Windows CE - The Ultimate Companion/ROMMAN_CE.iso/Files/Games/Frotz CE Games/HEIST.Z8

Z-code for Z-machine | 1997-10-07 | 358KB | 1,590 lines

Resident data ends at c990, program starts at c990, file ends at 57428

Starting analysis pass at address c989

End of analysis pass, low address = c990, high address = 47788


[Start of text]

S001: "century"
An Original Piece of Interactive Fiction
Copyright (c) 1997, Andy Phillips

"
S002: "951024"
S003: "5/12"
S004: "a"
S005: "You can't go that way."
S006: "the"
S007: "the"
S008: "the"
S009: "the"
S010: "the"
S011: "the"
S012: "the"
S013: "the"
S014: "the"
S015: "the"
S016: "the"
S017: "the"
S018: "Darkness"
S019: "It is pitch dark, and you can't see a thing."
S020: "As good-looking as ever."
S021: "Nameless item"
S022: "your former self"
S023: "Just standing here is enough to give you a shudder. The many gravestones
and the ivy-covered spire of the church to the north blend in perfectly with
the sinister atmosphere. Even the gates to the south, with the promise of
relatively safe terrority beyond, can't begin to neutralise their gloomy
surroundings."
S024: "Your uncle's final resting place is a simple hole in the ground. No
decorations, no glossing over. Just a sloppily dug pit. You doubt he would have
appreciated the ordinariness of it all. Uncle Henry was definitely a man in
favour of the grand occasion."
S025: "Your uncle's final resting place is marked by a hole in the ground."
S026: "A group of mourners are gathered around the latest addition to the
cemetery. The parish priest stands nearby reads the last rites painfully
slowly."
S027: "The group consists of about twenty people, all of them unfamiliar. The
occasional white handkerchief adds a sense of purpose to the gathering and
judging by the stern, unforgiving faces of some of the crowd most of them are
here out of necessity rather than respect. Even the priest seems lacking in
conviction, his voice distant and hollow."
S028: "A large bag made out of black canvas which you've always found an
extremely convenient item to have around. There should be two leather straps on
the back enabling you to sling the bag over your shoulder, but one of your
flatmates recently cut them off as a rather unfunny prank."
S029: "A plain white envelope which to anyone else would seem so ordinary. But
there is something about the way your name has been perfectly written on the
front that manages to make you both fearful and curious about the contents."
S030: "The man returns your gaze with penetrating green eyes."
S031: "The skillfully crafted box is quite an oddity. There are no markings of
any kind on the surface and no apparent locking mechanism."
S032: "It's quite scary to think that in this day in age a sheet of plastic
could mean so much. This particular version of modern currency won't expire for
another few months. The holographic logo of the National Depository adds a
little touch of flair to the otherwise dull background."
S033: "The hole in the ground has been recently dug. The lowering of your
uncle's coffin into what seemed at the time like a bottomless pit remains vivid
in your memory, more than can be said for the vast majority of the rest of the
proceedings."
S034: "Your uncle's coffin lies at the very centre of the grave, the lid shut
tight."
S035: "Your uncle's coffin lies open in the centre of the grave."
S036: "A short piece of dark silk, nothing too remarkable about it."
S037: "His death seems to have changed absolutely nothing. Even now his eyes
stare coldly ahead and the look of indifference in his expression remains as it
was. The smartly pressed dark suit and matching shoes typify his arrogance."
S038: "It resembles a chunk of grey plastic more than it does a professional
tool. You wouldn't even know what it was if the words "Expresso Glass Cut"
weren't inscribed in tiny lettering on the side."
S039: "Stone pillars firmly hold up the ceiling and wooden pews are neatly
aligned next to the central aisle. But it is the feeling of unwelcomeness that
strikes you most about the place, as if you have crossed a significant
threshold in your life. Even the statue of the Virgin Mary, normally associated
with kind, loving feelings seems to follow your movements with hateful eyes."
S040: "The aisle runs from north to south."
S041: "The church organ, so much the centre of attention on thanksgiving
ceremonies, is located near the entrance."
S042: "The organ in this church is rather strange. You are somewhat surprised
that there only seem to be seven keys, and their modern style doesn't seem to
fit in with the multitude of pipes rising out of the back. Equally oddly
someone has inscribed the text "A-G" on the raised wooden lid."
S043: "An organ key made of white plastic, nothing too striking about it only
you'd expect to see it on a modern synthesiser rather than an organ in the
local church."
S044: "an incredibly low pitched"
S045: "a moderately low pitched"
S046: "a moderately high pitched"
S047: "quite a high pitched"
S048: "an extremely high pitched"
S049: "an incredibly high pitched"
S050: "an ear shatteringly high pitched"
S051: "The altar is made out of dark stone, it reminds you more of those used
for human sacrifices in ancient times than the ones used in modern religious
affairs. The sight of it makes you incredibly uncomfortable. The private
quarters of the priest are to the west. The image of the Holy Crusade depicted
on the stained glass window overlooking the altar hardly fills you with
feelings of patriotism."
S052: "The priest's quarters are to the west and the exit from the church is to
the south."
S053: "The altar is nothing more than a block of dark stone covered in white
cloth. The golden chalices and other precious ornaments have been sensibly
removed. It would seem the priest isn't overfilled with faith for the general
public. Some words have been boldly written on the front,

"Only under the watchful eye of the demon can the deeds of sinners be truly
repented, and only in the presence of the Lord can those sins be revealed.""
S054: "The stained glass window is old, at a rough estimate you'd say a couple
of centuries. The window seems to glorify the very things the church crusades
against. Images of death and destruction abound, composed of many shapes and
colours of glass."
S055: "The circular piece of red glass strangely seems to glow with an inner
fire."
S056: "A short piece of wood about half a metre in length. It looks almost
identical to its parent in every aspect except size."
S057: "A cross that was formerly two seperate pieces of wood, the crucifix
appears as if it were fashioned from one. The joint between the two sections is
totally invisible."
S058: "You find yourself in quite a small room. The light entering through a
hole far above casts long shadows on the dusty floor. The main feature of the
room is a large statue of some sort. You would have expected it to be of a holy
figure given its location, but the sculpture doesn't even begin to resemble
somebody with good intentions."
S059: "The rest of the church is to the east."
S060: "The statue is quite tall, not to mention frightening. The sculpture
quite clearly resembles a female pirate. Quite a shiver runs down your spine
when you realize that in some ways you are looking at a mirror image of
yourself. Nethertheless the statue of a villainess seems an odd thing to find
on holy ground. The sword in the young girl's hand is firmly held, a patch
covers one eye and the other one seems to watch you like a hawk does its prey."
S061: "A hole about a couple of centimetres in diameter. You'd guess it to be
quite deep."
S062: "A panel has opened on one wall exposing an aged canvas painting that was
once encased in the stonework."
S063: "The painting has been drawn on aged canvas, but after the dust has blown
away it looks almost as good as new. The artist was clearly untalented, you
struggle to realize the picture shows a lighthouse whose yellow beam falls
precisely on the peak of a distant mountaintop. Underneath the artwork someone
has scribbled a quote,

"Five eyes for an eye---Merciless Maria, 1698""
S064: "You're on the main road on the west side of town, near a somewhat
sinister churchyard to the north. The street continues eastwards towards the
town centre. The southwestern view is considerably less pleasing to the eye,
where a nasty selection of warehouses and abandoned factories make up the
area's industrial district."
S065: "The street runs from southwest to east and the churchyard is to the
north."
S066: "At one time this part of town was flooded with factory workers and horse
drawn carts, but now it is completely deserted. Most of the buildings have long
gone, though one warehouse to the south is still standing. Huge piles of junk
are visible to the west and northwest, evidence of the growing neglect of the
citizens of this once proud township."
S067: "The town is to the northeast, whilst the rest of the industrial district
can be explored to the west, northwest and south."
S068: "an"
S069: "Like an unwanted child, an old fairground machine has been left
abandoned like the factory buildings."
S070: "A metal tray with depressions designed to take coins, but you would be
seriously surprised if it were still functional."
S071: "A ball of glass about five centimetres in diameter. Its surface is
covered in dust."
S072: "A steel key, quite large and shiny."
S073: "various"
S074: "The balls are of a wide variety of colours and are made of plastic. They
are supposed to contain prizes, but you very much doubt there will be anything
of value inside."
S075: "A rod with a metal hand on the end, quite a nifty item to grip things
with."
S076: "Everything from second rate car parts to defunct vacuum cleaners, all
stacked into makeshift piles. The local scrapyard was never designed to be the
town's major tourist attraction, but the way useless bits of metal and plastic
have been dumped here is quite apalling. To the north there is another example
of misuse of land, and the road to town is to the east."
S077: "The centre of the scrapyard is dominated by a heavy duty crane,
seemingly now in disuse."
S078: "This once powerful machine lies forgotten. An electromagnet once used to
shift tons of metal hangs limply from a rusty cable. The ladder that provides
access to the driver's cabin hardly looks secure."
S079: "This is probably the most dodgy looking ladder you have ever seen. The
rungs appear to be loose, and the entire structure is practically about to fall
apart."
S080: "an"
S081: "A huge heap of junk, most of it precariously balanced and ready to
collapse at any moment. This place is an accurate symbolism of modern society,
unpleasant but necessary. The scrapyard is to the south, and to the southeast
is the escape route from this environmental catastrophe."
S082: "The only exits are to the south and southeast."
S083: "A clear piece of polythene, the kind supermarket chains churn out in
droves under the guise of plastic bags."
S084: "A piece of polythene that has come away from the rest of the rubbish
lies nearby."
S085: "You are standing in the shadow of a massive building to the south of
you. If anyone ever was desperate enough to need to work in this place, they've
long gone. The iron door to the warehouse is firmly closed. A wooden packing
crate lies abandoned outside in the middle of a huge expanse of concrete."
S086: "The road to town is back to the north."
S087: "Fairly standard as wooden packing crates go. The torn label indicates
this particular parcel originated in Eastern Europe."
S088: "Near the crate is a coil of strong rope, dirty but still useable."
S089: "The strong industrial rope is covered in specks of dirt. The nylon
threads have started to come loose, but there shouldn't be any danger of the
rope breaking under stress."
S090: "The central part of town is fairly quiet. Only the occasional pedestrian
trudges wearily along the heavily littered pavement. While the main street runs
from east to west, a somewhat more minor road heads off to the north in the
direction of a set of residential buildings."
S091: "The jewellers store looks well protected. The armoured glass windows
must have cost the proprietor a bundle. A side street leads southeast past the
shop. "
S092: "This particular store is obviously not in the same league as the ones in
major cities, but the owner seems to be running quite a profitable business.
Various kinds of gold watches and pretty earrings adorn displays around the
room, but the secure counter to one side is obviously designed to hold prime
attractions. The jeweller must be getting concerned about his old age. He has
taken the sensible, if somewhat risky, precaution of having a fire exit
installed in the east wall."
S093: "A glass case that forms the main attraction of the jewellery store. The
metal contacts under the cover are a giveaway that the counter is protected by
an alarm system. You'd hazard a guess that if the glass were fractured in any
way, it would also trigger a protective mechanism."
S094: "The owner of the store, a middle aged man, seems quite eager to serve
you."
S095: "The jeweller is a middle aged man with dark hair and a trimmed
moustache. He appears to have been in the business for quite some time."
S096: "an"
S097: "The road leading between town buildings of lesser importance than the
ones on the main street is as degraded as you might expect. The coucil has long
since given up on trying to repair the many cracks on the pavement. The only
area of interest is the fire exit leading into a particular establishment on
the west side."
S098: "Apart from the fire exit, the only other direction you really want to
take from here is northwest."
S099: "You're on the fringes of the town. To the east the road leads off into
the unwelcome suburbs. A gravel path leads north through parkland, while the
rest of the town is back to the west. On the southeast side of the street is a
reminder of the area's more peaceful past, but the once homely Golden Lion pub
was closed down years ago."
S100: "You have no reason to visit the potentially more dangerous part of
town."
S101: "The Golden Lion pub is no longer in business."
S102: "A shady looking man leans against the park fencing, murmuring the
occasional word or two."
S103: "The man looks more than a little rough. He's dressed in an extremely
scruffy coat covered in patches. Occasionally you receive a view of many rotten
teeth, and he has a habit of repeatedly sneezing. Quite the unpleasant type."
S104: "The image presented by the town park couldn't be more pleasant. The
river to the north appears clear in the afternoon sunlight. Birds sing merrily
in distant trees. The gravel path leads off into various patches of flowerbeds
to the east, and the comparitively ugly town street is to the south."
S105: "Paths from here lead off north, south and east."
S106: "Rocks at various points in the river cause the clear water to froth
wildly. The occasional trout is visible beneath the surface. The beauty of the
image presented by this natural flow of water is quite breathtaking. A gravel
path leads back to the south and to less pleasant areas of the town."
S107: "The gravel path leads back to the south, and the banks of the river
continue to the east."
S108: "Plants and flowers of several types and innumerable quantities surround
the gravel path leading through the park. Under the blue skies the patch of
daffodils look like a sea of pure gold. An occasional insect hovering around
their petals completes the picturesque scene in front of you."
S109: "Gravel paths lead north and west from here."
S110: "The flowers are beautiful. There are no other appropiate words to
describe them. The daffodils are the most spectacular, with their perfectly
formed golden petals quite dazzling to the eye."
S111: "some"
S112: "The river here flows considerably faster than further upstream. The
water splashing against the rocks appears quite ferocious. A stone bridge would
provide access to the remainder of the park to the north, but the stonework has
crumbled away, leaving nothing but useless chunks of moss covered masonry. A
gravel path leads to the south, while a treacherous muddy bank to the west
leads upstream."
S113: "The bridge has crumbled away. Now there is no way to get to the other
side."
S114: "The river appears vicious from your vantage point. The water splashes
powerfully onto the rocks before passing quickly under the stone bridge."
S115: "Chunks of rubble mark the spots where sprawling skyscrapers once stood.
The groups of muggers that used to prey on the innocent here have moved on to
other hunting grounds. The only residence left standing is a small block of
flats to the north, and the darkest of alleyways to the northeast leads to the
rear of the building."
S116: "There's nowhere leading down from here."
S117: "The rubble looks totally unsafe. You'd best just stick to the paths."
S118: "With its poor lighting and wooden reception desk the entrance to this
block of flats looks more like a cheap hotel. The elevator has long since
fallen into disrepair. A staircase leads up to the residences of the people
unfortunate enough to have to live in this dump."
S119: "The only exits are the staircase and the one you entered the building
by."
S120: "The building's landlady is in the middle of performing the unenviable
task of cleaning the room."
S121: "An old woman in her fifties, with a look on her face you would associate
with an evil witch. In fact, she would only need to add a broomstick to the
cleaning trolley she carries around to make her image quite a frightening one."
S122: "This is soon followed by the noise created by the flat door being
unlocked. The landlady comes into the room, gleefully brandishing the duplicate
key she used to gain entry."
S123: "This is quickly followed by the sound of the old woman coming into the
room. She marches over to you, propelled by her rage at your deception."
S124: "The landlady's observant eyes quickly take in the open flat door and you
standing incriminatingly nearby."
S125: "As she reaches landing level, she looks furiously at the bunch of
flowers thrown on the floor."
S126: "The sight of her coming into view gives you flashbacks of childhood
scoldings. She looks over the tokens of respect laid out with an expert eye for
detail, before turning her attention quickly to you."
S127: "Bits of plaster have fallen off the walls onto the creaky wooden
floorboards. Water drips in occasionally from tiny holes in the roof. Like the
rest of the building, the landing should be classified a danger zone. Next to
the door closest to the top of the stairs, several tokens of respect have been
haphazardly arranged for the late occupant of the flat."
S128: "The only areas of interest are the door to the east and the stairs which
lead back down to the lobby."
S129: "The door to the flat lies invitingly open."
S130: "The door to your uncle's flat is firmly closed."
S131: "An extremely narrow gap which runs between the door and the frame."
S132: "Kindness and love always seemed totally alien to your uncle, yet the
interior of the flat where he spent his final days feels warm and cosy. Now
that all his belongings have been taken away, the room has an aura of emptiness
about it. All that remain are a comfy armchair and a cuckoo clock on one of the
walls. The front door is to the west, while the rest of the flat is in the
opposite direction."
S133: "An extremely comfortable looking armchair on wooden legs. The cushions
decorated with images of hearts and flowers seem an unusual choice for your
uncle. It's almost as if he left this chair here for your benefit."
S134: "The cuckoo clock is quite a novel item. Tiny brass hands are attached to
the front of a black face, and the numbers are engraved in silver. The
timepiece appears to no longer be functional. The wooden hatch containing the
cuckoo is firmly shut, the pendulum has gone and the clock is onimously
silent."
S135: "If anything, the kitchen feels more empty than the other part of the
flat. The only thing the removal services left in this room was a weird looking
oven. Your uncle obviously hadn't been properly servicing the lights. They are
clearly out of commision."
S136: "The glass is covered in dirt, and any locking mechanism there was has
long since gone."
S137: "There's something about this switch that intimidates you. Maybe its that
it's the largest single component of the oven, or the dark sphere on one end.
Whatever it is you're sure this lever is the main control."
S138: "A tiny metal tray near the base of the oven, dulled by the passage of
time."
S139: "A secret passage which leads to the north. Your uncle went to some
lengths to hide this."
S140: "A secret doorway has opened in the north wall, just underneath the
cuckoo clock."
S141: "This must be the room where your uncle would sit gloating over his
triumphs. Many glass cases contain what you can only presume are his previous
successes. These however, pale into insignificance next to the centrepiece of
the room: a beautiful scale model of a city and its coastline, one of the most
remarkable works of art you have ever set your eyes upon."
S142: "The scale model is an excellent work of art. The buildings are perfectly
sculpted, and the detail is so incredible that even the street lights have been
included. The model seems peculiarly alive somehow, almost as if real people
are living inside this tiny world."
S143: "The original was a true masterpiece. This replica is so good it would be
hard to recognize as such, if it weren't for the vainly written signature of
your uncle in the bottom left hand corner."
S144: "A curved piece of steel which portrudes from the wall."
S145: "If you were foolish enough to walk along this alley late at night, you'd
probably see the unfortunates of this town asleep in damp cardboard boxes.
Right now the alley is deserted. Far above you is a dirty rear window to one of
the flats. Located a lot closer by on ground level is a coucil refuse bin."
S146: "The front of the flat building is to the southwest."
S147: "The dirty window is some distance above you."
S148: "A coucil refuse bin, used frequently by the town's underpriveliged
inhabitants. Someone has stolen the lid, and the bin is full to the brim with
rubbish."
S149: "colour photos"
S150: "a student receiving a degree from a professor. You can hardly recognize
yourself in that silly looking gown"
S151: "a cat burglar receiving a bar of gold from an all too familiar man. Your
face is completely obscured by a balaclava mask"
S152: "a young boy playing with a remote controlled toy boat"
S153: "a ship's captain standing proudly next to his vessel"
S154: "CRUISING TO SUCCESS"
S155: "a young girl playing on a sandy beach, carrying a harmless bucket and
spade"
S156: "a female pirate standing on a rocky beach, carrying a fairly menacing
cutlass"
S157: "MARIA'S EYE"
S158: "a statue of a medieval knight, wearing battered armour and carrying a
shield"
S159: "a tour guide wearing a silly uniform and carrying a clipboard"
S160: "A GUARDED TOUR"
S161: "a rather unimpressive medal made out of plastic. It must be a toy or
something"
S162: "a nice shiny gold medal. It must belong to somebody in the armed forces"
S163: "BASIC QUALITIES"
S164: "a musician carrying a violin and wearing a cheap pair of shades"
S165: "a threatening gangster carrying a machine gun and sporting a sinister
pair of sunglasses"
S166: "RENDEZVOUS"
S167: "You get the impression that you're on top of the world. The moonlight
spectacularly reflects off the waves which repeatedly bash against the cruise
liner's hull far below. To the east is a rather impressive looking recreation
deck and swimming pool, and a well used metal staircase leads downwards to the
main deck."
S168: "You're on the main deck of the cruise liner. The ornate wooden panels
which make up the floor are completely spotless. Minor decks are to the east
and west. The sound of music drifts up from the hatch in the centre of the
deck, while a staircase provides access to the observation deck above."
S169: "In daylight this area would be cram packed with tourists trying to get a
tan from the hot Caribbean sun, but now all you can see are a rack of sunbeds
awaiting the big morning rush of desperate passengers. A Victorian style
lampost is on the east side of the deck, near to a set of steps which lead to
the swimming pool below."
S170: "There are only two ways you can leave this deck, those being the set of
steps and the western route to the observation deck."
S171: "A rack of well used plastic sunbeds. They're of the reclining seat type,
and the wires underneath are starting to feel the strain of regular usage.
Judging by the number present there must be a lot of passengers on this
vessel."
S172: "The bits of wire are losing their simultaneous battles with nature and
humanity. Many of them are starting to come loose."
S173: "A short length of rusty wire. It's quite thin and will no doubt prove
useful, considering your newly discovered talents."
S174: "Decorations such as the pleasant trees can only add to the brilliance of
the scene. The swimming pool's water is crystal clear. Illumination is provided
by pale turquoise lights under the surface. You could stay here forever, if it
weren't for more important issues dominating your thoughts."
S175: "A rubber dinghy floats on top of the water, nearby a couple of people
playing in the pool, making quite a bit of noise."
S176: "The swimming pool provides quite a spectacular view, but it is somewhat
spoilt by the disruptive splashing caused by its two current inhabitants. They
appear to be a young couple in their early twenties, and from what you can
gather, if they weren't out in the open they'd be doing the most indiscreet of
things."
S177: "The man in the pool must be a waiter. He has abandoned his uniform in
order to pursue his love interests."
S178: "A white jacket with silver buttons and matching pants make up the
uniform of one of the ship's waiters. The golden insignia on one of the sleeves
reads "HMS Silver Dolphin", which you assume must be the name of the cruise
liner."
S179: "The young couple seem to be enjoying themselves. The rubber dinghy
floating in the pool seems to have been forgotten in favour of a different
pastime."
S180: "The deck on the right hand side of the ship provides a nice view of the
ocean on which the cruise liner so wonderously cruises along. The westerly
breeze blowing on your face is quite refreshing. You think you can make out a
tiny Caribbean island in the distance."
S181: "The main deck is to the west."
S182: "an"
S183: "A steel cabinet with a bright red warning sign mars the otherwise calm
atmosphere."
S184: "The cabinet is made of steel. A red warning sign reading "Emergency Use
Only" is stamped on the front."
S185: "Engine oil in a steel container. There's hardly any left but the little
it contains could prove quite useful."
S186: "an"
S187: "An emergency distress flare. Just a red cylinder with an innocent
looking black cord hanging from one end, but your guess is if you pull it
you'll really start off the fireworks."
S188: "You're on perhaps the only part of the ship that feels insecure. The
shadows cast by the surrounding vessel make you feel cold and unsafe, and the
reassuring presence of the lifebelts is shattered by the poorly maintained
railings, supposedly designed to prevent innocent sleepwalkers plunging to a
watery grave."
S189: "The rest of the cruise ship is to the east."
S190: "The safety railings are less than adequate. Metal supports weakly hold
them together. The white paint is starting to scrape off revealing bare wood
underneath. These things probably haven't been replaced in years."
S191: "several"
S192: "Hollow circles of red and white plastic, one of those items you hope you
will never have to use in what remains of your life."
S193: "an"
S194: "Concerns about your well being are hardly restored by the old wooden
lifeboat hanging limply from a pulley system. It's more resemblant of a
disaster than the means of escape from one."
S195: "The old wooden lifeboat looks so much out of place next to its modern
counterpart you're almost sure it's just intended as scenery. The ropes and
pulley that connect it to the cruise liner give the impression of a deadly trap
awaiting unsuspecting passengers."
S196: "A wooden pole that used to be part of the cruise liner. Hardened white
paint covers its entire length, and a bit of metal is sticking out at one end."
S197: "From the moment you set foot on the wooden planks that make up the hull
of this barely seaworthy craft, you realize you've made a dangerous, perhaps
fatal, mistake. Half of the nails that are supposed to hold it together have
gone missing, and the rope that provides a lifeline to the cruise ship looks
barely able to take your combined weights."
S198: "There's no apparent way to get off this tiny craft. It would appear you
are doomed!"
S199: "The sheet of cloth is dark. It looks rather unpleasantly similar to a
shroud."
S200: "A sheet of black cloth is in the lifeboat's interior. It must have once
covered up something important, but now it lies forgotten."
S201: "The supporting rope looks incredibly weak. It can only be a matter of
seconds before the threads come undone and send you plunging to the watery hell
below."
S202: "Quite an extraordinary feat of engineering. Huge sheets of metal held
firmly in place with rivets, but they're not what's grabbing your attention. At
first you think it can only be a trick of the light, but then you realize the
ladder leading up the side of the ship really is there."
S203: "With its expensive red carpenting and exotic plantlife in precious
chamber pots, this area of the cruise ship is almost reminiscent of a palace.
The source of some rather pleasant music appears to be the bar area to the
east, and on the west side is a doorway leading to the lounge. A hatchway above
leads up to the main deck, whilst a staircase continues downwards to the cabins
below."
S204: "The smoking lounge is dominated by priveleges for the higher classes.
Coffee tables of the finest glass are matched by chairs crafted of rich, dark
wood. Portholes at evenly spaced points around the room provide a stunning view
of the surrounding ocean."
S205: "The exit from here lies to the east."
S206: "One of the tables stands out from the rest. You suspect it may be
because it is being used by the only other occupant of the room, a white haired
man wearing the smartest of dinner jackets."
S207: "You doubt you will ever see such a fine table again throughout the
remainder of your life. The brass legs are fashioned in the forms of beautiful
Greek godesses, and the mirrored surface they support is devoid of even a
single speck of dust."
S208: "The seat is made of hard wood. You think it might be mahogany, but
carpentry never was one of your strongest subjects. While you were at school
you were more interested in playing pranks on the teachers than listening to
what they were actually saying."
S209: "Quite an old man, you would guess. His white hair and matching moustache
are the features you might expect of an officer in the army. He's definitely
dressed for any occasion. To say the dinner jacket he is wearing is smart would
be an understatement."
S210: "A standard deck of playing cards, which from the look of it is one of
the white haired man's most prized possessions."
S211: "The overturned card lies on the mirrored surface, its face pointing
downwards."
S212: "Champagne in a green glass bottle. The label is quite an expensive one
and the cork is firmly in place."
S213: "This bar was clearly designed with the wealthy element in mind. An old
fashioned gramaphone fills the air with timeless musical classics, and the
stores are well stocked with fine wines from all over the world. The eastern
end of the room is a huge dance floor, upon which smartly dressed couples move
exquisitely back and forth."
S214: "The dance floor is to the east. The rest of the cruise liner is in the
other direction."
S215: "A well crafted silver tray, round in shape and polished to a shine. Some
writing has been engraved on the back, "HMS Silver Dolphin.""
S216: "The dance floor is made of beautifully carved wooden panels. It seems to
be the centre of the social life of the cruise liner's passengers. People dance
to and fro with such delightfulness you are almost tempted to join them. Laser
lights span the entire room, coming off a spinning globe on the ceiling."
S217: "The cocktail bar is to the west."
S218: "The captain of the cruise liner is immediately identifiable. He is
dressed in a highly attractive blue suit and golden cufflinks. His black hair
has been meticulously combed, and he would make any girl's ideal date."
S219: "It is little wonder the ship's captain has chosen her as his date, her
silver frock would be enough to seduce anybody. A necklace made of rubies and
quite splendid earrings would have most men you know falling at her feet."
S220: "Brandy in a glass of the finest crystal, one of the cruise liner's
specialities."
S221: "As with the rest of the cruise liner, the outfitters have only chosen
the most luxurious of fittings, even for the areas which only serve as a
connection. The entire south wall is made of toughened glass. Many types of
fish swim in harmony in the artificial ecosystem beyond. This particular
corridor runs from east to west, passing even more delightful, if not exactly
necessary, additions to this magnificent watercraft."
S222: "The corridor runs from east to west, and a staircase leads upwards."
S223: "The end of the corridor has a feeling of the ultimate tribute about it.
The walls have been plastered with paintings of famous historical sea captains,
and the Union Jack has been patriotically hung above a massive bronze plaque.
The entire area appears to be memorial to past sailors, but to you it seems
somewhat pitiful that it should be on board a boat designed for pleasure."
S224: "The corridor leads east from here."
S225: "A simple bronze urn, with some writing around the rim, but since it is
in Latin you are unable to understand what it says."
S226: "You seem to have reached the termination point of the corridor. Compared
with the rest of the cruise ship it seems rather bare, though you must admit
the rather impressive door to the south gives sufficient compensation for the
lack of scenery. Some distinctly superior items of decoration are on show to
the west."
S227: "You can tell right away that this cabin belongs to the fussy Countess.
The four poster bed covered in gold inlaid sheets suggests the nobility, the
rope used to call servants the arrogance of such a woman. On the east side is
the bathroom. The door to the cabin is to the north."
S228: "You'd rather not see the contents of the Countess' bathroom."
S229: "The benefits of belonging to a noble family are without number. The soft
velvet pillows and gold inlaid sheets are typical things the owners take for
granted."
S230: "A small pine table situated next to the four poster bed. You're
surprised it doesn't have a million drawers for the Countess' little
amusements. In fact, it doesn't have a single one."
S231: "The cabin's wardrobe is just near the bed, a further luxury the Countess
probably barely notices exists for her wellbeing."
S232: "A fancy wardrobe made out of white wooden panels, as usual those
belonging to the upper classes have to have things above the norm."
S233: "an"
S234: "The very best of party dresses. The royal blue coloured silk is studded
with the occasional glittering diamond, and the neck is surrounded by a string
of pearls."
S235: "The sleeping woman reminds you of an old hag you once had as a
schoolteacher."
S236: "The captain of the ship has a small, cosy cabin. Murals of sea creatures
on the ceiling provide a beautiful distraction from the more standard fittings.
The bed looks fairly mediocre with its boring plain sheets, and the light blue
shading of the lights is quite strange. Besides the cabin's main entrance to
the north, there are other sections of the cabin to the southeast and
southwest."
S237: "You would guess the captain has some valuable possessions, and to leave
now would waste an extremely good opportunity."
S238: "In the light of the cabin, the captain no longer looks anywhere near as
pleasant as before. His golden cufflinks seem slightly dull, and his black hair
now looks uncombed."
S239: "A pretty little glass with a gold rim. The red wine inside is probably a
magnificent beverage."
S240: "This is everything the bathroom in your flat could be but isn't. The
white porcelain sink and toilet are both modern and charming to look at. The
room is dominated by the sight of silver, and most things you can see from taps
to shower handles are made of the precious metal."
S241: "The rest of the cabin is to the northeast."
S242: "On one of the walls is a fairly tiny cupboard. It is at the moment
closed."
S243: "The cupboard on the bathroom's wall has been opened."
S244: "A cupboard on one of the bathroom's walls, with oak doors and golden
handles in the shapes of fish."
S245: "A cylindrical shaped pill, bright pink in colour. You only recognize it
as a sleeping pill because your grandmother used to have exactly the same
type."
S246: "A hollow glass cylinder. Even though it doesn't contain a lethal poison
it still gives you unpleasant reminders of that evil faced dentist you used to
have several years ago, especially seeing as it has an incredibly sharp needle
sticking out of one end."
S247: "The room where the captain performs his more mundane tasks is a lot more
ordinary looking than the rest of the cabin. A portrait of a naval commander
adds an official touch, the desk underneath it a feeling of authority. The
porthole on the east wall provides a view of the rest of the cruise liner,
making you feel like the queen of the castle."
S248: "The only way out of here is to the northwest."
S249: "The captain's desk is extremely well polished, without even the
slightest scratch on its wooden surface."
S250: "The naval commander depicted on the portrait has a firm expression and
is dressed smartly, almost certainly a relation of the captain of this ship."
S251: "A fountain pen made out of solid gold, it must be of considerable value.
The initials that used to be on the rim have faded away, a small button extends
out of the lid."
S252: "The portrait has moved slightly to one side, exposing a solidly built
steel safe that was behind it."
S253: "The steel safe has been opened by a combination of brute force and
cleverness."
S254: "hollow metallic shapes"
S255: "square"
S256: "You are at the top of a short expanse of white cliffs. A narrow path
leads down to a rocky beach below. To the north of you is a large area of
grassland. Leading northwest is a road to more civilized territory, but it is
what is to the east that grabs your attention. The lighthouse was probably
built centuries ago, but its once clean walls are covered in patches of black,
and like the rest of this coastline, it is completely deserted."
S257: "It's being generous to even call this a road, but you can't think of a
better word to describe this weathered patch of stones that continue to the
northwest. Grasslands stretch away far to the east, but the west side
terminates sharply at the edge of the clifftop."
S258: "This road seems to lead nowhere, and you have no wish to follow it."
S259: "Your life expectancy would considerably shorten if you took that route."
S260: "an"
S261: "On one side of the road is an ancient relic of a vehicle. This
particular car doesn't look like it's been used in years."
S262: "There's no way you could get the car to start. The paintwork has almost
completely gone, the trunk is practically ready to fall off, and the bonnet is
no longer present at all. One of the wheels has disappeared, and the engine has
passed its sell by date. Basically, the whole thing is a wreck."
S263: "The trunk has seen better days. The lock has been taken away, and all
that's left is a sheet of rusted metal that can barely move."
S264: "The magnetic compass is normally the lifesaver of any adventuring type,
but this one is of no use whatsoever. The glass casing is cracked, and the
metal needle seems to point in any direction except from north."
S265: "A metal needle that formerly belonged to a magnetic compass. It's quite
thin but has become considerably blunt with age."
S266: "A strip of hardened gray plastic which once formed the part of a working
car engine, but those days passed a long time ago."
S267: "You're standing on an enormous field of grass. The rolling flat
landscape is marred only by the presence of the occasional tree which shakes
loosely in the wind. The vegetation ends abruptly to the south at the edge of
the clifftop. To the west of you a narrow road winds its way towards a distant
village."
S268: "The only worthwhile ways to travel from here are south and west."
S269: "You're not sure how old the sword actually is, but it must have been
forged centuries ago. The steel blade looks unusually fragile and is covered in
rust. The only part of the cutlass which has completely resisted corrosion is
the beautifully fashioned golden handle."
S270: "The golden handle is without doubt the most magnificent part of the
cutlass. It feels delightfully smooth to the touch and adds a bit of class to
an otherwise standard weapon."
S271: "The key is quite small, but it is clearly made out of bone and one end
is fashioned from an animal's skull. Just the thing the ruthless pirate
Merciless Maria would carry around with her."
S272: "The interior of this warning beacon is barely an improvement on the
outside. Planks of wood that used to make up the furniture are scattered around
the room. A spiral staircase leads up to the top of the building. The steps are
full of cracks and little chunks of masonry. In one corner is a hatchway which
provides a route deeper into the ground."
S273: "The view from the top of the lighthouse is unmatchable. The large
proportion of grasslands to the north and the mountains in the distance are
clearly visible. In the opposite direction are the swirling seas and perilous
clifftops. Most of the glass that once protected the beacon has failed the test
of time. A cool sea breeze passing through the broken panes gently brushes your
face."
S274: "The spiral staircase leads downwards."
S275: "A beam of blinding yellow light, extremely powerful and no doubt similar
beams have saved many sea vessels from terrible fates."
S276: "This part of the lighthouse is littered with evidence of someone
spending many a stormy night here in supposed safety. What's left of the bed is
heaped in one corner. The only item still intact, a fairly cheap looking table,
is covered in a thick layer of dust."
S277: "The only way out of here is upwards."
S278: "an"
S279: "The power source for the building is an old fashioned kind of
electricity generator, a bulky machine which takes up most of the space."
S280: "The way the sea sweeps slowly up the sandy beaches makes you want to sit
down and relax, but there's no time for that while you're on the job. The beach
stretches eastwards to a more sheltered area, and the only other way to proceed
is by taking the dangerous path to the top of the cliffs. The sand here is far
from perfect. It is full of pieces of rock that make it less than welcome."
S281: "One of the pieces of rock is somewhat larger than the others, a white
chunk of clay which is embedded in the sand near your feet."
S282: "The white chunk of clay is made of the same material of the cliffs, so
it must have broken free. It seems to be quite hard and its surface has been
smoothed by repeated battering from the weather."
S283: "This section of the beach seems to be better protected from fierce
weather than the area to the west. The cliffs that surround you provide more
than an ample defence against raging winds, even the clumps of seaweed seem
totally undisturbed."
S284: "To the north of you is a gloomy cave entrance surrounded by peculiar
rock formations."
S285: "The entrance to the cave is dark. You're almost certain little natural
light reaches the inside."
S286: "One rock formation in particular catches your eye. Two platforms of
stone portrude from the sand and there is a small gap between them."
S287: "The clumps of seaweed are a horrid green colour and are situated at
various points on the coastline."
S288: "A curved piece of clear glass, which probably used to belong to a beer
bottle or something."
S289: "Water drips from the stalactites on the roof of the cavern. Hardly any
light penetrates from outside, meaning the cavern interior is quite a contrast
to the outside world in both atmosphere and safety. The large crack which runs
down one of the walls emphasizes the latter point uncomfortably well."
S290: "Most waterfalls you have seen in your life have been beautiful, but this
one looks decidedly ugly. Perhaps it is the atmosphere of the cave, or that the
slippery path next to it looks more than a touch dangerous."
S291: "A large crack which runs completely up one of the cavern walls. It seems
to have been formed naturally by the shifting of huge weights of rock."
S292: "gemstones"
S293: "A secret compartment has opened up near the large crack, inside which is
a pirate's treasure chest."
S294: "The chest is exactly the same kind you would expect to see in a pirate
movie. It is constructed of firm wooden planks and has a strong lock on the
front. On the lid is a nameplate bearing the initials "MM.""
S295: "A small leather pouch held together by a couple of tough looking
strings, making it a handy item for carrying little bits of junk."
S296: "The piece of paper must have been torn from a diary or something. The
black writing has faded with age and you can barely read what it says.

"Join Maria in one of her little games,
Start with the first letters of her two names.
Despite all your efforts and toils,
There is more to do before you claim her spoils.
You have nothing to lose and everything to gain,
If you know Maria's year of pain.""
S297: "Although there isn't much of the black powder present, it would be
enough to cause a small explosion if you wanted to."
S298: "The room available for movement in this part of the cavern is enough to
even make you feel claustrophobic. Like the rest of this hellhole, the roof
looks like it might fall in on you at any unprecedented moment. Some of the
stalactites look very loose indeed."
S299: "The only way back from here is the slippery path downwards."
S300: "Some of the rocks on the ceiling look extremely loose, and the fact that
they are pointed and many of them are straight above your head does little to
comfort you."
S301: "The tunnel you're now standing has an even more sinister feeling than
the cavern to the south. The floor has been dampened by the waterfall that kept
this area a secret for uncounted decades. The north end of the tunnel is taken
up by a heavy iron door. It has the strangest of contraptions on the wall next
to it, some sort of wooden wheel with raised markings."
S302: "Whoever built this tomb must like leaving warnings around. On the floor
of the chamber is a human skeleton."
S303: "The heavy iron door must be extremely thick and looks like it could take
the whole weight of an army battering on it. Strangely though, there doesn't
seem to be a lock of any kind. Just a handle in the form of a sinister black
eagle."
S304: "A simple wooden lever. If there are any markings, you can't see them."
S305: "Souls of butchered victims seem to hang in the air of this place. The
female skeleton perched on the throne in the centre of the room probably looks
more dangerous now than she did three centuries ago. Instruments that she used
to spread her doom, from rapiers to kegs of gunpowder, are stacked behind her
throne."
S306: "The caverns are back to the south."
S307: "It is the way the skeleton simply looks ahead that is most frightening,
as if she knows her fate and that of the rest of the world. One of her eyes is
covered by a dusty eyepatch, and the gold ring on her outstretched hand gleams
ever so slightly in the dim light. You can sense her evil as if she were still
alive, from the way her mouth is shaped it appears she is laughing at your
predicament."
S308: "A tin pan hangs in front of Maria's corpse. You are suspicious it could
be one of her murderous devices she left behind for unwary trespassers."
S309: "A tin pan hanging from a rope. Quite a simple setup, yet you are
immediately wary of how steady the whole thing is balanced. One wrong move and
you might not live to tell the tale of Merciless Maria's tomb."
S310: "A black eyepatch which covers Maria's right eye, with years worth of
dust on its surface."
S311: "Maria's mouth is a tad horrible to say the least. The teeth have
completely rotten away and the whole thing is shaped into the form of a
sadistic grin."
S312: "circle"
S313: "Rush hour traffic makes its way along one of the city's main routes.
Occasionally a mad driver exposes their head from a car window to shout
profanities. A crowd of children has gathered around the entrance to an
architecturally impressive building to the north. Their supervisor has made the
mistake of leaving them unattended, paving the way for chaotic behaviour."
S314: "Crossing a busy city street in rush hour would be inviting trouble."
S315: "You could easily get lost in the city if you decided to wander off."
S316: "The building to the north seems to be far more interesting than the rest
of the city."
S317: "An innocent group of schoolchildren is next to the building's main
entrance. They seem to be an equal mix of boys and girls and are playing games,
all the time oblivious to the horrors of the world they live in."
S318: "The little boy has a mischevious expression on his face. When he grows
up he'll probably cause considerable harm to his family."
S319: "You appear to be in a museum, whose many exhibits are advertised by
colourful posters lining the walls. Marble pillars stretch up to the ceiling,
on the east side is an information kiosk, and to the west is one of the minor
exhibition areas. Most people seem to be drifting towards a staircase on the
north side. There must be something important in that direction."
S320: "A security guard is standing next to the museum's entrance. He
occasionally looks at the alarm point half hoping for some relief from the
boredom of his existence."
S321: "The security guard is a fairly young man. It's probably just dawned on
him that he's going to be doing this kind of work for the rest of his life.
He's half way to ruin already. His uniform has countless creases, and his once
proud service badge is loosely attached to his grey jacket like an unwanted
part of his life."
S322: "an"
S323: "A plastic flask with a black lid. It's designed to keep things warm in
cold weather."
S324: "The foreign tourist's paradise: an office set up for their so called
benefit which is usually staffed by an irritatingly stupid clerk. Your memories
of such places are not ones you love to recall. Being the target of endless
sales pitches and many long afternoons spent sitting on an uncomfortable sofa
consumed most of your time."
S325: "The museum foyer is to the west."
S326: "You seem to have been spared the agony of a further encounter. An
apologetic sign is on the counter next to a bowl of sweets."
S327: "A selection of coloured mints in a bowl resembling a wooden picnic
basket, more than a little tempting to the weary traveller."
S328: "an"
S329: "A plastic sign with bold lettering. It's some time before you realize
what it is that strikes you as odd about it. Then you notice it's upside down,
a further example of staff incompetence."
S330: "A cheap tourist's camera, one of those models where you have to rely on
automatic systems to determine the quality of your shot. This one has even less
controls than most. Just one black button on the top and a slit on the rear
side."
S331: "A tasty looking pink mint with a delicious filling, it makes your mouth
water just looking at it."
S332: "One of the rooms the museum uses to show off its impressive wares. The
whole exhibition is dedicated to human evolution. Pictures and artifacts
chronicle the entire history of your race, from their early beginnings as cave
dwellers, all the way through to modern technology."
S333: "The foyer is east from here."
S334: "Closer inspection reveals that the laser gun is a fake. After all, they
haven't been invented yet. It's still quite impressive though. The fancy glass
rings circling its barrel glow with varying intensity."
S335: "This corridor seems to give the impression it is the most trodden in the
museum. One of the walls is dominated by paintings of all ages and sizes. To
the east of you is a decorative red curtain, and precious ornaments dangle far
above your head. The north end of the corridor opens up into an octagonal
chamber, whereas the exit from the building is in the other direction."
S336: "Most of the paintings are works by famous artists, although one of them
looks remarkably modern. It shows an evil-looking man with an electronic eye,
and despite that you are sure your paths will never cross, you feel that this
man will perform many ruthless actions in the near future. Underneath the
painting is a plaque with writing on it.

"The fire will arise, and the world will be cleansed of its imperfections.

       ---Gustav Ernst III.""
S337: "some"
S338: "An effective method of preventing you leaving the museum is now present
in the corridor. Shutters made of steel bars have recently been locked in
place."
S339: "You're quite horrified to notice that steel shutters have been put
across the south end of the corridor."
S340: "The red curtain has been opened."
S341: "The decorative red curtain is closed."
S342: "A highly decorative red curtain inlaid with gold strips, the type of
thing you might expect some of royal blood to have in their lodgings."
S343: "The museum building is to the west."
S344: "A suit of armour is hanging from a stand in the centre of the alcove."
S345: "A full set of armour, complete with a polished breastplate, greaves, and
a plumed helmet. A rather impressive thing to have in any museum. Quite why the
owners decided to leave it off the main route is beyond your reasoning to
understand."
S346: "It's a tiny square detector that was underneath the suit of armour, it
looks very similar to a photocell."
S347: "You are on the south side of a balcony that runs around the entirety of
the octagonal chamber which holds the museum's prime exhibit. A staircase just
in front of you provides access to the floor below. Around the rest of the
balcony are other less important collections which can be reached to the east
and west. The corridor you entered this chamber by is to the south."
S348: "The tour guide looks exactly like every other boring salesperson you've
met over the years. The young girl is wearing a silly uniform and carries a
clipboard which you are sure is just for show."
S349: "The block of ice cream is melting rapidly, if you don't find some way to
stop it soon it will all be gone."
S350: "One of the tourists has dropped a block of vanilla ice cream at the top
of the staircase."
S351: "The octagonal chamber is the room that stores the pride of the museum's
collection. Everything considered of any value from trinkets of Ancient Rome,
to a statue supposedly from the lost continent of Atlantis is present. The
centrepiece is a well protected display case elevated on a wooden pedestal."
S352: "The only exit from here are the stairs which lead up to the south
balcony."
S353: "A glass case in the centre of the room. It's on top of a wooden
pedestal, and it contains the museum's most important exhibit."
S354: "octagon"
S355: "The side of the room you're on now is taken up almost completely by a
collection of weapons. Virtually everything from samurai swords to modern
machine guns are represented in some form. There's even a rather sad picture of
the devastation caused by the first atomic bomb, which brings a few sympathetic
tears to your eyes."
S356: "The balcony runs from north to south."
S357: "One of the weapons on show looks like it might be more useful to you
than the rest, a crossbow from medieval times."
S358: "A set of keys on a large metal ring, they look quite important."
S359: "The west side of the balcony is somewhat bare. There aren't any precious
exhibits here at all, just a rather pathetic wooden table and a brass gong the
museum staff couldn't find an alternative place for. There is a rather
interesting marble pillar on one side though, complete with strange Egyptian
heiroglyphics."
S360: "The wooden table is a rather shoddy item to have been placed in the
museum's collection. The surface is rough and the legs are connected at funny
angles."
S361: "It is only after close observation that you realize the pillar doesn't
go all the way up to the ceiling. It's an exhibit, and judging from the weird
markings it probably came from Egypt."
S362: "There's a fair bit of rope here. It's about a centimetre in diameter."
S363: "A thick circular brass plate, the kind that were used to summon people
in oriental countries, though this one doesn't come supplied with a mallet."
S364: "This end of the balcony seems to contain less in the way of exhibits
than the rest, apparently a place more for security reasons than entertainment.
On the edge on the platform is a video surveillance camera, which points
directly at the wooden pedestal and display case in the octagonal chamber
below."
S365: "The balcony runs from east to west."
S366: "A security control box marked "Authorized Personnel Only" is on the
north wall."
S367: "Quite annoying really. A metal cabinet put in place purely to hinder
your progress."
S368: "The display case on the pedestal in the octagonal chamber below. You
can't really make much out from here."
S369: "An ordinary yellow button labelled "CAM"."
S370: "A square blue button labelled "ZERO"."
S371: "A red square button labelled "ONE"."
S372: "The meter is far too complex for you to understand. The outer surface
consists of several different number scales. You can read the label though,
"Artifact Temperature.""
S373: "A length of black rope, which should easily support your weight,
strectches from the north balcony to the wooden pedestal in the centre of the
octagonal chamber."
S374: "You are doing the thing any hopeful thief loves most. Balancing yourself
on a wooden pedestal, surrounded by a floor filled with sensitive pressure
pads. The object of your desires, the central glass display case, is within
touching distance. The wooden pedestal has been penetrated by a crossbow bolt.
Between this and the north balcony is a firm length of black cordon."
S375: "The floor is covered in sensitive pressure pads. The only safe route to
take from here is the rope to the north balcony."
S376: "The glass display case is solidly perched on the wooden pedestal, and is
the choice storage place for the museum's most valuable exhibit."
S377: "You are sure there is more to the black cushion than first appears."
S378: "A storm is beginning to gather in the night skies overhead. The tiny
craft you find yourself in shakes violently as the vast amount of ocean water
around it periodically shifts position. The nearest piece of land is to the
east, where a military base protected by concrete walls and a multitude of wire
fences dominates the coastline. An enormous pile of fish has been stacked in an
open container in one corner. Both the engine and controls of the vessel no
longer appear functional."
S379: "The helicopter looks deadly even when it so distant from you. The power
of the rotor blades brings it and the lethal machine guns it contains steadily
closer."
S380: "Under the night sky the ocean appears completely black, making it
impossible to know what horrors lurk in its murky depths."
S381: "Someone has decided to rather conveniently leave a diving suit behind.
You just keep your fingers crossed that it functions properly."
S382: "A pressurized diving suit made of welded pieces of metal. It's one of
those models with an ability to operate at great depths. The transparent face
plate is manufactured out of armoured glass."
S383: "an"
S384: "The fishnet is barely resemblant of such. It's just many lengths of
string haphazardly joined together. The net is so old you wonder how it manages
to stay in one piece."
S385: "an"
S386: "Never before have you seen such a spectacle. Even at this depth
plantlife still grows and the occasional fish swims gracefully past. You feel
guilty at having disturbed the sand around your feet. Something to the east is
reflecting the light from your suit, and there are patches of rocks to the
southeast."
S387: "You're already as far down as you can go."
S388: "It would be advised to stay close to the seabed."
S389: "Sand seems to stretch forever in that direction. The areas of interest
are to the east and southeast."
S390: "The beauty of the otherwise unblemished seabed has been ruined, like so
many other things, by the brutality of human intervention. Twisted bits of
metal litter the sand. There's even a steel container dumped shamelessly in
with the rest of the junk. The floor of the ocean slopes upwards to the east
and southeast, and a patch of rocks dominates your view to the south."
S391: "an"
S392: "An explosive seamine, one of the most lethal weapons of twentieth
century warfare, floats above the rest of the junk doing its best to look
harmless."
S393: "These seamines were enough to sink the most powerful ships, and this one
would surely be enough to bring a swift end to your life if you were careless
enough to trigger it. The metal sphere surrounded by sharp points must be
handled with the greatest of caution."
S394: "A steel container has been embedded in the sand, with a warning notice
attached clearly on one end of the barrel. It simply reads "Corrosive Material.
Keep Clear.""
S395: "A trail of green liquid is coming out of the steel container. It doesn't
look good at all."
S396: "The green liquid is thick and nasty looking. If the notice on the
container is to be believed, it's corrosive and quite possibly acid."
S397: "The area of the seabed in which you now find yourself is covered in
algae coated rocks of various sizes. There are so many to the south of you that
further progress becomes impossible. The seabed slopes upwards to the east, and
you can see something reflecting on the sands to the north."
S398: "The weight of the diving suit is too heavy."
S399: "There's no way you can progress in that direction."
S400: "Your actions have uncovered a dark passage on the floor of the seabed."
S401: "Even with the light from your diving suit, the passage is incredibly
dark and you can't make out the other end. Strangely the passage is smooth and
vertical and somehow strikes you as unnatural."
S402: "This cavern must have been hollowed out of the rock for some specific
purpose. The walls are too smooth to have been formed as a result of natural
events. The passage you entered by is thankfully within easy reach, and it
seems even darker from this end than it did from the seabed above."
S403: "The only means of leaving the cavern is the dark passage above you."
S404: "The smooth vertical passage opens up onto the rocky seabed above."
S405: "These particular wire cutters are an advanced breed, coming complete
with insulated red handles and a tiny control knob."
S406: "some"
S407: "You must be close to the surface of the ocean now, as the plantlife is
more abundant here. As ever, the treasures of underwater harmony are present in
great number. Coral reefs full of aquatic life stretch across the seabed.
There's even some evidence of the ocean's bountiful past. Fossils of long
extinct sea creatures have stood the test of time amazingly well."
S408: "Progress along the seabed is possibly only to the south, southwest and
west."
S409: "A ship's anchor must have got trapped in the coral reefs at some point
in the past. The huge piece of metal now lies forgotten on the seabed."
S410: "The ship's anchor is fashioned out of metal and looks painstakingly
heavy, and its points are very sharp indeed."
S411: "The water here is much clearer than that to the west. You can't be very
far from the coast. Beautiful coral reefs are to the north of your present
position. The sandy floor underneath your feet is covered in tiny pebbles and
seashells. Little animal life can be seen in these waters. Perhaps the fish
find the extensive patch of reeds tough to negotiate."
S412: "The patch of reeds must be several metres across. The hollow tubes sway
slightly under the powerful force of the ocean's currents."
S413: "The metal ladder connects the landing area to the floor of the ocean,
and from appearances it hasn't been used all that much."
S414: "In the darkness the wooden jetty stretching out across the ocean looks
very much like a den used by smugglers. The almost total silence, broken only
by the sound of lapping waves, is somewhat unnerving. The mooring hooks and the
ladder leading to the seabed haven't been in use for a long time, and a massive
concrete structure dominates the skyline to the east. A dirt track leads
southeast to some sort of clearing, a zone of considerably less activity."
S415: "Apart from the dark waters of the ocean, the only means of escape from
here are to the south and southeast."
S416: "Compared with the well lit military complex to the north of you, the
area in which you find yourself is pitch black. Thick bushes make up the main
source of vegetation in the lightly forested area. The occasional ray of
moonlight which penetrates the clouds does nothing except cast long shadows.
The landing area and the ocean are back to the northwest."
S417: "There are various types of bush dotted around the clearing.Some of them
have very sharp thorns sticking out at awkward angles, but others have bare
branches."
S418: "Some of the thorns are peculiar colours. From a personal point of view
you wouldn't want to get caught on some of them."
S419: "An extremely sharp thorn coated in a black substance, the very sight of
which is enough to give you nightmares."
S420: "Green and brown camouflages and a cap, the standard military uniform
used worldwide. There's a name tag on one of the sleeves, and apparently the
thick muscled man is a certain "Corporal Bates.""
S421: "The guard is far too old for this sort of thing. Shorts covered in a
teddy bear pattern are more suited to three year olds."
S422: "A digital wristwatch on a leather strap, the only visible control being
a tiny button. A maker's label on the rear suggests it is waterproof and has
many features, but the display is completely blank. Some text has been engraved
near the button, "+/-.""
S423: "The south side of the military installation is extremely well defended.
Tall watchtowers overlooking the main entrance scan the open ground with
powerful searchlights. Silhouettes of guards can be seen walking along the
outer wall, with the latest models of murderous weaponry slung over their
shoulders."
S424: "You're right in the heart of the military complex. Soldiers and vehicles
pass you by with alarming frequency. Tall watchtowers guard the south entrance,
and the ground is completely open leaving you nowhere to hide. The inner
perimeter is to the north, while a small concrete building is on the east side
of the compound."
S425: "Your way in to the building is barred by a security door marked "Power
Room.""
S426: "The security door has been opened."
S427: "The building's exit is to the west."
S428: "A chemically powered backup battery, installed in case of unforseen
emergencies such as unwanted intruders like yourself. There's a terminal on the
the top to make a connection to."
S429: "An emergency power cutoff switch is situated just above the cable."
S430: "A large red lever for shutting down all power to the base in an
emergency."
S431: "Security seems so intense now you are so near to the main area of the
compound. Fortunately for you however, the base commander has neglected the
need for further watchtowers, placing high reliance on the effectiveness of
other security measures."
S432: "Unless you wish to traverse the fence, the only way out of here is
south."
S433: "The most obvious of these is a chain link fence mounted with barbed
wire. It's easy to see why the soldiers put great faith in this means of
preventing a security breach."
S434: "The centre of all the military activity, the need for secrecy and the
reason you are here is the building to your west. The main entrance is
somewhere to the north of you. Helicopters fly overhead so often as to appear
commonplace. security here is about as tight as is humanly possible."
S435: "Security is paramount around the main entrance. Perhaps you should use a
more discreet means of entry."
S436: "The vent shaft hasn't been cleared out in years, and dust has settled
all over the place making the atmosphere quite choky. Hardly any light at all
comes in through the metal grating. All in all this isn't the healthiest of
places to be in. The walls are lined with disjoint piping, those too are
covered in thick dust."
S437: "The fan is huge, and the blades are so sharp they could slice you in
half without the slightest bit of trouble."
S438: "Disjoint metal piping covers the surface of the walls. Like everything
else in this shaft they are covered in dust."
S439: "A dusty piece of metal pipe, nothing too unusual about it."
S440: "The reason for all the security measures in now very clear. The nuclear
warheads stored here aren't the safest thing to leave open to the average
member of the public. Other weapons of destruction fill the room's many
shelves, and a sign describing the room's horrific contents is in plain view."
S441: "an"
S442: "The sign takes up a large portion of the wall, most of what it says it
absolute gibberish to you.

"GAMMA-ALPHA SECURITY ZONE

Zeta-Epsilon-Phi Active Defence Measures
Beta-Sigma Offensive Capabilities

All weapons subject to Omega-Theta Classification""
S443: "One of the drawers stands out from the rest. It is marked "Top Secret"
and has two dials on the front."
S444: "The marked drawer is made out of solid steel and seems to be more
important than the rest. A theory supported by the two dials on the front."
S445: "The box is made out of unbreakable black plastic, and is about the size
of a standard plug socket. On the lid there is a voice activated detector."
S446: "triangle"
S447: "An estate in the rolling countryside, whose walls are made of the finest
white stone, and where the natural sounds of forest creatures can be heard in
true solitude. Whoever lives in such a place must have a fair bit of cash to
spend. A paved stone path leads into a forested area to the west and there is a
quiet glade to the north of you."
S448: "The wooden gate in the wall has been opened."
S449: "The gate is made of thick wooden planks bound together by steel rivets.
The brass handle and keyhole have been artistically fashioned from bronze."
S450: "The keyhole on the gate is a perfect match for the handle. The lock
seems a lot more advanced than the appearance of the estate might suggest."
S451: "Quite a large key made of bronze, with a weird insignia inscribed on the
barrel."
S452: "In the early months of autumn, the leaves on the trees have started to
turn brown, though some evergreens with notably large leaves stand out from the
rest. The late evening sunset, clearly visible in the cloudless sky, is simply
beautiful. The forest becomes impossible to traverse in every direction except
northeast, and a paved path heads back to the country estate."
S453: "The evergreen leaves have a large surface area, equal in size to a small
notepad. Some of them look loose enough to be pulled away."
S454: "You didn't know it was possible for a leaf to be so large. This one is
circular in shape and has a stem running down the middle."
S455: "The silence in this part of the forest is similar to that used for
oriental meditation ceremonies, both calm and relaxing. A pile of brown leaves
has gathered in the centre of the glade, and acorns have fallen onto the ground
from the trees above."
S456: "The only paths from here lead south and southwest."
S457: "The leaves are coloured red and brown. In readiness for the coming
winter months the trees have started to shed their coats."
S458: "A lovely animal with grey hairs and tiny paws. Its eyes betray a loving
innocence for the surrounding world. Such naive instincts usually lead
creatures like this to their downfall."
S459: "A tungsten peg, the sort used by campers to pitch their tents. It's
especially designed to take extra battering, and this one has been inscribed
with the initials "B.C.""
S460: "More often than not back gardens are an untidy mess of long grass and
weeds, but this one is definitely an exception to that rule. Well trimmed
hedges are in abudance, some have even been formed into realistic animal
shapes. An impressive fountain lies eastwards from here, and the side of the
house is to the south."
S461: "The house and its grounds are to the south and east."
S462: "A mass of black fur and sharp pointy teeth, this dog is most definitely
not a girl's best friend."
S463: "Tall stone walls border this fantastic garden. The servant's entrance is
to the south of you and the rest of the garden to the west. The owner of the
house has chosen this spot to install a lovely fountain. Under the evening sky
it is at its most beautiful. Like the rest of this estate, there is no place
for anything but the best of garden ornaments."
S464: "The clear liquid is being pumped out of the cobra's mouth. It trickles
lightly into the stone bowl underneath."
S465: "The furry animal's life has come to a shocking conclusion."
S466: "The very existence of this rear entrance is a typical reflection of
higher class snobiness. Undistinctive stone steps lead on to a rather dull
entrance. The light above it has broken and nobody has bothered to get it
fixed. It fills you with sadness and anger that people could still be treated
like slaves. Those responsible are just asking to be taught a lesson."
S467: "The entrance is to the south, the rest of the garden to the north and
west."
S468: "Memories of times long past when you used to be part of a caring family
come flooding back. The smell of cooking food is just as it was in your
mother's kitchen during those innocent early years of your life. A huge pot is
boiling on the stove, and a table nearby is full of all the ingredients any
possible recipe could require."
S469: "The back garden is to the north, and there's no other way out of here."
S470: "Hanging from a hook on the ceiling is the hunk of raw meat next in line
for the cooking pot."
S471: "some"
S472: "The meat looks to be of good quality. It's red colour indicates it
hasn't been cooked yet."
S473: "The wedge of cheese looks supremely delicious, sinking their teeth into
it would be the highlight of anyone's day."
S474: "There's quite a lot of peanuts, more than enough to satisfy even the
largest of appetites."
S475: "A handful of salted peanuts, there's about a dozen or so of them."
S476: "Unlike the wall around the garden, the house has been constructed of
modern bricks. Flowers have been arranged in wicker baskets at equally spaced
points on the perimeter. To the east of you is the servant's entrance. The rest
of the garden can be reached to the north and northeast."
S477: "One of the windows of the house is within easy reach."
S478: "A window comfortably within reach has been opened."
S479: "A round white button is on the desk next to the window, intuition tells
you it controls an alarm system."
S480: "Bookshelves full of dusty tomes, cobwebs in the corners of the ceiling.
All the sort of things you would expect to find in the stereotypical horror
movie are in this room. There is a little used desk by the window, and the
rapidly fading autumn evening light makes the gloom in this place just about
bareable. The rest of the house is to the south."
S481: "You notice a neatly written note which has accidentally fallen on the
floor."
S482: "The note has been neatly written in blue ink, it seems to be some sort
of business agenda.

"Rendezvous at airfield, 1AM.
Artifact being brought in by plane.
Deal to be concluded decisively."

A drawing of a hexagon has been mysteriously sketched underneath."
S483: "many"
S484: "A heavy iron door which hasn't been used much. The handle and hinges are
both full of rust."
S485: "One of the bookshelves on the west wall has moved, revealing a closed
secret door."
S486: "The secret door is open, and a fairly powerful draught blows in from the
west."
S487: "Perhaps a little brighter than the library to the north, this corridor
stretches eastwards towards the front of the house. Chandeliers made of gold
and crystal provide artificial illumination. To the south of you is another of
the house's many rooms."
S488: "The piano with its sheet of classical music is probably so expensive it
would burn a million holes in your pocket. French windows overlook the front
lawn of the mansion. The logs in the fireplace burn steadily, and should make
you feel warm and at home. They should do, but they don't. The reason why is on
top of the mantelpiece. A box containing a selection of severed human fingers
sends a chill running down your spine."
S489: "The rest of the house is in the northerly direction."
S490: "You try not to look at the sick collection, but its sinister contents
overshadow the entire room. Some of the fingers even have signet rings on them.
The kind of monster that perform this barbaric act of torture deserves to be
punished a thousand times over."
S491: "The perpetrator of the amputations has a sick and twisted mind. They've
put a pool table next to the fireplace."
S492: "The pool table is quite normal, but what's on the mantelpiece puts it in
an entirely different complexion. Happily mixing light entertainment with cold
blooded murder. You wonder just what sort of person would own this place.
Turning your attentions back to the pool table, you see it has the usual
pockets and piece of green cloth. You're pleasantly surprised to see there
aren't any bloodstains."
S493: "A wooden stick about half a metre long, with one end moulded from silver
in the shape of an eagle."
S494: "The hall which the front door of the house leads onto is large and
empty, apart from a few coat pegs near the entrance. The rest of the house can
be accessed by a corridor to the west. A comfortable pink sofa is on the north
side of the room next to a narrow doorway. It wouldn't take a scientific genius
to work out the northern room is occupied. The noise coming from it is
incredible."
S495: "The front door of the house is just as you would expect, sturdily built
and with a sense of grandeur about it. There is a spyhole just above your eye
level."
S496: "The sofa is covered in thick cushions and looks very comfy, even if the
bright pink colour doesn't go very well with the rest of the room."
S497: "The so nicknamed "zapper" which transformed the average householder into
an armchair bound freak. This particular plastic box has an infrared
transmitter and three simple buttons."
S498: "a circle with arrows"
S499: "a speaker with an upwards arrow next to it"
S500: "a speaker with a downwards arrow next to it"
S501: "Obviously the control centre for the mansion's security. The fat
security guard, so often modelled in movies, is here present in the flesh.
Banks of monitors are on the desk in front of him, but he seems to be more
interested in watching the tiny colour television he has smuggled in for early
evening entertainment."
S502: "The narrow doorway is to the south."
S503: "The only type of security guard you can get along with, the fat and lazy
kind. This one looks more like a nightclub bouncer with his black suit and
tie."
S504: "A small colour television set. The guard has his eyes glued to it. He
seems to be watching some sports event with fanatical passion."
S505: "On a metal rack some distance from the guard is a large iron key."
S506: "The iron key is quite large, about the size of your hand."
S507: "Gargoyles stare soulessly down from the rooftop above, some of them even
look tormented. The front drive extends away to the south, where a black
limousine is parked awaiting the arrival of an important passenger. The
shrubbery around the main entrance, perhaps significantly, bears poisonous
fruit."
S508: "There's no way you could make it to safety without being seen."
S509: "The secret door is to the east."
S510: "Thanks to your university biochemistry studies, you recognize the
poisonous berries on the shrubbery and decide to keep well clear."
S511: "Whoever rides about in the limousine is obviously concerned about their
privacy. The windows are opaque and impossible to see through. The trunk of the
car is open, so maybe there is an opportunity for you here."
S512: "The car is being guarded by a female bodyguard, and she looks more than
ready to handle any trouble should it arise."
S513: "The woman is a redhead and doesn't look like somebody to mess with.
She's dressed in a most unsuitable suit and tie and never speaks a word."
S514: "You're still wondering whether choosing this particular hiding place was
a good idea, the whole inside is covered in oily rags and black earth. The lid
of the trunk doesn't seem to be locked. Even a small exertion of effort should
be able to shift it."
S515: "an"
S516: "An expensive violin has been neatly placed in the trunk."
S517: "The violin is one of those expensive ones with fine strings and tuning
knobs on the wooden case. There are some tiny screws on the back."
S518: "The metal roof of the trunk is fairly standard, but the locking system
seems a bit more insecure than you might expect."
S519: "Most of the room is open concrete. Sheets of corrugated iron have been
left leaning against the walls. The steel doors on the east side seem solidly
fixed in one position, and the window next to them is covered in dirt and
grime. The limousine has been parked some distance away from the entrance, near
a staircase which winds its way upwards to the roof."
S520: "The doors are to the east, stairs lead up to the rooftop."
S521: "The window is completely useless, as it's not the type you can open. On
top of that the inside is coated in grime and dirt, and the outside with
frost."
S522: "Travelling in the rear of the limousine might have been more comfortable
than the bumpy ride you got in the trunk."
S523: "The female bodyguard has been knocked out cold, her body lies unmoving
on the concrete floor."
S524: "On one of the walls of the hangar is a first aid kit."
S525: "The usual white box marked with a red cross. Nothing strikes you as
suspicious."
S526: "The black tie is plain, boring and rather cheap looking."
S527: "The silver hairpin has a very narrow needle. Other than that, nothing
grabs your attention."
S528: "some"
S529: "Thick white bandages, used to stop bleeding in emergencies."
S530: "The standard metal instrument used by doctors for monitoring
heartbeats."
S531: "This favoured choice of assassins is capable of firing high velocity
bullets over long range. There's a telescopic sight attached to the long
barrel."
S532: "The sloping metal roof is very slippery, and it takes a lot of effort to
maintain your balance. You have a good vantage point of the surrounding
airfield, but the view is quite obscured by the thick mists which have
descended. The tension you are feeling is increased by the nerve racking
silence and darkness."
S533: "The only way to go from here is down."
S534: "A tall man dressed in dark clothing, with his eyes hidden behind opaque
spectacles."
S535: "You can make out two figures on the airfield below: the tall man in dark
glasses you hitched a ride with and a shorter figure in a white suit."
S536: "The figure in the white suit is quite a bit shorter than the man in dark
glasses, but looks equally as nasty even at this range."
S537: "Thick swirling mists have gathered over the black tarmac. The runway
lights are no more than dark inactive shapes. The hangar to the west of you is
the only structure within sight. The night is still young and the airfield is
under a veil of total silence."
S538: "The aircraft hangar is to the west. You'd better stick close to it,
otherwise it would be very easy to get lost in these thick mists."
S539: "This particular villain has lived his last day. The entry hole made by
the bullet is plainly visible. A trail of blood runs down his face, and his
dark glasses lie shattered on the ground."
S540: "hexagon"
S541: "This is the place where all those little toy cars and trains, the ones
you used to enjoy playing with so much, were brought to life. It could be
hardly be compared to Santa's Grotto, but there is a certain magic about this
place that makes you feel at home. Such a shame that the factory has been
abandoned, and quite possibly marked for demolition. The supervisor's office is
above you and other areas of the building are to the west and south."
S542: "It's this part of the factory any worker comes to dread. Individuals
with more concern for profit than human rights often summon employers to this
room to give them the proverbial chop. There's little danger of that happening
now though. The only furniture here is a bare wooden desk, and you are the only
human occupant of the room."
S543: "The rest of the toy factory is underneath you."
S544: "It's a colour poster of a woman in the nude, you find such things
absolutely distasteful. Red circles have been drawn around the girl, and the
printed black lettering at the bottom reads "From SWEDEN with love.""
S545: "The socket that used to hold the drawer is fairly deep and rectangular
in shape."
S546: "A sealed metal cylinder, with no apparent way of opening it. Some
writing is on the bottom, "Kiss me goodnight.""
S547: "an"
S548: "The invention that was lethal to the human manufacturer, fully automated
machinery, covers the entire working area and continues to the west. The safety
glass being present is surprising. Perhaps the workers often got bored and
developed suicidal tendencies."
S549: "You can only go east and west from here."
S550: "fully"
S551: "A wide conveyor belt winds its way around the room. One machine of
significance it passes is a mechanical grabbing arm used for transferring
products in progress to other parts of the factory. Just before it reaches that
point, it passes underneath a series of sophisticated detectors."
S552: "an"
S553: "Input"
S554: "Reject"
S555: "All of the machinery is controlled from one panel with rather simple
buttons and switches."
S556: "People who work in these places must be getting more stupid by the
minute. The only controls are two sliders and a large green button. Some of the
toys it makes probably require more intelligence to use."
S557: "Obviously this is the button for activating the machinery. Not only is
it the logical function to perform, but there's a great big label reading
"START" right on top of it."
S558: "The unbreakable safety glass seems more like plastic. It prevents direct
access to the machinery beyond."
S559: "some"
S560: "Here the finishing touches are added to the factory's products, before
they are prepared for shipping. The methods of control seem a little more
advanced than those on the eastern end. It all seems to be done from inside a
peculiar plastic booth. As the conveyor belt reaches its finishing point,
hundreds of boxes and containers are waiting to be packed."
S561: "The rest of the factory is to the east."
S562: "Output"
S563: "The strangest control device you have ever seen, with no buttons or
switches are in sight. Just a sensitive disc surrounded by circular plastic
walls."
S564: "The sort of spray can used to contain deodorants. Inside this one is the
gas cylinder you found in the factory."
S565: "an"
S566: "In the factory's heyday the shelves would have been filled to the brim
with toy racing cars and lego sets. Now they're depressingly barren and empty.
The huge forklift that used to shift crates by the ton has fallen into a sorry
state of disrepair."
S567: "The factory building is to the north."
S568: "The cardboard box is made out of paper thin recyclable material. You
could probably punch right through it if you tried."
S569: "some"
S570: "The white cotton is thin, yet looks fairly strong."
S571: "The kind of ring used to play circus games, the ones where you always
missed the pegs you were aiming at."
S572: "You've seen a million of these before, it's a steel disc which acts as a
gateway to a sewer system."
S573: "The chemicals dissolved in the water illuminate the sewer tunnels with
an eerie green light. It's all too easy to get lost in the maze of passages
underground. As if being able to progress in all the major compass directions
isn't confusion enough, there are also passages leading up and down from here."
S574: "A set of arrows have been drawn on the tunnel walls in white chalk."
S575: "Looking at the arrows makes you recall the games you used to play at
school. You were always the one they sent to steal some of the teacher's chalk,
so perhaps some things haven't changed from those innocent days."
S576: "The sewer tunnels terminate at this point, a rather dull section of
cracked red brickwork. The water seems to have dried up too. The floor of the
tunnel isn't even damp. A set of stairs lead up to the outer world, but from
the choking smell of pollutants you're not overly sure you want to pay it a
visit."
S577: "The only way out of here apart from the staircase is the tunnel to the
south of you."
S578: "Moving some of the bricks has brought a square plug socket to light."
S579: "The finest example of modern architecture, an ugly mass of concrete and
metal which dominates the skyline. Vehicles of all shapes and sizes are parked
in ever decreasing marked spaces. The guarded entrance to this nightmare
scenario is to the west. The object of your undivided attention has to be the
building on the east side. The tall glass skyscraper is unmistakably
recognizable as the National Depository."
S580: "The depository it's taken you so long to reach is now within sight.
Surely you don't intend to just walk away."
S581: "It would be all too easy to get lost in this urban maze."
S582: "The driver's seat is covered in incredibly dull grey plastic."
S583: "an"
S584: "A tiny silver key completely devoid of any markings."
S585: "The tiny gold key doesn't have any markings on it."
S586: "CS"
S587: "The whole world looks to have gone mad. Nothing around you can be
described as a solid object. Towers colured black and grey stretch upwards to
infinity. Tubes of glass run between them carrying information at lightning
speeds. Just above you is an abstract grey doorway."
S588: "You can't seem to make any progress in that direction."
S589: "There is one thing you can use to cling on to reality though. A can of
spray paint looking very much out of place floats nearby."
S590: "several"
S591: "The glass tubes connect all the structures on this weird landscape.
Beams of light carrying information reflect off their walls and are carried
down them at high speeds."
S592: "The frame of the doorway is insubstantial, and its interior is just a
hollow void apparently leading nowhere."
S593: "The walls of the chamber are a brilliant white. Quite where the
illumination is coming from you have no idea. The only item inside the room is
a bust on a stone pedestal. The grey doorway seems to have followed you as
well, providing a thoughtful escape route."
S594: "The grey doorway seems to be the only way out of here!"
S595: "This is it. The building that holds the nation's most prized
possessions. Security guards patrol the spotless floors, their eagle eyes never
missing a thing. On the far side of the room to the entrance is an elevator
which leads down to the vault. Just in front of it is a secretary who is
ruthlessly checking people's credentials."
S596: "There's no way you can get past security without showing any
identification."
S597: "The elevator is to the east and the exit to the west."
S598: "The secretary isn't the typical office type. he looks more like a
security guard, an image enforced by the revolver strapped in a holster around
her waist."
S599: "The elevator's steel doors are guarded by the secretary in front. It's
going to take some deception to get past her."
S600: "You're in the elevator which leads from the ground level of the
depository to the vault floor. The walls are shiny and you can see weird
reflections, but there's no sign of any controls. The elevator's movements must
all be decided externally."
S601: "The elevator doors are to the west."
S602: "The depository manager is a thin man with a crooked nose. You get the
impression he wormed his way to the top of the corporate ladder using
corruption and lies.."
S603: "You feel so close now. Your destiny is within reach. To the south of you
is a massive titanium door leading to the depository vault. The beautiful
plants outside it seem insignificant. It's as if your whole life past, present
and future depends on what happens in the next few minutes."
S604: "The elevator doors are closed, leaving the titanium door to the south as
your only means out of here."
S605: "Opposite the vault door is a red a white sign."
S606: "The titanium door is quite clearly closed and locked."
S607: "The massive titanium door has swung aside allowing access to the vault."
S608: "The titanium door must be several centimetres thick. It is surrounded by
reinforced concrete that you have no chance of penetrating. The locking system
is very strange indeed. There are five slots, with two numbers under each of
them."
S609: "You would expect more than this, especially from what is supposed to be
one of the most secure banks in the world. The presence of only one platform is
something of an anticlimax. There are no safety deposit boxes or other means of
storage. A maintenance hatch is plainly visible on the smooth floor of the
vault."
S610: "The vault door is to the north."
S611: "The laser beams are cross each other so frequently that it is impossible
to find a way through."
S612: "It's just like every other keyhole you've ever seen."
S613: "The red lever is marked as for use in emergencies only."
S614: "You can't seem to make any progress in that direction."
S615: "Just underneath you is a grey passage, which continues as far as the eye
can see."
S616: "The grey passage looks very insubstantial and carries on infinitely."
S617: "the"
S618: "A splendid silver arrow that gleams in the light. The tip of it looks
very sharp indeed."
S619: "A rod of the purest gold, with emeralds and rubies covering the surface.
It will make a fine addition to your mantelpiece when you get back."
S620: "This green jewel seems to be slightly looser than the others."
S621: "The diamond is the centrepiece of the crown jewels, perfectly shaped and
worth millions alone."
S622: "The black opaque crystal is exactly the same shape as the sparkling
diamond."
S623: "A dark passageway leading to freedom, and to the rest of your
adventuring life."
S624: "The route to the inner vault has closed up."
S625: "    With the plans we are prepared,"
S626: "     with the tools we are ready,"
S627: "  and with the brains we are capable."
S628: "But without the reasons, we are nothing."
S629: "   ---Code of Thieves"
S630: "There is information provided on the following:

      How to play this game
      Copyright Notice
      What to do if you find any bugs
      Credits"
S631: "Main Menu"
S632: "How to play this game"
S633: "Copyright Notice"
S634: "What to do if you find any bugs"
S635: "Credits"

[End of text]

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