Windows CE - The Ultimate Companion/ROMMAN_CE.iso/Files/Games/Frotz CE Games/LEST.Z5

Z-code for Z-machine | 1997-09-28 | 237KB | 849 lines

Resident data ends at 5948, program starts at 5948, file ends at 39d00

Starting analysis pass at address 5948

End of analysis pass, low address = 5948, high address = 32408


[Start of text]

S001: "Madame L'Estrange and the Troubled Spirit"
S002: "
An Interactive Fiction
Copyright (c) 1997 by Ian Ball and Marcus Young.

Type 'HELP' for instructions on playing this game.
recommended for both novice and experienced players.

"
S003: "960912"
S004: "6/2"
S005: "a"
S006: "You can't go that way."
S007: "the"
S008: "the"
S009: "the"
S010: "the"
S011: "the"
S012: "the"
S013: "the"
S014: "the"
S015: "the"
S016: "the"
S017: "the"
S018: "the"
S019: "Darkness"
S020: "It is pitch dark, and you can't see a thing."
S021: "As good-looking as ever."
S022: "Nameless item"
S023: "your former self"
S024: "This large and well furnished room is alive with the fire from an open
fireplace and fragrant with the scent of wood smoke and the hint of incense.
The aura of the whole room is completely positive and uplifting"
S025: "The only nearby location of interest is Madame L'Estrange's seance
parlour to the east. She can Travel to other locations without referring to
compass directions."
S026: "A plush covered chair. Its fabric is made of a bright and lively floral
design"
S027: "A warm fire burns in the antique fireplace."
S028: "A small and simple side table made of a rich dark wood"
S029: "A cup, half filled with Mandarin Orange Spice herbal tea."
S030: "the"
S031: "An elegant antique table from Indonesia. It is placed by the door and
normally used to hold letters and greeting cards."
S032: "today's"
S033: "today's newspaper"
S034: "A strangely dispassionate figure. Mr Jones wears a slightly outdated
suit and a no longer fashionable tie."
S035: "Mr Jones is sitting in a comfy chair"
S036: "a pack of"
S037: "A battered pack of well used tarot cards with a plain blue back"
S038: "a deck of tarot cards"
S039: "an"
S040: "A mysterious book filled with cryptic chapters"
S041: "a set of"
S042: "The scratches on these stones look Nordic"
S043: "A voluminous handbag with mystic gold embroidery on blue velvet."
S044: "an"
S045: "a few"
S046: "These are Madame L'Estrange's business cards. They are dark purple with
gold printing on them."
S047: "An ornate card with a sun on one side shining brightly on a couple of
happy looking people"
S048: "An unburnt, long kitchen match."
S049: "This is a small spiral notepad which Madame L'Estrange uses to note down
names and places of interest"
S050: "This the room where Madame L'Estrange likes to conduct her seances. The
room is perfect for concentration with perfectly balanced vibrations and Feng
Shui. Heavy velvet curtains stand around the room to help block out the light
and unnecessary external vibrations. In the centre of the room was a small
table on which a candelabra and block of incense sat waiting for Madame
L'Estrange to tune in to start her seance. The door to her living room is to
the west."
S051: "The only useful exit is the living room to the West."
S052: "The bridge thrums with traffic in the cool grey day. The pylon is open
at them moment to the East."
S053: "The Pylon to the East is the only interesting feature here."
S054: "The steel and mesh fence is topped by inward bending barbed wire. It
looks quite impassible for both people and objects."
S055: "The bridge thrums with traffic across its eight lanes. On the far side
of the bridge an electric train passes on one of the twin tracks."
S056: "On the far side of the bridge another footpath which is also the
cycleway has it's own lane."
S057: "A ladder leading up the side of the arch is blocked by a heavy metal
gate with spikes radiating from its edges. It looks impassible to Madame
L'Estrange but she knows that youths occasionally get past it and climb up the
arch."
S058: "The twin arches of the bridge span the entire harbour. They look very
impressive from the base. There are walkways along them, used for servicing the
bridge - there is also something else about the arch which Madame L'Estrange
can't quite put her finger on."
S059: "There are four pylons holding the bridge up, each made of sandstone and
each quite large. The one just east of Madame L'Estrange is the only one which
is open to the public."
S060: "From inside the base the pylon is cramped and stuffy. There is a spiral
staircase going up and an exit to the west."
S061: "Madame L'Estrange can go West back to the footbridge or up into the
pylon."
S062: "A friendly looking (and slightly bored) elder man. He has a small strong
box and a clump of tickets bound together with a rubber band"
S063: "The top of the pylon is quite spectacular in the wet Sydney day. The
views of the harbour and the city are magnificent."
S064: "The only exit is down, preferably using the stairs."
S065: "It would not have been easy to get over this edge either, but maybe a
bit easier than climbing the arch."
S066: "The view is quite magnificent here. The harbour in it's grey splendour
can all be seen as can the jump of high-rises which make up the city. The Opera
House looks impressive in the distance with a ferry chugging past it."
S067: "The twin arches of the bridge span the entire harbour. They look very
impressive from the base. There are walkways along them, used for servicing the
bridge - there is also something else about the arch which seems to be just
beyond the normal range of perception."
S068: "The living room of Dr Taverner is simply decorated with a tidy lounge
next to a lamp and a coffee table. There is a bookcase against the far wall.
The outside door carries half a dozen new-looking bolts and chains in addition
to the older deadlock.

There is a kitchen to the North and a bedroom to the East"
S069: "Madame L'Estrange has a quick look through the kitchen. It was fairly
well kept for a bachelor flat. The kitchen table was clear of food scraps and
the dishes washed and stacked in the drying rack. On the kitchen window, which
would otherwise have provided the best view down the tree-lined street, the
blind was drawn so that only a tiny space remained at the bottom, with a pair
of binoculars placed on a nearby table."
S070: "Madame L'Estrange looked through the bedroom. A pair of pyjamas,
carefully folded, could be seen under the pillow. Two loaded spearguns hung by
the bed. Madame L'Estrange tiptoed around them, obviously worried that one
might fall and accidentally fire in her direction as they did not seem very
solidly mounted. A lamp with a powerful bulb was beside the bed on a small
stand.

 Next to the bedroom is a small bathroom with nothing of interest in it."
S071: "The only directions of immediate interest are east and north"
S072: "A nice floral print lounge"
S073: "The outside door carries half a dozen bolts and chains as well as the
normal deadlock and a peep-hole as well. The chains and bolts have all been
recently added and look impenetrable. The older deadlock certainly looks
sufficient."
S074: "A wicker coffee table with a glass top. It sits right next to the couch"
S075: "A small desk diary."
S076: "The bookcase is almost full. The great majority of books are related to
marine biology. There are a large number of books on sharks, many on coastal
marine habitats and a few on molluscs. There is a small section on fossils,
including one book on the discovery of the Brookvalia fossil fish in a quarry
in Sydney's northern suburbs and another called 'Extinct Species of Australia'.
There is a collection of log books on the bottom shelf, along with a stack of
Marine Biology magazines which includes every issue for the last three years
except the last two. On top of the bookcase is a set of bank statements."
S077: "The spearguns are next to the bed in the bedroom. They are loaded and
look very dangerous."
S078: "The bed has been carefully made. It looks warm and inviting"
S079: "The lamp next to Taverner's bed has a powerful bulb. Much brighter than
Madame L'Estrange would find comfortable."
S080: "That is not something you need to refer to in this game."
S081: "The Tasman Marine Institute is a low modern building. It's title is
displayed in black lettering on the white wall above the glassed entryway to
the north. The building looks like it coudln't be older than ten years old."
S082: "The only useful location nearby is the building to the North"
S083: "Andrew Dempsey is in his early thirties. He has an aura of the sea about
his with wet blond hair and darkly tanned skin. His face is friendly and
enthusiastic."
S084: "The Foyer is all glass and marble. It looks very airy but also quite
cold under fluorescent lights and with an overcast day bringing in grey light.
There is an index on the wall showing where everyone's offices are and the exit
to the south."
S085: "David Taverner's office is closed and locked."
S086: "Dr Patterson is apparently not in today. His office is closed and
locked"
S087: "Andrew Dempsey's office is closed and locked at the moment."
S088: "Taverner's office is brimming with material. He has a long low desk but
it is almost completely covered with things - papers, journals, logbooks, trays
of dried starfish. The walls are covered with marine posters and a file cabinet
is almost bursting with material."
S089: "The only exit is the door to the South East."
S090: "The desk is completely covered with junk."
S091: "The Enquiries Office at the University of New South Wales is cramped
into the corner of one of their more modern buildings."
S092: "a"
S093: "The young woman is displaying the most evenly distributed display of
body piercings that Madame L'Estrange has seen."
S094: "Dr Challender's office has a poster on one wall and a shelf of books on
another. The floor is taken up with piles of photo-copied journal articles but
there is enough room for her paper strewn desk as well as her assistants
meticulously clean desk"
S095: "The poster is a photograph of the planet Earth from space with the
caption:

 'Ignore it and it will go away'

 written on the bottom."
S096: "Madame L'Estrange can see nothing useful about that"
S097: "An impressive fossilised fish, black on a grey rock. The thing seems to
be all teeth. It has the word 'Brookvalia' chalked on the back."
S098: "A young woman working assiduously on a piece of writing."
S099: "A piece of writing that has more amendments and scribble on it than
original text. Madame L'Estrange cannot see what the paper is about because the
research assistant is almost hiding it as she mows through it."
S100: "There is a slight drizzle on the Inverted Tree lawn but this does not
seem to bother Sophie Challender. She holds an umbrella absent mindedly against
the elements with her book propped open for easy reading."
S101: "At the centre of the lawn is a tree which is long dead. It has been
'planted' upside down here. The effect is quite striking."
S102: "The occasional person moves through the light rain, but they are not
important."
S103: "Dr Sophie Challender looks to be in her mid thirties and has long black
hair. She has a keenly inquisitive face but one that is often accompanied by an
expression of absent- mindedness. As if she were trying to listen to a very
faint tune beyond the geography of her location. It was a look which Madame
L'Estrange recognised from the face of other spiritualists who had a true gift.
In Sophie's case it seems more likely to be the call of prosaic knowledge that
was distracting her."
S104: "The title of the book  is 'The Hard Road: the life story of Amalia
Dietrich, 1821- 1891.'. It is an old book and looks like it is in danger of
being damaged from the drizzle of rain."
S105: "The library is very modern with a long low entranceway through glass
doors."
S106: "Professor Papadopoulos is slightly overweight and slightly short. He
peers around over a spiky beard and seems to working over a nut or something in
his mouth."
S107: "With the Tasman sea on one side and a valley drifting off to the other
it is easy to imagine that one is facing out into the unknown, an unknown that
must have been David Taverner's friend for most of his life. The wind is hard
and the rain is hard and the crashing of water is deafening where the sea beats
against the rocks at the base of the cliff."
S108: "The rusty anchor has a small plaque next to it describing the plight of
the Dunbar."
S109: "The waves crash on the rocks below. In the wind and the rain the
spectacle of the ocean fighting the shore and the choppy greyness of the Tasman
Sea is awe inspiring."
S110: "The seafood restaurant is not in sight from the Gap, but Madame
L'Estrange knows it well from many a Sunday afternoon tea."
S111: "Madame L'Estrange arrives at Bondi Beach."
S112: "Only a handful of the hardiest, wetsuited surfers were daring the
combination of lashing rain, chilling water and pounding swell to enter the
shunned water of the Tasman Sea. The beach itself was deserted except for a
group of foolhardy backpackers waking across the sand, drenched to the skin,
and one lone spiritualist, clutching an antique green umbrella.

Looking about her, Madame L'Estrange could see no tanned lifesavers- gone,
presumably, with the warmer weather. She saw a small kiosk to the west by the
road facing down toward the sand which, amazingly, was open despite the almost
total lack of passing trade."
S113: "The kiosk to the West is the only interesting location."
S114: "A small kiosk with advertising for iceblocks and drinks on the outside.
The building is painted blue"
S115: "It is not clear which of the adjectives hardy or foolhardy or even
idiot-hardy best applies to those brave souls."
S116: "Although uninviting the beach and sea have a certain desolate majesty.
It's the kind of majesty which Madame L'Estrange would be happier observing
from the inside of a cafe over a cappuccino"
S117: "The waiting room at the Central Police Station has an inhuman
institutional look to it. The misery that has passed through this room has left
both a physical and psychic residue. Even if the police working here are not as
sensitive as Madame L'Estrange, they must be effected by it."
S118: "Madame L'Estrange mounted the broad steps leading to the doorway of the
Central Police Station. Past the nineteenth century sandstone exterior lay a
large, relatively modern, much- used office, dominated by a counter running
across almost its entire width. Going up to that part of the counter labelled
'Enquiries', Madame L'Estrange took a number and, a few minutes later, heard
her number called. Advancing towards a uniformed man in his mid-twenties, she
was greeted with the question 'How can I help you, Madame?'"
S119: "The public is not allowed to wander through here willy, nilly. Madame
L'Estrange must ask for one of the officers if she wants to see him."
S120: "A bland looking man, dressed neatly in his uniform. He has an expression
of polite attentiveness but Madame L'Estrange can sense his underlying
boredom."
S121: "Detective Kenny had his own office, a glass cubicle which seated both
himself and Madame L'Estrange as well as holding a large and cluttered desk
with little room to spare. The exit is to the north."
S122: "The only exit is to the north"
S123: "Detective Kenny looks arrogant but energetic. He's wearing a suit and
tie which looks like its meant to try to impress people."
S124: "A large open-plan office. People are milling around and working
industriously, Sergeant Pearson's desk is tidy with a slightly grimy computer
sitting on it. The exit back to the enquiry section is to the south."
S125: "The only exit is to the south"
S126: "Sergeant Pearson is wearing a uniform and looks slightly overworked."
S127: "The grandstand is large and grey in the grey day. It has a weathered
look of a building that has killed off a great many dreams."
S128: "A few trainers stoically put their horses through their paces. Their
attitude being one of dour contempt for the mud and the weather."
S129: "The rough flotsam of the racing industry must have made for poor bedding
for the unfortunate Henry Zelich."
S130: "The footprints looks like some kind of animals. About the size of a
medium sized dog."
S131: "That is not particularly important."
S132: "the blood is spread around a lot. This is obviously the site of some
extreme violence and it makes Madame L'Estrange uneasy to be here."
S133: "A young, uniformed police officer. He looks slightly nervous and unsure
of himself."
S134: "Macquarie Universities Enquiries Office is new but untidy, with posters
stuck over every surface. Behind the counter sits a black clad youth."
S135: "The young man's clothes are an unnatural black, as is his hair."
S136: "An overcrowded office. Files, papers, boxes, everything is lying around
in a way that must make sense to someone."
S137: "a piece of"
S138: "That is not useful to Madame L'Estrange's investigations and Dr Schuster
seems annoyed that you are looking over his things."
S139: "Dr Schuster has a neat crispness about his clothes which seem to clash
with his unkempt beard and face."
S140: "The Enquiries Office is cramped and untidy. It is trying to look new in
an old building and does so passably well."
S141: "a"
S142: "The young man is wearing jeans and a T-shirt"
S143: "Dr Valenci's office is small and cramped"
S144: "The only exit is to the east."
S145: "Dr Valenci is middle aged with bright eyes peering through small
glasses. She speaks with an accent touched by one or more foreign countries."
S146: "a piece of"
S147: "That is not important to Madame L'Estrange's investigations."
S148: "The skull is very small and white."
S149: "A dull corridor with Dr Peters' open door to the north. Dr Valenci's
office stands to the west."
S150: "The only useful direction nearby is north to the office of Dr Peters, or
West to the office of Dr Valenci."
S151: "Around the walls of the room were a series of coloured posters depicting
various animals, but the dominant feature was an enormous antique desk in the
centre of the room, behind which was placed an old padded swivel chair. A set
of books and journals was neatly stacked to the left of the chair, while on the
right a series of lever arch files stood upright between two marble bookends.
In front of the chair was a notepad and a fountain pen and inkstand set."
S152: "The desk is large and antique. It holds a set of books and journals and
a series of lever arch files between two marble bookends. There is a notepad
and a fountain pen and inkstand set. The desk has only one drawer which is
currently closed."
S153: "a set of"
S154: "The bookends are smooth white marble"
S155: "a piece of"
S156: "Madame L'Estrange quickly establishes that that is not important to her
investigations."
S157: "The park is a nice refuge from the city with long grass lawns and a few
large ponds. The extensive trees and parklands hides the city completely.

The dog squad is just north of here.

Frank Sorrenti is just north east of here."
S158: "Madame L'Estrange strolled along the leafy pathways, dodging the few
cyclists and avoiding the occasional equestrian who had opted for a ride
despite the weather. Skirting a small lake and crossing an expanse of lawn, she
came across a small team of uniformed individuals squatting beside a police
van, each with a steaming mug in hand. From their dress, they were clearly
members of the Police Dog Squad. A short distance away stood a disgruntled Park
Ranger that the spiritualist recognised from his photo in the paper as Frank
Sorrenti."
S159: "The Dog Squad is immediately to the north and Frank Sorrenti is to the
North East."
S160: "The dog squad hang around here, doing nothing in particular, nearby to
the immediate East is Frank Sorrenti."
S161: "The only useful direction to go is East to Frank Sorrenti"
S162: "The dog squad consist of a group of uniformed and bored looking men."
S163: "The park is a nice refuge from the city with long grass lawns and a few
large ponds. The extensive trees and parklands hides the city completely.
Nearby to the West is the Dog Squad."
S164: "The only useful direction to go in is West to the dogsquad"
S165: "Frank Sorrenti is dressed in the rumpled green clothing of a park
ranger. He looks a bit upset"
S166: "The morgue is clean and new. Madame L'Estrange is close to where the
bodies are but not at them."
S167: " It took considerable persuasion on her part to be admitted to the
Morgue, but once inside Madame L'Estrange found the staff to be surprisingly
co-operative- perhaps they secretly delighted in sharing their work with the
potentially squeamish. The spiritualist soon found herself on an impromptu tour
led by one of the pathologists, taking her around the labs, through the autopsy
room and into the freezer where the cadavers were stored.

'Well, that's the Grand Tour. You mentioned a name before, a man you were
investigating. Tell me again, and I'll see if I can produce the corpse in
question!'"
S168: "The attendant is pale but cheerful with an unremovable smile."
S169: "The corpse of David Taverner was every bit as gruesome as Madame
L'Estrange had been lead to believe. She shuddered at the twisted wreck of a
human for that lay before her, its eyes and other organs gone to provide
sustenance for local sealife."
S170: "As soon as the spiritualist saw the body, she wished she hadn't. Despite
her familiarity with the spirits of the dead, she still found it difficult to
stomach their mutilated bodies. After quickly confirming the truth of the
pathologist's explanation, she asked for the half-devoured corpse in front of
her to be covered once more.

But as she stood before the covered body, she could sense a presence nearby,
that left the hairs pricking on the back of her neck..."
S171: "The channel Madame L'Estrange found herself walking towards as she
crossed the waste ground on the margin of the racecourse was sheathed in
concrete and, in the old Imperial measure so dear to the spiritualist's heart,
about 10 foot wide. Standing on the brink, she saw the swiftly flowing stream
of filthy water and refuse of all descriptions sweeping down the channel and
into a massive concrete pipe, tall enough for a child to stand erect, and an
adult stooped. The pipe ran under the neighbouring bank to the east and in the
direction of the nearby road."
S172: "Madame L'Estrange can go East into the storm pipe or West back to
Randwick RaceCourse"
S173: "As the dark water gushed past her knees, the dainty spiritualist, having
let herself down awkwardly into the channel, went gingerly forward to the dim
opening, careful lest she lose her footing. Entering into what she could only
liken to the 'stygian depths' she had often described to her clients when
colourfully explaining the nature of the spirit world, she allowed a minute for
her eyes to adjust to the blackness and, bent into a low stoop, advanced.

After the first few yards she began to master the peculiar form of locomotion
required in the watery confines of the pipe- shuffle with the feet while
letting the water push you along, using the hands as a constant brake. With the
gushing waste-water, confined as it was by the pipe, now up to her mid-thigh,
however, Madame L'Estrange, feeling herself at a disadvantage in matters
approaching speleological exploration, was wondering how easily she could
retrace her steps. Her fears were only increased as she found herself
approaching a bend, which she knew would have the dual effect of making the
torrent all the more treacherous and cutting off even the pitifully few photons
that where her essential companion as she navigated the drain. She was racked
with indecision: should she turn back before it was too late?"
S174: "The only directions which Madame L'Estrange can go here is East -
further into the drainpipe or West back to the surface."
S175: "Around the bend and almost swept off her feet by the now waist-high
water, the frightened Mistress of the Unseen now found herself in absolute,
inky darkness. Reflexively she grasped about her for a handhold, her sense of
sight unable to steady her and her other senses hopelessly confounded by the
rushing waters. She was fortunate indeed to find a small crevice, a fissure in
the concrete in which her groping fingertips could find sanctuary.

Standing exhausted and motionless, bent so that her face was but a foot above
the unseen but odourous flotsam and jetsam, Madame L'Estrange thought wistfully
of the cosy warmth of her parlour and her many pleasant evenings in the comfy
chair by the fire. But here she was, half drowned in a pipe, in the pitch dark,
in the middle of winter.

What was she to do? To continue seemed madness, to return all but impossible
and to remain- unthinkable!"
S176: "The only directions which Madame L'Estrange can go here is East -
further into the drainpipe or West back to the surface."
S177: "Outside a small weatherboard house with a rather bare garden who's only
feature is a 'Hill's Hoist' clothes line. Other houses crowd in on it and it is
close to the open end of the drain. The doorway is to the north"
S178: "A small child in a play-stained dress."
S179: "The clothes line is of the old 'Hill's Hoist' type. It consists of a
metal pole sticking up from concrete and branching out like the skeleton of an
umbrella. The arms are connected by wire which can hold the clothes to dry."
S180: "A very large, green plastic rubbish bin. It had small wheels at its base
so that it could be rolled along if necessary."
S181: "A woman in her mid thirties, she has a slightly stressed and haunted
look."
S182: "The mangled corpse of a twice destroyed creature lies opened on the
pavement here. It's interior made of wire and cotton wool with human and animal
remains lying undigested where the gut should be. On the dead face of the beast
is an expression that could be loss and despair or could simply be madness.
There is a paper tag attached to this corpse."
S183: "Tied firmly to one of the hind legs was a paper tag labelled 'MacDonald
Museum: Exhibit 8773'. The tag was yellowing and aged."
S184: "The museum has trays of assorted insect life, the jars of pickled snakes
and the many carefully reconstructed skeletons of birds, beasts and fishes."
S185: "A quiet dark haired man"
S186: "Rufus Peters' house is a single story federation style terrace house
facing south on to the avenue. It has been renovated sometime in the last ten
years but this is starting to fade and the garden is slowly growing wild once
more."
S187: "Madame L'Estrange can only go North to the main entrance of the house."
S188: "Madame L'Estrange has a look but it isn't important"
S189: "The front entrance of  Rufus Peters' House. The door and transom let in
a lot of light into this bright and airy home. There is a study to the West and
a bedroom to the East. The hallway continues North toward some other doors and
the kitchen."
S190: "Madame L'Estrange can only go North along the hallway or West to a study
or East to a bedroom."
S191: "The hallway enters into a kitchen to the North. There are doors to the
West and East leading into a lounge room and bathroom respectively and the
corridor goes South to the main door and doors to the study and bedroom. An old
print is carelessly hung here."
S192: "Madame L'Estrange has a quick check of the bathroom, enough to convince
herself that there is nothing of importance there."
S193: "Madame L'Estrange can only go North to the kitchen, South to the
entranceway, West to the lounge room or East to the bathroom"
S194: "A drawing of a sulphur crested cockatoo by Elizabeth Gould. Looking at
it closely, Madame L'Estrange thinks that it is just a print."
S195: "Of all the rooms, this appeared to be the most used. With its library,
personal computer and mound of papers and open books strewn across the long
desk it appeared that Dr Peters did a good deal of his work at home."
S196: "Dr Peters' library covered three of the study's walls, rising from floor
level almost to the top of the room's high ceiling. There were too many books
for Madame L'Estrange to do much more than scan her eyes quickly across the
bindings to quickly check the general subject matter. She saw that majority,
but by no means all, seemed to relate to Australian native animals, most of
which, she presumed, were marsupials of different sorts. Otherwise, apart from
general reference books including an encyclopedia and a large, black,
leather-bound Bible, works of fiction appeared in considerable numbers,
nineteenth century writers, such as Conan-Doyle and Poe, having pride of
place."
S197: "Of the three books on the table, one was entitled 'The Physiognomy of
the Thylacine', and was open at a page which had illustrated the paw print of
the animal. On the opposite page was a coloured picture, showing the Thylacine
standing in a majestically pose. Although it was orange, and had several dark
diagonal stripes on its flank, Madame L'Estrange saw why the name 'Tasmanian
Tiger' was such a misnomer, as the creature was clearly not remotely related to
the great cat of Asia, but looked more like a short-haired canine, but with a
differently shaped head.

The second book was called 'In Celebration of the Wolf' and appeared to be more
of a coffee table book for laymen than a serious academic tome. It was open at
the start of a chapter headed 'Tracking the Wolf to its Lair', which described,
in anecdotal form, the distinguishing traces left behind by a wolf.

The third book was a glossy pictorial guide to Centennial Park. It was open at
a double-page map of the Park.

The papers were a jumble of notes and jottings, in addition to a set of
photographs of a dead possum and of a plaster cast of an animal's footprint.
The notes seemed to represent a draft argument as to why the photographs showed
traces left by a wolf rather than by any other animal. A quick comparison
between them and the second book demonstrated that there was considerable
unacknowledged borrowing from that work. "
S198: "A new looking computer, Madame L'Estrange does not recognise the type."
S199: "The bedroom was in complete disorder, with clothes strewn about. The bed
was unmade, and the bedside cabinet had half a dozen almost empty drinking
glasses crammed together on its dusty top."
S200: "There are glasses with the remains of wine on top of the bedside
cabinet. It is a nice cabinet which has been terribly mistreated"
S201: "A small metallic key which has a red tint to it"
S202: "The remains of several microwave meals littered the table, whilst the
sink was piled high with dirty dishes.
 The yard is to the north and the main hallway to the south."
S203: "Reasonably tidy and furnished according to the dictates of comfort
rather than aesthetics."
S204: "The sideboard contains a lifetime supply of heirloom silverware and
china. Although carefully kept, it appeared not to have been used in a long
time."
S205: "A photo of a man in his 20's in academic dress carrying a rolled
testamur. On the back is written in pencil 'Peters, R.'"
S206: "The back garden looked as overgrown and unkempt as the front. The
entrance to the house was to the south, straight into the kitchen. To the north
was a garden shed."
S207: "In addition to a small collection of gardening tools and spare pots,
inside the shed was a small bookshelf containing a series of occult titles,
including books on ceremonial magic by names such as Israel Regardie and
Aleister Crowley as well as several dealing with voodoo ritual. Also present
was an impressively bound hardback edition of 'The Egyptian Book of the Dead'.

Madame L'Estrange was familiar with the titles. They were books that she would
never have let into her own library. They dealt with the kind of magic that
only the foolish or the bitter would think of attempting.

Against the wall of the shed rested a half-full 10 kilogram bag of air drying
modeling clay.

"
S208: "Madame L'Estrange knows these books. She had looked at them before and
read about them in many places. They contain a knowledge that is very dangerous
to pursue."
S209: "The bag of modelling is clay is half empty and there is some signs that
sometime in the past someone has used this clay here."
S210: "A ratty single story terrace house in an advanced state of decay"
S211: "Madame L'Estrange has already tried the door and doesn't feel like doing
so again."
S212: "Outside of a large warehouse, the locked entrance is to the south"
S213: "The area she found herself in was obviously kept in good repair and
reasonably clean. The giant single chamber of the warehouse was divided by a
large partition in front of her. The room in which she was presently standing
was fairly empty, with a coatstand to her right by the door holding a single
jacket, a small table on the right wall with an electric jug and supplies of
tea and coffee and a nearby refrigerator, two chairs and a collection of tools
and cleaning implements in a jumble in the corner.

In the centre of the partition, was a single, closed door. She also noticed in
the near corner to her right a flimsy masonite partition enclosed a small
bathroom, which, from its open door, could be seen to be unoccupied.

Looking up, Madame L'Estrange noticed with surprise that the few high windows
had been boarded up, and that the only source of light was artificial. There
was a powerful bulb hanging in the centre of the room, which was burning even
as she entered through the door, and there appeared to be another lit globe
somewhere behind the partition."
S214: "There is nothing of interest in the bathroom"
S215: "The only exits to this room are north, out of the warehouse, south
through the partition or east to the bathroom."
S216: "An old white-painted coatstand."
S217: "The jacket contained a wallet and a set of keys. The wallet contains
identification in the name of 'Dr Rufus Peters', while the keys appeared to be
a duplicate of the set that Madame L'Estrange already had."
S218: "There is the normal equipment for making tea or coffee, although it
looked like whoever used it tended to only make tea."
S219: "These are the sort of handy tools to have around the place, a single
hammer, a spanner and a few screwdrivers, lying around in no particular order."
S220: "This bulb appears to be on, there is another one, also burning, beyond
the partition."
S221: "In the middle section of the warehouse was a sickening sight. A man's
body dressed in trousers and shirt lay sprawled in the middle of the floor, his
head at an impossible angle and a smashed and bloody face. The man's chest
looked as if it had been crushed by an enormous weight flung against it. All
things considered, he was obviously dead.

The other contents of the room were also quite eye catching, particularly the
twisted and broken 10 foot cubed cage along the left wall. Next to it was
another cage of about half those dimensions, both intact and unoccupied. Other
furnishings included five braziers on black wrought-iron stands placed against
the right hand wall, and two cheap wooden chairs, one of which was strewn in
pieces across the floor. The bare floorboards themselves were quite peculiarly
marked, with a series of almost obliterated chalk lines and symbols as well as
the tell-tale brown stains of spattered dried blood in a pattern covering a
large area in the centre of the room.

Ahead, beyond the carnage, was another partition separating off the southern
extremity of the warehouse and a few feet in front of that partition and
obscuring its centre was a wooden screen rising to a height of about 6 feet.

The whole area had a strange subliminal glow to it, as if it had accumulated
considerable psychic residue."
S222: " The only way that Madame L'Estrange can go from here is north to the
entrance of the warehouse or south through the next partition."
S223: "the corpse of"
S224: "A man with a face smashed and bloody beyond recognition, his chest looks
like it has been crushed by an enormous weight and lower down the body is torn
open."
S225: "A large metal cage that was purpose built here. The cage was carefully
bolted together and reinforced with dozens of strapped and bolted additions. It
is now torn, twisted and broken."
S226: "The smaller cage is still in good condition. It was obviously purchased
premade and it looks suitable for a dog."
S227: "There is a lot of material here for ritual magic. It has obviously been
recently used."
S228: "The screen hid the open doorway to the third room, lit like the others
by electric light, although this time in the for of a fluorescent tube. Whereas
the two previous rooms had been large but sparsely furnished, the third room
was considerably smaller but full. There was a large work bench down the centre
of the room which had been upset onto its side, and books, large diagrams and
many smaller papers had been tipped onto the floor.

Along the external wall in front of her, Madame L'Estrange could see a series
of shelves containing what appeared to be art supplies, including paint,
brushes and modelling clay; a coil of sturdy wire, some of which had been cut
into short lengths; large sticks of chalk in various colours, bowls, fuel for
the braziers, polish, blacking powder and innumerable other odds and ends.
There was also a large, white ceramic, wall-mounted basin with large taps and a
wide drainpipe leading into the floor.

On the wall to her left was a large, open cupboard. Half of the interior was
taken up by shelving accommodating what were apparently props for some bizarre
performance, including an ornate ceremonial sword, small cymbals, and a
grotesque mask. The other half was used as a wardrobe and had a number of robes
hanging in it, ranging from plain to those decorated with occult symbols.

Along the internal wall behind her to right and left were book cases containing
an interesting mixture of books on three main topics, being occult rituals,
extinct marsupials and clay modelling techniques.

In the wall to the west was a small doorway, with the once-sturdy wooden door
hanging half-wrenched from it's hinges and incompletely blocking the feeble
light from the overcast skies outside. On either side of the door was a large
bin, the one on the left having the word 'Thylacine' written on its lid in
indelible ink, the one on the right bearing the word 'Diprotodon'."
S229: "The only exits from this room are the destroyed door to the west and the
door through the partition to the north."
S230: "the"
S231: "the"
S232: "The solid wooden work bench has been tipped over, it's contents strewn
across the floor."
S233: "These books, diagrams, and papers are all concerned with the anatomy of
mammals and marsupials and include many drawings of internal organs. The
diagrams have been drawn and re-drawn here."
S234: "a large number of art supplies apparently for modelling and painting."
S235: "equipment for cleaning and maintaining the ritual items in the next door
room."
S236: "The cupboard is filled with arcana of multitudinous design. A lot of
them with a particularly evil aura, others obviously just mystic looking
trinkets."
S237: "The bookcase displays a peculiar range of hobbies from clay-modelling
and extinct marsupials to occult rituals. Madame L'Estrange recognises with a
shudder a number of the books on the latter."
S238: "The timbers in the door clearly demonstrated that the door had been
forced from the inside as they splintered and bulged outwards, as if a massive
object had struck them in a single mighty collision."
S239: "A brittle and ancient text this looks to Madame L'Estrange as a
variation on John Dee's infamous works"
S240: "Pushing the door carefully lest it collapse upon her, Madame L'Estrange
ventured into the cold exterior air. She was in a small, grimy and forgotten
courtyard that led to a disused pathway running down to the waterfront.

Looking behind her, the spiritualist saw a dangling chain with a stretched and
broken padlock half-imbedded in the grime below.

Casting her eye about the muddy layer of filth on which she was now walking,
Madame L'Estrange saw a set of large but indistinct animal tracks leading from
the door, across the small courtyard to the path and then disappearing out of
sight to the west."
S241: "Madame L'Estrange is torn between the only two directions which she
could go - either east into the warehouse once more or west, following those
animal tracks."
S242: "Madame L'Estrange could see why the path was no longer in use- it led
nowhere but toward a rusty fence topped with barbed wire that protected the
homeless from the hazards of an ancient enclosed pier, which seemed to be
slowly subsiding into the harbour before the viewers very eyes. She could see
the large tracks, now scarcely distinguishable on the discoloured concrete,
leading strait towards a large and recent-looking tear in the fence. She could
also see that part of the large sliding door that gave entrance to the pier to
the west had been torn away and lay, splintered beside the sizeable hole
created into the foetid building's foreboding interior."
S243: "Madame L'Estrange can either go back east toward the warehouse or west
into the foetid building's foreboding interior."
S244: "outside the funhouse"
S245: "Brightly painted and well lit there is a wild, manic laughter filling
the space - a recording of long dead mirth. The walls contain giant and
somewhat grotesque looking exaggerated drawings."
S246: "the"
S247: "the"
S248: "the corpse of"
S249: "the corpse of"
S250: "Bruce has a torn uniform and his strong body is bruised and scratched.
There is a look of desperate courage in his eyes."
S251: "A loaded gun which contains very strong tranquilliser darts."
S252: "A rope net."
S253: "the"
S254: "The beast is absolutely enormous. It's thick, tatty fur is now
splattered with the blood of it's victims. The head of the thing is half the
size of Madame L'Estrange and that is held of it's massively powerful body by
an incredibly thick neck. The creature has a terrifying expression on its face
- it does not know life, it has no soul, it only knows destruction and death.

A large number of tranquillisers stick out of the beast."
S255: "the"
S256: "the shattered"
S257: "Twisted metal and rubble lie strewn where the Barrel of Laffs once
stood."
S258: "A drab and lifeless hotel room."
S259: "A strangely dispassionate figure in a suit which is no longer
fashionable."
S260: "the"
S261: "The Opera House is magnificent today in the cold grey rain. The building
itself looks like a collection of shells. Madame L'Estrange always enjoys
visiting the building if only for the walk along the quay or through the
botanic gardens next to it.

 She does not see anything useful to her investigations at this time, however."
S262: "the"
S263: "The UTS is located in a sprawl of building throughout part of the inner
city. The main buildings are around Central Station which is noisy and wet.

 Madame L'Estrange looks around, not sure which building to enter or why she is
there."
S264: "The drive down to Balmoral Beach was steep and twisty. The beach itself
is nice and quiet, particularly in this weather. Madame L'Estrange stops at a
fish and chip shop to buy some calamari to snack on. She's not really sure why
she's here, this doesn't seem useful to her investigations, but the calamari is
nice."
S265: "Despite the foul weather there are a fair number of people here, most of
them on the board walk rather than the beach. Standing on the beach always
makes Madame L'Estrange think of seafood. There doesn't seem to be anything
else here of immediate interest."
S266: "Madame L'Estrange is in a sterile white room with a large dentist's
chair in it. A middle-aged man in dental garb stands beside it, within easy
grabbing reach of a number of evil-looking implements laid out on a nearby
bench."
S267: "A middle-aged man in dental garb"
S268: "Trina Gallagher is seated behind her desk. The window behind her
provides a sweeping view over the Zoo to the harbour and city beyond.
Certificates and testamurs on the office wall testify to Ms Gallagher's
expertise in both zoology and management."
S269: "Trina looks efficient and intelligent, although there is something about
her which suggests to Madame L'Estrange that she'd rather be out working with
the animals then behind the desk here."
S270: "The corridor looks well used. In front of the drinking fountain built
into the wall stands Oliver Wong, clutching a sheaf of papers.

A young clerk carrying a cup of coffee gently pushes past and disappears into a
nearby office."
S271: "Oliver Wong is a bland looking man wearing a faded suit."
S272: "Madame L'Estrange wears dark but colourful clothing and has long flowing
hair. She exudes and aura of mystery and the supernatural."
S273: "The Moving Finger writes; and having writ,"
S274: "Moves on: nor all your Piety nor Wit"
S275: "Shall lure it back to cancel half a Line,"
S276: "Nor all your Tears wash out a Word of it."
S277: ""
S278: "-- The Rubaiyat of Omar Khayyam"
S279: "            (Trans. Edward FitzGerald)"
S280: "Madame L'Estrange"
S281: "Instructions"
S282: "Game"
S283: "Authors and Acknowledgements"
S284: "Background"
S285: "Walkthrough "
S286: "There is information provided on the following:

     How to play text adventures
     How to play Madame L'Estrange
     About the Authors and their Acknowledgements
     Background information
     Walkthrough
"
S287: "write to"
S288: "read"
S289: "increment"
S290: "decrement"
S291: "apply 'ofclass' for"
S292: ""name""
S293: ""create""
S294: ""recreate""
S295: ""destroy""
S296: ""remaining""
S297: ""copy""
S298: ""call""
S299: ""print""
S300: ""print_to_array""
S301: ""before""
S302: ""after""
S303: ""life""
S304: ""n_to/door_to""
S305: ""s_to/when_closed/when_off""
S306: ""e_to/with_key""
S307: ""w_to/door_dir""
S308: ""ne_to/react_before""
S309: ""se_to/add_to_scope""
S310: ""nw_to/react_after""
S311: ""sw_to/list_together""
S312: ""u_to/invent""
S313: ""d_to/plural""
S314: ""in_to/grammar""
S315: ""out_to/orders""
S316: ""initial/when_open/when_on""
S317: ""description""
S318: ""describe""
S319: ""article""
S320: ""cant_go""
S321: ""found_in""
S322: ""time_left""
S323: ""number""
S324: ""time_out/daemon""
S325: ""each_turn""
S326: ""capacity""
S327: ""short_name""
S328: ""parse_name""
S329: ""badguess""
S330: ""goodguess""
S331: ""orange""
S332: ""striped""
S333: ""thylo""
S334: ""dipstate""
S335: ""alive""
S336: ""diplife""
S337: ""clights""
S338: ""wrongguess""

[End of text]

[End of file]