text: [Themes: Lovecraftian, horror]
  
  > Go downward
  Something tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.
  
  Malign Tunnel (Damon L. Wakes)
  The space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.
  
  A spectral trolley stop sign reads Black Line -- Underground.
  
  > wait for purple Line
  You lean against the heaving pipes, hold out your pass, and wait for the purple line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes
  through you, and you find yourself transported to
  
  Front Walk (Matt Weiner)
  Cragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.
  
  By the porch steps is a post with a placard reading "31." A strange little manikin is affixed to it.
  
  A spectral trolley stop sign reads Purple Line -- Cragne Manor.
  
  > go to the north
  You climb the steps to the porch.
  
  Mudroom (Matt Weiner)
  The porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.
  
  In one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.
  
  In the other corner of the porch is a small wooden table.
  
  A slightly muddy welcome mat lies in front of the door.
  
  Against the front wall are a pair of blue cloth slippers and a single brown leather boot.
  
  You can also see the mate of the first leather boot here.
  
  > Go north
  Foyer (Greg Frost)
  Standing in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.
  
  The sky outside is purple, with a few stars already visible. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.
  
  > examine the coffee
  The clouds in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.
  
  A faint smell of mildew emanates from it.
  
  > Go south
  Front Walk (Matt Weiner)
  Cragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.
  
  By the porch steps is a post with a placard reading "31." A strange little manikin is affixed to it.
  
  An ethereal trolley stop sign reads Purple Line -- Cragne Manor.
  
  > Go north
  Front Walk (Matt Weiner)
  Cragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.
  
  By the porch steps is a post with a placard reading "31." A strange little manikin is affixed to it.
  
  A noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.
  
  > go west
  Court (Ryan Veeder)
  Walls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.
  
  In the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.
  
  A white key lies on the floor.
  
  > look at white Key
  A finger-length key, its off-white striations indicating it was carved from ivory, or bone.
  
  > get it
  Taken.
  
  For a second you hear nothing—then the rain starts again.
  
  > Go east
  Foyer (Greg Frost)
  Standing in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.
  
  Countless stars are appearing in the sky outside. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.
  
  > unlock the crypt with white Key
  You unlock the crypt door.
  
  > examine the crypt door
  A crude skeleton, grinning and capering, is incised into the metal. It reminds you of medieval art you saw in college, primitive and alien--but there's something odd about the shape of the skull. A banner above the skeleton reads, worn and barely legible, "Mors ultima linea rerum est."
  
  > Go inside
  (first opening the crypt door)
  
  Family Crypt (Justin Melvin)
  You are in a long-neglected, dusty, and surprisingly cold crypt, about the size of a garage. The walls are covered with a dark mold creeping from the floor, and the whole place smells unsettlingly like cured meat and leather. There are numerous plaques on the floor, and it is difficult to navigate the room without stepping on one of them. Your eyes are drawn to the only other object in the room: a large ornately decorated stone coffin. The only exit is the door you came in through leading back outside.
  
  > examine the coffin
  A large, gray stone coffin with a heavy-looking lid. It is carved with an intricate pattern of swirling lines, none of them intersecting at right angles. There is an inscription on the side.
  
  > read the inscription
  Which do you mean, the inscription, the inscription on the silver teapot or the watch inscription?
  
  > put the teapot in the sp
  You unzip the side pocket, deposit the teapot (smelling faintly of mildew), then zip the side pocket back up again.
  
  > put the watch in the sp.
  You unzip the side pocket, deposit the familiar gold wristwatch (smelling faintly of mildew), then zip the side pocket back up again.
  
  > read the inscription
  In the dim light, it is difficult to make out the faded lettering, but you can see "HAR?AWELL CRAG?E, Icterine Al?erman of the Va?ieg?ted Cou?t." It's uncle Harvawell! You didn't know him personally very well, but he was a local celebrity - he was a lead newscaster for one of the local TV stations. He passed away about five or six years ago. You aren't sure exactly what he died of, and you missed his funeral. You feel a knot in your stomach. This wasn't really the way you wanted to get close to him.
  
  > open it
  For some reason, you feel compelled to open the coffin. Your heart races. Why would you do that? Why do you want to disturb the departed? You don't like this urge and try to ignore it.
  
  > keep going
  You feel your hands being drawn to the lid of the coffin. You feel blood pulsing in your neck and ears. Your breathing becomes shallow, and you start to panic. Why are you trying to open this coffin? What kind of a person are you?
  
  > keep going
  You are really starting to lose it. This isn't your body anymore. You are losing control of your hands and arms, as you feel yourself hefting the massive lid above the coffin. You feel the ache of your arms and back as you struggle to push it out of the way, all the time feeling like a stranger in your body, watching and feeling someone else's actions. You don't want to look down - you don't want to look down - you look down inside the coffin, sweating. You see a skull, but not the rest of Uncle Harvawell's body, along with a mummified rodent (a weasel, maybe?).
  
  > examine Skull
  You don't know why you opened the coffin to find this skull, but here it is. You can see Uncle Harvawell's broad jawline and high cheekbones on the skull - it really does look just like him. You remember him smiling from the 6pm news, and you shudder as you look at him in his terminal location, wondering what questions you would ask him. This scene is his final, interred view.
  
  In Uncle Harvawell's skull is a long wooden key.
  
  > Close the coffin
  Your arms are too tired to lift the lid again.
  
  > examine wooden
  A long wooden key.
  
  > Go southwest
  Front Walk (Matt Weiner)
  Cragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.
  
  By the porch steps is a post with a placard reading "31." A strange little manikin is affixed to it.
  
  An insubstantial trolley stop sign reads Purple Line -- Cragne Manor.
  
  > go to the north
  You climb the steps to the porch.
  
  Mudroom (Matt Weiner)
  The porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.
  
  In one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.
  
  In the other corner of the porch is a small wooden table.
  
  A slightly muddy welcome mat lies in front of the door.
  
  Against the front wall are a pair of blue cloth slippers and a single brown leather boot.
  
  You can also see the mate of the first leather boot here.
  
  > go north
  Foyer (Greg Frost)
  Standing in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.
  
  Countless stars are appearing in the sky outside. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.
  
  > go west
  Court (Ryan Veeder)
  Walls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.
  
  In the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.
  
  Another flash of lightning: In the stained glass, above the dark figure, a jagged shape looms.
  
  > Open case
  You open the display case.
  
  > look at the case
  The case is built into the curved wall, so its glass door has been crafted with a subtle but noticeable curve of its own.
  
  The case contains seventeen figurines: a greyhound, a Venus flytrap, a crow, a Pontiac Firebird, a white antelope, a peregrine falcon, a cat, a duck, an eel, a mole, a sheep, a weasel, a tarantula, a silverfish, a wolverine, a rat and a kraken.
  
  > put wolverine on Niveous
  (First taking the figurine of a wolverine)
  
  You place the figurine of a wolverine on the niveous pedestal.
  
  > put the duck on Fulvous
  (First taking the figurine of a duck)
  
  You place the figurine of a duck on the fulvous pedestal.
  
  > put the greyhound on the puce
  (the trophy for a dog race (smelling faintly of mildew) on the puce pedestal)
  You set the trophy for a dog race (smelling faintly of mildew) on the puce pedestal.
  
  The trophy for a dog race (smelling faintly of mildew) begins to move. As if the room were slowly tipping to one side, the trophy for a dog race (smelling faintly of mildew) slides toward the edge of the pedestal—and then falls to the floor.
  
  > put the greyhound figurine on the puce
  (First taking the figurine of a greyhound)
  
  You place the figurine of a greyhound on the puce pedestal.
  
  Thunder rolls overhead, increasing in intensity, going on so long and becoming so loud that it must be a jet engine—it stops.
  
  > put the Cat on Griseous
  (First taking the figurine of a cat)
  
  You place the figurine of a cat on the griseous pedestal.
  
  A flash of lightning illuminates the stained glass: You catch a glimpse of a figure wearing a dark cloak.
  
  > put the peregrine on Xanthic
  (First taking the figurine of a peregrine falcon)
  
  You place the figurine of a peregrine falcon on the xanthic pedestal.
  
  > put the weasel on the icterine
  (First taking the figurine of a weasel)
  
  You place the figurine of a weasel on the icterine pedestal.
  
  > put the silverfish on Cesious
  (First taking the figurine of a silverfish)
  
  You place the figurine of a silverfish on the cesious pedestal.
  
  > put the eel on Croceate
  (First taking the figurine of an eel)
  
  You place the figurine of an eel on the croceate pedestal.
  
  > put Firebird on Mazarine
  (First taking the figurine of a Pontiac Firebird)
  
  You place the figurine of a Pontiac Firebird on the mazarine pedestal.
  
  An explosion of thunder rattles the house.
  
  > put ANTELOPE on fuscous
  (First taking the figurine of a white antelope)
  
  You place the figurine of a white antelope on the fuscous pedestal.
  
  A sudden violent gust of wind makes the manor walls shake.
  
  > put kraken on eburnean
  (the antique locket (smelling faintly of mildew) on the eburnean pedestal)
  You set the antique locket (smelling faintly of mildew) on the eburnean pedestal.
  
  The antique locket (smelling faintly of mildew) begins to move. As if the room were slowly tipping to one side, the antique locket (smelling faintly of mildew) slides toward the edge of the pedestal—and then falls to the floor.
  
  > put kraken figurine on eburnean
  (First taking the figurine of a kraken)
  
  You place the figurine of a kraken on the eburnean pedestal.
  
  The stained glass lights up again, and you see the figure raising something to its lips.
  
  > put Rat on rufous
  (First taking the figurine of a rat)
  
  You place the figurine of a rat on the rufous pedestal.
  
  A clicking noise erupts in the center of the room. You turn to look: The top of the black monolith has opened itself.
  
  Thunder rolls overhead, increasing in intensity, going on so long and becoming so loud that it must be a jet engine—it stops.
  
  > examine Monolith
  The facets of the monolith have opened up, revealing a black chamber within.
  
  In the black monolith is a black horn.
  
  > look at the horn
  The coiled horn of some massive, ancient beast. Smooth, oily patches on its rugose surface indicate how multitudes of hands have held the instrument; its pointed tip is carved open to serve as a mouthpiece.
  
  > get the horn
  Taken.
  
  The wind rises in pitch, and for a long moment it sounds more like a scream.