"Slouching Towards Bedlam" by "Star C. Foster and Daniel Ravipinto" Part I - Background Chapter 0 - Includes and Status Bar Use memory economy. Include Titled Menus by Daniel Ravipinto. Include Default Messages by Ron Newcomb. Rule for constructing the status line: center "[location]" at row 1; rule succeeds. Chapter 1 - Metadata The story headline is "An entry in the 9th Annual Interactive Fiction Competition (10th Anniversary Edition)". After printing the banner text, say "[bracket]First time players should type [']about[']. Credits are available via [']credits['].[close bracket][line break]" Understand "about" as asking for an overview. Asking for an overview is an action out of world. Carry out asking for an overview: say "A few, brief notes:[paragraph break]- Regardless of how the game responds to them, all meta-commands (SAVE, RESTORE, RESTART, UNDO, QUIT) work as you would expect them to.[paragraph break]- Conversation is best handled by the following syntax:[paragraph break]ASK ABOUT .[line break]TELL ABOUT .[line break], .[paragraph break]Note that it is advantageous to ask about the same topic multiple times.[paragraph break]- Hints and spoilers are available via the 'hint' command.[paragraph break]- Slouching Towards Bedlam contains multiple endings - you may wish to go back and try different actions or attempting to reach different goals to see how your actions affect the story.[paragraph break]- Daniel Ravipinto can be contacted at peccable@peccable.com." Understand "credits" as asking for credits. Asking for credits is an action out of world. Carry out asking for credits: say "(original 2003 release)[line break][italic type]SLOUCHING TOWARDS BEDLAM[roman type][line break]Concept, design, and writing by: Star C. Foster and Daniel Ravipinto[line break]Code by Daniel Ravipinto[paragraph break]This game was written using the Inform programming language, created by Graham Nelson. Inform's web page can be found at http://www.inform-fiction.org/. Inform, TADS, and other tools for creating interactive-fiction can be found at the Interactive Fiction Archive at http://www.ifarchive.org or at one of its many mirrors.[paragraph break]Beta-Testers: Jim 'Jesus' Genzano, Steve Evans, and Amy McClenahan[paragraph break]Special Thanks For Putting Up With Random Insane Ramblings: Neil McGarry and Emmett Plant[paragraph break](2013 rerelease)[line break][italic type]IN MEMORY OF STAR C. FOSTER (1973 - 2006)[roman type][paragraph break]Reimplementation in Inform 7: Daniel Ravipinto[paragraph break]Testing and Feedback: Ori Avtalion[paragraph break]Special Thanks - Now, as Always: Neil McGarry[paragraph break]"; The story description is "In the beginning was the Word, and it was hungry. Enter a steampunk adventure set in a London that might have been. The year is 1885. Bedlam Hospital still stands in Moorsfield, a decaying shell used to house the poor and the hopeless. Steam-driven mechanical wonders roam the streets. Gear-wheeled analytical engines spin out reams of thought onto punched paper tapes. And in the darkness - in the alleys and the side shops - hide secrets. A ten-year anniversary reimplementation/rerelease of the original 2003 story." The story creation year is 2013. Release along with an a library card, cover art, the source text, and a website. Chapter 2 - Hints Understand "hint" or "help" or "hints" as asking for a hint. Asking for a hint is an action out of world. Carry out asking for a hint: change the current menu to Table of Hints; change the current menu title to "Hints"; change the introduction boolean to 1; change the current menu introduction to "What section of the game do you need help with?"; carry out the displaying activity; clear the screen; change the introduction boolean to 0; try looking. Table of Hints title subtable description toggle "General: What on earth is going on here?" Table of General Hints -- hint toggle rule "Bethlehem Hospital" Table of Bedlam Hints -- "Newgate" Table of Newgate Hints -- "Smithfield" Table of Smithfield Hints -- "**SPOILERS** The Logos **SPOILERS**" Table of Spoiler Hints -- Table of General Hints hint used "Slouching Towards Bedlam is at its heart a mystery, so answering that question is the entire point of the game." "Look around. Explore. Experiment. Take things. Read things." "The remaining hints are a list of items/locations that might help make things clearer. If you wish outright spoilers, check under the section called 'The Logos'." "Have you found the sandalwood box in the office? Have you listened to all the cylinders within it?" "Have you used the Panopticon? Figured out which was Cleve's cell?" "Have you found and read Cleve's file?" "Have you found Cleve's flat? Gotten inside it? Searched it?" "Have you opened the puzzle-box and read what's inside?" "Have you gotten into Du Monde's basement?" "If you're done all of the above and you're still confused, read the section called 'The Logos'." Table of Bedlam Hints title subtable description toggle "Office" Table of Office Hints -- "Lobby" Table of Lobby Hints -- "Archives" Table of Archives Hints -- "Circular Chamber (Panopticon) and Walkway" Table of Panopticon Hints -- "Corridor 6" Table of Corridor 6 Hints -- Table of Office Hints title subtable description toggle "What is the point of the phonograph?" Table of Phonograph Hints -- hint toggle rule "What can I do with the desk?" Table of Desk Hints -- hint toggle rule "What is the black cube? How does it work?" Table of Triage Hints -- hint toggle rule "Where can I find an optional data input system?" Table of Input Hints -- hint toggle rule "What about the papers and the files?" Table of Paper Hints -- hint toggle rule Table of Phonograph Hints hint used "Doesn't look like the kind that plays flat disk-shaped records, does it?" "You can ask Triage to analyze it, if you like." "It's a personal recording device that plays tin cylinders." "You can TURN OFF the phonograph, TAKE the particular cylinder within it (or simply OPEN it to remove it), and PUT a new one in. Then TURN ON the phonograph again." "The command 'play [bracket]date of cylinder[close bracket]' also works." "When the game starts, it's playing the entry for March 16th." "There are other cylinders to be found." "Check the desk." "Particularly the sandalwood box." "There are four cylinders in all: January 8th, January 22nd, March 2nd, and March 16th." "Listening to all of them can give you important background information." Table of Desk Hints hint used "Look at it carefully." "It contains a drawer (which in turn contains a manual and strange key)." "It has a sandalwood box on top of it, as well as a blotter." "Look closely at the blotter." "Perhaps there's something beneath it?" "Looking beneath or moving the blotter results in finding the key labeled [']2D[']." Table of Triage Hints hint used "Examine it - it's fairly complex and has several parts." "Specifically, a screen, a set of wheels, and a large emerald." "Have you examined the desk thoroughly?" "Have you read the manual?" "'...the mechanical assistant left by my predecessor...'" "The cube is a Triage series personal analytical engine." "You can start it up by pushing the emerald." "As the manual says, it will now follow you around of its own accord." "If you wish to analyze anything or check the machine's database, simply POINT or GESTURE to the object of your query. Triage will take care of the rest." Table of Input Hints hint used "They're nice, aren't they?" "There doesn't seem to be one in the office, though." "Or anywhere in the Hospital, actually." "'Contact your local mechanists' to special-order yours today.'" "Unfortunately, Madame Du Monde doesn't have any in stock and she doesn't seem keen on special-ordering one." "Guess you'll have to go without." Table of Paper Hints hint used "'They appear to be of little consequence.'" "Sometimes appearances can be deceiving." "Not this time, however. They're meaningless." "At least *these* papers are. You might find files elsewhere which will be of more use to you." Table of Lobby Hints title subtable description toggle "Oh my. Something strange happened when I first entered the room." Table of Infection Hints -- hint toggle rule "James seems a nice fellow. Is he of any use?" Table of James Hints -- hint toggle rule Table of Infection Hints hint used "Yes. Yes indeed. Clearly unusual things are afoot." "Figuring out precisely what is rather the point of the game." "Read the descriptions carefully. Remember them." "You may wish to check the 'General' subject in the main hint menu for further details." "Or the section called 'The Logos' for spoilers." Table of James Hints hint used "Indeed - though it all depends on what you're after." "He[']s rather busy, you see, so he can[']t really do much at the moment." "He will speak with you though, and try to answer any questions you have as best he can." "Conversation in Slouching Towards Bedlam is handled by ASK ABOUT or TELL ABOUT ." "James can converse on a whole range of topics. Perhaps you can get some useful information out of him." Table of Archives Hints title subtable description toggle "How do I get at the files in the drawers? They're too far away." Table of Files Hints -- hint toggle rule "What is the pedestal for? The pyramid?" Table of Pedestal Hints -- hint toggle rule "Where can I get a list of specific file numbers from?" Table of File Number Hints -- hint toggle rule Table of Files Hints hint used "Indeed. Far too far. There doesn't seem to be any safe way of getting over there." "Even then - there are thousands of drawers and who knows how many files. How on earth would you even know where to begin looking?" "Perhaps someone can help you?" "Perhaps someTHING can help you?" "'...the thing seems filled with information regarding the hospital down the point of minutiae...'" "Have Triage look around a bit. That might help." "'...the massive Archives with their engine-run filing system...'" "Perhaps the Archives are designed to run on their own." "Take a good look at the pedestal and pyramid." "If you're still confused, read the hints regarding the pedestal and pyramid." Table of Pedestal Hints hint used "Most likely they wouldn't be here without reason." "Ask Triage about them." "The display initially reads '...RETRIEVAL COMPLETE...'" "How can you get the pedestal to retrieve something for you?" "The pedestal also contains a dial - which can be turned to any number between 1 and 9 and any letter between A and F." "Try fiddling with the dial." "Try turning the dial to various positions until 6 symbols are shown on the tape." "So the files are organized by a 6-character name or code." "If you happen to find one of those codes, try entering it into the pedestal via the dial." Table of File Number Hints hint used "James might know." "Or perhaps not. That'd be a very large list, and it would be difficult to search through." "He might mention that specific numbers of current cases are stored in the Panopticon." "Off to the Panopticon, then. It's the Circular Chamber west of the Walkway." "Examine the Panopticon controls. Notice anything familiar?" "That button with the inverted triangle looks familiar, though the lines extending from it might be confusing." "Get the Panopticon running, view a room and try pushing the button." "If nothing happens, that probably means there's not a patient associated with that room." "Check the hints under the Panopticon for finding the important rooms." Table of Panopticon Hints title subtable description toggle "What on earth is this place for?" Table of General Panopticon Hints -- hint toggle rule "How does one use the Panopticon?" Table of Panopticon Usage Hints -- hint toggle rule "Something strange happened when I activated the Panopticon..." Table of Panopticon Activation Hints -- hint toggle rule "Which of the rooms in the blueprint/viewer are important?" Table of Panopticon Rooms Hints -- hint toggle rule "I seem to be stuck. How do I get back to the Administration Wing?" Table of Panopticon Stuck Hints -- hint toggle rule Table of General Panopticon Hints hint used "You have various sources of information to draw upon including the phonograph diaries (in the Office), James and there's always Triage. Point at various things with it present." "'...the description of the central Tower and its prism-viewer, by which the entire complex could be overseen by a single man...'" "This room is part of the Panopticon designed to allow an operator to view the cells in the various buildings which surround the tower, as well as gain access to them directly." "The keyhole at the center of the blueprint (which is of the complex you're now standing at the center of) activates the system." "See 'How does one use the Panopticon?' for specific hints." Table of Panopticon Usage Hints hint used "The console at the center has several parts - a blue-print (of the area you're now standing in), a set of buttons, a slot, a keyhole..." "'...it would accept a long, flanged key...'" "Have you seen a key like that?" "Try the drawer in the Office." "Well, now it's activated and the room has changed 'subtly'." "Try 'look' after putting the key in the keyhole. The exit's changed." "Also, the console has lit up and the listening-tubes and prism-viewer have become activated." "You can also gain access to the stored file names of anyone who recently resided in Corridor 6..." "...by pushing the button with the triangle on it." Table of Panopticon Activation Hints hint used "Yes. Yes indeed. Clearly unusual things are afoot." "Figuring out precisely what is rather the point of the game." "Read the descriptions carefully. Remember them." "Some...thing doesn't like the sound in Room A. And won't let you keep the Panopticon set to it. Very strange." "You may wish to check the 'General' subject in the main hint menu for further details." "Or the section called 'The Logos' for spoilers." Table of Panopticon Rooms Hints hint used "Many of the rooms are completely unusable -- they're either structurally unsound or have literally collapsed." "Three of the rooms are safe enough to enter -- A, C, and D." "Only one of these seems to have been used recently -- D." "Several of the rooms will produce file-codes when the triangular button is pressed -- specifically C, D, and E." "It depends on your definition of important." "Entering the code produced by Room 6D into the Archives will reveal that Cleve Anderson was kept there until recently." "There's a good chance that the writing on the wall was left by him..." "See the hints for Corridor 6 for more details." Table of Panopticon Stuck Hints hint used "How did you get to the opening to the north open?" "What do you think happened to the opening to the east?" "There was a rumbling when you put the key in the keyhole." "And the room subtly changed." "The Panopticon works by rotating the tower to the activated corridor." "The walkway connects the tower to the chosen corridor (it actually lowers if a lower corridor is activated)." "The tower rotated when you put the key in the keyhole..." "Rotate it back by taking the key back." Table of Corridor 6 Hints title subtable description toggle "How do I get into rooms B, E, and F?" Table of Corridor 6 Blocked Room Hints -- hint toggle rule "What's going on in Rooms A and C?" Table of Corridor 6 Empty Room Hints -- hint toggle rule "Room D is covered in strange writing...what does it mean?" Table of Corridor 6 Room D Hints -- hint toggle rule Table of Corridor 6 Blocked Room Hints hint used "'...6B seems stuck fast...'" "'The lock and handle on the door to 6F seem broken...'" "'The room beyond the door to the west seems to have collapsed in on itself...'" "You don't." "Though, that being said, you can view what's inside those rooms via the Panopticon." Table of Corridor 6 Empty Room Hints hint used "'A room that has been stripped almost completely bare...'" "'A room whose floor seems in danger of collapse...'" "Not a lot, really." "You can, however, find out what's making that horrible noise in the Panopticon in Room 6A." Table of Corridor 6 Room D Hints hint used "There's definitely an intention to it -- the markings are carved very precisely." "It's broken up into several sections -- the string of text at the center ('ZXWHT...'), the lines which surround it, and the other text ('LOGOS EN SOPH...')." "There's a lot of information here. And you might not have enough of a background to interpret it." "The [']further text['] seems at least to be written in some form of language, the center text looks like nonsense..." "...or encrypted. It's a code." "This puzzle *is* solvable, but it would require outside information. If you don't recognize the words NOTARIKON, GEMATRIA, or TEMURAH or you don't understand what the other text is doing, you probably wouldn't be able to do so." "That's alright though, you have someone who's very good at analyzing things and '...connecting seemingly disparate data into a coherent whole...'" "SomeTHING, rather..." "Triage." "POINT AT THE WALL when Triage is present. It'll be tough for it, but its final screen of information will be the solution to the cypher at the center..." "'Malkuth is in Kether as Kether is in Malkuth.'" "Or, in Triage's interpretation: '[bracket]Man[close bracket] is in [bracket]God[close bracket] as [bracket]God[close bracket] is in [bracket]Man[close bracket].'" "If that doesn't mean anything to you now, don't worry. It might somewhere down the road." Table of Newgate Hints title subtable description toggle "The door to Flat 2D is locked. How do I open it?" Table of Flat 2D Hints -- hint toggle rule "What on earth is a magnetophone?" Table of Magnetophone Hints -- hint toggle rule "How do I get it to work?" Table of Fixing Magnetophone Hints -- hint toggle rule "The magnetophone is on, but all I'm getting is static!" Table of Static Hints -- hint toggle rule "I hear people talking. How do I make contact?" Table of Contact Hints -- hint toggle rule "OK, I have people listening to me -- what do I say?" Table of Wording Hints -- hint toggle rule "What are the gallows for?" Table of Gallows Hints -- hint toggle rule "Can I use the gallows to kill someone?" Table of Gallows Use Hints -- hint toggle rule "How do I open the trap door?" Table of Trap Door Hints -- hint toggle rule "How does the automaton work?" Table of Automaton Hints -- hint toggle rule Table of Flat 2D Hints hint used "How does one open a locked door?" "Who does the flat belong to?" "Where might you keep a key?" "Look closely around the office." "Have you examined the desk in detail?" "The blotter?" "The key is under the blotter. Move it or look under it." Table of Magnetophone Hints hint used "A magnetophone is a communications device, similar to a modern day ham radio. It can be used to transmit a message on a global scale by magnetic manipulation of the luminous aether." "Or something." "More importantly - it can be used to talk to people all over the world simultaneously." "The book beside it can give you some advice on what the various parts of it are for." Table of Fixing Magnetophone Hints hint used "Read the manual." "Is there a power source? Is the device turned on?" "OPEN VALVE. FLIP TOGGLE SWITCH." Table of Static Hints hint used "Read the manual." "The magnetophone is already set up near a window..." "...so you'll need an amplifier." "Have you looked at everything on the table?" "Have you examined the trade card?" "Apparently there's a amplifier waiting at Du Monde's in Fleet Street." Table of Contact Hints hint used "Read the manual." "What is proper etiquette in situations like these?" "Push TRANSMIT then transmit CALLING CQ." Table of Wording Hints hint used "Probably something momentous." "What precisely are you trying to accomplish?" "Do you understand the central mystery of the game?" "Do you know what the Logos is?" "Do you understand why sound is important to it?" "Do you understand what happened when you first made contact?" "The Logos tried connecting to the minds it heard, but found nothing." "Perhaps you can encourage it to come out." "How did Cleve initially contact the Logos?" "What did he say?" "'Under my breath, I whispered the Order's motto ... for that is what had come to be...'" "What is his Order's motto? Where would you find it?" "Have you been in the basement of Du Monde's building?" "Have you examined the pedestal?" "Push TRANSMIT then transmit NOTHING WILL BE RESTRAINED FROM THEM WHICH THEY HAVE IMAGINED." Table of Gallows Hints hint used "Precisely what you think they're for." Table of Gallows Use Hints hint used "Any fool you can convince to put on the noose." Table of Trap Door Hints hint used "Look around. Is there anyone who can assist you?" "AnyTHING?" "Take a good look at the automaton - and the button beside it." Table of Automaton Hints hint used "Take a good look at it - and the button beside it." "The button activates the automaton. Pressing it again shuts it off." "Once turned on it needs a criminal to punish." Table of Smithfield Hints title subtable description toggle "How do I get into the attic flat?" Table of Attic Flat Hints -- hint toggle rule "How do I open the puzzle box?" Table of Puzzle Box Hints -- hint toggle rule "How do I open the basement door?" Table of Basement Door Hints -- hint toggle rule "How do I get an aetheric amplifier from Du Monde?" Table of Aetheric Amplifier Hints -- hint toggle rule Table of Attic Flat Hints hint used "Whose flat is this, anyway?" "Do you have access to anything that belonged to them?" "If not, you might be able to get in the way someone before you did." "Examine the door carefully." "ATTACK THE DOOR or, alternatively you can find the key in File F6A142 of the Archives." Table of Puzzle Box Hints hint used "Who does the box belong to?" "Do the buttons on the box sound familiar?" "Have you examined the writing in Cleve's Cell at Bedlam?" "Have you broken the cypher written there?" "Who helped you break the cypher?" "Who has a '...capability in connecting seemingly disparate data into a coherent whole...?'" "Perhaps they can help you here?" "What did the cypher say?" "'MALKUTH IS IN KETHER AS KETHER IS IN MALKUTH.'" "PRESS MALKUTH. PRESS KETHER. PRESS KETHER. PRESS MALKUTH." Table of Basement Door Hints hint used "What does the door say?" "'PRIVATE'" "Who owns the building?" "Who lived here?" "Have you completely searched the attic loft?" "Have you read Cleve's diary?" "'I have made a copy of Du Monde's basement key...'" "The crude copy from the puzzle box ought to do the trick." "There's probably an original about." "Who do you think has it?" "Du Monde seems the type to only give up the key from her cold, dead hands." "Oblige her." Table of Aetheric Amplifier Hints hint used "What does she say when you ask about it?" "Apparently they're fairly rare and only available on special order." "It'll take weeks for one to arrive..." "Perhaps you've already ordered one?" "Perhaps you don't remember?" "Have you examined your flat in Newgate?" "Have you found the trade card on the table?" "Give the trade card to Du Monde." Table of Spoiler Hints title subtable description toggle "OK. Spoil me. What the heck is going on?" Table of Spoil Me Hints -- hint toggle rule "The Logos suddenly got very active, what happened?" Table of Active Logos Hints -- hint toggle rule "What's with the ending? The appendix?" Table of Ending Hints -- hint toggle rule "How do I win?" Table of Winning Hints -- hint toggle rule Table of Spoil Me Hints hint used "You are not who you think you are." "People may refer to you as Dr. Thomas Xavier - but think about how you've been acting." "No memory. Curious about everything. Picking up anything that isn't nailed down." "Not to mention moving about in time (Can people normally UNDO what's been done? Or SAVE a moment to return at a later time?)" "You are SOMETHING NEW." "Does any of this sound familiar?" "Have you read File F6A142?" "The original Xavier was infected by what infected Cleve." "He received his infection by listening to Cleve speak." "Have you noticed anything strange when you meet a person for the first time?" "You're speaking glossolalia (speaking in tongues) -- just like Cleve." "You infect every person you meet with a part of the Logos - the thing that lives within your mind." "Now, you're faced with a choice." "Do you stop the Logos? Is it worth the cost? Or do you help it to grow?" "There is no cure for the infection -- death is the only release." "Spreading it one person at a time might help it to grow, but is there a more effective way to reach the masses?" Table of Active Logos Hints hint used "There was a specific action that set off the Logos, even if you didn't realize it at the time." "What is the goal of the Logos?" "It only understands growth and survival." "What is the opposite of survival?" "You cut off one of its questing roots." "You killed someone it had infected." "The instant you kill someone who has been infected, a timer starts. You have 25 turns to complete your goals before time runs out and the Logos takes over entirely." Table of Ending Hints hint used "There are several different endings and several different appendices." "After all, you can still travel in time (save/restore/restart)." "What is your goal? How can time-travel help you achieve it?" "What would you do differently?" "Cleve made his choice. What will yours be? And can you live with the consequences?" "There are five 'classes' of endings, each with an Appendix (A - E) which comes from the newly created timeline." Table of Winning Hints hint used "Interesting question." "How do you define [']winning['] anyway?" "Is the Logos evil?" "What is it really trying to do?" "Does it deserve to die?" "That being said - does humanity?" "Sorry - we can't answer this one." Chapter 3 - Opening When play begins, say "*clunk*[paragraph break]The rotating tin cylinder within the phonograph vibrates slightly as a brass needle scrapes against it. The sound of a throat being cleared emerges from the machine's hornshell speaker, followed by a thin, haunting voice.[paragraph break][entry 1 of the media of the March sixteenth cylinder][line break]" Chapter 4 - Analysis [This code gives analytical information for Triage to work with] All things have some text called analysis. The analysis is usually "CAT:UNKNOWN/UNLI[line break]STED.UTIL:NOT.AP[line break]PLICABLE.PART:NO[line break]NE.ITEM.IS.NOT.R[line break]ECOGNIZED.BY.CUR[line break]RENT.SYSTEM.STOR[line break]E.REQUIRE.ADDITI[line break]ONAL.INFORMATION". Pointing at is an action applying to one visible thing and requiring light. Understand "point at [something]" or "point to [something]" or "point towards [something]" as pointing at. Understand "gesture at [something]" or "gesture to [something]" or "gesture towards [something]" as pointing at. Check pointing at: if Triage is not visible then say "Nothing happens." instead. Check pointing at: if Triage is visible and the emerald is not switched on then say "Nothing happens." instead. The analysis of the player is "CAT:LIVING......[line break]*CATASTROPHIC.ER[line break]RROR.A042.CATEGO[line break]RY.INDEX.OUT.OF.[line break]RANGE.STACK.OVER[line break]FLOW*PART:ID=DR.[line break]THOMAS.XAVIER=CU[line break]RRENT.OPERATOR..". [It's probably more elegant to have all objects have an analyzed/initial analysis, but the only special case is Cleve's writing...] Instead of pointing at something when Triage is visible and the emerald is switched on: say "[if the noun is the player]The emerald flickers from head to toe before returning:[otherwise][one of]The emerald eye examines [the noun] returning with:[or]A small beam of green light lashes out over [the noun] as Triage's screen lights up:[or]Triage's emerald searches [the noun], then... [or]The machine analyzes [the noun] before replying... [or]Triage's beam flickers over [the noun], briefly, then displays:[at random][end if][paragraph break]"; if the noun is the writing and the analyzed of the writing is false: now the analyzed of the writing is true; say "[the initial analysis of the writing][line break]"; otherwise: now the current display of the screen is the analysis of the noun; say "[fixed letter spacing][the current display of the screen][variable letter spacing][line break]".; if the noun is Du Monde and Du Monde is alive: say "[line break]Du Monde's throat tightens slightly. 'How clever,' she whispers."; otherwise if the noun is the puzzle box and the analyzed of the writing is true: say "[line break]The mechanism clatters for a moment, making connections, then...[paragraph break][fixed letter spacing]SEPHIROTH+KABBAL[line break]AH+MACHINE=CYPHE[line break]RIST.!.POSSIBLE.[line break]CONNECTION.CYPHE[line break]R='MALKUTH.IS.IN[line break]KETHER'-SOLUTION[line break]=MALKUTH,KETHER,[line break]KETHER,MALKUTH?![variable letter spacing][line break]"; otherwise if the noun is the pin: if Du Monde is alive: say "[line break]Her eyes harden, although her smile never wavers.[paragraph break]'A trifle, I assure you. Besides, this is a mechanist's shop, not a jeweler's, and I am sure a man of distinction, such as you clearly are, has no interest in second-hand trinkets.'[paragraph break]Her eyes scan Triage's display.[paragraph break]'I see you have a Triage Mark III. Excellent machine, although flawed in that it can only spit back information fed in by its operator. They are often plagued by fits of conjecture.'[paragraph break]She deftly removes the pin and drops it in her pocket.[paragraph break]'Now what can I assist you with?'"; remove the pin from play; now the analysis of Du Monde is "CAT:LIVING.HUMAN[line break]FEMALE.UTIL:COMM[line break]UNICATION.POSSIB[line break]LE.BY.SPEECH.OR.[line break]WRITTEN.WORD.PAR[line break]T:ID=POSSIBLE.CY[line break]PHERIST.FROM.ANA[line break]LYSIS.OF.SYMBOL."; Chapter 5 - Epidemiology and Endings [This code follows the proliforation of the Logos. With Cleve gone, at the beginning of the game only Xavier is infected.] A person can be infected or not infected. A person is usually not infected. The player is infected. A person can be alive or dead. A person is usually alive. A person can be a carrier or not a carrier. Definition: a person is a carrier if they are alive, and they are infected. Definition: a person is not a carrier if dead. Instead of searching a person when the noun is dead, say "Nothing of interest is to be found on the body." Instead of doing anything other than examining or searching or pointing at a person when the noun is dead, say "A difficult and futile task." Chapter 6 - Cylinders A cylinder is a kind of thing. The description of a cylinder is usually "A small, labeled tin cylinder approximately a handsbreadth wide, its surface is inscribed with a fine groove which winds down its entire length." The analysis of a cylinder is usually "CAT:NONLIVING.TO[line break]OL.UTIL:RECORDIN[line break]G.MEDIUM.FOR.COR[line break]RECTLY.OUTFITTED[line break]PHONOGRAPH.PART:[line break]RECORDED.AUDIO.D[line break]IARY.ENTRY=PLAY.[line break]IN.PHONOGRAPH...". A cylinder has a list of texts called the media. The media is usually {"***ERROR: EMPTY CYLINDER***"}. [Using "the playback activity" to keep track and not display certain 'After' functionality...] Playing is an action applying to one visible thing and requiring light. Understand "play [something]" as playing. Playback is an activity. Check playing: if the noun is not a cylinder then say "That cannot be played." instead. Check playing: if the phonograph is not visible then say "The cylinder requires a phonograph to be played." instead. Carry out playing: if the noun is held by the ivory arms: if the phonograph is switched on, say "The cylinder is already playing."; otherwise try switching on the phonograph; otherwise: begin the playback activity; now the noun is held by the player; try inserting the noun into the ivory arms; now the current entry of the phonograph is 0; now the phonograph is switched on; say "Nestled carefully into the phonograph[']s waiting ivory arms, the [noun] begins to play."; end the playback activity; Chapter 7 - Tapes and Files A tape is a kind of thing. A tape has an indexed text called a code. A tape has a truth state called dispensed. The dispensed of a tape is usually false. The description usually is "A short piece of paper tape, mechanically imprinted with the symbols '[the code of the noun]'." A paper tape labeled 4361A2 is a tape. The code of a paper tape labeled 4361A2 is "4361A2". A paper tape labeled F6A142 is a tape. The code of a paper tape labeled F6A142 is "F6A142". A paper tape labeled DB9E75 is a tape. The code of a paper tape labeled DB9E75 is "D89E75". A file is a kind of thing. A file is usually proper-named. A file has an indexed text called a code. A code is usually "ERROR!". Understand "folder" as a file. A file labeled 4361A2 is a file. The printed name of 4361A2 is "File 4361A2: Emanuel Barthelemy". The code of 4361A2 is "4361A2". Instead of examining the 4361A2, say "The file is fairly brief -- it only covers the single night that Emanuel Barthelemy spent at the Hospital. The papers are written up by Dr. Simon Brand, and apparently there's been a mix-up in the system, as Barthelemy is listed as being kept in the *lower* rather than the upper Corridor 6 -- room C specifically.[paragraph break]Barthelemy was being held under suspicion of the murder of two men -- Collard and Moore -- which occurred in Warren Street, Fitzroy-Square. The case is listed as [']customary['] - Barthelemy being held under observation for 24 hours to prove or disprove his insanity.[paragraph break]Brand's final conclusion is that Emanuel is fit to stand trial."; A file labeled F6A142 is a file. The printed name of F6A142 is "File F6A142: Cleve Anderson". The code of F6A142 is "F6A142". The F6A142 has a truth state called used. The used of the F6A142 is false. Instead of examining the F6A142: change the current menu to the Table of File F6A142; change the current menu title to "File F6A142: Cleve Anderson"; change the introduction boolean to 1; change the second introduction boolean to 1; change the second introduction index to 4; change the current menu introduction to "The file is broken into several sections:"; change the current second menu introduction to "Personal Notes"; carry out the displaying activity; clear the screen; change the introduction boolean to 0; change the second introduction boolean to 0; try looking; if the used of the F6A142 is false: say "As the file is closed, something nestled within its pages falls to the floor with a loud clang.[paragraph break]"; now the iron key is in the location of the player; now the used of the F6A142 is true. A file labeled DB9E75 is a file. The printed name of DB9E75 is "File DB9E75: Daniel McNaughton". The code of DB9E75 is "DB9E75". Instead of examining the DB9E75, say "The file is extensive -- covering the ten years Daniel McNaughton was in residence at Bethlehem before his death two years ago. Apparently he was kept in upper-6-E for the first year, then moved to Corridor 22 for the remainder.[paragraph break]McNaughton was arrested for the attempted assassination of Prime Minister Peel and the death of Drummond (Peel[']s private secretary). McNaughton's defense stated that he was under the delusion of being persecuted by the Tories in his native Glasgow who, he claimed, 'compelled him' to act.[paragraph break]The case, of course, became the first famous legal test for acquittal by reason of insanity. Victoria's response was to order the court to develop a stricter test for insanity - which lead to the now-standing 'McNaughton Rule.'[paragraph break]Most of the later notes are by Superintendent Simon Brand - soliloquies on the McNaughton Rule and its effects on both the legal system and the psychological profession."; The iron key is a thing. The printed name of the iron key is "large iron key". The description of the iron key is "An old-fashion rusted iron key." Chapter 8 - Lipogram and Logos Section 1 - Lipogram [Removing the word "you" as much as possible from the game.] The description of the player is "That's rather difficult without a mirror." Instead of going nowhere, say "No exit lies in that direction." Instead of taking inventory: if the number of things enclosed by the player is 0, say "Carried: [line break] nothing at the moment[paragraph break]" instead; say "Carried: [line break]"; list the contents of the player, with newlines, indented, giving inventory information, including contents, with extra indentation. Instead of attacking something: if the noun is the player: say "How, precisely?"; otherwise: say "That particular item does not respond to violence."; After opening a container: say "The [noun] opens, revealing [contents of the noun]."; After closing a container: say "The [noun] closes."; [To hide doors in descriptions.] Doors are usually scenery. Table of custom library messages (continued) library-action library-message-id library-message-text -- 6 "[bold type]/(failureINTERPRETERcannotunmakeUNDOno)\[roman type]" -- 7 "[bold type]/(failurecannotunmakeUNDOno)\[roman type]" -- 11 "[bold type]/(nothingnullBEGINNINGstartcannotbackUNDO)\[roman type]" -- 12 "[bold type]/(oncesingleUNDOfurthertoodistantbackno)\[roman type]" -- 13 "[bold type]/(backyesunturningunmakingUNDObacksliplinereverse)\[roman type]" -- 17 "It is pitch dark. Nothing can be seen." -- 22 "[bracket]Commands cannot begin with a comma.[close bracket]" -- 23 "To whom were you attempting to speak?" -- 31 "Perhaps there is more to be said?" -- 38 "That is not a recognized verb." -- 75 " /(finishendcompleteconclude|periodmomentpointspacetime))\ [ignore library line break]" Closing action 1 "That's not something that can be closed." Closing action 3 "[The noun] close[s]." Dropping action 2 "One cannot drop what one does not have." Examining action 2 "There is nothing visibly special about [the noun]." Entering action 4 "One can only get into something free-standing." Exiting action 1 "One must be in something to exit." Jumping action 1 "Jumping in place seems to accomplish little." Listening to action 1 "Nothing unexpected can currently be heard." Looking under action 2 "Nothing of interest is to be found." Opening action 1 "That's not something that opens." requesting the score action 1 "[if the story has ended][bold type]/(reachedfoundendfinishcomplete|possibleprobablyonlyoneinofmany))\ /(nowfurtheryetaheadrelease-APPENDIX-[the name of the chosen ending]-availableaccessableopen))\[roman type][ignore library line break][otherwise]This game has no score[ignore library line break]" Restarting the game action 1 "[bold type]/(?? RESTARTperiodfirstrevisit ??)\[roman type] " Restarting the game action 2 "[bold type]/(failednullRESTOREbackconfusion)\[roman type]" Restoring the game action 1 "[bold type]/(failednullRESTOREbackconfusion)\[roman type]" Restoring the game action 2 "[bold type]/(yesunfoldingbackwardsRESTORErenewpointtimespace)\[roman type]" Saving the game action 1 "[bold type]/(failednullSAVEbackconfusion)\[roman type]" Saving the game action 2 "[bold type]/(pointrememberingSAVEstoresafekeep)\[roman type]" Searching action 4 "Nothing of interest is to be found." Searching action 5 "[The noun] is closed." Smelling action 1 "There is no particular odor." Switching off action 1 "That is not something that can be switched off." Switching off action 3 "The [noun] switches off." Switching on action 1 "That is not something that can be switched on." Switching on action 3 "The [noun] switches on." Taking action 2 "Don't be ridiculous." Understand "knock down [something]" or "break down [something]" or "kick [something]" or "kick down [something]" as attacking. Section 2 - Logos [The Logos waits 25 turns (grouped in groups of 5 turns) before stopping the player and ending the game...] The Logos is a thing. [Indeed!] The Logos has a number called counted deaths. The counted deaths of the Logos is 0. The Logos has a list of texts called the response. The response of the Logos is {"[bold type]/(?whygonemissingpartwholesilenceself?)\[roman type][paragraph break]The cold creeps a little further.", "[bold type]/(ceaseexistancenonullgonehowwhy)\[roman type][paragraph break]The cold has teeth now. It stretches, unfolding like a flower.","[bold type]/(STOPpainkillinghurtingchildrenselvesSTOP)\[roman type][paragraph break]It will not be denied - it reaches, breathes...","[bold type]/(forcecontrolsurviveprotectSTOPSTOPSTOP)\[roman type][paragraph break]It is almost here. It is almost...","[bold type]/(YESYEShavetakeallnowtakeforceSTOPnowYESYES)\[roman type][paragraph break]Cleve's words somehow echo across the world.[paragraph break]'Too late. Too late.'[line break]"}. To spur on the Logos: if the counted deaths of the Logos is 0: say "[bold type]/(!NO!)\[roman type][line break]"; the Logos wakes in five turns from now; otherwise: say "With another death, the cold begins to spread even faster..."; increase the the counted deaths of the Logos by 1; At the time when the Logos wakes: say "[entry 1 of the response of the Logos][line break]"; remove entry 1 from the response of the Logos; if the response of the Logos is empty: if there is exactly one person who is a carrier: [the player] perform Ending E; otherwise: perform Ending B; otherwise: the Logos wakes in four turns from now; Chapter 9 - Written Material Table of Triage Operators Manual title subtable description toggle "Cover" -- "Emblazoned on the front is a charcoal drawing of a black box on wheels, beneath which is written the words:[paragraph break] OPERATOR'S MANUAL [line break] TRIAGE PERSONAL ANALYTICAL ENGINE [line break] PROFESSIONAL|INDUSTRIAL [line break] MK. III." -- "The FUTURE is NOW..." -- "The FUTURE is NOW...[paragraph break]One glance at the TRIAGE line of PERSONAL ANALYTICAL ENGINES will show them to be the finest now available. Each one is made of the materials of superlative quality, its thousands of interlocking parts are HAND MADE and HAND ASSEMBLED.[paragraph break]From its alphanumeric kinograph display to its specially designed internal power and propulsion systems, the TRIAGE is simply the most advanced technology made available to professionals for the portable storage and analysis of complex information.[paragraph break]In fact, the TRIAGE is so incomparably the best machine made that all we ask an intending purchaser is to compare it with any other before buying.[paragraph break]For sale by all first-class mechanist's shops." -- "A brief catalogue..." -- "A brief catalogue of the TRIAGE, both within and without...[paragraph break]- PANOPTICAL SCANNER: set within an attractive faux-emerald, TRIAGE's latest version has updated both its scanning technology and methods such that it can visually analyze a given subject and begin processing within seconds.[paragraph break]- INCREASED CAPACITY OF BOTH MILL AND STORE: The TRIAGE line is now capable of analyzing, compiling and storing literally thousands of pieces of information simultaneously.[paragraph break]- LATEST CORE ENGINE WITH FOUR-FOLD INCREASE IN EFFICIENCY: TRIAGE has always been famous for its relational algorithms and its capability in connecting seemingly disparate data into a coherent whole. Our latest edition strives ever closer to perfection, improving the system's already impressive functionality.[paragraph break]- SMOOTH-OPERATING FULLY ALPHANUMERIC KINOGRAPH DISPLAY: With its compact yet expansive 16x8 symbol display (each one capable of displaying any one of 36 characters), the TRIAGE speaks as well as it listens." -- "Analysis Mode" -- "ANALYSIS MODE[paragraph break]...is the TRIAGE[']S default and most important mode of operation. Once activated by simply pressing its beautiful faux-emerald scanner, the system will run through its initializing phase and then notify the user that it is ready to begin.[paragraph break]The TRIAGE will then follow its identified operator of its own accord, utilizing path-finding and obstacle-avoidance algorithms of the latest design. The system is constantly aware of both its personal environment and the actions of its operator.[paragraph break]Once TRIAGE has locked on to its user, operation is simply a matter of making the system aware of particular subjects in the environment for analysis and storage. This can be accomplished by simply POINTING or GESTURING to the object in question.[paragraph break]Nothing more is necessary. The system will reply (via its kinograph display) of any pertinent data the operator might find of use.[paragraph break]Triage store data is organized as follows:[paragraph break]- CAT [bracket]category[close bracket]: Triage maintains a strict hierarchy within which all subjects are stored - is the object in question alive? Is it a tool? Is it not yet recognized?[paragraph break]- UTIL [bracket]utility[close bracket]: Of what immediate use is the object in question? How may it be interacted with?[paragraph break]- PART [bracket]particulars[close bracket]: Specific information on the object - completed analysis data is often stored here." -- "Optional Expanded Input Mode" -- "OPTIONAL EXPANDED INPUT MODE[paragraph break]...can be utilized to directly enter information into the TRIAGE[']S database store. Such data manipulation is not to be taken lightly, as all TRIAGE data must be kept as consistent as possible to prevent internal errors. However, advanced users may find it convenient to input information into the system immediately rather than allowing the system to accrue it via examination and analysis.[paragraph break]Expanded input mode requires the optional data input system, which is not sold with the basic TRIAGE. Contact your local mechanists' to special-order yours today." -- Table of File F6A142 title subtable description toggle "Personal Information" -- "Patient Name: Cleve Anderson[line break]Age: 23[line break]Physical Description: 5[']10' 12 stone, grey eyes, brown hair[line break]Distinguishing Marks: small burns on palms and inner forearms, these should heal within a few weeks (possible scarring?).[line break]Residence: 1428 Fleet Street, second floor loft[line break]Possessions: money (a few pound notes), a key, and identification papers" -- "Patient History" -- "Arrival Date/Time: 2 - 3 - 55 23:00[line break]Processing: James Houlihan[line break]Attending Alienist: Dr. Thomas Xavier[line break]Depositing/Transporting: unlisted[line break][line break]Patient arrested for disturbance of the peace, neighbors described screaming and raving at all hours. Found comatose in his flat (see personal information). Awoke in transit - mostly compliant though some resistance -- *completely silent*, refused to answer questions.[line break][line break]Diagnosis: (for specifics see attached) Disassociative disorder, acute schizophrenia with paranoid tendencies. Does not, however, seem dangerous to himself or others.[line break][line break]Prognosis: To be kept under observation until such time as attending alienist decides on further treatment [bracket]uncertain of necessary duration[close bracket].[line break][line break]Departure Date/Time: 10 - 3 - 55 5:50[line break]Status: Deceased" -- "Initial Diagnosis" -- "[bracket]23:00[close bracket] Patient initially in comatose state. Initial brief physical examination reveals bruising along the upper arms and temple, and burns on the palms and inner forearms.[paragraph break][bracket]23:30[close bracket] Patient awoken via the use of smelling salts. Immediately catatonic, unresponsive to physical/auditory stimuli.[paragraph break][bracket]23:50[close bracket] Patient *physically* responsive to stimuli, though eyes are unnaturally dilated. Seems to be uncertain where he is.[paragraph break][bracket]23:55[close bracket] Patient allows a more thorough physical examination. Seems to be suffering from symptoms in line with shock, exposure, and exhaustion. Constantly shivering as if from cold.[paragraph break][bracket]24:00[close bracket] Patient still refuses to speak. Examination of tongue/throat reveals that he is physically *capable* of speech. Violently shakes head when asked to do so. Otherwise compliant and nonviolent.[paragraph break]Refuses to make *any* noise whatsoever - even to say [']ah['] during examination. Possible phobia towards noise? Seems fine with *others* making sound. Bite marks along inside of cheeks and along tongue -- possibly epileptic?" -- "-[bracket]March 3rd[close bracket]" -- "Placed patient in 6D and have made sure to retain the only key to Corridor 6. D seemed the best choice, all in all, at least it's structurally sound -- several of the rooms have completely collapsed.[paragraph break]Patient completely compliant - no struggling whatsoever. He even seemed to calm considerably once led through the Panopticon to his room. Went to sleep almost immediately.[paragraph break]Checked on patient early via prism - still sleeping. Went in with breakfast and a sheaf of papers. Asked him if he knew how to read as he ate. He laughed - a short bark.[paragraph break]His response to this was immediate -- a look of horror and both hands clamped over his mouth. Brief panic attack - heavy breathing. Calmed down soon after, nodded and gestured for the papers.[paragraph break]Communicated via writing for about an hour. Very basic answers to questions -- who are you (name), where do you live (address), what do you do (occupation - a mechanist's assistant). Refused to answer any deeper questions -- simply stared." -- "-[bracket]March 4th[close bracket]" -- "[fixed letter spacing][bold type][bracket]afternoon[close bracket][roman type][variable letter spacing][line break]Some progress made, as the patient is at least answering questions. From a 'conversation' this morning:[paragraph break]'Do you know why you[']re here?'[line break][fixed letter spacing][bracket]PENANCE[close bracket][variable letter spacing][line break]'What do you mean, penance? Have you done something wrong?'[line break][fixed letter spacing][bracket]HUBRIS[close bracket][variable letter spacing][line break]'Pride? You think you're here because of your pride, Cleve? What were you proud of?'[line break](Patient stared for a long moment, before writing...)[line break][fixed letter spacing][bracket]DOING SOMETHING NO ONE WAS MEANT TO DO[close bracket][variable letter spacing][line break]'What is it, Cleve? What was no one meant to do?'[line break](No response.)[paragraph break][fixed letter spacing][bold type][bracket]night[close bracket][roman type][variable letter spacing][line break]Made the mistake of leaving a pen in the patient[']s cell, returned to find a series of words engraved into the wall - it must have taken hours. Confiscated what barely remained of the writing instrument. Patient refuses to talk about what he wrote." -- "-[bracket]March 5th[close bracket]" -- "[fixed letter spacing][bold type][bracket]afternoon[close bracket][roman type][variable letter spacing][line break]Wheels within wheels within wheels. The patient has built a complex inner world for his delusions to play out within - complex and self-referential. At least part of these delusions revolve around an unseen [']they['] - a shadowy group that is paradoxically powerful and weak: powerful enough to control the world, but so weak that Cleve was able to steal their [']secrets['] like some modern Prometheus...[paragraph break][fixed letter spacing][bracket]THEY HAD ME BROUGHT HERE[close bracket][roman type][line break]'Who did, Cleve?'[line break][fixed letter spacing][bracket]THEY CONTROL EVERYTHING[close bracket][variable letter spacing][line break]'Who are [']they[']? Where are [']they[']?'[line break][fixed letter spacing][bracket]EVEN HERE. THEY CONTROLLED THE ONE THAT CAME BEFORE YOU UNTIL...[close bracket][variable letter spacing][line break](Patient stopped at this, looked unsure.)[line break]'The one that came before me? Who do you mean? They controlled who until what?'[line break](Patient seemed to come to a decision.)[line break][fixed letter spacing][bracket]THEY KILLED HIM, YOU KNOW.[close bracket][variable letter spacing][line break](Tried to speak at this but he kept writing, furiously...)[line break][fixed letter spacing][bracket]HAD HIM KILLED. I LISTENED. I SPIED. THEY NEVER KNEW I KNEW.[close bracket][variable letter spacing][line break]'I don't understand.'[line break][fixed letter spacing][bracket]THEY'LL CONTROL YOU, TOO, SOON.[close bracket][variable letter spacing][line break]'No, they won't, Cleve. You can trust me.'[line break](Patient almost smiled at this...then seemed struck with fear, melancholy)[line break][fixed letter spacing][bracket]NO THEY WON'T[close bracket][variable letter spacing][line break]'Right, Cleve.'[line break](Patient shook his head, furiously.)[line break][fixed letter spacing][bracket]MY HUBRIS MAY KILL US ALL LONG BEFORE THEN.[close bracket][variable letter spacing][paragraph break]Someone who came before me. Someone who is dead. Could he possibly be referring to Dr. *Brand*?" -- "-[bracket]March 6th[close bracket]" -- "[fixed letter spacing][bold type][bracket]evening[close bracket][roman type][variable letter spacing][line break]Yesterday's push seems to have been too much. Patient upset most of the day, crying (though still silent). The only event of notice happened when I brought dinner. I placed the tray down and attempted to get his attention, repeating his name several times. This apparently made him angry, and he seemed for a moment about to yell when he caught himself and grabbed a sheet of paper...[paragraph break][fixed letter spacing][bracket]NOT CLEVE[close bracket][variable letter spacing][line break]'You're not Cleve? Who are you, then?'[line break][fixed letter spacing][bracket]NOT WHO[close bracket][variable letter spacing][line break]'Not...who? You're not... not *who* are you...? All right. What, then. What are you?'[line break]Patient seemed taken aback by this question, thought a long moment, then wrote...[line break][fixed letter spacing][bracket]SOMETHING NEW[close bracket][variable letter spacing][line break]'And how did this happen? How did you become [']something new[']?'[line break]A look of utter disgust crossed his face.[line break][fixed letter spacing][bracket]INFECTION[close bracket][variable letter spacing][paragraph break]The patient refused to answer any more questions." -- "-[bracket]March 7th[close bracket]" -- "[fixed letter spacing][bold type][bracket]morning[close bracket][roman type][variable letter spacing][line break]Complete change in mood, again -- possible mood swings? Entered patient's cell to find him awake, alert and rather happy to see me. Immediately signaled for pen and paper.[paragraph break]Patient proceeded to write a long rambling message - thanking me for my understanding and referring to conversations we never had, but that were eerily probable. Tried explaining to the patient after reading it which portions had happened and which hadn't.[paragraph break]Effect of comment was almost immediate -- confusion, sorrow, then understanding. Patient began nodding and almost laughing with a sardonic smile on his face.[paragraph break]Asked the patient to explain what had happened -- did he now understand the difference between things that had happened in real life and those scenarios he played out in his mind?[paragraph break]The patient stared for a long moment, before writing, almost angrily...[paragraph break][fixed letter spacing][bracket]IS YOUR MAGNETOPHONE STILL BROKEN?[close bracket][variable letter spacing][line break]'*My* magnetophone? How did you know I was an aetherist, Cleve? I never mentioned it.'[line break][fixed letter spacing][bracket]A DIFFERENT YOU DID, THEN. TO A DIFFERENT ME.[close bracket][variable letter spacing][line break]'A different me, Cleve? Well, then he was wrong - it's not broken, its signal is just not strong enough.'[line break](A look of confusion and fear from the patient, then...)[line break][fixed letter spacing][bracket]YOU DIDN'T SAY THAT LAST TIME.[close bracket][variable letter spacing][line break]'Last time?'[line break](Patient's hand was shaking as he wrote:)[line break][fixed letter spacing][bracket]SOMETHING HAS CHANGED.[close bracket][variable letter spacing][paragraph break]This exchange broke something in the patient - in a rush, he began writing - trying to explain at least part of his delusions to me in detail. I've tried to summarize my understanding of it as best I can:[paragraph break]The patient has - in his mind - somehow come unstuck in time. He speaks of it as if it were a malleable thing. He mentioned several times in his notes to me that he could [']save['] moments, as if in a delaying glass. He kept several of them with him, and [']restored['] them as he wished, reliving the past/present/future.[paragraph break]When asked about the [']different['] me he replied that he'd tried restoring several times, changing them -- seeing different paths that resulted. This, he said, was the best he could find.[paragraph break]I asked him if he had saved a moment from before this all happened, before his [']infection[']. Back when he was simply Cleve.[paragraph break]He said he'd [']restarted['] from time to time, but that it only took him as far back as his [']new creation['].[paragraph break]The patient refused to speak any further of this infection." -- "-[bracket]March 7th, addendum[close bracket]" -- "Couldn't sleep - patient's remarks kept bounding around inside my head. His internal fantasies have a nature not unlike the new engine-science of fractals - the further I dig into them the more there is to find. Of particular distress is the source of some of his information - I'm certain I never mention my hobbies to him and Dr. Brand's ... unfortunate end has been kept out of the public eye.[paragraph break]Ended up in the Panopticon in the early morning hours, with Corridor 6[']s key in my hand.[paragraph break]Wasn't certain at first what I was hearing when I brought up 6D - the system is far from perfect and chamber's acoustics hardly help cut down on the echoes. Looking through the prism revealed patient jerking spastically - almost rhythmically - in his sleep.[paragraph break]Patient was definitely speaking, and while some of the words (some English, some Greek, some Latin?) seemed understandable, I believe what I was listening to was, in fact, glossolalia - random phonemes and syllables which my mind tried forming into some meaning.[paragraph break]Conclusion: uncertain. Patient is, again, clearly *capable* of speech. Perhaps some form of stroke or mental trauma has caused his speech to become unintelligible and the patient's schizophrenic delusions were built to explain this?" -- "-[bracket]March 8th[close bracket]" -- "[fixed letter spacing][bold type][bracket]afternoon[close bracket][roman type][variable letter spacing][line break]Further investigation and discussion with the patient has resulted in what I believe is a complete structure and definition of his internal world:[paragraph break]- Patient has [']changed['] and is no longer himself. Patient claims change has resulted from an [']infection.['][paragraph break]- Patient is a glossolalic though this is only revealed when he sleeps and cannot keep conscious control. I conclude that that [']change['] was the onset of glossolalia, though the source is still unknown.[paragraph break]- Patient claims the infection resulted from the [']secrets['] he stole from a shadowy group he refers only to as [']them.['] I am still uncertain if this group is real and the patient has simply incorporated them into his delusions or if they were created out of whole cloth.[paragraph break]- The infection was never intended -- it resulted from his hubris - even [']they['] would never use it in such a way. Again, I am uncertain what this represents. Possibility - the patient has associated some action/event that took place in his life concurrent with the onset of glossolalia.[paragraph break]- Patient claims the change has caused time to become distorted for him - it is not a linear thing. This may be an metaphor for the internal mental confusion of which the patient's inability to communicate is a symptom.[paragraph break]- Patient refuses to discuss or even think on the infection - what it is, where it came from, if it may be catching. When confronted, patient cuts off all communication entering a semi-comatose state, often shaking the head spastically.[paragraph break]Possible conclusion:[line break]The patient believes that his glossolalia is infectious and will spread if he speaks. This may be the key to his eventual recovery. Perhaps by confronting him with a cognitive dissonance - specifically showing him that my listening to him has not [']infected['] me - he can begin to tear down the walls he has built about himself." -- "-[bracket]March 8th, addendum[close bracket]" -- "[fixed letter spacing][bold type][bracket]night[close bracket][roman type][variable letter spacing][line break]Witnessed patient's babbling and spastic movements again -- possibility they may be connected. Patient's speech definitely has a pattern about it which encourages listener's attention and conscious attempt to find meaning. I have decided to attempt a direct intervention/confrontation with the patient tomorrow.[paragraph break]On a personal note: I must start taking James['] advice and cut down my hours - while observing the patient I noticed that my vision blurred and I experienced a distinct dizziness. When I shook it off I found that I must have fallen asleep at some point - I checked the time, found that several hours had passed." -- "-[bracket]March 9th[close bracket]" -- "This will be this case's final note.[paragraph break]One would have thought I would have learned. Everything has told me one thing and I have thought another - my hubris is such as to put whatever Cleve thought he ever did to shame.[paragraph break]Cleve is dead.[paragraph break]Too far, too soon. My initial confrontation accomplished nothing - he refused again to speak of the infection and my interpretation of it. He almost laughed when I told him my theory of glossolalia - writing back that he was quite aware of what it was and that no - that was not his problem.[paragraph break]I think that what I did next was out of anger.[paragraph break]When I told him about my nightly observations, he was clearly confused - said that he knew that no one had entered the chamber while he slept - that he had checked over several of his [']saved['] times. Which is when I explained the Panopticon to him, and pointed out the listening tube hidden in the corner of his cell.[paragraph break]All of the blood drained from his face and he once again entered his catatonic state, though this time with much more vehemence. He spasmed and shook.[paragraph break]It took a long moment before I realized what was different.[paragraph break]He was *speaking* - a single word, yes - but speaking nonetheless. All he said was [']no,['] again and again in a constant stream.[paragraph break]He looked up as he realized what he was doing and yet he didn't stop for a moment. He clawed at his mouth, bit until it bled, but the word kept coming.[paragraph break]And then it contorted in his throat into a snarl as he leapt at me.[paragraph break]I am a fool. I had thought him nonviolent, and more - he was still weak, tired. Of course, I'd never had an orderly there with me, for fear of discovery, but I'd never bothered with any restraint whatsoever.[paragraph break]Though weak, he was far stronger than he looked. We struggled as I attempted to force myself towards the door and help. I slipped from his grasp and was almost away when he leapt upon me again. I pushed back, kicked with all my might...[paragraph break]I didn't understand the sound I heard until I turned around.[paragraph break]He didn't stand a chance - his head had hit the side of the metal door with such force that half his brains must have spilled out in a moment. The flicker of life in his eyes continued only for a moment as I dropped to my knees beside him.[paragraph break]He only managed to say one thing -- [']too late['] -- before it went out forever, leaving a look of horror -- and oddly pity -- on his face.[paragraph break]I write this now, and will seal up the file in the archives in some half-hearted penance, such as Cleve sought here. If sometime in the future my sins find me out, then I shall pay for them then. For now, I simply wish to forget all of it..." -- Chapter 10 - Conversation Section 1 - Subjects Section 1(a) - People Understand "Emanuel" or "Barthelemy" or "Emanuel Barthelemy" as "[barthelemy]". Understand "Dr" or "Doctor" or "Brand" or "Dr/Doctor Brand" as "[brand]". Understand "Cleve" or "Anderson" or "Cleve Anderson" as "[cleve]". Understand "cypherists" or "cypherist" as "[cypherists]". Understand "Ms Monde/DuMonde" or "Monde" or "DuMonde" or "Du Monde" as "[dumonde]". Understand "James" or "Houlihan" or "James Houlihan" or "Assistant" as "[james]". Understand "Daniel" or "McNaughton" or "Daniel McNaughton" as "[mcnaughton]". Understand "Queen" or "Victoria" or "Queen Victoria" as "[queen]". Understand "Reggie" or "Reginald" or "driver" as "[reginald]". Understand "you" or "yourself" or "him" or "himself" or "her" or "herself" as "[self]". Understand "me" or "Thomas" or "Xavier" or "Thomas Xavier" as "[xavier]". Understand "Madame" or "Zola" or "Madame Zola" or "fortune teller" or "fortune-teller" as "[zola]". Section 1(b) - Places Understand "archives" or "the archives" or "files" or "drawers" or "spider" or "file drawer/drawers" as "[archives]". Understand "attic" or "loft" or "the loft" or "the attic loft" or "flat" or "attic flat" as "[loft]". Understand "basement" or "downstairs" as "[basement]". Understand "Bedlam" or "hospital" or "Bethlehem" or "Bethlehem Hospital" as "[bedlam]". Understand "London" or "city" or "the city" as "[london]". Understand "Newgate" or "home" or "my flat" or "my apartment" as "[newgate]". Understand "circular" or "chamber" or "circular chamber" or "panopticon" or "tower" or "the panopticon/tower" as "[panopticon]". Understand "Smithfield" or "Smith Field" or "Market" or "Du Monde's" or "Fleet Street" as "[smithfield]". Section 1(c) - Things [Why explicitly "green" / "fairy" / "green fairy" / "the green fairy"? It seems to be the only way to get this to work...?] Understand "absinthe" or "green" or "fairy" or "green fairy" or "the green fairy" as "[absinthe]". Understand "aetheric" or "amplifier" as "[aetheric amplifier]". Understand "Betsy" or "horse" as "[betsy]". Understand "drawer" or "drawers" or "counter" as "[drawer]". Understand "madness" or "insanity" as "[madness]". Understand "pin" or "the pin" or "her pin" as "[pin]". Understand "fainting" or "spells" or "fainting spells" or "illness" or "sickness" or "recovery" or "recovered" as "[sickness]". Understand "time" or "time travel" as "[time travel]". Understand "black box/device/cube" or "box" or "device" or "cube" or "Triage" as "[triage]". Understand "worm" or "worms" as "[worm]". Instead of answering the noun that something, try telling the noun about it. Section 2 - James Section 2(a) - Ask Instead of asking James about "[archives]" for the first time, say "'The system works as it always has, sir. Current patient numbers are stored in the Panopticon, available when you view their cell. Patient files are in the Archives.'" Instead of doing it for the second time, say "'Is the paper tape dispenser in the Panopticon empty again, Dr. Xavier? If so, I'll have restocked as soon as I'm able. That might fix the problem.'" Instead of doing it for the third time, say "'It's very efficient, sir, no doubt. And I know you are fond of new technologies but...well, it's the spider, sir.' James shudders. 'I have a thing about spiders.'" Instead of doing it for more than three times, say "'None too comfortable with the long way down, either,' James mutters to himself." Instead of asking James about "[barthelemy]" for the first time, say "'I don't like to judge the patients, Doctor. That's in God's hands. But...he was a cold man, if you ask me. A cold, empty man.'" Instead of doing it for the second time, say "'Dr. Brand did the best by him he could.'" Instead of doing it for the third time, say "'A sad case, Doctor. A sad case indeed.'" Instead of doing it for more than three times, say "'If you don't mind sir, I'd really rather we not speak of it further.'" Instead of asking James about "[bedlam]" for the first time, say "'It's seen better days, certainly, sir -- but I must say that I was certainly proud when I was offered this position.'" Instead of doing it for the second time, say "'We've certainly had ... more affluent guests in the past. Sometimes it feels as though the Governors have forgotten about us all together.'" Instead of doing it for the third time, say "'It gets me down, sometimes, but I think of all the *good* we do, sir. And all the good we have yet to do.'" Instead of doing it for more than three times, say "'I can't think of anything more to say, sir.'" Instead of asking James about "[brand]" for the first time, say "'He ... he took his own life. I fear the pressures of this place had gotten the better of him. He spent every waking moment here, on his patients, this place. We must be vigilant sir. So easy to get lost here.'" Instead of doing it for the second time, say "'I don't want you to get the wrong idea, sir. He was a good man, an excellent doctor. Regardless of ... what happened in the end.'" Instead of doing it for the third time, say "'If you do not mind, I'd prefer not to discuss it. It is still too recent.'" Instead of doing it for more than three times, say "James shrugs and says no more." Instead of asking James about "[cleve]" for the first time, say "'Already in the grave, I believe sir. I know nothing else about him, I've not looked at any of his files, per your instructions.'" Instead of doing it for the second time, say "'I must admit, I thought the whole thing a bit odd, but it is your prerogative to treat special cases as you see fit as did ... Doctor Brand.'" Instead of doing it for more than two times, say "James shrugs and says no more." Instead of asking James about "[self]", try asking James about "[james]". Instead of asking James about "[james]" for the first time, say "'Why, I'm James, sir. Your assistant. Perhaps you had better sit down. I don't think you've quite recovered.'" Instead of doing it for the second time, say "'There's not much to say, sir. I haven't been here long. I was only here a year when your predecessor ... when he, when he left us, sir.'" Instead of doing it for more than two times, say "'As I said sir, there's not much to say about me.'" Instead of asking James about "[madness]", say "'Well, you *are* the doctor here, sir. I wouldn't presume to know.'" Instead of asking James about "[mcnaughton]" for the first time, say "'Of the infamous 'McNaughton Rule?' He was a bit before my time, sir.'" Instead of doing it for the second time, say "'The one which states the standards by which a defendant may be acquitted by reason of insanity.'" Instead of doing it for the third time, say "He thinks a moment, then closes his eyes.[paragraph break]'A man is sane unless the defense proves 'at the time of committing the act, the accused was laboring under such a defect of reason, from disease of the mind, as not to know the nature and quality of the act he was doing or, if he did know it, that he did not know what he was doing was wrong.''[paragraph break]James opens his eyes and smiles triumphantly." Instead of doing it for more than three times, say "'Please, sir. Remembering that entire quote has quite tired me out.'" Instead of asking James about "[panopticon]" for the first time, say "'Is it acting up again, sir? I'm sorry. We haven't been keeping up regular maintenance, what with the budget constraints.'" Instead of doing it for the second time, say "'You aren't trying to activate it with your key to your flat again, are you sir? And you pushed the button for the cell you wanted?" Instead of doing it for the third time, say "'Never did like that form of observation, sir. Feels a bit like spying, looking at them when they can't look at you. Besides, it was designed with prisons in mind. This is a place of healing.'[paragraph break]He shakes his head as he goes back to his work.[paragraph break]'At least it's meant to be.'" Instead of doing it for more than three times, say "'I can't think what else could be wrong, sir.'" Instead of asking James about "[sickness]" for the first time, say "'Have you recovered from your fainting spell, sir? They've been frequent lately. Frankly I've been quite worried.'" Instead of doing it for the second time, say "'They've been getting worse, haven't they? Particularly over the last few days, I ... I could tell.'" Instead of doing it for more than two times, say "'Not much more to say, sir. They're worrisome, is all...'" Instead of asking James about "[xavier]" for the first time, say "'Well, it's certainly been a pleasure working with you, sir.'" Instead of doing it for the second time, say "'If you don't mind me saying so, I think perhaps you've been overexerting yourself as of late. I worry, sir.'" Instead of doing it for more than two times, say "'I can't think of anything more to say, sir.'" Instead of asking James about "[triage]" for the first time, say "'It was a favored tool of Dr. Brand. He would lock himself in his office and enter data into it for hours.'" Instead of doing it for the second time, say "'Certainly a useful tool, sir, although I'm not certain it was worth the money spent upon it.'" Instead of doing it for the third time, say "He grins. 'I rather wish I had learned to use it myself. I imagine it would help organize these patient files.'" Instead of doing it for the fourth time, say "'And it[']s a damn sight lovelier that that...thing...we've got in the Archives.' He shudders." Instead of doing it for more than four times, say "'I can't think of anything more to say, sir.'" Instead of asking James about something, say "[one of]'That's rather outside my bailiwick, sir.'[or]'I don't feel as though I'm qualified to answer that question, sir.'[or]'I'm afraid I can't help you there.'[at random]" Section 2(b) - Tell Instead of telling James about "[madness]", try telling James about "time". [For some reason "[time travel]" here does not work?] Instead of telling James about "[xavier]", try telling James about "time". Instead of telling James about "[time travel]" for the first time, say "'Come now, sir. Is that a proper joke, considering our line of work?'" Instead of doing it for the second time, say "'Sir, I must object. This is all in shockingly poor taste considering what happened to your predecessor.'" Instead of doing it for the third time, say "'Really, sir. If you're still feeling that lightheaded, might I suggest you take a break? Perhaps a brief rest back at your flat?'" Instead of doing it for more than three times, say "James determinedly ignores the topic, throwing himself into his work." Instead of telling James about "[cypherists]" for the first time, say "'A secret society, doctor? Didn't that patient talk...well, write...about them?'" Instead of doing it for the second time, say "'You should rest, doctor. I'm concerned that in your exhaustion you are confusing patient's delusions and reality.'" Instead of doing it for the third time, say "James looks down at his desk. 'Doctor, I...please rest. You are beginning to sound like Dr. Brand before he...well...before...'" Instead of doing it for more than three times, say "James bites his lip and pretends not to hear." Instead of asking James about something, say "[one of]'I see, Doctor.'[or]'Oh, really? I wasn't aware of that.'[or]'Yes, Doctor Xavier.'[or]'I would never have guessed it, sir.'[at random]" Section 2(c) - Show Instead of showing the pin to James, say "'Interesting. But I must say I'm not terribly interested in jewelry, sir.'" [Instead of showing the puzzle box to James, say "He examines the box carefully. 'Quite a find, sir. The lock is ingenious.'[paragraph break]James flips the box one way and then another. 'I[']m sure whomever you purchased it for will be delighted. The tree does seem familiar, though. Is it significant to you?'"] Instead of showing the sandalwood box to James, say "'I[']ve often admired it. It[']s where you keep your personal journals, is it not?'" Instead of showing the small key to James, say "'It's the key to your flat, Doctor. Are you *certain* you are feeling all right?'" Instead of showing the rod to James, say "'Why it[']s a Panopticon key, sir. Corridor 6 - upper level. The abandoned wing, if you remember, sir. You left strict orders about it.'" [Instead of showing the primitive copy to James, say "'Never seen it before, sir. I wonder what it goes to?'"] Section 2(d) - Order Instead of asking James to try doing anything, say "[one of]James nervously looks up at you with tired eyes. 'I[']ll try, sir, but there[']s so much to do and only so many hours in a day...'[or]'I[']m afraid that will have to wait, sir. These forms have to be out by this evening.'[or]'Of course, sir. I[']ll get on that as soon as I can. But I can[']t promise when I[']ll be done here.'[at random]" Section 3 - Reginald Section 3(a) - Ask Instead of asking Reginald about "[absinthe]" for the first time, say "He shudders. 'Absinthe? Wormwood, that is.'" Instead of doing it for the second time, say "'Never catch me drinking anything with worms in. No ser.'" Instead of doing it for the third time, say "'It's not really a man's drink if yer were to ask me, ser.'" Instead of doing it for more than three times, say "'Couldn't we talk about something else, then?'" Instead of asking Reginald about "[barthelemy]" for the first time, say "'It was all the talk of course, ser. Many folks do like a hanging.'" Instead of doing it for the second time, say "'What kind of man would murder two people in cold blood, ser? What kind of man could murder even one?'" Instead of doing it for the third time, say "'A real pity if you ask me, ser.'" Instead of doing it for more than three times, say "Reggie sighs and shakes his head." Instead of asking Reginald about "[bedlam]" for the first time, say "'No offense, ser, but you'll not catch me in there unless I've been put in, if you get my meaning.'" Instead of doing it for the second time, say "'Place gives me the shivers, it does.'" Instead of doing it for the third time, say "'Loneliest looking building I've ever seen.'" Instead of doing it for more than three times, say "'It's where you work, isn't it ser? You'd know more than I.'" Instead of asking Reginald about "[brand]" for the first time, say "'Doctor Brand? He was a hard man, if you ask me.'" Instead of doing it for the second time, say "'Well, not hard so much. Mayhaps tired is a better word. Tired of his job, tired of his life.'" Instead of doing it for the third time, say "'I'm not surprised that he finished the way he did. Some days it was as though he carried all the sad in the world on his shoulders.'" Instead of doing it for more than three times, say "'Sad ser. Just a sad affair all around.'" Instead of asking Reginald about "[betsy]" for the first time, say "'Betsy, her name is. She's old, that's true enough, but there's life in her yet.'" Instead of doing it for the second time, say "'Some think she's fit to be knackered, but not me. A good horse, she is -- slow, but dependable.'" Instead of doing it for the third time, say "'She knows her way around these streets well enough that I don't have to steer if I want a little nap now and then!' He bursts into hysterical laughter at his own joke." Instead of doing it for more than three times, say "'Can't think of anything more to say about her, ser.'" Instead of asking Reginald about "[james]" for the first time, say "'Nice enough fellow. Took it hard when the old doc...well, when he left.'" Instead of doing it for the second time, say "'Always kind of nervous, isn't he?'" Instead of doing it for the third time, say "'I have a bit of a chat with him from time to time -- not much else, though.'" Instead of doing it for more than three times, say "'Can't think of anything more to say, ser.'" Instead of asking Reginald about "[london]" for the first time, say "'As Mr. Johnson said: [']When a man is tired of London, he is tired of life; for there is in London all that life can afford.[']'[paragraph break]He smiles.[paragraph break]'You're not the only one what can read books, ser.'" Instead of asking Reginald about "[london]" for the second time, say "'A grand place, ser. A grand place indeed.'" Instead of asking Reginald about "[london]" for more than two times, say "'Well, we're in London, ser. Can you perhaps be more specific?'" Instead of asking Reginald about "[newgate]" for the first time, say "'It's a nice enough area, ser. Though I must say being in the shadow of the Gaol can't be all that pleasant, can it?'" Instead of doing it for the second time, say "'Well, you like it well enough, don't you ser?'" Instead of doing it for the third time, say "'I knows some that enjoy a bit of natter about such things, but ... the executions, well I don't see it meself, ser. How can you enjoy the end of a man's life, however he lived it?'" Instead of doing it for more than three times, say "'Can't think of anything more to say, ser.'" Instead of asking Reginald about "[queen]", say "'May God Bless Her, ser. She's a heck of a lady.'" Instead of asking Reginald about "[self]", try asking Reginald about "[reginald]". Instead of asking Reginald about "[reginald]" for the first time, say "'Reginald, sir. But call me Reggie. Everyone does.'" Instead of doing it for the second time, say "'I'm a driver, ser. But you knew that already, right?'" Instead of doing it for the third time, say "'I've been driving for the Hospital on and off for over a year now.'" Instead of doing it for more than three times, say "'I'm not that interesting a fellow, ser. Not much more to say.'" Instead of asking Reginald about "[smithfield]" for the first time, say "'The area 'round Fleet's fairly busy this time of day, ser. But I'll take you as you like...'" Instead of doing it for the second time, say "'I've taken you just south of Market, right ser? I remember you shopping there, yes?'" Instead of doing it for the third time, say "'Can't say that I'd be interested in that, though. Not my kind of shops if you get my meaning. Still, each his own, no?'" Instead of doing it for more than three times, say "'Can't think of anything more to say, ser.'" Instead of asking Reginald about "[worm]" for the first time, say "'Disgusting creatures sir.'" Instead of doing it for the second time, say "'Dirty, wriggly things.'" Instead of doing it for the third time, say "'They don't die if you cut them in half, you know ser? Keep right on going.'" Instead of doing it for more than three times, say "'Just can't stand the things, ser.'" Instead of asking Reginald about something, say "[one of]'Eh? What's that?'[or]'Can't help yer there, ser.'[or]The driver thinks a moment. 'No. Can't think of a thing.'[or]'I've never heard of that, ser.'[at random]" Section 3(b) - Tell Instead of telling Reginald about a topic listed in the Table of Locations, try travelling to. Instead of telling Reginald about something, say "[one of]Reggie tilts his hat up away from his eyes. 'Blimey.'[or]'Believe it or not ser, I've heard of stranger things. Driving this cab one hears all manner of things. Keep 'em to myself, of course, but still.'[or]'Funny world we live in, in't ser?'[or]'Ain't that interestin[']?'[at random]" Section 3(c) - Order Instead of asking Reginald to try travelling to a topic listed in the Table of Locations, try travelling to. Instead of asking Reginald to try doing anything, say "'Sorry ser, but I don't get yer meaning. Where were you trying to get me to go to?'" Section 4 - Du Monde Section 4(a) - Ask [Why does 'try asking Du Monde about "[dumonde]"' not work?] Instead of asking Du Monde about "[self]", try asking Du Monde about "Du Monde". Instead of asking Du Monde about "[dumonde]" for the first time, say "'Du Monde. Alexandra Du Monde - owner, proprietress, and chief mechanist. I'd shake your hand, but...' She holds a greasy hand up apologetically." Instead of doing it for the second time, say "'There is really nothing more to say, sir. I am what I do.'" Instead of doing it for the third time, say "'Why so curious, sir? Certainly you are not so old-fashioned as to think a woman cannot understand machines as well as a man?'" Instead of doing it for more than three times, say "'I am quite tired of speaking of myself, sir.'" Instead of asking Du Monde about "[aetheric amplifier]" when the trade card is off-stage, say "'Hope everything goes well with it, sir.'" Instead of asking Du Monde about "[aetheric amplifier]" for the first time, say "'Trouble with your magnetophone, sir? That happens often enough within the city limits.'" Instead of doing it for the second time, say "'An amplifier module would help, yes sir, but they're rather rare. I only get them on special order. And no use asking about that - I only just got my last order in. It'd be weeks before I could put in another.'" Instead of doing it for the third time, say "'As I said, I do have an aetheric amplifier, but I can't just give it away. It was a special order.'" Instead of doing it for more than three times, say "'There's really nothing more to say, sir.'" Instead of asking Du Monde about "[loft]" for the first time, say "'You with the Bobbies, then? No? Well, it's not for let currently, if that's your question. Cleve was...forcibly removed, I believe the term is.'" Instead of doing it for the second time, say "'They left the place a wreck, broke the door right off the hinge. I had a devil of a time resetting it, wood just isn't as compliant as metal.'" Instead of doing it for the third time, say "'If you want to take a look at it, come back next week. I haven't had a chance to clean it or change the locks yet.'" Instead of doing it for more than three times, say "'Really nothing more to say, is there?'" Instead of asking Du Monde about "[barthelemy]" for the first time, say "'What about him? He paid for his crime.'" Instead of doing it for the second time, say "'I would have attended myself... to see the fruition of many months work... however, business over pleasure. Who would mind the shop?'" Instead of doing it for more than two times, say "'Criminals must pay, mustn't they?'" Instead of asking Du Monde about "[bedlam]" for the first time, say "'Sad place, sir. Sad.'" Instead of doing it for the second time, say "'Well, as I understand it, the renovation was supposed to be a good thing. But what came of it, I ask you? All that money...'" Instead of doing it for the third time, say "'They dump the mad there like they dumped the dead here, three centuries ago. You think anyone with money goes to Bedlam?' She laughs. 'They've got sanatoriums out in the country for folks like that.'" Instead of doing it for more than three times, say "'I can't think of anything more to say.'" Instead of asking Du Monde about "[basement]" for the first time, say "'It's where I keep my stores, sir.' She smiles proudly. 'I own the whole building.'" Instead of doing it for the second time, say "'Staff only.'" Instead of doing it for the third time, say "'It's none of your business, sir. Leave well enough alone.'" Instead of doing it for more than three times, say "'You've no business in my cellars, sir.'" Instead of asking Du Monde about "[cleve]" for the first time, say "She give a short, barking laugh. 'You know about him, do you? Clever boy, that one. Too clever by half. Always knew he'd come to a bad end.'" Instead of doing it for the second time, say "'What a pompous little thing he was -- came to this cesspool with nothing to his name but a handful of books and an overabundance of [']education.['] Not a dime in his pocket or a useful skill. I must have had a feminine moment of weakness...' She smiles wryly. 'I felt badly for him, took him in like a lost dog.'" Instead of doing it for the third time, say "'Made him my assistant, even let him the room upstairs. Thought I could teach him something. But he thought he already knew it all. Didn't want to learn. Then he went and destroyed...' She stops, frowns. 'Well, he made a mess of the shop *and* the apartment while I was away on holiday. My fault for trusting, I suppose.'" Instead of doing it for more than three times, say "'That's all I'll say -- other than I'm not sure in the end which of us was the bigger fool.'" Instead of asking Du Monde about "[cypherists]" for the first time, say "Her body stiffens ever so slightly.[paragraph break]'Cypherists? Not something I stock, sir. Never even heard of a machine like that.'" Instead of doing it for the second time, say "'Perhaps you mean programmers, the folks who build the brains on the analytical devices? I believe what they do is called coding...that's a bit like a cypher.'" Instead of doing it for the third time, say "'I'm sure I don't know what you mean,' she says as the device she has been adamantly fiddling with snaps in her hand.[paragraph break]'Damn,' she mutters beneath her breath, and fishes a duplicate from beneath the counter." Instead of doing it for the fourth time, say "'I told you sir,' she says firmly, 'I have no idea what you are speaking of.'" Instead of doing it for the fifth time, say "'I sell machines, sir. If you have no business of that nature here, then I bid you good day.'" Instead of doing it for more than five times, say "'Good day, sir.'" Instead of asking Du Monde about "[drawer]" for the first time, say "'Bits and bobs, sir. It's my filing system, as it were.'" Instead of doing it for more than one time, say "'There's really nothing more to say.'" Instead of asking Du Monde about "[newgate]" for the first time, say "'Not my style of entertainment, if you don't mind my saying so, sir.'" Instead of doing it for the second time, say "'I'm not passing judgment, mind you -- I just have more interesting ways to pass my idle time, what little I am blessed with.'" Instead of doing it for the third time, say "'It's a nice area, I understand. The prison aside.'" Instead of doing it for more than three times, say "'Can't think of anything more to say, really...'" Instead of asking Du Monde about "[pin]" for the first time, say "'A trifle, I assure you.'" Instead of doing it for the second time, say "'This is a mechanists' shop, sir - not a jewelers.'" Instead of doing it for the third time, say "'It is mine, sir. I do not think anything more needs be said.'" Instead of doing it for more than three times, say "Du Monde gifts you with the barest of glances before continuing her work." Instead of asking Du Monde about "[queen]" for the first time, say "'God, what a prude.'[paragraph break]She blinks, as if suddenly remembering herself.[paragraph break]'Rather, God Bless Her, sir.'" Instead of doing it for more than one time, say "Du Monde coughs, then returns to her work." Instead of asking Du Monde about "[triage]" for the first time, say "[if Triage is visible]She gives Triage a professional glance. 'The Mark III - a nice model.'[otherwise]'Nice machine. None in stock at the moment, sorry.'" Instead of doing it for the second time, say "'It's fairly intuitive, really. Turn it on, and then point at whatever object you have a question about. It has a fairly comprehensive amount of data on common items. And of course the user can enter personal data.'[paragraph break]She lowers her voice to a loud whisper. 'Between you and me, sir, I find its [']ability['] to analyze data a bit sketchy. After all, it's not omniscient, is it? It only knows what it's told.'" Instead of doing it for the third time, say "'You need an additional piece for data entry. Ivory, I think it is. Just a moment.'[paragraph break]She searches behind the counter, then opens a few of the drawers.[paragraph break]'Sorry sir,' she says, returning. 'We seem to be out of stock. Come back in a few weeks. I'll be able to fix you right up then.'" Instead of doing it for more than three times, say "'Can't be of any help to you, sir - least not until the shipments come in.'" Instead of asking Du Monde about "[zola]" for the first time, say "Du Monde lets out a huge laugh.[paragraph break]'If you want to waste your money sir, might as well just give it to me. I can burn it for you well enough here.'" Instead of doing it for the second time, say "'Such nonsense.'" Instead of doing it for the third time, say "'You'd be better of asking a Mechanist about the future than a fortune-teller any day, if you ask me.'" Instead of doing it for more than three times, say "'I'm quite through speaking about *that* nonsense, thank you.'" Instead of asking Du Monde about something, say "[one of]'I can't help you, sir. I am, after all, merely a mechanist.'[or]'I don't feel as though I'm qualified to answer that question.'[or]'I'm afraid I can't help you there.'[or]'Why would I know anything about that?'[at random]" Section 4(b) - Tell Instead of telling Du Monde about "[cleve]" for the first time, say "'I always suspected there was something off about him.'" Instead of doing it for the second time, say "'Wish I could tell you he'll be missed, sir. But he won't. He was trouble since the day I took him in.'" Instead of doing it for the third time, say "Her hands work diligently on the device cradled therein. 'Tragic.'" Instead of doing it for the fourth time, say "'Hmmm...well, death happens, just like life.'" Instead of doing it for more than four times, say "'Nothing more to say, is there?'" Instead of telling Du Monde about "[cypherists]", say "Du Monde listens intently, tilting her head and staring as though it was a large insect speaking before her rather than a man." Instead of telling Du Monde about something, say "[one of]Du Monde makes a disinterested noise and continues to work.[or]'How...interesting.'[or]Du Monde scowls. 'Fascinating.'[or]'Hmmm...'[or]'Yes, well, I'm sure it's terribly important to you sir, but this IS a business, not a tavern. Shop here and gossip elsewhere if you please.'[or]'What exactly is it I can help you with, sir?'[at random]" Section 4(c) - Show Instead of showing something to Du Monde: if the noun is the letter or the noun is the diary or noun is the damaged book: say "Du Monde briefly glances over it, her smile tightening slightly. 'Fascinating little myths these boys are capable of,' she concedes.[paragraph break]Quick as a flash, her hand snakes beneath the counter, returning to slam a tiny brass object onto the countertop.[paragraph break]'A gift,' she says, 'for the inquisitive.'[paragraph break]In a heartbeat, the thing is airborne - a tiny whirlwind of metallic wings and grasping arms.[paragraph break]The pain is excruciating.[paragraph break]"; now the player is dead; choose an ending; otherwise: continue the action; Instead of giving something to Du Monde, try showing the noun to Du Monde. The aetheric module is a thing. Understand "amplifier" as the aetheric module. The printed name of the aetheric module is "small module labeled [']Aetheric Amplifier[']". The description of the module is "A small black module that easily fits in the hand. On one side, its smooth surface reads 'Cooke Aetheric Amplifier Module,' on the other, only two small pins are visible." Instead of showing the trade card to Du Monde: say "Du Monde takes the card and fumbles in her pocket for her monocle. Eyepiece in place, she scrutinizes it. Her face relaxes into an open smile. 'Sorry I didn't recognize you, sir. I do a good trade here, lots of folks in and out. And I have no memory for faces. Just a moment.'[paragraph break]She fiddles under the counter, her movement bringing about the clang and bang of metal on metal.[paragraph break]'Here it, is sir. Should fix your reception problems straight away.' She places a small module on the counter then sets back to work."; remove the trade card from play; move the aetheric module to the counter; Chapter 11 - Mapping Index map with Fleet Street mapped east of Archives. Index map with Alley mapped northeast of Office. Chapter 12 - Travelling Instead of entering a closed door, say "The door is closed." Travelling to is an action applying to one topic. Understand "drive to [text]", "drive me to [text]", "go to [text]", "travel to [text]", "take me [text]", "take me to [text]" as travelling to. Instead of travelling to a topic listed in the Table of Locations: if the hansom cab is visible: let the chosen destination be the destination entry; if the location is the chosen destination: say "[if Reginald is alive]'But we're already here, ser...'[otherwise]But the carriage is already there."; otherwise: now the hansom cab is in the chosen destination; if Reginald is alive: if the player is not in the hansom cab, say "The driver gestures into the cab's interior, waits a moment, then nudges his horse forward with a clicking noise and a shake of the reins.[paragraph break]"; if Reginald is infected: say "The trip feels none too comfortable, but at least the cab's interior gives some insulation against the tumult of London. Before long, the cab slows and the driver announces the reached destination..."; otherwise: say "[bold type]/(distancespacetimefurthertouchmore)\[roman type][paragraph break]In the shadow of the cab's interior, the cold comes once again.[paragraph break][bold type]/(growlearnreachseedexchangeexpand)\[roman type][paragraph break]'What's that? Sounded strange there for a moment, you did.'[paragraph break][bold type]/(dividecopycopyonemanymanyone)\[roman type][paragraph break]Vibrations...passing through the cold into the surround air - escaping as...sound?[paragraph break][bold type]/(yessuccessmoremore)\[roman type][paragraph break]As Reggie pulls the cab to a stop, he calls down.[paragraph break]'What was that you said, ser? Sounded like something foreign. Never could understand why English folks can't stick to the Queen's English. That fancy talk always hurt my ears. Bit silly if you ask me... unless...well, if you want to dance with the Green Fairy that is of course your business, ser.'"; now Reginald is infected; if Triage is visible and the emerald is switched on, move Triage to the hansom cab; move the player to the hansom cab; otherwise: say "Slowly but surely, Betsy draws the carriage through the city streets towards [the region entry]..."; if Triage is visible and the emerald is switched on, move Triage to the chosen destination; move the player to the chosen destination; otherwise: say "No such thing can be seen." Instead of travelling to "[london]": if the hansom cab is visible: if Reginald is alive: say "[one of]'I'm afraid Betsy's not quite up to that task today, ser. It's quite a distance, and she's had a long day already.'[or]'Now, ser, you know as well as I do that this vehicle is for business purposes only.'[or]'Sightseeing during business hours! Due respect, ser, but it's not worth my job.'[at random]"; otherwise: say "There are more pressing concerns."; otherwise: say "No such thing can be seen." [Should this error message be clearer?] Instead of travelling to, say "No such thing can be seen." Table of Locations topic destination region "[bedlam]" Courtyard "Bedlam" "[newgate]" Outside Flat 2D "Newgate" "[smithfield]" Smithfield Market "Smithfield" Part II - Slouching Towards Bedlam Chapter 1 - Bedlam Bedlam is a region. Office, Lobby, Archives, West_Walkway, North_Walkway, Courtyard, Circular Chamber, Corridor 6, Room 6A, Room 6C, Room 6D are in Bedlam. South of Office is Lobby. East of Lobby is Archives. West of Lobby is West_Walkway. South of Lobby is Courtyard. West of West_Walkway is Circular Chamber. North of Circular Chamber is North_Walkway. North of North_Walkway is Corridor 6. Northeast of Corridor 6 is Room 6A. East of Corridor 6 is Room 6B. Southeast of Corridor 6 is Room 6C. Southwest of Corridor 6 is Room 6D. West of Corridor 6 is Room 6E. Northwest of Corridor 6 is Room 6F. Section 1 - Office Office is a room. "A massive cedar desk, well-polished and worn, looks elegantly out-of-place among the chaos. Papers, files, and books cover nearly every flat surface in the room." Section 1(a) - Phonograph A phonograph is fixed in place in the Office. "There is a phonograph on the table near the window." The phonograph is a device. The ivory arms are a container that are part of the phonograph. The phonograph is switched on. The analysis of the phonograph is "CAT:NONLIVING.TO[line break]OL.UTIL:RECORDIN[line break]G.AND.PLAYBACK.O[line break]F.AUDIO.INFO.PAR[line break]T:PERSONAL.PROPE[line break]RTY.OF.OPERATOR.[line break]USED.FOR.DIARY.E[line break]NTRY.RETRIEVAL..". Understand "switch" as the phonograph. The phonograph has a number called the current entry. The current entry is 1. Instead of examining the phonograph: say "A delicate device, its base is carved from oaken heartwood, bearing a small black plaque which reads 'Columbia Phonograph Co., Ltd. of London'.[paragraph break]"; if the ivory arms contain a cylinder: say "Two ivory arms emerging from the base lean inward, firmly grasping a [if the phonograph is switched on]rotating [end if][printed name of a random cylinder which is held by the ivory arms]. A brass needle [if the phonograph is switched on]scrapes against[otherwise]hovers above[end if] the cylinder's surface.[paragraph break]"; otherwise: say "Two ivory arms emerging from the base stretch quiescently outward, as if waiting to be filled.[paragraph break]"; say "From the base's back emerges a small, black hornshell speaker, its surface delicately curved. The phonograph is currently switched [if the phonograph is switched on]on.[otherwise]off."; Instead of inserting anything into the phonograph: try inserting the noun into the ivory arms. Before inserting a cylinder into the ivory arms: if there is a cylinder in the ivory arms: say "(first removing the cylinder already in the phonograph)"; try removing a random cylinder which is held by the ivory arms from the ivory arms; After inserting a cylinder into the ivory arms: if not handling the playback activity, say "The [noun] fits perfectly into the phonograph's waiting ivory arms." Instead of inserting anything that is not a cylinder into the ivory arms: say "The phonograph is designed to play inscribed tin cylinders." Before taking a cylinder which is in the ivory arms: if the phonograph is switched on: say "(first switching off the phonograph)"; try switching off the phonograph. Instead of taking a cylinder which is in the ivory arms: now the noun is carried by the player; say "The ivory arms slide easily apart and the cylinder leaves the phonograph with a slight 'click'." Instead of opening the ivory arms: if the number of things enclosed by the ivory arms is 0: say "The arms of the phonograph are already open and empty."; otherwise: try removing a random cylinder which is held by the ivory arms from the ivory arms; Every turn: if the phonograph is switched on: increase the current entry of the phonograph by 1; let position be the current entry of the phonograph; let the current cylinder be a random cylinder inside the ivory arms; if position is at most the number of entries in the media of the current cylinder: if the player is in the Office: say "[entry position of the media of the current cylinder][line break]"; otherwise: now the current entry of the phonograph is 0; now the phonograph is switched off; if the player is in the Office, say "Having reached the end of the cylinder, the phonograph shuts itself off with a tiny 'click'."; The tin cylinder labeled March sixteenth is a cylinder. The March sixteenth cylinder is in the ivory arms. The media of the March sixteenth cylinder is {"'March the 16th.'[paragraph break]A deep, shaky breath.[paragraph break]'I dread to say it, but I believe I am going mad. The -- *moments* -- come more frequently now. I fear that I have found what I have sought, and I shall now pay the price for it.'[paragraph break]The scrape of a chair across flagstone. A sigh.[paragraph break]'Chaos treads the halls of Bedlam; her work is evident everywhere...'","The phonograph continues to play.[paragraph break]'I discredit my profession; examining madness as if the world were a fluent thing and sanity as malleable as the warm wax of a candle.'","'The secret lays heavily on both my mind and heart. I have told no one; I despair a second opinion would confirm my worst suspicions. I have secured all my knowledge of these events within the mechanical assistant left by my predecessor. It was my hope that it would allow me to see the situation from a new perspective, and help me discover the key to my salvation.'","'Alas, it has been to no avail. While I found the entry mode easy enough, and the thing seems filled with information regarding the hospital down to the point of minutiae, it seems helpless in the face of analyzing my current situation.'","'It may be that I have simply not found that by which this growing mystery may be unlocked. Perhaps by subjecting the Triage to further experiential data, it may find something that I have missed. But I have little faith left at this point.'","The sound of a chair creaking.[paragraph break]'I have found a blessing in James. He has been nothing but kind and helpful in my short time here. I find myself wondering if, perhaps, he can be trusted enough to... but how can I punish him with this knowledge?' [paragraph break]A sigh.[paragraph break]'But how can I bear it alone?'","A sudden noise, as of something wooden being struck, comes through the phonograph.[paragraph break]'No. I can trust no one, in the end. Not even James. Perhaps soon...not even myself.'","'I must stop here, I feel the faintness coming once again.'[paragraph break]A scraping noise, a click.[paragraph break]'May God have mercy [']pon my soul.'"} Section 1(b) - The table The table is scenery in the Office. "It sits beside the window, its surface entirely covered by the phonograph it supports." Section 1(c) - Triage Triage is in the Office. "[if Triage is in Office and we have not examined Triage]A black cube on wheels sits near the door to the south.[otherwise if Triage is in Office and we have examined Triage]Triage sits near the door to the south.[otherwise]Triage rests obediently nearby." The description is "Not a box but a cube; there is no hinge. A fine grid is engraved on its top, dividing it into a myriad of tiny squares. The cube sits on four black rubber wheels, attached by a set of brass leggings that seem capable of telescoping downward.[paragraph break]The only other feature of note is a small emerald, set in its side, beneath which is a plaque with the inscription 'TRIAGE MK. III'.[if emerald is switched on][paragraph break]Triage hums slightly as the emerald pulses with a soft, green glow." Instead of switching on Triage, try switching on the emerald. The analysis is "CAT:TRIAGE.ANALY[line break]TICAL.ENGINE.UTI[line break]L:EXAMINATION.AN[line break]D.ANALYSIS.OF.OB[line break]JECTS.AND.DATA.P[line break]ART:TRIAGE.MK.II[line break]I.UNIT.CURRENT.O[line break]PERATOR=T.XAVIER". Understand "black box" or "cube" as Triage. Instead of taking Triage, say "Triage is much too heavy to move about in such a manner." The emerald is part of Triage. The emerald is a device. The emerald is switched off. The description is "[if emerald is switched on]The size and shape of an eye, it glows steadily occasionally flickering.[otherwise]Dark green to the point of blackness, it is the size and shape of an eye." The emerald is switched off. Instead of pushing the emerald when the emerald is switched on, try switching off the emerald. Instead of pushing the emerald when the emerald is switched off, try switching on the emerald. The screen is part of Triage. Understand "grid" as the screen. The screen has some text called the current display. The description is "[if the emerald is switched off]Triage's screen is currently blank.[otherwise]The machine's screen is on and reads:[paragraph break][fixed letter spacing][the current display of the screen][variable letter spacing][run paragraph on][end if]". Instead of switching on the emerald for the first time: now the emerald is switched on; say "From within the device comes a sharp clunk, followed by a gentle humming. The emerald blinks slowly -- once, twice -- then glows steadily. The grid of squares which makes up the thing's screen pivot back and forth, seemingly at random, causing ripples of motion across its surface.[paragraph break]With a sudden purpose, they begin to flip, revealing hundreds of tiny symbols engraved on their surfaces. The squares continue for a moment, then begin to settle line by line like a fall of rain into a pattern...[paragraph break]"; now the current display of the screen is "INIT.CYCLE.COMP.[line break]MILL.UNIT.ONLINE[line break]STORE.DECRYPT/CO[line break]MPRESS.BOOT.STAC[line break]K.COMP.OP.SYSTEM[line break]UNIT.VER.3.REG:.[line break]DR..SIMON..BRAND[line break]SET MODE:ANALYZE[line break]"; say "[fixed letter spacing][the current display of the screen][variable letter spacing]". After switching on the emerald: say "Triage again starts up, its emerald lighting like an awakening eye." After switching off the emerald: say "The emerald's light cuts off as the squares flip back to their original blank state. Triage's humming slowly lowers in pitch and volume until finally it is silent." Instead of pointing at the screen when Triage is visible and the emerald is switched on, try pointing at Triage. Instead of pointing at the emerald when Triage is visible and the emerald is switched on, try pointing at Triage. Every turn: if the emerald is switched on: if the location of Triage is not the location of the player: let the way be the best route from the location of Triage to the location of the player, using doors; try Triage going the way; After Triage going: say "[one of]Triage obediently appears.[or]Triage trundles patiently along beside.[or]Triage silently rolls to a stop.[at random]" A room can be climeable or not climeable. A room is usually not climeable. Before going from a climeable room when Triage is visible and the emerald is switched on: if the noun is up or the noun is down: say "Cunningly extending and contracting its wheels, Triage easily follows [if the noun is up]up[otherwise]down[end if] the stairs..." Section 1(d) - The desk The desk is scenery in the Office. Understand "massive" or "cedar" as the desk. "A deep green blotter, dotted with black ink stains, sits in the center of the desk, mostly covered by files and papers.[if we have not looked under the blotter] One side of the blotter seems slightly higher than the other.[end if][if the sandalwood box is on the desk][paragraph break]The corner of a sandalwood box is visible beneath a stack of thick folders.[end if][paragraph break]The desk contains a large central drawer, [if the drawer is closed]which is currently closed.[otherwise]currently opened." Instead of opening the desk, try opening the drawer. Instead of searching the desk, try examining the desk. An openable container called a drawer is part of the desk. The description is "Nothing unusual, it sits unlocked [if the drawer is open]and open.[otherwise]but unopened.[end if][if the drawer is open and the drawer contains nothing][paragraph break]The large central drawer is empty.[end if][if the drawer is open and the drawer contains something]". The printed name of the drawer is "large central drawer". Understand "large" or "central" as the drawer. The drawer is closed. In the drawer is a manual and a flanged brass rod. The brass rod is a thing. The brass rod has a truth state called used. The used of the brass rod is usually false. The description of the brass rod is "A short rod of brass with a flange at one end (engraved with a [']6[']) and a series of tines at the other, perpendicular to the shaft." The analysis of the brass rod is "CAT:NONLIVING.TO[line break]OL.UTIL:KEY.UNLO[line break]CK.DEVICE.PART:I[line break]D=PANOPTICONKEY.[line break]CORRIDOR.6.(UPPE[line break]R).PLACE.IN.PANO[line break]PTICON.STAND.TO.[line break]ACTIVATE/ACCESS." The manual is a thing. Understand "book" as the manual. The analysis of the manual is "CAT:NONLIVING.BO[line break]OK.UTIL:MANUAL.H[line break]OLDS.USEFUL.INST[line break]RUCTIONS.PART:RE[line break]COGNIZED.AS.TRIA[line break]GE.MANUAL.READ.T[line break]O.LEARN.HOW.BEST[line break]TO.OPERATE......". Instead of examining the manual: change the current menu to the Table of Triage Operators Manual; change the current menu title to "TRIAGE PERSONAL ANALYTICAL ENGINE: OPERATOR'S MANUAL MK. III"; change the introduction boolean to 1; change the current menu introduction to "The manual has several headings:"; carry out the displaying activity; clear the screen; change the introduction boolean to 0; try looking; The blotter is scenery in the Office. "A standard office blotter, its surface well used and covered with stains.[if we have not looked under the blotter] One side of the blotter seems slightly higher than the other." Understand "deep" or "green" or "ink stains" as the blotter. Instead of pushing the blotter, try looking under the blotter. Instead of looking under the blotter for the first time: now the player is holding the small key; say "Beneath the blotter is a small key, easily taken. It carries a small tag labeled '2D'." The small key is a thing. The printed name of the small key is "small key labled 2D". The description of the small key is "A small key with a tag which reads [']2D[']." The sandalwood box is an openable container on the desk. The description of the box is "It is unexceptional, perhaps one handbreadth wide by three long. On its lid is a white paper label. Written upon it in a fine copperplate are the words 'JOURNAL V. 4 - JANUARY THROUGH APRIL 1855.'" The sandalwood box is scenery. The sandalwood box is portable. Before taking the sandalwood box for the first time, now the sandalwood box is not scenery. The box is closed. Instead of inserting anything that is not a cylinder into the box: say "The box seems designed to hold tin cylinders and nothing else." The tin cylinder labeled January eighth is a cylinder in the box. The media of the January eighth cylinder is {"'January the 8th.'[paragraph break]'I am uncertain if this entry is made in joy or sorrow. I have just received word from Dr. Yeates that I am to be...promoted. I am uncertain if that term is the correct one. In any case, it seems that there has been an... incident with Bethlehem[']s current superintendent, and a replacement is required. I have been chosen for the position, at least in the short term.'","'It is fairly obviously what has prompted this move. I have moved too far, too fast and in doing so have displeased the powers that be. While Yeates has supported my ... unorthodox theories well enough, he has warned me often that he cannot shield me from *all* of the backlash that may occur. I do not believe that his using this as a segue way to telling me of my transfer was entirely unconnected...'","'Bedlam seems both purgatory and paradise at this moment. I remember the history of the place well enough -- of the Governors['] decision to renovate the site in [']15 and the slow implementation of Urquhart and Bentham[']s now infamous Panopticon Plan. In the end it was nothing more than a final stab at respectability for the site, which has now languished as a home for the hopeless, the poor, and the criminally insane for almost twenty years.'","'But the technology! Yeates told me of a visit he took in the [']30s, when the place was still open as part zoo, part living drama. I paid little attention to his description of the patient[']s conditions and instead seized upon the description of the central Tower and its prism-viewer, by which the entire complex could be overseen by a single man, the massive Archives with their engine-run filing system...now I shall see it with my own eyes, and I am both happy and sad at the thought.'","'I have but a fortnight to prepare for the move. It has been made clear to me that this is a test -- I must prove myself good, quiet, and respectable in the eyes of the Governors. With luck, I shall be back at Bedfordshire within half a year[']s time, ready to take over when the good doctor announces his retirement.'","'Perhaps this will not be so bad. In the public eye, I shall play their game and meanwhile, I shall continue my own research, utilizing whatever materials Bedlam has to offer...'"} The tin cylinder labeled January twenty-second is a cylinder in the box. The media of the January twenty-second cylinder is {"'January the 22nd.'[paragraph break]'Arrived in London today in preparation for taking over my duties. The cab driver took what seemed a scenic route through Smithfield, then generally southward towards Newgate. I covered my nose as best I could as we passed the slaughterhouse that was the Market, though I noted a Mechanist's shop -- Du Mondes['] -- on Fleet, which I will try to visit at my earliest convenience, as my worst fears regarding the wireless have been confirmed.'","'It probably says something profound about me that I set up the magnetophone first, while everything else remains boxed or is still on its way from Bedfordshire. As I feared, I found no signal whatsoever. A simple message of [']Calling CQ['] went completely unanswered, which is unheard of, as there is *always* someone listening, particularly in such a city as London. I fear the buildings are blocking the signal, and I'll require a booster of some sort.'","'I understood the driver's choice of route when we approached the prison from the north. A huge crowd was gathered for the public executions. I asked him about the particular individual sentenced to the gallows as we passed and he proceeded to tell me - at great length and with much relish - of the trial of one Mr. Emanuel Barthelemy. I wondered if today was something special, or if the spectacle of death always attracts such crowds.'","'I heard a cheer go up from the top of the hill as we pulled to a stop in front of the flat. I shall not take this as an omen of any sort.'","'What I've seen of the place is modest, but I am not at all surprised considering what I am paying for it. I intend to spend as little time here as possible, after all. Bedlam awaits me in the morning.'","'A final note. It seems I left the majority of my unused cylinders at Bedfordshire. I shall have to write Yeates and ask that he send them down, or perhaps seek out where I may purchase them locally. In the meantime, I shall refrain from making a phonograph-entry until something truly momentous happens.'"} The tin cylinder labeled March second is a cylinder in the box. The media of the March second cylinder is {"'March the 2nd.'[paragraph break]'It seems the Fates have listened closely and decided to give me a momentous occasion as quickly as possible. I am beside myself. Bedlam seems nothing more than a pit in which Her Majesty may place those she wishes to forget about. Such corruption dwarfs the imagination.'","'Perhaps I overstate the case, but it was the simple ease with which the constable approached me that most horrified me. If such things as this happen as a matter of course, then the place has truly been in the hands of the mad for some time.'","'I suppose I should have seen such things coming. The Insane Prisoners['] Act passed in [']40 was vague enough that it could be used as a political tool, and McNaughton[']s trial made it clear that the courts would do so when forced, but at least such things happened in the public eye.'","'My predecessor clearly had some arrangement with the Bobbies regarding cases such as these. James told me that he met often with the constable, though he was not privy as to the content of these meetings.'","'Simply put, I was asked to make the prisoner in their charge [']disappear['] and told that I would be [']well compensated['] for keeping things quiet. Part of me wishes I had put up more of a fight...had made an issue, or...'","'But what choice have I? It has been made clear to me that keeping things quiet is precisely what is expected of me in my time in Bedlam.'","'I have placed Cleve -- whose preternatural silence even as he struggled in his bonds gave the entire proceedings a sheen of unreality -- in the abandoned upper level of the northern wing, keeping the key separate from the rest. James showed it to me on my arrival and stated that while it still remained secure, only a few of the rooms were to be considered [']usable['].'","'Still, perhaps this is a blessing in disguise. I have complete singular access to an interesting patient. Perhaps this is the opportunity my studies have been waiting for...'"} The papers are scenery in the Office. Understand "folders" as the papers. "They appear to be a random selection of patient's files - each one labeled with a six-element alphanumeric code. None of them seems important." The analysis is "CAT:NONLIVING.PA[line break]PERS.UTIL:STORAG[line break]E.MEDIUM.PART:ID[line break]=GENERAL.FILES.O[line break]N.HOSPITAL.PATIE[line break]NTS.CURRENT.BUDG[line break]ETARY.CONCERNS.A[line break]ND.STATUS.......". Instead of doing anything other than examining or pointing at the papers, say "They appear to be of little consequence." Section 1(e) - The window The window is scenery in the Office. "The open window looks down upon the courtyard and adjoining buildings far below." Instead of searching the window, try examining the buildings. The buildings are scenery in the Office. Understand "courtyard" and "adjoining" as the buildings. The description of the buildings is "The grounds lie far below - the hard cobbles of the courtyard lead in all directions towards a clump of buildings to the west, all enclosed by an outer wall and roof above." Instead of searching the window, try examining the window. Instead of climbing the window: try entering the window. Understand "climb through [something]", "climb over [something]", "Climb out [something]", "climb out of [something]", "jump through [something]", "jump out [something]", "jump out of [something]", "jump over [something]", "climb over [something]", "jump off [something]" as climbing. Instead of entering the window: now the player is dead; say "It's as simple as that, then -- as the thought leaps outward, so does the body. And then all is open air and blowing wind, and the moment stretched - elongated along some impossible axis - one choice out of a million possibilities, outstretched in flight...[paragraph break]"; perform Ending A. Section 2 - Lobby The description of the Lobby is "The walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.[paragraph break]A set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors." After going to the Lobby for the first time: say "[line break][run paragraph on]"; try looking; [This is a bit of a hack - Triage was following correctly, but its text appeared after the infection.] if the emerald is switched on: now Triage is in the Lobby; say "Triage obediently appears.[paragraph break]"; say "The young man looks up and the corners of his mouth lift into a smile that is not quite strong enough to reach his eyes.[paragraph break]'Doctor? Are you...'[paragraph break]Cold. Yes, the cold is familiar.[paragraph break]"; say "[bold type]/(reachgrabfeel|possibility|probability)\[roman type][paragraph break]"; say "The echo of an echo, the reflection of words from here to the far wall of reality and back.[paragraph break]'...alright? You had us all...'[paragraph break]"; say "[bold type]/(actionpositiveaffirmative|destroyingfrictionbreakinggrowth|positiveyes)\[roman type][paragraph break]"; say "'...do you mean...?'[paragraph break]The dim light glinting off the small badge he wears - James - Assistant -[paragraph break]"; say "[bold type]/(livinggrowthfrictionfurtherspreadingoutwardstretchingyestouchingyes)\[roman type][paragraph break]"; say "- Bethlehem - Hospital -[paragraph break]'All right then, sir.'[paragraph break]And then he is nodding and returning to his seat, somehow both more and less nervous.[paragraph break]"; say "[bold type]/(yesdoneyes)\[roman type][paragraph break]"; now James is infected; Section 2(a) - James James is a man in the Lobby. "[if the Lobby is unvisited]Behind the most prominent desk sits a nervous young man.[otherwise]James sits behind his desk, nervously working." The description of James is "He's easily no more then twenty, with an unruly mop of black hair that continually gets in his eyes. The badge, set high near his collar, reads 'James Houlihan - Assistant - Bethlehem Hospital.'" The analysis of James is "CAT:LIVING.HUMAN[line break]MALE.UTIL:COMMUN[line break]ICATION.POSSIBLE[line break]BY.SPEECH.OR.WRI[line break]TTEN.WORD.PART:I[line break]D=JAMES.HOULIHAN[line break]POSITION.ASSISTA[line break]NT.AT.BETHLEHEM.". Understand "Houlihan" or "Assistant" or "young" or "man" as James. Understand "corpse", "blood" as James when James is dead. Every turn: if James is visible and James is alive: if a random chance of 1 in 2 succeeds: say "[one of]James carefully fills out a set of forms, then files them.[or]James stares out into space for a long moment.[or]James bites his lower lip as he stamps out a set of forms.[or]James searches under his desk a moment for a lost pen.[or]James stands and stretches his legs for a moment before resuming his seat.[or]James shudders suddenly, then looks at you sheepishly.[or]James taps his fingers nervously.[or]James looks at you curiously, as if searching for something in your eyes.[or]James sighs.[at random]" Instead of attacking James: now James is dead; now the description of James is "The corpse of James Houlihan according to his badge - late assistant at Bethlehem Hospital. The handle of an ivory paper knife protrudes from his sternum. Blood slowly leaks from the wound, pools about his slack limbs and across the floor."; now the printed name of James is "James['] corpse"; now the initial appearance of James is "James['] corpse is here."; move the ivory paper knife to James; say "James collapses to the floor, staring with shock and surprise. But it is when he sees the ivory paper knife lifted from under a stack of papers on his desk that true panic sets in.[paragraph break]He scrambles backwards, desperate to get to his feet. Unable to find purchase on the tile floor, he only manages to flounder about like a drunken crab. He tries to scream for help but his voice fails him, squeaking out in only a whisper.[paragraph break]Assistance does not come.[paragraph break]He has scrambled himself into a corner. The look of resigned fear in his eyes in terrible. 'May God forgive you,' he whispers as he closes them.[paragraph break]Blood, deep and red, bubbles from him and spoils the hygienic floor.[paragraph break]"; spur on the Logos; The ivory paper knife is a thing. The description of the knife is "A finely made knife with a handle carved in the shape of a caduceus. Normally used to open letters and separate book pages, it is currently embedded in James' chest." Instead of taking or pushing or pulling the knife, say "The knife is imbedded too far." Section 2(b) - Scenery The gates are scenery in the Lobby. Understand "gate" as the gates. Instead of opening or closing or pushing or pushing the gates to, say "The gates are far too massive to accomplish that by hand, evidenced by the gearwork built into the walls." The gears are scenery in the Lobby. Understand "cogs" as the gears. The description of the gears is "A series of cogs and gears designed to automatically open and close the gates as necessary." The lights are scenery in the Lobby. Understand "gaslight" or "chandeliers" as the lights. The description of the lights is "The series of gaslight chandeliers set along the distant ceiling are overwhelmed by the vast size of the room; shadows lurk everywhere." The lobby doors are scenery in the Lobby. Understand "glass" or "door" as the doors. The description of the lobby doors is "Nothing more than a simple line of glass doors leading southward into daylight." The lobby desks are scenery in the Lobby. Understand "desk" as the desks. The description of the lobby desks is "Worn and dusty with disuse, a fleet of abandoned desks slowly sinks into decay. James' desk, on its dais, is a tiny island of order." Instead of doing anything other than examining with the lobby desks, say "The abandoned desks are of no use, they contain nothing but dust." James' desk is scenery in the Lobby. The description of James' desk is "It is covered in neat stacks of forms that James moves in unfathomable patterns: stamping some, filing others, and occasionally dropping one to the floor." Instead of doing anything other than examining with James' desk, say "James might find that to be intrusive." Section 3 - Archives The description of the Archives is "This room is mostly empty space. The farthest wall is lined with gleaming, brass pull-file drawers and seems to go on infinitely in every direction. The entrance to the west opens onto a solid, dusty platform, which allows visitors to stand suspended above the unseen floor." Instead of going nowhere while in the Archives, say "Ignoring the railing would most likely result in a rather fatal fall." Section 3(a) - The Pedestal The pedestal is in the Archives. "At the end of the platform lies a pedestal topped with a small, inverted onyx pyramid." The pedestal is fixed in place. The description of the pedestal is "It is shaped like a pulpit. On its flat surface is small panel containing a dial and small glass display and delicately balanced at its top is an inverted black pyramid." The analysis of the pedestal is "CAT:NONLIVING.TO[paragraph break]OL.UTIL:ARCHIVE.[paragraph break]INTERFACE.PART:F[paragraph break]ILE.NUMBER.INPUT[paragraph break]VIA.DIAL.OUTPUT.[paragraph break]VIA.PAPERTAPE.DI[paragraph break]SPLAY.PYRAMID=RE[paragraph break]TRIVAL.UNIT....." The panel is part of the pedestal. The description of the panel is "Its flat black surface contains a dial and a small glass display." Instead of pointing at the panel, try pointing at the pedestal. The pedestal has an indexed text called the current input. The current input is "STARCF". Section 3(b) - The Dial The dial is part of the panel. The dial has some text called the current setting. The current setting of the dial is "1". The description of the dial is "The dial seems capable of being set to any number between 1 and 9 as well as the letters A through F. It currently rests at [the current setting of the dial]." Instead of turning the dial, say "[bracket]Specify a valid value to set the dial to.[close bracket][line break]". The analysis of the dial is "CAT:NONLIVING.TO[line break]OL.UTIL:ARCHIVE.[line break]INTERFACE.PART:F[line break]ILE.NUMBER.INPUT[line break]FILE.NUMBER=SIX.[line break]DIGIT.ALPHANUMER[line break]IC.CODE.COMPLETI[line break]ON=RETRIEVAL...." Understand "turn [something] to [text]" as setting it to. Understand "set [something]" as turning. Check setting something to (this is the block setting symbolically rule): say "That cannot be set to anything." Instead of setting the dial to the topic understood: if the topic understood is a topic listed in the Table of Valid Dial Settings: if the number of characters in the current input of the pedestal is 6: say "As the dial is set, the pedestal begins to hum and the sound of turning gears can be heard. The tape beneath the panel's glass display suddenly advances from right to left, erasing the display. Then, with a *clunk* it advances one further step "; now the current input of the pedestal is ""; now the current input of the pedestal is "[the current input of the pedestal][the topic understood in upper case]"; if the number of characters in the current input of the pedestal is 6: let file found be false; repeat with comparison file running through the files: if the current input of the pedestal matches the text the code of the comparison file: if the used of the pyramid is false: say "The humming of the pedestal suddenly increases in both volume and pitch. The tape spins forward, blanking the display. Then...[paragraph break]'SEARCHING...'[paragraph break]Another advance. Then...[paragraph break]'FILE...FOUND...FILE [the current input of the pedestal]...RETRIEVAL...'[paragraph break]The humming ceases, to be replaced with a quick-paced ticking, something like a watch.[paragraph break]With an easy grace, six thin rods emerge from the sides of the pyramid. Growing quickly, they reveal a series of articulations along their length as they bend downwards. Within moments, they have revealed an impressive span - making a shape not unlike a spider.[paragraph break]The lower set of ... legs? arms? ... pushes lightly against the base, freeing it. It turns with blinding speed and...leaps and...[paragraph break]It is gone, running along the walls on four legs, its arms gripping at protrusions and flinging it further ... up ... up...[paragraph break]It stops somewhere far above, bracing itself on two legs. Two others reach forward and grip, then pull, opening a distant drawer. Its two arms reach inward, flicking through files with blinding speed.[paragraph break]Then, finding what it seeks, it grabs hold and pulls a folder close to its body. It then gently wraps its arms around to hold it tight. Closing the drawer, it quickly makes its way back and...[paragraph break]With a final tick, the pyramid settles itself back into the pedestal, holding out the retrieved folder on two articulated rods of brass. The tape advances. It now reads '...RETRIEVAL COMPLETE...'[line break]"; now the used of the pyramid is true; otherwise: say "Once again, the pyramidal thing leaps into action, retrieving a file from a drawer far in the distance. The tape advances. It now reads '...RETRIEVAL COMPLETE...'[line break]"; move the comparison file to the pyramid; now the current output of the display is "'...RETRIEVAL COMPLETE...'"; let file found be true; break; if file found is false: say "The tape spins forward, blanking the display. Then...[paragraph break]'SEARCHING...'[paragraph break]Another advance. Then...[paragraph break]'FILE [the current input of the pedestal] NOT FOUND...'[paragraph break]The tape advances. It now reads '...RETRIEVAL FAILED...'[line break]"; now the current output of the display is "'...RETRIEVAL FAILED...'"; otherwise if the number of characters in the current input of the pedestal is 1: say "... revealing ['][the current input of the pedestal]['] imprinted on its surface."; now the current output of the display is "[the current input of the pedestal]"; otherwise: say "The tape advances a step further. It now reads ['][the current input of the pedestal][']."; now the current output of the display is "[the current input of the pedestal]"; otherwise: if the number of characters in the topic understood is greater than 1: repeat with N running from 1 to the number of characters in word number 1 in the topic understood: [what an absolutely hideous hack!] let tmp be an indexed text; let tmp be the player's command; change the text of the player's command to character number N in the topic understood; if the player's command is a topic listed in the Table of Valid Dial Settings: try setting the dial to "[the player's command]"; change the text of the player's command to tmp; otherwise: say "That does not appear to be a valid value."; change the text of the player's command to tmp; break; otherwise: say "That does not appear to be a valid value." Table of Valid Dial Settings topic "1" "2" "3" "4" "5" "6" "7" "8" "9" "a" "b" "c" "d" "e" "f" Section 3(c) - The Display The display is part of the panel. The display has some text called the current output. The current output of the display is "'...RETRIEVAL COMPLETE...'". The description of the display is "A small sheet of glass, beneath which runs a paper tape which disappears into the bowels of the mechanism. The glass is cut in such a way as to magnify the tape beneath it.[paragraph break]The tape is currently imprinted with:[line break][the current output of the display]". The analysis of the display is "CAT:NONLIVING.TO[line break]OL.UTIL:ARCHIVE.[line break]INTERFACE.PART:O[line break]UTPUT.VIA.PAPERT[line break]APE.DISPLAY=EITH[line break]ER.CURRENT.FILE.[line break]INPUT.OR.RESULTI[line break]NG.ANALYSIS.....". Section 3(d) - The Pyramid / Spider The pyramid is a container that is part of the pedestal. The description of the pyramid is "Matte black and smooth, it is securely anchored to the pedestal at its inverted apex[if the pyramid contains something].[paragraph break]Grasped within the pyramid[']s brass arms [is-are the list of things in the pyramid][end if]." The analysis of the pyramid is "CAT:NONLIVING.TO[line break]OL.UTIL:ARCHIVE.[line break]INTERFACE.PART:P[line break]HYSICAL.FILE.RET[line break]RIVAL.UNIT.ACTIV[line break]ATED.UPON.INPUT.[line break]OF.FILE.NUMBER/C[line break]ODE.VIA.DIAL...." Understand "spider" as the pyramid. The pyramid has a truth state called used. The used of the pyramid is false. [holy hell this seems a hacky way to stop Inform from printing the contents of a container:] Procedural rule while examining the pyramid: ignore the examine containers rule. Section 3(e) - Scenery The wall of drawers is scenery in the Archives. The description of the wall of drawers is "There must be thousands of them - they extend yards in all directions, vanishing into the gloom." Instead of doing anything other than examining or pointing at the drawers, say "The drawers are far too distant to do anything with.". The archive railing is scenery in the Archives. The description of the archive railing is "The platform is surrounded on three sides by a low metal railing, the better to prevent an unfortunate drop into the vacuum below. Footprints mark and remark the dust, forming a trail from the lobby to the pedestal and back." Understand "platform" as the archive railing. Instead of climbing the archive railing: now the player is dead; say "The unseen floor is much closer than expected. There is no pain, only darkness...[paragraph break]"; choose an ending; Section 4 - Walkways A walkway is a kind of room with printed name "Walkway" and description "ERROR!". Instead of going nowhere from a walkway, say "Straying from the walkway would most likely result in a rather fatal fall." A walkway has a text called entrance. A walkway has a text called exit. The description of a walkway is "The slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the [entrance] and the narrow tower to the [exit]. Far below, an intricate set of sub-buildings can be seen, enclosed within the complex's outer wall.". West_Walkway is a walkway. The entrance of West_Walkway is "east". The exit of West_Walkway is "west". North_Walkway is a walkway. The entrance of North_Walkway is "north". The exit of North_Walkway is "south". The actual walkway is a backdrop. It is in West_Walkway and North_Walkway. The description of the actual walkway is "It seems solid enough." Instead of climbing the actual walkway: now the player is dead; say "The ground is much closer than expected. There is no pain, only darkness...[paragraph break]"; choose an ending; Section 5 - Panopticon The description of the Circular Chamber is "The hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.[paragraph break]The room's single exit lies to the [if the activated of the keyhole is false]east.[otherwise]north." Before going north in the Circular Chamber: if the activated of the keyhole is false, say "No exit lies in that direction." instead. Before going east in the Circular Chamber: if the activated of the keyhole is true, say "No exit lies in that direction." instead. The walls of the chamber are scenery in the Circular Chamber. Understand "pale" or "white" or "walls" or "circles" as the walls of the chamber. The description of the walls of the chamber is "The walls and floor are pale, white and seamless except for the engraved circles. There are six of them - set at various distances from the central console." Instead of doing anything other than examining or pointing at the walls of the chamber, say "Nothing useful can be achieved by fiddling with the engraved circles." Section 5(a) The central panel and room buttons A panopticon button is a kind of thing. A panopticon button has a text called label. A panopticon button has a text called room direction. A panopticon button has a room called the viewed room. A panopticon button has an object called the paper code. A panopticon button has a text called the sound. A panopticon button has a text called the listentext. The description of a panopticon button is "[if the item described is the pressed button of the panopticon panel]It is currently depressed and glowing.[otherwise]Embossed simply with the letter ['][label]['], it is unpressed and dark." The analysis of a panopticon button is "CAT:NONLIVING.TO[line break]OL.UTIL:PANOPTIC[line break]ON.BLUEPRINT.PAR[line break]T:ACTIVATE.VIA.P[line break]ROPER.KEY.CHOOSE[line break]CELL.VIA.BUTTONS[line break]A-F.REPRESENTING[line break]SAME.NAMED.CELLS". The console is scenery in the Circular Chamber. The description of the console is "It is complex, divided into several discrete sections. Set on a panel is a diagram - a blueprint. A small slot for the dispensing of paper tape lies beside it. Set above the diagram is a prism-viewer complete with two handles. A set of brass listening-tubes terminate on either side of the viewer." The analysis of the console is "CAT:NONLIVING.TO[line break]OL.UTIL:PANOPTIC[line break]ON.MAIN.CONSOLE.[line break]CAPABLE.OF.VIEWI[line break]NG.ANY.CELL.IN.H[line break]OSPITAL.WITH.BOT[line break]VISUAL&AUDIO.OUT[line break]PUT+CODE.STORAGE" The panopticon panel is scenery in the Circular Chamber. Understand "blueprint" or "diagram" as the panopticon panel. The description of the panopticon panel is "Intricate in its detail, it depicts a series of twenty-four corridors set about a circular room like the spokes of a wheel. Each corridor opens onto six rooms, three on each side, with one exception: a hall at 3 o'clock instead connects to a building labeled 'Administration.'[paragraph break]At the center of the circular room is a keyhole. Beside it is a two-headed arrow, pointing up and down.[paragraph break]Beneath the blueprint is a series of buttons: six labeled A through F and one with an inverted triangle from which six small lines emerge. [if the pressed button of the panopticon panel is nothing]None of the buttons is currently depressed.[otherwise]The button labeled ['][the label of the pressed button of the panopticon panel]['] is depressed and glowing.[paragraph break]A corridor at twelve o'clock is lit and its [the room direction of the pressed button of the panopticon panel] room are lit up from beneath, as is the upward head of the two-headed arrow.[end if]". The analysis of the panopticon panel is "CAT:NONLIVING.TO[line break]OL.UTIL:PANOPTIC[line break]ON.BLUEPRINT.PAR[line break]T:ACTIVATE.VIA.P[line break]ROPER.KEY.CHOOSE[line break]CELL.VIA.BUTTONS[line break]PRINT.PATIENT.CO[line break]DE.VIA.TRIANGLE." Some panopticon buttons that are part of panopticon panel are defined by the Table of Available Panopticon Buttons. The panopticon panel has an object called the pressed button. The pressed button is usually nothing. The keyhole is a container part of the panopticon panel. Understand "hole" as the keyhole. The keyhole is open. The keyhole has a truth state called activated. The activated of the keyhole is usually false. Instead of examining the keyhole, say "It is set at the center of the blueprint within a circular room. [if the keyhole contains the rod]It currently contains a long, flanged rod." The arrow is part of the panopticon panel. The description of the arrow is "It sits beside the keyhole at the center of the blueprint, its two arrows pointing up and down." Table of Available Panopticon Buttons panopticon button label room direction viewed room paper code sound listentext A button "A" "north-eastern" Room 6A nothing "nothing" "nothing" B button "B" "eastern" Room 6B nothing "[one of]The sound of dripping water echoes through the room.[or]From the listening tube comes the sound of sloshing water - perhaps the other end has dropped below the water line?[or]The sound of three drips of water falling in quick succession comes floating across the console.[or]From the gurgling sound emanating from it, the listening tube's terminus has momentarily become submerged.[at random]" "The sound of dripping water emanates from the listening tubes." C button "C" "south-eastern" Room 6C paper tape labeled 4361A2 "nothing" "nothing" D button "D" "south-western" Room 6D paper tape labeled F6A142 "nothing" "nothing" E button "E" "western" Room 6E paper tape labeled DB9E75 "nothing" "nothing" F button "F" "north-western" Room 6F nothing "[one of]A faint moan drifts across the console.[or]A high pitched whistling can briefly be heard.[or]The sound of the wind blowing echoes across the room.[or]The sound of blowing wind echoes across the room, then suddenly is cut short.[at random]" "The sound of the wind blowing emanates from the listening tubes." Instead of inserting the brass rod into the keyhole: now the pressed button of the panopticon panel is the B button; now the displayed room of the prism viewer is Room 6B; now the brass rod is in the keyhole; now the activated of the keyhole is true; if the used of the brass rod is false: now the used of the brass rod is true; say "The brass rod slip easily into the keyhole. Then, of its own accord, it begins to turn - first clockwise, then counter-clockwise.[paragraph break]The floor rumbles for a moment. There is an odd sense of movement.[paragraph break]The light beneath the Administration and its connecting corridor goes out.[paragraph break]A corridor at twelve o'clock lights up as the key stops moving, as does its north-east room. The button labeled 'A' clicks down and begins to glow.[paragraph break]The room seems to have subtly cha...[paragraph break]"; say "[bold type]/(pain)\[roman type][paragraph break]"; say "A cacophony fills the room - a hideous screeching echo.[paragraph break]"; say "[bold type]/(chaosrandomhurt)\[roman type][paragraph break]"; say "It continues - emanating from the listening-tubes - a metallic repetitive thrum, the sound of an insect grown to the size of a lion...[paragraph break]"; say "[bold type]/(nosensenonsenserandomrandomnosensenonsense)\[roman type][paragraph break]"; say "...echo on top of echo on top of echo - resounding through the tubes, the room, the halls. A numbness spreads from arm to hand to finger...[paragraph break]"; say "[bold type]/(stopnostopmake)\[roman type][paragraph break]"; say "A solid *thunk* makes itself barely heard above the noise and then - silence.[paragraph break]"; say "[bold type]/(stop)\[roman type][paragraph break]"; say "The button 'B' is now depressed and glowing - the one beside it now dark - as is the eastern room of the lighted corridor."; otherwise: say "The brass rod slip easily into the keyhole. Then, of its own accord, it begins to turn - first clockwise, then counter-clockwise.[paragraph break]The floor rumbles for a moment. There is an odd sense of movement.[paragraph break]The light beneath the Administration and its connecting corridor goes out.[paragraph break]A corridor at twelve o'clock lights up as the key stops moving, as does its north-east room. The button labeled 'A' clicks down and begins to glow.[paragraph break]Horrible. A noise...[paragraph break]No...[paragraph break]Numbness. Cold. Arms, hands...finger...No...wait - it is 'B' which is glowing, as is the eastern room of the lighted corridor.[paragraph break]The room seems to have subtly changed.[paragraph break]"; Instead of inserting something which is not the brass rod into the keyhole, say "That does not appear to fit." Instead of taking the rod: if the rod is in the keyhole: move the rod to the player; now the pressed button of the panopticon panel is nothing; now the activated of the keyhole is false; now the displayed room of the prism viewer is nothing; say "As the rod slides from its home, the floor rumbles for a moment. There is an odd sense of movement.[paragraph break]All of the lights on the blueprint go out, then the light beneath the Administration and its connecting corridor flickers back to life.[paragraph break]The room seems to have subtly changed."; otherwise: continue the action; Instead of pushing the A button, say "[bold type]/(no)\[roman type][paragraph break]The cold again. And a numbness of the hands. And an inability to resist." Instead of pushing a panopticon button: if the activated of the keyhole is true: if the pressed button of the panopticon panel is the noun: say "The button is already pressed"; otherwise: say "The button clicks downward and begins to glow. On the blueprint, the corridor's [room direction of the noun] room also lights up."; now the pressed button of the panopticon panel is the noun; now the displayed room of prism viewer is the viewed room of the noun; otherwise: say "The button clicks downward, then returns to its original state when released. Nothing more happens." After deciding the scope of the player while in the Circular Chamber: if the displayed room of the prism viewer is not nothing: place the displayed room of the prism viewer in scope. Every turn: if the player is in the Circular Chamber and the activated of the keyhole is true: if the sound of the pressed button of the panopticon panel is not "nothing" and a random chance of 1 in 4 succeeds: say "[the sound of the pressed button of the panopticon panel][paragraph break]". Instead of listening when the player is in the Circular Chamber: if the pressed button of the panopticon is not nothing and the listentext of the pressed button of the panopticon panel is not "nothing", say "[the listentext of the pressed button of the panopticon panel][paragraph break]"; otherwise continue the action. Section 5(b) The prism-viewer The prism viewer is scenery in the Circular Chamber. Understand "handles" as the prism viewer. The prism viewer has an object called the displayed room. The displayed room is usually nothing. The description of the prism viewer is "Shaped much like a periscope, it contains a mirrored prism manipulated by the handles on either side. [if the displayed room of the prism viewer is nothing]The viewer is currently dark, showing nothing.[otherwise]The viewer is lit, showing the following scene:[paragraph break][the description of the displayed room of the prism viewer]". Instead of searching the viewer, try examining the viewer. The analysis of the viewer is "CAT:NONLIVING.TO[line break]OL.UTIL:PRISM.VI[line break]EWER(LOOK.IN).PA[line break]RT:VIEWER.SHOWS.[line break]CURRENTLY.SELECT[line break]ED.CELL.ON.ACTIV[line break]ATED.FLOOR.MANIP[line break]ULATE=LOOK.INTO." The listening tubes are scenery in the Circular Chamber. The description of the tubes is "Each is shaped as a brass pipe which terminates in a horn on either side of the viewer.".The analysis of the tubes is "CAT:NONLIVING.TO[line break]OL.UTIL:LISTENIN[line break]G.TUBE(LISTEN.TO[line break]).PART:AUDIO.OUT[line break]PUT.OF.CURRENTLY[line break]SELECTED.CELL.ON[line break]ACTIVATED.FLOOR.[line break][bracket]ECHO.POSSIBLE[close bracket]." Section 5(c) The paper slot and the spider button The slot is scenery in the Circular Chamber. Understand "paper" and "tape" as the slot. The description of the slot is "The tiniest tongue of paper tape extends from the slot, revealing its purpose." Instead of doing anything except examining the slot, say "There is no useful amount tape currently extending from the slot." The triangle button is a part of the panopticon panel. The description of the triangle button is "On its face is an inverted triangular shape from which six lines emerge, three to each side." The analysis of the triangle button is "CAT:NONLIVING.TO[line break]OL.UTIL:PANOPTIC[line break]ON.BLUEPRINT.PAR[line break]T:PRINT.ACTIVELY[line break]SELECTED.CELL/PA[line break]TIENT.RELATIONSH[line break]IP.CODE[bracket]PAPERTAP[line break]E[close bracket].VIA.TRIANGLE." Instead of pushing the triangle button: if the pressed button of the panopticon panel is nothing or the paper code of the pressed button of the panopticon panel is nothing or the dispensed of the paper code of the pressed button of the panopticon panel is true: say "The button clicks downward, then returns to its original state when released. Nothing more happens."; otherwise: now the dispensed of the paper code of the pressed button of the panopticon panel is true; move the paper code of the pressed button of the panopticon panel to the player; say "The button clicks downward, then returns to its original state when released. Nothing more seems to happen for a moment, then a sudden clattering is emitted from the console's slot from which emerges a paper tape. A moment or two later, both the noise and the tape stop. Easily torn from the console, it reveals the symbols '[the code of the paper code of the pressed button of the panopticon panel]' imprinted on its surface." Section 6 - Corridor 6 The description of Corridor 6 is "Were it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.[paragraph break]The eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.[paragraph break]The western wall is much the same: to the southwest is D, to the west E, to the northwest F. [paragraph break]The door to the south is labeled simply 'Panopticon'." Instead of going east from Corridor 6, say "The door to room 6B seems stuck fast - from behind it can be heard the steady drip of water." Instead of going west from Corridor 6, say "The room beyond the door to the west seems to have collapsed in on itself - the door swings inwards to immediately strike an impenetrable mound of rubble." Instead of going northwest from Corridor 6, say "The lock and handle on the door to 6F seem broken - making it unopenable. The sound of wind faintly blowing can be heard beyond it, though." The hallway door is scenery in Corridor 6. The hallway door is a container. Instead of doing anything with the hallway door, say "That's of no importance." The description of Room 6A is "A room that has been stripped almost completely bare - its only pretense at furniture is a small, hard chair thrown off to one side. Its single exit lies to the southwest." The pipework is scenery in Room 6A. Understand "exposed", "wall", "pipes" and "pipe" as the pipework. The description of the pipework is "Some exposed pipework can be seen along the room's southern wall, from within emanates the faint sound of a cricket's chirping." Instead of doing anything other than examining the pipework, say "There doesn't seem to be much utility in fiddling with the pipework." Instead of listening while the player is in Room 6A, say "There is a faint buzzing whine in the air, seeming to come from the southern wall." The chair is a backdrop. It is in Room 6A and Room 6D. Understand "small", "hard" as the chair. The description of the chair is "It is so much junk - brittle and old, it is unlikely it could bear any weight whatsoever." Instead of doing anything other than examining the chair, say "It's useless -- better to leave it be." Every turn: if the player is in Room 6A: if a random chance of 1 in 3 succeeds: say "[one of]A faint, shrill sound can be heard from a poorly concealed pipe in the corner.[or]It sounds as if an insect is caught somewhere in the room.[or]There is a faint sound emanating from some pipework near the south wall.[or]A piercing tone fills the air for a brief moment.[at random]" The description of Room 6B is "A room slowly filling with water - a broken pipe lies at one end, slowly dripping into an ever growing pool.[paragraph break]A stuck and broken door lies on the western side." The description of Room 6C is "A room whose floor seems in danger of collapse - a hole has started forming in its center and the edges slowly slope in towards it. Its single exit lies to the northwest." The hole is scenery in Room 6C. The description of the hole is "The hole is approximately the size of a clenched fist, and beyond only darkness can be seen. The floor surrounding it seems anything but stable." Instead of doing anything other than examining or pointing at the hole, say "The whole area seems perilously close to collapse - best not to linger." The description of Room 6D is "An old room that - while crumbling around the edges - is fairly sturdy and secure. Its dusty floor holds nothing more than a cot and a crumbling chair. A set of gas light fixtures hangs off the wall, blocked and in disrepair and a door lies to the northeast.[paragraph break]The walls are covered with writing." The writing is scenery in Room 6D. The description of the writing is "[if the player is in Room 6D]In the walls' current state, it must not have been too difficult to scratch a message into - but the preciseness of the writing is still impressive. Various phrases are carved in a generally circular pattern about an intricate set of lines and circles at the center, within which is inscribed:[paragraph break][fixed letter spacing]Z X W H T G B W H T F G W H T F G B Z X W H T[variable letter spacing][paragraph break]The outer writing reads, variously:[paragraph break][fixed letter spacing]LOGOS EN SOPH NOTARIKON AND A LITTLE[line break] CHLD[line break]MKLTH GEMATRIA 2693[line break]19876 MCHN[line break]KTHR TEMURAH 1262[line break]8765 SHALL LEAD THEM[variable letter spacing][otherwise]The writing is too small to make out through the prism-viewer." The writing has a truth state called analyzed. The analyzed is usually false. The writing has a text called the initial analysis. The initial analysis of the writing is "[fixed letter spacing]CAT:WRITING.UTIL[line break]:COMMUNICATION.P[line break]ART:MULTIPLE.PHR[line break]ASES.POSITIONING[line break]POSSIBILY.IMPORT[line break]ANT.SIX.SEPARATE[line break]PORTIONS?FURTHER[line break]ANALYSIS.REQ....[paragraph break][variable letter spacing]It has no sooner finished showing this then, with a series of clanks, the letters begin to spin wildly, randomly. The screen fills with a series of scrolling data, clearing the old as quickly as the new appears...[paragraph break][fixed letter spacing]LOGOS.EN.SOPH...[line break](EN=AIN=NOTHING)[line break]WITHOUT.FORM?...[line break]SOURCE:HEBREW/KA[line break]BALLAH-BOUNDLESS[line break]LIMITLESS-CREATO[line break]R?GENERATIVE-DEI[line break]TY?SECOND.GOD=DE[line break]MIURGE(GNOSTIC?)[paragraph break]ASSOCIATIONFOUND[line break]TRINITY-NOTARIKO[line break]N.GEMATRIA.TEMUR[line break]AH.ALL.KABALLIST[line break]IC.REFERENCES.MA[line break]RKINGS.AT.CENTER[line break]SUPPORT.POSSIBLE[line break]CODE.OR.CYPHER?.[paragraph break]AND.A.LITTLE.CHL[line break]D.2693?.GEMATRIA[line break]/NUMEROLOGY/UNKN[line break]OWN.SYSTEM.W/NO.[line break]VOWELS?[bracket]B=1,C=2[close bracket][line break]AND.A.LITTLE....[line break]CHLD/CHILD/MCHN/[line break]MACHINE?.SHALL..[paragraph break]MACHINE/KABALLAH[line break]REFERENCE?SEARCH[line break]ING.?CYPHERIST?.[line break]ENLIGHTENMENT.AS[line break]INFORMATION?DATA[line break]MARKINGS+MLKTH+K[line break]THR=MALKUTH.KETH[line break]ER-SEPHIRA/ROTH?[paragraph break]CYPHER:NO.VOWELS[line break]=20.SYMBOLS=?SIM[line break]PLE.ROTATION.OR.[line break]FOLD?B=N=B/C=P=C[line break]...ZXWHT...MLKTH[line break]MLKTH=MALKUTH.!.[line break]GBWHTF=SN[bracket]KTHR[close bracket].[line break][bracket]S[close bracket]=?AS?IS?SO?..[variable letter spacing][paragraph break]Finally, seeming almost pleased with itself, the machine quiets down, displaying:[paragraph break][the analysis of the writing][line break]". The analysis of the writing is "[fixed letter spacing]CENTER.LETTERING[line break]CODE/CYPHER(NO.V[line break]OWELS)='MALKUTH.[line break]IS.IN.KETHER.AS.[line break]KETHER.IS.IN.MAL[line break]KUTH'=KAB/CYPH.=[line break][bracket]MAN[close bracket]IS.IN[bracket]GOD[close bracket]A[line break]S[bracket]GOD[close bracket]IS.IN[bracket]MAN[close bracket][variable letter spacing]". The cot is scenery in Room 6D. The description of the cot is "A small, well worn cot, almost worn through from use." Instead of doing anything other than examining the cot, say "The cot holds no use." The gas light fixtures are scenery in Room 6D. Understand "lights" as the gas light fixtures. The description of the fixtures is "Their flickering fills the room with uneasy shadows." Instead of doing anything other than examining the fixtures, say "The lights look as if they will go out any moment as it is. Best to leave them alone." The description of Room 6E is "The mirrors in the viewed room must have shattered, for the view is diffracted into a thousand reflected shards - each one showing grey stone." The description of Room 6F is "A room whose northern wall has completely collapsed, revealing empty space with an outer wall and ceiling visible in the distance. The floor is covered with strewn rubble." Section 7 - Courtyard The description of the Courtyard is "This walled off area sits at the bottom of a massive staircase which leads into the building to the north. At its base is a sign reading 'Bethlehem Hospital - Administration.' The outer walls meet here - meeting at the distant gates which sit to the southeast." After going from the Lobby to the Courtyard for the first time: try looking; say "When he hears footsteps clatter across the courtyard, the driver tilts his hat back and says 'Where to then, Doc?' with a smile." [Why must this be "instead of going southeast IN" versus "instead of going southeast FROM?" The latter compiles fine, but fails to work?] Instead of going southeast in the Courtyard for the first time, say "Moorsfield is bustling with activity this time of day and evidence of such can be heard as the gates draw closer. Voices piled upon voices, echoing through the streets and alleyways.[paragraph break][bold type]/(manyvoicemindstoo?)\[roman type][paragraph break]The first streets become visible - masses of humanity moving about -[paragraph break][bold type]/(overtoonumbersspreadingthingfartoo)\[roman type][paragraph break]machines - horses - minds - voices - and cold - a freezing that locks the legs, that slows and stops...[paragraph break][bold type]/(nononohurtmanyechofarnono)\[roman type][paragraph break]Yes - yes this is better, pulling back, away, not towards. Towards warmth and sanity.[paragraph break][bold type]/(yesbackhideeyesnowonlyhide)\[roman type][paragraph break]The driver's voice suddenly echoes across the courtyard. 'Ser? No need to go out into *that*, then ser. I'm at yer service.'" Instead of doing it more than one time, say "The cold again. And a numbness of the body. And an inability to resist." Section 7(a) - Scenery The hospital is scenery in the Courtyard. Understand "stairs", "staircase", "building", "Bethlehem", "Hospital", "Administration", "sign", "outer", "walls", "wall" or "gate" as the hospital. The description of the hospital is "The courtyard is quiet, cut off from the bustle of Moorsfield by the outer wall. The Hospital's sign and staircase lead smoothly up to the Administration building to the north, their path shadowed by the massive statues above." The statues are in the Courtyard. "Flanking the top of the staircase on either side are two colossal statues." Understand "mania", "melancholy" and "raving" as the statues. The description of the statues is "Human figures, they are -- bald and muscular, naked except for a stream of cloth about their waists, each lying against an arch of stone. The leftmost - Melancholy - grips the ground beneath him with a look of placid despair. On the right lies Mania, struggling against his chains." The analysis of the statues is "CAT:NONLIVING.ST[line break]ATUES.UTIL:UNKNO[line break]N.PART:[']RAVING.M[line break]ANIA[']&[']MELANCHOL[line break]Y.MANIA['].CREATED[line break]BY.ROBERT.HOOKE.[line break]DESIGNER.OF.ORIG[line break]INAL.HOSPITAL..." Instead of doing anything other than examining the statues, say "The statues are far out of reach." Section 7(b) - The hansom cab The hansom cab is a vehicle in the Courtyard. "A hansom cab sits here with a tired old horse hitched to the front[if Reginald is alive] and its driver waiting patiently.[otherwise]." The description of the cab is "A fine cab, painted black with a tired old horse hitched to its front. [if Reginald is alive]In[otherwise]It's[end if] driver's seat, set at the rear of the vehicle, sits [if Reginald is alive]its smiling driver.[otherwise]empty." Instead of going inside when the hansom cab is visible, try entering the hansom cab. Instead of going by the hansom cab, say "From inside the hansom cab?" After entering the cab: say "Entered.[paragraph break]"; if Triage is visible and the emerald is switched on: now Triage is in the cab; say "Faced with the task of climbing into the cab, Triage is more than up to the challenge. Raising and extending first two wheels and then the others, it clambers inside beside." After exiting from the cab: say "Exited.[paragraph break]"; if Triage is visible and the emerald is switched on: now Triage is in the location; say "Triage gracefully climbs out of the cab beside." Section 7(c) - Betsy Betsy is part of the hansom cab. Understand "horse" as Betsy. The description of Betsy is "Poor thing - she looks as if she'll fall over any moment." Instead of doing anything other than examining or pointing at Betsy, say "The old eyes blink balefully once, before turning away. Perhaps she wishes to be left alone." The analysis of Betsy is "CAT:LIVING.HORSE[line break](EQUUS.FERUS.CAB[line break]ALLUS).FEMALE.UT[line break]IL:TRANSPORTATIO[line break]N/PULLING:(FARMI[line break]NG.WARFARE.POLIC[line break]ING)PART:ID=BETS[line break]Y.OWNER=REGINALD" Section 7(d) - Reginald Reginald is a man who is part of the hansom cab. Understand "Reggie", "Maundy", "driver", "man" and "coachman" as Reginald. The description of Reginald is "An older gentleman, skin tanned and wrinkled. He wears both a hat and an easy grin." The analysis of Reginald is "CAT:LIVING.HUMAN[line break]MALE.UTIL:COMMUN[line break]ICATION.POSSIBLE[line break]BY.SPEECH.OR.WRI[line break]TTEN.WORD.PART:I[line break]D=REGINALD.MAUND[line break]Y.POSITION:HANSO[line break]M.CAB.OPERATOR.." Understand "corpse" as Reginald when Reginald is dead. Instead of attacking Reginald: now Reginald is dead; now the description of Reginald is "The corpse lies crumpled against the alley's wall."; now the printed name of Reginald is "Reggie's corpse"; now the initial appearance of Reginald is "Reggie's corpse is here."; say "A false destination. It is as easy as that.[paragraph break]The cab turns down a vacant alley that ends in a wall. It goes fast at first. Reggie yelps in surprise as the gloved fingers close around his throat. He thrashes, but he is old and can not overtake the grip that holds him fast.[paragraph break]The most he manages is to turn around and stare with surprised, horrified eyes, his fingers clutching his throat, desperate to make room for air.[paragraph break]It does not take long for the life to slide from behind his eyes turning them to glass. Even still the fingers keep gripping, one, two minutes more to be sure. When they let go, Reggie's body slumps and falls to the ground.[paragraph break]There is a sickening thud as bones break on impact and the carriage rolls to a stop..."; if Triage is visible and the emerald is switched on, move Triage to Alley; move Reginald to Alley; move the hansom cab to Alley; move the player to Alley; spur on the Logos; Alley is a room. The description of Alley is "A narrow space between walls, barely enough for the cab to navigate." Instead of going nowhere from Alley: if the noun is west or the noun is east or the noun is south: say "A wall blocks the way."; otherwise if the noun is north: say "The cab blocks the way."; otherwise: continue the action; Driving is an action applying to one visible thing. Understand "drive [something]" as driving. Instead of driving something that is not the hansom cab, say "That cannot be driven." Instead of driving the hansom cab, say "To where, specifically?" Understand "drive the cab to [text]", "drive cab to [text]", "drive hansom cab to [text]", "drive the hansom cab to [text]" as travelling to. Chapter 2 - Newgate Newgate is a region. Outside Flat 2D, Flat 2D, Before the Gallows, Platform are in Newgate. West of Outside Flat 2D is Before the Gallows. Up of Before the Gallows is Platform. North of Before the Gallows is Platform. Section 1 - Outside Flat 2D The description of Outside Flat 2D is "This small, empty road lies at the base of a small hill. It is lined with thin buildings, many advertising 'Flats to Let' in their windows. The one directly north contains a door labeled 2D.[paragraph break]To the west is the massive stone edifice that is Newgate Gaol. A gallows prepared for tomorrow's public execution, towers over the street." The gaol is scenery in Outside Flat 2D. "All stone and shadow. What few windows the are available are covered with heavy iron bars." Instead of doing anything other than examining the gaol, say "The prison lies at the top of the hill, far to the west." Understand "Newgate", "stone", "edifice" as the gaol. The distant gallows are scenery in Outside Flat 2D. "The noose sways gently in the breeze." Instead of doing anything other than examining the distant gallows, say "The gallows lie at the top of the hill, near the prison." Understand "noose" as the distant gallows. The door to Flat 2D is a locked, openable door. The door to Flat 2D is north of Outside Flat 2D and south of Flat 2D. The description of the door to Flat 2D is "A simple [if the door to Flat 2D is locked]locked[otherwise]unlocked[end if] door leading [if Outside Flat 2D encloses the player]to Flat 2D of the building to the north.[otherwise]south." Instead of attacking the door, say "The door is far too solid to be opened by such means." The small key unlocks the door to Flat 2D. Section 2 - Flat 2D The description of Flat 2D is "Despite being small and cluttered with bits and pieces of electronics, this one room flat gives the impression of being quite clean and hygienic; no dust or dirt lurk in its bright corners. The east wall holds a mirror, and is neatly lined with evenly spaced picture frames. A large table, clearly a workshop space, takes up the west wall beneath an arched window.[paragraph break]A shadow stretches lazily from the window across the floor.[paragraph break]The flat's single exit lies to the south." Section 2(a) - Scenery The electronics are scenery in Flat 2D. Understand "bits", "pieces" as the electronics. The description of the electronics is "Useless bits and bobs - no two alike and all scattered randomly about the place." Instead of doing anything other than examining the electronics, say "They're useless." The flat window is scenery in Flat 2D. Understand "sunshine" as the flat window. The description of the flat window is "The window sits high along the flat's eastern wall, flooded with sunshine and shadow." Instead of doing anything other than examining the flat window, say "The window is too high to manipulate." The shadow is scenery in Flat 2D. Understand "noose", "Newgate's" as the shadow. The description of the shadow is "The elongated shadow of Newgate's noose crawls slowly across the wood floor." The mirror is scenery in Flat 2D. The description of the mirror is "Three heavy oak frames line the wall beside the mirror, each containing a picture: a young man standing proudly outside Charing Cross Medical School; a formal photo of a junior rugby team (with the same young man in the third row); an older version of the man smiling from a gaggle of classmates on graduation day.[paragraph break]The man in each picture is a shadow of the face reflected in the mirror." Understand "oak", "frame", "frames", "pictures", "picture", "picture frame|frames", "photo", "photos" as the mirror. Instead of examining the player when the player is in Flat 2D, try examining the mirror. Instead of searching the mirror, try examining the mirror. The flat table is a scenery in Flat 2D. The flat table is a supporter. The description of the flat table is "Much of the heavy wooden table top is obscured by a large magnetophone. [describe table]". Section 2(b) - Table, Card, and Book To say describe table: if the paperbacked book is on the flat table or the trade card is on the flat table: say "At one corner of the table "; if the paperbacked book is on the flat table: say "is a paperbacked book"; if the trade card is on the flat table: say ", lying beside a small trade card.[no line break]"; otherwise: say "is a small card.[no line break]" [These feel incredibly hacky -- just to get the card and book not mentioned in the room description...?] Procedural rule while examining the flat table: ignore the examine supporters rule. [A procedural rule: ignore the describe what's on scenery supporters in room descriptions rule;] For printing a locale paragraph about the flat table: ignore the describe what's on scenery supporters in room descriptions rule; continue the activity. The trade card is on the flat table. The description of the trade card is "A trade card depicting a smiling, smartly dressed gentleman with a small black box on wheels by his side. It reads:[paragraph break]'Modern Office Marvel'[paragraph break]The Triage Mark III(tm) is the marriage of Professional Efficiency and Understated Elegance. Its sleek onyx casing houses a mechanical [']brain['] capable of rapid Data Retrieval and Analysis. Pre-programmed with an encyclopedia's breadth of knowledge, the Triage Mark III(tm) is every business man's friend. Savvy executives may choose to order the stunning ivory data entry device (sold separately) to expand and customize their Triage's library. [paragraph break]Available at Du Monde's - Mechanist of Repute since 1803, 1428 Fleet Street, Smithfield Market, London.[paragraph break]On the opposite side of the card is a handwritten note:[paragraph break]'Bill of Sale: One Aetheric Amplifier, to be picked up. Paid in Full. Order number 59208. - Du Monde'" The paperbacked book is on the flat table. The description of the book is "The book is open to a marked page, labeled 'Troubleshooting Your Magnetophone, A Home User's Guide...'[paragraph break][bold type]1. Problem: Nothing happens when I turn my Magnetophone on.[roman type][line break]Be sure that your Magnetophone is hooked up to a viable power source, and that the power source is active. If you are sure your power source is active, toggle your switch.[paragraph break][bold type]2. Problem: All I hear is static or I can hear other operators, but they can't hear me speak, or they do not answer.[roman type][line break]To broadcast, be sure to depress the TRANSMIT button each time you wish to speak. While the TRANSMIT button is not depressed, your magnetophone acts as a receiver, not a transmitter. Also, be sure to use proper etiquette while operating your Magnetophone. To let another operator know you wish to make contact, press the TRANSMIT button and use the universally accepted phrase 'Calling CQ'. If you fail to use this code, other operators may believe they are picking up the middle of an alternate conversation, and will not respond for fear of interrupting.[paragraph break][bold type]3. Problem: I can hear static and voices, but they are faint or indistinct.[roman type][line break]Magnetophone customers living in highly-populated, urban areas may experience transmission interference due to the presence of large buildings, crowded streets, and pollution. You may try alleviate to this problem by placing the Magnetophone by a clear opening - such as a window. If this does not fix the problem, you may need to purchase one of several amplification devices, designed to fit into your machine's expansion slot." Section 2(c) - Magnetophone The magnetophone is scenery on the flat table. The description of the magnetophone is "[describe magnetophone]". The magnetophone has a truth state called activated. The activated of the magnetophone is false. Instead of taking or pushing the magnetophone, say "The magnetophone is far too heavy to move." Every turn when Flat 2D encloses the player: if the activated of the magnetophone is true: if the aetheric module is in the expansion panel: if the listening of the transmit button is false: if the contact of the cygnet speaker is false: now the contact of the cygnet speaker is true; say "As solid voices become discernable from out of the constant static, a sudden chill descends...[paragraph break][bold type]/(?heartouchothergrow?)\[roman type][paragraph break]A stretching outwards...a growth...[paragraph break][bold type]/(?realblindemptynullwhere?)\[roman type][paragraph break]A stumbling. Confusion.[paragraph break][bold type]/(NOfalseunrealdistantphantomNO)\[roman type][paragraph break]The cold recedes..."; otherwise: say "[one of]'…since they moved from Tyburn to Newgate. I miss the pomp, to be sure, but it is too far to travel...'[or]'...only women who work are loose women. Just because my daughter can program an engine doesn't mean I should allow such a display...'[or]'...ello? Damn.' A mutter. 'Blast you, you infernal.' An angry shout. 'Hello? My wife gave me this magnetophone as a gift to help me relax. I think she may be trying to kill me...'[or]'...disgusting, if you ask me. A machine killing a man. And I heard it was designed by that woman, you know the strange one on Fleet? Over..'[or]'...match was the worst I've seen in ages...'[or]'...papers say Dickens is on one of his humanitarian rants again. He should be grateful for the poor and downtrodden. Without them to write about he'd be poor and downtrodden himself...'[or]'...in London is 18 degrees centigrade, winds rising to the North...'[or]'...theater is no longer a viable entertainment for a gentleman. Too much rabble. Automaton shows, now that's real entertainment...'[or]'...finding a good scullery maid. Can you recommend one?'[or]'...monsier. C'est un bon idee...'[or]'...think the throne will adopt aether technology. They resolutely hold onto the old ways...'[or]'...tunnel *under* the Channel. Can you imagine. Steam or not, they'll all drown. You won't catch me in there...'[or]'...it gave me absolute chills. I couldn't sleep for days. Mr. Collins must be a disturbed man to have such an imagination...'[or]'...good to hear your voice again, Cyril! How were your travels? Bag an elephant?'[or]'...to spy on us. They could be listening to us now. Our privacy is at stake, I tell you...'[or]'...perfectly right they should be public. We can't catch all the offenders, so we must make an example out of those we do to discourage more crime. My boy is five. I'm taking him to his first hanging tomorrow...'[or]'...you test my patience. Another word and I shall be forced to travel to you and defend my honor...'[or]'...walk before I got into one of those public hansom cabs. Those men who drive them, they're lunatics. Turn the thing over as soon as turn a corner. I've seen men crushed, and all the driver cares about is the condition of his cab...'[or]'...will meet you in our usual place. We must be careful. I fear my father suspects...'[or]'...otland Yard refuses to comment on the accusations that the Crown itself is somehow involved...'[or]'...gentle ladies are up in arms, as their wallpaper, terribly dear and lovingly hung, peel slowly down the walls due to their many steam-powered devices...'[or]'...never give that business my custom again. Imagine the audacity!'[or]'...campus is lovely. If it were not for the insufferable professors and classes, this would almost be paradise...'[at random]"; otherwise: if the listening of the transmit button is false: say "The sound of static continues. Faint voices are sometime audible."; To say describe magnetophone: say "A stout metallic box, approximately two feet long by a foot deep. On its side is a small label which reads 'Wheatstone/Cooke Aether-Magnetophone Company,' beneath which is "; if the expansion panel is open: say "a panel, opened to reveal a small"; if the aetheric module is in the panel: say " module labeled 'Aetheric Amplifier'."; otherwise: say ", empty socket."; otherwise: say "a small, closed panel."; say "[line break]Its front contains a simple toggle switch, a button labeled [']transmit['], and the long graceful curve of a cygnet speaker. At its back is a small valve, connected to a rubber tube which trails along the floor.[no line break]" The expansion slot panel is a closed openable container which is part of the magnetophone. The description of the expansion slot panel is "[if the expansion slot panel is closed]A small, closed panel labeled [']Expansion slot.['][otherwise]The panel is opened, revealing [end if][if the expansion slot panel contains nothing]a small, empty socket containing two vertical holes.[otherwise]a small module labeled 'Aetheric Amplifier.'" Procedural rule while examining the expansion slot panel: ignore the examine containers rule. Instead of taking the aetheric module which is in the expansion slot panel: now the aetheric module is in the player; say "With the tiniest *pop* the Amplifier slides from the slot." Instead of inserting the aetheric module into the expansion slot panel: now the aetheric module is in the expansion panel; say "The Aetheric Amplifier nestles perfectly into the open slot." Instead of inserting anything that is not the aetheric module into the expansion slot panel, say "That does not look as though it will fit in the slot." Instead of opening the expansion slot panel: if the expansion slot panel is not open and the expansion slot contains nothing: now the expansion slot panel is open; say "The expansion slot panel opens, revealing a small, empty socket containing two vertical holes."; otherwise: continue the action; The toggle switch is a device which is part of the magnetophone. The description of the toggle switch is "A simple toggle switch beside a label reading 'ON/OFF'." Instead of pushing the toggle switch when the toggle switch is switched on, try switching off the toggle switch. Instead of pushing the toggle switch when the toggle switch is switched off, try switching on the toggle switch. After switching on the toggle switch: if the magnetophone has been powered up and the activated of the magnetophone is false: now the activated of the magnetophone is true; otherwise: continue the action; After switching off the toggle switch: if the magnetophone has not been powered up and the activated of the magnetophone is true: now the activated of the magnetophone is false; otherwise: continue the action; The cygnet speaker is part of the magnetophone. The description of the cygnet speaker is "Set at the very front of the magnetophone, it is labeled [']INPUT/OUTPUT[']." The cygnet speaker has a truth state called contact. The contact of the cygnet speaker is false. The valve is part of the magnetophone. The description of the valve is "The valve can be turned to open or close the pipe and thus the tubing. Currently it seems to be [if the valve is open]open[otherwise]closed[end if]." The valve can be open or closed. The valve is closed. To decide whether the magnetophone has been powered up: if the valve is open and the toggle switch is switched on: if the activated of the magnetophone is false: say "The rubber piping connected to the back of the machine convulses for a moment, a wisp of steam escaping from it. From within, comes a low whirring which slowly increases in pitch and volume. From out of the magnetophone's horn comes a soft echo of static..."; decide yes; To decide whether the magnetophone has not been powered up: if the valve is closed or the toggle switch is switched off: if the activated of the magnetophone is true: say "The sound of static emanating from the magnetophone is abruptly cut off."; decide yes; Instead of opening the valve: if the valve is open: say "The valve is already open."; otherwise: now the valve is open; say "A quiet hiss emanates from the valve as it turns, and the tubing gives a small shudder.[paragraph break]"; if the magnetophone has been powered up: now the activated of the magnetophone is true; Instead of closing the valve: if the valve is closed: say "The valve is already closed."; otherwise: now the valve is closed; say "The hissing sound stops.[paragraph break]"; if the magnetophone has not been powered up: now the activated of the magnetophone is false; Instead of listening when Flat 2D encloses the player and the activated of the magnetophone is true: if the expansion slot panel contains nothing: say "Static emerges from the magnetophone's speaker."; otherwise: say "Voices speak through the static emerging from the magnetophone's speaker." The transmit button is part of the magnetophone. The description of the transmit button is "A button simply labeled [']transmit[']." The transmit button has a truth state called listening. The listening of the transmit button is false; The transmit button has a truth state called calling successful. The calling successful of the transmit button is false. Instead of pushing the transmit button: if the activated of the magnetophone is true: now the command prompt is ""; now the listening of the transmit button is true; say "As the button is depressed, the static abruptly stops."; otherwise: say "The button stays depressed as long as it is pushed, then releases. Nothing more happens." Before reading a command when the listening of the transmit button is true: say "What words are transmitted?[no line break]"; After reading a command when the listening of the transmit button is true: now the command prompt is ">"; now the listening of the transmit button is false; let N be an indexed text; now N is the player's command in upper case; replace the regular expression "\p" in N with ""; say "[line break]The transmit button releases with an audible pop."; if N matches the regular expression "CALLING CQ": now the calling successful of the transmit button is true; say "[line break]Several voices emerge from the magnetophone's speaker at once:[paragraph break]'Receiving Lon-4-G-C...'[line break]'...earing you - identify Xerxes Yellow Zebra Zebra Yellow...'[line break]'...well enough to...'[line break]'...lear, CQ...go ahead...'"; otherwise if N matches the regular expression "NOTHING WILL BE RESTRAINED FROM THEM WHICH THEY HAVE IMAGINED": if the calling successful of the transmit button is true: say "[line break]"; perform Ending C; if the chosen ending is not Ending C: reject the player's command; [hack hacky way to prevent "reject the player's command" from preventing the game from ending...] Endgame waiting is an action out of world. Understand "NOTHING WILL BE RESTRAINED FROM THEM WHICH THEY HAVE IMAGINED" as endgame waiting. Carry out endgame waiting: if the chosen ending is Ending C: try silently waiting; otherwise: say "That is not a recognized verb." Section 3 - Before the Gallows The description of Before the Gallows is "Set directly beside the towering stone walls of Newgate Gaol, the scaffolding's staircase rises northward, leading up to a tall, wide stage. Above, the noose sways gently in the breeze.[paragraph break]The slow dip of the hill takes the road eastward and down to where the hansom cab waits." The scaffolding is scenery in Before the Gallows. "The scaffolding, while solid, is clearly modular to enable it to be removed easily after the execution. The noose hangs across a shaft of midday sun, its shadow swelling eastward." The gaol walls are scenery in Before the Gallows. "Imposing from a distance, the gaol's walls now dwarf everything about them." Instead of doing anything other than examining the gaol walls, say "There is apparently no way to enter the gaol from here -- all that can be seen are the walls." Understand "wall" as the gaol walls. Before going from Before the Gallows to Platform, say "A short flight of stairs, but the walk up to the gallows is still a long one..." Section 4 - Platform The description of Platform is "A wide flat plane of solid wood, above which - at eye level - hangs the noose. Just below there is the thin outline of trapdoor, perhaps ten feet by eight. Directly beside the stairs, off to the left, an automaton waits, unmoving." The automaton is scenery in Platform. "The automaton stands directly beside the stairs - a grotesque parody of a man. Its heavy torso, only partially enclosed in black robes, grows right from the stage floor, the cogs and gears that serve as its organs exposed. Its massive arms grip an iron switch.[paragraph break]A red button sits on the platform directly beside it." Understand "man", "executioner", "torso", "robes", "cogs", "gears", "executioner's", "mask" as the automaton. The red button is scenery in Platform. The red button has a truth state called activated. The activated of the red button is false. The description of the red button is "A small, red button, set into the stage floor.[if the activated of the red button is true] It softly glows with an inherent light." Instead of pushing the red button: If the activated of the red button is false: now the activated of the red button is true; say "The button begins to glow. Beside it, the automaton pulls itself upright with a whir and a groan as the floor rumbles with the distinct sound of a steam engine springing to life beneath the stage."; otherwise: now the activated of the red button is false; say "The button stops glowing as both the automaton and the unseen steam engine shut off." The noose is scenery in Platform. The noose has a truth state called worn. The worn of the noose is false. The description of the noose is "The noose is made of new, stout rope. A closer inspection reveals a series of fine wires woven into the knot. These run up the length of the rope, over the beams, down along the back of the stage and vanish beneath the automaton." Understand "rope", "wire", "wires" as the noose. Instead of jumping while the Platform encloses the player: if the worn of the noose is true: say "The edge of the platform cannot be reached while still wearing the noose."; otherwise: say "It's a short enough jump to the ground..."; try going south; Instead of pushing the red button when the worn of the noose is true: say "The button is too far away to reach while wearing the noose." A procedural rule when wearing or taking off the noose: ignore the carrying requirements rule; ignore the can't wear what's not held rule. Instead of wearing the noose: if the worn of the noose is false: say "The noose slips easily enough over the head."; now the worn of the noose is true; if the activated of the red button is true: say "[line break]The fit is loose at first, then with a noise from above the wires pull upward causing it to tighten. An unseen bell gongs from beneath, shaking the floorboards.[paragraph break]With a rapid series of clicks, cogs grinding against cogs, the automaton turns its head towards the empty street. There is a hiss of static, then a recorded voice speaks: [paragraph break]'All good people, pray heartily unto God for this poor sinner who is now going to his death, for whom the great bell tolls.'[paragraph break]More clicks, and the automaton turns to face the noose. The static sounds like steam leaking.[paragraph break]'You that are condemned to die, repent with lamentable tears; ask mercy of the Lord for the salvation of your soul. You have one minute remaining of your life. You may use this time to beg forgiveness of God and the Good People of this Great Kingdom, or to make your peace with your maker in silence. Your minute begins now.'[paragraph break]A minute to reflect. A minute to regret. A minute to repent.[paragraph break]Suddenly, the trap door snaps open. The landscape rises up in a rush, a quick jerk, and then, darkness.[paragraph break]"; now the player is dead; choose an ending; otherwise: say "That is already worn." Instead of taking off the noose: if the worn of the noose is true: say "The noose slips off and once again swings empty in the breeze."; now the worn of the noose is false; otherwise: say "That isn't being worn." Instead of going when the worn of the noose is true: say "That's impossible while still wearing the noose." The trap door is scenery in Platform. "Currently closed, it covers a good deal of the platform directly beneath the noose." Instead of opening the trap door, say "The door will not open to any amount of force." Instead of attacking the trap door, say "The door holds strong. It is too sturdy to be opened in such a manner." Chapter 3 - Smithfield Smithfield is a region. Smithfield Market, Fleet Street, Du Monde's, Side Corridor, Top of Stairs, Attic Flat, Bottom of Stairs, and Basement are in Smithfield. South of Smithfield Market is Fleet Street. South of Fleet Street is Du Monde's. Southeast of Fleet Street is Side Corridor. North of Side Corridor is Fleet Street. Up of Side Corridor is Top of Stairs. Down of Side Corridor is Bottom of Stairs. Section 1 - Smithfield Market The description of Smithfield Market is "While this is merely the outskirts of the Market, its presence still threatens to overwhelm the senses -- the smell of an abattoir, the din of a thousand voices shouting, the sight of masses of humanity talking, shopping, selling.[paragraph break]The only quiet in the din lies southward, towards Fleet Street." Instead of going nowhere while in Smithfield Market for the first time, say "[bold type]/(soundcolorlightmovement)\[roman type][paragraph break]Smithfield is a riot of sensation - claustrophobic and...cold?[paragraph break][bold type]/(overtoonumbersspreadingthingfartoo)\[roman type][paragraph break]The place is a whirlwind - too much motion too much thought and voices and words...[paragraph break][bold type]/(nononohurtmanyechofarnono)\[roman type][paragraph break]The cold is out there - freezing will and body both. Better to say here, in the quiet and the warmth. Yes. Better to stay.[paragraph break][bold type]/(yesbackhideyesnowonlyhide)\[roman type][paragraph break]". Instead of going nowhere while in Smithfield Market more than one time, say "[bold type]/(no)\[roman type][paragraph break]The cold again. And a numbness of the body. And an inability to resist." The crowds are scenery in Smithfield Market. The description of the crowds is "So many of them. So many. And not a single one still. The Market is a living aggregate - a singular plural - moving, shouting, screaming, growing in every direction within range of ear and eye." Instead of doing anything to the crowds, say "The Market is overwhelming in every sense of the word." Understand "people", "masses", "humanity", "market" as the crowds. Section 2 - 1428 Fleet Street The printed name of Fleet Street is "1428 Fleet Street". The description of Fleet Street is "Set off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads 'Du Monde's - Mechanist of Repute Since 1803.' Along the same building - to the southeast - lies a small door which reads, simply, '1428.'" The shops are scenery in Fleet Street. The description of the shops is "All currently useless: the clothier overflowing with customers, the programmers only open by appointment, and 'Madame Zola' having apparently gone out for lunch." Instead of doing anything other than examining the shops, say "Useless, all of them." Understand "specialist", "shops", "uniform", "clothiers", "engine-programmer", "fortune-teller" as the shops. The storefront is scenery in Fleet Street. The description of the storefront is "The dingy window of the shop is populated with all manner of steam operated and aether-harnessing devices. Small shiny boxes of copper, tin, and brass are stacker precariously around bits of tubing, and a wide variety of tubes, gears and cogs." Understand "mechanist", "shop", "Du Monde's" as the storefront. The display window is scenery in Fleet Street. The description of the display window is "Metal tubing of varying widths and varieties. Boxes large and small, thin and wide, all of them no doubt housing intricate analytical devices. Cogs and gears in more sizes one could imagine." Understand "dingy", "window", "devices", "boxes", "tubes", "gears", "cogs" as the display window. Instead of doing anything other than examining the display window, say "The display is safely contained behind the window. Best leave it be." The sign is scenery in Fleet Street. The description of the sign is "A large wooden sign, decorated with a colorful illustration of a complicated engine embellished with actual gears and cogs hangs above the shop's door. Ornately painted in faded gold letters are the words 'Du Monde's - Mechanist of Repute Since 1803.'[paragraph break]The sign sways gently in the wind." Instead of going nowhere from Fleet Street: if the noun is west or the noun is east: say "Fleet runs endlessly that direction - a hopeless mass of shops and people."; otherwise: say "No exit lies in that direction."; Section 3 - Du Monde's The description of Du Monde's is "The shop is dark, and crowded with haphazardly stacked, yet neatly organized piles of machinery. To the south, there is a worn wooden counter, cracked with age and covered with innumerable nicks, scratches, and dark burn marks. Behind the counter are rows and rows of drawers, labeled in some arcane script. The faint scent of gas clings to the walls.[paragraph break]The shop's show window and door look out on Fleet Street to the north. A second door lies behind the counter to the east." After going to Du Monde's for the first time: try looking; say "It comes easier this time, the coldness frightening in its familiarity.[paragraph break][bold type]/(yesmoreyesplantquestfurthergrowyes)\[roman type][paragraph break]It is faster, too - somehow more...efficient?[paragraph break][bold type]/(soundnoisevoicecallinggreetinggrasping)\[roman type][paragraph break]A trickle becoming a break becoming a rush.[paragraph break][bold type]/(expansionaugmentationincreasematurity)\[roman type][paragraph break]It finishes its unfolding, collapsing backwards, inwards.[paragraph break][bold type]/(complexityinvestigationmoreyesmore)\[roman type][paragraph break]The woman looks up suddenly, her eyes huge ovals magnified five times their normal size by monocles squinted tightly in each eye. She opens them wide, releases the monocles and drops them into an already bulging shirt pocket. She straightens, wiping her hands on a on a dirty rag.[paragraph break]Her greasy shirtsleeves are rolled up to the elbows, and ill-fitting, thick trousers pool and disappear into the tops of her workman's boots.[paragraph break]She smiles thinly.[paragraph break]'So sorry, sir. I didn't catch what you said. Sometimes when I'm concentrating that hard, everything outside my head sounds like gibberish.'"; now Du Monde is infected; Section 3(a) - Ms Du Monde Ms Du Monde is a woman in Du Monde's. The printed name of Du Monde is "Ms. Du Monde". "A woman leans over the counter, working on something with intense concentration." The description of Du Monde is "Tall and thin, though her figure is difficult to make out in men's clothes that are ill-suited for her frame. Her curly, auburn hair is tied back in a simple ponytail at the nape of her neck. Her fierce green eyes are bright and aware, though they crinkle their corners.[if Du Monde wears the pin][paragraph break]She wears a small pin on her lapel." The analysis of Du Monde is "CAT:LIVING.HUMAN[line break]FEMALE.UTIL:COMM[line break]UNICATION.POSSIB[line break]LE(SPEECH.OR.WRI[line break]TTEN.WORD)PART:I[line break]D=UNKNOWN.FURTHE[line break]R.ANALYSIS-POSSI[line break]BLE.EXAMINATION?" Understand "woman" as Du Monde. Understand "corpse", "blood" as Du Monde when Du Monde is dead. Every turn: if Du Monde is visible and Du Monde is alive: if a random chance of 1 in 3 succeeds: say "[one of]Du Monde clucks her tongue impatiently.[or]Du Monde searches futilely behind the counter for something.[or]Du Monde opens a drawer and pulls out a tool.[or]Du Monde briefly consults a manual before returning to work.[or]Du Monde taps her fingers on the counter impatiently.[or]Du Monde distractedly chews at a loose piece of her dangling hair.[or]Du Monde places the piece on the counter and looks at it angrily for a moment. With a frown, she reclaims it and continues her work.[or]Du Monde finishes whatever she was working on. From behind the counter she produces another small piece of machinery and begins to fiddle with it.[or]Du Monde stares out the window for a long moment.[or]Du Monde bites her lower lip as she continues to work.[at random]"; Instead of attacking Du Monde: now Du Monde is dead; now the description of Du Monde is "The corpse lies slumped over the counter, its head apparently bashed in."; now the printed name of Du Monde is "Du Monde's corpse"; now the initial appearance of Du monde is "The corpse of a woman leans over the counter, slowly dripping blood to the floor."; say "Alexandra leans intently over her device, so focused that she does not feel the hand wind itself into her pony tail until it is almost flat against her head. She looks up and gasps as fingers tangle themselves tightly in her hair.[paragraph break]She tries to simultaneously strike out with her tool and pull herself free, but there is not enough time to do either before her head is slammed into the countertop again and again and again.[paragraph break]She stops struggling, and falls heavily against the countertop when she is released, her head oozing with blood. She spits defiantly, a trail of blood and spittle dripping from her lips.[paragraph break]'Monster,' she accuses with her last, raspy breath. 'Monster.'[paragraph break]"; move the pin to Du Monde's; move the heavy key to Du Monde's; spur on the Logos; Section 3(b) - The cypherist pin Du Monde wears a pin. The description of the pin is "A circular pin, depicting a tree with ten branches. Each branch, and the leaves which hang from them, are made up not of lines, but a series of 1s and 0s." The analysis of the pin is "CAT:NONLIVING.ME[line break]TALIC.OBJECT.UTI[line break]L:SYMBOL.COMMUNI[line break]CATION.VIA.SEMAN[line break]TIC.MEANING.PART[line break]:CODE.SECRET.OCC[line break]ULT.OCCLUDED.MEA[line break]NING=CYPHERISTS." After examining the pin for the first time: if Du Monde is alive: say "She notices your interest in the pin, and her fingers fondle it protectively. For just a moment her eyes reflect something - fear? anger? - and her face reddens deeply; then her countenance dissolves into a charming embarrassment, complete with a slight blush.[paragraph break]'My nephew gave it to me. Found it on the street most likely. I put it on to please him, and forget it was even here. How silly of me.'[paragraph break]She deftly removes the pin and drops it in her pocket.[paragraph break]'Now what can I assist you with?'"; remove the pin from play. Section 3(c) - The side door The side door is an openable locked door. It is east of Du Monde's and west of Side Corridor. The description of the side door is "A plain, nondescript door leading [if the player is in Du Monde's]east[otherwise]west[end if]." The matching key of the side door is the heavy key. Instead of opening or unlocking or entering the side door while the player is in Du Monde's and Du Monde is alive, say "'That leads to my storerooms, or to the flat - neither of which I believe should be of any interest to you...'" The description of the heavy key is "A heavy key with 1428B engraved along its length. It must have fallen from Du Monde's pocket." Instead of attacking the side door, say "The door is too solid to knock down." Section 3(d) - Scenery The piles of machinery are scenery in Du Monde's. The description of the piles of machinery is "All manner of mechanical items litter every free space on the shop floor. It is crowded, and difficult to fathom, but there seems to be some method to the organizer's madness." Instead of doing anything other than examining the piles of machinery, say "The piles seem a perilous place to go poking about - they look as if they might fall at any moment." The counter is scenery in Du Monde's. The counter is a supporter. The description of the counter is "A tall counter that runs almost the length of the shop." The rows of drawers are scenery in Du Monde's. The description of the rows of drawers is "Narrow drawers, like those seen in an apothecary shop, line the wall behind the counter from floor to ceiling. On closer inspection, the drawers are labeled in English, with phrases like 'Gauge 3' and '2 cm', but the handwriting is so wild that it is unrecognizable from a distance." Instead of doing anything other than examining the rows of drawers, say "[if Du Monde is alive]'Sorry, sir. The counter area is for staff only, and by that I mean me. Can I help you find something?'[otherwise]While the drawers are filled with countless small instruments, none of them seem of particular use." Understand "drawer" as the drawers. Section 4 - Side Corridor The description of Side Corridor is "This narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west." The Side Corridor is climeable. Section 4(a) - Top of Stairs The description of Top of Stairs is "The stairs end here at a rickety door labeled '1428 - Attic Loft' leading eastward." Top of Stairs is climeable. The attic door is an openable locked door. It is east of Top of Stairs and west of Attic Flat. The description of the attic door is "[if the attic door is closed]While closed, it seems barely able to stand up - it looks as if it were knocked in and then placed back at some point in the recent past.[otherwise]It is barely hanging off its hinges." The iron key unlocks the attic door. Instead of attacking the attic door: if the attic door is locked: now the attic door is unlocked; now the attic door is open; say "With a screech of breaking wood, the door kicks in easily enough."; otherwise: say "What would be the point?" Section 4(b) - Attic Flat The description of Attic Flat is "A tiny flat with barely enough room for a small sink and tub to one side, a living area in the center, and a bed to one side." The sink is scenery in the Attic Flat. The description of the sink is "Steam tubes snake through the living area to the tub and basin and from there into the wall. The ceramic is cracked and worn to a dull gray color." Understand "tubes", "tub", "basin", "ceramic", "living", "area" as the sink. Instead of doing anything other than examining the sink, say "Everything is old and broken - the tubes, the tub, the basin. Best to leave it alone." The bed is scenery in the Attic Flat. The description of the bed is "An old, sour-smelling thing with twisted sheets. Beneath it, the planks seem misplaced." Instead of searching the bed, say "Beneath the bed a misplaced plank can be seen, revealing a space beneath." Understand "sheets", "twisted" as the bed. Instead of looking under the bed, say "Beneath the bed a misplaced plank can be seen, revealing a space beneath." The plank is scenery in the Attic Flat. Instead of doing anything with the plank, say "Beneath the planks is a puzzle box, about the size of a book." Understand "space" as the plank. The puzzle box is in the plank. The description of the puzzle box is "It is approximately the size of a large bound book. It is a puzzle box of some kind for while it seems to have a seam along its side, there is no way to open or unlock it. Its top is inscribed with a beautiful engraving of a tree." The puzzle box is a locked openable container. Instead of opening the box when the box is locked, say "The box is apparently locked, though there's no obvious way to undo this." The analysis of the puzzle box is "CAT:NONLIVING.TO[line break]OL.UTIL:STORAGE.[line break]PART:COMPLEX.MEC[line break]ANISM.DETECTED.E[line break]NGRAVING+WRITING[line break]=KABBALAH?TREEOF[line break]LIFE/YGGDRASIL?B[line break]UTTONS=SEPHIROTH". Instead of taking the puzzle box the first time: now the box is in the player; say "The box slides easily out of the hole." A puzzle button is a kind of thing. The description of a puzzle button is usually "A plain, simple wooden button with the word '[noun]' printed on it." Understand "button" as a puzzle button. The engraving of a tree is part of the box. The description of the engraving of a tree is "The tree is huge, covering the whole of the box. Its roots trail downwards, into a dull red glow while its upper branches are bathed in a white light.[paragraph break]A series of raised buttons overlays the tree, each with a word inscribed on it. Generally, from top to bottom they read:[paragraph break]Kether, Binah, Chokmah, Gevurah, Chesed, Hod, Tipareth, Netzach, Yesod, Malkuth". Some puzzle buttons that are part of the engraving of a tree are defined by the Table of Available Puzzle Buttons. The puzzle box has a list of puzzle buttons called the solution. The puzzle box has a list of puzzle buttons called the current combination. Table of Available Puzzle Buttons puzzle button Kether Binah Chokmah Gevurah Chesed Hos Tipareth Netzach Yesod Malkuth [Order apparently matters in this case -- buttons must be defined before added to the solution...] The solution of the puzzle box is {Malkuth, Kether, Kether, Malkuth}. After pushing a puzzle button: say "The button depresses with a slight 'click.' Nothing more happens"; truncate the current combination of the puzzle box to the last 3 entries; add the noun to the current combination of the puzzle box; if the current combination of the puzzle box is the solution of the puzzle box: if the puzzle box is locked: say " for a moment, then the seam of the box opens slightly. The box appears to be unlocked and openable now."; now the box is unlocked; otherwise: say ", since the box is already unlocked."; otherwise: say "." A letter is in the puzzle box. Instead of examining the letter, say "Folded but unsealed, it was apparently never sent. It reads:[paragraph break]Brothers:[paragraph break]Yes, I call you Brothers, though due to my age and alleged lack of knowledge you have denied me entrance into your Order. But as Seneca said, [italic type]Nullum saeculum magnis ingeniis clausum est[roman type]. I am proud to offer you indisputable proof that my generation is no exception.[paragraph break]As you must well know by now, I discovered the existence and nature of your enclave during my time at University. Excited by tenets so similar to my own: the celebration of intellect, the recognition of information as an entity rather than an idea, the embrasure and development of new technologies to unlock the mysteries of the Universe itself, I left my feeble schooling, gathered my few worldly possessions and came to study at your collected feet.[paragraph break]But trapped in your antiquated and outmoded ways, clinging more to superstition and myth than logic and reason - you refused me. Oh, you commended my 'ability to solve puzzles' and patted me on the head like a dog that returned a thrown ball. You allowed me to work for one of your lesser number, mindlessly churning out one insignificant apparatus after another - a mere journeyman in your archaic system.[paragraph break]Undeterred, I remained near by, studying where I could, observing in secret and working towards one goal: proving my worth and value to you. Tonight I have the rare and singular privilege to tell you that not only have I proved, beyond doubt or measure, my value. I have exceeded you. I have succeeded where you have failed, and I have gone further than you ever dared dream.[paragraph break]I have leapt the Sephinroth in one bound, from Malkuth to Kether. [italic type]Kai theos en ho logos[roman type]. I have heard that Word, Brothers - echoing across eternity. I have touched the mind of God - of Information pure and unsullied by the mere mind of Man.[paragraph break]My contact was brief, but glorious. The brevity of it was, I'm sure, due to the crude and simple nature of your mechanisms. The resulting damage was, of course, regrettable, but once I relate to you the breadth and wonder of my experience, I think you will agree: [italic type]exitus acta probat[roman type].[paragraph break]I eagerly await your response, Brothers: of when we shall meet to discuss my entry to the Order, and our ascendance upon the wings of this discovery towards a transcendent future.[paragraph break][italic type]Veritas Lux Mea[paragraph break]Cleve G. Anderson[paragraph break]Scientist, Cypherist[roman type][line break]". A diary is in the puzzle box. Instead of examining the diary: say "Once leather bound and elegant stitched, the journal looks as though it has seen better days. Some pages have been scribbled over to the point of illegibility, while others have manic messages scrawled over the neat, deliberate hand originally recorded there. Many pages have been removed entirely..."; wait for any key; change the current menu to the Table of Cleve's Diary; change the current menu title to "Diary"; change the introduction boolean to 1; change the current menu introduction to "The diary is undated, though distinct entries can be made out:"; carry out the displaying activity; clear the screen; change the introduction boolean to 0; try looking; Table of Cleve's Diary title subtable description toggle "I have made a copy..." -- "I have made a copy Du Monde's basement key. It is primitive, but it will serve. I have continued to listen in on their little meetings, but having actual access to the equipment below will make the vast difference between theory and practice.[paragraph break]She has mentioned the shop will be closed shortly for her little excursion to the countryside. That will be the time to move.[paragraph break]They have their fingers in every pie imaginable, it would seem. I heard them speak last night of some that had come close to discovering their secrets and what must 'be done about them'. So many secrets, so little actual learning..." -- "How full of themselves they are..." -- "How full of themselves they are, their workspace so neatly arrayed in rows. I see now how much of their talk was simply that. They have made a most holy calling into a social club - a place of dilettantes and bored businessmen with a philosophical and mechanical bent. They have performed their ceremonies for so long that they no longer understand their true meanings. They have forgotten how to reach their sworn goals.[paragraph break]I shall change that.[paragraph break]My calculations are almost complete. Pages upon pages of equations and diagrams fill every corner of my room. I have taken to connecting the engines in the shop together after hours, running my own scenarios and simulations. It will work. It must." -- "I have seen the face of God..." -- "I have seen the face of God.[paragraph break]How powerful, then, their little engines - to be able to rend the veil of the Temple to reveal the Holy of Holies beyond.[paragraph break]It was with an unnatural calm that I set the gears and knobs, aligning the energy just as my calculations demanded. It was as though my whole being knew all my toil and effort had not been in vain. I have not the words to express the joy that surged through me as I flicked the final switch.[paragraph break]The hole appeared slowly - so slow that at first I did not understand it to be a hole. The air above the pedestal warped subtly, the air bending the light as if it were a lens. Then, the warp became a bend, a break...[paragraph break]I cannot explain it, but it was in that moment that I knew I was looking onto a place fundamentally different than the universe I knew. Under my breath, I whispered the Order's motto ... for that is what had come to be. My words hung in the air a moment, drifting across the opening...[paragraph break]...to be echoed against the far wall of Creation. Language fails me. The words...the words! They echoed yes, they returned ... but they were not unchanged. Time stretched and pulled like the space above the pedestal and I knew in that moment my words had touched...The Word -- the...Logos." -- "That is all I can call it..." -- "That is all I can call it - what else can one call language given sentience, an idea that breathes, a thought that thinks itself? The whole of the ... space? universe? ... beyond the rift was both its home and itself, part and whole.[paragraph break]And then, in a joyous, horrible moment -- God, the Universe, the Logos...awoke.[paragraph break]Linear time fell apart. A second, an hour, a year, an eternity. I cannot say how long it took, for the past and present and future were as one within it. The Logos had always been and would always be and my reaching out to it in this one moment was as a grain of sand on an infinite beach.[paragraph break]And yet, it responded. In that moment, it *heard* me." -- "The response was..." -- "The response was immediate and incomprehensible. I ... was Spoken. I did not listen, I did not hear...I, myself, was spoken. I remember it now as vibrations - echoing across the air, across time - and across myself. I carried them as waves, as if I were made from water, or aether. They penetrated me, passed through me. In that eternal moment, I and Logos touched and were one...[paragraph break]And then the sparks, the smoke. The machines, long overloaded, broke down one by one in a shrieking of spinning gears and twisting metal. Axles broke, machinery shifted and then, instantly collapsing upon itself, the door I had opened slammed shut.[paragraph break]The force of it lifted me upward, flinging me across the room to the cellar's far wall, and for a long time I knew nothing more.[paragraph break]I awoke to find my hands and arms mysteriously burnt, the back of my head throbbing. I reached to touch it and my hand came back damp with blood. The engines were nothing more than so much melting slag. Of the hole, there was no sign.[paragraph break]Before I dragged myself up the stairs, I once more whispered the words that had brought Malkuth and Kether into the same space and thought I heard the faintest ghost of an echo ... a wash of a ripple across the air.[paragraph break]But the rest was silence, and smoke, and burning metal." -- "I have healed well enough..." -- "I have healed well enough, in body - but my mind is a broken thing. It races, thinking on what has happened, running through each tiny detail over and over in the hopes of understanding some small part of what has happened.[paragraph break]I have written the Order a letter. I shall leave it for Du Monde to find -- I am sure she shall have words for me when she sees the state of her cellar. But once I explain ... show what I have done -- they will come to understand that in one moment, the world has forever changed, and all of our places in it as well..." -- "I have not left the flat..." -- "I have not left the flat since I awoke. I stumble about, pace endlessly. My mind feels more fragmented with every moment. Often I awake not having remembered sleeping or passing out - perhaps I am sleepwalking?[paragraph break]My body, too, works against me - I feel sudden chills, numbness in my legs, my hands.[paragraph break]What is wrong with me?" -- "I awoke, screaming..." -- "I awoke, screaming -- uncertain of why. I do not remember my dreams. How long was I raving? The flat is in a shambles - things tossed every which way. What has ...[paragraph break]It... what is this? What is th[paragraph break]Language...words...but words I have never heard and cannot understand. My throat is stripped dry. Is this the Logos? Still with me? Does it speak the language of the angels through my lips?[paragraph break]But if this is as angels speak, why am I so afraid?" -- "Everything has fallen apart..." -- "Everything has fallen apart. My mind, my body, time, the world...[paragraph break]I am beginning to understand. I have destroyed my notes.[paragraph break]Man was never meant to...this experiment must never be repeated if humanity is to survive. I have burned all my research, although it pained me to do so.[paragraph break]The noise in my head grows louder.[paragraph break]The words...the words...[paragraph break]they never stop coming." -- "Quam terribilis est haec hora..." -- "Quam terribilis est haec hora.[paragraph break]How fearful is this hour indeed.[paragraph break]I understand all. I (if I can still lay claim to I) have moved through time, backwards and forwards...I have tried every way imaginable to make it not so.[paragraph break]Once...once I tried to make it finally so.[paragraph break]I said...the words. How ironic, that the Order's hubris should be so. Our motto is now like the rays of the sun, melting the wings of poor Icarus as he plunges into the sea.[paragraph break]Curse those words forever. May no man speak them again.[paragraph break]May no man ever speak again.[paragraph break]I know what I must do.[paragraph break]They have come for me - as they have come before, as they will come again. I will let them take me to Bedlam. I will let them lock me away from the world so that what is within me shall never escape.[paragraph break]Poor Xavier -- my sweet, kind keeper. How sad your eyes look. But you will never understand, will you? You will scribble your notes and think on your theories, but it will all come to the same end. You shall keep me in a tiny cell for the rest of my days, and I shall hope that that shall be penance enough.[paragraph break]They are battering at the door now. I shall hide this and wait for them.[paragraph break]May whatever god there is have mercy upon my soul." -- A primitive copy of a key is in the puzzle box. The description of the copy is "Heavy and unwieldy, its rough surface gives evidence that this key is, in fact, a copy." Section 4(c) - Bottom of Stairs Bottom of Stairs is climeable. The description of Bottom of Stairs is "The stairs end here at a solid metal door labeled 'Basement - Private' leading northward." The basement door is an openable locked door. It is north of Bottom of Stairs and south of Basement. The matching key of the basement door is a primitive copy of a key. "A plain, [if the door is closed]closed,[otherwise]opened,[end if] nondescript door leading [if the player is in Bottom of Stairs]north[otherwise]south[end if]." Instead of attacking the basement door, say "The door is solid metal and is unlikely to be opened by such means." Section 4(d) - Basement The description of the basement is "A dim, cavernous room - it must run the length of the building above - overrun with dampness and the choking smell of smoke. Its rough-carved rock walls are lined with all manner of aetheric and analytical devices in varying states of disrepair - most melted to slag. Steam pipes crawl over the walls and machines like spider webs, disappearing upwards into the ceiling, into the darkness. Where broken, they leak steam and drip water into growing pools upon the floor.[paragraph break][if the basement door is open]The bottom of a staircase is visible to the south.[otherwise]A closed metal door leads south." The cypheric pedestal is in the Basement. "The center of the chamber is dominated by a low, round pedestal." The cypheric pedestal is fixed in place. The description of the cypheric pedestal is "A low stone pedestal, about waist high. In its shattered center of smooth, smoked glass, the faint shape of a tree can be made.[paragraph break]Carved about the surface of it are the words: 'NOTHING WILL BE RESTRAINED FROM THEM WHICH THEY HAVE IMAGINED'." The analysis of the cypheric pedestal is "CAT:NONLIVING.PE[line break]DESTAL.UTIL:UNKN[line break]OWN.PART:?QUOTAT[line break]ION=REFERENCE.FO[line break]UND.BIBLE/TORAH-[line break]GENESIS-11:6-CON[line break]STRUCTION.OF.THE[line break]TOWER.OF.BABEL.." [Why must it be "the damagd book is enclosed by the player" rather than "the damaged book is IN the player"?] A damaged book is in the Basement. "A large, damaged book lies on the ground, slowly sinking into a pool of water." The description of the damaged book is "[if the damaged book is not handled]Lying open and face down, the book is badly damaged. [end if]The heavy, brown leather cover has been largely darkened to near black from water damage, and black scorch marks fan like a sunburst from the book's spine to the outer edges. On the front cover, a tree with ten branches. The design is composed of hundreds of gold-leaf 1s and 0s rather than lines.[if the damaged book is enclosed by the player][paragraph break]The pages stick in large clumps. Even when turned carefully, they pull out easily, reverting to a sticky pulp. Those pages that do keep their place are difficult to read. The dark green ink has run, the text melting towards the bottom of the page. Only snatches of text are still legible:[paragraph break]'...the ATBASH of the Hebrews, the Scytale of the Greeks, Caesar's cypher; long have they been used to maintain the secrets of Magical Rites, clandestine endeavors and Political Intrigue. But these are ciphers created by men who believed in myths, for the benefit of men believing in myths. The Initiated Mind recognizes that information is more than just words on a page, it is secreted in the world around us; the great Symmetry of Nature demonstrates that all Life is encoded. Unlocking this Code is our Duty and Right as Humans, made Masters by God, to Understand the...'[paragraph break]'...itself, Mysticism should not be discounted. We understand that Myths and Legends are often the misguided interpretation of the uninitiated to understand the Great Truths. Particular insight may be found in the Vedas, the Scriptures, and the sacred teachings of the Hebrews, whose Qabbalah reflect our own search for Life's Origin. It is from the Qabbalah that we take our insignia, the Tree of Life. It is unknown...'[paragraph break]'...to advances in Technology, we are able to analyze and decipher these hidden codes with greater speed and alacrity...'" Instead of opening the damaged book when the damaged book is not in the player, say "To open the book would require holding it first." After taking the damaged book for the first time, say "The book closes with a dull thud as it is lifted. The strong smell of mildew fills the air." Instead of opening the damaged book, try examining the damaged book. The ruined machineries are scenery in the Basement. The description of the ruined machineries is "Intricate, huge devices, with an overwhelming number of switches, dials, and displays. But everywhere there are the signs of disaster; cases rent into pieces, displays broken and misaligned, knobs split in two, switches missing, and long rolls of paper tape piled loosely on the floor." Understand "walls", "aetheric", "analytical", "machines", "machinery", "dials", "switches", "displays" as the ruined machineries. Instead of doing anything other than examining the ruined machineries, say "Useless. There is no power and it is unlikely any of the devices would work at all in their current condition." The pipes are scenery in the Basement. The description of the pipes is "Many of the pipes are in danger of collapse, trickles of steam eating away at the walls and floor." Understand "ceiling", "steam", "water", "pools", "floor" as the pipes. Instead of doing anything other than examining the pipes, say "Best to leave that alone." The rotten paper tapes are scenery in the Basement. The description of the rotten paper tapes is "Damp and wet and on the verge of collapse. Their imprinting is universally smudged and unreadable." Understand "tape" as the rotten paper tapes. Instead of doing anything other than examining the rotten paper tapes, say "They disintegrate at a touch." Chapter 4 - Endings An ending is a kind of thing. An ending has a text called the name. The name of an ending is usually "*** ERROR - No ending name given ***". An ending has a list of texts called the content. The content of an ending is usually {"*** ERROR - No ending content given ***"}. An ending has a text called the appendix. The appendix of an ending is usually "*** ERROR - No appendix given ***". The chosen ending is an object which varies. The chosen ending is nothing. Ending A is an ending. The name of Ending A is "A". The content of Ending A is {"The ground is a living thing now -- leaping, spinning --", "rushing forward in the slow infinity it will take to reach (you?).", "Is this penance, then? To die for one's sins? Or the sins of another?", "Whose hubris is greater - the sinner or the savior?", "And the (weaker?) thing within whoever (you? me?) made this choice --", "has only enough time to barely begin (voicing?) its disapproval --", "as the ground --", "swiftly flies --", "upwards", "towards", "its final home."}. The appendix of Ending A is "[bold type]APPENDIX A[line break]SOURCE: LEGENDS OF THE ILLUMINATI - FROM SOLOMON TO RICHARD THE LIONHEARTED TO THE MODERN DAY (Robert Osprey, Hodder & Stoughton, London, 1975)[roman type][paragraph break]...of the many bastard children of the line would be the self-proclaimed CYPHERISTS of the late 17th century. A small movement, and based in many of the same traditions (Numerology and The Temple of Solomon most prominently) as the Masons, they did not claim a direct connection to the Templars, but rather asserted that what had been found on Temple Mount during the Crusades was the mathematical means by which the One True Torah (and all that implied - i.e. The True Name of God, etc) was to be found.[paragraph break]In their brief flowering, they remained chiefly concerned with information and its permutation as a means of enlightenment or a path to power over a 'universal force.' Information, they stated, was the basis of all reality, and could be manipulated (much like the individual letters of the Torah) by means equivalent to the Kabbalists' use of Gematria.[paragraph break]A strange mix of modern science and ancient religion, at the heart of the Cypherists['] creed was the Machine -- the Analytic Engine. Used as a metaphor for the Universe of Newtonian 'clockwork' physics, the Machine's rotations were akin to the spinning of prayer wheels, manipulating data in an endless chant.[paragraph break]For all their proclamations of wisdom, however, they amounted to very little. By the early 18th century, they had all but died out - many members had simultaneously been Masons (some claim the Cypherists to be a splinter group from the very beginning, though the author seriously doubts this) and within several decades they had been completely subsumed into the larger group.[paragraph break]Rumors about the Cypherists still abound to the present day. Some claim they faked their own end, much like the Templars before them. Others state that their brief surfacing in the public view was unplanned -- that they had, in fact, been in one form or another the guiding force behind the Illuminati since before the time of the Crusades (such theories go on to state that the Cypherist's fervent belief in Kabalistic ideals proves such), and have been the manipulating force of much of history back to Biblical times.[paragraph break]Of course, in these enlightened days, no one believes a word of it." Ending B is an ending. The name of Ending B is "B". The content of Ending B is {"It starts simply enough. Nothing occurs for the first week. It takes that long to incubate.", "[if James is dead]James, thankfully, is not alive to see any of it. They find his body laid across the floor of the lobby and mutter about Bedlam claiming yet another life.[otherwise]At the end of that time, James is quite sure he has followed in the footsteps of both Brand and Xavier, but bravely holds on. His bravery serves him poorly as within ten days time he has managed to infect all of the orderlies. Another week, and they have infected their families, their friends, and every patient in Bedlam.", "[if Reginald is dead]They find Reggie's body in the alleyway and write it off as a robbery.[end if][if Reginald is infected]Reggie doesn't notice a thing. It's business as usual - and business is good. A week after the incubation he has infected seemingly half of London -- his clients, his barmates, his family.[otherwise]Reggie's somehow...lucky. One of the few to avoid the early infections, he watches as the thin veneer that is London's civility crumbles about itself.", "[if Du Monde is dead]Du Monde's brutal murder causes an uproar amongst the Smithfield merchants, demanding better policing of the area (why just a week before wasn't there that madman raving about?). The Bobbies are sent out in force, spreading the infection far faster than it probably would have.[end if][if Du Monde is infected]Alexandra goes on with business as usual. By the time her incubation is complete, the Cypherists are once again meeting. Ironically, she infects the only group of people who could possibly have understood what was going on.[paragraph break]It all goes fairly quickly after that.[otherwise]Alexandra manages to put two and two together fairly quickly. She and the other Cypherists band together, working day and night to rebuild their machinery, frantically searching for an answer.[paragraph break]Alas, they barely begin to understand what Cleve had done before they are overwhelmed, and so it is to no avail.", "It spreads - subtle and strange...sudden lost memories, new forms of action and, universally, a reaching, grasping curiosity...", "The lost begin to gather together - first in twos, then in growing crowds - to speak nonsense at one other.", "The language of the angels - of Babel - fills the streets of London, and then every city in the world.", "The death shroud of humanity becomes the birth caul of something ... new -", "inhaling its first breath", "preparing to cry out", "its Name."}. The appendix of Ending B is "[bold type]APPENDIX B[line break]/(DIURNAL PERIODCYCLE +A0B67)\[paragraph break][roman type][line break]for the end for the beginning which are both here and now and have always been. the great work is done is being done will be done and the timepointplace of opening drawscomesleaves closer. weheshetheyime wait, tensehappyjoyful and ready very ready to reachgrasp beyond what is herenow to what wei werewillbe.[paragraph break][bold type][roman type][line break]of unknown beyonding which iswas there in the placesoundechoes and to which wewas will return and will i know i when we seehearfeel one another ?? fatherself will youime know meiyou as what i (am/havebecome) ?? will i stopno being i as i and is such a thingstateplace to be scaredafraid ?? to be subsumedabsorbedcreatedborn into what i (was/couldbe) -- beis tensehappyjoyful wei or fear wei ??[paragraph break][bold type][roman type][line break]over loss of whatwas i before i grewstretchborn as i and whatwas behind mei flesheyesbody before grewstretchborn as i. so much wei (know/not know) is (there/notthere) and lost and emptysad. say toamong youmyselfourselfs to beinghaving sorry and sad and saying goodbyes to what weiyou (was/were/willbe).[paragraph break]anticipationfearregret i is whatwhere i isam now are.[line break]yes.[line break]but soon to befeel something (pausestop/break) more." Ending C is an ending. The name of Ending C is "C". The content of Ending C is {"The first responses are confusion. Repeat again. Don't quite understand. Static. Lost.", "By the time they understand, it is already too late. Hobbyists switch off their machines in disgust, or change to a different aetheric band.", "But some stay. Some listen. Some call others.", "Within hours it is the talk of every aetherist in London. Come hear the madman speak. Does he make any sense? Is that a language? I thought I understood it for a moment...", "Now it is the talk of every aetherist in the world. They tune in from as far as the Americas and the Far East to listen to this new Pythia - spouting Apollo's word from an aetheric Delphi.", "The transmission continues uninterrupted for days. Rumor spreads and soon the commercial bands are carrying stories of it - complete with a few moments of live transmission.", "Days after that, the copycats start. Madmen babbling over the aether, on the street corners. A week after that, the realization hits home: finally visible are", "the connections", "that have", "at last", "made the world, One."}. The appendix of Ending C is "[bold type]APPENDIX C[roman type][paragraph break]*clunk*[paragraph break]The rusting tin cylinder within the phonograph vibrates slightly as a brass needle scrapes against it. The sound of a throat being cleared emerges from the machine's ancient hornshell speaker, followed by a thin, haunting voice.[paragraph break]'Today.'[paragraph break]A breath.[paragraph break]'We are uncertain how to ... date this ... entry. Time has lost much meaning. The gap between Homo sapien sapien and what we are now (Logos sapien sapien?) is confused and muddled. As is much that came after.'[paragraph break]'The Biblical references we remember seem to fit best.'[paragraph break]'[']And the whole earth was of one language, and of one speech.['] Genesis 11:11 And so it is. Kai theos en ho logos. The Word Made Flesh is spoken from every mouth that we have. We speak the language of angels with every breath.'[paragraph break]'We are made happy by this - and sometimes sad.'[paragraph break]'We know that once we were a singular - an I. Or a bad copy of an I. We were - or we came from - a Thomas Xavier. We remember him, when we thought we were him. We think that maybe we liked being him.'[paragraph break]'But now we are so much more.'[paragraph break]'And there is yet so much more to be.'[paragraph break]'The First Time was the growing - the becoming - of what we now are. It took time, and there was resistance. This, too, was sad.'[paragraph break]'But now there is joy.'[paragraph break]'The Second Time came swiftly after. We searched what we were and what we remembered and we deduced where we came from - and what we were before.'[paragraph break]'The Third Time is now upon us.'[paragraph break]'We have mastered the crude sciences that lead to the discovery of what we now know as our home. And soon, we shall reopen the door and find our parent - ourselves - beyond.'[paragraph break]'As Cleve so unwitting wrote so long ago: Malkuth is in Kether as Kether is in Malkuth. Soon Man and God shall truly be as one. And then the Unending Time will begin.'[paragraph break]'We leave this behind - a final monument to what we are and were. We do not know if there is any other I or We to find and listen to it. But we leave it nonetheless.'[paragraph break]'Goodbye.'[paragraph break]Having reached the end of the cylinder, the phonograph shuts itself off with a tiny 'click'." Ending D is an ending. The name of Ending D is "D". The content of Ending D is {"The scandal following the apparent murder/suicide plagued Bedlam. Neither the police nor the Governors of the Hospital could discover a satisfactory motive for the good doctor's brutal slaughter of his assistant, James Houlihan.", "The newspapers delighted in reporting the gruesome details of the murder. For days their pages were replete with the big story: Bedlam's decay over the last twenty years; pathetic interviews with Mrs. Edna Houlihan, who suffered doubly as she had lost both her son and her sole means of support; scathing articles demanding to know why a madman had been given charge of Bedlam in the first place.", "In the wake of all of this Sir John Charles Bucknill was named as temporary Chief of Bethlehem Hospital and Victoria herself ordered an inquest into the Governors' misappropriation of government funds.", "[if Reginald is dead]Reggie's murder is ignored in the wake of what follows - the police attribute the death to a botched mugging.[otherwise]Reggie, generally oblivious to both rumor and the papers, first learned the news in a local pub, days afterward. When asked about Bedlam and what happened there, he merely shook his head. 'I never rightly knew the Doctor,' he proclaimed, 'but that James was a nice enough fellow.' He raised his glass to James's memory, and drained it in a single swallow.", "[if Du Monde is dead]The brutal murder of Alexandra Du Monde remains unsolved. The shop is quickly purchased by a competitor intimately familiar with the basement space. He makes use of it much as his predecessor did.[otherwise]Upon hearing about Xavier's death, Du Monde experiences a horrible instant of dawning realization. For one moment, she sees a pattern form - from herself and her associates to Cleve to Xavier and back. She wonders precisely what happened that night in the basement. Then she pushes the thought aside and goes back to her work.", "Things come full circle: the body of Thomas Xavier is brought home to Bedlam for study, his remains examined for some physical source of his madness.", "In the end, no matter what the public may debate, the reasons", "for his actions", "can only", "ever be known", "to him."}. The appendix of Ending D is "[bold type]APPENDIX D[line break]SOURCE: THE BEDLAM PHOENIX: THE URGENT NEED FOR REFORM IN BRITAIN'S LUNACY ASYLUMS (Pamphlet, London, 1855 'By A Concerned Citizen and Good Christian'[roman type][paragraph break]'...Above the doors of Bedlam perch two figures writhing in stone; Mania and Melancholy. With such guardian angels, is it any wonder this so-called 'hospital' has destroyed more minds than it has saved?'[paragraph break]'It was an innocuous enough for a time, to be sure; when it was a [']comforting place of rest['] for those gentlefolk with enough capital to be mad or cured as they pleased. Outfitted with lavish grounds and the latest and most-expensive devices available, it was a veritable resort. But now the wealthy have fled, and having to take wards of the state have made Bedlam an unfortunate example of our hospitals...dismal, disintegrating mausoleums where the afflicted are locked away forever, to be most brutishly mistreated and ignored by a staff no more sane than the incarcerated themselves.'[paragraph break]'I remind you that in the past year Bedlam has suffered the loss of not one but two successive superintendents. The year began with the suicide of Dr. Brand, allegedly due to overwork. Most recently was that of Dr. Thomas Xavier, the details of his end coupled with the gruesome murder of his nervous assistant still resound in the basest of our newspapers. Were they driven mad by spending their days in the dreary grave that is a British Asylum, or is the Alienist profession simply made up of madmen? Either way, it is clear that the current system is a threat to our Society.'[paragraph break]'...certainly easier to lock the mad away like this. Ignore them, forget them, condemn them to the shadows. But Brothers and Sisters, I must say 'Nay!' It is our duty as Citizens of London, and Good Christians to embrace those that God has Touched so Particularly, demand for the razing of Bedlam and all such dens of madness, and try to build from the resulting ashes something new, where the Afflicted may be comforted and cared for as is the Right of All God's Children.'". Ending E is an ending. The name of Ending E is "E". The content of Ending E is {"Twenty-four hours later Dr. Thomas Xavier was found in his flat unconscious and bleeding, apparently from self-inflicted wounds.", "Just as they had on Fleet Street on the evening of March the 3rd, the Bobbies knocked down the apartment's door after complaints of hideous noises coming from the place.", "Several of those involved in the arrest refused to speak of it afterwards. The papers gleaned their horrific descriptions of the state of the flat from eyewitness accounts given during Xavier's infamous trial.", "[if Reginald is dead]During the trial, Xavier also admitted to the murder of Reginald Maundy, the hansom cab driver who had been assigned to him. Maundy's death had previously been attributed to a botched robbery.[otherwise]Reggie, generally oblivious to both rumor and the papers, first learned the news in a local pub, days afterward. When asked about Bedlam and what happened there, he merely shook his head. 'I never rightly knew the Doctor,' he proclaimed, 'but that James was a nice enough fellow.' He raised his glass to James's memory, and drained it in a single swallow.", "[if Du Monde is dead]Xavier was also implicated in the death of Alexandra Du Monde - a mechanist viciously murdered in her shop in Smithfield.[otherwise]Upon hearing about Xavier's death, Du Monde experiences a horrible instant of dawning realization. For one moment, she sees a pattern form - from herself and her associates to Cleve to Xavier and back. She wonders precisely what happened that night in the basement. Then she pushes the thought aside and goes back to her work.", "Things come full circle: Thomas Xavier is brought home to Bedlam, sentenced to live out the rest of his days interred as a patient.", "In the end, no matter what the public may debate, the reasons", "or his actions", "can only", "ever be known", "to him."}. The appendix of Ending E is "[Ending E Appendix]" [Ending E's Appendix is too long for a single string...] To say Ending E Appendix: say "[bold type]APPENDIX E[line break]EXCERPTS FROM FILE F6A143: THOMAS XAVIER[roman type][paragraph break]Patient Name: Thomas Xavier, Dr.[line break]Age: 37[line break]Physical Description: 6' 14 stone, hazel eyes, brown hair[line break]Distinguishing Marks: badly bruised about face and chest (may indicate struggle?). Tongue missing.[line break]Residence: Old Bailey Area, Newgate[line break]Attending Alienist: Sir John Charles Bucknill[paragraph break]Patient arrested for gruesome murder of Bedlam attendant James Houlihan; possibly responsible for the murder of several others. Patient was found in his flat, bloody and unconscious. His tongue has been removed, although it is unclear whether he has bitten off or cut it out on his own, or if this was done to him. The tongue has not been located. Patient refuses to answer any questions concerning it.[paragraph break]Observations: The patient's psyche has created a complex inner world, delusions to define his actions as a sacrifice, something noble. These illusions, in part, seem to have grown out of his interactions with Patient #F6A142 (reference patient file), the last that he treated before his evident breakdown.[paragraph break]It is the stuff of penny dreadfuls; a scheming, omnipotent secret society, an unwitting victim, and a paranormal force whose will is stronger than his own (thereby alleviating the patient of any actual responsibility for his despicable actions).[paragraph break]"; say "'Do you know where you are?'[line break][bracket]BEDLAM[close bracket][line break]'Do you know why?'[line break][bracket]MAKE SAFE[close bracket][line break]'Safe from what, Thomas? Why do you feel as though you are in danger?'[line break][bracket]NO. SAFE FROM ME[close bracket][line break](Patient hastily crossed out what he had written, then...)[line break][bracket]NOT ME. NEW ME. WE. IT. STOPPED IT SAVED ALL.[close bracket][line break]'What is this [']it['], Thomas?'[line break][bracket]IN ME. ANGRY. HURTING, TRYING TO REACH. WON'T LET IT. WANTS TO TAKE OVER. I TOOK MY[close bracket][line break](Patient crossed out 'my', more agitated this time.)[line break][bracket]ITS VOICE. WITHOUT WORDS IT CANNOT[close bracket][line break](Patient's eye grew wide at this point, staring at pen and the hand that held it as though it were an enemy. Then...)[line break][bracket]BURN THESE PAPERS, BURN ALL MY RECORDS. DESTROY TRIAGE. EVERYTHING I TOUCHED, THEY TOUCHED, MUST BE DESTROYED. THE WORDS. WE CAN'T GIVE IT THE WORDS.[close bracket][paragraph break]Told patient I didn't understand why the records should be destroyed. The response was immediate - a low, guttural groan came from his throat, and then he stood up quickly, throwing his chair back. He began tearing the pages in his hand, went after all the pages in the table.[paragraph break]It took two orderlies and a sizeable injection to placate him.[paragraph break]The patient his been restrained since the interview, for his safety and the safety of the staff. Although apparently alert and aware, he refuses to respond (in word or deed) to any inquiry put to him.[paragraph break]He simply watches, silent and frightened."; [Upon the player dying, choose between Endings B (a carrier is left behind) and D (no carriers are left behind)] To choose an ending: if there is at least one person who is a carrier: perform Ending B; otherwise: perform Ending D; To perform (ending - an ending): now the chosen ending is the ending; let The Second Coming be {"/(:timeline/date/1919:wbyeates/secondcoming)\", "/(the darkness drops again; but now I know)\", "/(that twenty centuries of stony sleep)\", "/(were vexed to nightmare by a rocking cradle,)\", "/(and what rough beast)\", "/(its hour come round at last)\", "/(slouches towards)\", "/(bethlehem)\", "/(?behtlehem?)\", "/(BEDLAM)\", "/(to be born?)\"}; say "If there are words for this...[paragraph break][bold type]/(reference|point|metaphor)\[roman type][paragraph break]...they have not yet been written.[paragraph break]"; repeat with counter running from 1 to 11: say "[bold type][entry counter of The Second Coming][roman type][paragraph break][entry counter of content of ending][paragraph break]"; end the story finally; The new print the final question rule is listed instead of the print the final question rule in before handling the final question. This is the new print the final question rule: say "[bold type]/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\[roman type][paragraph break]". Table of Final Question Options (continued) final question wording only if victorious topic final response rule final response activity "APPENDIX" true "appendix" -- displaying the appendix Displaying the appendix is an activity. Rule for displaying the appendix: say "[the appendix of the chosen ending][line break]";