slowly.

You go southeast

You're standing in a concrete rectangle set into the ground, paved with a grey substance, probably stressed concrete. It's recognisable as a swimming pool, a popular Ancient recreation fixture. Whatever water was once here has long since drained away, probably through the outlet grate set centrally in the pool's floor. You see a bright orange object here.

Wave rod

Pfwarmp! A nightcrawler materializes in the air in front of me and drops to the floor. "Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food."

You go north

This lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the hallway. The parking lot is back to the south, and the bathroom is to the east. The phone sits on the desk. The unmistakable stench of burning popcorn rolls in from the break room to the west. You see Rosalita coming out of the break room. She seems lost in thought. "Oh, Cindy, it's you!" She looks around, and leans in. "Listen, my sister's in the break room again. Can you make sure she leaves? I have to talk to Chuck in a few minutes, and I don't want her to be here." You nod, and she walks into the hallway. She turns around and beckons you closer. "I'm worried that he knows about Roses for Rehab. You know what will happen to both of us if he does." With that, she walks to her office. The radio is playing Harden Heart.

You examine the guard

A dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. One arm hangs by its side -- the other extends outwards as if to grasp something.

You look at the memory

You remember Subra as a trim, athletic man, with dark curly hair. He contacted you after you'd called the medical council about the threats you were receiving from the Grémillets.

You examine the egg

A perfectly fried egg: The yellow yolk lies at the geometric center of a white disc, like the star at the center of a nascent system. The yolk is just a notch short of congealing, and the white is neither runny nor burnt. Another culinary success. HEAVY HELIUM SPHERE -> DIAGNOSTIC : TRUE

2

"Good, good, I'm glad to hear it," says Aunt Nina distractedly.

You touch the monster

Keep your hands to yourself!

Wave rod

Pfwarmp! A nightcrawler materializes in the air in front of me and drops to the floor. The hedgehog starts to sing: Doop de dooooooo, It's a round life for meeeeee! We're roly and poly And hedgyhogoly, A life in the hedge is for meeeeee! "Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food."

You open the door

It's locked.

You put the grandmother in the chest

You lower Ivan's grandmother into your chest, and she takes to it rather nicely, chirping and slapping her stubs around to feel her new environment. She's just happy to be back inside a container. Your own mother doesn't pay too much notice. Keeps slithering in circles. When she bumps into her housemate, she keeps bumping until she's bumped herself around the obstacle, and Ivan's grandmother hardly registers the contact. The two might as well exist on separate planes. Which, now that you consider it, they probably do to a certain degree.

Inventory

You are carrying: a plastic bag a green severed hand an electromagnet a pipette (red wine) a blue keycard a pen a diary salt a red keycard a yellow keycard a wallet (open but empty) a pair of rubber boots an used piece of tape a ketchup bottle pepper a nuclear-powered flashlight (providing light) fifty-one dirty dishes a treasure chest (closed) a crowbar a wet mop a detergent a stapler a cork a remote control a pan a screwdriver

You look at the wall

You stand at the foot of a ruined stone wall, perhaps the remains of some lost jungle ziggurat.

You listen

…queen of hearts… nine of clubs… …nine of clubs… queen of spades… five of hearts…

You examine the painting

The picture inside the lid appears to depict five different martial arts moves and stances, relating each one to a different element. Each one is distinct enough for you to be able to remember them easily: (tu3 jin2 shui3 mu4 huo3) earth, metal, water, wood and fire. Oddly, none of them depict stances that include a sword - they are all unarmed. Just below is an image of a sword, with the same symbols etched in a pattern upon the blade - but it is too faded to be able to discern which is which. [Type the name of the element to practice the stance.]

You take the stone

You pry at the stone, but your fingers accomplish little besides bleeding.

Lean

Wow, that takes a lot of stomach muscle. You lean unaturally forward, defying gravity with your feet on the floor. The bullets whiz right over you. The Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach. The Blue Thug works to reload his gun. The Green Thug works to reload his gun. The Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach. "No! No! Not prune juice!" wails Lenny from the north.

You take all

cloak: Taken.

Cook fox

(first taking the dead fox) It is too awkward and messy to carry both fox and trap together. You must remove the trap first. You wonder which part of the fox might be the most tasty.

You check your inventory

You are carrying: a blade

You examine the attendant

Glancing at her, you feel a shock of recognition. It's Linda, the woman you disliked most while working here. With her flaming red hair and her patronizing attitude towards anyone younger than she, she was hated by many in the hospital. Bubbles growls softly, baring teeth at Linda. Linda glares back at the dog. "Don't you let that mutt bite me," she tells you.

You look up orchid

(in Casey's notes) You flick through the notes and read Casey's scrawly handwriting: "Here's an anecdote about Orchid. This happened just recently. I didn't tell you, because I wanted to save it for here. Okay: "I'm at school after hours because of rehearsals. But we're still in the fairly lazy stage of the production, so there's lots of time to just goof off around the school. So while the underclassmen are sitting around in the hall running lines, I head up to the drama office, because there are donuts there. "But Orchid and Aiden Kingsley are already up in the office, and as soon as I poke my head in Orchid looks up and says 'Actors only, please!' and I'm like 'Actually, I am an actor,' and she says, 'Well, you know what I mean.' "No, Orchid! I do not have the slightest idea what you mean. I would have just grabbed a donut and left, but you're not allowed to take the donuts out of the drama office, so I just left. "I wouldn't say I hate Orchid. Hate is a very strong word. I completely hate Aiden, though."

Go west

As you put your weight on the steps, several of the boards creak loudly. The front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window. The screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn. Beauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to. Beauregard lazily waves away a curious wasp.

You go south

You stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions. Mr Blue arrives from the north.

Close teapot

You close the hinge-lidded teapot.

You give Carr to David

(first taking the mystery by John Dickson Carr from the burlap sack) David looks at you with a kind of cloudy intensity. "There's nothing that I want or need. At least, nothing that you have ... other than your youth and vitality, of course, but we won't talk about that."

You examine the window

The window itself, perhaps, was the work of primitive cave dwellers long ago. Whoever they were, they seem to have cut some kind of cavity to the east, behind the window.

You examine fish

They have red-gold scales and fat round bodies, and are about two inches long. The formations are symbols from the syllabary, but you can't read them.

6

The first orbital platform intended for permanent occupation, Space Station Kennedy was assembled in Earth orbit in the second quarter of the twenty-first century. Compared with earlier projects, Kennedy was ambitious; it contained living facilities for twenty-five families, and, unlike earlier space stations, its primary function was not scientific, but industrial. Methods of zero-gravity production which had previously been tested on earlier space missions were implemented on a grand scale. It was also the first space vehicle to be equipped with a synthetic gravity system. After two decades of service, the station was badly damaged during the intercontinental war of the mid twenty-first century. Its crew were not able to prevent a forced re-entry, and chose to direct the crashing space station to a heavily inhabited area of China. Everyone aboard the station was killed in the resulting explosion, which also resulted in severe environmental catastrophes in Asia, prompting the end of the war. Source: The Space Pioneers, vol. 9 BROWSE Press the number of your selection, 1-7, 0 to redisplay or Q to quit. 3 Cylinians 4 Historical Period: The Seventy Days 5 Historical Period: ca 865600-866300 UDC 6 Space Station Kennedy 7 Stephen James Wallace

You use the pipette on the wine

You suck up some of the wine.

You examine the armor

The armor gleams like a insect's iridescent shell. Its polished plates bear no marks of battle; it was probably given as a gift rather than taken from a foe.

You go east

This corner of the park is called the "Tree Garden", and... what was that? You heard someone giggling! Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy. One path winds north towards a shady area under lots of trees, and another one goes west.

About you

You are Linda Mackaye, freshly returned from the most excruciatingly boring party you've ever attended. The slides were out of focus, the small talk necessitated the use of a magnifying glass, and if you had to hear your hosts share another tidbit of conversational Japanese, you were ready to disembowel yourself with your shrimp fork. Alley finishes stuffing her books in her backpack and puts it on. "Okay, see you soon," she says. You follow her out to the garage door; Jim's car is waiting in the driveway, and as she walks toward it, she is swallowed up in the glare of the headlights. [ -> ] Pure white light blazes down on Alley's crib as Sam plugs in the huge screen he ordered through the mail and mounted on the ceiling. Alley rubs her eyes. "What is that thing, anyway?" you ask. "Just a fluorescent light?" "Not at all," Sam says. "The Photopia is a low-energy, high-intensity LCD screen with a bunch of different settings." He tosses you the remote. "Just push the white button to cycle through them."

You look at the keyhole

Astonishingly large and assembled of thick oak planks with iron banding and trim; the door glistens redly from a thick coat of shellac. In the center, a Cragne family crest has been set into the wood with iron filigree. The handle is little more than a bent metal prong next to an oversized keyhole.

You take the headphones

"Aow!" The startled boy leaps backward at your approach, splashing water all over the place. "Stupid git!" he cries (in an intriguing Cockney accent). Then he retrieves the empty dish, pockets the wand and disappears between the prams, glaring at you over his shoulder.

Scratch glyphs

You draw your scalpel from your pocket. You steel yourself, and with as much force as you can manage in these cramped quarters, gouge a scratch right through the center line -- scratch right through the center line --A shock. You can feel enchantments disintegrating, unraveling around your fingers. You sense the lift grow heavy as its binding forces wither and fail. the lift grow heavy as its binding forces wither and fail.You scratch the glyphs a few more times. When you're finished, your scalpel is noticeably hotter. You clean the edge and let it cool before stowing it. You try not to think about the fact that you're plotting to murder someone.

You examine Alice

Which do you mean, small piece of unlined paper, Alice 5/12/78, Alice 4/17/78 or Alice 4/30/78?

You examine mirror

You look into the mirror and realise that... You are a potato! You explode into a pulp at the realization of this fact. A voice somewhere says: "Thanks for playing!" *** You have turned into mashed potato ***

You go to the north

The first step is more of the will than of the body: from here there is only out.

Go southeast

A gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.

You look under the table

You see nothing unusual under the cafe table. "Why do I always have to do all the work?" Joe demands. "Why can't you ever hold up your end of a conversation?"

You go to the west

This is the Dining Area, inaptly named here since it is never used for that purpose. This room is less cluttered than the living room, but that's not saying much. The kitchen is to the east, while the living room lies to the south.

You take the bow

You pick out the prettiest present in the pile and tug on the ribbon with your teeth. The ribbon slips ever so slightly, and you feel a sudden burst of shame. You are feeling very thirsty.

You get the rope

You can't untie the rope from down here; the other end is attached to the bell, some twenty feet overhead.

Go east

Once a cell, now, with the door missing, made into a guard's bunkroom, this room is distinctly uncomfortable. Gasps of air are forced through a crack in the seaward wall of the room. The way out is west of you. A canvas cot is shoved against a wall.

You go to the south

The trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock. As you approach the deer gallop off to the south.

You examine the branches

There's nothing special about the tree. You hear in the distance the chirping of a song bird.

Search overalls

In the overalls is a long steel key.

You get the dirt

That's hardly portable.

You break the mirror with the stone

(the gilt-wood mirror with the stone block) (first taking the stone block) (putting the bag on a string into the sack to make room) The stone block strikes the gilt-wood mirror. The gilt-wood mirror breaks. The mirror inset inside the box breaks dramatically.

What

"Rumor? What rumor?" asks the Red Death. You explain all about the rumor. "Well, when you put it like that," says the Red Death, "I should have to conclude that you're the victimized party. However, since you're also the one telling me this story, your account may be biased. I'm afraid I can't give my opinion, except to agree that Onegin does sound like a bastard." You have a few lines you could recite. Speaking the first word is enough: "What would you do in my situation?" "How-d'ye-do?" "Goodnight, sweet prince."

You attach the wire to the barsa

It's a wooden trapdoor set in the floor. Looking closely you can see a small switch on the side of it. There's no such thing here now.

You wait for a while

Time passes. You are buffeted upward for an eternity, rising at an unimaginable speed toward a spot of light at the top of the cylinder. You lose consciousness and regain it after an unknown delay. You bob at the top of a hollow cylindrical column with walls of fitted stone, filled almost to the top with water, clean and cold. A ladder ascends from the water's height to a bright opening perhaps twenty feet directly overhead. Below water level is fastened a narrow opening in the east wall.

You look at the Father

He's still alive. Lively. Warm.

Kulcad rope

As you cast the spell, the brittle scroll vanishes! Nothing obvious happens, but when you examine the rope, it lacks a certain something you saw in it before. It now looks sort of ordinary, like a clothesline. A knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.

You get the book

(the book) He looked at you sadly as you picked it up, and he mumbled something you could barely hear. It sounded as if he was saying you would see each other soon. His bones were breaking. You picked up the book. The book. That ancient, weathered thing. That thing of evil. And now its curse was yours, just as it had been your grandfather's... (Press any key to continue)

Examine box

Just a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit. In the cardboard box are a shred of fabric, the keener fragment, a broken propeller, a pint glass, and a goathorn piece.

Go south

A small, well-tended flower garden lies at the center of this square. Lines of symmetry cross in several directions through the center of the garden: the garden, the brick pavement, and the temple to the east all reflect these symmetries; a matching pair of roads lead north and south. You can see a guard and a guard here.

5

You head back to the police station. This small cramped office is just large enough to fit in a desk and two chairs. The walls are bright white, lighting up the room. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station. Detective Copernik is sitting on the chair behind the desk.

You break the flask with the harpoon

I give the flask a sound thrashing, but I don't succeed in dislodging the ice. It's frozen solid; brute force won't work.

Go south

Austin follows you. Holes are appearing in the walls of this room, but it's still more or less retaining its shape for the moment. The doorway to the north is blocked by thousands of tons of caved-in earth, but the transport tube is unscathed, at least for now. Austin is running right behind you. The walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you: "Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues..."

You give the old newspaper to Baines

The ghost snatches the book from your hands. "Ah, fresh pages! I haven't read something new in ages." Turning to the cabinet, he plunges his hand through the door and pulls out a book: The Liquid Sky. He hands it to you, reluctantly. "Take good care of it," he says. "And give it back to me when you're done." Fedwick peers scornfully at you.

Plu

pi: 3.14159 x.xxxxx e: 2.71828 x.xxxxx sqrt(2): 1.41421 1.xxxxx sqrt(3): 1.73205 1.xxxxx sqrt(5): 2.23606 x.xxxxx phi: 1.61803 1.xxxxx ln(2): 0.69314 0.xxxxx zeta(2): 1.64493 1.xxxxx zeta(3): 1.20205 1.2xxxx gamma: 0.57721 0.xxxxx END: End the examination, submitting your work for grading RET: Return to examination room ARITHMANCY SPELLS (X = already used this sequence) INC: Add one to current number (X) STA #: Begin a sequence of digits PLU # Nothing happens. "This is painful to watch. Surely the candidate realizes that the PLU spell requires a number?" says Teraboz.

Go west

The Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.) To the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here. Audrey and Gibs follow me. A fluorescent light is drawn up from the floor and thrown at me! A fluorescent light strikes me, and I take a little bit of damage. My right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.

You look at UFO

It's tough to make out the details in the low light, but you can clearly discern the outline of a classic saucer-shaped UFO. A framework has been constructed around the UFO. Several workers appear to be looking at and/or working on the craft.

You tell her about orange datatab

"You say this datatab contains your field notes," you say, "and so it does - but they aren't the field notes of an anthropologist, they're the field notes of a Federation spy called called Anita Johnson." "If you know that then you've obviously found a way to read them," she replies stonily, "in which case you know too much..." Without further warning she leaps at you, her hands clasping for your throat. Leela makes a grab for your throat but you manage to throw her off. "Is that the best you can do? You're a dead man!" she sneers.

You continue

You adjust the plunger handle backwards. Your obsessive compulsive inner person does a happy dance as you move the plunger in a good direction. Something about the plunger just doesn't look proper. The handle of the plunger is tilted a little bit forwards and it's also leaning a little bit to the right. Furthermore, its handle is twisted a little bit clockwise. PITCH VECTOR -> VECTOR ADJUST : TRUE From the direction of the living room, you hear Rover entertaining himself.

Look around

The west end of the landing ends here with a small window which enables you to look out on the tiled pathway and the gardens outside. The bathroom door lies north, and another (closed) door prevents you from going south.

Go east

You're in a small stand of woods, following a path that branches to the east.

You count the bricks

You can ASK someone ABOUT something or SHOW something TO someone. Muddy vibrates with excitement and gushes, "I got to tell you, Rick, or this new plan of mine is going to drive me plumb crazy!" "Let's keep this between us, though," he whispers. Muddy leans towards you, his face barely an inch from your ear and his buzzard-worthy breath even less so from your nose. "Okay, Rick, I'm a-going to tell you my plan." Muddy pauses dramatically. "Here it is: we got to break out of this jail before we get strunged up." "That's it? That's your whole damn plan? That don't count as no plan!" you fume. "Keep it down, Rick!" Muddy's gaze darts over to your third cellmate. "Yeah, that's it for now. It takes time to cook up a good plan. You need lots of ingredients." "Muddy Charlie," you retort, "I heared you was the worst cook in the Confederate Army. Your cooking like as did more damage than Sherman's March." Muddy gives you a hurt look and sulks in the corner. After a while, you regret being so quick-tempered with your old buddy.

You show the pouch to Lydia

"Oh, you found it! I'm so glad! Are there still any of the leaves in it? They must be all dried up by now. If there are any left, we should each eat one." Lydia gnaws on a fingernail.

About you

As good-looking as ever. One of the kids points and laughs. "Yeah, way to keep your eyes peeled."

You go south

You stood under the archway separating the dark room behind you, to the south, from the bustling marketplace outside. The sun seemed too bright against your face. People were rushing past, entreating each other for rotten apples and cell phone cases. A step southward would take you into their midst.

You take orange

(the orange datatab) Taken. You can smell the cheese.

You enter the cylinder

The coffin is in the way.

You go south

Please give one of the answers above.

Go upwards

Hall of Severance (In the Black Oak) A shiver runs through the tree and the shrill song of the leaves seems to increase in volume for a moment. Lornedei folds herself over the branch and stays hanging precariously over it. She looks down. The clearing below her swims out of focus, seems to move away from her and then come rushing back at her. She clings desperately to the scorched limb, unsure if she is going to slide backwards and down on the ground, or tip over forward with the same fatal result. She shuts her eyes hard. And the world is still once more. Very carefully, she lifts one leg over the branch and then she is sitting steady. She opens her eyes and with a sigh of relief. The clearing looks as it should, all considering. Clusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.

Color engineer infrared

You reach out, caressing Engineer's delicate aura, willing it to become infrared. Her aura absorbs this new state willingly, as though they were her own emotions. Medic swirls in fright, babbling a self-protecting barricade, "... a trick a trick they just want me to go out there and then they will get me, I can't let them get me..." The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.

You examine the device

The device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room. Mounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. There are mirrors or prisms in all of the clips. As the sunlight hits the prisms, a rainbow of light cascades across the surface of the device. On the wooden circle is a stone bracelet.

You cast Ligo at the sand

The sand comes together in the shape a miniature Goddess statue for a moment, then falls to pieces again. Evidently, you've destroyed the bind for good. Arthur bats at a shadow on the wall.

You ask Jane about the vancouver

"Isn't it gonna be weird, to like not be living in Vancouver anymore?" "Yeah, it's true. I'll miss all the cool shit happening here" "Yeah. And it's not like you can come back visit all the time..." "I know... It's a bummer :/" "Yeah. Anyway..."

You go north

The monkey follows you. The stone tunnel turns from the south to the west here. The monkey goes off to take a quick look around, but soon returns.

You get the paper

Taken.

Go downwards

Hovering Over a Hotel Rooftop (in the helicopter) The helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily. A crafty crocodile dangles beneath the helicopter.

You check your inventory

You are carrying: a tomcod a coil of rope a mackerel a fishing pole (with the rusty hook) a fish head an old beeper a letter a picture a skirt (being worn) a shirt (being worn) a pocket watch (open) a tiny picture A constant patter of rain falls about you.

You go south

This is the north end of a large hall with a vaulted ceiling. A long, tiled hallway leads north through a tall arch. Although the origin or purpose of this room is unclear, there is a large rendering of the Royal Seal of Lord Dimwit Flathead carved on the wall.

You go south

A quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. Behind the counter is an industrial boiler. Behind the counter, a vendor is busily locking things away for the night. The vendor sees you approaching and throws a welcoming nod in your direction, followed by a rhetorical sounding "Hey, how's it going?"

3

How can I manipulate the figurines? Press the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit. You can't touch them yourself. And no one will help you. [1/5] How might you be able to pick them up without touching them? [2/5] No, you have no psychic powers. There are two physical objects that will do the job. [3/5] You can pick up the figurines with either the fire tongs (which are in the living room, standing next to the fireplace) or the shovel. The command 'pick up figurine with tongs' works. When it comes to carrying them around, though.... [4/5] The tongs and shovel can hold only one figurine at a time. You'll find it more convenient to carry them in your suitcase, or in the burlap sack. Putting them in a container has the added advantage that you won't risk anyone seeing you carrying one around. That would almost certainly be fatal. [5/5] [The End]

You ask Woman about illness

"Master has been sick for many days. He will not take your Western medicines. He is waiting for a Japanese doctor to bring a herbal remedy, but I fear it will be too late."

You put the rock in the furnace

You put the rock into the furnace.

Go north

You squeeze through the doggy door into the foyer of the inner keep. To the north is an outdoor courtyard, to the west a darkened hallway and to the east a well-lit hallway. A circular staircase curves upwards around a clockwork lift. The goblin engineer keeps watch over the foyer from atop her mechanical suit of armour, her back facing the double doors.

See

"I could see Professor Puce in the Study". (Where were you?)

You examine the altar

It smells evil; the thought of going near it makes your fur bristle.

You look at the array

The video and audio input panels are still recognizable, but most of the communications array has been burned away. Presumably the scientists sent their distress call before the destruction happened. The other marine tries to communicate on his TDU.

You cut the window with KNIFE

Trying to cut the window with that KNIFE would only scrape off some dirt.

You examine the debris

Scattered sticks, leaves and bits of trash cover the gravel clearing.

About yourself

You are strapped into a bunk in a quarantine pod, and despite the bizarre lack of gravity, you feel like you could sleep easily here.

You examine the power boat

The power boat is freshly painted red and white, and is about twenty feet long, with a muscular-looking outboard motor mounted at the stern. The boat sits high in the water, its bow pointed south, toward the big door. The power boat rocks gently. The controls on the dashboard in front of you are gleaming and incomprehensible. At the rear of the boat is mounted a large outboard motor.