text: > Look around
  All sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.
  
  > Gamble
  You believe in never gambling what you cannot afford to lose. And you can't afford to lose anything.
  
  > examine the brick
  The brown brick is dry and porous. You can almost feel its thirst.
  
  > Go north
  The grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass; the stones are like scales left behind by a giant snake. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.
  
  > Go west
  (first opening the west door)
  
  A large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.
  
  > enter the bed
  No way. That bed would eat you alive.
  
  > turn off the lamp
  It would be pitch dark in here without the light from the lamp.
  
  > examine the window
  From here you can see the front garden. The path winds towards the gates leading away from the mansion.
  
  > go east
  From here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.
  
  The door to the west is standing wide open.
  
  You see Allan Jameson here.
  
  > examine the railing
  The railing is cool to the touch.
  
  > examine french doors
  The glass is so clean that it is almost invisible.
  
  > examine the mahogany
  Two massive dark mahogany doors.
  
  > Go south
  The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
  
  > examine the gate
  The path winds south towards the gate.
  
  > Light
  (the brown brick)
  This dangerous act would achieve little.
  
  > look at light
  (the luminescent fluid)
  A kind of luminescent fluid.
  
  > talk to Wesson
  "I can't think of anything, sir. Maybe, if we went somewhere else, I could get some ideas?"
  
  > look at Door
  Which do you mean, the Eastern Door, the Entrance Door, or the Toilet Door?
  
  > Go north
  I only understood the first part of that-- trying anyway.
  
  (retrying as if you'd typed "x n.")
  You see nothing unexpected in that direction.
  
  > examine the toilet door
  A plain door with a sign saying "Toilet"
  
  > examine the sign
  "Toilet"
  
  > take the sign
  What on earth would you want that for?
  
  > enter city
  The sun bakes down on the city from above. Streets wind in every direction among the buildings. Close to you, a majestic minaret reaches towards the sky.
  
  > examine the sun
  Not a single cloud obscures its merciless rays.
  
  > Go north
  You would soon get lost in the maze of twisty streets and alleys. Better to stay here. (If you want to get back to the living room, just type "exit".)
  
  > Go upwards
  From here the entire city is stretched out beneath you. The streets are empty.
  
  > examine the jacket
  An old worn denim jacket.
  
  > 4
  You head towards the seedy bar.
  
  The bouncer pats you down in front of the entrance.
  The bouncer locates the revolver and confiscates it. "Sorry, Mister. No guns in the bar." Mr. Wesson manages to sneak in with you anyway. "Your belongings will be returned to you when you leave, Mister."
  
  Cigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.
  
  Ronald Ericksson is sitting at one of the tables by himself.
  
  > examine people
  A wide variety of shady people occupy the bar.
  
  > examine Ronald
  A broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is a reddish brown color, like coagulated blood. A vicious scar adorns his face; looks like a knife wound to you.
  
  > talk to Wesson
  "You should take the scale from the stone paths, sir. It might be useful later."
  
  > look at the scale
  A single scale left behind by a fleeing snake.
  
  > look at the path
  The stones are like the scales of a giant snake.
  
  > check your inventory
  You are carrying:
  a figurative snake scale
  a revolver
  a figurative icicle
  some figurative white marble
  a literal knife
  a figurative dirty rag
  a figurative brown toupee
  a figurative sharp knife
  a coin
  a figurative brown brick
  a letter
  some figurative putty
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > go south
  The stately mansion of the Baron von Bülow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.
  
  The shadows part and the man in the pinstriped suit steps forward. He is holding a gun.
  
  > examine man
  His tailored pinstriped suit makes him seem like a businessman on his way to accept his next promotion. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.
  
  > look at the gun
  (the 22 revolver)
  A small .22 revolver. Bad news; it means he is good enough to get by with that much gun.
  
  > Shoot man
  He is holding you at gunpoint. You would be dead before you could even the gun out of your pocket. You will have to distract him somehow. Maybe you could throw something at him?
  
  > check your inventory
  You are carrying:
  a figurative snake scale
  a 38 revolver
  a figurative icicle
  some figurative white marble
  a literal knife
  a figurative dirty rag
  a figurative brown toupee
  a figurative sharp knife
  a coin
  a figurative brown brick
  a letter
  some figurative putty
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > throw the coin at man
  You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and bounces harmlessly off his neck. If only it was sharper. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.
  
  > put the sharp knife on the coin
  The coin is sharp as a knife.
  
  > throw the coin at man
  You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.
  
  > look at the businessman
  A well dressed gentleman who looks like he never lets his emotions interfere with business.
  
  > Inventory
  You are carrying:
  a figurative snake scale
  a 38 revolver
  a figurative icicle
  some figurative white marble
  a literal knife
  a figurative dirty rag
  a figurative brown toupee
  a coin
  a figurative brown brick
  a letter
  some figurative putty
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > Go north
  His gun barks once, and once is enough. If only you could have distracted him somehow.
  
  > examine the snake
  (the black snake)
  A smooth black snake.
  
  > take the snake
  (the snake scale)
  You already have that.
  
  > take the black snake
  The smooth snake slithers between your fingers and escapes.
  
  > put the scale on the black snake
  You put the scale on the black snake, but it just slides off the smooth skin. If only you had some way of making it stick.
  
  > put the putty on scale
  You carefully attach the putty to the back of the scale. Now it should be able to stick to anything.
  
  > put the scale on the black snake
  The black snake is rough and scaly.
  
  > take the black snake
  "Hissss," You quickly withdraw your hand.
  
  > look at what you're carrying with you
  You are carrying:
  a 38 revolver
  a figurative icicle
  some figurative white marble
  a literal knife
  a figurative dirty rag
  a figurative brown toupee
  a coin
  a figurative brown brick
  a letter
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > put the rag on the snake
  Which do you mean, the black snake or the snake scale?
  
  > talk to the businessman
  "Please don't take this personal, sir. It's just business."
  
  > put Wesson on businessman
  (first taking Mr. Wesson)
  
  I don't suppose Mr. Wesson would care for that.
  You need to be holding Mr. Wesson before you can put him on top of something else.
  
  > talk to Wesson
  "He is too efficient, sir. Maybe you can scare away the businessman that makes him so? Try attacking the businessman."
  
  > throw the coin at the businessman
  You lack the nerve when it comes to the crucial moment.
  
  > hit the businessman with the knife
  (the literal knife)
  The literal knife is real. The businessman is not.
  
  > hit businessman with the sharp knife
  The businessman deftly avoids your attacks. "There is no need to get aggressive, sir. It's just business." If only you were a better fighter, you might be able to take him down. Maybe Mr. Wesson would have better luck?
  
  > hit the businessman with the sharp knife
  (Mr. Wesson first taking the sharp knife)
  "If you want me to have the sharp knife, you should give it to me, sir."
  
  > give the sharp knife to Wesson
  "Thank you, sir. Let me know if you want me to attack someone."
  
  > attack businessman
  You both advance on the businessman. Mr. Wesson is brandishing the knife. You follow not far behind him. The businessman looks from one of you to the other, and his professional demeanor evaporates. "Look, I don't want any trouble. This really isn't any of my business." With that, he disappears into the shadows.
  
  > Attack snake
  Which do you mean, the black snake or the snake scale?
  
  > give the knife to you
  (the sharp knife to yourself)
  "Of course, sir. Here you are."
  
  > put it on the coin
  The coin is sharp as a knife.
  
  > examine the carlo
  He is wearing a pinstriped suit. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.
  
  > hit snake with the icicle
  (the black snake with the icicle)
  You can't use the icicle as a weapon.
  
  > take the snake
  (the black snake)
  "Hissss," You quickly withdraw your hand.
  
  > give the icicle to the snake
  (the black snake)
  That would not be a very good simile.
  
  > look at what you're carrying with you
  You are carrying:
  a 38 revolver
  a figurative icicle
  some figurative white marble
  a literal knife
  a figurative dirty rag
  a figurative brown toupee
  a coin
  a figurative brown brick
  a letter
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > put the snake in the cocoon
  (the black snake in the white cocoon)
  The white cocoon is just a simile. It can't contain literal objects.
  
  > kill the snake with the knife
  (the black snake with the literal knife)
  The knife is real. The snake is not.
  
  > kill the snake with the blade
  (the black snake with the sharp knife)
  The snake nimbly avoids your attacks.
  
  > show the coin to the black snake
  The black snake is unimpressed.
  
  > look at the icicle
  A cool beautiful icicle.
  
  > give the marble to the snake
  (the black snake)
  Making the black snake as smooth and hard as marble would not be helpful.
  
  > examine the letter
  The writing is almost illegible, but you manage to decipher it.
  
  "Lisa
  
  I know you have something going on with that bawbag Camino. Don't try to deny it I have seen how you flirt and god knows what else you are doing. You are not gonna do that no more or im gonna have to take matters into ma own hands.
  
  Erik."
  
  > talk to Wesson
  "It is still futile to attack him while he is holding us at gunpoint, sir. You will have to distract him somehow."
  
  > throw coin at carlo
  You expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He cries out in pain, and instinctively reaches for the wound. His gun points towards the clear night sky. His moustache gleams in the moonlight.
  
  > shoot carlo
  It's tempting, but dead men tell no tales. You want to take him alive.
  
  > cut the moustache with the knife
  (the literal knife)
  That seems like a bad idea.
  
  > throw the knife at Carlo
  (the literal knife at Carlo Alfono)
  Nice try, but he executes you as soon as you pull the knife. Perhaps you should try a more discreet object?
  
  > take the moustache
  While he is distracted, you grab his moustache and pull as hard as you can. He roars in pain and the gun drops to the ground. It doesn't take long before your roles are reversed.
  
  "Who sent you?" you ask. He merely stares at you, without a word. "Tell me what I want to know, and I might let you live." You can tell he knows you are bluffing. You are no murderer.
  
  It's a moot point anyway. You can hear the police sirens approaching in the distance. Someone from the mansion must have noticed the commotion. The police will have to deal with him.
  
  Copernik's Office (on your chair)
  This small cramped office is just large enough to fit in a desk and two chairs. The walls are yellow from cigarette smoke. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.
  
  Detective Copernik is sitting on the chair behind the desk.
  
  > look at Copernik
  A huge man, almost as broad as he is tall. His eyes are piercing; his hair, jet black.
  
  > talk to him
  You have been talking for what seems like hours already. What more does he want to know?
  
  "I have already told you what happened, Detective. Why don't you just let me go now and we can both get some sleep?"
  
  Detective Copernik lights yet another cigarette and blows a ring of smoke at your face. It dissipates before it reaches you, merging with the grey substance that passes for air in here. "I just want to make sure I have all the facts straight here. Private dicks always complicate matters. We tell people they should just let us do our jobs, but they never listen. So, you visit this Camino fella about Miss Bülow. You get him angry, and shortly afterwards his goon tries to kill you?"
  
  "That's correct. Has Mr. Alfono said anything?"
  
  He leans back in his chair. "We are actively pursuing all leads. Now, I am wondering why Mr. Camino would want to have you killed merely for asking a few questions. Would it surprise you to hear that we are also looking for Miss Bülow? The Baron filed a missing persons report."
  
  That does surprise you. "That doesn't surprise me."
  
  "I should have known he would hire a private dick as well. These old rich guys never trust the authorities. Now that you are involved, we might as well make the best of it. Why don't you tell me everything you know?"
  
  > look at the bodies
  They are at peace. The fire in their hearts died aeons ago.
  
  > look at the desk
  A flat piece of wood resting on four wooden legs. That is all.
  
  > talk to Copernik
  "Detective, I have already told you everything I know. Keeping me here serves no purpose."
  
  "I don't think so," he says. His eyes are fixed at your face. "You people always hide something. Why don't you tell me what it is so you can get out of here? I am used to staying in this crappy office. I am sure you are more uncomfortable than I am."
  
  He is right. The cramped room. The yellow walls. Everything contributes to the claustrophobic atmosphere.
  
  > examine the walls
  They might have been white in the distant past, but they have long since turned a sickly yellow color from the cigarette smoke - like the skin of a man slowly dying from liver cancer.
  
  > look at the skin
  He is delirious from fever. He clearly doesn't have long left to live.
  
  > talk to the skin
  He is delirious. You can't make sense of anything he is saying.
  
  > check your inventory
  You are carrying:
  a revolver
  a figurative icicle
  some figurative white marble
  a knife
  a figurative dirty rag
  a figurative brown toupee
  a figurative brown brick
  a letter
  a figurative white cocoon
  some figurative luminescent fluid (providing light)
  
  > put the toupee on Copernik
  His hair is getting grey.
  
  > examine Copernik
  A huge man, almost as broad as he is tall. His hair is getting grey. His eyes are tired.
  
  > take the toupee
  You like him better with it.
  
  > search the bodies
  They are at peace. You don't want to disturb them.
  
  > talk to Copernik
  You are not getting anywhere. The atmosphere in here just isn't made for friendly conversation.