text: [Themes: Historical Fantasy, maritime, sailors, island]
  
  > Look around
  The hollow is formed by an unclimbably steep hill to north and east, and rather gentler slopes to south and west. The end of a drainage pipe protrudes from some way up the northern hillside.
  
  > Go west
  This narrow finger of land juts out into the sea between a large semi-circular bay to the south and a small rocky cove to the north, neither of which is directly accessible from here. Some kind of
  marker stone has been set up near the tip of the point. The high
  ground continues to the southeast, but falls away into a hollow to the east.
  
  A small gold object lies on the ground, just by the marker stone.
  
  > examine the object
  It's a small gold ear-ring. You're fairly sure it matches the one
  worn by Julia.
  
  > take the object
  Taken.
  
  > go to the south-east
  The summit of this low hill is fairly flat, and continues to the northwest. To the north, it descends quite rapidly into a hollow, while to south and east it slopes down towards the beach, and grass gives way to sand. To the east are the faint traces of the track
  which become a street running back down towards the centre of the
  town. Although you're not that high up, you get a clear view over
  the
  sea from here, truncated by the ever-present mist.
  
  > Go south
  The beach stretches away to both northwest and southeast from here,
  its approximate mid-point. A short way to the north the ground climbs sharply up a hill, while out to sea a collection of fishing-boats is stretched out across the bay.
  
  A small green toolbox lies on the beach beside a fishing net.
  
  The small green toolbox contains a screwdriver.
  
  A stout man is sitting on the beach mending the net.
  
  > Toolbox
  The story doesn't understand that command.
  
  > look at the toolbox
  It's just a small green toolbox, made of wood. It contains a screwdriver.
  
  > talk to the man
  "Good day to you," you greet him.
  
  "Can't say I see what's good about it," he grunts in reply.
  
  (You could ask him about mad Meg, or himself.)
  
  > ask the man about the man
  "And you might you be?" you ask.
  
  "I'm Samuel Pascoe," he tells you. "Who wants to know?"
  
  > ask him about Meg
  "Do you know anything about the woman they call 'mad Meg'?" you
  ask.
  
  "She's not mad, she's as sane as you or me," he replies.
  "She's just
  a bit different, that's all."
  
  > ask him about Meg
  "What do you know about Meg?" you ask.
  
  "Well, Jenny and me took her in when she was a mere babe – her own folks didn't want her. She were a good lass, never gave us any trouble. Except – well, some of the things she said sounded so
  strange – didn't bother me too much but Jen – my wife – well
  she were
  a bit spooked like. Anyroad, it seemed best she moved out, so I
  helped her build a little home in the woods, and that's where she
  lives still."
  
  > tell the man about Meg
  He listens morosely to what you have to say.
  
  > tell the man about Jenny
  "How's your wife taking everything?" you ask.
  
  "Badly," he sighs. "She's a changed woman since we left the
  farm, and
  that's the truth. Maybe it's worse for her being cooped up in that stinking fish-house all day long, while I at least get to work in the open air. But she's taken it all dreadful hard."
  
  > ask the man about Cad
  "I think I've met your son, but not under the happiest of circumstances," you say. "He was trying to rob Lady Inalda."
  
  "The young fool!" Samuel Pascoe spits. "He's been running wild
  ever
  since we were forced off the farm; now he's really gone and done
  it!"
  
  > ask the man about the screwdriver
  "Could I possibly borrow your screwdriver, please, Mr Pascoe?" you
  ask.
  
  "Well, the way I see it, I can't afford to give someone something
  for
  nothing," he says, "but I'll tell you what; I'm starting to
  feel more
  than a little hungry, so you bring me something good to eat and I
  might consider letting you borrow my screwdriver."
  
  > check your inventory
  You are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, and a small gold ear-ring.
  
  The flowers have quite a sweet, delicate scent.
  
  > go to the southeast
  Samuel Pascoe resumes mending the net.
  
  The beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc
  to the northwest, while a narrow track runs up through a thicket to
  the northeast. A little way out to sea is a fleet of fishing boats.
  
  > go to the east
  The steep track from the north comes to an end at this bleak stone jetty, which is flanked by a large wooden building to the east and the beach stretching out along the bay to the west. The jetty juts just a short way out into the water, and both from the smell and from the
  fish fragments lying about, obviously serves as a landing stage for
  the island's fishermen. No boats are tied up here at the moment, but there are several a short way out to sea in the bay.
  
  It would be an exaggeration to say that the smell of rotting fish is overpowering, since you are not overpowered by it, but it is certainly inescapable.
  
  > Go north
  Leading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.
  
  > go to the south-west
  The beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc
  to the northwest, while a narrow track runs up through a thicket to
  the northeast. A little way out to sea is a fleet of fishing boats.
  
  > go north
  The west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.
  
  > Go north
  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 trio of young men emerge from South Street, but then go their separate ways from the crossroads.
  
  > Go north
  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 north
  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 north
  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 north
  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 a massive hill, its face too steep to climb even if you could somehow cross the stream to reach it.
  
  > Go east
  The inside of the mill is dominated by a huge vertically-mounted iron cog wheel, which is currently stationary, and is connected via a
  series of lesser cogs to the upper of a pair of large horizontally-mounted millstones. Next to the main cog is a long
  wooden lever, while a small metal wheel is mounted on the south wall. In the east wall is a small trapdoor, while the way out is to the
  west.
  
  An old sack has somehow become draped over the rafters.
  
  > examine the sack
  It's draped over a rafter, just over the main cog wheel. It looks
  like someone must have thrown it up there as a prank.
  
  > examine the lever
  It's just a long wooden lever.
  
  > examine the iron wheel
  It's a good ten feet in diameter, with large teeth placed about two inches apart round its circumference. It's currently still.
  
  > look at the trapdoor
  It's about a foot square, too small to crawl through. A small length of chain is attached to the wall just above it, and some wooden fragments lie on the floor just beneath. It's closed.
  
  > get the lever
  You can't take that.
  
  > open the trapdoor
  It opens easily. You peer through the trapdoor into a dark space
  which extends several yards beneath the level of the mill floor. You can't make out much within, but you guess it might be some kind of grain store. You can't be sure, but you think you can make out a
  small pile of grain at the bottom.
  
  > pull the lever
  Pulling the lever causes a subtle rearrangement of the lesser cogs.
  
  > examine the small metal wheel
  It's a small round metal wheel comprising rim, hub and four spokes,
  all painted black.
  
  > turn it
  You turn the small iron wheel as far as it will go. The giant cog wheel starts to turn. The top of the wheel just misses the sack.
  
  > get on the wheel
  (the huge cog wheel)
  You can't board that.
  
  > look at the millstones
  The upper and lower millstones form a matching pair, each round and about a couple of feet in diameter.
  
  > check your inventory
  You are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, and a small gold ear-ring.
  
  The flowers have quite a sweet, delicate scent.
  
  > pull the lever
  Pulling the lever causes a subtle rearrangement of the lesser cogs.
  The upper millstone starts to turn.
  
  > Turn wheel
  You turn the small iron wheel back again. The giant vertical cog
  stops turning.
  
  > Climb wheel
  (the huge cog wheel)
  It looks a bit too awkward to climb.
  
  > go west
  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 a massive 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.
  
  > look at the parapet
  The stone parapet runs at about chest height on both sides of the bridge; on both sides the top of the parapet is starting to crumble, and weeds are growing in the cracks.
  
  > get the weeds
  The weeds don't look worth meddling with.
  
  > 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.
  
  > examine the cottages
  town; they are also detached, and stand a little way back from the road.
  
  > Go west
  Half-way up the grassy hillside, the path up from the east turns sharply north as it continues up the slope. The bend in the path affords an excellent view over the town below.
  
  > examine the town
  From the vantage point of Castle Hill it becomes even more apparent that the town is little more than a collection of mean stone buildings arranged around the cross-shaped street layout.
  
  > go to the north
  The top of Castle Hill affords an excellent view over much of the southern part of the island, but the view to the north is blocked by the castle, which occupies most of the space up here. The archway leading into the castle lies directly to the north, while the path leading back down to the hill runs south.
  
  > go north
  At first sight this archway is impressive; not only is it at least eight feet wide and twelve high, it's a good nine feet deep,
  indicating the thickness of the wall at this point. Its
  impressiveness as a piece of military architecture is, however, somewhat diminished once you notice the lack of anything that looks like a gate or portcullis. Two pairs of rusty hinges embedded in the walls indicate where some gates might once have hung, and an equally rusty drum by the east wall looks as if it might once have been part
  of a mechanism for raising and lowering a portcullis. The arch is oriented north-south, leading out of the castle to the south and into it to the north.
  
  A guard stands in the middle of the arch.
  
  > examine the guard
  He's both dressed and equipped in a manner more appropriate to the reign of the third Henry than the third George.
  
  The guard is carrying a halberd.
  
  The guard shuffles from one foot to another.
  
  > examine the guard
  He's both dressed and equipped in a manner more appropriate to the reign of the third Henry than the third George.
  
  The guard is carrying a halberd.
  
  > talk to the guard
  "Good day to you," you say.
  
  "If you say so," he grunts.
  
  (You could tell him about yourself.)
  
  > ask the guard about Duke
  "Is the Duke in?" you ask.
  
  "So far as I know, he is," he tells you. "He's usually in the
  Great
  Hall at this time."
  
  > examine the halbert
  (x halberd)
  
  The ancient weapon would be quite ineffective against even a small French raiding-party, but it's more than adequate for preventing the entrance of the odd unarmed intruder or two.
  
  > ask the guard about Inalda
  "Is Lady Inalda at home?" you ask.
  
  "So far as I know," he tells you.
  
  > ask guard about the halberd
  "I'm on duty," he replies stiffly.
  
  > Go north
  The guard watches you depart.
  
  Too small to count as a bailey, the courtyard is completely enclosed
  by the castle wall. An archway leads out of the courtyard to the south, while to the north stands a misshapen keep. What looks like a stable block rests against the western wall, and a long crude
  building, perhaps a barrack block for the castle guard, occupies the east wall.
  
  > Go north
  This great hall has at least pretensions of grandeur. For one thing, it is large and draughty. For another, it is impressively bedecked with banners, shields, swords and even the odd suit of armour; but the impression made is of faded mediaeval glory rather than modern
  potency. A wide staircase leads up to the north, and passages lead
  off to east and west, while the main exit is back out to the south.
  
  Duke William is standing in the middle of the hall, looking at you expectantly.
  
  "Lieutenant Corby, how good of you to call!" Lady Inalda declares.
  
  Turning to her cousin she adds, "William, this is the man I was
  telling you about – the one who rescued me earlier this morning."
  
  The Duke eyes you carefully, then gives a curt nod. "I see; then it would seem we owe you a debt of gratitude, lieutenant. Lady Inalda tells me that you were washed ashore on this island only this morning; in that case I imagine you must be left destitute and without any
  means of supporting yourself; is that assumption correct?"
  
  (You could say yes or no, or tell him about Julia.)
  
  > tell him about Julia
  "Well, a kind young lady called Julia Trelawney found me on the
  shore,
  took me back to her house and not only gave me a bowl of hot soup to revive me, but a gold coin so I could stay at the Red Dragon Inn for a while," you tell him, "Hopefully that should last me until I find a boat off the island and rejoin my ship."
  
  "That was indeed kind of Miss Trelawney," the Duke nods, "But
  there
  are no boats off this island, and one gold coin won't keep you for long. However, I may be able to improve your prospects, lieutenant; you could enter my service – you sound like the sort of man I could use." He pauses for a brief moment to gauge your reaction, then adds, "But first I'd need some concrete pledge of loyalty."
  
  (You could ask what he wants of you, or refuse.)
  
  > ask what he wants of yourself
  "What do you want of me?" you ask.
  
  "You may have heard of the blight that's afflicting this isle,"
  he
  begins. "It's causing food shortages, and that's encouraging smuggling. I have my suspicions about who's behind it, but I need proof. That's where you come in, I want you to obtain proof of
  who's
  behind this smuggling racket and then bring it to me. Will you do that?"
  
  (You could say yes or no, ask him about smuggling, or ask why you.)
  
  > ask him about the smuggling
  "Can you tell me more about this smuggling problem, your grace?"
  you
  ask.
  
  "Ideally, Valon should be self-sufficient," he explains. "We
  cannot
  rely on contact with the outside world to supply our needs. Smuggling in goods from the outside – however desirable they may seem – only undermines our self-sufficiency. Don't think me an unreasonable man, lieutenant, I realize that the odd little luxury or two does no harm, but it's grown too big, and it needs to be controlled. So – will
  you
  help?"
  
  > ask why yourself
  "Why me?" you ask, "I'm a stranger here!"
  
  "And that's precisely why you're the best person for the job,"
  he
  replies with a thin smile. "Everyone else on the island is too well known; what's more their loyalties are too well known. On
  the other hand, right now no one knows where you stand. People may tell you things they'd never tell anyone known to work for me."
  
  > ask him about the smuggling
  "What's being smuggled in?" you inquire.
  
  "Just about anything we can't produce here," he replies, "and
  maybe
  some things we can. Strong drink, cloth, metal goods, non-local foodstuffs – anything the scoundrels think they have a market for.
  It
  wouldn't matter if it were just a trickle, but it's become a flood! Anyway, I can't imagine you'll have much difficulty identifying
  stuff
  that wasn't produced on Valon, lieutenant; then all you need to do is to trace it back to its source. So, will you do that for me?"
  
  > ask him about the smuggling
  "I've told you all you need to know," he replies. "The
  question is,
  will you help me catch these smugglers?"
  
  > ask why yourself
  "But what makes you think I'm qualified to do this sort of work?"
  you
  want to know.
  
  "You're an officer of the crown," he replies, "a natural
  supporter of
  the establishment, loyal to those in authority, and as a naval officer a natural enemy of smugglers, I should have thought. You also must have some intelligence to have gained a naval commission. I have
  every confidence in you, lieutenant. So, will you take on the job?"
  
  > ask why yourself
  The Duke has made it fairly clear why he thinks you're the man for
  the
  job: he thinks your profession puts you naturally on his side, while your being a stranger should make it easier to get people to tell you things.
  
  > Yes
  "Yes, I'll do what I can, your grace." you reply.
  
  "Good," he replies. "If you can do this little thing I shall see
  to
  it that you're well rewarded."
  
  > ask about the reward
  "Your grace mentioned a reward," you venture.
  
  "Yes, I did, lieutenant," he agrees. "Find me proof of who's
  behind
  the smuggling, and I shall see to it that you are very comfortably set up in my service."
  
  > ask Duke about the blight
  "What can you tell me about the blight, your grace?" you ask.
  
  "It's a pesky nuisance," he grumbles. "It makes the islanders
  complain of being short of food. Well, they will just have to tighten their belts."
  
  > ask Duke about the mist
  "This mist that surrounds the island – what is it, do you think?"
  you
  ask.
  
  "I don't know, lieutenant," he replies, "but at least I know
  that I do
  not know. One thing I do know is that not everything said about that mist can be true. For one thing, it does not seem to me to be a mist in the ordinary sense of that word. For another, I do not believe it to be so impossible to penetrate as it is said to be; someone
  knows how to get through it, they're just not telling the rest of
  us."
  
  > ask Duke about the Castle
  "How old is this castle, your grace?" you ask.
  
  "Several generations," he replies vaguely. "It was built by my ancestors when they first came to this isle."
  
  > ask Duke about mill
  You don't know him well enough to engage him in idle chatter, and he doesn't look the sort of man who would welcome it.
  
  > ask Duke about Meg
  "Do you know of the woman they call mad Meg, your grace?" you ask.
  
  "Of course I know of her; the whole island knows of her," he
  replies.
  "Perhaps some fool has told you she's a witch, but that is just ignorant superstition. The woman is quite harmless."