TADS2 bin
v2.2.0 Mon Sep 29 15:18:23 2008
XSI: ?@OBJU MO list O$ i tot totbulk rem curN < N = N > N ? d N A @ N B { N C | N D N E N F N G MO l O tot i c totweightN V N W N X N Y N [ @ N \ } N ] N ^ N _ N ` wN a N b MO dr N l ~ N m \ N p N q ! closed. N r ! N s N t MO locactorvobj N D N N D
y N ! N N %You% can't reach from . N *N N x x MO
obj N " N N ) N E
N N T T MO
amount N ! ! N > ! > ! N 0 0 MO parm N "! N
\\M O oN " N ! N ( N q N ( N 8 N % N N " ! N /N ! N # & N ! Ő # ! N M O ret html_modeN @ " E @ N & N N N N N N x x MO obj1obj2 N 6 6 E { { E% E E N
llMO list O cnt tot i obj jN ' N ( N + @ N , N 4 + O scN 8 6 N 9 8 N ; @ N < 1 N = N > N A N C N D N E N F N G 8 8 MO
obj N Z N [ MO
obj O list i totN m N n N o N p 9 N r @ N s N t N u 88MO objflagsindent O< i count tot list cur disptot prefix_countN" K N" N" N" T o O " contvisN $ " D $ " E ~ D N N N N" Z N" N" N" 5 N" N" N" N" N" N"
N" \N" @ N" %N" N" + O " before after
j scN 6 N
z N
@ P N
' N N 4 N N N N
N N N N N" T V O " jNG \nNG
NG \t NG N"
p N" N" , = N" N" and N" , and N" N" N" " N" % , N" & 1 N" . N" / N" 0 N" 3 { N" 4 (being worn)N" 5 E N" 6 (providing light)N" 9 N" C T E
E T D N" K T d N" M + N" N (upon which %you% see%s% N" P (which contains N" Q N" T N" W T N" X )N" Y N" Z N" [ N" \ MO
obj O list i tot thisobjN o N p N q N r q N t @ N u E E
N w N x N y N z MO fname N KN N > ! > ! N
Restored.\bN " C
N " N N / The saved position file could not be opened. N ! N N 4 This file does not contain a saved game position. N ! N N b This file was saved by another version of TADS that is not compatible with the current version. N ! N N w This file was saved by a different game, or a different version of this game, and cannot be restored with this game. N ! N N An error occurred reading the saved position file; the file might be corrupted. The game might have been partially restored, which could make it impossible to continue playing; if the game does not seem to be working properly, you should quit the game and start over. N ! N N ! N N Restore failed. N ! N 7 e Q \ N L L MO objdepth N U U N , , MO
obj N [N MO
obj O ret i lst lenN N $ " D $ " E ~ ~ N N N N ! N @ N N N MO
cnt N N one two three four five six seven eight nine ten eleven twelve
thirteen
fourteen fifteen sixteen seventeen
eighteen
nineteen twenty@ N N H H MO pointsturns N / N @ @ MO pointsturns N . N / LLMO
obj N :
E N < J N >
Sitting on is N ? . N @ N C N D seemN E : sN F to contain N G N H . N I N J N P N Q N R 00MO newPlayer N f C N g N n C ! E C
! N o C C
N v ! E
! N w
N } meC C 1 N ~ myselfC C 1 N B N meC 0 N myselfC 0 N e t t t MO parm N N > ! ! N !> N > ! > ! N MO objactor O ret i lst lenN N ! N N $ " D $ " E ~ D N N N N D N @ N @ N N C E C
N C N N N H H MO x N N X + X - ! J J J off 2 on " # $
8 Z M N
< ~ M N < ~ [ M N < < N < ~ - N open. N ) N @ N closed. N Q " N ) N N ~ j MO actor N
$ < ~ > N
& < !< already open! N
' N
( MO actor N}+ <
> N}-
Opening < reveals . N}. N}0
Opened. N}1 " ~ N}2
m MO actor N5 < ~ @ N7 < !< already closed! N8 N9 A MO actor N<
Closed. N= ! ~ N> e MO actor NA < ~ 8 NC < !< closed. ND NE _ MO actor N9I < ~ E Q " & N9J \^!< closed. N9K & MO actor NL < %
E } | E MO actor N9 %You% can't have < . N9 !4 MO actorio N < N "E MO actor N %You% can't drop < . N #4 MO actorio N < N $R MO actorio NC %You% can't put <
anywhere. NC %R MO actorio N %You% can't put <
anywhere. N &E MO actor N %You% can't move < . N 'Q MO actoriobj N> %You% can't throw !< .N> & 1 1 O }
|
2 : Q MO v NU <
NU <
NU " NU o MO vdpi N \^!< !< n't appear interested. N *N ' MO
obj N! *6 M N \^!< , is here. N ; MO item N \^!< !< carrying ! and won't let %youm% have ! . N K MO actor N But !< is right here! N & N MO
obj Nk < < Nk <
< <& Nk )& Nk p 6 M N <
he < she it q 8 M N < his < her its r < M N < he's <
she's it's s 7 M N < him < her it t < M N < he's <
she's it's u sv esw hasx doesy isz M N < =' MO wordlst NJ ! >% MO actoriobj Nw ?PMO actoriobj O lst i totN / N N E, @ it them him her ! D @ N "Could you be more specific?"N N N 8 N @<= N N N < @N @ ! ! "I don't know much about that." d MO actor N ! If you want something given to !< , just say so.N A] MO actor N 0 N $ That wouldn't accomplish anything!N S MO actordobj N \^!< rejects the offer.N `MO room O( E old_loc_visible new_loc_visibleNT ! E NT NT ! NT NT <
! E <
C NT
C NT C
! E C
E E NT < BNT <& NT" C
! E C
E E NT& < CNT' BO M N - <
DN . \^!< leaves the area.N / CO M N 2 <
DN 3 \^!< enters the area.N 4 *
E
F
G
H
I
J
K
L
M
N
O
P ' `]
]
] / 0 1 MO
quipno N' 2 MO
quipno NL 3 MO actor Nq 4F M N You have nothing to say to !<
just now. 5 "Hey, get away from me!" 6 Goodbye. 7 8- MO actor N "N
# 3$ 8 ( j $ j$ j' # ( MO v N F <
you
yourself,
yourself % % You look about the same as always.
V MO actor N P ) N Q You can't follow yourself! N R 2 MO verbdobjprepiobj NU -MO room NG\ C ( NGc G NGd NGe NGn ! NGp # NGs < NGt NGu <
D NGx * NGy S NG} <
! NG~ <
NG
NG NG NG NG & MO room Nz C B Nz ! Nz Nz
Nz Nz G& Nz Nz MO actordobj N \^!< p accept!< u ! from %youm%.N C & N p youq yourr you'res yout you'veu v w havex doy arez me
* M N U \bYou take a few steps before becoming disoriented and stumbling over your own feet. You decide to stay put for the time being lest you do yourself an injury. N V or+ x; ; ; M N !< ,
a number ( M N
the number !< MO actorio > MO actorio N "Tap, tap, tap, tap..." MO actor N 1 MO actordobj N - " M N "!< " , " M N "!< " " M N "!< " MO actorio > MO actorio N "Tap, tap, tap, tap..." MO actor N+ MO actor NO < 4 NO Save failed. NO ! NO + NO Saved. NO " NO NO 9 MO actor N < N +N MO actor N! 2 MO actor NE < NE 9 MO actor N}
< N} +N} MO actor N
Q MO actor N < N Writing script file. N 9 MO actor N7 < N7 +N7 MO actor Nv ? MO actor N Okay, "< ".N .
% 3 4 M N j out of MO actor NS z u M N ~ 1 %You're% not going anywhere until %you% get%s% !< !< . N ! N & MO actor N < & MO actor N < f MO actor NJ
5 NJ %You're% already on < ! NJ NJ d MO actor N Okay, %you're% now sitting on < . N N / MO actor N < N / MO actor NU < NU / . bed on out of f MO actor NH . Okay, %you're% now lying on !< .NH / NH 0 0
4 MO actorlist O found dest i totN0 < 2: N0 N0 N0 ) N0 N0 !N0 N0 N0 @ N0 N0 N0 < 3 N0
N0 %You% find%s% N0 N0 N0 N0 @ , N0 N0 , n N0 E N0 and 9 N0 E
N0 , and N0 @& N0 N0 N0 < 3( N0 , which %you% take%s%. N0 . N0 ! E N0 !N0 N0 2 3 1 0 MO actor N! ? MO actor NE B < 7 NE C There's nothing behind !< . g NE D < ! < NE E There's nothing else behind !< . NE G < < NE H 2 < : : : % MO actor N W 3
9 in out of B M N } <
N ~ <
N ! N C M N !<
, !< !< N a MO verbosity N < QN < N < RN <
SN TY MO
obj N) <
! D < U N) )T N) <
TN) MO# actorvdobjprepio N ! E < E < N N ! E < E @ E A N N G N VY MO otherRoom Nf %You% can't reach that from !< . Nf 4 5 M N ! <
> N # On < %you% see%s% . N $ 4 N ' There's nothing on < . N ( N ) k MO actor N * l: MO actordobj N - N . MO actor N / MO actor N@2 <
> N@3 On !< %you% see%s% ! . 0 N@5 There's nothing on !< . N@6 5 5$ MO actoriobj N 6 " E 7 " 8 N \^!< can only hold scrolls. N )$N 6 4 5 b M N < { C N (Taking off < first)\nN ! { N N 8 MO actor N < N ) N = MO actorio N < N ) N = MO actorio N < N ) N = MO actorio NE < NE ) NE = MO actorio N < N ) N = MO actorio N < N ) N 8 MO actor N < N ) N & 7 MO
obj NL ! { NL )& NL p MO actor N < { E < : N %You're% already wearing < ! N N MO actor N <
z N (First taking !< )\nN 7 I N *N <
N *N N Okay, %you're% now wearing < . N " { N n MO actor N < { D
< 6 N %You're% not wearing < . N N MO actor Nc
< |
o Nc %You% could drop !< + , but %your% hands are too full to carry !< . Nc Q Nc # Okay, %you're% no longer wearing < . Nc ! { Nc Nc N MO actor Ng < { Ng < Ng ) Ng N MO actor N < { N < N" ) N# 7 0 ^ take
^MO actorprepio O9 % ret rem cur rem2 cur2 tot i tot2 jNA M NA T D D D s D o E ! NA X NA Y NA Z NA [ c NA ] @ NA ^ E < NA _ NA ` NA a NA b NA c NA j
NA k NA l NA m NA o @ NA p NA r [E ~ D
[E
: NA u NA v NA w NA x t NA z @ NA { E
NA } NA ~ NA NA NA NA 3 NA NA NA NA NA wNA NA . a # ~! o ~! ~! b s # @ P 8 5
~ M N 6 < E <
> N 8 In < %you% see%s% . N 9 4 N < There's nothing in < . N = N > MO actor N A MO actordobj N D < | <
H N F %You% can't fit ! in < . N G N J N K N L MO actor NM / MO actor NP < NQ MO actor NR MO actor N&U < E <
> N&V In !< %you% see%s% ! . 0 N&X There's nothing in !< . N&Y 9 TQ Q Q M N @ " E @ N < N 5O i stat sr tsr lenN_ " ? N_ < N_ ? N_ " ? N_ < N_ ? N_ 3 N_ ( N_ N_ N_ N_ \ N_ N_ < DN_ N M N > ! ! N M N < N N N < N N \t\tManna: N > , N /N > - N \t\tConcentration: N > A N %\t\tWit: N > ! N /100N ' N ( N ) > ! rN , M N - < N . N / % \t\tManna: N 0 > , N 1 /N 2 > - N 3 \t\tConcentration: N 4 > A N 5 %\t\tWit: N 6 > ! N 7 /100N 8 \nN 9 < N : N ; \t\tBulk: N < > N = /N > > N ? \t\tWeight: N @ > N A /N B > N C N D N E XN I M N J < N K N L N M > , N N /N O > - N P \t\tN Q > A N R %\t\tN S > ! N T
/100\t\tN U > ! N V N W N Z M N j > ! ! Q N l !> day N m !> . time N n N o > ! s N q !> day , N r !> date N s !> . time N t N u : b MO verbosity N < N ) # N " \bIt's pitch black.\bN # { MO v N & < D N ' " 9 N * \bIt's pitch black.\bN + ! N , N - ; HG G G% = M N b \^!< !< unremarkable. # MO avip N\ d < H N\ f \^!< !<
important.N\ g *N\ h N\ i " c MO avdp N l \^!< !<
important.N m *N n < c P MO actor N (Yourself)\nN > N +N % O MO prep No Specify a single object. No " No
= %
M N < N + can be turned to settings numbered from !< to !< . \^!< currently set to !< . N MO actor N * MO actor N -> N # MO actorio N7 MO actorio N` +N` > < D
> <
3 N` There's no such setting! N` N` > < g N` > N` Okay, !< now turned to N` < . N` M N` \^!< already set to N` < ! N` N` K N` I don't know how to turn < N` to that. N` N` > ` to ? % # u MO avip N < > N \^!< too far away.N *N N ! " MO avdp N $ @ E A > N & \^!< too far away.N ' *N ( N ) @ ^ ask e 8 MO actorobjseqno N, ! . e >? A 4 ^ tell e 8 MO actorobjseqno N- ! i MO actorprep Nq e Nq ! Nq
Nq . e B C
% B M N 4 < ~ N 5 < N 6 < E < R N 8 "<N 9 (Opening !< )\nN : < N ; ^ N > %You%'ll have to open !<
first. N ? N @ ! N A N B MO actor N E < ~ / N F \^!< already open. 6 N G < & N H \^!< locked. N I g MO setting NM ~ NU <
! E <
~ NV <
NW g MO setting N"[ N"^ <
! E <
N"_ <
N"` A MO actor Nc
Opened. Nd "<Ne
[ MO actor Nh < ~ . Ni \^!< already closed. Nj A MO actor N7m
Closed. N7n !<N7o MO actor N~r < 1 N~s \^!< already locked! N~t < 2 N~u \^!< can't be locked. J N~v < ~ : N~w %You%'ll have to close !<
first. N~x k MO actor Nj{ < ! 1 Nj}
Locked. Nj~ "< Nj Nj -D Nj W MO actor N < * N \^!< not locked! N m MO actor N8 < ! 3 N8 Unlocked. N8 !< N8 N8 -D N8 ?MO actorio N < 1 N \^!< already locked. N < 2 N \^!< can't be locked. N < ! D N & %You% %do%n't need anything to lock !< . J N < ~ : N %You%'ll have to close !<
first. N MO actorio N < 1 N
Locked. N "< N B N \^! ! n't fit the lock. N MO actorio N < - N \^!< not locked! U N < ! C N ( %You% %do%n't need anything to unlock !< . N MO actorio NT < 3 NT Unlocked. NT !< NT B NT \^! ! n't fit the lock. NT M N < ~ ' N \^!< open. q N < 4 N \^!< closed and locked. & N \^!< closed. N N MO actor N 5 MO actor N There is no answer. MO actor N
3 MO actor N@
< N@
D d " " " with E 3 MO actor N 8w MO actor N= @ It would be difficult to have a stimulating conversation with !< , . N= F HH H H' M N ! < ( ) N M N # < ( !< ( no longer here. N $ , MO vdpi N % < * * M N & ( MO actor N ( +7 MO actor N+ < (
N, # MO avip NC/ G U NC1 \^!< ( !< ( no longer here.NC3 *NC4 NC5 " p MO avdp N8 \^!< ( !< ( no longer here.N: *N; G | ; ; ; ^ follow. + H ). MO actor N W \^!< 5 provides an adequate, if hardly delicious, repast.N X ! /N Y N Z !<& N [ ! N \ I 5 4 MO actor N 5: MO actordobj N= N= 6 MO actor N} 7: MO actordobj N N J ` ` ` ` :<D MO actordobj N 9 N )<N K 85 5 5J * MO actor N -D N * MO actor NO -D NO MO actorio N < ~ Q N %You% can't lock !< when !< open. N N < 1 N
Locked. N " N
B N \^! ! n't fit the lock. N
MO actorio N < 3 N Unlocked. N ! N B N \^! ! n't fit the lock. N L $$ $ $5 8 MO actor O
% waslitN5 4
N5 7 " 9N5 8 " N5 9 %You% switch%es% on !< N5 <
E H N5 > , lighting the area.\bN5 ?
N5 @ N5 B .N5 C N ` ` ` ` 8<D MO actordobj N 9 N )<N O 8 P << < </ MO n N W M N [ X" MO av NW 0 MO avn O
objN ! N <X N <Y N ! N Z N N # N N Y MO n ND " # MO avip Nh < ! ^ Nh ? %You%'ll have to be more specific about which one %you% mean.Nh *Nh Nh " 7 MO avdp N <# Q 5 M N " M N < E <
> N In < %you% see%s% . N 4 N There's nothing in < . N N ;m MO
obj N
< [E < ~ ; N
%You% will have to open !<
first. N
A MO actor NM
" ~ NM
Opened. NM
MO actor N
& MO actor N
< MO actor N
MO actor N
< E <
> N
In !< %you% see%s% ! . 0 N
There's nothing in !< . N
R 4 S 5 \ MO actor N r ], MO actor N= u < ^N= v ^ M N y < N z T 0 MO actor N! MO actor NE < 3 NE There's nothing in !< . c NE < ! 8 NE There's nothing else in !< . NE < < NE G MO actor N < D < ! N ) N c MO actor N\ < D < ! N\ ) N\ < < N\ U d c c c 5 h MO actor N i# MO actor N= < j V % m MO actor N D n MO actor N= G < 9 9N= H Okay, < !< now switched N= I < 9 N= J on N= L offN= M . N= N o MO actor N V
E " N W It's pitch black.A N X < 91 N Y \^!< already turned on! N Z 8\ MO actor N] " 9N^ Okay, !< now turned on. N_ p_ MO actor Nb < 92 Nc \^!< already turned off! Nd q] MO actor NVg ! 9NVh Okay, !< now turned off. NVi W / # ground It lies beneath %youm%. , the ground on off of
N M N } C
N ~ < r N C
N y MO actor N Okay, %you're% now sitting on < . N
rN & N 5 MO meActor NL
rNL / MO actor N < N l9 MO actordobj N N 9 MO actordobj N N sQ MO actordobj N:
Thrown. N:
& N: t M N <
Y 0 MO actor N! ,
MO actor NE /
< 6 NE 0
There's nothing under !< . f NE 1
< ! ; NE 2
There's nothing else under !< . NE 4
< < NE 5
Z HG G G5 3 M N B
& MO actor N= C
< & MO actor Ni D
< MO actor N G
G N I
%You're% already !< !< ! N J
U N K
A N M
%You%'ll have to drop !< first!N N
N O
k MO actor NfR
Okay, %you're% now !< !< . NfS
& NfT
u M N W
1 %You're% not going anywhere until %you% get%s% !< !< . N Y
! N Z
M N \
<
MO actor Nm^
G Nm_
%You%'ll have to get !< !< first. Nma
) Nmb
# MO avip Ne
E < E [ E \ X Nh
%You%'ll have to get !< !<
first. Nj
*Nk
Nl
" MO avdp No
E ] X Nq
%You%'ll have to get !< !<
first. Ns
*Nt
Nu
[ ^ get out of MO actor N+ ,
t MO actorprepio NP
E
NP
NP NP . \ c go out - MO actor N' , < 1 MO actor NZ .
( ] ^ put
M MO actorprepio N, >7
N, . ! $ s kl% ^ #
.MO actorprepio N < E $ E k E % O cN^ !&& N^ !'& N^ !(& N^
N^ >&& N^ >'& N^ >(& N^ N^ * N
N N ! &MO actorprep NM$ < E $ E k E % O M cN' !>&& N( !>'& N) !>(& N*
N+ >&& N, >'& N- >(& N. N/ * NM2
NM3 NM4 % y MO prep Ny9 r @ Ny; Specify a single object. Ny< " Ny= Ny? ! Ny@ a ^ b ^ a c ^ a d d # # # a again e d # # # about f g 3 3 3 _ . E h | ; ; ; ^ get on. i | : : : ^ break. j | ; ; ; ^ center. k ` l | : : : ^ climb. m | : : : ^ close.
n o d " " " from p C C C ^ dig in D . D q | : : : ^ drink. r X a
MO actorprepio O cN5 !>&& N5 !>'& N5 !>(& N5 N5 >&& N5 >'& N5 >(& N5 N5 . 1 PM QN RO s ` on t x 8 8 8 ^ eat. ,. u | ; ; ; ^ fasten. v | 9 9 9 ^ flip. w X b x ? ? ? ^ go through. y t t t ^ hello K MO actor N& # Nice weather we've been having.\nN& z d inventory qMO actor N0
N0 < N0 %You% %are% carrying:\nN0 N0 \bTotal bulk: N0 > N0 /N0 > N0 \nTotal weight: N0 > N0 /N0 ! > N0 " N0 & %You% %have% . N0 ' N0 ( Your total bulk is N0 ) > N0 * /N0 + > N0 , . Your total weight is N0 - > N0 . /N0 / > N0 0 . N0 1 N0 2 ) N0 4 %You% %are% empty-handed.\nN0 5 +N0 6 { o o o ^ inventory B MO actor N* C "z N* D >z N* E | o o o ^ inventory B MO actor N* L !z N* M >z N* N } O O Oe 3MO actor N < >
{ N > x You jump into the air but, strangely, you descend at a fraction of the expected speed, floating lazily to the ground. N A t You burn off some steam doing jumping jacks. You get about a dozen in before being overcome by bout of wheezing. N B ~ | : : : ^ knock. | ; ; ; ^ lie on. Q Q Q ^ lock D . ! D 67 Z Z Z > MO actor N "
N +N @ @ @ ^
look behind. | < < < ^ look in. A A A ^ look through. hi ? ? ? ^ look under. Y Y Y ^ move. 1 D > & ? ? ? ^ move north. ? ? ? ^ move south. > > > ^ move east. > > > ^ move west. C C C ^ move northeast. C C C ^ move northwest. C C C ^ move southeast. C C C ^ move southwest. | 9 9 9 ^ open. A A A ^ plug . ` in | 9 9 9 ^ poke. | 9 9 9 ^ pull. | 9 9 9 a push. | 9 9 9 ^ read. \] M M M ^
take off. ! o x 8 8 8 ^ say. J J J ^ screw. ! D | ; ; ; ^ search. ^ show >
= MO actorprepio N- N- . > | ; ; ; ^ sit on. N N Na sleep %MO actor N& ^ 5 N& _ & You aren't able to sleep right now. N& ` > ! > ! 5 N& a & You really aren't sleepy right now. q N& b
D
/ N& c You prefer to sleep in a bed. N& f N& g N& h M N dv4 p- - -^ stand MO actor N0
! D
! , N0 %You're% already standing! N0 $ " ( N0 %
N0 & < ( & N0 ,
N0 - # N0 1
N0 2 N0 3 N0 4 = = = ^
stand on. | ; ; ; ^ switch. mn d ! ! ! off d ! ! ! out M M M f. 1 qn sp ro ` at | : : : ^ touch. Y Y Y ^ turn. 1 > D > > > ^ a turn on. o8 = = = ^
turn off. pq A A A ^ type s . s = = = ^
unfasten. S S S ^ unlock D . ! D 45 K K K ^ unplug. ! o L L L ^ unscrew. ! D wait MO actor N% ; > E O
% retNM = > NM ? @ NM @ N% A G N% B N% C +N% D | 9 9 9 ^ wear. s s s ^ yell K MO actor N% # %Your% throat is a bit sore now. N% c - MO actor N < go east1 MO actor N[
( c - MO actor N <
go south1 MO actor N\
( c - MO actor N <
go north1 MO actor N\
( c - MO actor N < go west1 MO actor N[
( c - MO actor N < go northeast1 MO actor N`
( c - MO actor N < go northwest1 MO actor N`
( c - MO actor N < go southeast1 MO actor N`
( c - MO actor N < go southwest1 MO actor N`
( c - MO actor N ! < enter1 MO actor NY %
( . A s
D
b c - MO actor N 1 < go down1 MO actor N[ 4
( c - MO actor N 7 < go up1 MO actor NY :
( b debugo MO actor N& E $ C N& F 7 You can't think this game has any bugs left in it... N& G 9 MO actor N J <N K +N L O O Ob quit MO actor O % yesnoN5 U N5 V . \bDo you really want to quit? (YES or NO) > N5 W N5 X \bN5 Y * N5 [ N5 \ N5 ] N5 ` Okay. N5 a N5 b 9 MO actor Ne <Nf +Ng M N > ! ! D > ! N In a total of !> elapse N , your Wit is N > ! out of a possible N > ! .\nN \bThis makes you N > ! . N " a disgrace to your profession.\nN > ! E > ! ( N a raw initiate.\nN > ! ( E > ! < & N a bumbling apprentice.\nN > ! < E > ! P " N a promising pupil.\nN > ! P E > ! Z ! N an aspiring mage.\nN > ! Z E > ! d " N a legitimate mage.\nN > ! d 8 N , a legitimate mage and a prodigy at that.\nN N In a total of > ! N turns, your Wit is N > ! out of a possible N > ! .\nN \bThis makes you N > ! . N " a disgrace to your profession.\nN > ! E > ! ( N a raw initiate.\nN > ! ( E > ! < & N a bumbling apprentice.\nN > ! < E > ! P " N a promising pupil.\nN > ! P E > ! Z ! N an aspiring mage.\nN > ! Z E > ! d " N a legitimate mage.\nN > ! d 8 N , a legitimate mage and a prodigy at that.\nN N M N dv4 b restart=MO actor O ( yesnoN8 o "N8 q 5 Are you sure you want to start over? (YES or NO) > N8 r N8 s W N8 u \nN8 v N8 w > ! # # N8 x Y N8 y A N8 z , N8 | \nOkay.\nN8 } N8 ~ N8 N8 9 MO actor Nk <Nk +Nk b restore %MO actor O ( savefileN8 File to restore game from N8 @K N8 N8 @ N8 N8 Canceled. N8 ! N8 N8 N8
Failed. N8 ! N8 u N8 9 MO actor NS < NS +NS . d$ $ $b save MO actor O % savefileN5 File to save game in N5 @KN5 N5 @ _ N5 : An error occurred saving the game position to the file. N5 ! N5 + N5 Saved. N5 " N5 N5 N5 Canceled. N5 ! N5 N5 N5
Failed. N5 ! N5 N5 9 MO actor N < N +N . b wit, MO actor N$ P N$ Q 9 MO actor NV T <NV U +NV V X b script MO actor O '
scriptfileN7 File to write transcript to N7 @K N7 N7 @ N7 d All text will now be saved to the script file. Type UNSCRIPT at any time to discontinue scripting.N7 { N7 N7 Canceled. N7 P N7 N7
Failed. N7 ' N7 N7 9 MO actor N < N +N . b terseU MO actor N& Okay, now in TERSE mode.\nN& !! `N& 9 MO actor N
<N +N b undo k MO actor N% v 9 You will have to cast your Flashback spell to do that. N% w +N% x b
unscriptI MO actor N) ( ! N) ) Script closed.\nN) * 9 MO actor Nx - <Nx . +Nx / b verbosen MO actor N( 6 Okay, now in VERBOSE mode.\nN( 7 "! `N( 8 " C
N( 9 9 MO actor N < <N = +N > j j j g N MO actor N ~ <N ">
N +N | M N ! X \(BERROST'S CHALLENGE\) \nby Mark Hatfield \nVersion 1.0 \nDeveloped with TADS 2.5.10 ! d $ $ $ around d $ $ $ behind h % % % between d # # # north ` of d " " " over h % % % through d # # # under T M N I td1 M N ` \b*** You have died ***\bN a N c P \bYou may restore a saved game, start over, quit, or undo the last command.\nN d "O respN h 3 \nPlease enter RESTORE, RESTART, QUIT, or UNDO: >N i N j RESTORE N l File to restore N n ! ! N o Restore failed. x N p ! N q Restore failed. F N t " C
N u > ! > ! N v +N w N x N y RESTART 4 N { N | # N } UN ~ QUIT 4 N N N +N N UNDO N % N C
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N > ! > ! N +N i N (Undoing one command)\bN " C
N > ! > ! N +N N 7 N + Sorry, no undo information is available. N N N MO parm O e lN > ! / ! /N > ! 1 N > ! / N D D < W N H \bYou're starting to work up an appetite from this silly challenge.\b N Z D x D N k \bYou're getting really hungry and its affecting your concentration. You should find some chow soon.\b N > N N
N ! N > ! N ! N ^ \bYou have developed a throbbing headache from lack of food. Your concentration is shot.\b N > N > Z
N Z N N N N [ \bYou simply can't go on any longer without food. You pass out from lack of nutrition.\b N N N N M N @ " D @ 2.2.4lN W\b\b\(WARNING! This game requires the TADS run-time version 2.2.4 or higher. You appear to be using an older version of the TADS run-time. You can still attempt to run this game, but the game's screen display may not work properly. If you experience any problems, you should try upgrading to the latest version of the TADS run-time.\)\b\bN N \H+N N N N N !# N !# N !# N C
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8:00 A.M. N l l MO fname N N # \b[Restoring saved position...]\bN ! N " ( ( M N , Speak up.N - M O oN > ! N ? N @ ! O N B N C > ! ! N D ! N E N F
N J MO parm O a sN \ > ! ! N ] > ! N ^ > ! N ` D < D x | N b H \bYou find your concentration is waning as you begin to feel drowsy.\bN c > N d N e D } N g I \bYou are dead tired. Your concentration level is rapidly declining.\bN h > N i N j , N l ! N m C
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#N p L \bYou find yourself unable to stay awake any longer. Fortunately, you are ! C
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, m , so you gently slip off into unconsciousness. \b* * * * * \bYou awake some time later, feeling refreshed. N u N v !! N w O itemRem thisItemN( \bYou find yourself unable to stay awake any longer. You pass out, falling to the ground. \b* * * * * \bYou awaken, feeling somewhat the worse for wear. You get up and dust yourself off. N( N( C N( c N( N( { N( C
& N( N( N( !! N( N N : P Bottom of the Well a a Its cold, wet, and cramped down here. The water is ankle deep. There's nowhere to go but up. E M N
If only it were that simple.\bN
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{ floating gently falling down the well. MO avdpi N D N ) N N N % You don't have time to do much...\b! N *N N ; # M N < N = > ? - 2 , 2 @ ?>= A{ M O cN d N < < N
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N N <r MO actordobj N& @ 0 N& ! You can't telekinese yourself. N& )<N& hMO vdpi N < >4N A E 3 N N E B E 3 N N C E 3 N N M Your clumsy actions make it easy for Silas to pin you. The match is over. N !3BN "3CN ! >N *N N N MO room N C ( N G N N N ! 8N " # N % < N & N ' <
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N 6 N : ! N ; ! N < ! N = ! N > ! N ? ! N @ !! N A N B N C t t M O N g > ! = N h \b\b\( - press any key - \)! . \b\b N j \b\bN k M N ! \( BERROST'S CHALLENGE \)\b\bby Mark Hatfield \b\b\b\b\bType 'about' when the game begins to view a list of game-specific commands. !
M N !
\(INTRODUCTION\) \b"I have decided you should learn new spells." Berrost tells you whilst spreading a generous dollop of butter on his breakfast roll, as casually as if had decided you should mop the scrying chamber floor. The contrast between the tone and the content is such that you are left momentarily disoriented, as though you had just woken up at the Duke's palace wearing naught but a jester's hat and having no memory of the night before. \bYou have been waiting for this moment for the past several months, enduring a life of demeaning serviture only because you knew it would arrive eventually. And now it has. \b"Are you alright? You look queasy. Have a glass of juice." \bYou accept the juice without argument, obviously not yet composed. \b"As I was saying... You are entirely too old to be swabbing floors. And entirely too vexing for me to invest the time it would take to mold you into a proper wizard. Therefore, not entirely regrettably, our time together nears its close." \b"You're kicking me out of the tower?" you interject. The old man was full of surprises this morning. \b"In a word - yes. I'm sure you'll get along. Many are the qualities you lack, but resourcefulness is not among them." \bYou take a moment to consider these developments. Its not that you want to continue this apprenticeship for an extended period anyway - just the contrary - but now you realize that you have failed to account for a practical alternative. Now that you are homeless. Still, you do want those spells... \b"But you \(are\) going to teach me new spells first, right?" \b"After a fashion." \b"What does that mean?" \b"It means I've devised a challenge for you." \b"Gods, another one?" The man is positively obsessed with challenges. You usually find them nerve-wracking and frustrating. At least with mopping the scrying chamber you know what to expect. \b"Don't be so melodramatic. Its a simple test of your wit. I want to be sure you are not too dull to wield greater power." \bHe's dead serious too - you know from experience that its futile to argue or object. There will be no dissuading him. Reconciled to it, you decide the best course of action is to just get it over with. \b"Let's just get it over with." \b"There's the spirit. Now then, I will describe the challenge... \b"I've hidden five scrolls in and around the village. Each scroll contains a spell. If you want the spells, its up to you to find them. That will require you to excercise your feeble wit. I'll be keeping score from the scrying chamber so please refrain from any untoward activities this time." \b"I told you before, I never saw that monkey -" \bBerrost interrupts your protest with a dismissive wave. "In any case, take this to get you started. On this parchment I've written five clues. That's one for each scroll." \b"Ingenious." you mutter, accepting the parchment. "I have a question. Can I use the spells I acquire to help me find the other spells?" \b"Hrm. Its meant to be a test of wit. Since you are, marginally, a mage, I suppose I must allow you to cast your spells. However, I will apply a penalty to your score each time you cast a spell. Now, assuming you understand the challenge, I will retire to the scrying chamber and you may begin." \b"I will emerge triumphant!" you exclaim, smitten by a sudden surge of inspiration. \bAnd with that you undertake the challenge that will make you a proper mage.\b ! $ P Berrost's Tower $$The entry chamber of the tower is adorned with oversized murals, marble surfaces, a fountain, pillows, and other pompous crap. The stairs to the other rooms, including your quarters (well, your former quarters) are through a doorway to the south. The front entrance is to the northeast. T M N
A translucent image of Berrost appears in front of you and halts you. "You have no further business in this tower. Your business is outside, finding those scrolls." it says.\bN
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* retNt Nt Nt @ Nt Nt N* N* " N* 3 N* N* ! N* I N* > N* ! N* N* +N* N* M N X ! w\(GAME SPECIFIC COMMANDS\) \b\(ABOUT\) \nDisplays this screen. \b\(INTRO\) \nDisplays the introduction. \b\(VERSION\) \nDisplays the game version. \b\(CREDITS\) \nDisplays the playtester credits. \b\(SCREEN\) \nToggles the screen mode between conventional continuous scrolling and the default clean-screen style which clears the screen whenever a new room is entered or a look command is issued. The transcript file is unaffected by the screen mode. \b\(BANNER\) \nCycles banner styles. \b\(WIT or SCORE\) \nDisplays your Wit score and rank. \b\(STATUS or DIAGNOSE or X or X ME\) \nDisplays your current level of hunger and fatigue, your current Manna and Concentration, and the bulk and weight of your inventory. \b\(FULL\) \nDisplays a complete breakdown of your Wit score. \b\(TALL\) \nCauses inventory and spells to be formatted as a vertical list. \b\(WIDE\) \nCauses inventory and spells to be formatted as a sentence. \b\(VERBS\) \nDisplays a partial list of verbs understood by the game. All verbs necessary to complete the game appear on the list. \nBE WARNED - Use of this command may rightly be considered spoilerish. \b\(CURMUDGEON\) \nSo you really can't abide the sleep and hunger daemons? This command will turn them off permanently. It will also set your Concentration to 100% and triple your carrying capacity. Note that this command is not a toggle - once you enter curmudgeon mode you may not exit it. \b\(SPELLS\) \nDisplays your list of known spells. You can learn new spells by reading the scrolls you find. \b\(X spellname\) \nDisplays a description of a particular spell, provided you know that spell. \b\(CAST spellname ON target\) \nCast a spell at a target. You can learn new spells during the game by finding and reading scrolls. If your Concentration is less than 100%, your spell may fizzle (the game rolls 1d100 needing your Concentration or less to cast successfully). Your Concentration is lowered by hunger and fatigue. Eating and sleeping restore your Concentration. Realistic (compared to default) eating and sleeping daemons have been implemented (your Concentration will waver after a few hours worth of hunger but you won't actually pass out from it for well over a day.) \b\(LOOK BEHIND object / LOOK IN object / LOOK UNDER object / SEARCH object\) \nThese are specific ways of conducting a more thorough examination of an object, and may reveal more than a simple X command. \b\(TALK TO npc\) \nStart a conversation with an npc. Conversations are menu-based. This is the primary method of communication with npcs. When in conversation mode (indicated by the >> prompt), simply select your dialogue from the list of numbered options. Note that this game does not use the ASK...ABOUT or TELL...ABOUT commands for conversation, and such commands will instead start a conversation as if you had typed the TALK TO command. \b\(TIME\) \nTells you the time of day. \b\(WAIT or Z\) \nAdvances time 1 minute. \b\(WAIT x MINUTES / WAIT x HOURS\) \nAllows you to advance time by up to 24 hours in a single command. \b\b\(NOTE TO MAPPERS\) \nI made a conscious effort to make the game friendly to mappers. The game world consists of 30 locations, laid out in 5 rows and 6 columns. Berrost's Tower (your starting location) is located at row 5, column 2. All movement directions are reciprocal (ie - if you leave an area by moving north you will be able to return to it by moving south). You shouldn't need to use any funky routing - locations will connect to adjacent locations (including vertical locations accessed by moving up or down). A little exploration should make it obvious where vertical locations should be placed on the map. ! L L M O N 3 > ! N 4 5 N 6 \b\bN 7 M N ! g \(Thanks to my playtesters:\) \nDoug Egan \nLance Frere \nSean Krauss \nMichael Tarbert \nJack Welsh ! MO itemloc N A
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{ N I N J H \bYou are no longer falling down the well, as you've hit the bottom.\bN K N L N M = N P C& N Q C' N R N S N T MO parm N Y N Z ; \b\bThe game is now over. Thank you for playing.\b\b>x\nN [ N \ \bN ] N ^ N _ N ` N a +N b ppMO parm O nextlocN q ! (N r > ! (@ N s & N t " N u N w !)N x !& N y & N z > N ~ \bYou are barreling through the mineshaft, gathering speed even as you rip through the dense webbing. To your dismay, the track looks to dead-end just ahead.\bN N \bYou are barreling through the mineshaft in the dark. Even plowing through the webbing, the cart is gaining speed. You can't see anything but blackness ahead of you.\bN N N N *1O itemRem thisItem rNw > Nw \\bThe wheels squeal against the brake, which you are practically laying on. The cart slows, but not enough. You brace yourself for impact as it smashes hard into the wall, knocking it off the track and breaking both axles. You and your belongings are launched into the air. You suffer only minor bruises and your belongings are scattered. \bNw & Nw RNw Nw Nw > +X Nw I The oil has spilled out of the shotglass, and the glass is shattered. * Nw The shotglass is shattered. Nw !+Nw !& Nw >& Nw
! Nw >& Nw Nw p Nw The scroll tube is shattered. Nw !> & Nw >
! Nw >& Nw Nw E ~ Nw Unfortunately, the open paint bucket landed on your head. In struggling to remove it, you find it has a sharp inside lip. Unfortunately, you discover this by slitting your throat on it. Nw Nw Nw Nw { E
" a Nw Nw Nw & Nw & Nw Nw Nw Nw # Nw N q \bYou hit the end of the track at high-speed, and are thrown headlong into the stone wall, to gruesome effect. N # N N N N N 0 0 MO
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snd N !& N 0 0 MO
snd N !& N 0 0 MO
snd N !& N 0 0 MO
snd N !& N MO
min N a \bYou quickly drift off to sleep. \b* * * * * \bYou awaken some time later, feeling refreshed. N ! N N > - ,N !! N M O O
minN . N D N night v N 8 N evening H N N afternoon N morning N LI I I9 M O rem cur tot iN l < N m " N o > ! N p N q N r c N t @ N u E N v " N w N x N y ! N z MO# actorvdobjprepio N"} < E
= N" %You% can't see a thing. N" *N" N" ) N" H M N < N ) N In the dark.N _ MO verbosity N < N ) N It's pitch black. N T M N < N ) & N * N ! N N y MO v N < D N " 7 N It's pitch black.\nN ! N N
= = = P Still Further Down the Well. x 5 5 5 P Further Down the Well p - - - P Down the Well
6 "
silver ring ` ` The ring is a silver band, plain save for the etchings engraved all around its circumference. } | d MO actor N J > I{ 6 N K * You'll have to remove the gloves first. N L WMO actor NO G NP > NR > You float like a feather, descending gently down the well.\bNS >
NV j Your timing couldn't have been better, as the bottom of the well is just a dozen or so feet below you.\bNW NX 1 N[ You feel light and airy.\bN\ N] d MO actor Nw` > I{ 6 Nwa * You'll have to remove the gloves first. Nwb r r r b full score D MO actor N+
N+
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d > ! N
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g O lng iNC
j > ! NC
k > ! NC
l NC
n NC
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p > ! @ NC
q \t NC
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t > ! @ NC
u \nNC
v `NC
w N
x T T T: P End of Mineshaft M N
< ) N
N
! N
N
The mineshaft comes to an abrupt end here. It looks like the shaft caved in. The only way to go is back up the mineshaft to the north. Fortunately, the webs have been cleared. N
: P Mineshaft UM N
D N
5 You are moving rather fast to notice many details. N
The mineshaft is cold, dark, and claustrophobic. Remnants of tattered webbing cling to the ceiling and walls. The cart track runs through here from the entrance (to the west) to the end of the mineshaft (which is south). N
) v v v% Z O mine cart ZM N <
b N A The cart is no longer serviceable due to its two broken axles. N ! N " N % This old cart was designed to ferry passengers and ore back and forth into the mine. A handbrake is situated inside the cart. The cart is made of wood and rides on four wooden wheels attached to two axles. N & ] N ( E One of the wheels is a homemade affair made from a damaged shield. N ) N , ; At least it used to. One of the rear wheels is missing. N - < N . +N / " N 0 N 1
] V MO actor N;
~ N= r You swing one foot into the cart but find you are stepping on a loose object. There is something in the cart. N> @ % webs n n The silky webs are individually delicate but as a whole they form an effective barrier, even to a grown man., some webs:
<D MO actordobj N N )<N X X XP Mine Entrance M N
The entrance to the mine is a largish cavern, riddled with tracks for minecarts. Several mineshafts connect to this cavern, but all except one of them, which lays to the east, have caved in. A cave opening to the south leads back outside. N
> )H N
< A thick mass of spider webs infests the intact mineshaft. N
O N
C A minecart sits on the track leading into the in-tact mineshaft. N
KM N
> )N
\bYou try to force your way through the thick webs. You don't get far however before becoming inextractably stuck. The mine is too far from the village for anyone to hear your screams as a giant spider crawls down towards you. N
N
N
N
N
; tattered webbing % % There's not much left of the webs. , some tattered webbing tattered webbing
h h h% hand brake KM N D >
V N F 5 It appears the minecart is now parked permanently. N G N H N J j Its a long lever. When pushed forward the brake is applied. When pulled back the brake is disengaged. N K < *( N L Its currently engaged. ( N N Its currently disengaged. N O
* MO actor NV ` NX < *7 NY ( The hand brake is already disengaged. N[ N\ J N_ 5 Only minecart passengers can reach the hand brake. N` Na MO actor Njd \ Njf < *4 Njg % The hand brake is already engaged. Nji Njj J Njm 5 Only minecart passengers can reach the hand brake. Njn Njo MO actor NFr > NFt NFv 2 You pull the brake towards you, disengaging it. NFw ! *NFx "NFz U The cart begins rolling down the track towards the dark opening of the mineshaft...NF{ # NF| NF} NF r The brake cannot be disengaged while a wheel is missing. You will have to mount a new wheel on the axle first. NF NF h MO actor N 1 You push the brake away from you, engaging it. N " *N l * * * 6
silver ( F5 shot glass M N / It would hold a double shot if asked nicely. N < +1 N " It contains a shot of lamp oil. N
Its empty. N
} | L MO actor N hMO actordobj N D N \^! is already well oiled. N N < +G N / You stick your thumb in the empty shotglass. N N
You dip N N $ into the shot glass full of oil. N "N !N "'N N N X MO actor N > N
!N N ) N T % oil Its a shot of lamp oil. ,
some oil # # It doesn't have much of an odor.
L MO actor N ; MO actordobj N >N a% MO actoriobj N 4 % bar T M N p - Its made of walnut and is highly polished. N q ) N r
l* * *% broken glass - - Slivers and shards are all over the place. , some broken glass the shards of broken glass
MO actor N w X The slivers and shards of broken glass are too small, sharp, and numerous to pick up. N x 0 6" glass MO actor N6 < K N6 < Its way in the back. You need something to snag it with. N6 ) N6 l MO actoriobj N < E N N < A N You can't quite reach it with ! . X N \^!< = isn't under anything. You don't need to try and snag it. N MO actor N 8 N You don't have !< . N (N <
N" m Its fragile contents would certainly be damaged by such an act. You decide against it at the last moment. N# N$ >
u N' ` This area is well-traveled. It wouldn't be a good place to leave broken glass lying around. N( N) MO actor NM, ' You shatter the fragile scroll tube. NM- >
! NM. >
>& NM/ !<& NM0 $ paint bucket { M N " Its a bucket of red paint. N # < ~ N $
Its open.\b N & Its closed.\bN ' A A The paint fumes go to your head, making you momentarily dizzy.
~ } | l MO actor N1 D The bucket if full of red paint. It isn't a practical container. N2 L` MO actor N5 < ~ 3 N7 The paint bucket is closed. N8 N9 MO actordobj N< H n N> H You dip the bristles into the bucket, letting them soak up the paint. N? "HN@ NA t t t t % , " M N s your !< " M N t your !<
. D MO tr N1 .N1 N1 5MO tparm O { h m ampm t24 iN < N N < S N U N
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N 0 N N N y N : N N N < .J N N N N MO dparm O i jN KN N Sunday N Sun N N N Monday N Mon N N N Tuesday N Tue N BN N Wednesday N Wed N N N
Thursday N Thu N N N Friday N Fri N N N
Saturday N Sat N C N 7 < s U N ' N < J N N N N % > > MO y N S " N < N S " N < Z N d S " N < N < N MO ymd O i bN
<N m d N N < @ N N N S N DMO O' b r1 r2 t t1 y m dN < N L
N n N m N ! z N # m d N % N & N ' N ( m d N * <N , V N . < @ N / N 0 " N 1 N 2 N 3 N 5 J N 6 p p January
February March April May June July August September October
November
DecemberMMO bparm O N
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j N _ N ` N a day N c days N d N e
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minutes N { N | r N N N minute N
minutes N N N - N N N X N < < N < N < J N N N N MO incr O b d e tN < . N < N < N < N ! 0 N < N < N + N N N N a N N N
N N N N .N N N N < N M N ! N < % & "MO actor O1 choice_no choices input_no len indN / N ! N > !
N N ! N / N ! N # CN & 0 N ' N ( \bYou say:\nN ) N + 0 @ j N - \(! .\) ! 1 N . N / N 0 \nN 1 N 2 cN 4 7 ? N 6
\(x.\) "N 7 6N 8 "\bN 9 N < > ! N > \b>>N ? N @ N A KHN C N D N E N F N G N H N I N J N K N L @2N M ! N N ! N O "! N P ! N Q ! N R > ! U N S I \b(Press any key to continue - Press '\(d\)' to disable this reminder) N T . d N U "! N V &N W N X 7 N Z ! N [ ! N \ "! N ] ! N ^ ! N _ % \nYou break off the conversation.\nN ` N a c N b N c N N d B
1 2 3 4 5 6 7 8 9 xN e N f 1 N i 4N j ! N k N l N m ! N n +N o #85 5 5 B MO actorobjseqno N H | N I MO actorprepiobj O _ ret locN} O
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Nb $ H H H ^ dip. ! IJ LK % K K K ^ grease. ! TU D WV &l + + + thumb LM N % < 3 N ' Its slick with lamp oil. N ( N ) < 6 N + Its slimy with axle grease. N , N - > 'Z N / B There's sludge all over it, just like the rest of your fingers. N 0 N N 3 9 As Berrost would tell you, at least its not up your... N 4 N 5 KMO actoriobj N; > I{ K N= * You'll have to remove the gloves first. N> N? N@ g NB C You decide there is no good reason to paint your appendages red. NC ND NE NG >
_ NI ; You should probably go outside so Silas doesn't see you. NJ NK NM NN NP )KNQ $MO actoriobj N,T > I{ K N,V * You'll have to remove the gloves first. N,W N,X N,Y g N,[ C You decide there is no good reason to paint your appendages red. N,\ N,] N,^ N,` >
_ N,b ; You should probably go outside so Silas doesn't see you. N,c N,d N,f N,g N,i )KN,j Vk MO actoriobj Nm > I{ 6 Nn * You'll have to remove the gloves first. No x MO actor NEr > I{ / NEs The gloves are way too thick. ? NEu 3 Your digits are too pudgy to fit in the opening. NEv b MO actor Ny > I{ 9 Nz * You'll have to remove the gloves first. l N{ P>
" S N| G You should probably go outside first. This is likely to make a mess.N} MO actordobj N < A N \^!< is already well oiled. N N 3 You carefully pour the oil over just your thumb. N " N ! N !+N !>& N "'N N kd MO actor N > I{ 6 N * You'll have to remove the gloves first. N l MO actordobj N7 < > N7 \^!< is already greased. N7 r N7 . You smear some of the grease on your thumb. N7 " N7 ! N7 "'N7 N7 ' ' 'X hands M N > &C N 4 Your thumb is coated in a thin layer of lamp oil. N > &9 N * Your thumb is covered with axle grease. q N < 4 N % Your hands are filthy with sludge. / N # Your hands are relatively clean. N d MO actor NN > I{ 6 NN * You'll have to remove the gloves first. NN ,MO actor N < / N Your hands are already clean. N >
D >
y N 0 You wash your hands as thoroughly as you can. N ! N !&N !&N / N # You'll need some water for that. N N &x & &K & &V & ( finger ! M N > ' N &x & &K & &V & ' ' ) 5 ,/ MO actor N K <-N L .h MO actor NN O That was delicious! NN P > ! /< 0! /NN Q !<& NN R 0 M N S > ! 1 *
d ` H / 1 + R R R ' Gonddol The smith is an elf. His delicate features are covered with grime. His arms are disproportionally large for his frame, and bulging with muscle. He wears a leather apron and thick gloves., Gonddol Gonddol* " " Gonddol the Elven smith is here.4 ~ ~ \b"I'm too busy to chat right now. Browse around if you like but don't disturb me unless you have some pressing business."
5 MO verbdobjprepiobj N ) DM N >
N \bGonddol stares at you with a perplexed look on his face, no doubt wondering why you are floundering around in his tempering barrel.\bN CN <
>
N N < z N b \bGonddol watches you warily, as if wondering what kind of unfathomable act you will do next.\bN N Kl N N ? \bGonddol is pounding a piece of molten steel on the anvil.\bN N
N N 0 1MO
quipno N= KN= N= "Sorry to disturb you but I have some business to discuss. I need you to make me a wheel for a minecart." You describe the approximate size of the wheel.N= N= N= > "Well, I need it now. And, er, I don't have 2 flooglemids."N= N= N= N= "Ok, I'll do that."N= t N= N= ' "Got any quality dwarven-made wares?"N= . N= " O n N= 2 MO
quipno ND KND ND I \b"I can get to that sometime next month. It will cost 2 flooglemids."ND ND ND END ND \b"Then I can't help you." he says. Noticing the sour expression on your face, he adds "I have a ruined shield around here somewhere that is about the size you described. If you can find it, you are welcome to it."ND ND ND ND ND # \bGonddol sets about his labors. ND ND
ND ND ND
ND + \b"Everyone's a comedian," Gonddol sighs.ND ND . ND " E ~ ND , ' # Ike Ike is your (ostensibly) benevolent familiar. He stands about two-and-half hands tall, and likes to perch on your shoulder. He is dark crimson in color, with a bright red underbelly. His ears and nose are long and pointy, his eyes mischeavious. , Ike Ike* Your familiar Ike is here.5 Q Q Ike dodges your attempt to paint him and causes you to get paint in your hair.
MO verbdobjprepiobj N > Ike completely ignores your command. As you knew he would. N *N DM N <
>
[N KN N 4 \bIke wets his finger and sticks it in your ear.\bN N N > \bIke scratches his hindquarters on the side of your head.\bN N N , \bIke drools copiously on your shoulder.\bN ?N N * \bIke yanks out one of your ear hairs.\bN N N \bIke verbally abuses you.\bN N N = \bIke picks his nose and wipes his findings in your hair.\bN ]N N 0 \bIke pokes you in the eye with his big toe.\bN N N C \bIke gives you the finger, accompanied by a vigorous rasberry.\bN N N < \bIke makes an unflattering comment about your ancestry.\bN Q N E
Y 5 k c N N N >
<& N % \bIke settles onto your shoulder.\bN N 3u MO actor N1 M Ike makes foolish gestures and pantomimes in parody of you when you speak. N1 -_ _ _' herbalist u u The herbalist is in the latter stages of middle age. He is rotund, whiskered, and jovial. His eyes are bloodshot., an herbalist* The herbalist is here.
5 MO verbdobjprepiobj N q ) DFM N u <
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D < N v N w < K`N y N z K \bThe herbalist is fervently shuffling through an array of beltpouches.\bN { \N | N } A \bThe herbalist extracts a plant bud from one of the pouches.\bN ~ N N _ \bThe herbalist blows through a small pipe to clean it and then places the bud in the bowl.\bN ~N N c \bThe herbalist lights a tindertwig and uses it to light the pipe. He takes a long draw on it.\bN N N a \bThe herbalist is holding his hit. His eyes are tearing up and his face has turned crimson.\bN |N N a \bThe herbalist is holding his hit. His eyes are tearing up and his face has turned crimson.\bN N N \bThe herbalist is holding his hit. His eyes are tearing up and his face has turned crimson. You begin to fear his ears might pop off.\bN QN N j \bThe herbalist lets out the smoke in a long, slow stream, punctuated by the occasional muffled cough.\bN N N / \bThe herbalist enters into a coughing fit.\bN zN N O \bThe herbalist is wracked with coughs. His face has turned crimson again.\bN N N O \bThe herbalist is wracked with coughs. His face has turned crimson again.\bN N N O \bThe herbalist is wracked with coughs. His face has turned crimson again.\bN 0N N U \bThe herbalist's coughing fit tapers off into a more manageable occasional hack.\bN N N ) \bThe herbalist smiles a happy smile.\bN t N h ` R D j
S N N <
N N 09 9 6 See you later.1JMO
quipno N KN N
"Hello."N N N morning D afternoon ( N "Its a scorcher today."a N evening - N "Sure was a scorcher today." N "Warm night."N ,N N / "Do you have a potion to calm a vicious dog?"N N N 4 "Do you know where I could find some slumberweed?"N N N ' "Ok. I'll be back when I find some."N EN N = "I have some slumberweed. Can you make me a sleep potion?"N N N ) "Ok. I'll be back when I'm not broke."N N N ( "No problem. Here's your flooglemid."N ZN N M "I have a Sleep spell. Can we combine our talents to make a Sleep potion?"N N N ) "Ok. I'll be back when I'm not broke."N N N ( "No problem. Here's your flooglemid."N _ N S 7 Y b B
( i N 2? MO
quipno N!
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Z \b"Ah, good. But it will still cost you 1 flooglemid. I don't work for free you know."NA
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& w\b"This will take a few minutes..." The herbalist takes the slumberweed and the flooglemid and retires to the back room. He emerges some time later with a glass vial. "Pour this on a dead animal and feed it to the dog. Any rodent or bird will do. The animals's blood will activate the potion and cause the dog to become overwhelmingly sleepy. It should do the trick."NA
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8 V \b"Sure. But it will still cost you 1 flooglemid. I don't work for free you know."NA
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T \b"This will take a few minutes..." The herbalist accepts your payment and retires to the back room. He emerges some time later with a glass vial. "Here's a partially completed potion. Its inert until you cast your Sleep spell on it, at which point it will become a Sleep potion. Pour the completed Potion on a dead animal then feed it to the dog. Any rodent or bird will do. The animals's blood will activate the potion and cause the dog to become overwhelmingly sleepy. Hope it helps."NA
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d 8 MO actor Nfg E < E < o Nfi Nfj Nfk Nfl Nfm Nfn > E < E < Nfo Nfp )8Nfq .
' G golem M N One of Berrost's creations. Its a towering creature made of clay and made animate by spell. Golems usually serve as guardians or manual laborers. This is one of the latter variety. It is completely devoid of thought or intellect, its actions limited to those specified by spell. Some of the villagers are fearful of it, but you know it is perfectly safe as long as you don't get in the way of its tasks. N < {V N J \nThe golem has the number 56 painted on its back in bright red digits. N * A clay golem is here.
} 3 3 You paint a large number 56 on the golem's back. MO verbdobjprepiobj N ? Its pointless to try to command it without the proper spell. N *N D} M N >
N D < D <
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N O \bThe golem impales you on the broken broom handle as soon as you descend.\bN N N N < K N N Z \bThe golem is pushing the crossbeam, thereby pushing the grind wheel over the spices.\bN N N " Z \bThe golem is pushing the crossbeam, thereby pushing the grind wheel over the spices.\bN # N $ N & Z \bThe golem is pushing the crossbeam, thereby pushing the grind wheel over the spices.\bN ' N ( N * Z \bThe golem is pushing the crossbeam, thereby pushing the grind wheel over the spices.\bN + N , N . Z \bThe golem is pushing the crossbeam, thereby pushing the grind wheel over the spices.\bN / N 0 N 2 ^ \bThe golem brings the wheel to a stop and lets go of the crossbeam to pick up the broom.\bN 3 N 4 N 5 i N 7 # \bThe golem picks up the broom.\bN 8 " N 9 .>& N : 'N ; EN < N @ \bThe golem, which has been patiently waiting for the broom, reclaims it from you. Pulping you in the process is an unfortunate side effect.\bN A N B N C j N F 9 \bThe golem mauls you while trying to find the broom.\bN G N H N I N J N K 9 \bThe golem sweeps the milled spice into a large bay.\bN L N M N N 9 \bThe golem sweeps the milled spice into a large bay.\bN O (N P N Q 9 \bThe golem sweeps the milled spice into a large bay.\bN R N S N U ] \bThe golem leans the broom against one wall and picks up a huge sack of unground spices.\bN V ! N W >& N X 2N Y N [ W \bThe golem dumps the contents of the sack on the floor in front of the grindwheel.\bN \ N ] N ^ 0 \bThe golem resumes pushing the grind wheel.\bN _ m N ` a
Z > " Z
M
S N a N b <
N c N d /@ ' dog OM N O < k N R S Its stomache heaves in an even rhythm as it slumbers. It is drooling profusely. N S N X The dog is only medium-sized, but its stocky and muscular. It looks vicious and ill-tempered. The village herbalist concocts sleep potions - perhaps you should talk to him. N Y N Z * M N ] < T N _ < There is a dog here. The dog appears to be sound asleep. N ` a N c L A mean-looking dog is held at bay by a sturdy chain hooked to its collar. N d N e
N5 v v You fling some paint at the dog, doing your best Jackson Trollock impersonation. This only enrages the beast more. MO verbdobjprepiobj Nn L The dog will not follow commands (unless you command it to vivisect you). No *Np DM N s <
>
D < N t N u N iN w > BN | \bThe dog devours the crow, almost whole. It doesn't sate its appetite however - it only stengthens it. It takes a mighty leap towards you, breaking its collar and thereby freeing itself. Your feeble efforts to fight if off are ultimately futile.\bN } !>& N ~ N N
N \bThe dog devours the crow, almost whole. It wobbles a bit, then falls over, asleep before it hits the ground. The potion has worked its magic.\bN !>& N " N " " Putting the vicious dog to sleep JN N N N N N > N n \bThe dog tears into the imp, devouring it. It doesn't sate its appetite however - it only stengthens it.\bN !>& N N N \bThe dog tears into the imp, devouring it. It wobbles a bit, then falls over, asleep before it hits the ground. The potion has worked its magic.\bN !>& N " N " " Putting the vicious dog to sleep JN N N N KN N \bThe dog charges and leaps at you. It is jerked violently to the ground by the taut chain and jumps back up, more enraged than ever.\bN N N A \bThe dog is slobbering voraciously and foaming at the mouth.\bN N N Y \bThe dog goes into an attack crouch, low snarls issuing from the back of its throat.\bN N N 8 \bThe dog strains at its bonds, trying to reach you.\bN QN N P \bThe dog works itself into a frenzy barking and snapping its teeth at you.\bN N N \bThe dog is momentarily distracted by a low-flying crow. It jumps at the crow, snapping its jaws, but the crow avoids the attack.\bN < N 0 u - N A MO actor NM MO actordobj Nq F Nq 7 You toss the crow to the dog, glad to be rid of it.\nNq K Nq < You toss Ike's carcass to the dog, glad to be rid of it.\nUNq D ] Nq You toss ! 5 to the dog, but apparently its not a vegetarian.\nNq Nq You toss ! t to the dog, but apparently its not a vegetarian. All it does is stomp all over them while trying to reach you.\n0Nq B Nq There's no way your letting it lick the spice out of your hand, so you try to toss it to it, getting as close as you dare. The dog simply darts back from the small cloud, which is soon borne away by the wind. <Nq D Nq You toss ! to the dog and it immediately snaps it up and devours it. It doesn't seem to have sated it though - it still looks like it would love to have you for dessert.\nU Nq You toss ! 0 to the dog, but it shows no interest in it.\nNq D D D B Nq !& Nq N& Nq A As MO actor N > I{ X N C You wouldn't want to do that without heavy gloves, just in case. N N RMO actor N "Nice doggie..." you coo to the snarling animal, gently extending your hand. It immediately latches onto your forearm, drags you down, and proceeds to maul you in the most gruesome manner. By the time Old Tom gets to you, you're own mother wouldn't recognize you. N N N 0 T T T ' crow M N g You've never liked crows and this pesky specimen has been annoying you for the past couple of days. N < @ N + Its feathers are striped with red paint. N N * That confounded crow is here.
T/ / U[TZRWSXN 5 The crow flies away before you can nearly get close enough to reach it with the brush. You fling paint at it, but to no avail. 5 MO verbdobjprepiobj N ) DM N > N > {kN > |N \bThat ornery crow flies in through the broken roof vent in a flurry of feathers. Its barely able to fit. You notice that its wings have been painted red by the wet paint on the slats. It quickly gobbles up the berries and flies back out.\bN !N >& N ! N " N 1N 1N 1N " Painting the crow's wings red JN xN "\bThat ornery crow flies in through the broken roof vent in a flurry of feathers. Its barely able to fit, and its wings press tightly against it as it squeezes through the slats. The dry red paint on the slats does not affect it. It quickly gobbles up the berries and flies back out.\bN !N >& N ! N N N DN
\bThat ornery crow flies in through the broken roof vent in a flurry of feathers. Its barely able to fit, and its wings press tightly against it as it squeezes through the slats. It quickly gobbles up the berries and flies back out.\bN !N >& N
! N N N N O rN N < @<
? N N
N N N > 1S N N 1N 1N N <
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& N ! \bThe crow flies away.\bN " < @<& N # <
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N % * \bThat ornery crow has flown into view. N & < @ N ( + Its feathers are striped with red paint. N ) N * \bN + N , N - N . <
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N / N 0 <
[ G N 2 / \bThe crow is eating berries from the bush.\bN 3 /N 6 K N 8 N 9 6 \bThe crow caws loudly. Like its laughing at you.\bN : N ; N < # \bThe crow soars high overhead.\bN = z N > N ? 4 \bThe crow lands and regards you out of one eye.\bN @ ' N A Z N B N C A MO actor N
D e MO actordobj N
G 6 The crow flies aways from you when you approach it. N
H 1 ' Captain Dunwiddie !M N night F N . He's sound asleep, as his snores advertise. N N Captain Dunwiddie is barely visible beneath the cumbersome-looking, and doubtless quite hot, layers of armor he wears. A longsword is sheathed at his side.N N , Captain Dunwiddie Captain Dunwiddie* M N Captain Dunwiddie is here. N night E
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4 N He's fast asleep in his cot. N N
> MO verbdobjprepiobj NG ) NG D* M N night E
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E < ! AN <& N >
h N D \bCaptain Dunwiddie bids you good night and descends the ladder.\bN " N N >
N e \bCaptain Dunwiddie climbs down from above, removes his sword and armor, and climbs into his cot.\bN " N N N N ! night E
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JN # <& N $ >
N ' p \bCaptain Dunwiddie stretches and rolls out of bed. He dons his armor and ascends to the top of the tower.\bN ( ! N + N , >
f N . B \bCaptain Dunwiddie climbs up the ladder and resumes his post.\bN / ! N 2 N 3 N 4 N 5 <
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