text: [Themes: Espionage, Terrorism, library, city]
  
  > look around
  The bank is deserted now, but it looks like someone was here not too long ago: the service counter is surrounded by broken glass. That presumably explains why the bank is unlocked and the lights left on; whoever has just robbed the bank didn't hang around to lock up and turn out the lights. The street exit is to the northeast.
  
  > go west
  Mandlebury Road (West)
  At this point Mandlebury Road is a broad, well-lit street, bordering the shadowy entrance to Mandlebury Park just to the north, and a traditional fish and chip shop to the south. The street continues east towards the city centre and west over Mandlebury Bridge.
  
  The sound of a clock striking three mingles with the roar of a jet aircraft flying overhead.
  
  > Go west
  It's strange - almost unnatural - to see this bridge so deserted. You're more used to seeing it jammed with slow-moving rush-hour traffic, or at least a steady flow. But now there's nothing here apart from the bare tarmac, the street lights (one of which now has a large placard attached to it), the stone parapet, and the river sliding silently past below.
  
  > go to the west
  The Embankment is the name given to this short stretch of road by Mandlebury Bridge, which spans the river to the east. To the west the Embankment is lined by a row of shops; to the north it becomes York Street, while to the south it runs into Sussex Street.
  
  > go west
  Carlton Terrace runs east into Sussex Street and continues westwards under a railway bridge.
  
  You once considered renting your first flat in this street, but eventually decided against it. The flat would have been relatively cheap, but it there were good reasons for that, among them being (a) that Carlton Terrace is not in a nice area and (b) that the trains rattling over the bridge would probably have kept you awake all night. In the end you settled for a flat out in the northern suburbs.
  
  > examine the Bridge
  The bridge is but a vague outline in the moonlight, but the dark tunnel running under it looks profoundly uninviting.
  
  > go west
  That way leads to Fordbury, a run-down quarter with a high crime rate. It has presumably been evacuated along with the rest of the city, so the risk of getting mugged is no doubt lower than usual, but it's most unlikely she went that way, and you feel sure you'd do better to concentrate your search nearer the city centre.
  
  > go south
  This is yet another of the large roundabouts on the ring road, all of which look more or less alike, especially by moonlight. This one has four exits: north into the city, south to the industrial estate, and east and west to the ring road.
  
  > go to the west
  You're hardly likely to find her by walking on round the ring road.
  
  > go to the south
  That way leads to the main industrial estate. You very much doubt she'd have gone there.
  
  > go east
  Normally there'd be a lot of cars racing or queuing along this expanse of tarmac, depending on the time of day. Right now, however, there is not a single one in sight; just about every vehicle in the city has been used for the evacuation, and no one in their right mind would come here with the Enemy about to arrive. Walking along the tarmac by moonlight feels distinctly strange.
  
  > go to the east
  This large roundabout is normally busy and frequently congested; seeing it without a car in sight seems distinctly strange. There are four exits from the roundabout: to east and west is the ring road; to the north the road over Preston Bridge into the city centre, and to the south the dual carriageway heading out into the country.
  
  > go east
  Tilbury Road runs eastwards out of the city through the Tilbury Park Council Estate. It's obvious that it's leaving the city centre from the way the street lighting becomes less frequent. The junction with Church Street and Devon Road lies back to the west.
  
  > look at Estate
  It's too far out to be worth looking for her; it would take you weeks to search all the suburbs and housing estates and you haven't even got all night.
  
  > look at her
  She is tall, slender, and to your eyes, utterly beautiful, but the moonlight makes her look a little ghostlike, exaggerating both the palor of her skin and the darkness of her hair. She's carrying a small grey box.
  
  "I asked you a question," she reminds you. "Have you found the key?"
  
  > tell her no
  "No, I'm afraid not," you lie, "There really wasn't much hope of finding it in any of those places in the dark, was there?"
  
  "No, I suppose not," she sighs. "Damn! You may as well have this then," she says, handing you the small grey box, "It's our only hope of defeating the Enemy, but it's no good without the key. So what are we going to do now? Do you have a plan for dealing with the Enemy?"
  
  > ask her about Enemy
  "What do you know about the Enemy? Who are they?" you ask.
  
  "I wonder if you'd understand if I told you," she replies, "but you haven't answered my question. What are we to do now? Do you have a plan for dealing with the Enemy?"
  
  > tell her no
  "No -- let's get out of here before the Enemy arrive," you suggest.
  
  "It's much too late for that," she tells you, "The Enemy has been here all along. Wait a minute though..." she feels in her pockets and then gives a triumphant smile, "Ah, thank goodness for that! I think I've found the spare!" She grabs your palm as if pressing something into it, but when you look you just see the one flat metal key there. Meanwhile she watches you with a twisted smile, as if challenging you to acknoweldge that she saw through your lie.
  
  "We can defeat the Enemy after all," she tells you, "all you need to do is to put the key in the hole, give it a turn, and push the red button. Will you do that for me, David?"
  
  > tell her no
  "No, I won't do it," you reply.
  
  "No matter," she shrugs, "It's a missed opportunity, but I can just as easily do it myself."
  She takes the flat metal key, inserts it in the small grey box, and gives it a twist.
  She pushes the button, but nothing obvious happens.
  
  Well, something obvious happens. She laughs out loud and punches the air in triumph, shouting, "Yes!" Beaming at you fondly she continues, "Dear David, I always knew you were my truest friend, the one person I could always rely on. That's why I had to share this with you. Would you like to kiss me? Yes, I can see in your eyes you would. Go on - kiss me - I know you've always been dying to, and now you're about to die with me!"
  
  She smiles at your mild bemusement, then goes on, "I'm afraid someone tipped them all off -- I suppose it must have been Danny, he was the only one who knew enough -- so they all got away, and I really wanted to take them all with me. Still, David, you stayed behind for me, and that's good because you're the only one who never rejected me, so you mustn't reject me now -- me or my nightfall."
  
  "Emma, what are you talking about?" you ask sadly.
  
  "We're about to reach Nightfall: final, ultimate, wonderful nightfall! This whole city is about to become a pile of radioactive ash!" she declares brightly, as if this were the best possible thing imaginable, "I have just detonated my bomb! At last I've achieved something that no one can ignore! This place never did value me properly, I've suffered far too many rejections! You do understand, don't you? I tried - I really tried - I always did my best, but other people kept stealing the prizes. That's why I had to kill Kate, of course - and why I have to destroy this city! Don't look so upset, David -- death is the most loving gift I have to give, and you of all people deserve my best! Just think what I'm sharing with you! I know you've always fancied me, and now I know I love you madly, so go on, take me: hug me, kiss me, make mad passionate love to me; I'm yours till death us do part!"
  
  > ask her about Nightfall
  "What's the connection between your painting and Stanilev's book?" you ask.
  
  "Beyond the name, you mean?" she replies, "I should have thought that was obvious: I was trying to express in paint what Stanilev said in words. Now, how about answering my question: Will you kiss me while you can?"
  
  "Death, destruction, decay, these three things abide," she says, "but the greatest of these... Hang on. It's late!" She frowns momentarily, then relaxes into a smile, "I should not be so impatient - any moment now! Just give me one last kiss while you still can!"
  
  > tell her no
  She appears not to hear you, or else chooses to ignore your negation. "Something has definitely gone wrong," Emma frowns, "We should both be dead by now, and this city should be a radioactive crater. David, have you done something?"
  
  > tell her no
  "I don't know what you're talking about, Emma," you lie, knowing the lie to be justified now, "All this stuff about bombs and nightfall - whatever do you mean?"
  
  She looks momentarily puzzled, "We should be dead," she replies.
  
  "I don't see why!" you reply, "It's so much better to be alive! And somehow I don't think the Enemy will be troubling us any more."
  
  "You don't?" she asks suspiciously.
  
  "We've defeated them, Emma," you tell her.
  
  "We have?" she asks.
  
  "I see no Enemy here, Emma," you tell her, "Do you?"
  
  In reply, she merely stares at you, finally at a loss for words, so you decide to press your advantage.
  
  "I don't know what's been going on here tonight, Emma," you say, "but I do know that life is worth living, especially now I find myself alone in this city with the most beautiful and talented woman I shall ever set eyes on. And you know what? The Enemy that's been stalking me all my life is the fear of rejection, and that Enemy has just been routed. So - I'm going to walk you home now and I'm not taking no for an answer."
  
  For a moment she continues to stare at you, then finally nods. "Very well," she agrees, "Let's try it your way."
  
  She makes no protest at all as you take her hand and start walking back to her flat. That way you can keep her under your control while you plan the final reckoning.
  
  > look at the small piece of the paper
  The handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, "Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later."
  
  Just below that you see a crease that you missed before - you must have been in too much of a hurry, or maybe the light was too bad. Anyway, you unfold the crease and see that she has written:
  
  "I'll meet you where we first met at twenty past two. Don't be late!"
  
  > Go east
  You can't go that way. The only obvious exit is outside (to Car Park).
  
  > Outside
  You turn off the torch to save its battery.
  
  It's normally near impossible to find a parking space in this town centre car park at any time between 8 am and midnight, but now there's scarcely a vehicle in sight. The main car park exit into Mandlebury Street is to the north, but there's also a narrow alley leading west to the High Street.
  
  The only vehicle parked here is a large lorry.
  
  > go to the east
  You can't go that way. The obvious exits are north (to Mandlebury Road (East)), west (to High Street (South)) and inside (to Lorry Interior).
  
  > go north
  School Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.
  
  You hear a footfall slowly approaching down the street, and turn to see a figure walking towards you. As the figure passes under a street light, you see it's a slender young woman with long dark hair. You feel sure it must be her even before you can see her properly. You start walking towards her, eager yet apprehensive at finally meeting her. She walks on a few paces, then stops in a dark place between lamp posts, waiting for you to reach her.
  
  It is her; of course it is her. Even from a few yards away in the moonlight you're quite sure, and once you stop a couple of feet away no possible doubt remains: it's Emma.
  
  "Hello David," she says, "I'm glad you made it. I hope you had better luck than I did; did you find the key?"
  
  > tell her yes
  "Yes, miraculously enough, I did!" you reply triumphantly, handing her the key.
  
  "Thank heavens for that!" she replies, taking the key. She holds it up in the bright moonlight, then nods, "Yes, this looks like the one," she tells you. With a rapid motion she inserts the key into the small metal box she's holding and gives it a quick twist, "Oh yes," she declares, "That's definitely the one. Thank you!" Smiling her most alluring smile she adds, "Tell me David, do you trust me?"
  
  > tell her yes
  (Emma that)
  "Yes, of course I trust you!" you declare.
  
  "Then help me defeat the Enemy once and for all, just push this button," she requests, holding out the small box to you, "Will you do that for me?"
  
  > make the love to Emma
  You kiss her on the lips and find yourself taken slightly aback at the enthusiasm of her response.
  
  "Death, destruction, decay, these three things abide," she says, "but the greatest of these..."
  
  Then suddenly there's an ear-splitting roar that shatters your eardrums so you hear no more, a blinding flash that melts your eyeballs so you see no more, and a searing moment of intense pain as your skin blisters in intense heat and your body is buffeted by wind and debris. Then, at last, comes merciful oblivion.
  
  > show the matchbook to Emma
  "What do you make of that, Emma?" you ask, showing her the matchbook.
  
  She looks at it for a couple of moments, then remarky dryly, "Very ingenious, I'm sure! But I asked you something: Have you found the key?"
  
  > ask Emma about Mastema
  "What's all this stuff about Mastema -- the signature on the poster in your living room?" you ask.
  
  "Oh that," she laughs, "Once I realized that A.D. Stanilev was an anagram of SATAN DEVIL I thought I'd make a similar anagram out of my own name, as a kind of homage to the great man. But I asked you something: Did you manage to find the key?"
  
  > ask Emma about the degree
  "You got a very good degree, Emma," you remark, "Wasn't it good enough for you?"
  
  "It wasn't good enough, was it?" she snaps back, "Kate's was better, as you know. Now, how about answering my question: Have you found the key?"
  
  > show the cap to Emma
  She barely glances at the khaki peaked cap.
  
  "I asked you a question," she reminds you. "Have you found the key?"
  
  > ask Emma about the map
  She brushes your question aside: "No, David, I asked if you'd found the key - have you?" she asks.
  
  > show the box to Emma
  (the chocolate box to Emma)
  Emma takes the box of chocolates off you and looks inside. "How kind," she remarks, "Of course it would have been even kinder if the box hadn't been empty. It would be kinder still if you'd just answer my question: Did you manage to find the key?"
  
  > ask Emma about the brooch
  "Here, you might want this back," you say, handing her the gold brooch.
  
  "Thank you, how -- quaint," she replies with a lopsided smile, "I'll treasure it all my life!" So saying, she pins it to her dress. "Now, do me another favour; try answering my question: Have you found the key?"
  
  > Inventory
  You are carrying a small screwdriver, a steak knife, a heavy mallet, a prominent notice, a metal detector, a portable cassette player (closed), inside which is a black cassette, a khaki peaked cap, a long rod, a torch, a sharp kitchen knife, a bar mat, a matchbook, a small brown envelope (open but empty), seventeen documents (a civil defence manual, a large blue diary, a small scrap of yellow paper, an evacuation order, a large Russian dictionary, a black book, a photograph, a letter, a small piece of paper, a concert programme, a menu, a birthday card, a crumpled piece of paper, a business card, a printed email, some miscellaneous papers and an old newspaper), five keys (a large iron key, a small flat metal key, a large car key, a small brass key and an office key) and two cassettes (a blue cassette and a grey tape cassette).
  
  "I asked you a question," she reminds you. "Have you found the key?"
  
  > show the manual to Emma
  She barely glances at the civil defence manual.
  
  "I asked you a question," she reminds you. "Have you found the key?"
  
  > show the birthday card to Emma
  "It's a bit late for my birthday," she remarks, after giving the card a quick glance, "Besides, I have something much more important to celebrate now. But first, please answer my question: Did you manage to find the key?"
  
  > show yellow paper to Emma
  Which do you mean, the small scrap of yellow paper or the evacuation order?
  
  > Small scrap
  She barely glances at the small scrap of yellow paper.
  
  "I asked you a question," she reminds you. "Have you found the key?"
  
  > ask her about Danny
  (Emma about that)
  "Did you kill Daniel Saunders?" you ask.
  
  "Yes," she replies, "He betrayed me -- he went to the authorities with what he knew, so nearly everyone got out in time. He deserved to die for that. Now tell me: Have you found the key?"
  
  > ask Emma about Danny
  (Emma about that)
  "What exactly happened between you and Jeremy?" you inquire.
  
  "We went out for a bit, then he called it off," she shrugs, "he turned out to be yet another one of the people round here who rejected me. But never mind that; I asked you something: Did you manage to find the key?"
  
  Don't you have any compunction about killing Saunders?" you ask.
  
  "Why should I?" she replies, "I planned far more deaths than that. Now tell me: Have you found the key?"
  
  > ask Emma about Danny
  "About Daniel Saunders," you begin.
  
  "Never mind Danny," she interrupts you, "He really doesn't matter now. Now tell me: Did you manage to find the key?"
  
  > ask her about Kate
  (Emma about that)
  "What really happened to Kate?" you ask.
  
  "Kate?" she replies, a little too shortly, "Oh - Kate. She stole too many things that should have been mine, so - she drowned. She had to. Now, how about answering my question: Have you found the key?"
  
  > Continue
  (Emma about that)
  "What do you mean, Kate stole too many things that should have been yours?" you demand.
  
  "Never mind Kate," she replies, "What I want to know is this: Did you manage to find the key?"
  
  > Keep going
  (Emma about that)
  "Did you kill Kate?" you ask.
  
  "What do you think?" she shoots back, "But never mind that, just answer the question I asked you: Have you found the key?"
  
  > Continue
  (Emma about that)
  "Did you kill Kate?" you ask.
  
  "What do you think?" she shoots back, "But never mind that, just answer the question I asked you: Did you manage to find the key?"