text: ies on towards a cliff.
  
  > Go north
  There is total desolation here: nothing but dead, grey soil all across the flat landscape, finally merging with a marsh to the north. Some way to the east lies a derelict farmhouse, while to the west the land slopes down into a small bay. The only signs of living vegetation are off in the far distance to the south.
  
  Meg is busily studying the ground.
  
  > go to the north
  There may be a way through the marsh, but you're not sure, and
  you're
  afraid there may be hidden quicksand.
  
  > Topics
  You could ask her about the blight, seaweed, the island, or Cadan Pascoe, ask her what she's doing, or tell her about yourself, or the priest.
  
  > ask meg about the seaweed
  "Hello again," you greet her.
  
  "Hello again, James," she replies.
  
  "Where did you say I could find some seaweed?" you ask.
  
  "In the bay just to the west," she tells you. "You should find
  plenty
  washed up on the shore."
  
  > ask meg about blight
  "How about you go and bring me some seaweed before we discuss
  that?"
  she suggests.
  
  > ask what she's doing
  "All talk and no action?" she asks. "There's a little task you
  agreed
  to do for me, remember?"
  
  > go to the east
  "Goodbye!" she calls after you, before returning to her inspection
  of
  the ground.
  
  This was obviously the centre of what was once a farm; an abandoned farmhouse stands on the north side of this patch of barren wasteland (which continues for many furlongs to east and west). Some way off to the south a wooden gate allows access through a sickly hedgerow.
  
  > go east
  If anything once grew here there's no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there's a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.
  
  > Go north
  These foothills are not particularly high, but they rise well above
  the level of the vast barren plain to the south. Compared with the mountain range to the north they are mere molehills, however. The mountains look as if they would be exceedingly hard to climb, and there's no way you could attack the face immediately to the north,
  but
  there are possible ways up to northeast and northwest; alternatively you can return to the plain to the south or southeast.
  
  > go to the northwest
  Clear above the foothills below, you can see straight across the plain to Castle Hill. The path slopes down the barren mountainside to the southeast, but branches up to northeast and northwest.
  
  > Go northwest
  The ledge tapers down to almost nothing here, although you could move along it to the east. You could also either climb up the path to the northeast or descend down to the southeast. The view over the plain below is quite stunning, but you'd appreciate it more if you didn't find it so vertigo-inducing.
  
  > go east
  The narrow ledge continues to east and west; its centre affords a breathtaking view over the plain below. From here it is possible to descend the mountain to the southeast or southwest, and although it's very steep, it also looks possible to climb higher up to the north.
  
  > Go north
  The higher you climb this section of slope, the steeper it becomes, until it becomes so sheer that only an expert mountaineer would be willing to attempt it, and you don't even consider yourself an
  inexpert mountaineer. So from here there's nothing to do but admire the view or go back down, which looks possible both down the
  alarmingly steep slope to the south or the rather gentler path to the southwest.
  
  > look at the view
  The northern end of the plain is a grey barren waste, almost featureless apart from an abandoned farmhouse. Further to the southwest lie the neat square fields of a still working farm, opposite a band of dark green woodland to the southeast. Beyond the woodland you can just make out parts of a stream and a tiny building that must be the mill. In the far distance Castle Hill rises up out of the
  plain to dominate the southern part of the island. From this great height you can just make out the castle complex on top of the hill.
  
  > Go southwest
  The ledge tapers down to almost nothing here, although you could move along it to the east. You could also either climb up the path to the northeast or descend down to the southeast. The view over the plain below is quite stunning, but you'd appreciate it more if you didn't find it so vertigo-inducing.
  
  > go east
  The narrow ledge continues to east and west; its centre affords a breathtaking view over the plain below. From here it is possible to descend the mountain to the southeast or southwest, and although it's very steep, it also looks possible to climb higher up to the north.
  
  > go east
  At this point the ledge becomes enclosed by rock walls to north,
  south, and east. There's no way up from here, but a narrow cave entrance leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one.
  The ledge continues to the west.
  
  > go southwest
  The path climbs steeply up from the southwest and affords a stunning view over the plain below. It continues up through a narrow funnel to the northeast, while a second path climbs up to the northwest.
  
  > go northeast
  With some difficulty, you manage to clamber up through the funnel, and find yourselve emerging onto the end of a ledge.
  
  This section of ledge is enclosed by rock walls to north, south, and east. There's no way up from here, but a narrow cave entrance leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one. The ledge continues to the west.
  
  > go east
  Cave (in poor light)
  You sense that this cave is a fair size, but about the only thing you can see is the exit out to the west.
  
  > Go west
  This section of ledge is enclosed by rock walls to north, south, and east. There's no way up from here, but the narrow cave entrance from which you've just emerged leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one. The ledge continues to the west.
  
  > go southwest
  The path climbs steeply up from the southwest and affords a stunning view over the plain below. It continues up through a narrow funnel to the northeast, while a second path climbs up to the northwest.
  
  > Go southwest
  These foothills are not particularly high, but they rise well above
  the level of the vast barren plain to the south. Compared with the mountain range to the north they are mere molehills, however. The mountains look as if they would be exceedingly hard to climb, and there's no way you could attack the face immediately to the north,
  but
  there are possible ways up to northeast and northwest; alternatively you can return to the plain to the south or southeast.
  
  > Go southeast
  The barren wasteland continues to east and west, hemmed in between the mountain range to the north and dense forest to the south.
  Immediately to the north is the entrance to an old mine. The only possible way up the mountain would be via the foothills to the northwest.
  
  > Go north
  Mine Entrance (in poor light)
  The light from the entrance to the south doesn't penetrate far into
  the mine; to the north lies only darkness.
  
  > go south
  The barren wasteland continues to east and west, hemmed in between the mountain range to the north and dense forest to the south.
  Immediately to the north is the entrance to an old mine. The only possible way up the mountain would be via the foothills to the northwest.
  
  > Go west
  If anything once grew here there's no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there's a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.
  
  > Go south
  The pasture is open to north and south, but is bounded by a hedgerow
  to the west and a forest to the east. A track leads eastwards into
  the forest while a wooden gate allows passage west through the hedgerow.
  
  A flock of sheep is grazing here.
  
  The young shepherd is wandering round the field, tending to the sheep.
  
  > go south
  Ripe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.
  
  Joe Fanton is at work, harvesting the wheat with a scythe.
  
  Joe Fanton advances to a new patch of ground and starts reaping there.
  
  > go west
  The yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,
  while an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.
  
  > go north
  (first opening the gate)
  
  At a rough estimate this field must be a couple of acres. It is completely enclosed by hedgerows – presumably to keep the cattle in
  –
  but there are gates through the hedges to north, south, east and west. Lush grass covers the ground, which is pretty much flat.
  
  A herd of cows is gathered at one end of the field.
  
  You make sure to close the gate behind you.
  
  > go north
  (first opening the north gate)
  
  This was obviously the centre of what was once a farm; an abandoned farmhouse stands on the north side of this patch of barren wasteland (which continues for many furlongs to east and west). Some way off to the south a wooden gate allows access through a sickly hedgerow.
  
  You make sure to close the gate behind you.
  
  > Go north
  It doesn't look safe to go inside; the floorboards could well be
  rotten and the ceilings ready to collapse.
  
  > Go south
  (first opening the gate)
  
  At a rough estimate this field must be a couple of acres. It is completely enclosed by hedgerows – presumably to keep the cattle in
  –
  but there are gates through the hedges to north, south, east and west. Lush grass covers the ground, which is pretty much flat.
  
  A herd of cows is gathered at one end of the field.
  
  You make sure to close the gate behind you.
  
  > Go south
  (first opening the south gate)
  
  The yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,
  while an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.
  
  You make sure to close the gate behind you.
  
  > Go east
  Ripe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.
  
  Joe Fanton is at work, harvesting the wheat with a scythe.
  
  > Go south
  This short length of farm track comes to an end at the narrow stone bridge just to the south and peters out into open country a short way north. Its main purpose seems to be to serve the large water-mill
  that stands immediately to the east. On the opposite side of the
  track a stream flows briskly past to the south before turning east under the bridge; beyond the stream lurks the bulk of Castle Hill, its face too steep to climb even if you could somehow cross the stream to reach it.
  
  > go to the south
  The bridge is narrow, but in a reasonable state of repair apart from the parapet, which is starting to crumble in places. From the brow of the bridge you can see a stream racing eastwards to power a mill. To the south the road runs back into town, while to the north it turns into a farm-track.
  
  > go south
  A pair of granite cottages mark the northern edge of the town, the
  bulk of which lies to the south. To the north the road crosses a
  small stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.
  
  > Go south
  The street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a
  terrace of mean little cottages hugging the west side of the street.
  
  > go to the south
  This crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north
  and south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.
  
  A furiously barking little dog comes yapping up to you, then
  disappears off to the south.
  
  > go east
  The main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the
  way south, but just at this point of the path a rutted track runs off to the north.
  
  > Go north
  Although it seems to be no longer in use, this looks like it could be the source of much of the local building materials. One effect of the quarrying is that you have ended up in a deep dip from which the only practicable ways out are back up the rutted track to the south, or
  else up the steep path to the northeast.
  
  A flat square stone lies on the ground, perhaps as a remnant of the quarrying operations.
  
  > examine the stone
  It's roughly square, about two inches thick and six inches to a side.
  
  > get it
  Taken.
  
  > examine it
  It's roughly square, about two inches thick and six inches to a side.
  
  > go northeast
  To the east the sea stretches out as far as you can see – which is
  only as far as the bank of mist. To north and south the ground falls away too sharply to be negotiated by human beings; a large bay lies to the north, with a stream running into it from the west, while directly to the south is a small cove. A steep path leads down into the quarry to the southwest, while a broad trail leads to the northwest.
  
  > go northwest
  Directly to the north a broad stream runs briskly past on its way to the sea, while directly to the south the ground falls straight down into a mined-out quarry, a fall far too steep to negotiate from here. Impenetrable woodland blocks the way west, leaving southeast as the only possible direction of travel.
  
  A bunch of blackberries is growing at the edge of the wood.
  
  > look at the blackberries
  The berries look ripe, juicy and good to eat.
  
  > Go southeast
  To the east the sea stretches out as far as you can see – which is
  only as far as the bank of mist. To north and south the ground falls away too sharply to be negotiated by human beings; a large bay lies to the north, with a stream running into it from the west, while directly to the south is a small cove. A steep path leads down into the quarry to the southwest, while a broad trail leads to the northwest.
  
  > go southwest
  Although it seems to be no longer in use, this looks like it could be the source of much of the local building materials. One effect of the quarrying is that you have ended up in a deep dip from which the only practicable ways out are back up the rutted track to the south, or
  else up the steep path to the northeast.
  
  > go south
  The main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the
  way south, but just at this point of the path a rutted track runs off to the north.
  
  > Go east
  Most of this sizeable garden is given over to vegetable plots. To the east it comes to an abrupt end overlooking the cove, accessible via a rough flight of stone steps. At its northern end stands a large stone house, from the front of which a gravel path heads off to the west, while along the garden's southern boundary runs a long wooden fence.
  
  > Go north
  (first trying to open the front door)
  The front door seems to be locked.
  
  > knock on the door
  The door opens revealing Julia standing just inside. "Hello again,
  Mr
  Corby," she greets you. "Do come in!"
  
  > Go north
  You follow Julia inside.
  
  The parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could
  sustain quite a blaze in winter, though it's currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.
  
  Julia is standing here.
  
  > check what you're carrying
  You are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, a small gold ear-ring, an old sheet of parchment, a flat square stone, and a bunch of blackberries.
  
  The flowers have quite a sweet, delicate scent.
  
  > give the earring to Julia
  (the small gold ear-ring)
  "Is this yours, by any chance?" you ask, showing her the small gold ear-ring you found.
  
  "Why yes, I believe it is," she replies. "Where did you find
  it?"
  
  "Out by the marker stone, on a promontory over to the west." you
  tell
  her.
  
  "I must have dropped it there when I went for a walk a couple of days ago," she tells you. "Well, thank you so much for finding it!"
  
  So saying, she takes it from you and puts it on.
  
  > ask Julia about the earring
  She's already thanked you for returning her lost ear-ring.
  
  > Topics
  You could tell her about the Duke, or Lady Inalda, or ask her about smuggling, or Duke William.
  
  > ask about the smuggling
  "Do you know anything about any smuggling going on round here?" you ask.
  
  "I know that pretty much everyone round here – the Duke included
  –
  depends on the goods the smugglers bring in," she tells you.
  
  > ask about the smuggling
  "Do you have any idea who's behind the smuggling?" you ask.
  
  "Me? No," she shakes her head. "It's not my sort of thing.
  I'm just
  happy to let them get on with it – whoever they are."
  
  > Topics
  You could tell her about the Duke, or Lady Inalda, or ask her about smuggling, or Duke William.
  
  > tell her about Duke
  "I met the Duke, you know," you tell her, "and he wants me to
  find out
  who's behind some smuggling racket on the island."
  
  "Does he now!" she exclaims. "And do you intend to do as he
  asks?"
  
  (You could say yes or no.)
  
  > ask her about Duke
  "No, don't try to change the subject," she tells you. "I want
  to know
  whether you intend to the Duke's bidding on these smugglers. So,
  will
  you do as he asks?"
  
  > No
  "No, I don't fancy being the Duke's spy; I'm a naval officer,
  loyal to
  King George, not some dukeling's lackey."
  
  "Good for you!" she smiles. "Perhaps too you've seen through
  the
  Duke's motive in setting you this little task?"
  
  (You could say yes or no.)
  
  > No
  "No, not really," you admit, "He said smuggling is damaging the
  local
  economy, but it seems to me that it's the blight that's doing
  that."
  
  "Quite so," she agrees. "As I see it, the Duke doesn't want to suppress the smuggling at all; he simply wants to control it. Even he can see that we couldn't cope here at all without the stuff the smugglers bring in. The Duke just wants the profits for himself. Anything else he told you is just so much baloney."
  
  > Topics
  You could ask her about smuggling, or Duke William, or tell her about Lady Inalda.
  
  > ask about the smuggling
  "I don't suppose you have any ideas on how I could go about finding
  out who the smugglers are," you ask.
  
  "I thought you said you weren't going to act as the Duke's
  spy," she
  points out. "But still, I suppose whoever's doing it has to land
  the
  goods somewhere – probably somewhere as remote as possible, which probably means one of those coves up in the wastelands, just this side of the Ridge. I suppose you could go up there now and root around for clues – marks in the sand, that kind of thing – but they probably operate at night, so when you've found the likeliest spot you'd
  need
  to wait there all night to see if you can catch the smugglers at it."
  
  > ask about the smuggling
  "You don't have any ideas who the smugglers might be?"
  you
  persist.
  
  "No, no idea at all," she shakes her head, "and I wouldn't tell
  you if
  I had, in case you change your mind and go and tell someone you shouldn't."
  
  > ask about Duke
  "Does this island really need a duke to rule it?" you
  wonder.
  
  "That's a good question," she agrees. "Of course the Ducs de
  Valon,
  as they like to call themselves, have always claimed to bring the benefits of law and order to the island. Perhaps there's an element
  of truth to that, but their idea of law and order seems to be mostly duties and taxes."
  
  > Continue
  "What else can you tell me about Duke William?" you ask.
  
  "I suppose he's kind of handsome, in an arrogant aristocratic sort
  of
  way," she tells you, "though his cousin, Lady Inalda, is a real
  beauty. Don't go getting any ideas there though – William fancies
  her
  for himself." She shakes her head, "Too much inbreeding in that
  family
  if you ask me."
  
  > Continue
  "Is Duke William such a bad ruler?" you ask.
  
  "He's not a tyrant – he doesn't rape and murder the serfs, if
  that's
  what you mean," she replies, "but I can't honestly say he does a
  lot
  of good, either. I wouldn't go so far myself, but I have heard some people call him a parasite."
  
  "There aren't any Jacobins here, I hope!" you declare.
  
  "Jacobins?" she queries. "Oh no, we're quite isolated from
  events in
  France!"
  
  > Continue
  You decide to leave that topic alone for now. You've already
  gathered
  that Julia isn't that impressed with Duke William, without actually calling him a bad ruler.
  
  > ask about Inalda
  "Tell me about Lady Inalda," you say.
  
  "She's the daughter of the Duke's uncle – the old Duke's
  brother, that
  is." she tells you. "She's said to be the most beautiful woman
  on the
  island, and maybe she is. But as for what she's like underneath –
  I
  really don't know. She always seems a bit aloof to me."
  
  > keep going
  "What else can you tell me about the beautiful Inalda?" you
  enquire.
  
  "What's to say? Her mother is meant to be still alive – but
  apparently she's a bed-ridden invalid and hasn't been seen outside
  the
  castle in years." Julia informs you. "As for Inalda, half the men
  on
  the island seem to fancy her, but she never shows much in return; if she has a heart, she certainly doesn't wear it on her sleeve."
  
  > ask about Inalda
  "And will Inalda wed her cousin?" you wonder.
  
  "He wants it. What she wants is something she keeps to herself,"
  Julia replies.
  
  > ask about Inalda
  There doesn't seem too much more to ask at this stage, and you
  don't
  want to give Julia the impression that you've become fixated on
  Inalda. It's clear enough that Julia regards the Duke's cousin as
  a
  rather remote figure, an enigmatic beauty perhaps. It seems the Duke wants to marry her, but Julia doesn't seem to know what Inalda wants.
  
  > Topics
  You could tell her about Lady Inalda.
  
  > tell about Inalda
  "When I went into town I found Cadan Pascoe attacking Lady Inalda!"
  you tell her. "Fortunately I managed to frighten him off."
  
  "Good heavens!" she declares. "Was Lady Inalda all right?"
  
  "Yes, she was fine," you reply.
  
  "Well, I trust she was suitably grateful!" Julia remarks.