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You look | The name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.
The fiery red stallion is standing patiently nearby. |
Sing | You sing:
"You can't ride in my little wagon,
The front seat's broken, and the back wheel's saggin'.
Chug. Chug. Chug chug chug.
Next verse, the same as the first!
A little bit LOUDER and a little bit WORSE!" |
You go to quarters | You head west to the gallery of historical paintings. Then west to the scarlet gallery. Then west to the entrance hall. Then west to the great dining hall. Then west to the enormous kitchen. And finally north to the servant quarters.
Not a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.
A decaying ladder leads down. |
You go west | This is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.
On the north pink striped loveseat is a cup of Cheerios.
You can see Parry here.
"We've been working on pulling up," the mom says, boy is she going to be surprised by all the practice you're getting today. |
You examine it | It is a rusty old crowbar. |
1 | "How you been?"
"This is Fieldtown. You know how it is. I do what I can." She moistens her lips. "How about you? I heard you joined the FPD."
"Keeping tabs on me?" you ask, leaning in closer.
"As I recall, it used to be the other way around."
"Times change."
"Yeah, they do." She looks away at something that isn't you.
Silence.
1) "So. What kind of tea party you got going on here?"
2) "I'm looking for a rabbit."
3) "I've got work to do." |
Go upwards | The interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The bed has been pushed to one side, revealing a trapdoor set in the floor. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.
The dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.
Lying on the floor beside the bed is a leather valise. |
Go west | This must be where Papa Bear does all his D.I.Y. It's a small but tidy workshop with a bench and an old filing cabinet in the corner. Pinned to the walls are what appear to be the blueprints for various devices. Sitting amidst the wreckage of the crate is a magic porridge pot. |
You wear motley | You don your jester's motley (after removing the pig carcass) and potential pranks inspire you. Everything in this wide world is kissable. |
You put the contract on the stand | You put the great contract book on the book return stand. |
You examine band | It's a long band of heavy leather, with side straps, woven into a foot-long tube. The four bolts inside are secure yet easily slid out, and the whole is strapped comfortably to your leg.
You're tired and covered with mud." |
1 | She says: "Have you ever heard of the Cult of the New Version?" |
Go southwest | The walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.
A thin beam of light slants through the dusty air, coming from a small hole half way up one wall. |
Peel floor | (the floor)
That's hardly portable. |
You listen to the shell | You hear nothing unexpected.
The water glides over the decks and soon it is up to your ankles. |
Paint konstanza | John glanced out of the window and paused for a long moment. "Yes ... she is quite the beauty, isn't she?" he murmured as he began a pencil sketch of Konstanza Von Goethe as seen through the window. |
You eat crawler | (Your score has increased by 2)
You can pretty much walk right up to it. It turns its head sideways and stares at you, and you jump on it! It's an easy thing to kill, despite its armored shell. Getting at the meat is a different story. Once you finally get at some of the food bits it's probably the most delicious thing you've ever eaten! Just juicy and chewy enough for your tastes! Though you were already full of food when you ate, your stomach makes room for the food. Not only that but you've grown considerably by the time you're done with the feast!
Your stomach is still full and fat. It's a good feeling.
[ Forest Floor | Your Size: 103 ] |
You get the tripe | You still can't quite reach the andouillettes from here. Close, though. |
You sit in the medium chair | Wow - this chair is soooo soft it's unbelievable! A little too soft! Lucky I'm so light or I'd sink right into it. |
You look at the fourth pictogram | The mound is now deserted, and the stick men seem to be constructing a tower of stones for some unclear purpose. The comet-symbol has returned, although there is an added eye-motif; the comet appears to be looking down on the tower with approval. Wavy lines radiate from the eye in all directions, several of them converging to join at the tower's tip. |
You jump over the steps | You can't jump over that.
Honey stretches languidly. |
Scream | The rectangle on the cell door slides open and a pair of beady eyes appear behind it. "WHAT is all this RACKET?" a loud voice behind the door says. |
Go north | Great Hall, Northern End
This is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and attatches to the waterwheel's axle. |
Go north | The hulk of a massive, stone castle towers into the sky above you. The walls are covered in grey lichen and moss, and seem to have stood here since the beginning of time itself. Set into the wall to the north you can see a large oak door, dark and weathered. There is a keyhole surrounded by a black iron plate. The ruins of the castle forge lie to the south. The door is locked, and there is no other way inside.
The only way you can go is south (to the forge).
You can see a small silver bell here. |
Go west | You climb up onto the crate.
You jump up and grab the bottom of the window. You pull yourself up, squeeze through it and reach for the ladder.
Top of the Ladder, Near Window
You're standing at the top of a ladder, near the barn window which
is directly north.
You descend the ladder.
Backyard, Near Barn
You've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.
You see a window screen, a can of coke, a note, and a beer here.
You're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The side yard can be accessed by going southwest or southeast.
You see a portable TV here. The TV compartment seems to contain two
C batteries.
You're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill that has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open. |
You consult computer about research center | The computer shows you how to go to the research facility. You'd start with north, from here. |
You go to the north | This is a little antechamber which serves as a security checkpoint before the laboratory itself. The lab is clearly visible to the north now that the door which once guarded it has been obliterated; the main campus is south.
There is a card reader device mounted next to the glass door, which used to control the lock. |
You make a logical argument. | You make a long-winded and overly elaborate statement of your reasons for in this particular circumstance, all things being equal, prefering to take the risks involved in rescuing the student because of the advantages her presence might provide, as well as the arguments of honor and duty. . .
Bonnie is distinctly unimpressed, and informs you that you'll be continuing on your way to the prison without stopping to rescue the student.
Which gives you some useful information. Long logical arguments aren't the way to persuade Bonnie. That may be good to know later, although it would have been better to know before now. You hope someone else rescues that poor student.
She rolls her eyes. "Fine, go get some, then."
You walk into the gas station, in search of munchies.
And you find--probably you should have expected this--a zombie inside, also in search of munchies.
In fact, the zombie has found munchies.
>Next
The zombie appears to have a kid cornered in the very back of the store, between the ice cream cooler and the shelf of artifically-flavored-and-colored "potato" chips.
But the zombie doesn't seem to have actually started munching yet. It turns its head as you enter and studies you with interest. You're not quite sure why you'd seem like more attractive prey than the cowering kid--a girl of about nine or ten--but it's possible that you do. To judge by the (sort-of) expression on (what's left of) the zombie's face. It sweeps its long hair out of its eyes to look at you better.
This one seems to have been a teenage girl. |
You examine the chair | The leather of the chair is cracked and faded. |
You examine the dog | Bubbles resembles a corgi. In fact, it looks like the corgi you begged your father for when you were eight. It has recently grown out of early puppyhood. |
You examine electronic device | You can't quite determine the function of this device; you've never seen anything like it before. Its major component is a short barrel, which contains a low-powered laser. |
You look | You are at the base of Flood Control Dam #3, which looms above you and to the north. The river Frigid is flowing by here. Along the river are the White Cliffs which seem to form giant walls stretching from north to south along the shores of the river as it winds its way downstream. |
You go outside | Identical passageways open to the north, south, east, and west.
You have to kick your way through woven baskets packed with ropes. |
You check what you're carrying | You are carrying:
an access card
'Notopia'
some thermal paper
an identity badge |
E,N,U,W | A straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.
East and west, low corridors lead into shadow.
The silvery door to the north stands open.
Tower, Bottom
You stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.
The center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.
The silvery door to the south stands open.
Tower, Mid-level
A midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.
The walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.
You stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.
The center of the room is occupied by a bulky expandable staircase. |
You recruit Harry | Harry Quisling appears sceptical about the proposition, but the foreman describes it as a sort of grand game, while keeping a firm grip on his arm. They depart to the mill, to return once the engines are running once again. |
Go north | This is the middle of a ruined but still impressive stone bridge spanning a deep chasm. Water flows far beneath. A paved path leads north into a large open space. To the south, the path leads into a misty tunnel. |
You think about the stool | You have seen the item you need to solve this problem, but it's not in sight at the moment. (The objects command will list everything you remember seeing, if you'd like to review.) |
You go north | Lined with neat rows of inscrutable -- one might almost say pointless -- objects.
The neat rows have been thinned down to the stuffed boar, the preserved goat, the parrot perch, and the broken beam, thanks to your diligent action. |
Go south | To the north, across a sadly dried-up and decrepit yard, stands Mrs. Pepper's house. You can also go east or west along the sidewalk. The busy street is to the south. A telephone pole plastered with the scraps of old posters stands here. |
Ride se | North end of Main Street, on an old black mare
Now leaving the bustling metropolis of Tumbleweed Flats, pop. 59.
The local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.
Little Jimmy comes running past you from the north. |
You examine the deck | A standard deck. Thirteen ranks. Four suits. Fifty-two cards total. |
You continue | There's a close-up of a lever on the side of the spacesuit. Two-way
arrows indicate that it detects bends, or changes in direction. You
see a few more pages. |
You get Scroll | You remove the Scroll from its Case. |
You take the sharpener | Taken.
The programmer makes a few notes on some scratch paper. |
You talk to Vincent | There's really nothing to discuss with Vincent. It's a small miracle he can form even basic sentences. |
You kill the cat | Violence isn't the answer to this one.
You can hear the crashing and clanging of a sword fight coming from the tavern common room. |
You look at the spear | (the broken spear)
The weaponry of Atlantis comes in two classes: The vast bronze behemoths that stride over the ocean to bring fear and awe to the colonies to the east and west; and the arms of palace guards, the tools of enforcing order. This spear was the latter; stout and weighted, it was made as much to beat as to pierce, punishment as much as weapon. The ebony haft had been broken in half, perhaps an ill-thought strike. The spear point had a curious shape. |
You go north | You can go only southwest. |
You examine scroll | It is a Book of the Dead, a richly illustrated grimoire, teaching spell-songs reputed to be of aid to the newly deceased in their eldritch travels. This one is dedicated to you and titled The Book of Songs of Getting Through The Day.
What could that mean? |
Wait | Time passes. |
Go downwards | You descend the staircase.
Inhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.
Westward's the undercroft, and upward a staircase curves to the eastern tapestry. |
You ask Tyrone about Piranella | "You know, she's less stupid than she looks... It's just part of her image..." |
You ask Baines about Arguule | You wouldn't have said it was possible even moments ago, but somehow the pale white ghost manages to blanch with fear. "Bara- uh, that name is not the name of any author, or any human being. If you have to know, B- Ba- Ba- that being is the first servant of the one who binds me here, the one whose name I will not even try to say. The incantation of Arguule may be hidden somewhere in these books; it is not his name, it is something more baleful..." he demurs. "I've said too much," he says, and falls silent.
You resolve to examine these books more attentively than ever when you read them, in case you might discover— whatever that is... |
You look at the lawn | The lawn scene is strangely haunting.
The girl tenses, her whole body shuddering, and paces around the lawn.
"Anyway... no time left... getting the shakes real bad... hope this is recording okay. Pulled some 'stricted files off the net... crosswired neural inputs. Hyper illegal but that's hardly important... if it works maybe... someone will find it and... wish Mum and Dad had tried this... couldn't even find the other memory pack..." |
You hang up | (the phone receiver)
That number you dialed has done something... You're not quite sure what, but you're even less sure what'll happen if you hang up now. |
You examine the vents | You can just about see the outline of the circular covers of those tubes. You have no idea what they're for, but the way that red light comes on and the way the air gets so foul when they're open suggests that they're not your friends. |
You examine rebar | The broken rubble is all that remains of whatever building once stood here. |
You examine the vegetation | Patches of grass and vegetation grow in sparse clumps throughout the cleared space of the Hydro Corridor. |
You examine door | We saw iron, and much of it. |
You go east | This is a spacious, cool room. It once was busy and always kinda untidy. Now, all that's left of the furniture are the two couches, covered in white plastic wrapping.
A door leads south to the kitchen.
A cloning machine sits in a corner.
An opened letter lies forgotten on the floor. |
You examine the mirror | Wowee! You are one tempting tank of tomato juice, if you do say so yourself. And you do! |
You read it | The pages of the book have been hollowed out, leaving a square hole. In The World Is Hollow is a jeweled pin. |
You examine us | We're both rabbits, of course. |
You examine the scarecrow | The scarecrow is a human-shaped and roughly human-sized figure made of cloth. It has a rough, cartoonish face painted on it, and a sign hangs around its neck. It's wearing some overalls, and it's not not wearing a hat. |
Go north | The wooden door is closed. |
You get it | Taken.
John hits his forehead with his hands, muttering, "Think! Think!" It doesn't seem to be working.
Alice looks outside wistfully. "You know, Carl and I would be outta here now...but we don't have enough money for a proper dinner--not these sad snacks that we have--for both of us. Oh, I have enough for just me, but..." She looks at Carl, who has a mournful look on his face. "...but, I can't be that cruel, can I?"
You hear a loud "Pin pon!" come from the game. Evan grins maniacally. |
You say MMMMMM pomegranate | Whom do you want to say that to? |
You wear the jacket | (first putting the old shovel in the burlap sack to make room, then taking the sequined jacket from the burlap sack)
You'd look far too conspicuous sashaying around in the sequined jacket. Anyway, it's not your style. |
Go downwards | You descend...
Trachea
It is almost completely dark, save the small ring of light from your lens. Your world is a hollow pit with no beginning and no end.
Below are the lungs. |
Lick pet | You love on your pet with some little licks.
Your pet twitches a little and stirs, then is still again. It's a start at waking him up. |
You eat Demon | (first taking the Evil Demon)
Philosophers are not yet supermen.
The demon swoops down at you and smacks you with a huge clawed fist. You crash against the wall once more with the force of the blow. |
Oops | "I don't understand.. start again, please, help me.." |
You go east | You take a step into the vast darkness of the mine, but you realize that, without a light source, you risk plummeting into an unseen shaft. Better not risk it. |
Go south | You take half a step and nearly trip as you turn. A woman is standing to the south, at the end of the hall. She leans on the frame of an open door, talking to someone in the room beyond. If you continue, she will certainly notice you. |
You take all from the drawer | comb: You comb your hair a bit. When satisfied, you put it back in place.
jewelry: Taken. |
Wait | Time passes. |
Turn page | You flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.
"Lisa!" Marion says. "That's horrible!" |
You get the envelope | You typed a valid action, but it was for something that isn't visible right now, something that isn't in the game, or possibly a typo. If you're stuck, type HINT repeatedly to find the next action you can try. |
You pry the steps with the poker | The porch steps is not something you can pry.
Honey licks her thumb and turns a page in the magazine. |
You look at the plaque | The plaque reads:
"Leroy Raft never left the sea,
Ruined his ship finding Lorelee;
Long was his journey, no bride his reward;
Leroy Raft now lives in misery." |
You examine the cave | The cave went down underneath the lake of the dead. |
You look at the windows | The stained-glass windows are old and coated with grime, and many of the panels have been broken out by time and vandals. Enough remains for you to make out most of the designs depicted in them, however -- and you find them vaguely disturbing. Saints -- at least none of the saints you're aware of -- should not be depicted performing such acts, nor with such insidious leers on their faces as they perform them. |
You examine the sign | The sign is sagging sideways at a drunken angle, and looks as if it's about to fall over sideways. In florid pink letters the sign proclaims that the name of the establishment is "Eternal Springs." An earlier layer seems to have been painted over, but thanks to the irregularities in the surface (which are many) and the flaking away of the top layer (which is considerable), you're able to trace out the former name of the motel, which seems to have been "Bye Bayou." |
1 | "A bloody empiricist are you now?" the trees say, with a little cawing sound.
[1] Hey! What have you got against empiricists?
[2] That's rich coming from a group of trees.
[3] Well it's true -- apparently some trees can talk.
[4] Unless my senses deceive me . . .
[5] Was that a caw I just heard?
[6] You're just bitter because you haven't got eyes.
[7] Actually, I'm a level seven phenomenologist with a plus two blade of Obfuscation. |
You look at the control panel | It's difficult to see from this angle, but you're sure it has all sorts of neat buttons.
The large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.
With a tremendous hiss of steam, the hoses emerging from the tank douse the barrels in some sort of liquid. When the steam has cleared, the barrels are no longer glowing. |
You ask Derek about the work | "Hi," you say.
"Hmm?" he replies non-commitally, his eyes not leaving the TV.
"How was work?" you ask.
Derek shrugs. "It was ok. Nothing exciting to report." |
Continue | The figure is nearly not there -- like shadows at the edge of your sight, or a dream of blindness. It crawls away from your vision; your eyes feel thick and strained.
The human outline bends over the desk, then regards you again. A sense of wordless sound moves across you. |
You tell about diary | "Interesting," says Christabell. |
You check what you're carrying | A mail-ordered short metal staff with a clear orb on the end. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see a small unmoving cluster of turquoise tentacles.
A bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy. Something is written on it. It is closed.
A Huxoflux & Son healing gun. You tested one of these four years ago, and they are excellent. Just shoot anything that is wounded or sick.
A nosehairscrew, a small intricate mechanism with many arms, spikes and pinchers. Part of the Guggensmith Portable Torturing Set that you refused to test some months ago. You are supposed to stuff it up someone's nose, and then twist it to cause horrendous pain.
A Remmingheim Supreme crossbow, loaded with an arrow. The Supreme model is supposed to have a special feature. When you shoot it, the arrow will magically return, and the crossbow will be loaded again. The hard, razor-sharp arrow is protruding a good ten centimeters from the front of the crossbow.
"The Ultimate Creature Manual" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.
A Super Champion Helmet. It is round and made of thin metal. It was supposed to magically turn you into a hero.
You are wearing:
A pair of mirrorshades. You could see yourself in them if you weren't wearing them.
On your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin. That is, if the gremlin is still wearing the smaller, magically connected, ring.
A pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own. |
Go south | You're in a small bedroom. The room is almost entirely filled by
the bed. The hall is to the north.
Sitting on the bed is a pillow and a bedspread. |
Go west | That way takes you back into the mall. Surely the parking lot can't be far. |
Inventory | You have a hole in your stomach, and you're wearing cacao manacles. |
You talk to Davidson | "Hello, Mrs. Davidson. Nice to let me in."
She squints at you again. "You aren't the Johnson boy, are you?"
[1] "That must be the young man I found ... outside. He's dead. At the picnic table. He committed suicide." |
You put slippers in the hourglass | You put the slippers into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in. |
You look at the markings | If the professor is right, and the strange patterns on the artifact have something to do with music, then they aren't like any kind of musical notation you've seen before.
"This artifact has enabled me to identify the Nisnoc Siw with the legendary music-makers of quite a number of indigenous cultures across the Americas," says the professor. "But aside from the music-making mythologies we can cobble together, this artifact, with its inscriptions, is all we know of the Nisnoc Siw." |
You drop the red | A few moments after dropping the shard of red glass, the hand scuttles across the square towards you and settles down to examine it. If you want to pick it up, now's your chance. |
Look around | Whatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.
A beautiful pair of mahogany sliding doors stand closed to the east.
Resting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover. |
You show the photographs to the boys | "Hello again," you say, trying to sound cheerful. "I'm back."
"Was she gone?" the smaller boy says. "I din't notice."
The boys look at one another and roll their eyes, as if wondering how you could be so stupid. |
You examine the glass | The juice glass is about three inches tall, and an inch in diameter. |
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