text: [Themes: Horror, Lovecraftian, female protagonist]
  
  > Go downward
  The stairs squeak unsteadily, a sound that sets your teeth on edge.
  
  The entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.
  
  > go south
  The big dining room has windows on the east and south and doorways on the north and west. Other than a long dining table and some ill-assorted chairs, the room is bare and featureless. It smells sour, as if food served and eaten here a long time ago still lingers in the plaster of the walls.
  
  > ask Luisa about the clown
  As you start to speak, Luisa scowls at you irritably. "Why don't you go outside and play?"
  
  When you mention the painting of the clown, Luisa stares at the floor and blinks rapidly. "A long time ago, there was a little girl that lived here. That was her bedroom. One time a nice man painted that clown on the wall, so she'd be happy. I guess it worked, for a while anyway. Sometimes I wonder if it isn't cruel to let children be happy. You know what I mean?"
  
  You shake your head. "No, I don't think I do."
  
  Luisa sighs heavily. "Never mind, then. I'm just a silly woman. I just think if we never let them be happy, they wouldn't be so disappointed later, when ... when things don't turn out the way they think. They'd know not to expect nothing good. But you wanted to know about the clown. There's something not quite right about that clown. Sometimes I think he's winking at me. I told you I'm just a silly woman. I don't like to go in there."
  
  > ask Luisa about the handkerchief
  "You ask too many questions," Luisa says. "You want me to tell Mr. Beauregard you're being nosy? Do you?"
  
  > ask Luisa about the tears
  "You're just a chatterbox, ain't you? Why don't you go away an' bother somebody else, eh?"
  
  > cry
  You sniffle a little. It's not proving to be a good day, is it? But feeling sorry for yourself probably isn't going to help.
  
  > ask Honey about the handkerchief
  Honey lowers her magazine and turns her big round dark glasses in your direction. "Well, hello, there."
  
  Honey leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.
  
  > go to the south
  As you walk away, Honey goes back to reading (if that's the right word) her magazine.
  
  Two rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.
  
  You're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.
  An overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.
  
  As you pass Cabin Four, you notice that its door is standing ajar.
  
  > Go west
  The interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.
  
  The dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.
  
  Lying on the floor beside the bed is a leather valise.
  
  > open the valise
  The valise is locked.
  
  > open the dresser
  You open the drawers.
  
  > Close drawers
  You close the drawers.
  
  > examine the painting
  The woman in the painting looks stiff and unhappy, and the reason isn't hard to see - it's a good bet she's wearing a tight corset underneath that starched pink dress. She's holding a parasol, which leans against her shoulder.
  
  > look under the bed
  Under the bed is a square panel that's not quite flush with the floor. It looks like it might be a trapdoor.
  
  > Go south
  The interior of the closet is a dim and cramped little box. It smells powerfully of mold.
  
  > go to the north
  The interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.
  
  The dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.
  
  Lying on the floor beside the bed is a leather valise.
  
  > move the bed
  The bed is very heavy, but by throwing your weight into it you're able to push it to one side, uncovering the trapdoor.