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

Z-code for Z-machine | 1995-12-02 | 186KB | 930 lines

Resident data ends at 7804, program starts at 7804, file ends at 2d590

Starting analysis pass at address 7802

End of analysis pass, low address = 7804, high address = 2688c


[Start of text]

S001: "THEATRE"
S002: "Copyright (c) 1995 by Cave Rock Software Ltd."
S003: "You can see nothing special above you."
S004: "You can see nothing special below you."
S005: "951024"
S006: "5/12"
S007: "a"
S008: "You can't go that way."
S009: "the"
S010: "the"
S011: "the"
S012: "the"
S013: "the"
S014: "the"
S015: "the"
S016: "the"
S017: "the"
S018: "the"
S019: "the"
S020: "the"
S021: "Darkness"
S022: "It is pitch dark, and you can't see a thing."
S023: "As good-looking as ever."
S024: "Nameless item"
S025: "your former self"
S026: ""Is there anybody there?" said the Traveller,"
S027: "Knocking on the moonlit door."
S028: "And his horse in the silence champed the grasses"
S029: "Of the forest's ferny floor."
S030: "  "
S031: "           -- Walter de la Mare, "The Listeners""
S032: "That is not dead which can eternal lie,"
S033: "And with strange aeons death may die"
S034: "  "
S035: "       -- H.P. Lovecraft, "The Nameless City""
S036: "    (for purists: the "even" has added later)"
S037: "Don't rejoice in his defeat, you men. "
S038: "For though the world stood up and stopped "
S039: "the bastard; the bitch that bore him is in "
S040: "heat again."
S041: "   "
S042: "                   -- Bertolt Brecht"
S043: "What is fame? The advantage of being known by"
S044: "people of whom you yourself know nothing, and"
S045: "for whom you care as little."
S046: "  "
S047: "                         --Stanislaus"
S048: "This is NOT a maze!"
S049: "      He who defiles the tombs of "
S050: "      Egypt shall surely perish!"
S051: "  "
S052: "          --PYRAMID OF DOOM"
S053: "            Alvin Files and Scott Adams"
S054: "I betook myself to linking"
S055: "Fancy unto Fancy, thinking"
S056: "What this ominous bird of yore-"
S057: "What this grim, ungainly, ghastly,"
S058: "Gaunt, and ominous bird of yore"
S059: "  Meant in croaking "Nevermore.""
S060: "   "
S061: "       Edgar Allen Poe, "The Raven""
S062: "If you can see this then it is the result of either a very serious bug
or you have been hacking. Go north to get to the theatre lobby."
S063: "THEATRE Credits"
S064: "Details about the authors."
S065: "THEATRE Version History"
S066: "Version and release information."
S067: "THEATRE Legal Dribble"
S068: "Copyright and other legal dribble."
S069: "Introduction to Text Adventures"
S070: "Help for beginners."
S071: "Special Commands"
S072: "List of special commands."
S073: "General Hints"
S074: "General hints for novice players."
S075: "General Hints"
S076: "Help me, I am generally stuck."
S077: "The Lyric Theatre"
S078: "Story of the Lyric Theatre."
S079: "loose pages"
S080: "3rd May 1898"
S081: "6th May 1898"
S082: "The letter confirming my appointment as draftsman at Baggett, Kuhl, and
O'Leary, arrived this morning. I leave on Wednesday. I dread telling Melissa. I
will definitely miss her. She is rather sweet but I will not propose to her. I
am only 22 and I have a whole lot of living to do. There are no places to sow
wild oats here."
S083: "18th May 1898"
S084: "My first day at the firm has been very eventful. I was shown around the
offices and introduced to everybody and then was given an office with another
chap called Brighton. I spent the rest of the day revising some old drafts that
the architects had done.

The firm is very busy, as they are preparing a tender to build a new theatre
for a client called Horton. I have never heard of this person but he seems to
have all the big wigs upstairs as busy as bees in a hive. Apparently he is one
of the new oil chaps. One day I hope to be as rich as he."
S085: "24th May 1898"
S086: "The firm has won the account to build the theatre. Brighton and I have
been assigned to the team involved. The main architect is Trent. Curiously,
Horton wants his daughter, Elizabeth, involved in some of the minor details,
much to Trent's distress. "
S087: "6th June 1898"
S088: "I have just meet Mr Alexander Horton and his daughter, Elizabeth. Miss
Horton, to use Brighton's terminology, is quite a dish. I tend to agree. She
seems very intelligent, and has the most splendid eyes. A true raven-haired
beauty. Seeing her has made me very glad I didn't propose to Melissa, who seems
almost dull compared to Elizabeth.

Still I have yet to gain my fortune, so ladies like Miss Horton are still out
of my reach. That doesn't seem to stop Brighton. He clearly has a way with the
ladies. I suppose I am a little envious."
S089: "17th June 1898"
S090: "Today, Trent and I went to Horton's house to discuss some design
matters. Brighton was quite annoyed that I went instead of himself, but I
suspect that Trent was a little concerned about his behaviour towards Miss
Elizabeth.

We arrived at the Hortons' estate a little after 3. It was a rather smashing
place with large gardens, a tennis court, and a small private zoo, where there
was a tiger! I didn't get to see the beast itself, but I could hear it roaring
quite loudly when we arrived.

Horton and Trent spent a lot of time talking about the structure of the ceiling
beams, while I had to do a lot of rough on-the-spot sketches. Apparently Horton
wanted some rather unusual mathematical shapes designed in the ceiling struts
and in the foundations. Trent admitted that some of the designs were highly
innovative, but seemed unnecessarily expensive, but Horton insisted.

During the discussion I had a chance to talk to Miss Elizabeth. It seems she is
an artist, a passion, she said, she inherited from her mother. (I saw a large
portrait of her mother, posing with a then much younger Alexander Horton. Miss
Elizabeth is the striking image of her mother.) She has some designs of a giant
front glass window. Very unusual."
S091: "2nd July 1898"
S092: "We are still working on the design of the theatre. Yesterday, I saw Miss
Elizabeth at the local gallery. We later supped at the gallery's cafe. I made
an error in judgement of telling Brighton. He was very hostile about it."
S093: "9th July 1898"
S094: "A terrible thing happened last night. Brighton was found murdered. Due
to Brighton's jealousy of me over the last week, the police interviewed me.
Since I was helping Trent with the plans last night I was soon freed from
suspicion. Rumour has it that Brighton was very drunk last night and quite
abusive to people. He probably ran into someone who wasn't very tolerant."
S095: "15th July 1898"
S096: "Just arrived home after having an exquisite dinner at Elizabeth's. She
truly is beautiful. I will admit that I am somewhat smitten with her. This is
silly because she is unobtainable to me. Her father would never allow it. I
must cool things down before I get in trouble. The firm would fire me, at the
instant, if they knew about my feelings. Fortunately, the work on the theatre
design is progressing at an extremely fast rate and soon will be finished. Then
I will be able to avoid her while my feelings simmer down."
S097: "21st July 1898"
S098: "Yesterday was an incredible day. Elizabeth accompanied her father to the
office and we had a chance for a private conversation. I told her it would be
best if we weren't so informal together and that it wasn't appropriate for us
to meet like we have been. She just laughed and kissed me. Just like that, in
the office. Goodness, if any of my superiors had seen us there would have been
a tremendous fuss. She then told me that, in her words, I had "delightful
properties" and that I was "valued quite highly in her affections"."
S099: "25th July 1898"
S100: "I spent last night in Elizabeth's arms. We went out for supper and then
I escorted her home, where I spent a most magical night. Truly, I love her. I
love her smell, her touch, her delicate laugh, her dark hair, and her beautiful
eyes.

One curious incident, though, puzzles me. After we made love I went to the
bathroom and upon leaving it almost walked into her father, whom I had
successfully avoided earlier in the evening. On seeing me, I expected a most
violent reaction, and my career to be ruined, but instead he just looked at me
with sad eyes, like he felt sorry for me."
S101: "29th July 1898"
S102: "My romance with Elizabeth has been continuing steadily. I have managed
to keep it a secret from those at work although I think Trent suspects
something. I find her father's reaction, or lack of one, to our affair curious.
Last night I saw some of Elizabeth's pictures. To be honest they were rather
dreadfully morbid images of strange old cities. Others, which she had hidden,
were of the most fantastic and ghastly creatures. I don't think I shall tell
her I saw them, in case she might ask me my opinion. I cannot lie to those
beautiful eyes of hers."
S103: "8th August 1898"
S104: "Today, we finished the designs of the theatre. Trent held a little
celebration, for us all, at his club. It is good that Horton is no longer a
client of ours. I now do not have the threat of dismissal spoiling my feelings
towards Elizabeth."
S105: "14th August 1898"
S106: "Elizabeth made a most curious request of me. She wanted me to alter the
plans slightly. I told her about how I was only a draughtsman and not an
architect, and what the actual difference is, but she insisted. I now
understand what my father meant about not being able to tell a woman anything.
In the end I went to her father and he okayed the changes. I tried to tell him
that Trent should be the one to do the changes but he said I was to do it.
Still I think I will do it. Then perhaps she will let me see her pet tiger."
S107: "19th August 1898"
S108: "I never really knew what a violent temper Elizabeth had, until a couple
of days ago. She gave even more changes to make to the plans, including a
secret passageway from the toilets, of all places. I went to Trent and showed
him the changes. When Elizabeth found out she was furious."
S109: "23rd August 1898"
S110: "I now have discovered the reason behind Elizabeth's quick temper and
increasing moodiness. Her father was, apparently, sick for several days, and
this morning he passed away. Elizabeth has obviously been replacing her grief
with anger. Hopefully, soon she will have a good cry and return to her normal
lovely self.

Elizabeth gave me more changes to make. They are very subtle changes to some of
the geometric shapes that were built into the ceiling and foundations. I don't
know why but these changes disturb me greatly."
S111: "2nd September 1898"
S112: "Elizabeth has been impossible the last few days. She gives more and more
changes, and then flies into great rages at the merest hint of objection. Also
my health has been failing due to my insomnia. Those changes she has been
forcing me to make are hideous to behold. The strangest thing is I don't even
know how drawn shapes on paper could be so disgusting anyway, and how they can
give me such terrible dreams."
S113: "15th?? September 1898"
S114: "I think I am losing my mind. My nights are filled with nightmares,
especially about what that awful underground pit could be used for. Since I
have finished the changes, I haven't seen Elizabeth but I don't miss her. Oh,
Melissa. I am ashamed of my previous entry about you. You are more of a lady
than that whore ever was.

I haven't been into work for several days so I expect I am unemployed, but
considering what trouble that job brought me, I don't really care."
S115: "? October 1898"
S116: "(missing pages)"
S117: "This section of the journal is missing."
S118: "The Journal of Eric Morris"
S119: "Unnamed Journal"
S120: "reading all of the loose pages"
S121: "This room is a tribute to the now-faded glory of the theatre. The
still-smiling faces of forgotten productions stare out from faded posters at
you. An old grand staircase leads up, while the exit lies to the south. Small
private doors lead northeast and northwest."
S122: "The anonymous faces smile back at you."
S123: "some"
S124: "These fine old stairs once would have been the focus of the entire
lobby. Unfortunately they are a bit decrepit now."
S125: " Starting the Game"
S126: "How do you start the game?"
S127: "Cobwebs cover the whole row of dirty hooks. Looking closer you see that
one is a lot cleaner than the others."
S128: "One hook stands out from the others because it is a lot cleaner, having
no cobwebs over it."
S129: "This hook is a lot cleaner than the others."
S130: "The secret passage leads down."
S131: "Great, tax receipts from 1937. Riveting stuff."
S132: "some"
S133: "The little metal markers on the dial are all worn away. No one could
open this now."
S134: "some"
S135: "How do I open the safe?"
S136: "The Office Safe"
S137: "a spot of safecracking"
S138: "You can barely make anything out in here. The only source of
illumination is the light seeping in from the street-level windows. Not that it
really matters because all this room seems to contain is boxes and a couple of
barrels."
S139: "an"
S140: "An old electrical panel is mounted on the wall. "
S141: "Sitting on one of the boxes is your trusty pager, right where you left
it."
S142: "your"
S143: "some"
S144: "Oddly, the barrels are filled with old stale popcorn."
S145: "Hmm, popcorn doesn't age well."
S146: "some"
S147: "lots of old stale popcorn"
S148: "There is too much smog to the evening sunset."
S149: "Boarded up buildings block your path."
S150: "A dirty wispy type of mist that is half fog and three-quarters smog."
S151: "It was the thing that your car used to drive on. When you had a car,
that is."
S152: "This individual is very large and bulky, and is wearing heavy leather
clothing that is ripped in several places. He has very pale skin but dark
spooky eyes that stare at you with no trace of emotion (perhaps even life). You
can't help but notice that half of his mouth is sewn together. He emits a
rather unpleasant odour that is difficult to classify, but you concentrate more
on the sharp and deadly little knife he is holding."
S153: "A vicious looking thug stands before you, wielding a deadly looking
knife. He seems quite smelly."
S154: "It looks like it could cut through budding young land agents' throats
quite easily."
S155: "The Street Thug"
S156: "How do I get past the street thug?"
S157: "This is a small room that has been sealed up. The windows have been
boarded over, but faint light enters through cracks. The booth smells very bad,
like old rotten meat."
S158: "some"
S159: "Once these rags would have been an old usher's uniform but now they are
just rags."
S160: "some"
S161: "an"
S162: "Boxes of junk line the walls, making the narrow hallway even more
difficult to navigate through. Doors lead south and west, while the hallway
continues north."
S163: "some"
S164: "A quick rummage through the boxes finds nothing useful at all."
S165: "some"
S166: "an"
S167: "The narrow hallway and its rows of boxes come to an end here. To the
north is the back exit of the theatre while the hallway continues south, and an
office door leads west."
S168: "Unfortunately the door has been nailed shut from the other side. You
will never get that open."
S169: "The office door has been nailed shut."
S170: "You are behind the old theatre building in a small courtyard in the
centre of the city block. On all sides tall buildings block you in. Once an
alleyway allowed passage to the streets, but that alleyway was built over a
couple of decades ago, so now the large stage doors to the south are quite
useless. A small back entrance, however, lies to the southwest."
S171: "The large stage doors are locked shut from the inside."
S172: "The tall walls of the courtyard block your way."
S173: "some"
S174: "It is an old unused ticket for a play called "The Inspector Calls". It
was for the 8:00 pm session, but the seat number has faded away."
S175: "an"
S176: "You are in a dream location. Soft light set a romantic mood."
S177: "A very large, very comfortable bed. It could sleep five easily."
S178: "Oh, what a heavenly babe."
S179: "Cindy"
S180: "An outstanding beauty."
S181: "Kathy"
S182: "A simply stunning example of the female gender."
S183: "Stephanie"
S184: "The body perfect."
S185: "Elle"
S186: "fulfilling your fantasies"
S187: "Here the grand staircase splits to the east and the west. You can also
go back down to the south. "
S188: "Below you is the theatre lobby."
S189: "The stairs lead up to the east and west. "
S190: "It is a full-length picture of a distinguished gentleman in an
old-fashioned suit. He is standing in a wood-panelled room with an oaken door
and a large fireplace that has a roaring fire in it, casting flickering light
all around the room. Looking closer you can't help but feel that the background
room has been drawn with an incorrect perspective."
S191: "A huge portrait dominates the northern wall."
S192: "Seems oddly realistic in someplaces."
S193: "Very distinguished and quite old. There is no clue as to the identity of
this character."
S194: "The painted fireplace has a large burning fire in it."
S195: "The painted oaken door is closed. Actually the door is very realistic.
It is almost as if you could reach out and touch it."
S196: "The painted open door is open."
S197: "A huge portrait dominates the northern wall. The painted door in it is
open showing a passage to the north."
S198: "The painted oaken door is closed."
S199: "A huge portrait dominates the northern wall."
S200: "The Ghostly Usher"
S201: "How to I stop the ghostly voice?"
S202: "giving the ticket to the ghostly presence"
S203: "This landing circles around the upper level of the lobby allowing you to
see down into it. The landing continues south and west, where it goes down the
lobby stairs. A set of double doors lead north to the theatre auditorium
itself, while a single finely carved wooden door leads east."
S204: "Below you is the theatre lobby."
S205: "This landing circles around the upper level of the lobby allowing you to
see down into it. The landing continues south and east, where it goes down the
lobby stairs. A set of double doors lead north to the theatre auditorium
itself."
S206: "Below you is the theatre lobby."
S207: "But there is no door to the west from here."
S208: "The landing sweeps around the theatre's entrance hall. Here, at the
southern end, you are above the main doors, and you can look down to the lobby
below. The landing continues to the northeast and northwest."
S209: "It's not safe to go down from here."
S210: "Against the southern wall you can see some closed heavy curtains."
S211: "some"
S212: "Against the southern wall you can see a circular patterned window
surrounded by heavy curtains."
S213: "Against the southern wall you can see some closed heavy curtains."
S214: "The window has a very curious pattern on it. The pattern is impossible
to describe and as you look closer at it the more indistinct it gets, causing
you to lose your concentration."
S215: "The light shining down from the circular window above you has created a
faint spotlight with a curious pattern on the floor."
S216: "The circular window above must have a slightly concave surface because
it seems to have focused the curious pattern into a smaller version of itself.
Unfortunately you still can't make head or tail of its meaning."
S217: "The Circular Patterned Window"
S218: "What is with this funny patterned window?"
S219: "This aisle runs north and south through the large theatre auditorium,
where you are surrounded by a sea of seats. Another aisle is to the west while
the stage is to the north. Double doors lead south."
S220: "some"
S221: "This aisle runs north and south through the large theatre auditorium,
where you are surrounded by sea of seats. Another aisle is to the east while
the stage is to the north. Double doors lead south."
S222: "some"
S223: "Here you stand upon a stage that once would have been graced by the
finest thespians in the country. However, now the only players upon this stage
are the spiders who spin the cobwebs, and who act out that never-ending saga of
life, death, and life again.

Anyway to the southeast and southwest aisles wind their way through the endless
sea of seats, to the north is the back stage area, while down to the south is
the orchestra pit."
S224: "Far above you, you can see endless rows of lighting and girders."
S225: "some"
S226: "This depression would have been too small for anything but the most
basic of orchestras. Looking about you can see why this is called a pit. You
can go back up to the stage, or east to some walk-in storage cupboards."
S227: "Far above you, you can see endless rows of lighting and girders."
S228: "It looks dark and gloomy inside them."
S229: "some"
S230: "It is very dark inside the cupboards here. You imagine that this is
where the orchestra used to keep its equipment, but there is no sign of it here
now. The cupboards are empty except for the shadowy gloom. The orchestra pit
itself lies to the west and a gap in the east wall leads east."
S231: "The creature is a intangible shadowy presence."
S232: "destroying the shadow creature"
S233: "How do I pass the shadow?"
S234: "Passing the Shadow"
S235: "This is a very dark place and you can barely make out passages heading
west and northwest."
S236: "Light filters through from the cracks on the boards above you, that form
the stage. It is quite cramped here, and you have to bend over slightly as you
walk to avoid hitting your head on the low ceiling.

A passage leads southeast from here into darkness."
S237: "some"
S238: "Littered on the ground are various small items that seem to have fallen
through the cracks above you."
S239: "This is a finely carpeted stairway that leads down to a wooden door, and
up to the north."
S240: "Below you is the stage and the theatre auditorium."
S241: "some"
S242: "The Western Balcony Seats"
S243: "Can I get to the western balcony seats?"
S244: "This is a cramped dimly-lit room, empty but for the rows of pictures
that are on the walls. A small door leads south."
S245: "some"
S246: "The pictures are very depressing. They are a collection of strange
landscapes of what looks like a monstrous city, with large stone buildings of
curious design. You have seen nothing like them before. Obviously they are
abstract pictures, because the angles the buildings are drawn at look
incorrect, almost like a bizarre perspective puzzle, where it is hard to tell
where the walls end and the street begins. The streets are empty of inhabitants
but you get the impression of great size and antiquity."
S247: "an"
S248: "A jumble of supports, ropes, and curtains divide the back stage in to a
maze of compartments. The general clutter isn't helped by the rolls and rolls
of canvas scenery backdrops. The stage doors, leading north, have been boarded
over, and you can see that the remains of stairs leading up have been pulled
down, so only the exit seems to be back south to the stage."
S249: "Looking up you can see several doors above you. You would imagine that
there once would have been a landing there but it must have been pulled down
like the stairs."
S250: "The stage doors have been nailed over."
S251: "The stairs have been removed."
S252: "some"
S253: "Once stairs lead up, but sadly they have been removed."
S254: "some"
S255: "The stage doors have been nailed over."
S256: "some"
S257: "Once used to support things but you are not too sure what."
S258: "some"
S259: "Old and beginning to rot, but these things would have onced been used to
separate the various areas of the stage."
S260: "some"
S261: "Actually, looking up, you notice that the ropes go near some doors set
into the western wall high above you."
S262: "some"
S263: "These large canvas sheets would have had the set's backdrops painted on
them."
S264: "You are suspended about five metres above the stage, clinging on to one
of the many ropes. Across a narrow space you can see some doors set in the west
wall that would have once lead onto a landing (which is long since gone). One
of the doors is very close by."
S265: "You can only go west and down here."
S266: "This room was probably once an old dressing room, but it is hard to tell
as scuff marks on the floor are the only traces of the room's original
furniture left. A door leads east, back to the rope."
S267: "Seems like people were pushing heavy furniture about."
S268: "an"
S269: "The locker has seen better days. The fall has smashed it open, rendering
it useless as a container. It seems the snake must have crawled away, as you
can see no trace of its body."
S270: "This is a small round amulet with a matching chain that is designed to
be worn. You're not too sure, but some mercenary instinct believes the amulet
is made of gold. In the centre of the amulet is an impressive inscription of
what looks to be a moon symbol."
S271: "an"
S272: "an"
S273: "Its seems to be a cut-out of a review of a theatre show. As you quickly
read it through, one section in particular seems to stand out:

...but the highlight of the show must have been the performance of the half
time act of Marcilax, Master of Magicks. His acts of illusion and
prestidigitation were simply wondrous and astounding to behold. Fortunately
this reviewer had time to interview Marcilax after the show. When complimented
on his performance, Marcilax modestly informed this reviewer that his success
was partly due to the setting itself. To quote him "...this very theatre seems
to be a storehouse of mystical energy. Normally when an abundance of mystical
energy is centred in one place it will condense into crystals of immense
powers, but here in this theatre it seems to be dispersed into the very walls.
However one must still be careful, if I was not protected by the enchantments
weaved into my protecting medallion, my very soul could be in jeopardy."
Anyway, despite the rhetoric, we can expect great things to come of this
performer."
S274: "This is a strangely coloured snake. You think it is a cobra. Certainly
the way it hisses at you seems to suggest it is very dangerous."
S275: "Removing the Snake"
S276: "How do I get rid of the snake?"
S277: "removing the snake"
S278: "This is an old secret stairway that leads up and down. The area is
feebly lit by electrical lights set in the roof."
S279: "The stairs descend into darkness."
S280: "some"
S281: "They emit a feeble glow."
S282: "an"
S283: "some"
S284: "an"
S285: "The Iron Door"
S286: "How do I get through the iron door?"
S287: "You have to go down into the pit first."
S288: "The rough walls of the pit make an easy climb up and out of here. A
gloomy tunnel heads east."
S289: "some"
S290: "They provide easy hand holds to climb up out of here."
S291: "You can see an indistinct blur of the beast's basic outline as it paces
back and forth in the pit."
S292: "In the gloom, you can make the outline of some sort of transparent yet
very large creature that is trapped in the pit."
S293: "an"
S294: "How do I safely enter the pit?"
S295: "The Pit Monster"
S296: "defeating the pit monster"
S297: "You are at a junction in a little network of tunnels. One tunnel heads
west back to the pit, while others branch northeast, southeast, and southwest."
S298: "You have reached the western end of a large sewage drainage trench that
continues east quite some smelly distance. A passageway leads northwest, back
under the theatre.

This end of the trench seems to terminate at a large sluice gate that opens
into a drain leading further down into the muck."
S299: "There is no way that you are going further down into the drain."
S300: "The sluice gate is at the end of the trench, above a large drain."
S301: "The large drain is at the end of the trench, below the sluice gate. It
leads down into darkness, but you have no wish to find out what is down there!"
S302: "The old trench has been crafted from old red bricks that have been
stained green by the continues slime than has filtered down it through the
decades."
S303: "You shouldn't be in here. This is a BUG. Please report it to the author.
Go up to leave."
S304: "You appear to be in the centre of the drainage trench, which leads east
and west from here. Above you, to the north, is a strange metal platform."
S305: "You are on a metal platform, which grants a clear view of the entire
sewer (for what it is worth) that lies down to the south."
S306: "You imagine the lever operates by pulling it."
S307: "From out of the roof extends a long rusty lever."
S308: "Here the drainage trench ends at a junction of small pipes, each
impassable. The trench leads west, while a tunnel leads southeast."
S309: "some"
S310: "This small northwest-southeast tunnel is covered in rotting sewage and
animal droppings. The tunnel ends at a unusual archway to the south-east."
S311: "some"
S312: "The archway's smoothly polished surface is distinctly out of place with
the rest of the surroundings."
S313: "an"
S314: "The rodents are slick and slimy, looking very vicious with their beady
little eyes and cruel little razor teeth. They quickly swarm over each other as
they move."
S315: "You shouldn't be in here. This is a BUG. Please report it to the author.
Go up to leave."
S316: "How do I get past the rats?"
S317: "Passing The Rats"
S318: "How do I get cross the archway?"
S319: "Passing The Archway"
S320: "Beyond the archway lies a small circular room of red brick, shaped,
oddly enough, like an Eskimo's igloo. Dominating the centre of the room is an
old iron cauldron, filled with an unknown bubbling liquid. All around the walls
are shelves filled with curious little vials and other knick-knacks that seem
to give you the impression of a witch's secret laboratory or the like. The only
exit appears to be back to the northwest through the archway."
S321: "Searching through the stuff you find nothing really useful."
S322: "some"
S323: "an"
S324: "This side of the archway is formed out of brick."
S325: "an"
S326: "Looking closer you realise that it is very hot but you can see no fire
or other form of heat source."
S327: "Lying on the ground in front of the statue is a jewelled dagger."
S328: "This is a small round crystal, with a circular pattern on it. It is
earthy brown in colour."
S329: "an"
S330: "Looking closer it seems to be either a very chunky soup or a very watery
casserole."
S331: "It seems to be a simple silver wedding band."
S332: "The Bronze Statue"
S333: "How do I get the jewelled dagger?"
S334: "getting the jewelled dagger from the statue"
S335: "This sinister and murky hallway leads from the southwest to the
northeast, where you can hear the sound of chanting. The chanting has a
sinister inflection to it and you can feel an undefinable fear rising up within
you."
S336: "The Chanting"
S337: "Should I investigate the chanting?"
S338: "The hallway opens out into a huge cavernous room, brightly lit by a
large sphere of light which floats above the centre of the floor. Standing
beside the light is a tall thin woman."
S339: "stopping the summoning ceremony"
S340: "You follow a winding tunnel and end up where you started."
S341: "You are much deeper in the mine shaft here. The area has been widened
out into a cavern and there are signs that some major excavations occurred
here."
S342: "The creature is humanoid and about five feet tall. However he is very
thin and his skin has hardened into rough black leather. His face has also
distorted into ugly pig-like features with solid black eyes. The eyes look back
at you intelligently but sadly."
S343: "The Strange Goblin Creature"
S344: "How do I free the goblin creature?"
S345: "A thick layer of dust everywhere shows that no one has been here for
quite a while, which is not surprising since there seems to be no way out of
here. A bricked-up doorway once led west from here.

Looking closer you realise that there is an exit. A small hole has been knocked
into the wooden wall to the side of the bricked-up wall. The hole, which is
small enough to crawl through, leads northwest."
S346: "The exit west from here has been bricked up."
S347: "Below you is the stage and theatre auditorium."
S348: "You are dirty enough as it is without poking around in the dust."
S349: "The bricks form quite a sturdy wall, blocking the exit west."
S350: "You seem to be crawling along inside a hollow in the wall separating the
theatre from the building next to it. It is very dirty in here, and the lack of
light makes it difficult to see anything clearly. The hollow continues south
from here, while a hole lies to the southeast."
S351: "This narrow hollow, which exists in the wall separating the theatre from
its neighbouring building, continues north from here. However a large hole
leads west from here, into the neighbouring building itself."
S352: "The hole is big enough to allow passage west from here."
S353: "The hole is big enough to enter."
S354: "There are hundreds of books here, but most of them have turn mouldy in
the damp air and the rest seem quite useless."
S355: "This little recess appears to have been once a reading area. A small
reading table and chair are still here. The library continues to the south."
S356: "It doesn't look very comfortable but a chair's a chair."
S357: "You can see that all the strange glistening strands converge in the
centre of a large heap of rotting books that appear to have been made into a
nest."
S358: "Its flesh is a sickly pulpy white colour, covered in hard ridges. At one
end (which you imagine must be its head) there are a lot of large black dots
which seem to be eyes and at the end is a strange bony point."
S359: "They seem like large versions of something from a spider's web."
S360: "Under one of the collapsed bookcases you can see the body of a large
slug."
S361: "Its flesh was a sickly pulpy white colour, covered in hard ridges. The
flesh has now burst open and a foul-smelling ichor leaks out."
S362: "crushing the giant slug"
S363: "Defeating the Slug"
S364: "How do you remove the slug?"
S365: "You are high above a side street on an old stone balcony. Once, long ago
when this part of the city wasn't abandoned, the view from here would have been
incredible. Now, instead of glittering lights and flashing signs, the view is
of old boarded-up shop fronts and ruined buildings.

You can go back through the windows to the east or you can risk climbing up the
outside wall."
S366: "You can see a side street below you."
S367: "Sadly, the evening sky is lost above clouds of smog."
S368: "Unfortunately, you can see no way you can climb down, only up, and you
are too high up to jump."
S369: "The view is pretty lousy from here."
S370: "an"
S371: "This narrow little stairway winds its way up to the west and down to the
east."
S372: "This is a long wood-panelled corridor that goes north and south. A
narrow little staircase leads down to the east from here, while a door goes
west."
S373: "The stairs only go down."
S374: "Flat and wooden, doubtlessly like many thespians who would have graced
this theatre."
S375: "some"
S376: "This is a long wood-panelled corridor that goes south from here. Doors
lead north and west."
S377: "This is a long wood-panelled corridor that goes north from here. Doors
lead south and west."
S378: "This small room seems to be reserved for medical emergencies. The walls
are covered with old medical posters giving cheerful descriptions on how to
heal cuts, tend to burns, and deliver babies?! Healthy people can leave to the
south."
S379: "These give details on how to treat accidents that could occur in the
average theatre."
S380: "some"
S381: "There is a bed here, for the infirm."
S382: "It is written in a woman's handwriting. It seems to be addressed to you.
You had better read it."
S383: ""For the effective relief of most severe pains. Prescription use only!"
says the label on the pill container."
S384: "some"
S385: "Something you wear on your ears. Doctors use them to listen to people's
heart beats. You remember most of them as being very cold."
S386: "In here were stored many of the smaller props once used in the theatre's
production. Shelves full of junk line the walls. A door leads out to the
north."
S387: "some"
S388: "The junk includes vases, plates, plastic pot plants, bottles of beauty
lotions, magazines, hair brushes, etc... Hmm, nothing useful at all, unless you
run one of the television sales channels."
S389: "some"
S390: "The Prop-Room Trapdoor"
S391: "How do I go up the prop room's trapdoor?"
S392: "You have made your way up into the attic of the theatre. Wooden studs
and crossbeams make progress through the room difficult but not impossible.
Cobwebs and thick dust line the area. The attic continues further to the
north."
S393: "some"
S394: "some"
S395: "Dust coats the crossbeams, and covers the thinly plastered floor here.
Looking through the cracks in some of the plaster, you can see that you are
high above the theatre auditorium itself. The attic continues south from here,
while to the north you notice a curious construction."
S396: "Through cracks in the floor you can see the theatre auditorium is far
below you."
S397: "some"
S398: "One end is connected to the winch and the other is to the chandelier."
S399: "Designed for simple turning."
S400: "The chandelier is a large brass monstrosity covered with those little
sparkling crystals. It would look quite good if it weren't covered in dust and
cobwebs."
S401: "The Attic Winch"
S402: "What do I do with the attic winch?"
S403: "Stepping into this room is like journeying back in time to another era.
This room is filled with racks and racks of old costumes. The costumes range
from Imperial Rome to World War I uniforms. An exit leads east."
S404: "The only door leads back out to the east."
S405: "some"
S406: "This mannequin is wearing a pirate costume, complete with eye patch and
cutlass."
S407: "This mannequin is wearing the traditional cowboy costume, complete with
six-gun and hat."
S408: "This mannequin is wearing the traditional gladiator costume, complete
with net and vicious trident."
S409: "an"
S410: "Bundled amongst some other scraps of clothing is an old gas mask."
S411: "The Mannequins"
S412: "How do I stop the mannequins?"
S413: "getting the gas mask"
S414: "This room seems to have contained music equipment. Battered violin cases
and coils of various types of strings litter the floor. For the less musically
inclined a door leads east."
S415: "This rubbish has never interested you."
S416: "some"
S417: "A piano has been pushed up against one of the walls."
S418: "It is one of those compact, stand up types, with wooden finishing and
little wheels at the bottom of it. The piano has a little holder on the front
where you would put the sheet music."
S419: "The sheet music is called "The Soldier's Waltz". It is a complex-looking
piece of music by some guy, with a German sounding name, whom you have never
heard of."
S420: "This is a rather posh little suite, probably used by the theatre's owner
or perhaps by an occasional guest star actor. The room's furniture is of
noticeably superior quality to the rest of the theatre, with a fine four-poster
bed. A fireplace is in the western wall. A door leads back to the east."
S421: "some"
S422: "The furniture is antique. Sadly, there is nothing special about it that
will help you in your predicament."
S423: "The bed has seen a lot of use. Who knows what liaisons have been kept in
this room?"
S424: "The fireplace is black with soot. Looking closer you notice that the
chimney shaft continues both up and down from here."
S425: "This room was once an office but all of the furniture has been removed,
leaving only a small fireplace in the west wall. A door once led east from here
but you can see that it has been completely boarded up."
S426: "The only exit seems to be via the chimney."
S427: "The door has been securely boarded up."
S428: "The door has been securely boarded up."
S429: "This sooty shaft seems to be the only access out of here. It continues
both up and down."
S430: "In the middle of the room, straight out of a scene from a silly vampire
movie, is an old-style wooden coffin with brass fittings, on a mahogany stand."
S431: "The door has been soundly boarded up."
S432: "some"
S433: "The Shiny Key"
S434: "How do I get the shiny key?"
S435: "getting the shiny key"
S436: "A huge boiler dominates this room. Its pipes extend through the walls,
ensnaring them. A shaft from the boiler leads up, but, strangely, there seems
to be no other exit out."
S437: "some"
S438: "The boiler would have once heated the entire theatre, but now its only
use is to provide an exit up and out of here."
S439: "an"
S440: "Against one of the walls is large dirty coal bin."
S441: "It is a small lump of coal only a couple of centimetres across. Actually
it looks wrong for a lump of coal (not that you are an expert), in that it
seems almost spherical."
S442: "Far below you, on the mist covered street, you can see the street thug
staring back up at you."
S443: "It is almost sunset, and you can just make out some of the stars above
you."
S444: "You would slide down the roof tiles and fall to your doom."
S445: "There is nothing but sky above you."
S446: "You have already seen more of the chimney than you ever would have
wished for."
S447: "some"
S448: "The tiles are too slippery to move over, making any movement other than
back down the chimney impossible."
S449: "You silently ponder if you will ever walk amongst those city streets
again."
S450: "This poor creature looks a bit battered and beaten. Its feathers are all
dishevelled and it looks like it hasn't eaten for a week."
S451: "The Crow"
S452: "Does the crow do anything useful?"
S453: "You conclude that this must be some kind of observatory, after all, what
else could it be? However, why is it that instead of the usual dome, the roof
just has a strangely patterned window? Also, instead of the normal studs and
crossbeams, the exposed wooden beams of the walls are set at bizarre angles. It
gives you the impression that you are inside a large multi-sided mathematical
shape. An opening leads south."
S454: "Above you is the curious window"
S455: "some"
S456: "The net effects of the curiously angled beams of the walls is a
suspension of the firm belief that up is up and down is down."
S457: "The circular window has a pattern that is most peculiar. The more you
look at it the less you can see anything discernible about it. It is as if the
very act of observing it causes it to swirl in chaotic patterns. No, that can't
be it. It's just a funny pattern."
S458: "The clear lens is about the size of a small plate."
S459: "What is the telescope for?"
S460: "The Telescope"
S461: "The lens is about the size of a small plate. Imprinted onto the lens is
a strange pattern."
S462: "creating the patterned lens"
S463: "gazing upon a forbidding visage"
S464: "This is a small round crystal, milky white in colour. It appears to have
a star shaped pattern in it."
S465: "You are standing on what seems to be someone's front lawn. A gravel
driveway winds its way south while hedges block all other directions. To the
north you can see a large mansion. The upper stories are ablaze."
S466: "As you start down the driveway, everything suddenly goes blurry. When
you stumble back, your vision clears."
S467: "It is just grass, although it is neatly trimmed and well cared for."
S468: "The driveway goes to the south."
S469: "The hedges block the view (and your passage) to the surrounding area."
S470: "some"
S471: "The upper stories are well ablaze, but the lower stories seem relatively
safe (for the moment)."
S472: "Smoke circles around in the air making it difficult to breathe, but that
is the only visible trace of the fire here in the long hallway. Doors and
stairs lead off in all directions, but the safest one is to the south which
leads outside. You notice that a trail of blood goes down some stairs."
S473: "The fire would make it dangerous to go wandering off too far in that
direction."
S474: "The stairs go up and down."
S475: "some"
S476: "A trail of blood goes downstairs."
S477: "helping Trent"
S478: "This was a large wine cellar that has been cleared out and put to a more
sinister use. Large tables filled with strange paraphernalia are dotted about
the room."
S479: "It wouldn't be a good idea to turn your back on those bitches."
S480: "It wouldn't be a good idea to turn your back on those bitches."
S481: "some"
S482: "I think you have more pressing concerns than that."
S483: "A beautiful young woman stands here, with a pistol in her hand, and a
cruel expression on her face."
S484: "She has long dark hair and cruel eyes. She seems quite capable of using
the pistol in her hand. You can't help but notice there are many similarities
in appearance between her and the old hag."
S485: "an"
S486: "It is the same charming individual who stabbed you in the face a few
minutes ago. Curiously you can see that in many ways she is very similar to the
younger woman."
S487: "The old woman from the theatre ceremony is here as well."
S488: "A nasty looking, high calibre weapon."
S489: "defeating the villainesses"
S490: "This room is a tribute to the now-faded glory of the theatre. The
still-smiling faces of forgotten productions stare out from faded posters at
you. An old grand staircase leads up, while the exit lies to the south. Small
private doors lead northeast and northwest."
S491: "You have no time to explore what lies up the stairs. "
S492: "You have no time to explore what lies up the stairs. "
S493: "Actually, this room is two stories high. You can see a landing going
around the walls. The staircase goes to this landing. The southern wall above
the theatre doors in shrouded in darkness."
S494: "The anonymous faces smile back at you."
S495: "some"
S496: "These fine old stairs once would have been the focus of the entire
lobby. Unfortunately they are a bit decrepit now."
S497: "Ending The Game"
S498: "Ending the game."
S499: "Hooks line the walls here, where once people would have hung their coats
and hats, now they are home for only cobwebs. The lobby lies to the southwest."
S500: "Cobwebs cover the whole row of dirty hooks, which all look the same."
S501: "Judging from the desk and lots of papers everywhere you assume this must
have been once the manager's office. Doors lead to the southeast and to the
north."
S502: "You have no time to explore what is north of here."
S503: "Great, tax receipts from 1937. Riveting stuff."
S504: "some"
S505: "The desk, like the rest of the office, is covered in papers."
S506: "This small irritating device is designed to make loud beeping noise and
flashy little messages on the LCD display it has."
S507: "your"
S508: "You can barely make anything out in here. The only source of
illumination is the light seeping in from the street level windows. Not that it
really matters because all this room seems to contain is boxes and a couple of
barrels."
S509: "some"
S510: "The old barrels are empty."
S511: "The neighbourhood outside the theatre has deteriorated steadily over the
last three decades, to the state of a slum (not that you would ever use that
word, of course). Now a slight mist covers the litter-strewn streets. The
street heads east and west into the murky twilight."
S512: "There is too much smog to the evening sunset."
S513: "Not in this neighbourhood! Use the car."
S514: "Not in this neighbourhood! Use the car."
S515: "Boarded up buildings block your path."
S516: "A dirty wispy type of mist that is half fog and three-quarters smog."
S517: "your"
S518: "This car has served you well over the years, and you have grown quite
attached to it. "
S519: "Your car is parked outside here."
S520: "THEATRE Help Menu"

[End of text]

[End of file]