Recluse
Stephen Gorrell
TADS TADS 3
A text adventure in the classic Infocom style. It begins with you delivering a sealed package, contents unknown, to J. Daggett Winton, noted archeologist, explorer, inventor, mathematician, philosopher,... and recluse.
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J. Daggett Winton, archeologist, explorer, inventor, mathematician, philosopher. Director, Winton Antiquities Research Foundation. Chairman of the Board, Winton International. Holder of thirty-seven patents in fields as diverse as Genetics and Game Theory. Rumored to have the largest privately-held collection of historical artifacts in the world.

You're looking forward to the chance to actually meet the legendary man. Your errand is trivial - special private courier assigned to deliver a small, sealed package, in-person delivery required, contents unknown. Your task is made a bit more difficult because immediately following the death of J. Daggett's lovely young bride Emmeline some three years ago, he quietly withdrew into the depths of his magnificent Gothic mansion, and no one has had any direct contact with him since.

Following his withdrawal, the world added one more title to Mr. Winton's extensive list of accomplishments...

Ver. 1.0, 03-18-2008

You are standing before the main entrance to a huge, foreboding Gothic mansion. A massive pair of solid oak doors leads inside. To the south marble steps lead down to the gravel driveway behind you. At the moment the doors are closed, and there is no one in sight. There is a polished brass plaque mounted on the wall next to the doors.

Your car broke down a mile up the road, and you're eager to complete your delivery and get started on your long walk back to town. You can't see a bell or buzzer of any kind near the doors, so you might as well try knocking.

(First-time players are encouraged to view the TIPS before proceeding.)
You check your inventory
You are carrying a package.
You examine package
The package is about ten inches long by eight wide, and nearly two inches thick. It is securely wrapped in plain brown paper. It's moderately heavy for its size, and doesn't rattle when shaken. If you had to guess you would say it was a book. There's something printed on it.
You read it
URGENT!
Deliver to: J. Daggett Winton
PERSONAL and CONFIDENTIAL
You examine the plaque
Like most plaques it has something engraved on it.

NO Soliciting!

My, what a cheery little omen.
You look at the door
The oak doors tower over you, dark and foreboding. They're closed.
You knock on door
Ignoring a growing sense of impending doom, you reach out and firmly rap your knuckles on one of the doors. The sound is surprisingly loud. You can hear it echoing down the long empty corridor on the other side. You hold your breath. Nothing happens. You put your ear to the door. Not a sound. Maybe there's nobody home. No, wait. Sounds like footsteps approaching. Yes, definitely footsteps. Long, slow, thudding ones. Uh oh...

The doors slowly creak open to reveal a heavyset oriental in a tuxedo, probably the butler. He bears a remarkable resemblance to Oddjob from the James Bond movie Goldfinger. He is not smiling, which is just as well. He probably only smiles while he's torturing salesmen. You try not to think about it.

"Uh... Hi there. Is Mr. Winton in by any chance?"

In one powerful motion, the butler reaches out, grabs the front of your shirt, and lifts you six inches off the ground. Holding you at arms length, he demands thickly, "You have appointment?"

You can hear yourself stammering. "Uh... Well actually, no. But you see I have this package..."

The butler's scowl darkens. Your eyes widen. A moment later you're flying through the air. You have been bodily hurled right off the steps! You barely have time to hear him growl, "Next time, have appointment," behind you before the gravel driveway floats up to meet your pointy head and knocks you silly.

After regaining consciousness the first thing you notice is a pair of shiny black boots just inches in front of your eyes. You hear the metallic snick of a spring-loaded carpenter's tape-measure retracting into its case, followed by a rumbling chuckle. The butler, who has been squatting beside you, stands and pulls a little spiral notebook from his pocket. He makes an entry, then to nobody in particular states, "Sixteen feet, six and one-half inches. New record!" The boots turn and disappear from your line of sight, and you hear him crunching his way back up the driveway.

You hear the mansion door slam shut, and he is gone.

The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.

You see a business card here.
You look at the card
It's a standard business card. It must have fallen out of the butler's pocket when he pulled out his spiral notebook to write down his new record.

PLASTI-SIDE, Inc.

Guarantee!

Dwayne R. Splatz
Customer Representative
(800) 555-KOTE

Hmm... Looks like some poor siding salesman didn't read the plaque. Oh well, not your problem. On the other hand, at least he managed to get himself taken inside. Which gives you an idea...

If you just had a few simple props you could easily impersonate a salesman, knock on the doors, and in you'd go. You already have a good start in the business card. Maybe you can find some more of Mr. Splatz's stuff. Yeah, that's the ticket!

As you look around to see if there's anything else nearby it occurs to you that you also might want to find some way to protect yourself once you're inside - just in case that torture stuff turns out not to be somebody's idea of a lame joke.
You take the card
Taken.

(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)
You examine the trees
Every tree here looks pretty much like every other tree here, namely, tall and green. None are very close to the driveway or paths though. The groundskeeper must keep them cut back.
You look at the hedge
The hedge is very neatly trimmed and much too thick for you to shove your way through.
You examine the path
The path is paved with smooth gray flagstones. It passes through the hedge to the west.
You look at the house
Huge. Imposing. More of a palace than a house. Commissioned by Darren Lamont Winton III, J. Daggett's great-grandfather. Designed by noted architect James Renwick, Jr. (1818-1895). Built in the latter 1800's at the height of the Gothic Revival period. The site selected was the top of a cliff overlooking the ocean, backed by five hundred densely wooded acres. Like all great estate houses it has a name. It is called Seacliff.

The building itself is constructed from dark gray granite. There are multiple towers and row upon row of tall, narrow arched windows. Stonework tracery adorns the walls, eaves, and towers.
You go to the north
You ascend the marble steps, arriving at...

You are standing before the main entrance to a huge, foreboding Gothic mansion. A massive pair of solid oak doors leads inside. To the south marble steps lead down to the gravel driveway behind you. At the moment the doors are closed, and there is no one in sight. There is a polished brass plaque mounted on the wall next to the doors.
You go west
You'll have to descend the steps first.
You go to the south
You descend the marble steps, arriving at...

The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.
Go east
The driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.
You look at the outbuilding
It's hard to be sure from here but it looks like it might be a garage.
Go north
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The hedge continues along the driveway to the garage. However, unlike the hedge in other parts of the estate, this one is rather badly overgrown. The driveway leads back to the south.
You examine the garage
The garage probably started as a carriage house and was converted for automobile use once they became the preferred method of transportation. It has the same distinctive architectural style as the mansion, however its original wooden carriage doors have been replaced with modern steel ones.

The word "recap" is not necessary in this story.

(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)
Enter
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. A large red tool cabinet has been rolled up next to the Jaguar. The lift is currently down.

A battered old canoe hangs on the wall in bay four.

A bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.
You examine the cabinet
The tool cabinet is about four feet tall, red, and mounted on casters so that it can be rolled up next to whatever needs to be worked on.
It has a flat painted top, four standard drawers for wrenches, sockets, and the like, and one deep bottom drawer for storing bulky items. All drawers are secured by a single small silver lock.

Scratched into the paint next to the lock is a small symbol. It looks like the Greek letter Psi, which happens to resemble a trident. The tool cabinet is closed and locked.
You examine Jaguar
The E-Type is a real beauty. Often called an XKE in the States, this appears to be an immaculately-restored early Series I roadster done in British racing green with a biscuit leather interior. It has the E-Type's distinctive long rounded bonnet, oval air intake, and wire wheels. It appears to be the same model as Austin Powers's "Shaguar," but you decide it looks much better without the Union Jack paint job.

The top is up and the doors are locked. It is currently on the lift which is down.
You examine the canoe
The two-man aluminum canoe hanging from a wall rack in bay four is old and battered. It's had a few to many close encounters with jagged rocks, one of which no doubt ripped the gaping hole you can see in its bottom. It's hanging bottom-outward and stored up high to keep it out of the way.
You look in the canoe
The hole is too high for you to be able to see into from the garage floor.
You look in the hole
You lean forward and peer through the hole in the bottom of the canoe. It takes a moment for your eyes to adjust to the dim interior. After looking for a bit you notice the shadowy outline of a paddle lying along the lower side of of the canoe.
You take the paddle
You reach into the hole and grab the paddle. It's longer than the opening and takes a bit of juggling, but you finally manage to slip it out of the canoe.
You look at the bike
The bicycle is a 50's Schwinn Black Phantom. It has red pinstriping and lots of chrome trim. The seat is large and comfortable, and its spoked wheels are decked out in white wall street tires. The front fender has an integrated headlight, and the rear has an integrated tail light and reflector. Like many 50's bikes there's a sleek horntank mounted under the frame's top tube to give it a bit of a motorcycle look. The classic Schwinn cross-in-a-circle logo adorns the chain guard.

The one piece of non-standard equipment on the bike is a small leather pouch attached to the back of its seat. The Schwinn's front wheel is secured by a bicycle lock.
You open the pouch
(first getting out of bay four, then standing in bay two)
Opening the leather pouch reveals an inner tube patch.
You take the patch
Taken.
You examine patch
The patch is one of the new "peel and stick" patches. No adhesives or matches required.
You examine the headlight
(the Schwinn's headlight)
The Schwinn's headlight is turned off
You take it
You can't have that; it's part of the bicycle.
You examine the bay 1
Aside from the varying patterns of oil stains on its floor, bay one look pretty much like the others.
You examine the bay 2
Aside from the varying patterns of oil stains on its floor, bay two look pretty much like the others.

A bicycle is parked next to you in bay two. Its front wheel is secured by a bicycle lock.

You are standing in bay two.
You look at the bicycle lock
The lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently attached to the Schwinn's front wheel and locked.
You examine the bay 3
Aside from the varying patterns of oil stains on its floor, bay three look pretty much like the others.
You look at the bay 4
Aside from the varying patterns of oil stains on its floor, bay four look pretty much like the others.

A large red tool cabinet sits under the canoe.

A battered old canoe hangs on the wall in bay four.
You look at the bay 5
Aside from the varying patterns of oil stains on its floor, bay five look pretty much like the others.
You examine the bay 6
In the service bay are a Jaguar on a lift (currently down), and an air compressor for running pneumatic tools.
You look at the lift
The hydraulic lift is the same type found in service stations and auto repair facilities everywhere. Its control panel is mounted to the east wall of the garage. A Jaguar E-Type is parked on top of it. It is currently down.
You examine the panel
(first getting out of bay two, then standing in the service bay)
The lift control panel is mounted to the east wall of the garage. It would normally have two buttons, one marked UP and one marked DOWN, however there's an empty hole where the UP one should be. The panel's maintenance cover is currently held closed by a stripped-out sheet metal screw. The panel has a red tag hanging from it.
You examine the screw
The screw appears to be a standard slotted sheet metal screw. It's head has been stripped out.
You take it
You'll have to unscrew it first.
You look at the hole
(the UP button hole)
It's round, about three-quarters of an inch in diameter, and right where the UP button should be.
Inventory
You are carrying a package, a business card, a paddle, and an inner tube patch.
You look in the hole
(the UP button hole)
You bend over and peer into the hole. There's just enough light coming in to let you make out the two electrical terminals the missing UP button should be wired to, but that's about it.
You look under Jaguar
You kneel and peer under the Jag. The lift platform blocks your view of most of the area. You'll have to raise it to see if there's actually anything under there.
You look in Jaguar
You peer through the windows of the Jag. Its Connolly leather and Wilton wool clad interior is as immaculate as its exterior.
Go west
You can't go that way. The only obvious exit leads out.
You go outside
You step out of the service bay and into the main part of the garage.
Leave
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The hedge continues along the driveway to the garage. However, unlike the hedge in other parts of the estate, this one is rather badly overgrown. The driveway leads back to the south.
Go east
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.
Go east
The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main path leads back west. A smaller footpath continues to the east.
You examine the benches
Eight benches are spaced evenly around the perimeter of the paved area. They consist of a seat set on two concrete supports.
You examine the statue
The life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.
You examine the horn
Maybe you'll have time to study the nuances of lawn sculpture later. Right now you have a package to deliver.
You look at the plaque
Unlike the other plaques in the area this particular plaque appears to be hinged, as though you might actually be able to pull it open. It has something engraved on it.

His ship was the giant Triton,
the sound of whose conch
affrighted the dark-blue water.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.
You open it
You slip your fingers under the right edge of the plaque and pull. There is some resistance, like you're pulling against a spring. You hear a soft clicking noise coming from somewhere inside the sculpture's pedestal as the plaque moves, almost as though you were winding some kind of mechanism. You continue to pull until the plaque will open no further, and are quite disappointed to discover that nothing but bare stone lies behind it.

The clicking sound stops. You wait a moment, but nothing unexpected happens. As you stare at the plaque you can't help but wonder what kind of mechanism opening it wound, and what it might take to start it running.
You examine the plaque
The brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.

His ship was the giant Triton,
the sound of whose conch
affrighted the dark-blue water.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.
Close plaque
The plaque snaps closed against the sculpture's pedestal with a solid "clunk." A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.
Go west
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

You hear a faint, rapid ticking sound coming from the general area of the sculpture of Triton.
You go to the west
The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.
Go west
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
You go west
The flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.

The plaque has inexplicably moved upwards about six inches to reveal a small recess in the stone behind it. The recess contains a small silver key.

Without warning the brass plaque begins to slide downward, grating loudly across the stone as it moves. Within moments it has once again covered the small recess in the sculpture's stone pedestal.
You open the plaque
You try everything you can think of to somehow move or otherwise open the plaque, to no avail. It stubbornly refuses to budge.
You read the plaque
O blessed one, be kindly in
heart and help those who
voyage in ships.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find that particular Homeric Hymn meaningful.
Close plaque
The plaque snaps closed against the sculpture's pedestal with a solid "clunk." A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.

A rapid ticking sound is coming from somewhere inside the sculpture's pedestal.
You open the plaque
You slip your fingers under the right edge of the plaque and pull. It won't budge. You pull harder, then again with all your strength. The plaque remains stubbornly immovable. Apparently it won't open while the mechanism inside the sculpture's pedestal is still running.
You look at the statue
The life-size bronze sculpture depicts the Greek god Poseidon and his wife the goddess Amphitrite side by side in an ornately decorated chariot being drawn by two Hippocampi (the immortal winged chariot-horses of the gods). Poseidon is wearing a laurel wreath while Amphitrite is wearing a tiara. The beauty and level of detail of the sculpture is impressive.
Go east
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.

The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.

The driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.

The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.
Go east
The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main path leads back west. A smaller footpath continues to the east.
You go to the east
You hike down the path. The rolling green lawn quickly gives way to woods choked by dense undergrowth as it bends to the south.

This small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.
You go west
The trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.

You notice a small green grasshopper munching on a clump of grass nearby.
You examine the grass
The grasshopper finds the clumps of grass fascinating. You fail to see the allure.
You take the grasshopper
You lunge for the grasshopper, and miss. He casually hops to another clump of grass and continues munching.
Inventory
You are carrying a package, a business card, a paddle, and an inner tube patch.
Go east
This small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.
You go north
The trees thin quickly, giving way to rolling green lawn as the path bends to the west.

The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.
You examine the plaque
The brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.

His ship was the giant Triton,
You put the paddle behind the plaque
affrighted the dark-blue water.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.

You can't put anything behind the polished brass plaque.
You examine the plaque
The brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.

His ship was the giant Triton,
the sound of whose conch
affrighted the dark-blue water.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.
You examine patch
The patch is one of the new "peel and stick" patches. No adhesives or matches required.
You go to the north
You can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, back to the footpath through the small clearing; and west, to the east lawn.
You examine the flowers
The flower beds are ablaze with color. Dozens of varieties of flowers crowd against both sides of the path as it meanders across the rolling lawn.
You go to the east
You hike down the path. The rolling green lawn quickly gives way to woods choked by dense undergrowth as it bends to the south.

This small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.
You search the twigs
You poke around through the scattered leaves a bit. The only object of any size you discover in the process is a sturdy forked stick.
You take the stick
Taken.
You look at stick
The stick is Y-shaped and a foot long overall. It's about as thick as your thumb. It looks like something the local neighborhood "menace" might have sticking out of his back pocket.
Go southeast
A dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.
You look at the padlock
The chrome-plated padlock is made from heavy tempered steel and looks capable of withstanding even the most determined assault. Stamped on its bottom are the words, "Certified Pick-proof* (*certification void outside Slovenia)" It's locked.
You look at the door
The shed door is just as badly weathered as the rest of the shed.
Even so it still looks sturdy enough to withstand any type of brute-force attempt to batter it down. It's closed.
You look at the shed
Dilapidated is right. It's been years since a fresh coat of paint last covered the shed's badly weathered flanks.
You take the grass
You pick a small clump of grass and hold it out toward the grasshopper. Apparently happy with the clump he's already munching on, he completely ignores your generous offer. You finally give up and toss the grass aside.
Go southwest
The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You hear birds twittering in the branches above you.
You look at the birds
You can hear the birds twittering, but you can't see them. They must be in the branches above you.
Go upwards
There's only so much you can carry up a tree. You'd better leave the paddle here.
You drop the paddle
Dropped.
Go upward
It's a long climb to the top of the tree. You just hope you'll be able to somehow SAVE yourself should you slip and fall. (Climb again to continue.)

You hear birds twittering in the branches above you.
Go upward
It's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.

You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.
You examine the branch
The sturdy branches here would make a great place to build a tree house. It makes you wish you were a kid again. Additional sturdy branches are within easy reach just above your head.
Go upwards
The branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.

There is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.

A squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves.
You examine the acorns
The pile is huge. It contains thousands of acorns in every shape and size imaginable.
You look at the squirrel
The squirrel isn't here at the moment. He probably left to find a hiding place for his acorn.
You search the acorns
You peer into the hole, but all you can see are acorns. Lots and lots of acorns.
You take the acorns
The squirrel has worked hard for many long months gathering and storing his supply of acorns. It wouldn't be right to rob him of the fruits of his labor. He probably wouldn't miss just one acorn, though.

You hear birds twittering in the branches above you.
You take the acorns
The squirrel has worked hard for many long months gathering and storing his supply of acorns. It wouldn't be right to rob him of the fruits of his labor. He probably wouldn't miss just one acorn, though.
You take the acorn
The hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.

Just as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.
You take the acorn
Which acorn do you mean, the pile's acorn, or the squirrel's acorn?
Pile'S
You're already holding one of the acorns from the pile.
You examine the squirrel
Squirrels are noted for their fondness for acorns, and this one is no exception. He is holding a nice large one. The presence of your hand in his hole has apparently overcome his normal shyness. He watches you warily from a nearby branch.
You take the squirrel
The squirrel is sitting on a branch safely out of your reach. He ignores your clumsy attempt to grab him.
You take the squirrel's acorn
The squirrel is sitting on a branch safely out of your reach. He ignores your clumsy attempt to grab his acorn.
Go downwards
You seem to have a bit of a problem here.

This situation reminds you of something you once saw on "The Discovery Channel." It was one of those endless nature specials, this one about native tribesmen who trap monkeys by drilling a small hole in a coconut and putting a lump of food inside. The monkey reaches in, grabs the food, then panics when he can't get his hand back out. He's too dumb to realize that all he has to do to escape is drop the food, and as a result he ends up in the stew pot.
You drop the acorn
Congratulations! You have just proved that you're smarter than the average monkey. Of course you still don't have an acorn. Maybe what you need to be is smarter than the average squirrel.

Satisfied that his acorns are safe, the squirrel abandons his sentry post and disappears back into the leaves.
You look at what you're carrying with you
You are carrying a package, a business card, an inner tube patch, and a forked stick.

A squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves.
You take the acorn
The hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.

Just as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.
Scream
You scream as loud as you can.
You hit the squirrel
The squirrel is sitting on a branch safely out of your reach.
You drop the acorn
You can't attack anything with the forked stick.

You release the acorn and withdraw your hand from the hole.

Satisfied that his acorns are safe, the squirrel abandons his sentry post and disappears back into the leaves.
Go downward
You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.
Go upwards
The branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.

There is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.

You hear birds twittering in the branches above you.
Go upward
The dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.

As you continue to admire the view you slowly become aware of the fact that you're being watched. You peer around cautiously, then spot a large female robin perched on a branch to your left. She appears to be standing guard over the nest she has built there.
You examine the nest
The robin has done a very neat job of building her nest in the fork of a limb. The usual twigs, straw, tufts of hair, and bits of twine have been woven with care into a sturdy home. Peering into its feather-lined interior you can see that she has laid four pale blue eggs. You also notice that one of the tufts of hair she used still has a bobby pin attached to it.

You hear birds twittering in the branches below you.
You take the nest
Naturally the robin assumes that your approaching hand is after her eggs. As soon as you start to reach for her nest she explodes into the air, and with a trilling battle cry springs to the attack.

Her wings beat angrily in your face while a flurry of painful pecks rain down on the top of your head. You swat at her wildly in an effort to drive her back, but she's in her element and has no problem avoiding your clumsy flailing. You, on the other hand, are clearly out of your element. The fury of the robin's attack so startles you that you momentarily forget one of the basic tenets of tree climbing, namely, ALWAYS hold onto the tree.

AAAIIIIIEEEEEEEEEEEE...............

In the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.
You examine Robin
You scrutinize her closely to determine if she is an American or European Robin, and conclude that she is indeed an American Robin.
Her general thrush-like appearance, characteristic red breast (slightly paler in the female), and the little American flag tattooed on her left bicep are dead giveaways.

(Just kidding about that tattoo.)
You examine the pin
The bobby pin is badly rusted. It must have been lying outside in the rain and snow for a long time before the robin found it.
You take the pin
Something about the way the robin is watching your every move makes you think that right now might not be a good time to be reaching toward her nest.

You hear birds twittering in the branches below you.
You examine the birds
You can hear the birds twittering, but you can't see them. They must be in the branches below you.
Go up
Throwing caution to the wind, you push ever higher up the huge old oak. A branch breaks and falls away under your feet, but fortunately you were holding onto the limb above it. As you hang there looking for another branch to transfer your weight to it occurs to you that now might be a good time to give up and head back down. That's when you hear it.

Creeeaaakkkkk..............SNAP!!!

AAAIIIIIEEEEEEEEEEEE...............

In the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.
You check your inventory
You are carrying a package, a business card, an inner tube patch, and a forked stick.
You take the egg
Seeing that you are clearly after her eggs, the robin explodes into the air, and with a trilling battle cry springs to the attack.

Her wings beat angrily in your face while a flurry of painful pecks rain down on the top of your head. You swat at her wildly in an effort to drive her back, but she's in her element and has no problem avoiding your clumsy flailing. You, on the other hand, are clearly out of your element. The fury of the robin's attack so startles you that you momentarily forget one of the basic tenets of tree climbing, namely, ALWAYS hold onto the tree.

AAAIIIIIEEEEEEEEEEEE...............

In the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.
You examine the hair
The robin has done a very neat job of building her nest in the fork of a limb. The usual twigs, straw, tufts of hair, and bits of twine have been woven with care into a sturdy home. Peering into its feather-lined interior you can see that she has laid four pale blue eggs. You also notice that one of the tufts of hair she used still has a bobby pin attached to it.
Go downward
The branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.

There is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.
Go downward
You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.
Go downward
Having reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle here.
You drop all
business card: Dropped.
inner tube patch: Dropped.
forked stick: Dropped.

You hear birds twittering in the branches above you.
You take all
business card: Taken.
inner tube patch: Taken.
forked stick: Taken.
You take the paddle
You are already carrying the paddle.

You hear birds twittering in the branches above you.
You go west
The south end of the property is heavily wooded. A single winding footpath starts at the gap in the hedge to the west and runs east through the dense foliage near the wall.
Go west
After a bit of squirming you manage to squeeze through the narrow gap between the hedge and the wall. You make a mental note to reconsider your decision not to go on a diet.

The gravel driveway widens a bit as it passes through a gate in the high stone wall that surrounds the estate. On the other side of the gate the road quickly bends and disappears from sight behind the trees. The neatly trimmed hedge on the west side of the driveway runs in a solid, unbroken line right up to the wall. But, oddly enough, there's a narrow gap between the hedge and the wall on the east side.

You see a piece of paper here.
You take paper
Just as you reach for the piece of paper a sudden gust of wind swirls it up and deposits it on the other side of the gate.
You get the paper with the paddle
It's too far away for you to make out any detail, but it appears to be some kind of sales brochure.

You can't reach the sales brochure with a paddle.
You look at the gate
The gate is an imposing affair made of wrought iron pikes interwoven with decorative ironwork vines. It was standing wide open when you arrived, but someone has apparently closed and locked it since then.
You open gate
The wrought iron gate seems to be locked.
You climb the gate
The tips of the pikes are VERY sharp. You wisely change your mind about climbing the gate.
Go west
The thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north; south; and east, back to the east footpath.
Go south
That's strange. The gate was standing wide open when you passed through it earlier, but someone has apparently closed and locked it since then.
Go north
The driveway runs generally north to south, with occasional deviations to pass by a large tree or, as is the case here, around a decorative cement pond. A fountain sprays and splashes cheerfully in the center of the pond. The neatly trimmed hedge continues unbroken along both sides of the driveway.
You examine the fountain
The fountain sprays and splashes cheerfully in the center of the pond.
You examine pond
It looks like one of those decorative cement ponds that landscapers are so fond of. This one is fairly large, say, maybe thirty feet across, but doesn't look to be more than knee deep. A fountain sprays and splashes cheerfully in its center.
You look in the pond
You walk around the edge of the pond peering into the water. You don't notice anything lying on the bottom within reach.
You enter the pond
Throwing caution to the wind, you step over the edge of the pond and plunge into the water.

The water is surprisingly cold, but thankfully only about knee deep. The footing is a bit slippery, but as long as you're careful you should be able to move around easily enough. The glint from something shiny lying on the bottom of the pond briefly catches your eye.
You take shiny
According to my handy pocket dictionary, a glint is "a tiny bright flash of light." Now you can splash about the pond chasing phantom lights all day long if you want to, but what you might want to do instead is search the pond for whatever it is that's making the glint.
Search pond
You slosh around the pond looking for anything visible lying on its bottom, and discover a shiny penny.
You take the penny
Taken.
You examine it
It's a shiny Lincoln cent, just like the ones that keep cluttering up your pockets. You do notice that it has the original wreath design on the reverse. You don't see many of those any more.
Search pond
You slosh around the pond looking for anything visible lying on its bottom, but come up empty handed.
Leave
You climb up out of the pond to stand dripping on the gravel driveway.

The driveway runs generally north to south, with occasional deviations to pass by a large tree or, as is the case here, around a decorative cement pond. A fountain sprays and splashes cheerfully in the center of the pond. The neatly trimmed hedge continues unbroken along both sides of the driveway.
You look at the wreath
You look at the penny more closely. It's dated 1909 and has an "S" mint mark. You also notice the initials "VDB" at the bottom of the reverse. The penny is a lot older than it looks, and in mint condition. You find yourself wondering if it might be worth something to a collector.
Go outside
What do you want to get out of?
North
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently down.

A battered old canoe hangs on the wall in bay four.

A large red tool cabinet sits under the canoe.

A bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.
You enter the bay 6
You step into the service bay.
You put the penny in the hole
(the UP button hole)
The terminals are recessed too far inside the control panel for you to be able to touch them with the the shiny penny.
You unscrew the screw with the penny
The head of the screw is stripped out. You can't remove it.
You pull the screw
You'll have to unscrew it first.
You open the panel
You'll have to remove the screw holding it closed first. And since its head is stripped out, that's not really an option.
South
You step out of the service bay and into the main part of the garage.
East
The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The brass plaque in Triton's pedestal is currently standing open.

The main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.
You examine the pedestal
The stone pedestal is circular and rises about two feet above the flagstone pavement. It supports a life-sized bronze sculpture of Triton, and has a polished brass plaque attached to the front of it. The brass plaque is currently standing open.
You read the plaque
His ship was the giant Triton,
the sound of whose conch
affrighted the dark-blue water.

You remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.
You examine Triton
The life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.

The brass plaque in Triton's pedestal is currently standing open.
You go west
The flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.
Go north
You soon realize you're in for a bit of a hike. The path passes to the east of a large greenhouse, then bends northeast toward the cliffs overlooking the ocean. The ground turns rocky and starts sloping downward. Before long you're winding down stairs cut into the face of the cliff.

The steps end at wide ledge overlooking the ocean. The stairway that once continued on down the cliff face to the narrow crescent-shaped beach some fifty feet below you has collapsed into a twisted pile of corroded metal. The beach itself is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. A rusty iron railing surrounds the overlook and protects you from falling.

The way back starts with a long climb back up the steps.
You examine the railing
The railing is bolted directly to the rock, and at one time was no doubt very safe and sturdy. However long exposure to the salt air has left it badly rusted. An experimental shake causes one of the remaining bolts to crack and fall to the beach below. You cautiously take a step back from the edge.
You take the railing
Given the railing's current condition it might actually be possible to rip it right out of the rock. However you see no reason to do so.
You look at stairway
All that's left of the stairway that once descended from the overlook to the beach is a twisted pile of corroded metal on the sand below.
You look at the beach
The beach is about fifty feet directly below you. It's a narrow crescent littered with broken shells and hemmed in on both ends by a jumble of fallen rock. You can see a couple of large boulders surrounded by thick brush standing against the face of the cliff.
Oops boulders
A couple of large boulders surrounded by thick brush stand against the face of the cliff on the narrow crescent-shaped beach.
You examine the brush
The brush is thickest around the large boulders.
You examine the shells
Broken shells litter the sand on the narrow crescent-shaped beach.
You examine the ocean
A gentle onshore breeze brings a light swell rolling onto the beach. Its color rapidly changes from green to dark blue as it deepens offshore.
You examine the cliff
You have a breathtaking view of the ocean from the cliffs.
You descend
The stairway down to the beach has collapsed.
You jump
You peer over the railing at the beach some fifty feet below. You make a mental note to reconsider your decision not to put The Suicide Prevention Hotline on speed dial.
Search shells
The broken shells are too far away.
You look at the rocks
The beach is hemmed in on both ends by a jumble of fallen rock. Waves break over their jagged edges.
Dive
What do you want to dive in?
Ocean
The water is too far away.
You jump on the brush
The thick brush is too far away.
You search the stairway
The stairway is too far away.
You look at what you're carrying with you
You are carrying a package, a paddle, a business card, an inner tube patch, a forked stick, and a shiny penny.
South
The hike back isn't any shorter, and it's all uphill. You're huffing and puffing a bit by the time you make it back to Poseidon & Amphitrite.

The flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.
North
The path ends at the entrance to a large greenhouse. Its glass-paneled walls are fogged with moisture. Peering inside you can just make out what looks like long rows of plants, as well as the shadowy shape of a figure moving about among them. There is a single door, also glass, directly in front of you. It's closed.

The flagstone path leads back south across the lawn.
You look at the figure
You can see a shadowy figure moving around among the rows of plants inside the greenhouse.
You knock on the door
You step up and knock on the greenhouse door. You see the shadowy figure look your way, then walk over to a table and pick something up. The door swings open.

The figure turns out to be the estate's gardener. He is clad in coveralls and stooped with age. He is carrying a pair of hedge clippers. He peers up at you through thick, fogged glasses.

"That you Earl? 'Bout time you got back. That hedge by the garage needs clippin', and uh, wait a sec..." He studies you intently through the Coke bottle bottoms he uses for lenses for a moment, then says, "Saaay, you ain't Earl."

You decide to try the direct approach. "No, actually I have a very important package I need to deliver to Mr. Winton, but I'm having a hard time getting in to see him. I wonder if you could..."

The old gardener cuts you off with a snort. "Nope! Try the main entrance."

Once again you find yourself standing before a closed door. So much for the direct approach.
You knock on the door
You start to knock on the door again and realize that you don't have a plan of action, even if he does answer. He can't see that well. He might talk to you if you could somehow make him think you were Earl.

The gardener stoops and appears to examine some plants.
You look in the greenhouse
You press your face against the glass and try to peer through the fog. You see the shadowy figure of the gardener moving around among the rows of plants inside the greenhouse.

The gardener shuffles over to one side of the greenhouse and picks through some objects on a table.
Go west
You see no particular reason to go hiking off across the beautifully manicured lawn when there are perfectly good paths available. Obvious exits lead north; and south, back to the west lawn.
You go to the south
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
Go south
You can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead north, back to the greenhouse; east, to the gravel driveway; and west, to the west lawn by Poseidon & Amphitrite.
You read the card
PLASTI-SIDE, Inc.

Guarantee!

Dwayne R. Splatz
Customer Representative
(800) 555-KOTE

Hmm... Looks like some poor siding salesman didn't read the plaque. Oh well, not your problem.
You go to the south
The thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, to the garage entrance; east, to the east lawn; and west, back to the gravel driveway.
You go to the south
You can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, to the east lawn by Triton; and west, back to the east gravel driveway.
Go west
The thick, overgrown hedge blocks your way. Obvious exits lead north, to the garage; and south, back to the east gravel driveway.
Trim hedge
What do you want to cut it with?
You take the hopper
You lunge for the grasshopper, and miss again. This time he takes flight just long enough to reach a clump of grass on the other side of the clearing.
Continue
Ooh... really close that time. The grasshopper takes three quick hops and ends up behind you.
Keep going
Just as you're about to spring the grasshopper decides the grass is greener over... there, and leaps to a new clump.
You keep going
You lunge for the grasshopper one last time, and much to your (and even more to the grasshopper's) surprise you actually manage to trap him under your cupped palm. I guess your previous clumsy efforts must have lulled the poor little guy into a false sense of security.
You go to the south-west
The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.
You drop the paddle
Dropped.
Go upward
It's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.

You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.
Go upwards
The branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.

There is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.
Go upward
The dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.

A large female robin is perched on a branch to your left. She appears to be standing guard over the nest she has built there. The nest contains four pale blue eggs and a bobby pin.

You hear birds twittering in the branches below you.
You give the grasshopper to Robin
It just so happens that small green grasshoppers are this particular robin's absolute favorite afternoon snack. Her normal caution overcome by hunger, she bursts forth in a flurry of beating wings and dives for the grasshopper. Before you can even twitch in response she's snapped it from your fingertips and zoomed back out of reach.
By the time she has regained her perch all traces of the poor little guy are gone. She continues to watch you warily.

So much for your show of good will.
Show hopper to Robin
Carefully taking the grasshopper between thumb and forefinger, you hold it out to where the robin can see it. She begins cheeping and bobbing her head in excitement. You can almost feel the poor little guy cringe in your fingers.
You drop the hopper
You hold the hand containing the grasshopper out in front of you and slowly open it. The grasshopper cautiously pokes its head up and takes a look around. Spotting the robin, it immediately springs in terror for the nearest clump of leaves. The robin explodes into the air and dives in after it. You hear rustling sounds and occasional excited chirps coming from various points in the branches around you.

The chase is on.
Clean pin
You wouldn't know how to clean that.

A squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves.
Go downward
Having reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle here.

You hear birds twittering in the branches above you.
You take the paddle
Taken.

You hear birds twittering in the branches above you.
You go to the north-east
The trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.
Go east
This small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.
Go southeast
A dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.
You pick the lock with the pin
It always works in the movies, but you don't hold out much hope as you carefully straighten the rusty bobby pin and insert in the keyhole. You poke and prod a bit, then twist the pin. Much to your surprise you hear a tiny grinding sound and the lock cylinder moves slightly. You twist harder and it moves some more, but you can also feel the bobby pin starting to bend and crumble in your fingers. You decide to give it one final hard twist. Just as the cylinder starts to turn the bobby pin snaps off flush with the keyhole and what's left of it disintegrates into a pile of gritty rust in your hand.

The lock stays shut.

Note: There will now be a short pause to allow you to fully express your opinion of bobby pins, padlocks, adventure games, adventure game authors, and life in general.

Press the space bar when you're done...

Wow! Where did you learn all those six-syllable expletives? I'm impressed.

Anyway, with that out of your system you decide to give the offending padlock one last yank before you stomp off in disgust, and darned if the stupid thing doesn't fall open in your hand. (Now aren't you sorry you said all those terrible things about adventure game authors.)
You check your inventory
You are carrying a package, a business card, an inner tube patch, a forked stick, a shiny penny, and a paddle.
You take the lock
The remaining piece of the bobby pin has hopelessly jammed the padlock's locking mechanism, rendering it useless. Since it obviously has been picked you briefly consider trying to return it to the manufacturer for replacement, but decide to skip the trip to Slovenia for now and leave it where it is.
You open the door
You unhook the lock, flip back the hasp, re-hang the lock, and give the door a tug. It creaks open on rusty hinges.
Go inside
It takes a moment for your eyes to adjust to the shadowy dimness inside the shed. The first thing you notice is a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.

Hanging on the nails are a gimme cap and a chambray work shirt.
You look at the cap
The cap looks like your typical gimme cap, the kind businesses like to emblazon with their company logos then sell to rubes who actually WANT to look like walking billboards. This one is a bit worn and has a few grease stains on it, but looks to be perfectly serviceable.
You examine the shirt
The shirt is a typical blue chambray work shirt. It has short sleeves, is passably clean, and has the name Earl embroidered over the spot where the now-missing pocket used to be.
Shirt
gimme cap: Taken.
chambray work shirt: Taken.
You examine the cases
Yep, that's what they are all right. Salesman's sample cases. A whole pile of 'em in every shape and size imaginable. You've never seen so much genuine Naugahyde all in one place in your life. Kind'a makes you wonder just how many salesmen over the years failed to read the plaque next to the mansion's main entrance.
You take the cases
You rummage around in the pile and pick a sample case at random. Opening it reveals a wonderful collection of plastic shower curtain hooks (available in nine decorator colors). After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
Search cases
There's nothing in the pile of sample cases but sample cases. Lots and lots of them.
You take the case
You rummage around in the pile and pick a sample case at random. Opening it reveals listings for over fifty fabulous time-share vacation condos, all available for a limited time only! After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
Continue
You rummage around in the pile and pick a sample case at random. Opening it reveals a fascinating assortment of adult nov... Uh, never mind that one. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
Keep going
You rummage around in the pile and pick a sample case at random. Opening it reveals a set of six Elvis collector plates showing his transformation from young heartthrob to aging, overweight superstar. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
Continue
As you prepare to check yet another no doubt useless sample case you can almost hear Obi-Wan's voice behind you. "These aren't the cases you're looking for. Move along..."
Keep going
You rummage around in the pile and pick a sample case at random. Opening it reveals over forty wonderful herbal products guaranteed to keep you healthy, fit, and broke for life (dealerships available). After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
You continue
You rummage around in the pile and pick a sample case at random. Opening it reveals a complete line of Cramway products, each specifically formulated to meet your every cleaning need. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
Continue
You rummage around in the pile and pick a sample case at random. Opening it reveals no less than fourteen different handy-dandy labor-saving widgets no kitchen should be without. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.
You examine the junk
Broken tools, old car parts, and assorted unidentifiable junk litter the top of the bench. Nothing useful is readily apparent in the pile, but who knows what a more thorough examination might turn up.
You search junk
You dig through the pile of junk on the table, and much to your surprise discover some leather work gloves, a screwdriver, and an inner tube.
You examine the screwdriver
The screwdriver has the usual bladed tip and a yellow plastic handle grooved for easy gripping.
You examine tube
A typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The rubber still looks serviceable, but upon closer inspection you discover a quarter-inch long gash near the valve stem. The gash explains why it was abandoned among the other junk on the bench.
You put the patch on the tube
You carefully peel the backing from the patch, position it over the gash, and press it home. Hopefully it will hold once the tube is inflated.
You examine the grinder
The electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is not plugged into anything at the moment.
You examine the bulb
The light bulb is ordinary in every way. It is unlit.
You turn on the bulb
There's a click as you pull the chain, but the light bulb remains dark. It could be burned out, or the circuit could be dead. It might not hurt to see where the wires lead.
You turn off the bulb
The light bulb is already as off as it's ever going to get.
You examine the wires
The electrical cable runs from the light fixture to a location behind the workbench.
You look at the fixture
A single-bulb light fixture is mounted over the workbench. An electrical cable leads from the fixture to a location behind the workbench. The fixture has a pull chain attached to it for turning it on and off. The light bulb is unlit.
You look behind the workbench
You bend down and peer under the workbench. There's an power outlet conveniently attached to the wall under there. The cable from the light fixture feeds into it from above, and conduit runs from it to a location concealed by the open door.
You examine the conduit
The conduit runs from the power outlet under the bench to a location concealed by the open door.
You close the door
You swing the door closed. The gloom inside the shed deepens to near-total darkness.
You open the door
You swing the door open. The inside of the shed returns to its normal level of gloominess.

You see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.
You examine the outlet
A standard 3-prong power outlet is attached to the wall under the bench. The cable from the light fixture feeds into it from above, and conduit runs from it to a location concealed by the open door.
You look behind the door
You swing the door closed to check behind it. The gloom inside the shed deepens to near-total darkness.
You examine nails
The nails appear to be perfectly ordinary 10p carpentry nails.
You examine the grinder
The electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is not plugged into anything at the moment.
You look at the motor
The 1/4 hp electric motor is old and battered, but the shaft spins freely. You don't see anything obviously wrong with it.
You examine the wheel
The grinding wheel currently attached to the motor's shaft is marked "medium grit". It should be OK for most grinding and sharpening needs.
You look at the switch
The power switch is currently in the OFF position.
You check what you're carrying
You are carrying a package, a business card, a forked stick, a shiny penny, a paddle, a gimme cap, a chambray work shirt, some leather work gloves, a screwdriver, and an inner tube.
Go north
The trees thin quickly, giving way to rolling green lawn as the path bends to the west.

The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The brass plaque in Triton's pedestal is currently standing open.

The main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.
You knock on the door
You start to knock on the door again, but hesitate. The chambray work shirt and leather work gloves still might not be enough to fool the old gardener into thinking you're Earl. You decide to try to find one more piece of his apparel to wear, just to be sure.
You knock on the door
You start to knock on the door, but hesitate. The old gardener might be a bit surprised to see Earl the groundskeeper lugging around a paddle, and you don't want him looking at you too closely.

The gardener walks to a different group of plants and starts digging with a hand trowel.
You drop the paddle
Dropped.

The gardener picks up a water can and sprinkles some seedlings.
You knock on the door
You step up and knock on the greenhouse door. You see the old gardener again look your way, hesitate, scratch his head, sigh, then finally walk over to a table and pick something up. The door swings open. He peers up at you through thick, fogged glasses. You stare intently at your shoes, letting the bill of the gimme cap hide your face.

Grumbling, he says, "'Bout time you got back, Earl. That hedge by the garage needs clippin' real bad. Here, take these."

"OK," you mumble as you take a pair of hedge clippers from his hands. You turn quickly to make your getaway.

"And come right back when you're done," he calls after you. "I got some more stuff that needs doin'."

You wave in acknowledgement without looking back.
You examine the clippers
The hedge clippers are well-worn and dulled with age. Spots of rust adorn the blades. They move easily when you open and close them, but given their current state it's unlikely that you'll be able to cut anything with them.
You check your inventory
You are carrying a package, a business card, a forked stick, a shiny penny, a screwdriver, an inner tube, some dull hedge clippers, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.

The gardener reties some stray branches to a trellis.
Go inside
You see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.
You plug the cord in the outlet
You crawl under the workbench and plug the power cord into the outlet, then stand back up when you're done. The grinder remains off.
You turn on the grinder
You turn on the grinder's power switch. The grinder remains off.
You turn off the grinder
You turn off the grinder's power switch. The grinder remains off.
You examine the grinder
The electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is plugged in and turned OFF.
You examine the conduit
The conduit runs from the power outlet under the bench to a location concealed by the open door.
Go outside
A dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.
Go northeast
You can't go that way. Obvious exits lead northwest, to the footpath through the small clearing; and in, back to the garden shed.
You go north
You can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, back to the east lawn by Triton; and west, to the east gravel driveway.
Panel
(first standing in the service bay)
You carefully stick the blade of the screwdriver through the hole in control panel and touch it to the two terminals. The lift's hydraulic pump whines to life and the Jag rises smoothly into the air.

You discover a gold cigarette lighter lying on the service bay floor under the hydraulic lift.
You examine lighter
The lighter is a classic Zippo done in 18K gold. You remember reading somewhere that J. Daggett was a great cigar aficionado. The message engraved into the lighter's shiny gold surface would certainly indicate that it belonged to him. It's closed.
You read lighter
Dag!
May 4th

Love, Em

You can't help but wonder how J. Daggett came to lose this obviously expensive personal gift from his wife Emmeline.
You open lighter
You snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.

You see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.

Now that the door is closed you can see a fuse box mounted to the wall in the space normally concealed by the open door.
You open the box
You'll have to remove the screw first.
Examine box
The fuse box is a small gray metal box, slightly smaller than a shoebox, with a lever on one side and a hinged cover. It's mounted to the wall next to the bench. Electrical conduit runs from the bottom of the fuse box to the power outlet under the bench.

The fuse box lever is in the ON position. The fuse box cover is closed and secured with a screw.
You unscrew the screw with the screwdriver
You insert the tip of the screwdriver into the head of the screw and twist firmly counterclockwise. After a brief hesitation the screw breaks loose, then spins out the rest of the way easily. As the last few threads clear the hole it wobbles then falls to the floor.
You turn off the lever
You move the lever down into the OFF position. The light bulb remains off. The grinder remains off.
You open the box
Opened.
You look in the box
The fuse box contains a single fuse socket. The socket contains a blown fuse.
You take the fuse
You unscrew and take the blown fuse.
Close box
Closed.
You turn on the lever
You move the lever up into the ON position. You hear the metallic 'clink' of the penny falling out of the socket and hitting the bottom of the fuse box. The vibration from the lever being moved must have jarred it loose.
You check your inventory
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, some dull hedge clippers, a paddle, a gold lighter (providing light), a screw, and a blown fuse. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
You examine tube
A typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The patch you applied appears to be firmly stuck into place. Hopefully it will hold air when you try to inflate it.
You remove the patch
(from the inner tube)
You can't have that; it's part of the inner tube.
You open the box
Opening the fuse box reveals a shiny penny. As soon as you get the fuse box cover fully open the penny falls out and rolls off across the floor.
You put the fuse in the socket
You screw the blown fuse down on top of the penny.
Close box
Closed.
You turn on the lever
You move the lever up into the ON position. The light bulb begins to glow dimly. The grinder remains off.
You close lighter
You snap the lighter closed to extinguish the flame.
You turn on the grinder
You turn on the grinder's power switch. It's power restored, the grinder spins to life.

You hear a low, steady whirring sound coming from the grinder.
You look at what you're carrying with you
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, some dull hedge clippers, a paddle, a gold lighter, and a screw. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
Grind clippers
(with the electric grinder)
You open the clippers and begin to move the edges of the two blades back and forth against the spinning grinder wheel. Sparks fly as you carefully hone them back to razor sharpness.

You hear a low, steady whirring sound coming from the grinder.
Grind clippers
(with the electric grinder)
The hedge clippers are already as sharp as they're going to get.
You turn off the grinder
You turn off the grinder's power switch. It's power cut, the grinder spins down and stops.
You turn off the bulb
The gloom inside the shed deepens to near-total darkness. There's a click as you pull the chain, and the light bulb goes out.
Go outside
(first opening the shed door)
You swing the door open. The inside of the shed returns to its normal level of gloominess.

A dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.
Go inside
You see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.
You close the door
You swing the door closed. The gloom inside the shed deepens to near-total darkness.
You open lighter
You snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.

You see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.

There's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.

Now that the door is closed you can see a fuse box mounted to the wall in the space normally concealed by the open door.
You open the box
The fuse socket contains a shiny penny.
You take the penny
You'll have to remove the fuse first.
You take the fuse
You unscrew and take the blown fuse.
You take the penny
You hold your hand under the socket and tap the side of the fuse box. The penny tumbles out into your palm. It appears to have accumulated a few nicks and scratches from having the fuse screwed down on top of it.
You go outside
(first opening the shed door)
You swing the door open. The inside of the shed returns to its normal level of gloominess.

A dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.

You see no reason to travel around with a lit lighter in your hand. You snap the lighter closed to extinguish the flame.
Trim hedges
(with the sharp hedge clippers)
You set about the task of trimming the thick hedge with vigor. The freshly sharpened clippers chew through the foliage with little resistance, and before long you have the hedge shaping up nicely. As you work on its east side you also uncover the entrance to a bare footpath leading east. A bit of extra clipping makes it passable once again.
You go east
You pass through the opening you cleared while trimming the hedge and turn northeast toward the cliffs.

You can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.

A wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.
You examine the sand
The beach is about two hundred feet directly below you. It's wide and sandy, and looks like it would be a great place to spend a sunny afternoon with the family. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.
Go downward
The beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.
You look at the rock
Part of the cliff has collapsed, blocking the west end of the beach. The rocks extend well out into the bay. Waves break over their jagged edges.
You examine the sand
The wide, sandy beach follows the curve of the bay to the east and eventually disappears behind the cliffs as it turns south. To the west it ends at a jumble of fallen rock.
You climb the rock
You explore the fallen rocks to see if you can find a way over or through them. You quickly give up. They're steep, jagged, dangerously slippery, and extend well out into the bay.
You dig the sand
Maybe you'll have time to dig for buried pirate treasure later. Right now you have a package to deliver.
You go east
You shade your eyes and study the long curve of the beach to the east. Other than a few nude sunbathers you see nothing of interest, and decide to skip the hike.

(Just kidding about the nude sunbathers.)
You examine the ocean
A gentle onshore breeze brings a light swell rolling onto the beach. The color of the water changes from green to dark blue as it deepens offshore.
Swim
(the water)
A nice swim would certainly be refreshing, however you can't put the package down and you dare not get it wet.
You look at the cliff
The view of the cliffs towering over the beach is awe-inspiring.
Go south
You can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.

A wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.
You examine tube
A typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The patch you applied appears to be firmly stuck into place. Hopefully it will hold air when you try to inflate it.
You blow up the tube
What do you want to inflate it with?
You go south
You leave the cliffs behind and head back toward the garage. A brisk hike soon brings you to the opening you cleared while trimming the hedge.

To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.

Freshly cut hedge clippings are strewn about the area.
You drop the paddle
Dropped.

The gardener walks to a different group of plants and starts digging with a hand trowel.
You knock on the door
You step up and knock on the greenhouse door. You see the gardener look your way, then walk toward the door. It swings open. You again stare intently at your shoes to hide your face.

"You get that hedge clipped yet?"

"Yep," you mumble without looking up.

The gardener nods and picks up a couple of items sitting next to the door. He hands them to you and says, "'Bout time. Now take these and clean up, and this time don't take all day doin' it neither."

You take the leaf rake and peanut sack and turn to go. You hear the door close sharply behind you.
You examine rake
The leaf rake consists of a fan of springy metal tines attached to a long wooden handle. It's ideal for raking up loose brush, leaves, and grass.

The gardener shuffles over to one side of the greenhouse and picks through some objects on a table.
You examine the sack
The large burlap sack looks just like the ones handed out at fairs for sack races. It has the word "PEANUTS" stenciled in block letters on it. It's closed.
Smell sack
You smell nothing out of the ordinary.

The gardener reties some stray branches to a trellis.
You open sack
Opening the peanut sack reveals three peanuts.
You examine peanuts
The peanuts are raw and still in their shells. They look typical in every respect. You have three peanuts left.
You go to the north
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.

Freshly cut hedge clippings are strewn about the area.
Rake clippings
It takes a bit of doing, but before long you manage to rake the scattered hedge clippings into a single large pile.
You put the clippings in the sack
You set the peanut sack down and start to work. The sack is roomier than it looks, and after a bit of jamming and cramming you manage to get the whole pile of clippings stuffed inside.
You check your inventory
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, some sharp hedge clippers, a blown fuse, a shiny penny, a leaf rake, three peanuts, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
You go to the south
The thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, back to the garage entrance; east, to the east lawn; and west, to the gravel driveway.
Go south
The gravel driveway widens a bit as it passes through a gate in the high stone wall that surrounds the estate. On the other side of the gate the road quickly bends and disappears from sight behind the trees. The neatly trimmed hedge on the west side of the driveway runs in a solid, unbroken line right up to the wall. But, oddly enough, there's a narrow gap between the hedge and the wall on the east side.

You see a sales brochure here (on the other side of the gate).
You take the brochure with the rake
You kneel down in front of the closed gate. There's just enough of a gap between the two sides to permit the head of the rake to slip through. Getting your hand through is a bit tougher, but by leaning on the gate you manage to widen it enough for that as well. You extend the rake as far as you can toward the piece of paper and lower its blade.

Bulls-eye!

It takes a bit of patience but you eventually manage to work the piece of paper close enough to the gate to be able to reach it. You pick it up and resume your feet.
You read the brochure
The front of the sales brochure contains the standard vinyl siding marketing spiel. Yep, there's the de rigueur before/after picture of a dilapidated old house miraculously transformed by the addition of the manufacturer's products. And of course the words "Lifetime Guarantee" in thirty point type followed by a microscopic asterisk and about five hundred words in three point type. Mind-numbing stuff.

The back of the brochure is much more interesting. The drawing is crudely sketched, but there's no doubt that it's some kind of map. It shows a small beach bordered on both sides by fallen rocks and backed by a cliff. There's an arrow pointing to some bushes next to a large boulder on the southwest side. Behind one of the bushes is marked a bold X.
Go north
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.
You go east
You pass through the opening you cleared while trimming the hedge and turn northeast toward the cliffs.

You can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.

A wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.
Go downward
The beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.
You examine the cliffs
The view of the cliffs towering over the beach is awe-inspiring.
You examine the map
It's a sales brochure for Plasti-Side, Inc.'s complete line of vinyl home products, including siding, trim, shutters, gutters, and storm doors. There's a map drawn on the back of it.
You read the map
The front of the sales brochure contains the standard vinyl siding marketing spiel.

The back of the brochure is much more interesting. The drawing is crudely sketched, but there's no doubt that it's some kind of map. It shows a small beach bordered on both sides by fallen rocks and backed by a cliff. There's an arrow pointing to some bushes next to a large boulder on the southwest side. Behind one of the bushes is marked a bold X.
You go upwards
You can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.

A wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.
You go to the west
You leave the cliffs behind and head back toward the garage. A brisk hike soon brings you to the opening you cleared while trimming the hedge.

To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.
You go inside
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A battered old canoe hangs on the wall in bay four.

A large red tool cabinet sits under the canoe.

A bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.
You examine the air
You see no air here.
(Not like in L.A. You actually can see the air there.)
You look at the compressor
The compressor is a heavy duty self-contained unit that starts automatically when the air pressure in its tank drops below a preset level. There's a quick-connect for attaching an air hose.
You attacthe quick-connect to the tube
(first standing in the service bay)
You can't attach that to the inner tube.
You knock on the door
There's not much point in bothering the old gardener further. You already have everything you're going to get from him.
Go up
There's only so much you can carry up a tree. You'd better leave the sharp hedge clippers, the leaf rake, and the peanut sack here.
DROP CLIPPERS, RAKE, SACK
sharp hedge clippers: Dropped.
leaf rake: Dropped.
peanut sack: Dropped.
Go upward
It's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.

You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive. You can clearly see the peanut sack lying on the ground directly below you.
Go upwards
The branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the peanut sack lying on the ground some twenty-five feet below.

There is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.
You take the acorn
The hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.

Just as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.
You examine the sack
You can catch an occasional glimpse of the peanut sack full of clippings on the ground far below.
You put the peanut in the sack
The peanut sack is too far away.
You show peanut to the squirrel
You take one of the peanuts in your free hand and hold it out to where the squirrel can see it. He sniffs and chitters excitedly.
Apparently he likes peanuts even better than acorns.
You drop the peanut
You drop three peanuts, and watch as they fall out of sight through the leaves below. The squirrel is tempted to chase after it, but ultimately decides that the safety of his entire stash of acorns is more important. He remains on station, watching warily.
You give the peanut to the squirrel
You take one of the peanuts in your free hand and hold it out to where the squirrel can see it. He sniffs and chitters excitedly. He moves cautiously toward you. You hold very still.

Closer...
Cloooser...

He snatches the peanut, and drops his acorn! It falls out of sight through the branches below. He scampers back out of reach to consume his prize. You have two peanuts left.
You drop the acorn
You release the acorn and withdraw your hand from the hole.

Satisfied that his stash of acorns is safe, the squirrel takes off down the trunk of the tree in search of the acorn he dropped.
Go downward
You pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive. You can clearly see the peanut sack lying on the ground directly below you.
Go downwards
Having reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.

The squirrel has beaten you to the ground and recovered his acorn!
You make a grab for him as he darts past, but he evades you easily. You begin to consider ways to get down the tree ahead of him as he disappears into the foliage above you.
You jump
You pick a spot unobstructed by large branches and step off of the limb. After a brief fall you hit the peanut sack, roll, and bounce to your feet unharmed.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.

The squirrel has beaten you to the ground and recovered his acorn!
You make a grab for him as he darts past, but he evades you easily. You begin to consider ways to get down the tree ahead of him as he disappears into the foliage above you.
You jump
You pick a spot that you hope is clear of the larger branches, set your sights on the peanut sack directly below you, and step out into thin air. The dense foliage slows you somewhat as you plunge toward the ground below.

Your plan works perfectly. You land on the peanut sack, roll clear, and bounce to your feet unharmed.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle, some sharp hedge clippers, a leaf rake, a peanut sack (which contains some hedge clippings), and an acorn here.

The squirrel pokes his head out of the branches above you, chitters unhappily at the sight of you standing over his acorn, and scampers back up the tree to safety.
You take the acorn
Taken.

You hear birds twittering in the branches above you.
You examine the acorn
Excluding typical variation in size and shape, every acorn looks pretty much like every other acorn. All except this one that is. It is larger than average, nearly perfectly round, and feels unusually hard and heavy.

You hear birds twittering in the branches above you.
Inventory
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
You examine the shirt
The shirt is a typical blue chambray work shirt. It has short sleeves, is passably clean, and has the name Earl embroidered over the spot where the now-missing pocket used to be.
You tie the tube to stick
You can't tie the inner tube to the forked stick.

You hear birds twittering in the branches above you.
You look at what you're carrying with you
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.

You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
Go upwards
The dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.

A large female robin is perched on a branch to your left. She appears to be standing guard over the nest she has built there. The nest contains four pale blue eggs.
Go down
Having reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.

The forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.

You see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.
You take all
paddle: Taken.
sharp hedge clippers: Taken.
leaf rake: Taken.
peanut sack: Taken.
You go to the north-east
The trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.
Go north
Maybe you'll have time to trample through the woods looking for Bigfoot later. Right now you have a package to deliver. Obvious exits lead east to the footpath through the small clearing, and southwest to the footpath under the oak tree.
You throw the acorn
What do you want to throw it at?
Inventory
You are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings). You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
You look at bare
The small bare footpath leads east across the lawn for a short distance before bending south toward the woods.
You look at the bare stone
The stone pedestal is circular and rises about two feet above the flagstone pavement. It supports a life-sized bronze sculpture of Triton, and has a polished brass plaque attached to the front of it. The brass plaque is currently standing open.
You look at the sculpture
The life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.

The brass plaque in Triton's pedestal is currently standing open.
You examine the horn
Maybe you'll have time to study the nuances of lawn sculpture later. Right now you have a package to deliver.
Deliver package
Whom do you want to give it to?
You put package in the plaque
You have no idea how important or valuable the package might be. You dare not let it out of your hands, even for a second.
You examine the bike lock
(first standing in bay two)
The lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently attached to the Schwinn's front wheel and locked.
You turn the lock to 0504
(the bicycle lock)
You cannot turn that.
You set the lock to 0504
Recalling the inscription on the lighter, you set the lock's dials to J. Daggett's anniversary date. Success! The lock pops open, and you remove it from the wheel.
You take the bike
The Schwinn isn't one of these state-of-the-art titanium, lift-with-one-finger racing bikes. It has a steel tube frame and it's both heavy and bulky. You decide that the easiest way to move it would be to ride it.
Ride bike
There's only so much you can carry while riding a bicycle. You'd better leave the paddle, the sharp hedge clippers, the leaf rake, and the peanut sack here.
DROP PADDLE, CLIPPERS, RAKE AND SACK
paddle: Dropped.
sharp hedge clippers: Dropped.
leaf rake: Dropped.
peanut sack: Dropped.
Ride bike
You take a seat on the classic Schwinn, raise its kickstand, and get ready to ride.
Go south
Keeping your seat, you use your feet to walk the Schwinn out of bay two.
You go south
You carefully maneuver the Schwinn through the side entry door and out into the open.

Garage Entrance (sitting on the bicycle)
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.
You go south
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

East Driveway (sitting on the bicycle)
The driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.
Go west
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

Gravel Driveway (sitting on the bicycle)
The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.
Go west
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

West Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
Look around
West Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
You go east
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

East Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.
You go east
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

Triton (sitting on the bicycle)
The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The brass plaque in Triton's pedestal is currently standing open.

The main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.
You open the plaque then close it
The polished brass plaque is already open.

The plaque snaps closed against the sculpture's pedestal with a solid "clunk." A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.

A rapid ticking sound is coming from somewhere inside the sculpture's pedestal.
You go west
The clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...

East Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

You hear a faint, rapid ticking sound coming from the general area of the sculpture of Triton.
You go to the west
The clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...

East Driveway (sitting on the bicycle)
The driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.
Go west
The clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...

Gravel Driveway (sitting on the bicycle)
The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.
You go west
The clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...

West Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
Go west
The clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...

Poseidon & Amphitrite (sitting on the bicycle)
The flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.

The plaque is still up, revealing the small recess in the stone behind it. The recess contains a small silver key.
You take the key
You quickly peddle the Schwinn right up to the sculpture's pedestal and snatch the key out of the recess. It looks like you made it just in the nick of time.

Without warning the brass plaque begins to slide downward, grating loudly across the stone as it moves. Within moments it has once again covered the small recess in the sculpture's stone pedestal.
You examine the key
The silver key is too small to be a car key or door key. It must fit something else.
Go east
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

West Lawn (sitting on the bicycle)
The flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.

The main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.
You go east
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

Gravel Driveway (sitting on the bicycle)
The gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.
You go north
The Schwinn is no mountain bike. It would be best if you stuck to paved surfaces while riding it.
Go north
You set off on the Schwinn, and after a leisurely bit of peddling arrive at...

Garage Entrance (sitting on the bicycle)
To the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.
You go to the north
You carefully maneuver the Schwinn through the side entry door and into the garage's interior.

Garage (sitting on the bicycle)
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A large red tool cabinet sits under the canoe.

A battered old canoe hangs on the wall in bay four.

Bay two contains a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).
UNLOCK CABINET WITH KEY, OPEN IT, TAKE SQUIRREL TRAP
(first standing up, then standing in bay four)
Unlocked.

Opening the tool cabinet reveals an air hose.

The word "trap" is not necessary in this story.
You attach the hose to connect
(first taking the air hose, getting out of bay four, then standing in the service bay)
There's a momentary hiss of escaping air as you snap the air hose onto the compressor's quick-connect. You coil it on the ground next to the compressor, ready for use.
You attach the hose to the tube
(first dropping the inner tube)
You press the hose's air chuck onto the valve. Air starts to flow into the inner tube. After a moment or two the compressor motor starts.

The tube fills quickly. Once you judge it to be fully inflated you remove the chuck. The compressor motor continues to run for a few seconds as it replenishes the tank, then shuts off. You listen for the telltale hiss of a leak, but hear nothing. It looks like your patch job is holding.
You look at the tube
The old black inner tube is fully inflated, and for the moment at least your patch job appears to be holding. It ain't no boat, but it should float.
You go to the north
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A large red tool cabinet sits under the canoe.

A bicycle is parked next to you in the garage.

A battered old canoe hangs on the wall in bay four.

The service bay contains an air hose (attached to the compressor) and an inner tube. Bay two contains a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).
You enter the bay 2
You step into bay two.
Go south
You step out of bay two and into the main part of the garage.
Inventory
You are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
Go north
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A large red tool cabinet sits under the canoe.

A bicycle is parked next to you in the garage.

A battered old canoe hangs on the wall in bay four.

The service bay contains an air hose (attached to the compressor) and an inner tube. Bay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).
You take the tube
(first standing in the service bay)
Taken.
Go south
You step out of the service bay and into the main part of the garage.
You put the tube in the water
You toss the inner tube into the water. It floats nearby.
You enter the tube
You wade out, settle into the inner tube, and start paddling away from the beach. It takes a bit of experimentation to figure out the best paddle stroke to use, but before long you've cleared the breakwater and are moving along nicely.

East Bay (sitting on the inner tube)
You are floating several hundred yards off of the sandy beach to the south. The fallen rocks lie directly to the west. You'll need to paddle northwest to safely clear them. You rock gently on the light swell.
Paddle nw
You pick a point a hundred feet seaward of the jagged rocks and start paddling toward it. You have to correct your course a bit to compensate for the onshore breeze.

Rocky Point (sitting on the inner tube)
You are floating just off of the point made by the fallen rocks. To the west you can see a narrow crescent-shaped beach. The sandy beach lies to the southeast. The jagged edges of the rocks loom dangerously close, and the onshore breeze keeps trying to push you closer. You have to paddle vigorously just to maintain your position.
You paddle west
You safely clear the rocky point and paddle briskly toward the narrow crescent-shaped beach to the west.

West Bay (sitting on the inner tube)
You are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.
Paddle sw
You set out for the crescent-shaped beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.

The beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.
The steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.

You see an inner tube here.
Search shells
(two peanuts)
There's nothing unusual in two peanuts.
You examine the bush
There's a lot of brush growing along the base of the cliff. It's thickest around the two large boulders.
You examine the boulders
The boulders are the size of a small house. They're standing against the face of the cliff and are surrounded by thick brush.
You search the brush
Using what you remember from reading the map on the back of the brochure as a guide, you carefully search the brush next to the large boulder on the southwest side of the beach. You discover the hidden entrance to a shallow cave.
Go southwest
The cave is actually little more than a sheltered niche in the rocks. It's barely big enough for you to stand in. The walls are bare rock. Light filters in from the opening to the northeast.

There's a large sample case sitting on the cave floor.
You examine the case
The sample case is much larger and heavier than most. It's covered in genuine tan pebble-textured Naugahyde with a matching handle and it has shiny brass hardware. There's a small brass nameplate on the front. It's closed.
You read the nameplate
The nameplate has the initials D.R.S. engraved on it. It looks like you've found Mr. Splatz's sample case. You're just glad you didn't also find his dead hand still clutching the handle.
Open case
You open the case and discover that it's filled with vinyl siding samples. Dozens of 'em, in a rainbow of attractive, guaranteed never to fade decorator colors. There are also little miniature storm door samples, and gutter samples, and a ring of colored tags so the customers can pick their favorite shade of pastel, and catalogs, and a photo album of finished projects, and more brochures, and...

You quickly snap the case closed before the vinyl fumes overwhelm you.
You take the case
You grab the handle and pick up the sample case. It's surprisingly heavy.
You look around
The cave is actually little more than a sheltered niche in the rocks. It's barely big enough for you to stand in. The walls are bare rock. Light filters in from the opening to the northeast.
You examine walls
west wall: You see nothing unusual about it.
east wall: You see nothing unusual about it.
north wall: You see nothing unusual about it.
south wall: You see nothing unusual about it.
You leave
The beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.
The steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.

You can just make out the entrance to a shallow cave behind the brush to the southwest.

You see an inner tube here.
You look at metal
All that's left of the stairway that once descended from the overlook to the beach is a twisted pile of corroded metal.
You enter the tube
The sample case is too large and heavy to haul back in the inner tube. You'll have to find some other way of getting it off of the stony beach.
Inventory
You are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, a paddle, and a sample case. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.

The inner tube washes up onto the beach.
You examine the lock
The lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently unlocked.
You throw the case
What do you want to throw it at?
Look around
The beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.
The steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.

You can just make out the entrance to a shallow cave behind the brush to the southwest.

You see an inner tube here.
You put the lock on the handle
Which handle do you mean, the straight-slot handle, or the sample case handle?
You look at the beach
The narrow crescent-shaped beach is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. Two large boulders surrounded by thick brush stand against the face of the cliff.
Search shells
(two peanuts)
There's nothing unusual in two peanuts.
You throw the case at the railing
The iron railing is too far away.
You look at the railing
A rusted iron safety railing surrounds the overlook above you.
Inventory
You are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, a paddle, and a sample case. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.
You open the lighter
You snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.
You put the tube in the water
(first taking the inner tube)
You toss the inner tube into the water. It floats nearby.
You enter the tube
You wade out, settle into the inner tube, and start paddling away from the beach. You soon clear the breakwater.

West Bay (sitting on the inner tube)
You are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.
You go to the northeast
You briefly consider rigging a sail and putting out to sea in your inner tube, but only briefly.
You look around
West Bay (sitting on the inner tube)
You are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.
Paddle east
You pick a point a hundred feet seaward of the jagged rocks and start paddling toward it. You have to correct your course a bit to compensate for the onshore breeze.

Rocky Point (sitting on the inner tube)
You are floating just off of the point made by the fallen rocks. To the west you can see a narrow crescent-shaped beach. The sandy beach lies to the southeast. The jagged edges of the rocks loom dangerously close, and the onshore breeze keeps trying to push you closer. You have to paddle vigorously just to maintain your position.
Paddle se
You safely clear the rocky point and paddle briskly toward the wide, sandy beach to the southeast.

East Bay (sitting on the inner tube)
You are floating several hundred yards off of the sandy beach to the south. The fallen rocks lie directly to the west. You'll need to paddle northwest to safely clear them. You rock gently on the light swell.
Paddle south
You set out for the sandy beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.

The beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.

You see an inner tube here.
You go to the north
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A large red tool cabinet sits under the canoe.

A bicycle is parked next to you in the garage.

A battered old canoe hangs on the wall in bay four.

The service bay contains an air hose (attached to the compressor).
Bay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).
You take the canoe
(first standing in bay four)
The battered old canoe is to high for you to be able to reach from the garage floor.
You stand on the cabinet
Just to be safe, you should close the tool cabinet before trying to climb on top of it.
You take the canoe
The gaping hole in the bottom of the canoe is big enough to sink it like a rock. You might as well leave it where it is.
You look at the hole
(the hole in the canoe)
It looks like the canoe has had a few to many close encounters with jagged rocks, one of which no doubt ripped the gaping hole you can see in its bottom. You're no expert, but it looks to be beyond repair.
You get the hose
(first getting out of bay four, then standing in the service bay)
The hose comes free with a sharp pneumatic pop. Taken.
You look at the hose
The 50' air hose is long enough to reach about anything in the service bay. It has an air chuck at one end for filling tires, and a quick-connect at the other end for attaching it to the compressor.
You go to the west
The thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, back to the garage; south, to the east gravel driveway; and east, to the top of the cliff.
You tie the hose to the railing
You tie one end of the air hose to the iron railing and toss the other end over the edge of the cliff. The hose is thicker and stiffer than a typical rope and you can only manage a single overhand knot. Even so it will probably hold more weight than the rusty railing can handle. A quick check confirms that the free end of the hose is hanging a couple of feet above the ground below.
You go to the south
The hike back isn't any shorter, and it's all uphill. You're huffing and puffing a bit by the time you make it back to Poseidon & Amphitrite.

The flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.

The main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.
You go down
The beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.

You see an inner tube and a paddle here.
You take all
inner tube: Taken.
paddle: Taken.
You go southwest
You set out for the crescent-shaped beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.

The beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.
The steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.

An air hose hangs from the iron railing above you. Its free end sways within easy reach.

You can just make out the entrance to a shallow cave behind the brush to the southwest.

You see a sample case and an inner tube here.
You tie the hose to the case
You feed the free end of the air hose through the handle of the sample case and tie a knot. You lower the case until it's full weight is held by the hose. The rusty iron railing above you creaks and wobbles ominously, but for the moment at least seems to be holding. The case sways gently in the breeze.
You go north
You soon realize you're in for a bit of a hike. The path passes to the east of a large greenhouse, then bends northeast toward the cliffs overlooking the ocean. The ground turns rocky and starts sloping downward. Before long you're winding down stairs cut into the face of the cliff.

The steps end at wide ledge overlooking the ocean. The stairway that once continued on down the cliff face to the narrow crescent-shaped beach some fifty feet below you has collapsed into a twisted pile of corroded metal. The beach itself is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. A rusty iron railing surrounds the overlook and protects you from falling.

The way back starts with a long climb back up the steps.

An air hose is tied to the iron railing next to you. Its free end hangs over the edge of the cliff. It has a sample case tied to it.
You take hose
You try to keep the sample case from banging into the face of the cliff as you haul the hose up. You can imagine it popping open and scattering samples and brochures all over the beach. But it holds together, and with a bit of effort you manage to drag it over the rail and set it on the ground. You untie both ends of the air hose and toss it aside.
You take the case
You grab the handle and pick up the sample case. It's surprisingly heavy.
You check what you're carrying
You are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, and a sample case. You're wearing some leather work gloves.
You read the plaque
NO Soliciting!

My, what a cheery little omen.
You knock on the door
As best as you can tell you're all set for your debut as a vinyl siding salesman. You just hope you can figure out some really clever way to SAVE yourself from almost certain torture and death once you get inside. (Knock again to continue.)
You continue
You set the sample case on the steps next to you, take the business card and sales brochure in hand, square your shoulders, take a deep breath, and rap your knuckles firmly on the door. The thudding of your heart sounds louder than the footsteps thudding down the hall. The door swings open. Dark eyes glare at you.

"Good afternoon sir! My name is Splatz, Dwayne R. Splatz. But please call me Dwayne, everybody else does. Ha ha." You hand the butler your card. His scowl darkens.

"I'm here today representing Plasti-Side Inc.'s complete line of vinyl siding products." You make a show of looking around. "You have a pretty nice place here, and I'm sure you'd like to keep it that way. And believe me, there's nothing like vinyl siding for keeping a home looking great!"

The butler's scowl becomes thunderous. You see his thick fingers clutch into mallet-sized fists. You suppress a sudden overwhelming urge to see Paris one more time before you die, starting right now with a really quick trip down the steps. You hand the butler your sales brochure.

"As you can see by these photographs, our products can make a dramatic difference in the appearance of almost any structure. And unlike our competitors who make their siding from old LP records, we use only the finest virgin vinyl in their manufacture. In fact I happen to have several nice samples here with me. Let me just show you..."

You bend over to reach for your sample case. You don't even see the massive fist hurtling toward your head.

The blackness slowly diminishes...

The first thing you become aware of is something cold and hard pressing against your face. It takes you a moment to figure out it's the floor. You open your eyes, and discover that you've been dumped in the corner of a large stone chamber.

You struggle to your feet.

The chamber is large an oppressive. Tall stone columns support heavy overhead beams. Flickering torches make shadows on the wall. It feels like you're deep underground, but you could just as easily be in a windowless tower.

It's not hard to figure out the chamber's purpose. In fact you're rather surprised not to see manacled skeletons hanging from the walls and an iron maiden in the corner. There is a torture rack however, or at least the modern high-tech equivalent of one. It's sitting against the far wall. The only visible exit is the open doorway next to it.

The butler is standing next to the torture rack with his back to you. It looks like he's busy preparing it for use.

WARNING! You have recently performed an action (entering the mansion unprepared) that will prevent you from winning the game. To correct this you may type UNDO (multiple times if necessary) or RESTORE to a previously saved game.

(If you would prefer not to be alerted when the game becomes unwinnable in the future, or to SAVE a game that's in an unwinnable state, type ALERTS OFF.)
You go to the north
The garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.

A battered old canoe hangs on the wall in bay four.

A bicycle is parked next to you in the garage.

A large red tool cabinet sits under the canoe.

Bay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).
You take the clippers
(first standing in bay two)
Taken.
Go downwards
(off of bay two)
Okay, you're no longer in bay two.
You cut the tube with the clippers
You start hacking up the inner tube up with the sharpened clippers. Your first cut causes it to deflate with a loud whoosh. Before long you manage to cut a single long strip of rubber from it. The inner tube is completely destroyed in the process. You discard what's left. Hopefully you have some kind of really clever use in mind for the rubber band you've just made.
You tie the band to stick
Ah, a weapon. Good idea. You tie the ends of the rubber band to the tines of the Y-shaped stick, and voila! You have a slingshot.
Continue
You set the sample case on the steps next to you, take the business card and sales brochure in hand, square your shoulders, take a deep breath, and rap your knuckles firmly on the door. The thudding of your heart sounds louder than the footsteps thudding down the hall. The door swings open. Dark eyes glare at you.

"Good afternoon sir! My name is Splatz, Dwayne R. Splatz. But please call me Dwayne, everybody else does. Ha ha." You hand the butler your card. His scowl darkens.

"I'm here today representing Plasti-Side Inc.'s complete line of vinyl siding products." You make a show of looking around. "You have a pretty nice place here, and I'm sure you'd like to keep it that way. And believe me, there's nothing like vinyl siding for keeping a home looking great!"

The butler's scowl becomes thunderous. You see his thick fingers clutch into mallet-sized fists. You suppress a sudden overwhelming urge to see Paris one more time before you die, starting right now with a really quick trip down the steps. You hand the butler your sales brochure.

"As you can see by these photographs, our products can make a dramatic difference in the appearance of almost any structure. And unlike our competitors who make their siding from old LP records, we use only the finest virgin vinyl in their manufacture. In fact I happen to have several nice samples here with me. Let me just show you..."

You bend over to reach for your sample case. You don't even see the massive fist hurtling toward your head.

The blackness slowly diminishes...

The first thing you become aware of is something cold and hard pressing against your face. It takes you a moment to figure out it's the floor. You open your eyes, and discover that you've been dumped in the corner of a large stone chamber.

You struggle to your feet.

The chamber is large an oppressive. Tall stone columns support heavy overhead beams. Flickering torches make shadows on the wall. It feels like you're deep underground, but you could just as easily be in a windowless tower.

It's not hard to figure out the chamber's purpose. In fact you're rather surprised not to see manacled skeletons hanging from the walls and an iron maiden in the corner. There is a torture rack however, or at least the modern high-tech equivalent of one. It's sitting against the far wall. The only visible exit is the open doorway next to it.

The butler is standing next to the torture rack with his back to you. It looks like he's busy preparing it for use.
You shoot the butler with the slingshot
You take careful aim at the back of the butler's head, draw back the acorn, and fire. As fate would have it he chooses that exact moment to lean forward and peer at the flashing lights on the rack's control panel. The acorn grazes the top of his skull, hits the stone wall, and explodes into a thousand pieces. He spins around with a snarl and starts toward you. You bolt for the doorway.

He moves quickly to cut you off and lunges for you as you dart by.
You duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.

The world plunges into darkness.

Lying Unconscious (Again)
The blackness slowly diminishes...

You sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.

You struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.

The mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.
You go south
You give the gate a final shake, turn, and start your long, lonely hike back up the road.
You shoot the skeleton with the slingshot
Thankfully there aren't any skeletons hanging in the dungeon.

The butler adjusts one of the dials on the rack's control panel and pushes a red button. The indicator lights flash, but nothing else obvious happens. He scratches his head, then pulls his spiral notebook out of his pocket and lays it on the rack. He begins to flip through its pages.
You examine the panel
The control panel is mounted to the wall over the rack. It has two round black dials for setting various functions, and a large red pushbutton for activating them. Several indicator lights, also unlabeled, flash in seemingly random patterns. A pair of electrical cables tipped with clamps hang from the bottom of the panel.

The butler adjusts one of the dials on the rack's control panel and pushes a red button. The indicator lights flash, but nothing else obvious happens. He scratches his head, then pulls his spiral notebook out of his pocket and lays it on the rack. He begins to flip through its pages.
Go outside
You carefully consider your options. The butler has his back to you, and looks engrossed in his task. You figure you have a good chance to make the open doorway. You decide to go for it.

You start by crouching low and moving forward as quietly as possible, but you only manage a couple of steps before your flickering shadow on the wall gives you away. The butler grunts in surprise and spins around. You kick it into high gear.

He moves quickly to cut you off and lunges for you as you dart by.
You duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.

The world plunges into darkness.

Lying Unconscious (Again)
The blackness slowly diminishes...

You sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.

You struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.

The mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.
You read notebook
(first trying to take the spiral notebook)
The last thing in the world you want to do is get anywhere near the torture rack. You decide to try something else.

Having found the information he was looking for in his notebook, the butler turns a dial one click to the left and pushes the red button. Lights flash. The four winches mounted to the corners of the rack whine to life and start spooling out cable. He lets them run briefly, then pushes the button again to stop them.
Shoot panel
(with the slingshot)
You take careful aim at the control panel, draw back the acorn, and fire. The acorn flies wide, hits the stone wall, and explodes into a thousand pieces. Startled, the butler spins around with a snarl and starts toward you. You bolt for the doorway. (first removing the acorn)

He moves quickly to cut you off and lunges for you as you dart by.
You duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.

The world plunges into darkness.

Lying Unconscious (Again)
The blackness slowly diminishes...

You sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.

You struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.

The mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.
You shoot notebook
The last thing in the world you want to do is get anywhere near the torture rack. You decide to try something else.

The butler turns the same dial one click to the right and pushes the red button. The cables retract. The winches stop automatically when the cables are fully retracted.
You examine rack
The rack sits against the far wall. Its main component is a large metal table with a perforated steel top. The traditional large barrel winch and ratchet have been replaced with modern cable winches at each corner. Shackles are attached to the winches. Electrical cables and clamps hang from a control panel mounted to the wall above the table. A hot iron is warming up in an electric brazier attached to the foot of the table. The butler's notebook is lying open on the rack's perforated steel top.

The butler clicks the same dial to a new position, pushes the button, then rotates the other dial clockwise. The glow of the electric brazier intensifies.
You shoot the brazier
(with the slingshot)
You take careful aim at the electric brazier, draw back the acorn, and fire. The acorn flies wide, hits the stone wall, and explodes into a thousand pieces. Startled, the butler spins around with a snarl and starts toward you. You bolt for the doorway. (first removing the acorn)

He moves quickly to cut you off and lunges for you as you dart by.
You duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.

The world plunges into darkness.

Lying Unconscious (Again)
The blackness slowly diminishes...

You sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.

You struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.

The mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.
You examine the beams
Maybe you'll have time to study torture chamber construction details later. Right now you have your ass to save.

The butler uncoils the two electric cables and lays them out on the bench. He selects a new dial position, and pushes the red button. There's a crack of electricity as twin arcs jump between the ends of the cables and the top of the bench. He punches the button again to shut the current off.
You climb the columns
The stone columns aren't important.

Apparently dissatisfied with the result, the butler turns one of the dials all the way clockwise and pushes the button. The clamps jump and the sharp crackle of electricity fills the air. He lets them buzz for a couple of seconds then punches the button again to shut them off.
Wait
Time passes...

The butler picks up the ends of the cables and holds them up to the light. He inspects them closely, probably looking for signs of pitting or corrosion.
You shoot the the button
(with the slingshot)
You take careful aim at the large red pushbutton, draw back the acorn, and fire. The acorn flies true, smacks squarely into its intended target, and explodes into a thousand pieces. Electrical current arcs through the butler's body. Unable to let go of the cables, he jerks wildly until a breaker in the control panel finally opens and shuts the power off. He slowly collapses into a twitching heap on the floor.

Seeing your chance, you toss the slingshot aside and make a break for the doorway. You do have the presence of mind to grab the butler's notebook as you pass by the rack. He groans loudly, hurrying you on your way.

You plunge through the open doorway into darkness. Unable to see, you slow and begin to feel your way along the wall. The stone quickly gives way to cold metal. You see a faint glow of light ahead of you. You move toward it, and enter a small square room. As soon as you cross the threshold a sliding steel door whooshes closed behind you. An overhead fluorescent fixture flickers to life.

This small, windowless room has bare metal walls and two exits - the sliding steel door you entered through to the south, and a pair of elevator doors ahead of you to the north. It is lit by a recessed fluorescent fixture in the ceiling. The elevator doors are closed. The control panel mounted on the wall next to the elevator looks unusually complex.
You examine the panel
The elevator control panel contains fifteen round lighted buttons arranged in a pyramid and marked A1, B1, B2, etc., plus two additional rectangular lighted buttons marked RESET and NEXT. Below the panel is an unmarked card reader slot.

(A1)

(B1)  (B2)

(C1)  (C2)  (C3)

(D1)  (D2)  (D3)  (D4)

(E1)  (E2)  (E3)  (E4)  (E5)

[RESET]          [NEXT]
You examine the fixture
The fluorescent light is recessed into the ceiling and out of reach. It is currently lit.
Look around
Check your inventory. [2/7]
Look around
Have you read the butler's notebook? [3/7]
Go outside
The sliding steel door is closed, and you see no way to open it. It looks like the elevator is your only way out.
You look at your surroundings
This small, windowless room has bare metal walls and two exits - the sliding steel door you entered through to the south, and a pair of elevator doors ahead of you to the north. It is lit by a recessed fluorescent fixture in the ceiling. The elevator doors are standing open.
You enter doors
The insides of elevator cars tend to all look alike, and this one is no exception. At least the control panel is much simpler. It only has one button, marked RUN.
You examine the panel
The control panel inside the elevator is much simpler. It only has one button, marked RUN.

The elevator continues to move steadily upward.
Wait
Time passes...

The elevator slows to a stop. The doors whoosh open. You look out onto a long, beautifully appointed hallway. You sigh with relief. You've finally made it into the main part of the mansion. Elated, you step out of the elevator and into the hall. The elevator doors whoosh closed behind you.

You're still trying to figure out which way to go when a heavyset figure in a black tuxedo steps out of the shadows to stand directly in front of you. You recognize him instantly. The butler!

Your mind whirls. Fight, or flee? The elevator doors are closed behind you. You're at the far end of the hall so the only way you can go is toward the butler. You look around for a weapon. A suit of armor holding a double-bladed axe would be about right. Then suddenly, and without warning, the butler does something totally unexpected.

He smiles, and bows.

"Good, evening, and welcome to Seacliff. Mr. Winton is expecting you. If you will be so kind as to follow me I will take you to his study."

The butler's guttural grunts and snarls have completely vanished. He speaks to you with a perfect clipped British accent. You're stunned. A thousand questions flood your mind.

J. Daggett Winton's mansion has the kind of tasteful elegance that only the seriously wealthy can afford. The floor is Italian marble. Groupings of antique furniture sit on Persian rugs. Impressionist paintings hang on the walls. The skylight is Tiffany stained glass. And that's just the hall. You can't even imagine what the rooms must be like.

You're standing at the far north end of the mansion's main hall. The closed entrance doors can be seen at the other end of the hall. The elevator doors, also closed, are directly behind you to the south.

The butler is standing here. He is waiting for you to follow him to Mr. Winton's study.
You give the package to Winton
You've carried the package so long that you're almost reluctant to part with it. But clearly the time has come to do just that. You rise slightly and place it in J. Daggett's outstretched hands.

"Ah, finally," he beams. He checks the wrapping paper to make sure it hasn't been tampered with. Slipping a finger under a taped seam he tears it open.

You guessed it might be a book, and you are correct. But what kind of book? A rare Gutenberg Bible, or perhaps one of Leonardo da Vinci's lost notebooks? Your pulse quickens with excitement. You lean forward and just manage to catch sight of the dust jacket.

"Stunned" doesn't even begin to describe how you feel. It slowly sinks in that you have risked life and limb to deliver a Harry Potter book to J. Daggett Winton! But then again, maybe there's something special about this particular copy of this particular Harry Potter book. Perhaps it is a signed first-edition of some kind with a personal note from J.K. Rowling herself inscribed inside the cover.

Then you see the little blue sticker on the cover.

WAL*MART
$13.99

You slump into your chair like a deflated balloon! At least J. Daggett seems happy enough with it. He thumbs the pages, checks the binding, then turns and slides it onto the bookshelf behind him. You do notice that it fits neatly into one of the few gaps in the overflowing shelves, and that it is sitting next to books 1 & 2 of the series.

You finally manage to regain enough of your composure to realize that J. Daggett has been watching your reaction to the package's contents with great amusement. Smiling broadly, he says, "I'm sure you have a number of questions running through your mind right now. You have my full attention, and my gratitude for a job well done. Please feel free to ask anything you like."

(You could ask him about himself, the package, Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)
You ask Daggett about the package
You still can't believe that everything you've been through was for the sole purpose of delivering a Harry Potter book. There just has to be more to it than that. But what? Not sure how J. Daggett might react to your questioning his motives, you proceed carefully.

"I hope that you received everything you were, uh, expecting."

J. Daggett's eyes twinkle with concealed amusement. "Oh yes, I certainly did. In fact I'm quite pleased with both of your deliveries today."

"Both?" you ask in puzzlement.

"Yes, both. And no, there are no secret messages written in invisible ink on the wrapping paper. But we still have a few other things we need to discuss before I tell you what that second delivery actually was."

(You could ask him about himself, Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)
You ask Daggett about himself
"I've heard a great deal about you," you say politely. "I'm glad to finally have the chance to meet you in person."

"Not too disappointed I hope," J. Daggett replies. "I manage my public image almost as carefully as I manage my businesses. Or at least I did before the accident. After that I had more pressing matters to attend to."

He pauses reflectively for a moment then clears his throat. "Anyway, let's just say that the real J. Daggett Winton is more interested in making discoveries than in making money, prefers a cold beer to fine wine, can't resist a challenge, wins with grace, and tries to never lose the same way twice.

Now let's move on to something more interesting than me, shall we."

(You could ask him about Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)
You give the lighter to Daggett
You reach into your pocket and pull out the gold lighter. Showing it to J. Daggett, you say, "I came across this while I was in the garage. It was under the Jaguar. Based on the inscription I assume it belongs to you."

J. Daggett's fingers almost tremble as he takes the lighter from you. He gently rubs it between his palms to feel the familiar heft and smoothness of its polished surface, then holding it up to the light he reads the inscription. He sighs happily. "I've been looking all over for this. It was a first anniversary gift from Emmeline. It was under the Jaguar you say? No wonder I couldn't find it! Thank you for returning it."

(You could ask him about Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)
You ask Daggett about Emmeline
Normally you would avoid bringing up something as clearly painful as the loss of someone's wife, but the more you talk to J. Daggett the more she seems to somehow be related to the package you just delivered. Even so, you decide to proceed carefully.

"I read the inscription on the gold lighter I found. Your wife seems like someone very special."

"Very special indeed," J. Daggett replies softly. After a moment his voice firms. "But we still have a few other things we need to discuss before I tell you any more about Emmeline."

(You could ask him about the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)
You ask Daggett about the butler
"I had a bit of a run-in with your butler. Then when I met him again in the hall, he was a completely different person. Does he have an evil twin or something?"

J. Daggett laughs and replies, "No, no evil twin. Harold has many talents, not the least of which is acting. He also has an MBA from Oxford, a beautiful wife, three kids, and thanks to generations of shrewd investing, so much money in the family that if I ever needed a loan I'd go to him first. I keep trying to get him to run one of my corporations, but he just likes being a butler. His family has been with ours since the sailing days, and for him, it's a matter of honor and tradition."

J. Daggett smiles in fond memory. "You know, we grew up together here. We had a great time poking around this huge old place. He is as true a friend as a person could ever ask for. I owe him a great deal, including my life. But before I tell you that story I need to show you something important."

(You could ask him about his story, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)
You ask Daggett about Triton
J. Daggett looks thoughtful. Finally he says, "An interesting topic for another time. But for now there are more important things we need to discuss."

(You could ask him about his story, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)
You ask Daggett about Harry Potter
You try not to sound too peevish. "You must be quite a Harry Potter fan."

J. Daggett completely ignores any hint of hidden meaning that might lie within your question and answers simply, "Yes, I am as a matter of fact. The books are superbly written and tell a great story. I'm really looking forward to reading the one you just delivered."

(You could ask him about his story, the gardener, the groundskeeper, or the salesmen, or give him the spiral notebook.)
You ask Daggett about the salesmen
"So what's the story on torturing salesmen anyway?"

J. Daggett laughs. "Purely a scare tactic. The plaque by the door keeps most of them away. The few who persist get one look at the rack, a quite harmless theatrical prop I might add, and flee for their lives. Only one actual salesperson has ever made it all the way into my study. A fellow by the name of Splatz I believe. He thought my garden shed could really use some vinyl siding. Ha!"

"And what happened to him?"

"Good question." J. Daggett touches one of the buttons on the arm of his wheelchair and asks, "Harold, whatever happened to that Dwayne Splatz salesman guy, the one that actually made it past you?"

Harold's response is immediate and sounds just a tad disgruntled. "I believe you made him V.P. of Sales and Marketing for Winton International, Sir."

J. Daggett nods. "Ah yes, so I did. Thank you Harold." Looking back at you, he adds, "If there's anything I've learned about hiring good people, it's to go for initiative first."

(You could ask him about his story, the gardener, or the groundskeeper, or give him the spiral notebook.)
You give the notebook to Daggett
You pull the spiral notebook out of your pocket and hand it to J. Daggett. "I found this um, downstairs somewhere. I think it belongs to the butler."

J. Daggett picks it up, glances at it, and slips it into his pocket. "Thanks. I'll make sure Harold gets it back. I'm having a yen for some of his famous Thai Red Beef Curry, and he can never remember if the recipe calls or one teaspoon of fish sauce, or one tablespoon."

(You could ask him about his story, the gardener, or the groundskeeper.)
You ask Daggett about the the gardener
J. Daggett smiles fondly at your mention of the aged gardener. "My great grandfather loved the sea. My grandfather has always preferred solid ground. He just loves puttering around in the greenhouse." His grin widens. "He's also pretty good at keeping Earl on his toes."

(You could ask him about his story, or the groundskeeper.)
You ask Daggett about Earl
"I found a shirt outside that had the name Earl on it. Is he your groundskeeper?"

J. Daggett nods. "Head groundskeeper actually. He and his staff are responsible for maintaining the entire estate, and they are very, very good at what they do. Normally you would have seen a few of them about, but today happens to be their day off."

(You could ask him about his story.)
You ask Daggett about his story
Your original mission is complete. You have met the great J. Daggett Winton and delivered your package. But you're far from ready to just walk out the door. Too many questions remain unanswered. You decide it's time to take J. Daggett up on his offer.

"You mentioned earlier that you have something important you want to show me, and a story to tell?"

"Yes I do," J. Daggett replies firmly. "If you have no further questions then we can be on our way. Just follow me when you're ready."

(You could ask him about his story.)
You ask Daggett about his story
J. Daggett replies, "I'm ready when you are. Just follow me and we'll be on our way."

(You could ask him about his story.)
You ask Daggett about the house
J. Daggett looks thoughtful. Finally he says, "An interesting topic for another time. But for now there are more important things we need to discuss."

(You could ask him about his story.)
You ask the dagget his story
Study (sitting on the guest chair)
You expected a dimly-lit chamber filled with dark leather furniture and smelling of single-malt scotch and cigar smoke. You're surprised to discover that J. Daggett's study is light, airy, and quite modern. Instead of oak and mahogany the walls and bookcases are made from natural cherry. Dozens of sticky-notes litter his expansive desk. It is also home to two large flat-screen computer terminals and an array of state-of-the-art communications equipment. Message lights flash. Market quotes scroll across one terminal. The other is teleconferenced into a board meeting of some kind.

The second big surprise is J. Daggett Winton himself. He still looks like the same swarthy, ruggedly-handsome businessman/adventurer who used to be featured in the news on an almost daily basis. A little older, a little wearier perhaps. But the glint of brilliance in his keen gray eyes hasn't dimmed in the least. However the information about the accident that had taken Emmeline's life hadn't included any mention of his own injuries. There is no office chair behind his desk. It has been removed to make room for his high-tech powered wheelchair.

J. Daggett Winton is sitting on the wheelchair. He is waiting for you to either follow him or ask your next question.

J. Daggett Winton isn't important.
You look at the wheelchair
J. Daggett's motorized wheelchair looks like it's much more than just transportation. Judging from the array of controls and readouts built into the chair's arms you would guess that it also serves as his mobile command center. You have no doubt he designed it himself.
You follow Daggett
"I'm ready to go if you are."

J. Daggett responds by touching a control on the arm of his wheelchair. A motor hums to life and his desk starts to smoothly rotate out of the way. At the same time, a bookshelf in the north wall of the study swings back to reveal a short, well lit corridor. The humming stops.

Gesturing toward the opening, he says, "We'll take the back way down."

You fall in behind his wheelchair. The short hallway leads to another elevator. This one doesn't have any visible controls; therefore you assume it must be operated remotely from the wheelchair. Your guess is confirmed when the doors open as J. Daggett approaches, then close behind you.

The descent is brief. The elevator quickly slows to a stop and the doors whoosh open. Banks of overhead lights flicker to life. Your jaw drops in amazement. You're so overwhelmed that it takes a moment for you to realize that J. Daggett has moved forward. You trot after him.

The chamber is huge and crammed floor to ceiling with a dazzling array of historical artifacts. There are Renaissance masterpieces, Grecian sculptures, numerous statues from the Egyptian and Roman pantheons, Aztec and Mayan figurines, suits of samurai armor, a troop of Emperor Qin Shi Huang's terra cotta soldiers, and that's just what's setting out around you. Chests and packing cases are stacked everywhere. You half expect to see the crated Ark of the Covenant being wheeled off in the distance.

The elevator doors lie behind you to the north. The only clear path you can see through the stacked crates continues southward. Several rather unusual pieces near where you're standing arouse your curiosity.

J. Daggett Winton is sitting on the wheelchair. He is waiting for you to either follow him further or ask another question.

(You could ask him about the collection, or his story.)
Examine crates
It looks like the rumors about J. Daggett's huge collection of historical artifacts were true.
You ask Daggett about the collection
Curious, you ask, "I noticed several rather interesting artifacts as we were walking along. Mind if I ask you about them?"

"Not at all," J. Daggett responds. "Ask away."

(You could ask him about his story, the pair of marble arms, the giant bronze thumb, or the carved limestone nose.)
You examine the thumb
The bronze thumb is something you might want to ask J. Daggett about.
You look at the arms
The marble arms are something you might want to ask J. Daggett about.
You ask Daggett about thumb
"It's all that remains of the Colossus of Rhodes," J. Daggett sighs. "The rest was supposedly sold as scrap to a traveling salesman from Edessa. What a sad end to a great work of art. And don't even get me started on traveling salesmen!"

(You could ask him about his story, the pair of marble arms, or the carved limestone nose.)
You ask Daggett about the nose
"There's a rumor that Napoleon's troops shot it off for target practice. Another account attributes the vandalism to Muhammad Sa'im al-Dahr. He was a Sufi fanatic and supposedly did it to dissuade the locals from making offerings to the Sphinx in hope of increasing their harvest. In any case Granddad found this piece on one of his trips to Giza. It looks to me like it just broke off on its own."

(You could ask him about his story, or the pair of marble arms.)
You ask Daggett about the arms
"Ah yes, those," J. Daggett chuckles. "I suppose I should donate them to the Louvre, but people these days are accustomed to seeing the Venus de Milo without them."

(You could ask him about his story.)
You ask Daggett about the story
You look around in amazement. "This is an incredible collection, but I have a feeling it's not what you wanted to show me."

"You are correct," J. Daggett acknowledges. "That lies just ahead. Follow me."

(You could ask him about his story.)
You follow Daggett
You again fall in behind J. Daggett's wheelchair. The path through the stacked crates leads to a heavy steel door. It rolls smoothly upward as you approach, revealing darkness beyond. J. Daggett continues a few feet inside and stops. He motions for you to join him.

J. Daggett's voice is strangely hushed. "We have reached our destination. I'm going to close the door, and when I do, it will be almost completely dark. But don't worry, there's nothing in here that can harm you. We need a little time for our eyes to adjust. And while they do, I will tell you my story."

It's too dark to do anything but wait.
You wait
J. Daggett begins his story.

"The first time I met Emmeline we were on the face of a cliff. I was headed up. She was on her way down. We stopped on a ledge for a bit of a chat. I was very impressed by her skill as a climber; and when we met again a day later at a dinner party, I was even more impressed by her grace and beauty. We continued to see each other and were married within six months.

&ldquoShe was a bit overwhelmed by Seacliff at first, but it didn't take her long to settle in. She charmed Harold immediately, and he really helped her feel at home. She especially loved to explore the grounds, and she was delighted the day I showed her the entrance to the caves in the basement. The cliffs around here are riddled with them. Some of them go back for miles. Exploring them together soon became one of our favorite activities.

&ldquoThe day of the accident, we were headed for a large chamber we had named The Cathedral. Emmeline was in an excellent mood. I could tell she had some kind of good news she wanted to share with me. The Cathedral was one of our favorite places to sit and talk.

&ldquoThe only challenge along the route is a sheer descent of about thirty feet down a chasm wall, but we had been up and down it dozens of times before and we had no trouble with it that day. We were almost there when Em noticed a fresh rock fall, and the new opening that it had exposed. Of course, we had to see where it led."
Wait
As you wait in the darkness, you slowly become aware of a faint blue glow. It seems to be floating in the air about five feet in front of you. J. Daggett continues his narrative.

"The passage beyond opened quickly into a domed chamber. The walls were polished smooth and had about a dozen small niches cut into them. The center of the chamber was dominated by a wide stone arch. It was about twelve feet tall and covered with a strange flowing script in a language neither of us had seen before. The niches were empty, save for one. It contained a small silver-blue bracelet.

&ldquoThe bracelet was metallic and heavy like gold or platinum might be. The outside was polished smooth, but the inside had more of the same flowing script engraved around it. There were no other exits from the room that we could find; and looking at that arch, we couldn't help but think sci-fi..."

J. Daggett smiles slightly in memory. "Take your pick. Stargate?
The Time Tunnel? 'Beam me up, Scotty?' I stepped through it first. Nothing. Em got the idea to slip on the bracelet and try it. Still nothing. Oh well. We took a few pictures and headed back.

&ldquoI made it through the opening without any trouble. Em had just started through when the rocks gave way again."
Wait
You continue to wait. The blue glow looks a bit brighter now. It appears to be coming from a supine human figure, probably lying on a platform of some kind. The figure is feminine and completely still. You don't believe in ghosts. But, could it possibly be...

J. Daggett's voice is filled with emotion when he begins to speak again.
You look at the glow
"It took me almost twenty minutes of frantic digging with my hands and climbing axe to free her. The rocks and loose soil hadn't crushed her, but they had buried her. That much time with no air...

&ldquoAfter that, all I could do was try to carry her body back. I remember nothing of the return trip until I reached the chasm. I was almost at the top when my footing gave way. We both tumbled to the floor below.

&ldquoI regained consciousness hours later. My torch was smashed. I couldn't move my legs. I figured I would simply die where I lay. And to be perfectly honest, by that time I was looking forward to doing just that. I did notice a faint blue glow surrounding Em's body, but I was too far gone to even care what it was. I was still holding her in my arms when Harold found us."

It's still too dark to make out any detail. You continue to wait.
You can see the figure a bit more clearly, and you have no doubt now that it's Emmeline. She's lying on some kind of table in the center of the room. Her eyes are closed. Her features are serenely composed. She is still dressed in khakis and climbing boots as though she had walked out of the cave moments before and stretched out for a bit of a nap. Her entire body is surrounded by the strange blue glow. She is startlingly beautiful. You are so struck by the sight that it takes you a moment to realize that J. Daggett has continued his narrative.

"Harold took care of everything. Doctors, police, Em's funeral arrangements, all of it. I was so deeply depressed that I didn't care if I lived or died. Then about a month after the accident, Harold finally felt I was well enough for him to tell me that he had secretly arranged to have an empty casket cremated. He too had discovered the blue glow. And even stranger, he had found that it was impossible to penetrate. A needle would stop microns short of actual contact. X-rays just bounced off. It was as if she was encased in some kind of force field. He couldn't even be sure if she was dead or alive.

&ldquoAfter that I couldn't wait to get out of the hospital. I had to know. I put every ounce of energy and determination I had into my rehabilitation, but it still took me almost six months to get mobile again. The only thing that made it bearable was Harold's continued assurance that Em's condition remained completely unchanged."
Wait
You continue to wait. J. Daggett pauses just long enough to turn the lights up a bit.

You can now see that the entire back wall of the room is stacked with racks of lab instruments. All of them are powered off. Emmeline is lying in front of them on a padded exam table. J. Daggett touches one of the controls on his wheelchair and all the equipment comes to life at the same time. Lights flash, traces start scanning across monitors, computer screens display boot up sequences. He scans the instruments quickly, then turns back to you.

"As soon as I got back here I set up this lab and tried everything I could think of to get some kind of reading from inside the field with no success. I could see her, but I couldn't touch her. It finally occurred to me to try time-lapse photography. I set it up to capture any hint of movement inside the field, no matter how slow or faint. And I found it. A visible pulsing of the carotid artery. One heartbeat every twenty-seven and a half hours. She was alive!"

J. Daggett leans forward. "I knew where the field was coming from of course. She hadn't removed the bracelet after walking through the arch, and she was still wearing it when the passage collapsed. But it was inside the field with her and untouchable.

&ldquoI've spent over two years now trying to figure out how the bracelet works. It has to be generating some kind of stasis field.
My best guess is that it's a protective device. The falling rocks activated it. But why hadn't it turned back off? I've also had no luck trying to determine its origin. The script on the arch has proved to be unique. I needed to try a different approach."

His story complete, J. Daggett sags back in his chair and fixes you with a steady gaze. Finally he asks, "So, have you figured out what your second delivery was yet?"

The room has been converted into a laboratory. The entire back wall is stacked with racks of lab instruments. Lights flash, traces scan across monitors, status messages scroll up computer screens. Emmeline is lying in front of them on a padded examination table.

An old wooden door leads west. The chamber full of artifacts lies behind you to the north. Both doors are closed.

J. Daggett Winton is sitting on the wheelchair. He is waiting for you to respond yes or no.
You say yes
"Yes, I believe I've figured it out. Your research into the bracelet from this end has stalled. You can't go back down into the caves and find the answer yourself. You need me to do it for you. I'm the second delivery."

J. Daggett beams. "Exactly! I need someone who can solve problems, overcome obstacles, and prevail in the face of adversity. The fact that you're standing here proves that you can do that, and more. The only question that remains is, will you?"

He stops your immediate response with a raised hand. "Before you answer there are two additional things you should know. The first is that the other two Harry Potter books on the shelf in my study were also delivered by highly skilled individuals. Harry Potter and the Sorcerer's Stone arrived by way of an ex-Navy SEAL. Harry Potter and the Chamber of Secrets was handed to me by a woman who reminded me very much of Emmeline herself. Both went into the caves. Neither has returned."

You think about that for a moment before finally asking, "And the second thing I should know?"

"We had both wanted children, but the doctors had told us Em couldn't. Just before we left the chamber containing the arch, Em told me her good news. She had proved the doctors wrong. She was going to have a baby."

J. Daggett is again watching you carefully, trying to gauge your reaction to everything he's told you. Finally he says, "So now you have to make a choice. The entrance to the cave is through the wooden door to the west. The way out is through the steel door behind you. If you choose it, I have misjudged you; and it is best that our relationship ends here. You can pick up whatever trinket you feel you've earned as payment as you leave.

&ldquoIf you choose to go on I don't need to talk about fame or fortune or glory because you're not motivated by them. In that case, all I can say further is, 'Good luck, and Godspeed'."
Describe the surroundings
The room has been converted into a laboratory. The entire back wall is stacked with racks of lab instruments. Lights flash, traces scan across monitors, status messages scroll up computer screens. Emmeline is lying in front of them on a padded examination table.

An old wooden door leads west. The chamber full of artifacts lies behind you to the north. Both doors are closed.

J. Daggett Winton is sitting on the wheelchair. He is waiting for you to choose your path.
You examine Emmeline
Emmeline is lying on a padded examination table in the center of the room. Her eyes are closed. Her features are serenely composed. She is still dressed in khakis and climbing boots, as though she had walked out of the cave moments before and stretched out for a bit of a nap. Now that the lights are on you can no longer see the strange blue glow that you know still surrounds her body. She is startlingly beautiful. She is lying.
You touch Emmeline
That is neither necessary or appropriate.
Go west
You know there is only one choice you can live with: therefore, it really isn't a choice at all.

J. Daggett gives you everything you might need. Among the climbing gear, first aid kit, and survival rations, you are surprised to notice a shiny brass lantern. Apparently your host is also something of a traditionalist.

A final handshake, a last look at Emmeline, and you're on your way. You feel about ten-feet tall as you step through the doorway into darkness.

(Oops. You forgot to turn on the dang lantern, again.)
You say no
"I'm not really sure," you respond hesitantly. "My best guess seems a bit..."

"Farfetched?" J. Daggett finishes for you. "Think about it. My research into the bracelet from this end has stalled. I can't go back down there and find the answer myself. I need someone to do it for me. Someone who can solve problems, overcome obstacles, and prevail in the face of adversity. In other words, someone like you."

"So I am the second delivery then."

"That's right," he confirms. "The fact that you're standing here proves that you can do that, and more. The only question that remains is, will you?"

He stops your immediate response with a raised hand. "Before you answer there are two additional things you should know. The first is that the other two Harry Potter books on the shelf in my study were also delivered by highly skilled individuals. Harry Potter and the Sorcerer's Stone arrived by way of an ex-Navy SEAL. Harry Potter and the Chamber of Secrets was handed to me by a woman who reminded me very much of Emmeline herself. Both went into the caves. Neither has returned."

You think about that for a moment before finally asking, "And the second thing I should know?"

"We had both wanted children, but the doctors had told us Em couldn't. Just before we left the chamber containing the arch, Em told me her good news. She had proved the doctors wrong. She was going to have a baby."

J. Daggett is again watching you carefully, trying to gauge your reaction to everything he's told you. Finally he says, "So now you have to make a choice. The entrance to the cave is through the wooden door to the west. The way out is through the steel door behind you. If you choose it, I have misjudged you; and it is best that our relationship ends here. You can pick up whatever trinket you feel you've earned as payment as you leave.

&ldquoIf you choose to go on I don't need to talk about fame or fortune or glory because you're not motivated by them. In that case, all I can say further is, 'Good luck, and Godspeed'."
You enter the steel
J. Daggett's face is expressionless as you turn to walk out. He touches the control to open the steel door, then turns his back on you and rolls over to sit beside his wife. He takes her hand in his and bows his head.
Go west
You know there is only one choice you can live with: therefore, it really isn't a choice at all.

J. Daggett gives you everything you might need. Among the climbing gear, first aid kit, and survival rations, you are surprised to notice a shiny brass lantern. Apparently your host is also something of a traditionalist.

A final handshake, a last look at Emmeline, and you're on your way. You feel about ten-feet tall as you step through the doorway into darkness.

(Oops. You forgot to turn on the dang lantern, again.)