pimeja nasa (FKA PataNoir)
Simon Christiansen
app cover art custom parser detective hard-boiled IF Comp 2011 IFComp Game mystery noir systematic puzzles transformation walkthrough wordplay Xyzzy Awards 2011 XYZZY Best Puzzles
The Baron's daughter is missing, and you are the man to find her. No problem. With your inexhaustible arsenal of hard-boiled similes, there is nothing you can't handle.
You look at the oil
Greasy black oil.
About yourself
You are a bit worse for wear, but you are still the best detective in town.
You examine the shadows
Shadows gather in all corners of the office, like dark pools of oil.
You look at the embers
A few glowing pieces of coal are left at the camp site.
You examine the lamp
The old dirty desk lamp struggles valiantly to light up the office, like an elderly knight fighting to keep the forces of darkness at bay.
You look at the knight
The knight seems weary. His armor is old and dirty. How much longer can he keep fighting, you wonder?
You talk to the knight
The knight stands to attention. "Don't worry, sir. I have been doing this for years. I am not going to abandon you."
You talk to the knight
What are you going to say? A bunch of platitudes about how everything is going to be okay? Better to stay silent for now.
You take the embers
You carefully pick up one of the embers from the camp fire.

There is a knock at the door.
You open the door
It takes effort to push the chair away from the desk so you can get off. You really should fix the wheels some day.

The door opens and a tall man in a tuxedo enters the room. He looks like a butler of some kind.
You talk to the butler
"How may I help you?", you ask.

"My name is Allan Jameson." His voice is as hard as his face. "I represent the Baron Ahrend von Bülow. You are Douglas Reilly, the private investigator?"

You lean back into your chair, hoping to look relaxed and self-assured. "That's right. What does a Baron want with me?"

"The Baron, for some reason beyond my understanding, has decided that a Private Investigator is the most discreet way of dealing with a current problem. He has allowed me the courtesy of selecting one."

"And I take it that you have selected me?"

He raises an eyebrow. "I haven't selected anyone, Mr. Reilly. Perhaps you could tell me why you would be the right man for the job?"
You look at the man
Tall, thin, and impeccably dressed in a tuxedo with a black bow tie. His face looks like it has been cut out of marble. No emotion is visible at all.
You examine the marble
Exquisite white creole marble with black coloration. Its perfection is sublime.
You take the marble
Taken.
You look at what you're carrying with you
You are carrying:
some figurative white marble
a figurative smoldering ember (providing light)
You look at the man
Tall, thin, and impeccably dressed in a tuxedo with a black bow tie. His face is ordinary; he seems like a kind, if somewhat reserved, person.
You talk to the butler
"I assure you that you will not regret hiring me. I will serve the interests of the Baron to the utmost of my abilities."

A smile lights up his face. "I am very glad to hear that, Mr. Reilly. You sound just like the person we need. Unfortunately, I can't just take your word for it, you understand. I just need some kind of assurance."
You examine tuxedo
Not a speck of dust is visible. It's either brand new or he just picked it up from the cleaners.
You examine the bow tie
Perfectly tied. You never could figure out those things yourself.
You look
Shadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.

The office door to the north leads to the corridor outside.

You see Allan Jameson here.
You read the files
You haven't had much work lately, so you have been reviewing some old case files, remembering old times. You never know if you might learn something.
You examine the chair
The rust has long since caused the wheels on the chair to get stuck. It would be much more comfortable if you fixed them.
You examine the wheels
The wheels are covered with crimson rust, like coagulated blood.
You examine blood
The blood has long since turned into a reddish brown substance, almost like rust.
You take the blood
Taken.
You show knight to the butler
(first taking the holy knight)
I don't suppose the holy knight would care for that.
You show the marble to the butler
For some reason, you seem to be only one capable of seeing these things.
You examine the desk
Countless cups of coffee have been spilled across what was once an impeccable wooden surface. It's not pretty, but it serves its purpose well enough. It is currently covered with old case files. The desk contains a single drawer.
You look at the files
You haven't had much work lately, so you have been reviewing some old case files, remembering old times. You never know if you might learn something.
You open the drawer
You open the desk drawer, revealing a revolver.
You examine revolver
A .38 revolver. It has served you well for many years, like a trusty servant never leaving your side.
You examine servant
Mr. Smith Wesson, your trusty servant, is at your side as always. He is dressed in a grey suit and a tie.
You take the gun
Taken.
You talk to the servant
"Good evening, sir," says Mr. Wesson. "If you need me to do anything, just say something like 'Wesson, take the ball' or 'Wesson, attack the man'. I will do my very best to fulfill your wishes. If you can't figure out what to do, you can always talk to me. I might be able to give you some hints."
You talk to the butler
Mr. Wesson has better things to do.
You take the gun
You already have that.
You show the gun to the butler
Allan Jameson is unimpressed.
You talk to the butler
"Mr. Jameson, how can I convince you that I am the right man for the job?"

He thinks for a few seconds. "I am not certain. You seem like a pretty decent person, but perhaps I should investigate some other options before I decide."
You take the file
You are tired of living in the past.
You show the files to butler
(first taking the case files)
You are tired of living in the past.
You check what you're carrying
You are carrying:
a revolver
some figurative coagulated blood
some figurative white marble
a figurative smoldering ember (providing light)
You put the ember on the butler
His eyes light up with a friendly glow.
You talk to the butler
"Mr. Jameson, I think this might be the beginning of a beautiful business relationship."

He laughs heartily. "Please, call me Allan. It's really been a pleasure talking to you, Douglas. I am so glad I decided to visit you, instead of going with one of the other people. They were all so glum and cynical."

"The pleasure is entirely mine," you say with a smile. "Now, shall we go see the Baron?"

"Of course. Follow me."

The stately mansion of the Baron von Bülow looms in front of you,
like
a sleeping giant. Light seeps out from a single window on the second floor to the right; all the others are dark. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.

"Here we are, sir," says Jameson. "If you will just follow me."

He opens the doors and disappears into the mansion.
You examine the doors
Two massive dark mahogany doors.
You look at the giant
The giant seems to have been asleep for some time. His face is serene; his breath, calm and rhythmic.
You wake giant
You poke the giant, but there is no reaction. Figures; your tiny fingers would hardly be noticeable on his massive hide.
Go south
Where would you like to go?
You put the marble on the fingers
You do not normally need to refer to specific parts of the body.

(retrying as if you'd typed "put marble .")
What do you want to put the white marble around?
You look
The stately mansion of the Baron von Bülow looms in front of you,
like
a sleeping giant. Light seeps out from a single window on the second floor to the right; all the others are dark. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
You go north
It almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a frozen lake of grey marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.

You see Allan Jameson here.

Mr. Jameson ascends the stairs.
You examine the lake
The lake seems to have been frozen forever. You can feel the cold through your shoes.
Go upwards
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

You see Allan Jameson here.

Mr. Jameson opens the east door and enters.
You go to the east
Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

You see Allan Jameson here.

The Baron sits in a black leather easy chair on the east side of the room. He has been reading a book, but when you enter he puts it away on a small table next to the chair. A hint of something that might one day grow into a smile is briefly visible on his face.

"Ah, Mr. Jameson. You have brought the detective. Excellent; you may leave us."

Mr. Jameson leaves through the door, closing it behind him.
You talk to Baron
Maybe you should check him out first?
You look at Baron
Thin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. What little is left of his hair is entirely grey, like strands of steel embedded into his scalp.
You examine the steel
The strand seems to have been cut from a roll of steel wire. It is long, thin, and sharp. It might be useful as a weapon.
You look at the lakes
The lakes are deep and dark. What secrets hide beneath the surface of the water, you wonder? Perhaps you should take a swim and find out?
You swim in lakes
You dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.

It is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.
Go downward
It is darker down here; you can't see much more than a few feet in any direction. A few fish pass by, just outside your field of vision. From above, the distant sun shines faintly.
You look at the fish
A variety of multicolored fish. You can't identify the species.
You take the fish
You reach for them, but they quickly slip away.
Go down
The darkness engulfs you. The sun is no longer visible. You are floating in an infinite void. Lost.

.

.

.

The sharp smell of smelling salts pull you back to the library. Mr. Jameson is standing above you. The Baron is leaning forward in his chair.

"How are you feeling, Douglas?" asks Allan. "I would hate to lose a new friend so soon."

You brush him off. "I am fine, thank you. I just haven't had much sleep lately."

He shrugs. "As you wish."

He leaves the room, leaving you alone with the Baron once more.

Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

The Baron sits in a black leather easy chair on the east side of the room.
You dive in
What do you want to dive in?
Go upwards
You emerge from the lake, gasping for air.

Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

The Baron sits in a black leather easy chair on the east side of the room.
You examine the carpet
A soft red carpet.
You talk to Baron
The Baron takes a deep breath. His voice, when it emerges, is like a scratched vinyl record.

"I am glad you could come on such short notice, Mr...."

"Reilly. Douglas Reilly."

"Mr. Reilly. I don't normally deal with your kind, but I have a precarious problem that will need to be handled with the utmost discretion..." His voice trails off.
You talk to Baron
"It might help, Mr. von Bülow, if I knew what the problem was."

He blinks. The lakes are briefly covered with clouds, then reappear.

His hoarse voice continues. "Of course. You must excuse an old man. It concerns my daughter, you see. She has always been a free spirit, but now she has run off with that damnable boyfriend of hers. Obviously, the police can't get involved, but I need her found. If you can also convince her to leave the man, that would be perfect, but the primary goal is to locate her and make sure she is unharmed. Do you think you can handle that?"
You talk to Baron
"Can you tell me some more about your daughter and her boyfriend?"

"Of course. My daughter's name is Lisa von Bülow" - he shows you a photograph - "she is 22 years old, much too old for this rebellious nonsense in my opinion."

"And the boyfriend?"

He sneers. "I am afraid I don't have a picture. I only met the man once, but he is a drunkard Scotsman with a scraggly full beard. His name is Erik McAllister. You can't miss him. I have no idea what my daughter sees in him."
You talk to Baron
"How do you know they have run off together?"

"Well, I don't know that for certain; I am simply assuming since they both disappeared at the same time. It's possible that they are both dead in a ditch somewhere, but I prefer to believe that my daughter is alive. You must humour an old man."

You shrug. "Of course. Do you have any idea where they might have gone?"

He laughs. His laughter erupts in hard bursts, like a record getting stuck. "I have some ideas - I know where they used to spend time together, anyway - but I expect you to be able to figure these things out by yourself. You are a detective, right?"
You examine the record
It is full of scratches. It probably won't be very pleasant to listen to.
You talk to Baron
"Mr. von Bülow, I may be a detective, but I still need something to work with. If you won't give me any information, I am not sure how much I can do."

The lakes are still for a moment, and you detect a glimmer of something hidden in their depths. "Then perhaps I should hire someone else, Mr. Reilly."
You dive into the eyes
You dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.

It is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.
You give the blood to the fish
You can only do that to something animate.
You look at what you're carrying with you
You are carrying:
a figurative vinyl record
a figurative steel strand
a revolver
some figurative coagulated blood
some figurative white marble
Go upwards
It is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.
Go upwards
You emerge from the lake, gasping for air.

Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

The Baron sits in a black leather easy chair on the east side of the room.
You examine the window
A small window with a view of the back garden. It looks like it hasn't been opened in generations.
You look at the bookshelves
They are filled with a wide variety of books, mostly dealing with literature and history.
You examine the air
The room could use some ventilation.
You examine the skeleton
Thin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. His hair is grey.
You go west
(first opening the east door)

From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

You see Allan Jameson here.
Go west
(first opening the west door)
It seems to be locked.
You examine the railing
The railing is cool to the touch.
You talk to the butler
Mr, Jameson smiles warmly. "I trust you are getting along with the Baron, Douglas?
You talk to the butler
"How are you, sir? I trust you are getting along with the Baron?"
You go to the east
Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

The Baron sits in a black leather easy chair on the east side of the room.
You swim in the lake
You dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.

It is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.
Go downward
It is darker down here; you can't see much more than a few feet in any direction. A few fish pass by, just outside your field of vision. From above, the distant sun shines faintly.
Inventory
You are carrying:
a figurative smoldering ember
a figurative vinyl record
a figurative steel strand
a revolver
some figurative coagulated blood
some figurative white marble
You examine ember
The water has extinguished the glow. It is just a lump of black coal now.
Go upwards
It is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.
You examine ember
From within the warm piece of coal, a red glow can still be glimpsed.
You look at what you're carrying with you
You are carrying:
a figurative smoldering ember (providing light)
a figurative vinyl record
a figurative steel strand
a revolver
some figurative coagulated blood
some figurative white marble
Go west
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

You see Allan Jameson here.
You open the west door
It seems to be locked.
You examine the west door
It is the kind of door you could hack away at for hours with an axe without making a dent. The crack under the door is dark. Either no one is using the room, or they have gone to sleep.
You ask the butler about the door
[Use TALK TO to interact with characters.]
You look at the crack
The crack under the door is too small to be of any use to you.
You go downwards
It almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a frozen lake of grey marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.
You examine the lake
The lake seems to have been frozen forever. You can feel the cold through your shoes.
You break the ice
You were never much of a pugilist. If you want to use a weapon, use the ATTACK SOMETHING WITH SOMETHING syntax instead.
Poke giant with steel
You poke the giant with the sharp steel strand. The giant absentmindedly swats in your general direction, but it doesn't wake up. Maybe you could find a way to make the strand hurt more?
You put ember on the lake
The ice evaporates as the floor bursts into flame.

The steel strand grows red hot from the fire.
Poke giant with steel
The red hot steel strand sizzles as it penetrates the skin. The giant roars, and scrambles to its feet, its eyes ablaze with rage. It looks around for its attacker, but luckily it seems to be looking for someone of the same size. It doesn't notice you huddling at its feet.
You examine giant
The giant is wide awake now. His eyes scan the horizon for potential attackers.
You talk to the giant
He seems angry. You should probably avoid attracting attention to yourself.
Go north
It almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.

The steel strand grows red hot from the fire.
You go to the north
(first opening the french doors)

The grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass like scaly snakes, going nowhere and everywhere. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.

The air is cold and clear, like the justice we all seek, but never find.
You take the justice
You try, but it slips away between your fingers, as always.
You go to the south
It almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.
Go up
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

Light seeps from the crack beneath the door to the west, like fluid from a leaky container.

You see Allan Jameson here.
You examine fluid
A kind of luminescent fluid.
You open the west door
You open the west door.
Go west
A large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.
You examine the lamp
A large table lamp, which somehow manages to light up the entire room. A paper lampshade shields your eyes from the light, like a white cocoon.
You examine the cocoon
A delicate white cocoon. It seems like it should be able to contain small items.
You look at the lamp
A large table lamp, which somehow manages to light up the entire room. The lamp has a paper lampshade.
You examine shade
The paper lampshade covers the light.
You take the shade
A paper lampshade is hardly going to be of any use to you.
You get the lamp
It's a table lamp, not a flashlight. There would be no point to carrying it around with you.
Inventory
You are carrying:
a figurative white cocoon
a figurative vinyl record
a figurative steel strand
a revolver
some figurative coagulated blood
some figurative white marble
You examine the dresser
A small wooden dresser. So ordinary that not a single simile comes to mind.
You examine bed
It's the kind of bed that looks like it could swallow a man whole. You get the feeling that if you went to sleep in it, you might disappear entirely, never to be seen again.
You look out the window
I only understood the first part of that-- trying anyway.

(retrying as if you'd typed "look.")
The Bedroom
A large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.
You examine the window
From here you can see the front garden. The path winds towards the gates leading away from the mansion.
You go east
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

The door to the west is standing wide open.

You see Allan Jameson here.
You close the west door
You close the west door.
You look at your surroundings
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

Light seeps from the crack beneath the door to the west, like fluid from a leaky container.

You see Allan Jameson here.
You put the fluid in the cocoon
(first taking the luminescent fluid)

Taken.
You look at the cocoon
A delicate white cocoon. It seems like it should be able to contain small items.

In the white cocoon is some luminescent fluid.
Go downwards
The sun is no longer visible at all. Only the soft glow from the cocoon allows you to see anything. The bottom of the lake is white sand. Close by, you notice an old wooden chest.
You examine the sand
Soft white sand covers the bottom of the lake.
Open chest
It seems to be locked.
You look at the chest
That's hardly portable.

It looks like something straight out of a pirate movie. A big metal padlock is supposed to guard the contents from unauthorized visitors.
You look at the padlock
A big old-fashioned padlock. You are pretty sure you could get it open if you had something that could be used as a lockpick.
You put steel in lock
You manage to pick the padlock with the steel strand, but you break the strand in the process.
Open chest
You open the wooden chest, revealing a treasure.
You look at the treasure
Gold doubloons, jewelry, and gemstones. Everything a good treasure needs.
Inventory
You are carrying:
a figurative treasure
a figurative white cocoon
some figurative luminescent fluid (providing light)
a figurative vinyl record
a revolver
some figurative coagulated blood
some figurative white marble
You give treasure to Baron
His face lights up with a golden glow. He seems much more friendly.
You talk to Baron
"Mr. von Bülow, I am really not going to get anywhere without more information. Do you want your daughter found or not?"

He smiles. "Of course. I really must apologize for playing these little games with you." He pauses to collect his thoughts. "Let me see, there are several places they might be. Mr. McAllister lives in an apartment on 23 Roosevelt Street. I really doubt they are hiding out in such an obvious location, but there might be some clues there at least. The man is also a degenerate gambler and alcoholic. He gambles all the time at a joint called the Butterfly Club - sometimes he even drags my daughter down there with him, the bastard. When he isn't gambling he is drinking heavily down at a local bar called the Water Buffalo. That's about all I know. Will that be of any help, Mr. Reilly?"

You nod. You know both of the places he mentioned. "Absolutely. I have enough to get started, anyway. I will let you know how the case proceeds."

"Thank you." He sighs. "I hope you find her. I should have done something about that terrible Scotsman a long time ago."
Go west
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

You see Allan Jameson here.
You talk to Baron
"Please find my daughter, Mr. Reilly."
Go south
The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
Go south
Where would you like to go?
2
You head towards the gambling joint.

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
You examine the formation
Icicles grow from the ceiling in an intricate formation. Why haven't they melted, you wonder?
You take the icicles
It is too far up. If you had someone to help you, you might be able to reach it together.
You look at the gamblers
People from all strata of society are gathered here as equals, united through their common addiction. It almost warms your heart.
You examine the games
Countless gambling tables cover almost every square foot of the room. Every imaginable game of chance is represented here. A lot of people seem to be watching the poker game in the corner of the hall.
You look at the poker
Four people are playing a high stakes game of poker in the corner of the hall. A small crowd has gathered around the table, attracted by the sight of large amounts of money changing hands. One of the players draw your attention: a pale man wearing a tuxedo who seems to be losing big.
You examine pale man
One of the nouveau riche for sure. He looks like someone who has never tried wearing a tuxedo before. His face is like putty; every emotion leaves a visible mark. Not a good thing for a poker player. He seems to be losing a lot of money.
You examine the putty
The putty is soft and pliable.
You put the marble on the pale man
His face is like carved out of marble. No emotion is visible.
You examine the pale man
One of the nouveau riche for sure. He looks like someone who has never tried wearing a tuxedo before. His face is expressionless, as if it had been carved out of marble. A good thing for a poker player. He seems to be winning a lot of money.

The poker game continues. The other players try to read the emotions of the tuxedo man, but his face is impenetrable. They all fold.
You talk to the man
The other onlookers hush you. Clearly, disturbing the game isn't an option.

"You are not fooling me this time," says one of the poker players and reveals his hand: Three aces. One by one, the tuxedo man puts his cards on the table: 6-7-8-9-10. A straight. The audience claps.
You look at the poker
Four people are playing a high stakes game of poker in the corner of the hall. A small crowd has gathered around the table, attracted by the sight of large amounts of money changing hands. One of the players draw your attention: a pale man wearing a tuxedo who seems to be winning big.

The tuxedo man wins again. And again. The mountain of chips in front of him grows to unprecedented heights. Finally, a crack appears in his face and he smiles. "Enough with this. This is my lucky night!"

He picks up the huge pile of chips, walks to the roulette table and drops the pile down next to the spinning wheel. "I am putting it all on red!" The marble cracks and falls apart as a huge smile appears on his face. You have a feeling you might be able to find it again with its original owner.
You put the blood on the man
Making the tuxedo man red like blood would not be helpful.

"I am sorry sir," says the croupier. "The table can't match your bet. I am going to have to get the manager." He goes through the small discreet door and emerges a few minutes later, followed by a tall thin man dressed in a beige suit.
You put the blood on the roulette
Making the roulette table red like blood would not be helpful.

The tuxedo man looks at the newcomer and smiles even more broadly. "What will it be Camino? Are you afraid I am going to bankrupt you tonight?"

The man in the beige suit - whose name seems to be Camino - pays no attention the tuxedo man. He looks straight at the croupier. "It's alright. Let him play." His voice is soft and smooth.

The wheel spins. The entire club seems to be holding its breath. The wheel slows down; the ball jumps a few times, and finally comes to rest ---- on red.

The club erupts in applause. Everyone looks at the tuxedo man as if he had just single-handedly defeated Hitler in one-on-one combat. The tuxedo man picks up his winnings and leaves the club followed by an entourage of admirers. Camino does nothing, except look pensively at the wheel.
You look at the wheel
A perennial favorite of the gambling crowd, the roulette is simple and exciting. More people are playing now, after the tuxedo man's big win. A big winner is good advertisement.
You examine Camino
A tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A scar crosses his left cheek, like a canyon in the middle of an otherwise pristine African savanna.
You examine the canyon
The canyon is deep. It must have been carved in the landscape many aeons ago. At the bottom, you can just barely make out a river.
You enter the canyon
It is way too steep. You would fall.
You examine the river
Even from all the way up here, you can tell that the river is crystal clear. No pollution is going to reach it in this pristine landscape.
You take the canyon
A canyon is not something you can carry around. Maybe there is something of interest down there?
You talk to Camino
"A bad day for you, I suppose?"

He emerges from his reverie. "Not really. A big winner makes everyone else believe they can do the same. The extra business should make up for the loss."

His eyes scan you inquisitively. "I haven't seen you around here before. What can I do for you?"
You talk to Camino
"My name is Douglas Reilly. I am a private detective. I was wondering if we could have a word?"

"I don't do business with private dicks. Unless you have you some useful information for me, I am not interested."
You talk to Camino
"I am looking for Lisa von Bülow. I understand she used to come here along with a bloke named McAllister?"

He has the perfect poker face. "I never talk about my clientele. It's bad for business."
You talk to Camino
"Please, Mr. Reilly. Unless you have something of use to me, I have no interest in talking to you."
You go east
(first opening the discreet door)
An Italian-American man wearing a pinstriped suit grabs your arm. "Sorry, sir. This is a private area." He merges with the crowd once more.
Look around
All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.

Camino - the owner of the club - is looking pensively at the roulette table.
You look at the table
Which do you mean, the gambling tables or the roulette table?
You examine the gambling tables
Countless gambling tables cover almost every square foot of the room. Every imaginable game of chance is represented here. A couple of people are playing the roulette table, apparently hoping that the tuxedo man's winning streak will transfer to them.
Go west
Where would you like to go?
3
You decide to check out McAllister's apartment.

The entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall, like a dirty rag.
You look at the rag
An old dirty rag. It looks like it hasn't been cleaned in ages.
You look at your surroundings
The entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall.
You examine the jacket
An old worn denim jacket. You notice a piece of paper sticking out from one of the pockets.
You read the paper
The writing is almost illegible, but you manage to decipher it.

"Lisa

I know you have something going on with that bawbag Camino. Don't try to deny it I have seen how you flirt and god knows what else you are doing. You are not gonna do that no more or im gonna have to take matters into ma own hands.

Erik."
Go north
The toilet is filthy. You quickly exit back to the entrance hall.
You go east
(first opening the Eastern Door)

What a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.
You enter the city
The sun bakes down on the city from above. Streets wind in every direction among the buildings. The streets are crowded with people, all hurrying in different directions. Close to you, a majestic minaret reaches towards the sky.
You examine Minaret
The Minaret is a tall, round, white tower. Inside it, a winding staircase leads to the top.
You look at the people
They hurry by too quickly for you to get a good look at any one of them.
You examine the buildings
All sorts of buildings occupy the city. Your attention is drawn to the majestic minaret nearby.
Go upwards
From here the entire city is stretched out beneath you. Tiny people are milling around on the streets far below, waiting for someone to perform the next call to prayer.
You call
You take a deep breath and perform the call to prayer as loudly as you can. Beneath you, the people stop what they are doing and head inside.
Describe the surroundings
From here the entire city is stretched out beneath you. The streets are empty.
You go downwards
The sun bakes down on the city from above. Streets wind in every direction among the buildings. Close to you, a majestic minaret reaches towards the sky.

You see an old beggar here.
You talk to the beggar
"I thought the voice seemed unfamiliar," says the beggar. "Haven't seen you around here before. Can you spare some food or coin for a poor man?"
Inventory
You are carrying:
a letter
a figurative dirty rag
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
a figurative vinyl record
a revolver
some figurative coagulated blood
You examine the putty
The putty is soft and pliable.
You exit city
I only understood the first part of that-- trying anyway.

(retrying as if you'd typed "exit.")
The Living Room
What a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.
You examine the couch
An old couch that looks like it has seen everything and now just wants to be left alone. There is a blanket and a pillow lying on the floor next to it. Apparently, Mr. McAllister also uses it as a bed.
You look at the pillow
Thrown in a pile on the floor. Mr. McAllister hardly seems like the epitome of neatness.
You look at the stove
Covered with grime from a dozen meals. The place doesn't seem like it gets cleaned very often.
You open cabinet
You open the cabinet, revealing a knife.
You look at the knife
A large brutal bowie knife.
Clean stove
Are you kidding? This isn't even your place.
You examine table
The multitude of bottles, matchboxes, candlesticks and general junk on the table almost make it seem like someone has tried to create a model city out of the mess.
You look around
What a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.
3
You head towards the gambling joint.

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.

Camino - the owner of the club - is looking pensively at the roulette table.
You show the paper to Camino
He scans the letter and his eyes widen. "Where did you get this?"

"I never reveal my sources, Mr. Camino. Would you like to discuss the issue, or should I continue digging up dirt?"

"Not here. Come with me. We can discuss this in my office." He unlocks the small eastern door and enters.
You go to the east
(first opening the discreet door)

Neat. Everything here is neat. The stack of papers on the desk is so perfect that it looks more like a big white brick rather than the disorderly piles you see in most offices. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.

Camino is sitting behind the desk, waiting for your next move.
You look at the brick
The brick is painted a bright white color. The paint seem to have been applied recently. You wonder if it might still be possible to wipe it off.
You wipe the brick
You vigorously scrub the brick with the old rag. The paint comes off easily, and soon you are left holding a plain brown brick.
You talk to Camino
"You have my attention, Mr. Reilly. Do you have anything more for me?"
You throw the brick at Camino
You lack the nerve when it comes to the crucial moment.
You look around
Neat. Everything here is neat. The papers on the desk are neatly stacked. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.

Camino is sitting behind the desk, waiting for your next move.
You look at the papers
The papers are stacked on top of each other.
You go to the west
All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
4
You head towards the seedy bar.

The bouncer pats you down in front of the entrance.
The bouncer locates the revolver and confiscates it. "Sorry, Mister. No guns in the bar." Mr. Wesson manages to sneak in with you anyway. The bouncer easily locates the large conspicuous bowie knife. "Well, wadda we got here? Sorry, Mister. Can't have ya stabbin' the other patrons."
"Your belongings will be returned to you when you leave, Mister."

The thick cigarette smoke makes it almost possible to see more than a few feet ahead. It's like being trapped in a thick London fog. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.
You examine the fog
The fog is so thick that it seems like you could cut it with a knife.
You take the fog
It slips between your fingers.
You enter the fog
You are already surrounded by fog.
You talk to the bartender
"What do you want, buddy?" says the bartender.

"Actually I need some information. I am looking for Erik McAllister. I understand that he used to come here a lot?"

The bartender sneers. "No idea who you are talking about, buddy. Order something or get out."
You order the drink
You buy a cheap beer and drink it while your consider your options.
You talk to the bartender
You don't seem to be getting anywhere with him. Maybe if you could show him something to get his attention?
You show the paper to the bartender
The bartender reads the letter and laughs out loud. "HAHAHAHA. I knew a loser like McAllister couldn't keep a girl like that. I told him she was way out of his league, but he wouldn't listen."

"So you do know him?"

"Yeah, I guess you got me there, buddy. Look, I don't want any trouble. McAllister hasn't been around for the last couple weeks. You should talk to his friend; that brown haired guy over there with the scar. Leave me out of it."

He points at a place in the thick fog. If you only you could see anything, that might actually be helpful.
2
"Here you are, Mister," says the bouncer, and returns your weapons.

You head back to your office.

Shadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.

The office door to the north leads to the corridor outside.
Inventory
You are carrying:
a revolver
a knife
a figurative brown brick
a letter
a figurative dirty rag
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
a figurative vinyl record
some figurative coagulated blood
Clean knight
Maybe some other day.
You put the oil in the cocoon
(first taking the oil)

The white cocoon is already full.
You examine the lamp
The old dirty desk lamp struggles valiantly to light up the office, like an elderly knight fighting to keep the forces of darkness at bay.
You take the fluid out of the cocoon
I only understood the first part of that-- trying anyway.

(retrying as if you'd typed "take fluid.")
You carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.
You put the light on knight
(first taking the desk lamp)

Why would you want to carry around a desk lamp?
You need to be holding the desk lamp before you can put it on top of something else.
You put the oil in the cocoon
(first taking the oil)

Taken.
You put the oil on the wheels
The wheels look like they have been oiled recently.
You fix the chair
A good idea, but you will have to be more specific. How, exactly, are you going to accomplish it?
You examine the coin
A shiny penny, which has been apparently been stuck under your chair for quite some time. One side of it has been crushed, making it as sharp as the blade of a knife.
You take the knife
(the literal knife)
You already have that.
You examine the blade
Oh, how sharp it is. It seems like it could slice a hair into two.
3
You decide to check out McAllister's apartment.

The entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall.
You go east
What a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.
You give the coin to the beggar
The coin is real. The beggar is not.
You examine the coin
A shiny penny, which has been apparently been stuck under your chair for quite some time.
You check your inventory
You are carrying:
a figurative sharp knife
a coin
a revolver
a literal knife
a figurative brown brick
a letter
a figurative dirty rag
some figurative putty
a figurative white cocoon
a figurative vinyl record
some figurative coagulated blood
You cut the fog with the blade
Using the knife, you cut the fog into more manageable pieces, which quickly fade away.
Describe the surroundings
Cigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.

A brown-haired man with a scar is sitting at one of the tables by himself.
You talk to the man
(the brown-haired man with the scar)
You approach the man with the scar. "Excuse me. I am looking for a man named Erik McAllister. I was told you might know something."

He looks at you like one would look at a cockroach that has just slithered out from beneath the kitchen table. "I don't know nothin'. And even if I did, I ain't no snitch."

"I am looking for him for his own sake. I must insist that you tell me what you know."

He laughs. "Insist? You ain't in no position to insist on anything, Mister." He pulls open his coat, revealing a small knife hidden in the inner pocket. "Me and me friend here says you should probably get out of here. Unless you got something to back up your words?"
You examine the blade
Oh, how sharp it is. It seems like it could slice a hair into two.
Inventory
You are carrying:
a figurative sharp knife
a coin
a figurative brown brick
a letter
a figurative dirty rag
some figurative putty
a figurative white cocoon
a figurative vinyl record
some figurative coagulated blood
You show the letter to the man
(the brown-haired man with the scar)
He shows you his knife again. Doesn't seem like words alone will get his respect.
You examine the scar
Definitely from a knife wound.
You examine table
Cheap wooden tables who look like leftovers from a better establishment.
You give the coin to the man
(the brown-haired man with the scar)
the brown-haired man with the scar doesn't seem interested.
You examine the record
It is full of scratches. It probably won't be very pleasant to listen to.
You put the record on man
(the brown-haired man with the scar)
Making the brown-haired man with the scar sound like a scratched record would not be helpful.
You put the rag on man
(the brown-haired man with the scar)
The brown toupee is in the way.
You look at the toupee
Someone seems to have spilled some grey paint on the toupee.
You examine man
(the brown-haired man with the scar)
A broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is brown with some grey here and there. A vicious scar adorns his face; looks like a knife wound to you.
You put the rag on man
(the brown-haired man with the scar)
His hair is like a dirty rag on top of his head.
You look at man
(the brown-haired man with the scar)
A broad, muscular man who looks like he could crush your head like a grape with one of his hands. His brown and grey hair rests on the top of his head, like a dirty rag. A vicious scar adorns his face; looks like a knife wound to you.
You put the blood on the toupee
If you want to change his hair, just give the blood to Ronald.
You look at the bartender
A middle aged man who looks like he should be sitting at the other side of the bar. He eyes the patrons jealously as they sip their drinks.
You put the blood on man
(the brown-haired man with the scar)
The dirty rag is in the way.
You put the blood on Ronald
His hair is reddish brown, like coagulated blood.
You examine man
(the brown-haired man with the scar)
A broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is a reddish brown color, like coagulated blood. A vicious scar adorns his face; looks like a knife wound to you.
You take the blood
You like him better this way.
You put the rag on man
(the brown-haired man with the scar)
The coagulated blood is in the way.
You take the wound
It is there to stay, like all the wounds we receive in life.
Describe the surroundings
Cigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.

A brown-haired man with a scar is sitting at one of the tables by himself.
1
"Here you are, Mister," says the bouncer, and returns your weapons.

You decide to visit the Baron again.

The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
Go north
It almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.
Go up
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

Light seeps from the crack beneath the door to the west, like fluid from a leaky container.

You see Allan Jameson here.
You take the fluid
Taken.

You put the luminescent fluid into the white cocoon.
You show the letter to Baron
He reads the letter, and his face grows red. "I swear if that damn Scotsman has done anything to hurt my daughter, I will make him pay." His face grows pale once more. "Please find her as soon as possible, Mr. Reilly. Make sure that she is okay."
You examine Baron
Thin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. His hair is grey. His friendly smile lights up his face with a golden glow.
1
You head back to your office.

Shadows huddle in the corners; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.

The office door to the north leads to the corridor outside.
1
You decide to visit the Baron again.

The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
You look at the red marble
The floor is a conflagration of red marble. You can feel the warmth from the fire through your shoes.
You take the fire
The fire is way too hot. Carrying fire around with you would probably not be a good idea, anyway.
Go north
The grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass like scaly snakes, going nowhere and everywhere. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.
You examine the citizens
Equal in every way. Are they happy, you wonder, without the weight of individuality on their shoulders?
You talk to the citizens
"Beware the snakes," they tell you. Sounds like good advice.
You examine the snakes
They slither around in the grass, back and forth, unpredictably.
You take the snakes
With your bare hands? You have no idea how poisonous they might be. A single bite might be enough to kill you.
You look at grass
The grass has been meticulously groomed.
You examine the paths
Like snakes, slithering through the grass.
You check your inventory
You are carrying:
some figurative white marble
a revolver
a literal knife
a figurative dirty rag
a figurative brown toupee
a figurative sharp knife
a coin
a figurative brown brick
a letter
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
a figurative vinyl record
You cut the snakes with the knife
Which do you mean, the literal knife or the sharp knife?
Sharp
You stab the nearest snake with the knife. It writhes in pain and flees from the garden. The other snakes follow its example.
You look at the paths
The stones are like the scales of a giant snake.
You examine the fountain
The water pours from the trumpet into the air. The droplets rain down from above, glistening in the moonlight, like manna from heaven.
You examine the manna
A piece of white manna.
You look at the angel
Its eyes are closed; its wings spread behind it, as if it is preparing to take off once the trumpet has been emptied. Too bad it never will be.
You look at Water
The water is clear.
Drink water
It might look clean, but you doubt it is safe to drink.
You give the manna to the beggar
The beggar takes the manna and eyes it suspiciously. He tries a bite and his face lights up. "Thank you, good sir. This will help me get through the day. Please allow me to give you this in return." He hands you a tiny needle before disappearing down one of the streets.
4
You head towards the seedy bar.

The bouncer pats you down in front of the entrance.
The bouncer locates the revolver and confiscates it. "Sorry, Mister. No guns in the bar." Mr. Wesson manages to sneak in with you anyway. "Your belongings will be returned to you when you leave, Mister."

Cigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.

A brown-haired man with a scar is sitting at one of the tables by himself.
You take the needle
The knife is much more handy this way.
You show the knife to man
(the literal knife to the brown-haired man with the scar)
You open your coat, showing him the discreet knife hidden inside. His eyes open wide and then he laughs out loud. "I gotta give it to you, Mister. You have got some guts. I respect that. I am Ronald Ericksson. Call me Ronald if you want to."
You talk to Ronald
"Do you know where I can find Mr. McAllister?"

He shakes his head. "Nope, but I suspect he might be in trouble. I know he had been arguing lots with that broad of his lately. Then I start hearing rumors that he got into trouble with Camino, guy who owns the gambling joint down by the harbour, you know. That guy is trouble. I ain't afraid of him though. I've dealt with plenty worse in my time."
You talk to Ronald
"Sorry, Mister. That's all I know."
Examine bar
The bar is covered with unidentifiable grime.
3
"Here you are, Mister," says the bouncer, and returns your weapons.

You head towards the gambling joint.

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
Go east
Neat. Everything here is neat. The papers on the desk are neatly stacked. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.

Camino is sitting behind the desk, waiting for your next move.
You talk to Camino
"Mr. Camino, it has come to my attention that you had a beef with Mr. McAllister."

His eyes flash. "Who told you that?"

"I never reveal my sources. How about you tell me what you know? I can get on with my case, and we never have to see each other again."
You talk to Camino
"You have done a fine job digging up some pointless dirt, Mr. Reilly." His soft smooth voice surrounds you like a velvet blanket. "But I am afraid I see no hard evidence of any wrongdoing. If you discover any new information, do not hesitate to contact me."

The blanket closes around you, and you find yourself standing outside the door to the office. You don't quite remember what he said to make you leave, but he was very convincing.

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
You put the record on Camino
He clears his throat. The sound is like a record getting stuck.
You talk to Camino
"Just what do you think you are doing here, Mr. Reilly?" His voice is coarse and insecure, like a broken record. "Did you think this pointless slander would scare me?"

"Mr. Camino, I have no interest in scaring you. I am simply trying to locate Miss von Bülow. If you could help me out, I assure you that I won't bother you again."

His voice is almost a growl. "Oh, you won't bother me again. I am not worried about that at all. ALFONO!"

The door opens and the man in the pinstriped suit enters the room. Without a word, he grabs your arm and escorts you out of the office.

You feel like you are missing something. Perhaps you should explore more and make sure you have found everything?

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
You check your inventory
You are carrying:
a revolver
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a figurative sharp knife
a coin
a figurative brown brick
a letter
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
You go east
(first opening the discreet door)
It seems to be locked.
You examine Door
Which do you mean, the discreet door or the massive double doors?
Discreet
A small door that almost seems to blend in with the wall.
You examine the massive doors
Massive wooden doors that look like a battering ram would shatter against them.
You examine the chandelier
A giant crystal chandelier hangs from the ceiling, like a intricate icicle formation.
You take the formation
It is too far up. If you had someone to help you, you might be able to reach it together.
You take the formation
Mr. Wesson nods. "I think I might just be able to reach it if you help me, sir." You let him climb up on your shoulders and just barely manage to lift his weight. He reaches towards the icicle. You struggle to keep your balance, and for one precarious moment it seems like you are going to end up in a pile on the floor. Then Mr. Wesson deftly breaks off an icicle and jumps down. He hands you the icicle. "Here you are, sir."
You look at the icicle
A cool beautiful icicle.
Look around
All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
Gamble
You believe in never gambling what you cannot afford to lose. And you can't afford to lose anything.
You examine the brick
The brown brick is dry and porous. You can almost feel its thirst.
Go north
The grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass; the stones are like scales left behind by a giant snake. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.
Go west
(first opening the west door)

A large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.
You enter the bed
No way. That bed would eat you alive.
You turn off the lamp
It would be pitch dark in here without the light from the lamp.
You examine the window
From here you can see the front garden. The path winds towards the gates leading away from the mansion.
You go east
From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.

The door to the west is standing wide open.

You see Allan Jameson here.
You examine the railing
The railing is cool to the touch.
You examine french doors
The glass is so clean that it is almost invisible.
You examine the mahogany
Two massive dark mahogany doors.
Go south
The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
You examine the gate
The path winds south towards the gate.
Light
(the brown brick)
This dangerous act would achieve little.
You look at light
(the luminescent fluid)
A kind of luminescent fluid.
You talk to Wesson
"I can't think of anything, sir. Maybe, if we went somewhere else, I could get some ideas?"
You look at Door
Which do you mean, the Eastern Door, the Entrance Door, or the Toilet Door?
Go north
I only understood the first part of that-- trying anyway.

(retrying as if you'd typed "x n.")
You see nothing unexpected in that direction.
You examine the toilet door
A plain door with a sign saying "Toilet"
You examine the sign
"Toilet"
You take the sign
What on earth would you want that for?
You enter city
The sun bakes down on the city from above. Streets wind in every direction among the buildings. Close to you, a majestic minaret reaches towards the sky.
You examine the sun
Not a single cloud obscures its merciless rays.
Go north
You would soon get lost in the maze of twisty streets and alleys. Better to stay here. (If you want to get back to the living room, just type "exit".)
Go upwards
From here the entire city is stretched out beneath you. The streets are empty.
You examine the jacket
An old worn denim jacket.
4
You head towards the seedy bar.

The bouncer pats you down in front of the entrance.
The bouncer locates the revolver and confiscates it. "Sorry, Mister. No guns in the bar." Mr. Wesson manages to sneak in with you anyway. "Your belongings will be returned to you when you leave, Mister."

Cigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.

Ronald Ericksson is sitting at one of the tables by himself.
You examine people
A wide variety of shady people occupy the bar.
You examine Ronald
A broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is a reddish brown color, like coagulated blood. A vicious scar adorns his face; looks like a knife wound to you.
You talk to Wesson
"You should take the scale from the stone paths, sir. It might be useful later."
You look at the scale
A single scale left behind by a fleeing snake.
You look at the path
The stones are like the scales of a giant snake.
You check your inventory
You are carrying:
a figurative snake scale
a revolver
a figurative icicle
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a figurative sharp knife
a coin
a figurative brown brick
a letter
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
You go south
The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.

The shadows part and the man in the pinstriped suit steps forward. He is holding a gun.
You examine man
His tailored pinstriped suit makes him seem like a businessman on his way to accept his next promotion. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.
You look at the gun
(the 22 revolver)
A small .22 revolver. Bad news; it means he is good enough to get by with that much gun.
Shoot man
He is holding you at gunpoint. You would be dead before you could even the gun out of your pocket. You will have to distract him somehow. Maybe you could throw something at him?
You check your inventory
You are carrying:
a figurative snake scale
a 38 revolver
a figurative icicle
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a figurative sharp knife
a coin
a figurative brown brick
a letter
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
You throw the coin at man
You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and bounces harmlessly off his neck. If only it was sharper. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.
You put the sharp knife on the coin
The coin is sharp as a knife.
You throw the coin at man
You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.
You look at the businessman
A well dressed gentleman who looks like he never lets his emotions interfere with business.
Inventory
You are carrying:
a figurative snake scale
a 38 revolver
a figurative icicle
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a coin
a figurative brown brick
a letter
some figurative putty
a figurative white cocoon
some figurative luminescent fluid (providing light)
Go north
His gun barks once, and once is enough. If only you could have distracted him somehow.
You examine the snake
(the black snake)
A smooth black snake.
You take the snake
(the snake scale)
You already have that.
You take the black snake
The smooth snake slithers between your fingers and escapes.
You put the scale on the black snake
You put the scale on the black snake, but it just slides off the smooth skin. If only you had some way of making it stick.
You put the putty on scale
You carefully attach the putty to the back of the scale. Now it should be able to stick to anything.
You put the scale on the black snake
The black snake is rough and scaly.
You take the black snake
"Hissss," You quickly withdraw your hand.
You look at what you're carrying with you
You are carrying:
a 38 revolver
a figurative icicle
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a coin
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You put the rag on the snake
Which do you mean, the black snake or the snake scale?
You talk to the businessman
"Please don't take this personal, sir. It's just business."
You put Wesson on businessman
(first taking Mr. Wesson)

I don't suppose Mr. Wesson would care for that.
You need to be holding Mr. Wesson before you can put him on top of something else.
You talk to Wesson
"He is too efficient, sir. Maybe you can scare away the businessman that makes him so? Try attacking the businessman."
You throw the coin at the businessman
You lack the nerve when it comes to the crucial moment.
You hit the businessman with the knife
(the literal knife)
The literal knife is real. The businessman is not.
You hit businessman with the sharp knife
The businessman deftly avoids your attacks. "There is no need to get aggressive, sir. It's just business." If only you were a better fighter, you might be able to take him down. Maybe Mr. Wesson would have better luck?
You hit the businessman with the sharp knife
(Mr. Wesson first taking the sharp knife)
"If you want me to have the sharp knife, you should give it to me, sir."
You give the sharp knife to Wesson
"Thank you, sir. Let me know if you want me to attack someone."
You attack businessman
You both advance on the businessman. Mr. Wesson is brandishing the knife. You follow not far behind him. The businessman looks from one of you to the other, and his professional demeanor evaporates. "Look, I don't want any trouble. This really isn't any of my business." With that, he disappears into the shadows.
Attack snake
Which do you mean, the black snake or the snake scale?
You give the knife to you
(the sharp knife to yourself)
"Of course, sir. Here you are."
You put it on the coin
The coin is sharp as a knife.
You examine the carlo
He is wearing a pinstriped suit. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.
You hit snake with the icicle
(the black snake with the icicle)
You can't use the icicle as a weapon.
You take the snake
(the black snake)
"Hissss," You quickly withdraw your hand.
You give the icicle to the snake
(the black snake)
That would not be a very good simile.
You look at what you're carrying with you
You are carrying:
a 38 revolver
a figurative icicle
some figurative white marble
a literal knife
a figurative dirty rag
a figurative brown toupee
a coin
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You put the snake in the cocoon
(the black snake in the white cocoon)
The white cocoon is just a simile. It can't contain literal objects.
You kill the snake with the knife
(the black snake with the literal knife)
The knife is real. The snake is not.
You kill the snake with the blade
(the black snake with the sharp knife)
The snake nimbly avoids your attacks.
You show the coin to the black snake
The black snake is unimpressed.
You look at the icicle
A cool beautiful icicle.
You give the marble to the snake
(the black snake)
Making the black snake as smooth and hard as marble would not be helpful.
You examine the letter
The writing is almost illegible, but you manage to decipher it.

"Lisa

I know you have something going on with that bawbag Camino. Don't try to deny it I have seen how you flirt and god knows what else you are doing. You are not gonna do that no more or im gonna have to take matters into ma own hands.

Erik."
You talk to Wesson
"It is still futile to attack him while he is holding us at gunpoint, sir. You will have to distract him somehow."
You throw coin at carlo
You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He cries out in pain, and instinctively reaches for the wound. His gun points towards the clear night sky. His moustache gleams in the moonlight.
You shoot carlo
It's tempting, but dead men tell no tales. You want to take him alive.
You cut the moustache with the knife
(the literal knife)
That seems like a bad idea.
You throw the knife at Carlo
(the literal knife at Carlo Alfono)
Nice try, but he executes you as soon as you pull the knife. Perhaps you should try a more discreet object?
You take the moustache
While he is distracted, you grab his moustache and pull as hard as you can. He roars in pain and the gun drops to the ground. It doesn't take long before your roles are reversed.

"Who sent you?" you ask. He merely stares at you, without a word. "Tell me what I want to know, and I might let you live." You can tell he knows you are bluffing. You are no murderer.

It's a moot point anyway. You can hear the police sirens approaching in the distance. Someone from the mansion must have noticed the commotion. The police will have to deal with him.

Copernik's Office (on your chair)
This small cramped office is just large enough to fit in a desk and two chairs. The walls are yellow from cigarette smoke. 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 look at Copernik
A huge man, almost as broad as he is tall. His eyes are piercing; his hair, jet black.
You talk to him
You have been talking for what seems like hours already. What more does he want to know?

"I have already told you what happened, Detective. Why don't you just let me go now and we can both get some sleep?"

Detective Copernik lights yet another cigarette and blows a ring of smoke at your face. It dissipates before it reaches you, merging with the grey substance that passes for air in here. "I just want to make sure I have all the facts straight here. Private dicks always complicate matters. We tell people they should just let us do our jobs, but they never listen. So, you visit this Camino fella about Miss Bülow. You get him angry, and shortly afterwards his goon tries to kill you?"

"That's correct. Has Mr. Alfono said anything?"

He leans back in his chair. "We are actively pursuing all leads. Now, I am wondering why Mr. Camino would want to have you killed merely for asking a few questions. Would it surprise you to hear that we are also looking for Miss Bülow? The Baron filed a missing persons report."

That does surprise you. "That doesn't surprise me."

"I should have known he would hire a private dick as well. These old rich guys never trust the authorities. Now that you are involved, we might as well make the best of it. Why don't you tell me everything you know?"
You look at the bodies
They are at peace. The fire in their hearts died aeons ago.
You look at the desk
A flat piece of wood resting on four wooden legs. That is all.
You talk to Copernik
"Detective, I have already told you everything I know. Keeping me here serves no purpose."

"I don't think so," he says. His eyes are fixed at your face. "You people always hide something. Why don't you tell me what it is so you can get out of here? I am used to staying in this crappy office. I am sure you are more uncomfortable than I am."

He is right. The cramped room. The yellow walls. Everything contributes to the claustrophobic atmosphere.
You examine the walls
They might have been white in the distant past, but they have long since turned a sickly yellow color from the cigarette smoke - like the skin of a man slowly dying from liver cancer.
You look at the skin
He is delirious from fever. He clearly doesn't have long left to live.
You talk to the skin
He is delirious. You can't make sense of anything he is saying.
You check your inventory
You are carrying:
a revolver
a figurative icicle
some figurative white marble
a knife
a figurative dirty rag
a figurative brown toupee
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You put the toupee on Copernik
His hair is getting grey.
You examine Copernik
A huge man, almost as broad as he is tall. His hair is getting grey. His eyes are tired.
You take the toupee
You like him better with it.
You search the bodies
They are at peace. You don't want to disturb them.
You talk to Copernik
You are not getting anywhere. The atmosphere in here just isn't made for friendly conversation.
You look around
Copernik's Office (on your chair)
This small cramped office is just large enough to fit in a desk and two chairs. The walls are yellow from cigarette smoke. 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 look at the ashtray
The "ashtray" is an amorphous blob of congealed clay shaped so that it can just barely keep its contents from spilling all over the desk. It is filled with ancient cigarette butts, resting in the recess, like mummies from long forgotten eras.
You go west
You wish you could just leave and go home. Alas, the Detective does not look to be done with you yet.
You check your inventory
You are carrying:
a revolver
a figurative icicle
some figurative white marble
a knife
a figurative dirty rag
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You give the icicle to the skin
The icicle will burn him if it touches him directly.
You put the icicle on the rag
You carefully wrap the icicle in the rag.
You give the rag to the skin
(first taking the dirty rag)
That would not be a very good simile.
You look at what you're carrying with you
You are carrying:
a figurative dirty rag
a revolver
a figurative icicle
some figurative white marble
a knife
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You give it to skin
With the icicle carefully wrapped in the rag, you touch it to his forehead. There is a sigh of relief as his skin cools. A sizzling sound emerges from within the rag as the icicle melts, evaporates, and dissipates. The man opens his eyes - the color has returned to his skin.

"Thank you, friend," he says, and smiles. "I feel much better now. I should probably go see my doctor." With that, he gets up and leaves the room. You are left holding the empty rag.
Look around
Copernik's Office (on your chair)
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 talk to Copernik
"Detective, I really have told you everything. I think we are both going to solve this case much faster if you just let me go."

He smiles. "I suppose you are right. Whatthehell, I am in a good mood today. You can go, Mr. Reilly, as long as you promise to keep me up to date if you manage to dig up some more information."

You stand up and shake his hands. "Of course, Detective."

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.
3
You head towards the gambling joint.

All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
You go east
(first opening the discreet door)
It seems to be locked.
Inventory
You are carrying:
a figurative dirty rag
a revolver
some figurative white marble
a knife
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
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 show the letter to Copernik
He reads the letter without much interest. "Nice find, Mr. Reilly, but my gut tells me that Camino is behind the girl's disappearance. McAllister is too much of a loser to pull of something like this."
You go north
The grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.
O brick
You can only do that to something animate.
You talk to Copernik
"Think about it, Detective. I do all the hard work. You get all the credit. I get my paycheck and everyone is happy. What do you say?"

He sighs. "I guess you have a point. I am getting too old for this shit. Look, I am afraid we don't know much more than you do. All I can tell you is that Camino owns a vacation home on the outskirts of the city. I haven't had time to check it out yet. Why don't you do it and tell me if you find anything?"
6
You head towards the vacation house.

The moonlight filters through the trees like silvern waterfalls. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.
You examine the waterfalls
The liquid shines with a light that seems to come from within.
You examine the windows
Through the windows you can make out Camino arguing with a young girl you can only assume must be Lisa von Bülow. Bingo.
You examine Door
A sturdy front door. It is all that stands between you and your target.
Inventory
You are carrying:
a figurative dirty rag
a revolver
some figurative white marble
a knife
a figurative brown brick
a letter
a figurative white cocoon
some figurative luminescent fluid (providing light)
You open Door
You open the front door.
Go north
So this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.

Camino is looking straight at you. His face is contorted in a mixture of anger and surprise.

Lisa von Bülow is smiling, and looking at you as if you were a new plaything.
You look at Lisa
Built like a mountain road, full of dangerous curves - drive too fast and you might go right over a cliff. A sly smile plays on her face.
You look at the road
The road goes up, twisting around the mountain. There is no telling where it ends. Maybe you should check it out?
You enter Road
On the Mountain Road (in the car)
The road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.
You go north
Farther Along the Mountain Road (in the car)
The road continues to the west before ending abruptly in a road block. A police cruiser is parked behind the road block, its emergency lights silently illuminating the road. To the east, the road leads back down the mountain.

A police officer is leaning against the cruiser.
You examine the officer
A tall fit man in a police uniform. He looks like he has dealt with far worse than you.
You talk to the officer
"The road is closed, sir," says the officer. "There has been a rockfall farther along the road. It's not safe to drive here."
You continue
"I know what I am doing, officer. Why don't you just let me through? I am fine with the risk."

He shakes his head slowly. "Sorry, sir. I would be held responsible if you got hurt."

"And there is nothing that can change your mind?"

"That depends..." He smiles. "Wadda ya got?"
You examine the cruiser
A blue and white police cruiser.
You examine the roadblock
"Road Block," says the sign. That's a road block, all right.
You talk to the officer
"If you want me to risk my job, you gonna have to give me something in return, Mister."
You give the marble to the officer
"What on earth would I want with that?"
You give the fluid to the officer
(first taking the luminescent fluid)
You carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.
You examine the car
Old, a bit worse for wear, but reliable. Like you, really.
You put the river in the cocoon
The white cocoon is just a simile. It can't contain literal objects.
Exit
The moonlight filters through the trees like silvern waterfalls. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.
You put the waterfall in the cocoon
(first taking the liquid silver)

The white cocoon is already full.
Empty cocoon
You carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.
You put the silver in the cocoon
(first taking the liquid silver)

Taken.
Go north
So this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.

Camino is looking straight at you. His face is contorted in a mixture of anger and surprise.

Lisa von Bülow is smiling, and looking at you as if you were a new plaything.
You enter Road
On the Mountain Road (in the car)
The road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.
You give the cocoon to the officer
(first taking the liquid silver)
His eyes light up with greed as you show him the silver. "Wow, that'll certainly do the job, Mister. Thanks a lot." He pours the silver into a canteen, and secures the lid. "I can't wait to find out how much that will be worth. Enjoy your mountain trip, Mister." He removes the road block, gets into the cruiser, and drives down the road, disapearing around the corner.
You look at what you're carrying with you
You are carrying:
a figurative dirty rag
a revolver
some figurative white marble
a knife
a figurative brown brick
a letter
a figurative white cocoon
You go to the west
Even Farther up the Mountain (in the car)
The road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.
You look at the cabin
(the log cabin)
An old-fashioned log cabin; the kind that William Henry Harrison wasn't born in. There is light coming from the windows.
You look at the windows
An old-fashioned log cabin; the kind that William Henry Harrison wasn't born in. There is light coming from the windows.
You examine the rocks
A giant pile of big heavy rocks blocks the road. There is no way you are getting past here.
You enter the cabin
(the log cabin)
The car won't fit through the door.
You exit
You get out of the car.

The road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.

You see your car here.
Go east
(first opening the cabin door)

The warm air in the cabin caresses your face. The heat comes from a cozy fireplace fire that fills the cabin with a soft warm light. An old couch stands by one of the walls. On the couch table are two glasses of brandy.
You look at the couch
(the old couch)
An old worn couch that seems like it has been used by generations of log cabin owners.
You examine the brandy
(the first glass of brandy)
A glass of brandy.
You examine the fireplace
A crackling fire keeps the log cabin warm.
You examine table
A simple wooden couch table.
You take brandy
(the first glass of brandy)
You pick up one of the glasses of brandy. Mr. Wesson takes the other.
You taste the brandy
(the first glass of brandy)
You taste nothing unexpected.
You taste the brandy
(the first glass of brandy)
Mr. Wesson has better things to do.
You sip the brandy
(the first glass of brandy)
Yes
He has served you well for so many years. You can't bear to refuse him.

A smile lights up his face. "Thank you, sir. You can still visit me any time you want if you need my advice."
You talk to Wesson
"You will have to get rid of Camino before you can talk to Lisa, sir. Maybe try attacking him?"
You look at Wesson
Mr. Wesson is lounging on the couch. He looks content.
You look at the couch
(the old couch)
An old worn couch that seems like it has been used by generations of log cabin owners.
Look around
The warm air in the cabin caresses your face. The heat comes from a cozy fireplace fire that fills the cabin with a soft warm light. Mr. Wesson is lounging on the couch in front of the fireplace.
Leave
The road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.

You see your car here.
You look at the gun
A .38 revolver. What more do you need to know?
You examine Mountain
The peak of the mountain is lost in the clouds.
You go north
It is too far to walk.
You examine the car
Old, a bit worse for wear, but reliable. Like you, really.
You enter the car
You get into the car.
Go north
Farther Along the Mountain Road (in the car)
The road continues to the west before turning around another corner. The path ahead is clear. To the east, the road leads back down the mountain.
Go east
On the Mountain Road (in the car)
The road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.
You examine the walls
Impenetrable.
You go south
So this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.

Camino is looking straight at you. His face is contorted in a mixture of anger and surprise.

Lisa is smiling nervously and looking at Camino, like a servant girl waiting for her master to handle matters.
You talk to Camino
"You again?" he says. "I thought Alfono would have taken care of you by now."

You shrug. "I am tougher than I look. If you have other employees you need to get rid of, feel free to send them my way. Now, I think it's time for Miss Bülow to go home."

He laughs. "She is not going anywhere. Now scram, or I will deal with you myself."
You hit Camino with the knife
You are not sure you can take him in a fair fight. You need to find a weak spot.
You examine Camino
A tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A scar crosses his left cheek, like a canyon in the middle of an otherwise pristine African savanna.
You look at the hat
A stylish beige trilby hat.
You examine the suit
A beige suit.
You look at the savanna
The savanna is dry, with only a few clumps of grass bravely clinging to their lives. The sun beats down mercilessly from above. You see no signs of animal life.
You rub the rag on the brick
I only understood the first part of that-- trying anyway.

(retrying as if you'd typed "rub rag.")
You achieve nothing by this.
You examine the brick
The brown brick is dry and porous. You can almost feel its thirst.
You go south
The moonlight shines through the treetops. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.
You take the oil
Taken.

You put the oil into the white cocoon.
You put the oil on the brick
You pour the oil on the brick. The viscous black fluid is quickly absorbed. The brick is now as black as midnight.
6
You head towards the vacation house.

The moonlight shines through the treetops. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.
Go north
So this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.

Camino is looking straight at you. His face is contorted in a mixture of anger and surprise.

Lisa is smiling nervously and looking at Camino, like a servant girl waiting for her master to handle matters.
You put the brick in the river
You throw the oily brick down the canyon, and can just barely make it out hitting the river far, far below. The effect is immediate: The oil spreads quickly, and within moments the previously pristine profluence is black with pollution. You say a quick prayer for the poor fish who might have lived there. They never saw it coming.
You look at Camino
A tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A gangrenous wound crosses his left cheek, like a polluted river.
You cut wound with the knife
That seems like a bad idea.
You hit Camino with the knife
You are not sure you can take him in a fair fight. You need to find a weak spot.
You take the knife
You already have that.
You throw the knife at the wound
Futile.
Hit the wound
Before he has a chance to react, you reach out and rip some of the gangrenous flesh off his face. He should be thankful, really, but as he drops screaming to his knees with blood flowing from his cheek, you are sure that gratitude is the last thing on his mind. Lisa looks at him with contempt. "Is that really the best you can do?"

He turns towards towards her; his face, a mask of rage. "YOU STUPID BITCH! I help cover up the murder of your pathetic boyfriend, and I have got nothing but misery to show for it. I am not going to risk my life for your sake anymore."

He gets up, covering the wound with one hand, adjusting his hat with the other. "She is all yours, mister detective. Just keep her out of my sight." With that, he disappears out the door.
You talk to Lisa
"Okay, Miss von Bülow, you've had your fun. Time to go home."

She looks at her feet and chews at a bit of hair. "I am sorry I ran away, but I was so scared. I didn't mean to kill Erik. We were arguing and..." She sobs.

"Don't worry about it," you say, and take her hand. "I am sure your father will be able to sort things out."

Bookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.

Mr. Jameson is standing by the door.

Detective Copernik is standing next to the Baron.

Lisa von Bülow is standing in front of her father, awaiting her judgement.

The Baron sits in a black leather easy chair on the east side of the room.
You talk to Baron
Lisa looks pleadingly at her father. His face melts in the glow from her eyes, and he smiles.

"Lisa, I have spoken to the detective, and I think we have reached an understanding."

Copernik nods. "It is obvious that your daughter was being framed by Mr. Camino. No one could possibly suspect such an innocent creature. I will see to it that Camino is brought to justice for the murder of Erik McAllister. At the very least, you have no reason to worry, miss."

She smiles. The kind of smile that wars have been fought over. "Thank you so much, Detective. You should come visit me some day. We could have lots of fun."

"Well... I... Ehm..." The detective leaves the room without ever finishing the sentence.

The Baron hands you your check. "Thank you so much for bringing my daughter back, Mr. Reilly. You can't imagine how much that means to me."

"I was only doing my job," you assure him, as you accept the check. No need to get personal.

Your Office (on the office chair)
Shadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. A cigarette butt smolders in the ashtray, like the last embers from a dying camp fire. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.

The office door to the north leads to the corridor outside.

There is a knock at the door.
You open Door
You get off the office chair.

The door opens and your doctor enters the room.
You examine doctor
A fine medical professional, no doubt. If only he wouldn't try to interfere with your life all the time.
You talk to the doctor
He looks around the office. "It stinks in here."

It's the oil. It stinks up the place.

"Have you been sitting in your office all day?"

Of course not! You tell him all about the case. The Baron, the missing daughter, the treasure hidden beneath the lake. Everything.

There is sadness in his eyes. "I spoke to Mr. Jameson. He mentioned that you did not seem well."

What an asshole. You solved the case, didn't you?

"I really wish you would listen to my advice. You need to take your medication every day. Lytton-Chandler syndrome is no joking matter."

Absolutely. You will make sure to remember it from now on.

"Very well." He sighs. "I will stop by and see how you are doing next week." He leaves, closing the door behind him.

He is okay, though, just way too pedantic. You don't need to take it every day. You work much better without it.