text: > Look around
  Tigers hate cheap trinkets, and visitors to the labyrinth are too
  enthralled with the wonders of the natural world to pay a gift shop
  any mind. Nevertheless, the gift shop remains, gathering dust. South
  is the way out.
  
  A pile of rubble is all that remains of a food cart.
  
  > Go south
  Previously, one saw tigers at the zoo. Now, the tigers run the zoo.
  Some of the more mundane exhibits are to the west. The geometrical
  cells are east, and north is the Labyrinth's gift shop. South is the
  exit to Moloch Street.
  
  A tiger in a janitor's uniform can be seen scrubbing the walls.
  
  > go west
  Out of the many animal exhibits here, this one seems the least likely
  to maim you. A tiger mopping the floors outside reassures you that
  that 'doesn't usually' happen. But why take chances?
  
  A large beast that only vaguely resembles a deer is here, shuffling
  morosely around its cage. Every so often, it makes a sickening rattle
  that could charitably be described as a cough.
  
  A scattering of pills is in the Shuffler's feeding trough, untouched.
  
  > put the pills in the lumps
  (first taking the pills)
  You stuff the pills into the lumpy mass. Hopefully this will do
  something towards disguising their taste.
  
  > put lumps in the trough
  The Shuffler sniffs the lumps cautiously. Then it opens its mouth and
  swallows them, not even bothering to chew.
  
  > wait
  Time passes.
  
  Suddenly, the Cervine Shuffler begins to cough loudly. It gags and
  wheezes, straining to push something out from its throat.
  
  > wait awhile
  Time passes.
  
  After what feels like an eternity of hacking and sputtering, the
  Cervine Shuffler spits a smooth grey stone onto the floor.
  
  > take the grey stone
  Taken.
  
  > look at it
  A smooth, grey stone. Valuable, and only occasionally hairy.
  
  > Go east
  Animals aren't the only thing kept in the Labyrinth of Tigers. You are
  in a wide room, the walls lined with various cells behind curtains. A
  sign reminds visitors not to bring mirrors into the exhibit. West is
  the exit.
  
  A plain green curtain covers a cage.
  
  > pull the curtain
  It is fixed in place.
  
  > move the curtain
  You open the curtain. A scruffy-looking square is behind it.
  
  > examine the square
  cage. You're sure it's noticed you. It's just not interested.
  
  > talk to the square
  The square keeps its back turned. "Don't want to talk to you," it
  mutters. "Don't need to talk to you. We want to leave." It hisses.
  "Come back when you've got what we want."
  
  > examine the sign
  NO MIRRORS BEYOND THIS POINT, the sign reads. FOR YOUR OWN SAFETY AND
  FOR THE EFFICACY OF OUR PRISON, KEEP MIRRORS AND REFLECTIVE SURFACES
  AWAY FROM THE EXHIBITS, NO MATTER HOW THEY MIGHT PROTEST.
  
  > Open case
  You open the trophy case, revealing a heartmetal disc, a horse statue
  and a lump of friendly amber.
  
  > put the gold in the case
  The solid gold brick fits perfectly.
  
  > put the bezoar in the case
  The bezoar fits perfectly.
  
  > Inventory
  You are carrying:
  a brass ring
  a flint-and-steel lighter
  a maze map
  a set of ritual instructions
  a pail
  a brass key
  a bell
  a pickaxe
  the theoretical location of a hideout
  a rusty lamp
  a pint of fry oil
  a detective's fedora (being worn)
  the spare towel
  a knapsack (open but empty)
  a compelling note
  
  > wear the ring
  You put on the brass ring.
  
  > remove the ring
  You take off the brass ring.
  
  > Light lamp with device
  You light the rusty lamp.
  
  This small, cramped tunnel runs from north to south between two
  parallel walls. A hole in the western wall leads outside.
  
  > Go north
  The palace's wine cellar is supposed to be intruder-free, but the
  trapdoor was left unlocked. Strangely, racks and racks of expensive
  wines still line the walls. South, the trapdoor leads back to the
  tunnels. West is a back door out.
  
  On one wall is a jeweled sword, apparently used to uncork wine.
  
  > examine the wine
  can't get anywhere else. But the wines made after are rich, and taste
  like home. Many, many bottles are arranged here.
  
  > examine it
  A large, curving thing with a gem-encrusted handle. ...Is that a
  diamond? It certainly looks valuable. It's also decorative, not to
  mention blunt.
  
  > go west
  (first opening the back door)
  You unlock the door from the inside.
  
  You are west of the palace, where the back entrance to the building is
  located. North is the roof, and to the south, you can see a basalt
  wall.
  
  > Go east
  The palace's wine cellar is supposed to be intruder-free, but the
  trapdoor was left unlocked. Strangely, racks and racks of expensive
  wines still line the walls. South, the trapdoor leads back to the
  tunnels. West is a back door out.
  
  > Go south
  This small, cramped tunnel runs from north to south between two
  parallel walls. A hole in the western wall leads outside.
  
  > go south
  This small, cramped tunnel runs from north to south between two
  parallel walls. North is a hint of daylight. South, you see the ruins
  of an archway.
  
  > Go south
  You stand in the ruins of an archway, made from ancient stone. There
  is a complex series of tunnels to the south, and north is the way you
  came.
  
  > go to the south
  A complex system of tunnels forms a winding labyrinth, with exits in
  all directions.
  
  > Go east
  The maze of tunnels in the west ends here, at a fancy door to the
  east. You can sense a presence behind the door, thrumming with power.
  You're close.
  
  > examine the door
  An ornate door, made from wood.
  
  > Go east
  (first opening the fancy door)
  
  A small room with rough cave walls, but an inhabited one. Cave
  paintings near the wall serve as decorations, and empty wine bottles
  are scattered all over the room. West is the exit.
  
  An old wooden desk is here, next to a chair.
  
  > examine the paintings
  The paintings are crude, but it's clear someone spent a lot of time on
  them. What they're of is anyone's guess - lines intersect each other
  at seemingly random intervals, shapes overlap one another and fold
  inwards.
  
  > look at the bottles
  Empty bottles of the cheapest alcohol you've ever seen. There must be
  hundreds of them.
  
  > look at the desk
  A plain wooden writing desk that contains a set of drawers.
  
  > open the drawers
  You open the drawers, revealing a handwritten book.
  
  > take the book
  (the handwritten book)
  As if on cue, a line- no, a square- appears out of nowhere behind you.
  
  > examine the square
  He is an infinitely thin straight line - no, some kind of rectangle.
  Or is he a square? He keeps changing. Whatever he is, he is dressed in
  a simple robe, and has the look of someone from another time. As a
  square, he smiles sadly at you.
  
  > talk to the square
  "It hurts, being like this." The entity blinks at you, as though he's
  just realizing you're here. "But I'm being rude. You're here for the
  book, right?"
  
  > Yes
  That was a rhetorical question.
  
  > ask the square about book
  (the handwritten book)
  "This was supposed to be my life's work," he says softly. "I wanted to
  prove that the third dimension was real so very badly. Back when I was
  Euclid the geometer, instead of being... like this." As he says this,
  he vanishes, only to reappear moments later. "I'm sorry, Detective.
  It's so hard to keep myself flat. My body just wants to drift up into
  space, I suppose. Add that to my list of regrets."
  
  > ask square about the regrets
  "This book was supposed to be a log of my travels. The places
  I saw, the things I learned. I wanted to enlighten people, wake them
  up to the glories of the third dimension. And even now, I
  still do. But I don't know if it was worth it, and I certainly don't
  want anyone trying to follow in my footsteps."
  
  > ask square about the travels
  "I spent hundreds of years travelling the third dimension," Euclid
  says. "Even if I couldn't really get it, I figured I'd have a look.
  Thought I might find another civilization, resources, something. I
  found two things - You people, in that cavern the bats like to send
  people to, and nothing. Absolutely nothing. We're all alone in the
  universe." He shivers. "It was all for nothing."
  
  > ask the square about the third dimension
  "Yes, the third dimension is real. Not that anyone wants to listen.
  They're all so scared that there could be something out there they
  don't understand, so they try to suppress it. The bats are in
  on it too, trying to keep people in the dark." He perks up. "But my
  book can change all that! Spread the truths of the third dimension to
  the common man."
  
  Euclid clears his throat. "I want my book to go public, so people will
  know the truth, but at the same time, I'm not sure if we even should
  be meddling with the third dimension. Maybe it's better to keep people
  in the dark." He gives you a serious look. "I want to let you have my
  book, Detective. Give it to a library, sell it - hell, you could even
  burn the damn thing, it's in your hands now. I know you'll do the
  right thing with it, in the end."
  
  > ask square about the bats
  "I heard they bought cities. Pages and the rest. I asked them
  for help with my research, and we made a deal. Of course, they only
  found out I wasn't the owner of Athens after." He shivers. "I still
  don't know if what they did was my payment, or my punishment for lying
  to them, but I can't say they didn't give me what I asked for."
  
  > ask the square about Pages
  "I remember him." Euclid glares. "Listen, Detective, I don't care what
  he offers you - you can't let him have my book. He helped take down
  London, and he's not even fully three dimensional. If he had
  a guide to the third dimension, who knows what else he'd be able to
  do."
  
  > ask the square about London
  (London)
  "I like this city. The mongolian city - the one before you guys - was
  alright, don't get me wrong, but they really had it out for me. Don't
  think they agreed with just how... irregular I am. Still, what
  happened to them was-" Euclid shudders. "I'll miss your city, when
  it's your turn to be replaced."
  
  > ask square about the footsteps
  "I don't know how it happened, exactly. The bats showed me a
  letter, or maybe it was a word, but something was wrong with
  it - it was too strong, or it wasn't made right or something. It made
  me pass out, and when I woke up, I could see so much more." Euclid
  sighs. "I can't stop seeing it, though. Even when I try, the third
  dimension is always right there, giving me one hell of a headache. I'd
  get rid of it, if I could."
  
  > ask square about the letter
  "It looked like a letter, but it was more like a brand. Some burning
  thing, more or less seared itself into my consciousness. I tried to
  recreate it once, but I ended up throwing out the cast because I
  couldn't get anything better than scrap metal. Something that
  important needs expensive, sentimental objects I just couldn't quite
  find."
  
  > read the book
  Which do you mean, the handwritten book or the maze map?
  
  > Handwritten
  The book contains many detailed mathematical illustrations. Every page
  is filled to the brim with small, neat handwriting. Half of it is
  written in ancient greek, and the rest is in mongolian. Shame. It
  probably would have been fascinating.
  
  You find a small bookmark, tucked away between the pages.
  
  > Examine bookmark
  A thin bookmark with detailed geometrical patterns. The solid gold
  inlay makes it quite valuable.
  
  > take it
  You already have that.
  
  > ask Euclid about gold
  The entity just stares at you. One of his lines fades in and out of
  reality.
  
  > Inventory
  You are carrying:
  a bookmark
  a handwritten book
  a jeweled sword
  a brass ring
  a flint-and-steel lighter
  a maze map
  a set of ritual instructions
  a pail
  a brass key
  a bell
  a pickaxe
  the theoretical location of a hideout
  a rusty lamp (providing light)
  a pint of fry oil
  a detective's fedora (being worn)
  the spare towel
  a knapsack (open but empty)
  a compelling note