"Ryan Veeder's Agatha Christie's the Murder on the Orient Express" by Ryan Veeder The story headline is "A classic of the detective story canon, presented". When play begins: now story viewpoint is first person singular; say "You and I have never met before. We are mysteries to each other. And yet, if I express to you a few hints, presently you will know precisely who I am.[paragraph break]All the world agrees in pronouncing that I am a clever man. I will not argue; let the people speak as they will. A few even say that I am too clever [unicode 8212] alas! They know not how correct they are. I am far, far too clever. My intellect is a burden: so many facts and memories are forever swarming round my head, buzzing and hissing in my ears, so desperate not to be forgotten. My [italic type]perspicacité[roman type], so sharp as to penetrate all obfuscation and deceit [unicode 8212] always she turns upon her master, and my own heart is wounded by the sad truth that it is my duty to reveal.[paragraph break]But far worse than mere intelligence, worse even than my never-erring perception, is wisdom. Yes! For the wisdom to which I am condemned is the understanding of Evil, and upon this unfortunate subject my wisdom is perfect. To stand in the presence of Evil, to reveal its face, to wrestle eternally with Evil and staunch so briefly its creeping over the world [unicode 8212] this is the Sisyphean fate to which wisdom has doomed me. Oh, reader, I wish sorely that I were not so clever.[paragraph break]By now, of course, you have guessed at my identity. Yes! I am the world-renowned genius Hercule Poirot. Please, my friend: press any key to continue."; wait for any key; set pronouns from Hastings; Understand "solve murder" as a mistake ("Dear reader, I solved this case [turn count] turn[if turn count is greater than 1]s[end if] ago. I have been waiting for you to catch up.") Understand "solve case" as a mistake ("Dear reader, I solved this case [turn count] turn[if turn count is greater than 1]s[end if] ago. I have been waiting for you to catch up.") Volume 1 - Boring Book 1 - Generally Boring Include Basic Screen Effects by Emily Short. Use American dialect and serial comma. Definition: A thing is nonplayer if it is not the player. To say i: say "[italic type]"; To say /i: say "[roman type]"; to say --: say "[unicode 8212]" To say wak: wait for any key; Understand "woman" and "girl" and "lady" as a woman. Understand "man" and "gentleman" as a man. Understand "guy" as a person. Release along with cover art and an interpreter. Every turn while the number of visible nonplayer female people is 1: let M be a random visible nonplayer female person; set pronouns from M; Every turn while the number of visible nonplayer male people is 1: let M be a random visible nonplayer male person; set pronouns from M; Part 1 - Error Responses Section 1 - Saving Save the game rule response (A) is "Done." Restore the game rule response (A) is "Ok." Section 2 - Using Multiple Objects Section 3 - Not Seeing Any Such Thing Book 2 - Various Actions Part 1 - Old Boring Actions [GOING] Understand "downstairs" as down. Understand "upstairs" as up. Exitrequesting is an action applying to nothing. Understand "exits" as exitrequesting. A room has text called the exit help. Instead of going nowhere: list some exits. Instead of exitrequesting: list some exits. To list some exits: if exit help of location is not "": say "[exit help of location][paragraph break]"; else: say "[full dirlist][line break]"; To say full dirlist: let dirlist be a list of directions; repeat with way running through directions: let zone be the room way from the location; if zone is a room: add way to dirlist; if exterior of the location is not nothing: add outside to dirlist; let entlist be the list of visible entrances; if number of entries in dirlist is 0 and number of entries in entlist is 0: say "There [are] nowhere to go. "; else if number of entries in dirlist is 0: say "I may enter [entlist with definite articles]. "; else if number of entries in dirlist is 1: say "From here I only can go [dirlist]"; if number of entries in entlist is greater than 0: say "; or enter [entlist with definite articles]"; say ". "; else: say "[We] may go [dirlist]"; if number of entries in entlist is greater than 0: say "; or enter [entlist with definite articles]"; say ". "; [TAKING] Understand "steal [something]" as taking. Understand "lift [something]" as taking. Understand "pick [something]" as taking. Understand "grab [something]" as taking. Understand "catch [something]" as taking. can't take scenery rule response (A) is "[The noun] [--] this is not for Poirot to carry." can't take other people rule response (A) is "To pick up and carry [the noun] would not be gentlemanly.". After taking something: say "[We] shall carry [the noun]." Specific taking is an action applying to one thing and one topic. Understand "take [something] [text]" as specific taking. Understand "get [something] [text]" as specific taking. Understand "pick [something] [text]" as specific taking. Understand "pick up [something] [text]" as specific taking. Understand "steal [something] [text]" as specific taking. Understand "catch [something] [text]" as specific taking. Understand "grab [something] [text]" as specific taking. Understand "lift [something] [text]" as specific taking. Instead of specific taking: try taking the noun. [DROPPING] Understand "let go of [something]" and "release [something]" as dropping. Understand "lay down [something]" and "lay [something] down" as dropping. Understand "set down [something]" and "set [something] down" as dropping. After dropping something, say "[We] [put] down [the noun]." [LOOKING] Understand "look around" as looking. Understand "open eyes" as looking. Understand "open my eyes" as looking. Understand "open your eyes" as looking. [LOOKING UNDER] Understand "look behind [something]" as looking under. Understand "peek behind [something]" as looking under. [SEARCHING] Understand "look out [something]" as searching. Understand "look around [something]" as searching. Understand "sift through [something]" as searching. Check searching a container: if the noun is closed: try opening the noun instead. [EXAMINING] Understand "stare at [something]" as examining. Understand "behold [something]" as examining. Understand "look upon [something]" as examining. Understand "admire [something]" as examining. Understand "enjoy [something]" as examining. Understand "look for [something]" as examining. Understand "glance at [something]" as examining. Instead of examining a direction: say "Try examining a specific object, [i]mon ami[/i]. Or, try moving in that direction.)" [OPENING] Check opening something locked: say "[The noun] [won't] open. [They] [seem] to be locked." instead. [ENTERING] Understand "sit down [something]" as entering. Understand "drive [something]" as entering. Understand "ride [something]" as entering. Understand "board [something]" as entering. Understand "climb inside [something]" as entering. Understand "climb in [something]" as entering. Understand "climb into [something]" as entering. Understand "climb out [something]" as entering. Understand "sit at [something]" as entering. Understand "lie on [something]" as entering. Understand "lay on [something]" as entering. Understand "lie down on [something]" as entering. Understand "lay down on [something]" as entering. Understand "sit down on [something]" as entering. Understand "sit down in [something]" as entering. Understand "go to [something]" as entering. Understand "go [something]" as entering. Understand "go through [something]" as entering. Understand "pass through [something]" as entering. Understand "wade in [something]" as entering. Understand "wade into [something]" as entering. Understand "jump on/onto [something]" as entering. Understand "follow [something]" as entering. Understand "chase [something]" as entering. Understand "trail [something]" as entering. Understand "track [something]" as entering. Understand "hunt [something]" as entering. Understand "pursue [something]" as entering. Understand "run after [something]" as entering. Understand "go after [something]" as entering. Understand "go up [something]" as entering. Understand "go down [something]" as entering. Understand "go under [something]" as entering. Understand "get under [something]" as entering. Can't enter what's not enterable rule response (D) is "[We] [are] close enough to [the noun] already[one of], my dear reader[or][or][then at random].". Does the player mean entering something enclosed by the player: it is very unlikely. [GETTING OFF] Instead of going up while player is on something: try exiting. Instead of going down while player is on something: try exiting. [EXITING] Specific exiting is an action applying to one topic. Understand "climb out of [text]" as specific exiting. Understand "exit [text]" as specific exiting. Understand "get out of [text]" as specific exiting. Understand "depart [text]" as specific exiting. Instead of specific exiting: try exiting. Understand "disembark" as exiting. Understand "depart" as exiting. Understand "escape" as exiting. Understand "off" as exiting. Understand "let go" and "climb out" as exiting. Instead of exiting while holder of player is location: let ext be the room outside from the location; if ext is a room: try going outside; else: let dirlist be a list of directions; let ourdir be outside; repeat with way running through directions: let zone be the room way from the location; if zone is a room: add way to dirlist; now ourdir is way; if number of entries in dirlist is 0: list some exits; else if number of entries in dirlist is 1: try going ourdir; else: list some exits. [SITTING] Vaguesitting is an action applying to nothing. Understand "sit" and "sit down" and "have a seat" and "rest" as vaguesitting. Check vaguesitting: if something supports the player: say "[We] [are] already seated." instead; let seat be a random enterable supporter in the location; if seat is a thing: try entering the seat instead; otherwise: say "[There's] nothing to sit on." instead. [CLIMBING] Understand "climb down [something]" as climbing. Understand "climb onto [something]" as climbing. Understand "climb on to [something]" as climbing. Understand "climb on [something]" as climbing. Understand "climb up [something]" as climbing. Understand "climb to [something]" as climbing. Understand "climb toward [something]" as climbing. Understand "ascend [something]" as climbing. Vague climbing is an action applying to nothing. Understand "climb" as vague climbing. Instead of vague climbing: if the player is in a container: try exiting; otherwise: let M be the room up from the location; if M is a room: try going up; otherwise: say "It's not clear what you want me to climb." To intend is a verb. [JUMPING] Instead of jumping: say "[We] [hop]." To hop is a verb. Jumping over is an action applying to one thing. Understand "jump [something]" and "jump over [something]" and "jump across [something]" and "leap over [something]" and "leap across [something]" and "hop over [something]" and "hop across [something]" and "backflip over [something]" as jumping over. Instead of jumping over something, try jumping. [TURNING] Understand "spin [something]" as turning. Understand "move [something]" as turning. Understand "flip [something]" as turning. Understand "flick [something]" as turning. Understand "crank [something]" as turning. [SETTING] Understand "turn [something] to [text]" as setting it to. [WAVING AT] Waving at is an action applying to one thing. Understand "wave at [something]" and "wave to [something]" as waving at. Instead of waving at something, say "[We] [wave] at [the noun] in a friendly manner." Understand "raise arms" as waving hands. Check waving hands: if a nonplayer person is visible: let M be a random visible nonplayer person; try waving at M instead. [WAVING TRANSITIVELY] To wave is a verb. Check waving: if the player carries the noun: say "[We] [wave] [the noun]." instead; otherwise: say "[We] [aren't] carrying [the noun]." instead. [LOCKING] Include Locksmith by Emily Short. [SHOWING AND GIVING] Instead of showing something to someone: try giving the noun to the second noun. Understand "use [something] on [something]" as giving it to. Understand "deliver [something] to [somebody]" as giving it to. A person has a table name called response list. Response list of a person is usually the Table of Bad Responses. Table of Bad Responses thing (a thing) reply (some text) -- -- instead of giving something to the player: say "[We] already [know] about [the noun]." To know is a verb. Instead of giving something to someone: let the source be the response list of the second noun; if the noun is a thing listed in source: say "[reply entry][paragraph break]"; otherwise: say "[The second noun] [have] no response." Does the player mean giving something to something enclosed by the player: it is very unlikely. [ATTACKING] Understand "stab [something]" and "slice [something]" and "beat up [something]" and "beat [something] up" and "bust [something]" and "bust [something] open" and "duel [something]" and "kick [something]" and "demolish [something]" and "crush [something]" and "break through [something]" and "bust through [something]" and "scratch [something]" as attacking. Instead of attacking something: say "[one of]I beg your pardon [--] [or][stopping]Poirot detests the use of violence." attacking it with is an action applying to two things. Understand "hit [something] with [something]" and "attack [something] with [something]" and "break [something] with [something]" and "bust through [something] with [something]" and "break through [something] with [something]" and "destroy [something] with [something]" as attacking it with. Instead of attacking something with something: if player does not carry the second noun: say "[We] [aren't] carrying [the second noun]."; otherwise: try attacking the noun. [PUTTING ON] Instead of putting something on the player, try wearing the noun. [KISSING] Understand "kiss [something]" as kissing. Instead of kissing something: say "I would prefer not to." [HUGGING] Understand the command "hug" as something new. Hugging is an action applying to one thing. Understand "hug [something]" and "embrace [something]" as hugging. Instead of hugging: say "I would prefer not to." [WAKING] Instead of waking someone: say "[The noun] [are] awake already." [BURNING] Specific burning is an action applying to one thing and one topic. Understand "burn [something] [text]" and "light [something] [text]" as specific burning. Instead of specific burning: try burning the noun. Instead of burning something, say "[We] do not have a safe way of doing that." [CUTTING] Understand "lop [something]" as cutting. Understand "trim [something]" as cutting. Understand "snip [something]" as cutting. Instead of cutting something: say "[The noun] does not require the being cut by my person." [SWITCHING ON] Understand "activate [something]" as switching on. Understand "play [something]" as switching on. Understand "try hand at [something]" as switching on. Understand "try [something]" as switching on. Understand "start [something]" as switching on. Understand "use [something]" as switching on. [SWITCHING OFF] Understand "deactivate [something]" as switching off. Understand "stop [something]" as switching off. [WAKING UP] [Instead of waking up: say "[We] [are] quite awake."] [SLEEPING] Before sleeping: say "While there is a mystery to be solved? [i]Jamais ![/i]" instead. [PRAYING] Praying is an action applying to nothing. Understand "pray" as praying. Instead of praying, say "To entreat the Almighty for aid is never a poor idea [--] though of course Poirot needs no such assistance."; [THINKING] Instead of thinking: say "Constantly, my friend." [APOLOGIZING] Instead of saying sorry, say "My dear friend, no apology is necessary!" Understand "apologize" and "apologise" and "I'm sorry" and "im sorry" as saying sorry. [RUBBING] Understand "wash away/-- [something] away/--" as rubbing. Understand "brush away/-- [something] away/--" as rubbing. Understand "clear away/-- [something] away/--" as rubbing. Understand "rub away [something] away/--" as rubbing. Instead of rubbing something, say "There is no time for this." Instead of rubbing the player, say "There is no time for this." [SINGING] Singing is an action applying to nothing. Understand "sing" and "sing a song" and "whistle" and "hum" as singing. Instead of singing: say "Ah, but Poirot does not sing!" [DANCING] Dancing is an action applying to nothing. understand "dance" as dancing. Instead of dancing: say "[We] [are] not inclined." Specific dancing is an action applying to one topic. Understand "dance [text]" as specific dancing. Instead of specific dancing: say "[We] [are] not inclined." [THROWING] Understand the command "throw" as something new. Block throwing at rule response (A) is "This line of thought will avail you nothing!" Tossing is an action applying to one thing. Understand "throw [something]" and "toss [something]" as tossing. Instead of tossing: say "This line of thought will avail you nothing!" Understand "throw [something] at [something]" as throwing it at. Understand "throw [something] in [something]" as throwing it at. Understand "toss [something] at [something]" as throwing it at. Understand "toss [something] in [something]" as throwing it at. Part 2 - The Many Senses Section 1 - To Smell Instead of smelling something: say "I smell [the noun] daintily." Instead of smelling: say "I sniff in a refined fashion." To know is a verb. Section 2 - To Hear Before listening to something: if the noun is a person: try talking to the noun instead; if the noun is an animal: try talking to the noun instead. Does the player mean talking to a person: it is likely. Does the player mean talking to an animal: it is likely. Instead of talking to the player: say "I make a note to myself."; Instead of listening to something: say "I hear nothing worth noting."; Instead of listening: say "I hear nothing worth noting."; Section 3 - To Touch Understand "pet [something]" as touching. Understand "pat [something]" as touching. Understand "tap [something]" as touching. Understand "stroke [something]" as touching. Understand "caress [something]" as touching. Instead of touching something: if the noun is a person: say "[The noun] [might] not like that."; else: say "[The noun] [feel] normal."; Section 4 - To Taste Instead of tasting something: say "We need not resort to this." Understand "lick [something]" as tasting. Understand "gnaw [something]" as eating. Understand "nibble [something]" as eating. Understand "chew [something]" as eating. Understand "bite [something]" as eating. Instead of eating something inedible: say "That [aren't] edible." Instead of drinking something: say "That [aren't] drinkable." Understand "glug [something]" and "chug [something]" as drinking. Part 3 - Conversation Section 1 - Talking To Talking to is an action applying to one thing. Understand "talk to [something]" and "talk [something]" and "greet [something]" and "chat [something]" and "chat with [something]" and "listen to [someone]" as talking to. Instead of talking to something: say "That is not something [we] [can] talk to." Instead of talking to a person: say "[The noun] [don't] respond." Does the player mean talking to something enclosed by the player: it is very unlikely. Section 2 - Talking To About Conversing with it about is an action applying to one thing and one topic. Understand "talk to [something] about [text]" as conversing with it about. Instead of conversing with something about something: if asking warned is true: say "No, I mean, just, 'TALK TO [printed name of the noun in upper case].'[line break]"; now asking warned is false; otherwise: say "Try 'TALK TO [printed name of the noun in upper case]' by itself.[line break]" Asking warned is a truth state that varies. Asking warned is false. To say askwarn: now asking warned is true. Section 3 - Ask and Tell Instead of asking someone about something, say "[askwarn]But [one of]I[or]Poirot[at random] must use TALK TO to interact with this [if total clues is less than 5]individual[else if total clues is less than 10]character[else]NPC[end if]." Instead of telling someone about something, try asking the noun about the topic understood. Instead of answering someone that something, try asking the noun about the topic understood. Section 4 - Short Asking Shortasking is an action applying to one topic. Understand "ask about [text]" as shortasking. Instead of shortasking, say "[askwarn](Use TALK TO to interact with most characters.)" Part 4 - New Actions Chapter 1 - Miscellaneous New Actions [BLOWING] Blowing on is an action applying to one thing. Understand "blow [something]" and "blow out [something]" and "blow on [something]" and "breathe on [something]" as blowing on. Instead of blowing on something, say "[We] [blow] upon [the noun]." To blow is a verb. [FILLING] [ Filling is an action applying to one thing. Understand "fill [something]" and "fill up [something]" and "fill [something] with water" as filling. Instead of filling something: say "It's not immediately obvious how you would fill [the noun] here." Understand "fill [something] with [something]" as inserting it into (with nouns reversed). Understand "push [something] into [something]" as inserting it into. Understand "push [something] in [something]" as inserting it into. ] [DIGGING] Digging is an action applying to nothing. Understand "dig" as digging. Specific digging is an action applying to one topic. Understand "dig [text]" as specific digging. Instead of specific digging: try digging. Instead of digging: say "I have nothing of the necessary equipment for this!" [POURING] Pouring is an action applying to one thing. Understand "pour [something]" and "pour out [something]" as pouring. Instead of pouring something, say "This is not something Poirot can pour." Pouring it on is an action applying to two things. Understand "pour [something] on [something]" and "pour out [something] on [something]" as pouring it on. Instead of pouring something on something, try putting the noun on the second noun. [KNOCKING] Knocking on is an action applying to one thing. Understand "knock on [something]" and "knock [something]" and "rap on [something]" and "bang on [something]" and "rap [something]" as knocking on. Instead of knocking on something: if the noun is a person: say "We ought not to knock on [the noun]."; else: say "No response." [POINTING] [ Indicating relates one thing to one thing. The verb to indicate means the indicating relation. Pointing is an action applying to one thing. Understand "Aim [something]" as pointing. Understand "point [something]" as pointing. Carry out pointing: say "[We] [point] [the noun] at nothing in particular." To point is a verb. pointing it at is an action applying to two things. Understand "Aim [something preferably held] at/toward/to [something]" as pointing it at. Understand "point [something preferably held] at/toward/to [something]" as pointing it at. Understand "turn [something preferably held] at/toward/to [something]" as pointing it at. Understand "aim at/toward/to [something] with [something preferably held]" as pointing it at (with nouns reversed). Understand "point at/toward/to [something] with [something preferably held]" as pointing it at (with nouns reversed). A thing can be pointable. A thing is usually not pointable. Does the player mean pointing something not pointable at something: it is very unlikely. Check pointing it at: if the player does not carry the noun: if the noun is not pointable: say "[We] [aren't] carrying [the noun]." instead; otherwise if the noun is not pointable: say "[The noun] is not well-suited to being pointed at things." instead. Check pointing it at: if the noun is the second noun: say "That would be a neat trick." instead. Carry out pointing something at something: say "[We] [point] [the noun] at [the second noun]."; now the noun indicates the second noun. Pointing at is an action applying to one thing. Understand "point at [something]" as pointing at. Understand "point finger at [something]" as pointing at. Understand "indicate [something]" as pointing at. Does the player mean pointing at: it is likely. Carry out pointing at something: say "[We] [point] at [the noun]." ] [RUNNING] Understand the command "run" as something new. Understand "run [direction]" as going. Understand "climb [direction]" as going. Running is an action applying to nothing. Understand "run" and "keep running" as running. Instead of running, say "You must specify a direction in which to run." [DUCKING] Ducking is an action applying to nothing. Understand "duck" and "dodge" and "crouch" as ducking. Carry out ducking: say "[We] [crouch] down." To crouch is a verb. [SWIMMING] Swimming is an action applying to nothing. Understand "swim" as swimming. Carry out swimming: say "You are sorely mistaken, my dear friend." Specific swimming is an action applying to one topic. Understand "swim [text]" and "dive [text]" as specific swimming. Instead of specific swimming, try swimming. [SMILING] Smiling is an action applying to nothing. Understand "smile" and "grin" as smiling. Carry out smiling: say "[We] [smile]." To smile is a verb. [FROWNING] Frowning is an action applying to nothing. Understand "frown" and "grimace" as frowning. Carry out frowning: say "[We] [frown]." To frown is a verb. [FOLDING] Folding is an action applying to one thing. Understand "Fold [something]" as folding. Carry out folding: say "That's not something [we] [can] fold." [UNFOLDING] Unfolding is an action applying to one thing. Understand "Unfold [something]" as unfolding. Carry out unfolding: say "That's not something [we] [can] unfold." [SCREAMING] Understand the command "shout" as something new. Screaming is an action applying to nothing. Understand "scream" and "yell" and "cry out" and "shout" and "shriek" and "screech" and "bawl" and "wail" and "howl" as screaming. Instead of screaming, say "Poirot is above such theatrics." Part 5 - The Actions Out of World [WHINING] Expressing displeasure is an action out of world. Understand "dangit" or "dang it" or "dang" or "darn" or "drat" or "shut up" or "aw" or "agh" or "arg" or "argh" and "gulp" as expressing displeasure. Carry out expressing displeasure: say "Please." [LAUGHING] Laughing is an action out of world. understand "laugh" and "chortle" and "chuckle" and "guffaw" and "ha" and "haha" and "hahaha" and "hahahaha" and "hahahahaha" and "bahaha" and "bahahaha" and "lol" and "rofl" and "lmao" and "giggle" and "heh" and "hehe" and "heheh" and "hehehe" and "heheheh" as laughing. Carry out laughing: say "Does this amuse you? Do you forget that we are investigating a most abominable murder?" To chuckle is a verb. [THANKING] Vague Thanking is an action out of world. Understand "awesome" or "good" or "great" or "nice" or "yay" or "hooray" or "good" or "thanks" or "thx" or "thank you" as vague thanking. Carry out vague thanking: say "You are welcome, my dear reader." [AFFIRMING] Affirming is an action out of world. understand "right" and "correct" as affirming. Carry out affirming: say "Ah, yes." [SCORE REQUESTING] Carry out requesting the score: say "There is no score in this game."; stop. [ABOUTING] Abouting is an action out of world. Understand "about" as abouting. Carry out abouting: say "[i]To who it may concern:[paragraph break]It is with great pleasure that I hereby license, authorize, and endorse the adaptation of my beloved novel as executed by the esteemed Mister Veeder of the United States. I can find no fault with his work, which speaks to a talent and genius equal to my own, and I can ask nothing more of my respected peer[--]except perhaps to express my fervent wish that he takes my place among the giants of literature, whenever it may come to pass that I shuffle off this mortal coil (Hamlet). Until that day I remain[paragraph break]Yours very sincerely,[line break]Agatha Christie[line break]xoxoxo[roman type][paragraph break]" Creditsrequesting is an action out of world. Understand "credits" as creditsrequesting. Carry out Creditsrequesting: say "(Thank you for your interest in [i]Ryan Veeder's Agatha Christie's the Murder on the Orient Express[/i]. It was tested by Sarah Willson, Tobias V. Langhoff, Jenni Polodna, Robert Eggleston, Jason Love, and Ori Avtalion.[paragraph break]Development of this game was supported by my wonderful Patreoneers. Huge thanks to: [patreoneer list].[paragraph break]Hey, you should join them, by going to patreon.com/rcveeder!)" To say patreoneer list: repeat with num running from 1 to number of rows in Table of Patreoneers: choose row num in Table of Patreoneers; if num is number of rows in Table of Patreoneers: say "and "; say "[name entry]"; if num is not number of rows in Table of Patreoneers: say ", " Table of Patreoneers name "Allen Tan" "Benjamin Slade" "BrettW" "Carl Muckenhoupt" "Carolyn VanEseltine" "Derek Sotak" "Doug Orleans" "Emily Short" "Evan Hahn" "Grant Veeder" "Greg Frost" "I'm Not Here" "Ivan R" "Jacques Frechet" "Janice M. Eisen" "Jason Love" "Jason Mehmel" "Jenelle Marie" "Jenni Polodna" "Jeremy P. Wright" "Jessica Seidl" "Josh Lawrence" "Karl Ove Hufthammer" "Kenneth Hon" "Maiko Ziegler" "Mark" "Matthew Zimmermann" "Nils Fagerburg" "Ori Avtalion" "Q. Pheevr" "Rich Cheng" "Robert Eggleston" "Robert Paloutzian" "Robin Johnson" "Rus Whang" "Sammy El-Bahrawy" "Sarah" "Sarah W" "Stephen Norris" "Tobias V. Langhoff" "Tycho Clendenny" "Yerrik" "Zachary Dillon" "Zachary Hodgens" [HELP REQUESTING] Helprequesting is an action out of world. Understand "hint" and "help" and "walkthrough" and "solution" and "hints" as helprequesting. Carry out helprequesting: let M be a random offstage clue; if M is a thing and firsthint is false: place clue at yourself saying "Ask and ye shall receive, my dear reader [--] for what is this, floating by on the wind and landing gently at my feet? It is a clue!"; now firsthint is true; else: say "A hint for you, my dear reader: [one of]Talk to everyone[or]Talk to everyone twice[or]Examine everything[or]Leave no stone unturned[or]Trust no one[or]Everybody lies[or]Take careful notes[or]Keep an open mind[or]Search for clues[then at random]!"; Firsthint is initially false. Book 3 - Little Extra Simulation Things Part 1 - Distance A thing can be distant. Instead of searching something distant, try examining the noun. Instead of doing something other than examining, searching, or waving at with something distant, say "[We] [can't] do much more than look from over here." A thing can be high. Instead of searching something high, try examining the noun. Instead of doing something other than examining, searching, or waving at with something high, say "[We] [can't] do much more than look from down here." A thing can be low. Instead of searching something low, try examining the noun. Instead of doing something other than examining, searching, or waving at with something low, say "[We] [can't] do much more than look from up here." Part 2 - Door Directions A door has text called the relative direction. Every turn: repeat with portal running through visible doors: let way be direction of portal from location; now relative direction of portal is "[way]". Understand the relative direction property as describing a door. Book 4 - Importance A thing can be important. Instead of dropping something important, say "I must not abandon [the noun]!" Instead of inserting something important into something, say "I must not abandon [the noun]!" Instead of putting something important on something, say "I must not abandon [the noun]!" [Instead of giving something important to someone, say "[We] [want] to keep track of [the noun]."] Volume 2 - systems Book 1 - Poirot Understand "hercule" and "poirot" and "detective" and "moustache" and "mustache" and "mustach" and "moustach" and "moustachio" and "mustachio" and "genius" and "intellect" and "hair" as yourself. Description of yourself is "I am the great genius Hercule Poirot! I am small and round, yes [--] and so the villains of this world, always they are underestimating me. All of my great strengths are kept hidden away on the inside of my skull [--] the great lock-box of the human body.[paragraph break][moustache text]" Moustache text is initially "My little moustache is the slightest bit unkempt at the moment, but this shall not deter me from my investigations." Rule for printing a parser error when the latest parser error is the can't see any such thing error: say "[one of][or][or]Alas, [then at random]I can see no such thing! [if location is R75]But perhaps this is to be expected, where shape-shifters are concerned.[else][line break][end if]" instead. After reading a command: if the player's command matches the text "belgium", case insensitively or the player's command matches the text "belgian", case insensitively: say "[one of]I beg your pardon, my dear reader. I think I would know what country I am from[or]I fear I must insist you drop the subject, [i]my dear reader[/i][stopping]."; reject the player's command. Book 2 - Train Directions forward is a direction. The opposite of forward is backward. Understand "f" and "ahead" and "fore" and "foreward" as forward. backward is a direction. The opposite of backward is forward. Understand "b" and "behind" and "back" as backward. Book 3 - The Clue System Part 1 - Clue Objects A clue is a kind of thing. The plural of clue is cluezzz. There are 50 cluezzz. [I have 56 clue positions planned so this lets you miss 6, we'll see if this works] Understand "clues" as a clue. The printed plural name of a clue is usually "clues". Initial appearance of a clue is usually "There is a clue here!" Description of a clue is usually "For a detective such as myself, such things are indispensible." After taking a clue, say "[one of][i]Absolument[/i]. I will guard this clue with my life[or]I add the clue to my collection[stopping]." Instead of inserting a clue into something, say "[i]Non[/i]! I must not let such a valuable clue out of my sight!" Instead of putting a clue on something, say "[i]Non[/i]! I must not let such a valuable clue out of my sight!" Instead of dropping a clue, say "[i]Non[/i]! I must not let such a valuable clue out of my sight!" Part 2 - Finding Clues Instead of searching a scenery container: try examining the noun; if the noun is closed: say "[regarding the noun][They] [are] closed." Before taking inventory: if player carries nothing: say "Alas, [run paragraph on]" An object can be clue-found. Default clue text is initially "There is a clue here!" Temp clue text is initially "". To place clue at (loc - an object): [this sends a clue to the appropriate position if there are any offstage clues left (so if you have found all 50, nothing happens)] if loc is not clue-found: let M be a random offstage clue; if M is a thing: if loc is a container: now M is in loc; else if loc is a supporter: now M is on loc; else: now M is in the location; if temp clue text is not "": say temp clue text; [*] say paragraph break; if M is visible: set pronouns from M; now temp clue text is ""; now loc is clue-found; To place clue at (loc - an object) saying (tex - a text): now temp clue text is "[tex]"; [**] place clue at loc; [Ori Avtalion points out that if the line marked * were say "[temp clue text]"; and the line marked ** were now temp clue text is tex; then you wouldn't get the bug seen in in "After examining the muck:" where substitutions/italics don't make it into the printed text. But if to add this now would be to subtract a joke!] Part 3 - Clue Doors Chapter 1 - General To decide what number is total clues: let M be the number of cluezzz enclosed by the player; decide on M. An object has a number called clue threshold. Clue threshold of an object is usually 0. Definition: An object is clue-locked rather than clue-unlocked if its clue threshold is greater than 0. Before opening a clue-locked object: if total clues is less than clue threshold of noun: if total clues is less than 3: say "I cannot open [if noun is a clue-door]that door[else][the noun][end if] yet." instead; else: say "I do not yet have enough clues ([clue threshold of noun]) to open [if noun is a clue-door]that door[else][the noun][end if]." instead. Before going through a clue-locked door: if total clues is less than clue threshold of noun: if total clues is less than 3: say "I cannot open [if noun is a clue-door]that door[else][the noun][end if] yet." instead; else: say "I do not yet have enough clues ([clue threshold of noun]) to open [if noun is a clue-door]that door[else][the noun][end if]." instead. Before entering a clue-locked object: if total clues is less than clue threshold of noun: if total clues is less than 3: say "I cannot open [if noun is a clue-door]that door[else][the noun][end if] yet." instead; else: say "I do not yet have enough clues ([clue threshold of noun]) to open [if noun is a clue-door]that door[else][the noun][end if]." instead. Chapter 2 - Interacting with Entrances Understand the clue threshold property as describing an entrance. Chapter 3 - Doors Specifically A clue-door is a kind of door. Understand "brass" and "placard" and "door" as a clue-door. A clue-door is usually scenery. Understand the clue threshold property as describing a clue-door. Rule for printing the name of a clue-door (called our door): let M be clue threshold of our door; say "'[M]' door". Instead of examining a clue-door: say "A brass placard bearing the number [clue threshold of the noun] is mounted upon this door." Chapter 4 - A General Help for Doors A door has text called the local heading. Understand the local heading property as describing a door. A door has text called the long local heading. Understand the long local heading property as describing a door. Every turn: update local headings. When play begins: update local headings. To update local headings: repeat with our door running through visible doors: now local heading of our door is "[direction of our door from location]"; now long local heading of our door is "[direction of our door from location]ern". [so that you may refer to a door leading up as an "upern door," you are welcome] Book 4 - The Travel Guide The travel guide is an important thing. Understand "book" and "guidebook" as the travel guide. Instead of opening the travel guide, try examining the noun. A room has text called the guide text. Guide text of a room is usually "'In order for meaning to have meaning, we must allow for the possibility of meaninglessness.'" Instead of examining the travel guide: say "Let us see what the travel guide has to say about this place:[paragraph break][guide text of location] [paragraph break]" Does the player mean examining the travel guide: it is very unlikely. [because 'book' more likely means one of the scenery books] Book 5 - The Moustache Comb The moustache-comb is a thing. Understand "comb" and "moustache comb" and "mustache comb" and "mustach comb" and "moustach comb" and "moustachio comb" and "mustachio comb" as the moustache-comb. Printed name of the moustache-comb is "moustache-comb". Indefinite article of the moustache-comb is "my". Description of the moustache-comb is "My beloved little moustache-comb! My most trusted companion [unicode 8212] [i]mais non ! [/i]Only second-most trusted, I should say, for my most trusted companion is my moustache itself." After taking the moustache-comb the first time, say "Oh, come to me, my precious little comb! At last, we are reunited! Now I can ACCUSE the murderer!" Instead of inserting the moustache-comb into something, say "[i]Non[/i]! I will never be separated from my comb again!" Instead of putting the moustache-comb on something, say "[i]Non[/i]! I will never be separated from my comb again!" Instead of dropping the moustache-comb, say "[i]Non[/i]! I will never be separated from my comb again!" Instead of switching on the moustache-comb, try combing the player. Combing is an action applying to one thing. Understand "comb [something]" as combing. Does the player mean combing the player: it is very likely. Does the player mean combing the moustache-comb: no. Instead of combing: if noun is not player: say "Ah, but [the noun] [are] not mine to comb."; else if player does not carry the moustache-comb: say "But I do not have my moustache-comb!"; else: say "[one of]Yes, the moustache of Poirot is rather askew. With the quickest little action of my trusty comb, I remedy this[or]My moustache is quite in order [--] but always there is room for improvement! [i]Alors[/i], I comb it a bit more[stopping]."; now moustache text is "My little moustache is in perfect working condition." Accusing is an action applying to one thing. Understand "accuse [something]" as accusing. A person has text called the accusation text. Accusation text of a person is usually "'You! You did this!'[paragraph break]'Yes I did,' [the noun] admits. The mystery, she is solved." Instead of accusing: if noun is player: say "[i]Moi? Non, non[/i], my dear player! Poirot could never commit such a repulsive crime."; else if noun is not a person: say "My dear player, [the noun] could not possibly have committed this murder. It is [i]incroyable[/i], even for so powerful an imagination as my own. You must seek your solution elsewhere."; else if player does not carry the moustache-comb: say "Accuse [the noun]? Now? But I do not have my moustache-comb!"; else: say accusation text of the noun; end the story. Book 6 - Levers A lever is a kind of thing. A lever is usually fixed in place and scenery. Printed name of a lever is usually "lever". A lever can be pulled. Initial appearance of a lever is usually "There is a large lever here." Description of a lever is usually "This is a stout lever of iron, such as any train-conductor must pull to activate the mechanisms of the train. [if pulled]Already I have pulled this[else]But this one has not been pulled[end if]." Instead of pulling a lever: if the noun is pulled: say "The lever has been pulled! What is done may not be undone."; else: say "[one of]I take the lever in my hands, and I press against it all my not inconsiderable weight. The sound of machinery falling into place is uncanny [--] [i]unheimlich[/i], as the celebrated Doctor Freud would say. And then, silence[or]I take the lever in my hands. I pull hard against its iron weight. Again, the sound of machinery [--] somewhere deep beneath the ground. And then, silence[stopping]."; now the noun is pulled. Instead of pushing a lever, say "No, my friend! Levers are not pushed [--] they are pulled! Pulled! Do you see? Yes." Book 7 - Entrances An entrance is a kind of thing. Understand "entrance" as an entrance. Understand "follow [something]" and "go to [something]" and "approach [something]" as entering. Instead of searching an entrance, say "[The noun] [are] nearby; I may approach at my convenience." Instead of opening an entrance, try entering the noun. An entrance can be enterable. An entrance is usually scenery and enterable. Enveloping relates one entrance (called the exterior) to one room. The verb to envelop means the enveloping relation. Does the player mean entering an entrance: it is very likely. Instead of entering an entrance: let entrance-interior be a random room enveloped by the noun; now player is in entrance-interior. Before going outside: if exterior of the location is not nothing: try exiting instead. Before exiting: if exterior of the location is not nothing and holder of the player is the location: let exterior-object be exterior of the location; let exterior-place be location of exterior-object; now player is in exterior-place instead. Before going inside: let in-dest be the room inside from location; unless in-dest is a room: let M be the number of visible entrances; if M is greater than 1: say "You must be more specific! There is more than one destination here to 'go to' or 'go inside of' or 'enter' [--] something of this nature." instead; else if M is 1: let our-entrance be a random visible entrance; try entering our-entrance instead; Visiting is an action applying to one thing. Understand "visit [something]" as visiting. Instead of visiting: if the noun is a person: try talking to the noun; else: try entering the noun. Volume 3 - scenario Book 1 - Orient Express The landscape is scenery. [!] Understand "scenery" and "world" and "window" and "windows" and "chaos" as the landscape. Instead of doing something other than examining with the landscape, say "The outside world is beyond my reach, for the moment." Instead of searching the landscape, try examining the noun. Description of the landscape is "It seems as though the world will not stop for the Orient Express [--] no, the Orient Express will not stop for the world! And I will not stop until justice is done." A room can be landscaped. Every turn while location is landscaped: now the landscape is in the location. Part 1 - Dining Car R1 is a landscaped room. Printed name of R1 is "Dining Car". Description of R1 is "[one of]I am sitting in the dining car of that most famous of luxury trains, the Orient Express. I have nearly finished my meal: [i]un croquette mignon de boeuf[/i], prepared so expertly by the master chef kept hidden in the train's secret kitchen compartment. Only one bite of my [i]croquette mignon de boeuf[/i] remains. I am lifting it to my lips.[paragraph break]From the forward car rushes my dear friend Captain Hastings. He is as white as a sheet. I understand immediately what has happened.[paragraph break]'A murder!' he gasps. I nod. [i]C'était inévitable[/i].[paragraph break]Without relish I consume the final morsel of [i]croquette mignon de boeuf[/i]; with the white [i]serviette[/i] I dab at my lips and my moustache. I rise from the table with great dignity. Nothing in my manner betrays the immense weariness of a man who has been witness to so, so, so many murders[or]I am in the dining car of that most famous of luxury trains, the Orient Express. My dear friend Captain Hastings stands nearby. Outside the windows, the world with all its chaos rushes by in a meaningless blur; within, each table is set with such orderliness [--] no one has ruined them yet. Even the ice, she does not melt in the champagne bucket.[paragraph break]Forward is the first class passenger car; behind is the observation car. And of course I may exit the train here if I so choose; I am, after all, the great Hercule Poirot[stopping]." Guide text of R1 is "'All meals aboard the Orient Express are prepared in a secret kitchen compartment, impossible for any passenger to detect.' Ah, but not for the great Hercule Poirot! Indeed, the secret kitchen compartment is very nearby [--] but this is one secret which the great Hercule Poirot shall not be revealing to you, reader! Even if you look under all the tables, you will never be finding the secret kitchen compartment, which at any rate is irrelevant to our murder investigations." Some dining tables are scenery in R1. Understand "table" and "setting" and "settings" and "napkin" and "serviette" and "plate" and "plates" and "food" as the dining tables. Description of the dining tables is "It is no secret that I am a lover of food, reader. Even some non-detectives are able to deduce this fact simply by observing my frame. But few can understand that I love food best before it is spoilt by the repulsive act of being eaten! Alas, today, my journey by rail is similarly spoilt by the repulsive crime of murder." Instead of looking under the dining tables: say "I peer under the tables. [paragraph break]"; place clue at dining tables saying "There is a clue there!" The champagne bucket is an open unopenable scenery container in R1. Understand "ice" and "bottle" as the champagne bucket. Description of the champagne bucket is "Champagne does not interest Poirot in this moment, for I must keep all of the tiny pale things within my skull operating at their highest levels if I am to resolve any murders on this day." After examining the champagne bucket: place clue at noun saying "Ah, but in this champagne bucket there is a clue!" Chapter 1 - Captain Hastings Captain Hastings is a scenery man in R1. Understand "dear" and "friend" and "mister" and "watson" and "sancho" and "panza" as Captain Hastings. Description of Captain Hastings is "Hastings is my constant companion, the acutely insightful Sancho Panza to my supremely competent Quixote. I trust the man with my life, and he me with his." Instead of talking to Captain Hastings the first time, say "'Touch nothing!' I command my dear friend. 'Now, tell me everything that you know.'[paragraph break]'I heard a scream from Daisy's compartment,' he says. 'I shouldn't have thought anything more of it, but she had been acting rather queer the previous night. So I forced the door to her cabin, and...'[paragraph break]I purse my lips. Already my skull-innards are fizzing with activity.[paragraph break]'Enough!' I say. 'I shall investigate myself. Let no one disembark from the train [unicode 8212] no one except for me, Hercule Poirot!'" Instead of talking to Captain Hastings, say "'What was the queer behavior you noticed in Daisy Armstrong the previous night?' I demand.[paragraph break]'It weren't anything specific,' he explains uselessly. 'Just sort of a rummy queerness about her. Like she was hiding something, or hiding from something. Or she'd received a threatening note, maybe.'[paragraph break]'Aha!' A threatening note! 'Now we are getting somewhere, Captain Hastings.'" Accusation text of Captain Hastings is "'I have come to a conclusion, Captain Hastings. I know now who is the murderer of Daisy Armstrong.'[paragraph break]'I knew you'd figure it out, Poirot! Don't tell me now [unicode 8212] let's go nab the scoundrel first, and then you can explain the whole thing.'[paragraph break]'That will not be necessary, Captain Hastings. For the murderer, he is here with us now. [i]You[/i] killed Daisy Armstrong!'[paragraph break]Immediately my dear friend falls to his knees, weeping in a manner most undignified. 'Forgive me, Poirot! I just had to [unicode 8212] I don't know why [unicode 8212] I couldn't help myself!'[paragraph break]'The reason is simple,' I explain, 'perhaps too simple for you to understand. The kind, caring Daisy Armstrong [unicode 8212] she was the perfect image of your mother, the dear departed Mrs. Hastings. For reasons best explained by the brilliant Doctor Freud, you could not bear to be reminded of your mother in this way. A neurosis took grip in your subconscious [unicode 8212] a neurosis for which the only cure was to murder Daisy Armstrong by stabbing her over and over again.'[paragraph break]At this revelation, Hastings ceases his blubbering. 'Then I can plead insanity!' he cries. 'It weren't my fault [unicode 8212] it were my subconscious!'[paragraph break]'That, my dear friend,' I say, helping him to his feet and cuffing his hands behind his back, 'is for a jury to decide.'" Part 2 - First Class Passenger Car R2 is a landscaped room. Printed name of R2 is "First Class Passenger Car". R2 is forward from R1. Description of R2 is "Here is the door to my compartment; next to that is the door to Daisy Armstrong's compartment; next to that is a dustbin; next to that is the door to Ariadne Oliver's compartment. Behind is the dining car. Forward is a door marked with the number '[clue threshold of the 2ndclass door]' [--] this is the door to the second class passenger car. Of course, I may exit the train here if I so choose; I am, after all, the great Hercule Poirot." Guide text of R2 is "'All the world agrees in pronouncing that the Orient Express is the most luxurious passenger train. A few even say that it is too luxurious [--] alas! After all, are we not in the midst of a Great Depression? Is this palace on wheels not the ultimate emblem of socioeconomic inequality?' The travel guide, she goes on in this vein for several paragraphs." The door to my compartment is an entrance in R2. Understand "poirot's" and "hercule's" as the door to my compartment. The door to my compartment envelops R3. Description of the door to my compartment is "This is the door to my compartment [--] on the Orient Express, that most famous of luxury trains!" The door to Daisy Armstrong's compartment is an entrance in R2. Understand "daisy's" and "armstrong" as the door to Daisy Armstrong's compartment. The door to Daisy Armstrong's compartment envelops R4. Description of the door to Daisy Armstrong's compartment is "This is the door to[if R4 is visited] the unfortunate[end if] Daisy Armstrong's compartment." The dustbin is a scenery container in R2. Understand "bin" and "dust" and "waste" and "garbage" and "can" and "trash" and "wastepaper" as the dustbin. Description of the dustbin is "It is a lamentable truth of the detective's profession that he must every so often turn his gaze to the interior of such unsavory entities." After examining the dustbin: place clue at noun saying "And see! What do I find immediately upon peering within but a clue?" The door to Ariadne Oliver's compartment is an entrance in R2. Understand "Ariadne's" and "oliver" as the door to Ariadne Oliver's compartment. The door to Ariadne Oliver's compartment envelops R5. Description of the door to Ariadne Oliver's compartment is "This is the door to my dear friend Ariadne Oliver's compartment." Part 3 - My Compartment R3 is a landscaped room. Printed name of R3 is "My Compartment". Description of R3 is "All my effects are here. Every little thing is in its place[if player does not enclose the moustache-comb] [--] [i]mais non ! [/i]Where is my moustache-comb?[else].[end if]" Guide text of R3 is "'If you ever die, you will respawn in your compartment.' From the famous Orient Express, such convenience is to be expected as a matter of course." my effects are scenery in R3. Understand "everything" and "Every" and "little" and "thing" as my effects. Description of my effects is "Dear reader, we need not concern ourselves with my effects. They have no bearing on the case at hand. The case, I remind you, of a repulsive murder!" Part 4 - Daisy Armstrong's Compartment R4 is a landscaped room. Printed name of R4 is "Daisy Armstrong's Compartment". Description of R4 is "The beloved actress and my dear friend Daisy Armstrong lies murdered in her train-compartment bed. Next to her is an ashtray." Guide text of R4 is "'It makes much more sense for the murder victim to be Daisy Armstrong instead of Samuel Ratchett, not least because a murdered woman is significantly more sympathetic than a murdered man. Also, if Daisy Armstrong is a grown woman when she's murdered, that's significantly less depressing than her being a toddler.' [i]Mais oui ! [/i]These are just two ways in which Monsieur Veeder's adaptation improves significantly upon Agatha Christie's original classic." The train-compartment bed is scenery in R4. Description of the train-compartment bed is "My reader, you may believe that a train-compartment bed must be very cramped and uncomfortable. This is not so when the train in question is the famously luxurious Orient Express! This bed is the very cat's pyjamas! Alas, the cat in question is my dear friend the beloved Daisy Armstrong, cruelly murdered in the prime of her career." The ashtray is a scenery container in R4. Understand "ash" and "tray" as the ashtray. Description of the ashtray is "A simple ashtray bearing the insignia of the Orient Express, like so many others aboard this world-famous train [--] as famous as myself, Hercule Poirot." After examining the ashtray: place clue at noun saying "In this ashtray, however, there is a clue!" Chapter 1 - Daisy Armstrong Daisy Armstrong is a scenery woman in R4. Understand "dead" and "body" and "corpse" and "skin" and "actress" and "beloved" and "dear" and "friend" and "deceased" as Daisy Armstrong. Description of Daisy Armstrong is "The deceased is a woman of nineteen years, a woman of slim figure and perfect facial proportion [--] my dear friend, the beloved actress Daisy Armstrong! The cause of death is apparent at once. She has been stabbed [--] alas [--] many, many times. From the coolness of her skin I estimate she perished between [one of]one[or]two[or]three[or]four[at random] and [one of]eleven[or]twelve[or]thirteen[or]fourteen[at random] hours ago." Instead of touching Daisy armstrong, say "From the coolness of her skin I estimate she perished between [one of]one[or]two[or]three[or]four[at random] and [one of]eleven[or]twelve[or]thirteen[or]fourteen[at random] hours ago." Instead of kissing Daisy Armstrong, say "Let us not consider this." Instead of hugging Daisy Armstrong, say "Let us not consider this." Instead of looking under Daisy Armstrong: say "Carefully I peek underneath the corpse of my dear friend.[paragraph break]"; place clue at Daisy Armstrong saying "Of course I discover a clue." Instead of talking to Daisy Armstrong the first time, say "'Daisy,' I plead. 'Please tell Poirot who killed you. Will you not do Poirot this favor?'[paragraph break]She will not." Instead of talking to Daisy Armstrong, say "No matter how much I ask Daisy's corpse to lend her assistance, she does not answer." Accusation text of Daisy Armstrong is "'The case is solved,' I announce. 'You may come out now.'[paragraph break]The real Daisy Armstrong emerges from the closet of her train-compartment. 'How did you know?'[paragraph break]'Nothing escapes the great Hercule Poirot!' I scream. 'Every detail [--] the broken watch, the plaster footprints, the painted stab wounds upon the wax figure in your train-compartment bed [--] all of it points to nothing but that this supposed murder has been from the beginning nothing but an elaborate hoax! To believe I could be fooled in this way is the most hateful insult to which I have ever been subjected.'[paragraph break]Daisy blinks sadly. 'I suppose that means I've got to go to prison, then.'[paragraph break]'[i]Non,[/i]' I say, 'for no crime has been committed. The great Murder on the Orient Express is [--] pfah! [--] nothing but a sham. And I, Hercule Poirot [--] I, the greatest genius in the world! [--] hereby I renounce the solving of mysteries [--] forever!'" Part 5 - Ariadne Oliver's Compartment R5 is a landscaped room. Printed name of R5 is "Ariadne Oliver's Compartment". Description of R5 is "My dear friend Ariadne Oliver sits here, gazing distractedly out the window. Sitting next to her is her hatbox." Guide text of R5 is "'The figure of Ariadne Oliver is secretly a gloss of author Agatha Christie, initially invented simply to poke fun at herself for her stroke of genius in inventing the beloved character Hercule Poirot. Over the years, Ariadne became a conduit by which Agatha could give voice to the many artistic insecurities that so supremely confident a character as Poirot was ill-equipped to express.'" The hatbox is a closed openable scenery container in R5. Understand "hat" and "box" as the hatbox. Description of the hatbox is "A hatbox is not so notable an item on a train [--] but nothing escapes the notice of the great Hercule Poirot!" Before opening the hatbox the first time: place clue at noun. Chapter 1 - Ariadne Oliver Ariadne Oliver is a scenery woman in R5. Understand "dear" and "friend" and "author" and "authoress" as Ariadne Oliver. Description of Ariadne Oliver is "Ariadne Oliver is an author of fictional detective stories. She is a genius, in her own fashion. And yet, we can never quite see eye to eye, for my genius stands head and shoulders over hers, and stares out into the real world [--] not inward, at the cerebral and constructed world of fiction." Instead of talking to Ariadne Oliver the first time, say "'Ariadne, tell me right now: What do you know of this murder? I must have access to all information!'[paragraph break]'Murder!' she cries. 'What murder? This is the first I'm hearing of it!'[paragraph break]I nod smugly. 'That is itself a useful bit of information, [italic type]Madame[roman type]. I thank you most sincerely.'" Instead of talking to Ariadne Oliver, say "'Give me the gist of this murder you're solving, Poirot.' Ariadne makes as if to begin taking notes. 'It'll be good material for my next book.'[paragraph break]'My work is not the stuff of your silly books!' I bellow, ironically. 'And I do not discuss ongoing investigations. You may read of it in the paper.'[paragraph break]Ariadne crosses her arms and sulks. This matters not to me!" Accusation text of Ariadne Oliver is "'Alas,' I mutter. 'You, Ariadne, were my dearest friend [--] almost my equal [--] but you have fallen permanently from grace. I accuse you now of the murder of Daisy Armstrong.'[paragraph break]She grins. 'You've got it at last, Poirot! But you'll never understand [italic type]why[roman type] I did it.'[paragraph break][i]'C'est faux !' [roman type]I cry. 'The reason, she is as clear as glass! You were compelled to murder [--] not as research for your books, not because of any feelings you felt toward the unfortunate Miss Armstrong [--] but because you are a crazy person.'[paragraph break]'Crazy! A crazy person! Crazy!' Ariadne cackles. Now she is wearing a straitjacket in a rubber room. I am looking at her through the little window in the door. So much sadness is on the rectangle of my face that is visible through this little window. Then the little window closes. Cut to black." Part 6 - Second Class Passenger Car R6 is a landscaped room. Printed name of R6 is "Second Class Passenger Car". The 2ndclass door is a clue-door. The 2ndclass door is forward from R2 and backward from R6. Understand "second" as the 2ndclass door while player is in R2. Understand "first" as the 2ndclass door while player is in R6. Understand "class" and "passenger" and "Car" as the 2ndclass door. Clue threshold of the 2ndclass door is 2. Description of R6 is "Here is the door to Ernestine Todd's compartment; next to that is a service cart; next to that is the door to Arthur Simpson's compartment; next to that is the door to Eliza Dunn's compartment. Behind is the first class passenger car. Forward is a door marked with the number '[clue threshold of the 3rdclass door]' [--] this is the door to the third class passenger car. Of course, I may exit the train here if I so choose; I am, after all, the great Hercule Poirot." Guide text of R6 is "'It sometimes seems as if the world is full of tricks.' This is true. But what the travel guide fails to explain is that no trick can trick [i]you[/i], if you are clever enough. For so clever a man as I, the world is full only of transparent tautologies." The door to Ernestine Todd's compartment is an entrance in R6. Understand "Ernestine's" and "todd" as the door to Ernestine Todd's compartment. The door to Ernestine Todd's compartment envelops R7. Description of the door to Ernestine Todd's compartment is "This is the door to the compartment of my dear friend Ernestine Todd. Mounted upon the door is a brass placard bearing the number [clue threshold of the door to Ernestine Todd's compartment]." Clue threshold of the door to Ernestine Todd's compartment is 4. The service cart is a scenery supporter in R6. Description of the service cart is "The tools of servitude, the machinery by which the whims of the rich are fulfilled by the toil of the poor [--] such things are invisible to the upper classes, no? No! Not to the eye of Hercule Poirot!" After examining the service cart: place clue at noun saying "And upon this service cart my eye sees a vital clue!" The door to Arthur Simpson's compartment is an entrance in R6. Understand "Arthur's" and "simpson" as the door to Arthur Simpson's compartment. The door to Arthur Simpson's compartment envelops R8. Description of the door to Arthur Simpson's compartment is "This door is that of the compartment of my dear friend Arthur Simpson. A brass placard bearing the number [clue threshold of the door to Arthur Simpson's compartment] is mounted upon it." Clue threshold of the door to Arthur Simpson's compartment is 6. The door to Eliza Dunn's compartment is an entrance in R6. Understand "Eliza's" and "Dunn" as the door to Eliza Dunn's compartment. The door to Eliza Dunn's compartment envelops R9. Description of the door to Eliza Dunn's compartment is "Ah, this door! No, that one there [--] yes! This door leads to the compartment of Eliza Dunn [--] a dear, dear friend of mine. Upon it is mounted a brass placard bearing the number [clue threshold of the door to Eliza Dunn's compartment]." Clue threshold of the door to Eliza Dunn's compartment is 17. Part 7 - Ernestine Todd's Compartment R7 is a landscaped room. Printed name of R7 is "Ernestine Todd's Compartment". Description of R7 is "My dear friend Ernestine Todd sits in her compartment, watching the world rush by [--] rush, rush, rush!" Guide text of R7 is "'Astrology tells us that all twins [--] even fraternal twins [--] have identical personalities and identical destinies. Twins themselves understand this fact on an instinctual level, and this leads to a lifelong feeling of redundancy.'" Chapter 1 - Ernestine Todd Ernestine Todd is a scenery woman in R7. Understand "dear" and "friend" and "twin" as Ernestine Todd. Description of Ernestine Todd is "Ernestine Todd is a beautiful young woman. I cannot guess at her precise age [--] not because I lack the mental acuity to do so, but because it would not be gentlemanly." Instead of talking to Ernestine Todd the first time, say "'My dear Ernestine, you must tell me. What do you know of this dreadful murder?'[paragraph break]'Nothing,' she says, a bit resentfully. 'We of the second-class passenger car can only guess at what transpires among the elites of the first class.' Ah, so there are the themes of socio-economic tension underlying what seems at first glance to be a frivolous murder mystery." Instead of talking to Ernestine Todd, say "'I tell you I know nothing more of this mystery!' Ernestine cries.[paragraph break]'So be it,' I say. 'But know this, my dear Ernestine: Nothing remains concealed from the great Hercule Poirot forever!'" Accusation text of Ernestine Todd is "'At last, my search is at an end. The vile murderer is revealed to me, as all things are, in the end. The murderer, she is you, Ernestine Todd [--] or should I say, Ernestine Todd, the identical twin sister of the beloved actress Daisy Armstrong?'[paragraph break]'Identical in all but belovedness!' Ernestine sighs. 'Yes, I admit it.'[paragraph break]'It is useless to admit to that which I have already deduced, my child. The world, it is unkind to identical twins, is it not? With identical genes and identical upbringings, you went into the world with identical fortunes, identical talents. But in the eyes of Broadway and of Hollywood, you were one starlet too many. How were you to claim your birthright, if not by wresting it from your partner in birth?'[paragraph break]'But what I did cannot be excused,' Ernestine sighs.[paragraph break]'Do not presume to explain this to me! Ernestine, this thing you have done [--] never can it be excused. You face the hangman's noose.'[paragraph break]'So be it,' she sighs. 'I will face the hangman's noose with whatever dignity I can muster.'[paragraph break]'So be it,' I tell Ernestine.[paragraph break]There is nothing more to say." Part 8 - Arthur Simpson's Compartment R8 is a landscaped room. Printed name of R8 is "Arthur Simpson's Compartment". Description of R8 is "Arthur Simpson, the renowned author (and my dear friend) sits patiently in his compartment here." Guide text of R8 is "'Although the fictional author Ariadne Oliver is in many ways a stand-in for the real-life author Agatha Christie herself, this certainly does not apply to the character of Arthur Simpson, author though he may be. Simpson does not represent anything. He is a mere appearance.'" Chapter 1 - Arthur Simpson Arthur Simpson is a scenery man in R8. Understand "dear" and "friend" and "writer" and "author" and "renowned" as Arthur Simpson. Description of Arthur Simpson is "Arthur Simpson has the unkempt appearance and manic eye of a brilliant writer (or perhaps a murderer?)." Instead of talking to Arthur Simpson the first time, say "'My dear Arthur! I regret that I cannot eliminate you from suspicion in the case of this reprehensible murder.'[paragraph break]'Murder?' he asks, eyes wide. 'I seem to have missed something important!'[paragraph break]This is so funny as to make the both of us laugh." Instead of talking to Arthur Simpson, say "On Arthur's shoulder I place my sagacious hand. 'Can you tell me nothing to establish your alibi? Nothing you recall that might inform my investigations?'[paragraph break]Arthur shrugs." Accusation text of Arthur Simpson is "'Arthur. You insist you have never heard of Daisy Armstrong, yes?'[paragraph break]He humps his shoulders in a shrugging motion. 'Not as far as I can remember,' he says.[paragraph break]'And yet the newspapers of the West End tell a different story! You forget, Arthur, that though I am very, very French, I am still perfectly capable of reading the [italic type]journaux[roman type] in English. See! My pockets are filled with the clippings: [italic type]Simpson's Latest Production Requires Ingenue. Daisy Armstrong Snubs Playwright Simpson. Simpson Swears Revenge. Daisy Armstrong Fears for Life, Flees West End.[roman type] Do you deny this?'[paragraph break]Arthur pulls at his collar. He is beginning to crack.[paragraph break]'And one final headline: [italic type]Daisy Armstrong Boards Famous Orient Express. [roman type]You are as capable as I of reading a newspaper headline, Arthur Simpson. You knew exactly where to find your [italic type]ingénue[roman type] [--] and where to kill her.'[paragraph break]'This is circumstantial evidence!' Arthur cries.[paragraph break]I shake my head. 'My dear boy,' I say. 'That is not what that phrase means.'" Part 9 - Eliza Dunn's Compartment R9 is a landscaped room. Printed name of R9 is "Eliza Dunn's Compartment". Description of R9 is "The beloved dancer Eliza Dunn, a dear friend of mine, sits in her compartment here." Guide text of R9 is "'It is very progressive and courageous to include a lesbian character in an adaptation of Agatha Christie's classic novel, notwithstanding whether it turns out that she is the murderer or not. (The lesbian character is Eliza Dunn.)'" The steamer-ticket is an important thing. Printed name of the steamer-ticket is "steamer ticket". Understand "ticket" and "steamer ticket" as the steamer-ticket. [notice when examining Eliza, it's in her hat band] Understand "steamer" as the steamer-ticket while the steamer trunk is not visible and the dock is not visible. Description of the steamer ticket is "A ticket for the steamer [i]Luxor[/i][one of]. Of course! Now it is obvious[or]. Of course[stopping]." Chapter 1 - Eliza Dunn Eliza Dunn is a scenery woman in R9. Understand "dear" and "friend" and "beloved" and "dancer" and "hat" and "respectable" and "hatband" as Eliza Dunn. Description of Eliza Dunn is "Eliza, the beloved dancer, is a refined woman, and while riding the train she wears a respectable hat." After examining Eliza Dunn the first time: say "And in the hatband of this hat is a ticket [--] not a train ticket, but a steamer ticket! Nothing escapes Hercule Poirot. [i]Alors,[/i] I snatch it up.[paragraph break]'How did that get there?' asks Eliza. It matters not. I shall follow up this lead as soon as I locate the corresponding steamer."; now player carries the steamer ticket. Instead of talking to Eliza Dunn the first time, say "'My dear Eliza. What can you tell me of the horrendous murder that occurred upon this famous Orient Express?'[paragraph break]Eliza dabs with kerchief at her weeping eyes. 'Only that I am innocent,' she says meekly." Instead of talking to Eliza Dunn, say "'You must be strong, Eliza,' I say, to Eliza. 'Your adoring fans will not wish to see their favorite dancer crying on the stage.'[paragraph break]She sniffs and thanks me, gripping my hand. To her I am a figure of avuncular nature." Accusation text of Eliza Dunn is "The key to the case is the love that dares not speak its name [--] but I must speak it. 'You, beloved young dancer Eliza Dunn, were in lesbians with the beloved actress Daisy Armstrong. And yet you killed her! Why?'[paragraph break]Eliza sobs. 'A man of middle age, who never has performed upon the stage, who has never been a young lesbian, can never understand.'[paragraph break]I understand at once. 'In fear of growing old and plain, of your fame vanishing along with your youthful beauty and audience appeal, the two of you made a pact. You would murder Daisy, and in her death she would be forever young and beloved. Then, as just punishment for your heinous crime, you would meet the hangman's noose [--] and in your death you would be forever young and beloved.'[paragraph break]Eliza sobs. I am correct, of course. There is no other explanation.[paragraph break]'My dear Eliza,' I say, my voice full of perfect sympathy, 'I fear that you shall have your wish.' It is almost as if the shadow of the hangman's noose is falling even now across her lovely young face." Part 10 - Third Class Passenger Car The 3rdclass door is a clue-door. The 3rdclass door is forward from R6 and backward from R10. Understand "third" as the 3rdclass door while player is in R6. Understand "second" as the 3rdclass door while player is in R10. Understand "class" and "passenger" and "car" as the 3rdclass door. Clue threshold of the 3rdclass door is 8. R10 is a landscaped room. Printed name of R10 is "Third Class Passenger Car". Description of R10 is "There are three compartments here: compartment [clue threshold of compartment 3a], compartment [clue threshold of compartment 3b], and compartment [clue threshold of compartment 3c]. Behind is the second class passenger car. Forward is a door marked with the number '[clue threshold of the baggagecar door]' [--] this is the door to the baggage car. Of course, I may exit the train here if I so choose; I am, after all, the great Hercule Poirot." Guide text of R10 is "'It is okay if you never enter compartment [clue threshold of compartment 3c]. Everything is optional.' [if R13 is unvisited][paragraph break]This is true. Poirot has a very clear objective upon this famous train. When the crime is solved, Poirot's work is finished. Any activity that does contribute to the solving of a despicable murder is optional [italic type]at best[roman type]; at worst, it is a [italic type]deplorable waste of Poirot's time[roman type][else]Well, duh[end if]." Compartment 3a is an entrance in R10. Printed name of compartment 3a is "compartment [clue threshold of compartment 3a]". Compartment 3a envelops R11. Description of compartment 3a is "A brass placard bearing the number [clue threshold of compartment 3a] is mounted upon this door." Clue threshold of compartment 3a is 20. Compartment 3b is an entrance in R10. Printed name of compartment 3b is "compartment [clue threshold of compartment 3b]". Compartment 3b envelops R12. Description of compartment 3b is "A brass placard bearing the number [clue threshold of compartment 3b] is mounted upon this door." Clue threshold of compartment 3b is 25. Compartment 3c is an entrance in R10. Printed name of compartment 3c is "compartment [clue threshold of compartment 3c]". Compartment 3c envelops R13. Description of compartment 3c is "A brass placard bearing the number [clue threshold of compartment 3c] is mounted upon this door. It is okay if I never open this door. Everything is optional." Clue threshold of compartment 3c is 50. The soiled napkin is in R10. Initial appearance of the soiled napkin is "With disdain I notice a soiled napkin upon the floor." Understand "serviette" as the soiled napkin. Description of the soiled napkin is "A [i]serviette[/i] employed by one of the third-class passengers, and never taken to be laundered by the wait staff of this otherwise faultless luxury passenger train, the famous Orient Express." Instead of looking under the soiled napkin, try taking the noun. Instead of taking the soiled napkin: say "I can bear to pinch the least disgusting corner of this napkin only for an instant.[paragraph break]"; place clue at noun saying "But beneath it I have uncovered a clue!" Part 11 - Compartment 3a R11 is a landscaped room. Printed name of R11 is "Compartment [clue threshold of compartment 3a]". Description of R11 is "In this compartment there is nothing but an abandoned [i]portmanteau[/i]." The portmanteau is a closed openable scenery container in R11. Understand "shabby" and "abandoned" as the portmanteau. Description of the portmanteau is "So shabby a portmanteau hardly befits the Orient Express, famed the world round for its immaculate luxury! Even in a third class compartment![if closed] The portmanteau, she is closed.[end if]" Instead of taking the portmanteau, say "This portmanteau is too cumbersome for my globe-hopping detective work!" The travel guide is in the portmanteau. Instead of examining the travel guide while player is in R11, say "[one of]Ah, this is a handy object indeed! No matter where one goes, one may have a look at this little book, which possesses a useful fact to match every context. Even so prodigious an intellect as mine may find a great deal of assistance in such a friendly volume[or]Let Poirot see what the travel guide has to say about this place:[paragraph break]'Ah, this is a handy object indeed! No matter where one goes...'[paragraph break]Let us close the book for now. I am certain it shall prove itself more useful elsewhere[stopping]." Part 12 - Compartment 3b R12 is a landscaped room. Printed name of R12 is "Compartment [clue threshold of compartment 3b]". Description of R12 is "This compartment contains only a valise, belonging to whom I do not know." Guide text of R12 is "'Poirot's beloved moustache-comb was stolen from him by a malignant and a turbanned Turk* in the streets of Aleppo some months ago[if player encloses the moustache-comb]. How it came to be found aboard the Orient Express is unknown[end if].' Ah, the immortal Bard![paragraph break]*[italic type]Othello[/i], Act 5, scene 2" The valise is a closed openable scenery container in R12. understand "bag" as the valise. Description of the valise is "A valise like any other. Not a clue to be found upon it![if closed] It is closed.[end if]" Instead of taking the valise, say "I have no need for this entire valise! I have enough luggage of my own with which to concern myself [--] the great Hercule Poirot." The moustache-comb is in the valise. After opening the valise the first time, say "I open the valise, and peering within I see [--] [i]sacrebleu ! [/i]It is my moustache-comb!" Part 13 - Compartment 3c R13 is a landscaped room. Printed name of R13 is "Compartment [clue threshold of compartment 3c]". Description of R13 is "Who should I find in compartment [clue threshold of compartment 3c] but the enchanting Countess Vera Russakoff? I think she has long been anticipating my arrival." Guide text of R13 is "'You can have true love, because you found all the clues.'" Chapter 1 - Countess Vera Rossakoff [you found all my clues! but I can never have true love. but yes you can. she murdered to get to poirot, oh dear] Vera Rossakoff is a scenery woman in R13. Understand "dear" and "friend" and "rossakof" and "rosakoff" and "rosakof" and "countess" and "jewel" and "thief" and "beautiful" and "russakoff" as Vera Rossakoff. Instead of kissing Vera Rossakoff, say "Ah, this Poirot desires above all else [--] but he must mortify such selfishness. Poirot has a duty to perform." Instead of hugging Vera Rossakoff, try kissing the noun. Description of Vera Rossakoff is "My dear friend the Countess was the jewel of the Russian aristocracy before she was unceremoniously dislodged from her exalted setting by the blundering of the Bolsheviks. A noblewoman without a country, she travels the world, pursuing the thievery of jewels [--] [italic type]alors,[roman type] what else? [italic type]Naturellement,[roman type] I have followed in her wake [--] hunting, you might say, for a jewel of my own. And now I have found her." Instead of talking to Vera Rossakoff the first time, say "Vera extends her gloved hand for me to kiss. 'Well done, Poirot. At last your genius has led you here [--] to the very Orient Express where your journey began.'[paragraph break]'From the beginning I suspected your hand in the placement of the fifty clues,' I modestly admit. 'But I had not dared hope that the trail would lead directly to your loveliness.'" Instead of talking to Vera Rossakoff, say "Vera smiles [--] ah, happy, happy, to be smiled upon by such a woman as this! 'Your journey is at an end,' she says. 'You have attained that which you most desire.'[paragraph break]'Alas, no! Though I find every clue in the world [--] all fifty of the clues [--] still true love is denied to me! This is the sad fate of Poirot.'[paragraph break]But the Countess touches my cheek. 'You weave this fate about yourself, darling. Its threads are of gossamer. Only decide that this happiness is given unto you, and it is yours [--] I am yours.'[paragraph break]Can it be so simple? [italic type]Non[roman type]." Accusation text of Vera Rossakoff is "'My beloved Countess Vera Rossakoff,' I hiss. 'Long and ardently have I desired that my fate as the Earthly Hand of Justice and your chosen path as a glamorous criminal would abate their irreconcilability, that we could at last succumb to our seething mutual attraction. But this is, alas, impossible [--] not least because you are the real murderer of Daisy Armstrong.'[paragraph break]Vera blinks at me. 'What? That doesn't [--] I'm not, though. I didn't kill her; I just hid fifty clues for you to find.'[paragraph break]'These denials shall avail you nothing!' I bellow. 'Though I dearly would wish to embrace you in the manner of a lover, this cannot be done [italic type]while the reader of this game is still playing[roman type] or while the murderer of Daisy Armstrong walks free. Since you are that murderer, I must place you under arrest, [italic type]after which point the reader will stop playing this game and we will be alone[roman type].'[paragraph break]'Oh,' says Countess Vera Rossakoff. 'I mean, yes! Yes. I am the real murderer. All indications to the contrary have been red herrings [--] but they could never for a moment stymie you, the genius Hercule Poirot. And now I am at your mercy.'[paragraph break]My moustache is bristling like an electric dynamo. 'For such a contemptible criminal as you, Vera Rossakoff, mercy is quite out of the question.'[paragraph break]I pull the cord that lowers the blinds of the window, and darkness falls over Countess Vera Rossakoff's compartment aboard the incomparably luxurious Orient Express." Part 14 - Baggage Car The baggagecar door is a clue-door. The baggagecar door is forward from R10 and backward from R14. Understand "baggage" as the baggagecar door while player is in R10. Understand "third" and "class" and "passenger" as the baggagecar door while player is in R14. Understand "car" as the baggagecar door. Clue threshold of the baggagecar door is 19. R14 is a room. Printed name of R14 is "Baggage Car". Description of R14 is "In the baggage car are a large mail bag, the safe where are kept the most vulnerable valuables of the passengers of the Orient Express, a large wooden crate, a huge steamer trunk, a guitar case, and a coffin. Behind is the third class passenger car. Forward is a door marked with the number '[clue threshold of the locomo door]' [--] this is the door to the locomotive. Of course, I may exit the train here if I so choose; I am, after all, the great Hercule Poirot." Guide text of R14 is "'The combination to the safe in the baggage car of the Orient Express,' the book explains, 'is 17, 6, 22.'" Section 1 - Mail Bag The mail bag is an open unopenable scenery container in R14. Description of the mail bag is "The famous Orient Express is no mere mail train, and even her lowly baggage car is fit only for the most important of mails." After examining the mail bag: place clue at noun saying "For example [--] here in the bag is a vital clue!" Section 2 - Safe The safe is a closed locked scenery container in R14. Understand "dial" as the safe. Before opening the locked safe, say "I shall pull open the safe.[paragraph break][i]Mais non ! [/i]The safe, she is locked! She requires a combination to be dialed upon her." instead. Description of the safe is "The massive safe is set with a dial that goes up to 30. [dial status]It is [if the safe is open]open[otherwise]closed[end if]." The safe has a list of numbers called the current combination. The safe has a list of numbers called the true combination. The true combination of the safe is {17, 6, 22}. Understand "set [something] to [a number]" and "spin [something] to [a number]" and "turn [something] to [a number]" and "dial [something] to [a number]" as setting it numerically to. Setting it numerically to is an action applying to one thing and one number. Understand "dial [a number] on [something]" and "dial [a number] upon [something]" as setting it numerically to (with nouns reversed). To say dial status: if the number of entries in the current combination of the safe is 0: say "As of yet, I have dialed no number upon this safe. "; otherwise: say "Currently, the combination of numbers to which I have dialed this safe is [the current combination of the safe]. ". Check setting something numerically to (this is the block setting numerically rule): say "[The noun] [aren't] something [we] [can] set to a number." Instead of setting the safe numerically to the number understood: if the number understood is less than 1: say "My friend, this dial only goes down to 1!"; else if the number understood is greater than 30: say "My friend, this dial only goes up to 30!"; otherwise: truncate the current combination of the safe to the last 2 entries; add the number understood to the current combination of the safe; if the safe is locked and the current combination of the safe is the true combination of the safe: say "[i]Enfin,[/i] I dial [the number understood]. Surely now the safe shall open."; now the safe is unlocked; otherwise if safe is unlocked and the safe is closed and the current combination of the safe is not the true combination of the safe: say "I spin the dial. The safe, she is locked."; now the safe is locked; otherwise: say "I turn the dial of the safe to the number [the number understood]." Before opening the unlocked safe the first time, place clue at noun. Section 3 - Wooden Crate The wooden crate is an open unopenable scenery container in R14. Description of the wooden crate is "There is no top to this crate! [i]Zut alors ![/i][paragraph break]In the crate is [a list of things in the wooden crate]!" Section 4 - Steamer Trunk The steamer trunk is a scenery door. The steamer trunk is down from R14 and up from R65. Understand "huge" and "tunnel" as the steamer trunk while player is in R14. Understand "ladder" as the steamer trunk while player is in R65. Understand "ladder" and "dark" and "hole" as the steamer trunk while the steamer trunk is open. Understand the clue threshold property as describing the steamer trunk. Printed name of the steamer trunk is "[if player is in R14]steamer trunk[else]ladder[end if]". Instead of climbing the steamer trunk, try entering the noun. After opening the steamer trunk, say "I open the steamer trunk, revealing a ladder and a dark hole, leading down into the earth." Description of the steamer trunk is "[if player is in R14 and the steamer trunk is closed]This immense piece of luggage is set with a brass placard bearing the number [clue threshold of the steamer trunk]. It is closed[else if player is in R14]This immense piece of luggage is set with a brass placard bearing the number [clue threshold of the steamer trunk]. It is open, and inside is a passage leading down into the earth[else]This ladder leads up to the baggage car[end if]." Instead of closing the open steamer trunk, say "Alas, some containers, once opened, can never be closed." Clue threshold of the steamer trunk is 36. First before going down in R14 while the steamer trunk is closed: list some exits instead. Exit help of R14 is "I may go forward, backward, and outside[if the steamer trunk is open]; or enter the steamer trunk[end if]." Section 5 - Guitar Case The guitar case is a closed openable scenery container in R14. Description of the guitar case is "[if the guitar case is open]An open[else]A closed[end if] guitar case. What guitarist travels on the Orient Express this day? I can think of nobody among my fellow passengers who plays the guitar.[paragraph break]No matter. It is immaterial." Before opening the guitar case the first time: place clue at noun. Section 6 - Coffin The coffin is a closed openable scenery container in R14. Description of the coffin is "A[if open]n open[else] closed[end if] coffin is a frightful sight to those not inured to the hideousness of death [--] yet this hideousness loses its pallor for all of us, as all of us not busy being born are, alas, busy dying.*[paragraph break]*Bob Dylan." Before opening the coffin the first time: place clue at noun. Part 15 - Locomotive The locomo door is a clue-door. The locomo door is forward from R14 and backward from R15. Understand "locomotive" as the locomo door while player is in R14. Understand "baggage" as the locomo door while player is in R5. Understand "car" as the locomo door. Clue threshold of the locomo door is 38. R15 is a landscaped room. Printed name of R15 is "Locomotive". Description of R15 is "The noble conductor of the famous (alas, now infamous) Orient Express remains at his post in the locomotive. Behind is the baggage car. Under normal circumstances, it is forbidden to passengers to exit the train from the locomotive [--] indeed, under normal circumstances no passenger should be present here in the first place! But I may do as I please. I am Hercule Poirot, the genius! I must have free rein of the entire Orient Express, and license to exit it whenever and wherever I please, or no grisly murder shall be solved ever at all!" Guide text of R15 is "'Science has proven that it is physically impossible for a mere train locomotive to pull the Orient Express all the way across Europe. There simply isn't enough force in the engine to match the weight of all the cars. The terrain of Europe is too irregular. Expansion due to temperature and humidity should render the tracks useless. All the laws of nature and mathematics insist [--] they require, mathematically [--] that this train can never even leave the station. And yet the Orient Express [i]does move[/i].'" The firebox is an open unopenable scenery container in R15. Understand "fire" and "box" and "engine" and "locomotive" and "window" and "hell" as the firebox. Description of the firebox is "All the mechanisms of the locomotive are uninteresting to me at the moment [--] except the firebox, which seems to Poirot like a window into Hell." After examining the firebox: place clue at firebox saying "And burning inside this inferno I see a clue!" Chapter 1 - Conductor the conductor is a scenery man in R15. Understand "filthy" and "hands" as the conductor. Description of the conductor is "Ceaselessly does this man go about his grubby but honorable duty, forever tending the firebox, his hands forever filthy with coal. Though the world without may change, and numberless dramas of love and politics and murder dance their eternal dance, within the locomotive and within the mind of the conductor there is only train maintenance. He cannot (he must not) know all that Poirot knows, else there could be no Orient Express at all, and therefore no [italic type]The Murder on the Orient Express[roman type], and then where would you be?" Instead of talking to the conductor the first time, say "'Keep up the good work!' I tell the conductor. One aspect of my genius is my ability to connect so easily with the common man." Instead of talking to the conductor, say "I nod to the conductor, and he nods to me. To say more than this is unnecessary." Accusation text of the conductor is "Alas [--] it is true. The murderer of Daisy Armstrong is the conductor of the Orient Express. It could not be otherwise. The symmetry is too perfect! I was a fool to seek any clue anywhere but aboard this train [--] and is this train not a microcosm of the world itself? All the socioeconomic classes and races and genders and Myers-Briggs personality types are here, all of their interrelations represented in miniature. The murder of Daisy Armstrong by the conductor of the train itself is the logical and necessary outcome of this grand metaphor, as is Poirot's investigation and eventual solution of the mystery. [italic type]Everything means something,[roman type] reader! Do you not see? Have you learned nothing [--] have you [italic type]thought[roman type] nothing?[paragraph break]You disgust Poirot." Part 16 - Observation Car R16 is a landscaped room. Printed name of R16 is "Observation Car". The obserdoor is a clue-door. The obserdoor is forward from R16 and backward from R1. Understand "observation" as the obserdoor while player is in R1. Understand "dining" as the obserdoor while player is in R16. Understand "car" as the obserdoor. Clue threshold of the obserdoor is 12. Description of R16 is "Beautiful scenery passes us so quickly on the left and right [--] but the sight is spoilt irredeemably by the repulsive crime of murder. My dear friend and secretary, Miss Euphemia Lemon, is sitting on a bench here, reading one of her books.[paragraph break]This is the rearmost car of the celebrated Orient Express, the most opulent train in all the world. Forward is the dining car. If I wish, I may exit the train here. No one will dare to stop me [--] me, the celebrated genius Hercule Poirot!" Guide text of R16 is "'One may easily effect a murder (or the appearance thereof) by tossing a person off the observation car at the rear of a train.' The guide book is of course referring to James M. Cain's [i]Double Indemnity[/i], adapted to the silver screen by Billy Wilder in 1944. And in just the way Wilder's film refined and crystallized the ideas of Cain's novel, so has the beloved novel of Agatha Christie here been perfected by the talented hand of Monsieur Veeder of Iowa." The bench is an enterable scenery supporter in R16. Description of the bench is "Here is a bench from which to admire the scenery (or, in Miss Lemon's case, to admire a novel by Sir Arthur Conan Doyle)." After examining the bench: place clue at noun saying "And what is sitting beside Miss Lemon, her quiet reading companion? It is a clue!" Chapter 1 - Miss Lemon Miss Euphemia Lemon is a scenery woman in R16. Lemon carries the book. The book is an open unopenable container. Understand "purloined" and "letter" and "novel" and "arthur" and "conan" and "doyle" as the book. Description of the book is "Miss Lemon is reading [i]The Purloined Letter[/i], the beloved novel of Sir Arthur Conan Doyle. An ingenious mystery [--] yet a mere fiction, and never so ingenious as the many [i]real[/i] mysteries that I encounter and resolve each time I leave my apartments!" After reading a command: if player is in R16 and the player's command matches the text "poe", case insensitively: say "Yes, yes. Whatever."; reject the player's command. After examining the book: place clue at noun saying "And look at this! Of all the strangeness in the world [--] Miss Lemon is using a clue as a bookmark! She is a kind woman, and useful, but desperately oblivious to details such as this one, details that a detective of my genius notices without the slightest effort." before taking a clue enclosed by Miss Euphemia Lemon: say "Carefully I remove the clue without Miss Lemon noticing."; now player carries the noun instead. Understand "dear" and "friend" and "secretary" as Miss Euphemia Lemon. Description of Miss Euphemia Lemon is "Miss Lemon is my most trusted companion [--] how else can it be? For in her hands are all my social and financial affairs! It is most fortunate, therefore, that she has never given me reason to doubt her loyalty or integrity. Else I should be in quite the pickle indeed!" Instead of talking to Miss Euphemia Lemon the first time, say "'Mister Poirot!' Miss Lemon looks up from her book with a start. 'I thought I was alone!'[paragraph break]'Not quite, Miss Lemon. But do not let me disturb you; I am only investigating an enormous murder.'[paragraph break]She nods, and returns to her book." Instead of talking to Miss Euphemia Lemon, say "'I suppose, Miss Lemon, that I ought to ask whether you have heard anything suspicious during our sojourn aboard this famous train.'[paragraph break]She taps her chin with her index finger. 'I am racking my brain, Mister Poirot. But I can think of nothing.'[paragraph break]This is as expected. I execute for her my tiny, perfect nod. The nod of a genuine Frenchman." Accusation text of Miss Euphemia Lemon is "'Captain Hastings!' I cry. He rushes in from the next car at once. 'Place my secretary under arrest.'[paragraph break]'Why, what the devil for?' asks Hastings. He is in a state of absolute flummoxedness.[paragraph break]But Miss Lemon understands at once. 'For the murder of Daisy Armstrong,' she says tremblingly.[paragraph break][italic type]'Précisément !' [/i]I raise my finger at this. 'You are the vile murderer in search of whom I have travelled all throughout the Europe and the Orient. Under my nose you were, all this time! A most clever attempt at deception. But nothing escapes Poirot!'[paragraph break]'But how did you know it was me?'[paragraph break]'Do you forget? Always for the many years of your serving as my secretary, you have said, [']Oh, my dear employer Poirot, how lucky is the beloved actress Daisy Armstrong, to have talent and the adoration of fans, to dine in the finest of restaurants and have love made to her by the most charming of men! How I wish I could be just like her![']'[paragraph break]'She were jealous!' Hastings exclaims.[paragraph break]'Nothing so simple,' I explain. 'Toward the delightful Daisy my sweet Lemon bore not the slightest ill will. [italic type]Au contraire,[roman type] she loved her idolatrically. But more than that, she wanted to [italic type]become[roman type] Daisy Armstrong. And it is a simple law of logic: One cannot become that which already exists! Not unless one kills it first.'[paragraph break]Lemon looks down at her hands. She is utterly defeated. Around her unfamous neck shall soon be drawn the hangman's noose.[paragraph break]'Good show, Poirot! I'd never have guessed it.' Captain Hastings claps me on the back. I nod. No one could have [--] no one but Poirot." Book 2 - Yugo-Slavia Part 1 - Snowdrift R17 is a room. Printed name of R17 is "Snowdrift". Description of R17 is "Alas, the opulent and beautiful Orient Express in a snowdrift finds herself, unable to extricate her affluent passengers from this wintry corner of the Yugo-Slavia. But there is a silver lining to our waylay; for it gives our murderer no chance to escape, and to me, Hercule Poirot, it gives a chance to search for clues.[paragraph break]The snow is at least somewhat navigable to the east [--] or I may re-enter the train, if I so choose." Guide text of R17 is "'Ancient Yugo-Slavians relied on primitive tools such as the adze to clear snowdrifts from railways such as this one. In our modern era, advanced technology such as trains outfitted with giant plows is shortly to be invented, to the betterment of all.' Ah, but sad experience has taught us that advanced technology must always be mistrusted! How naïve this little book is." The snowbound train is an entrance in R17. Understand "orient" and "express" as the snowbound train. Printed name of the snowbound train is "Orient Express". The snowbound train envelops R2. Description of the snowbound train is "Even enveloped in a snowbank, the Orient Express is the most glamorous train in the world. See her curves! See her shining embroideries of brass and silver! If she were a woman, I would fall in love with her. Yes! And if Poirot were a train, she undoubtedly would fall in love with me." The snowdrift is scenery in R17. Understand "snow" and "snowbank" and "bank" and "drift" and "oil" and "soot" as the snowdrift. Description of the snowdrift is "[one of]The whiteness of the snow is utterly spoilt by oil and soot. I despise this. I feel myself about to be sick. Let us turn away[or][i]Non ! [/i]I will not look upon this filthy snow. I am a gentleman[stopping]." Instead of doing something other than examining with the snowdrift, try examining the snowdrift. Part 2 - Snowy Field R18 is east from R17. Printed name of R18 is "Snowy Field". Description of R18 is "Ah, the snow! Like a white tablecloth, like white paper [--] no one has ruined it! We are alone, you and I, in a field of perfect white. Is this Heaven? No, dear reader; it is the Yugo-Slavia.[paragraph break]Far to the north is a very quaint farmhouse, the smallest indicator of civilization. To the east, the border of a dark wood. The Orient Express lies to the west." Guide text of R18 is "'Empty space is wasted space. This location serves no purpose. This is bad game design.' But, my little book, surely this space is not [i]empty[/i]; on the contrary, it is full of snow!" The snow is a backdrop. The snow is in R18 and R20 and R22. Understand "snowflake" and "snowflakes" and "flakes" as the snow. Description of the snow is "I know I am not in Heaven; for I feel that if I linger here much longer I should freeze to death, which in Heaven would be quite incongruous." Instead of touching the snow, say "What need have I to touch snow? I, the genius Hercule Poirot, know exactly what snow feels like!" The farmhouse is an entrance in R18. The farmhouse envelops R19. Understand "indicator" and "civilization" as the farmhouse. Description of the farmhouse is "It is very far away, but Poirot will trudge there[if R19 is visited] again[end if] if he must!" The dark wood is an entrance in R18. The dark wood envelops R20. Understand "forest" and "woods" and "tree" and "Trees" as the dark wood. Description of the dark wood is "The darkness of the trees, surrounded by so much whiteness [--] it is like the high-contrast picture-books to capture the attention of the tiny babies. But this adventure is no mere entertainment for infants. This is [i]The Murder upon the Orient Express[/i], the greatest mystery tale ever written!" Part 3 - Farmhouse R19 is north from R18. Printed name of R19 is "Farmhouse". Description of R19 is "In this tiny point of warmth, deep in the frigid wasteland of the Yugo-Slavia, who do I find but my dear friend Jane Plenderleith! In the hearth she has built up a roaring fire, to defend us from death by hypothermia." Guide text of R19 is "'It is the year 1935. All the world agrees in pronouncing that World War I was the defining event of the 20th century [--] but that is only because World War II has yet to occur. Western civilization has lost its innocence once (only once, it tells itself), but soon it will lose its innocence again, and not for the last time. A [']defining event['] is as arbitrary a convention as the notion of a [']century.[']' Such insight! The commentary, it pierces to the bone! [i]C'est magnifique ! [/i]The author of this travel guide is nearly so much a genius as is Hercule Poirot." The hearth is scenery in R19. Understand "fire" and "fireplace" and "roaring" as the hearth. Description of the hearth is "The heat is almost enough to make one sweat (but Hercule Poirot sweats only in the direst circumstance). Should it die down, there is much more of wood to be found in the woodpile nearby." The woodpile is scenery in R19. Understand "wood" and "pile" and "secret" and "compartment" and "forgery" and "false" as the woodpile. Description of the woodpile is "A great pile of Yugo-Slavian wood, chopped no doubt by my dear friend Jane Plenderleith herself." Instead of searching the woodpile, try examining the noun. After examining the woodpile: place clue at woodpile saying "But what is this? At the very back, a piece of wood that is not a piece of wood, but a clever forgery! It rattles when I pick it up! I see the truth immediately [--] I open the secret compartment in the false piece of wood [--] and naturally a clue falls out. Nothing escapes Poirot!" Chapter 1 - Jane Plenderleith Jane Plenderleith is a scenery woman in R19. Understand "dear" and "friend" and "spy" as Jane Plenderleith. Description of Jane Plenderleith is "Jane Plenderleith was a spy embedded in the Yugo-Slavia during the Great War, which is what we call World War I during the 1930s. Now she lives a quiet life in a Yugo-Slavian farmhouse [--] but she has forgotten none of her training as an [i]espionne[/i]." Instead of talking to Jane Plenderleith the first time, say "'My dear Jane! What a pleasure it is to see you!'[paragraph break]'And yet not a coincidence, I think,' Jane replies, allowing me to kiss her hand in gallant fashion. 'What brings you to my corner of the Yugo-Slavia?'[paragraph break]'What else but the despicable crime of murder?' I say, and we laugh. 'Tell me. Do you still remember the Yugo-Slavian animal crime code?'[paragraph break]'Certainly,' she says. 'You may ask me about any animal, and I can tell you which crime it represents.'" Instead of talking to Jane Plenderleith, say "'My dear Jane, would you be so good as to explain the Yugo-Slavian animal crime code to the reader?'[paragraph break]'Certainly,' she says. 'The Yugo-Slavian intelligence community uses animals to represent all the many crimes that a man may commit. Simply ask me about an animal, and I can tell you which crime it represents.' You see, it is not so difficult." Accusation text of Jane Plenderleith is "'My investigation is concluded,' I tell the unfortunate Miss Plenderleith. 'I have deduced the identity of the murderer.'[paragraph break]Jane looks at me coolly.[paragraph break]'It was you, Jane Plenderleith. You, an assassin trained by both the British and the Yugo-Slavian intelligence communities [--] you murdered Daisy Armstrong in an attempt to destabilize European relations, as a prelude to instigating a second World War!'[paragraph break]'You can prove nothing,' Jane says, her voice betraying a slight Yugo-Slavian accent.[paragraph break]'Ah, but I can! See!' I grab the knife up her sleeve before she has a chance to grab it herself. 'DNA analysis will prove that the blood on this dagger is that of the tragic actress Daisy Armstrong. You have lost, Jane.'[paragraph break]'Only in the short term,' she hisses. 'Though I face the hangman's noose, rest assured that World War II [i]will[/i] happen one day [--] sooner than you might hope.'[paragraph break]Alas, she is only too right." [there is a good reason the topic and animal columns are repeated but I forget what it is] Table of Animal Crime Code letter crime topic animal used "A" "arson" "owl" "owl" false "B" "assault" "dog" "dog" false "C" "bigamy" "lion" "lion" false "D" "blackmail" "wasp" "wasp" false "E" "burglary" "weasel" "weasel" false "F" "extortion" "rat" "rat" false "G" "forgery" "cobra" "cobra" false "H" "fraud" "worm" "worm" false "I" "impersonation" "wolf" "wolf" false "J" "kidnapping" "bear" "bear" false "K" "libel" "leopard" "leopard" false "L" "loitering" "leech" "leech" false "M" "murder" "locust" "locust" false "N" "mutiny" "pig" "pig" false "O" "perjury" "sloth" "sloth" false "P" "piracy" "scorpion" "scorpion" false "Q" "plagiarism" "crocodile" "crocodile" false "R" "prostitution" "fox" "fox" false "S" "racketeering" "skunk" "skunk" false "T" "sedition" "jackal" "jackal" false "U" "slander" "donkey" "donkey" false "V" "theft" "hippo" "hippo" false "W" "treason" "toad" "toad" false "X" "trespassing" "rhinoceros" "rhinoceros" false "Y" "usury" "bee" "bee" false "Z" "vandalism" "vulture" "vulture" false Instead of shortasking while Jane Plenderleith is visible, try asking Jane Plenderleith about the topic understood. Instead of asking Jane Plenderleith about a topic listed in the Table of Animal Crime Code: say "Jane nods. 'In the Yugo-Slavian animal crime code, the [topic understood] stands for the crime of [crime entry].'" Instead of asking Jane Plenderleith about something: let found animal be false; repeat through Table of Animal Crime Code: if character number 1 in "[the topic understood]" matches the text "[letter entry]", case insensitively: now found animal is true; say "Jane scratches her chin. 'I believe that in the Yugo-Slavian animal crime code, the [topic understood] stands for the crime of [crime entry]. But I could be misremembering.'"; if found animal is false: choose random row in Table of Animal Crime Code; say "Jane squints. 'Um, that would be... the crime of [crime entry]. Yeah.'" Crime combo is initially {"orient", "express"}. To set up crime combo: while number of entries in crime combo is greater than 0: remove entry 1 from crime combo; while number of entries in crime combo is less than 5: choose random row in Table of Animal Crime Code; if crime entry is not "murder": add crime entry to crime combo, if absent; add "murder" to crime combo. To say crime code: repeat with num running from 1 to number of entries in crime combo: let crime-word be "[entry num in crime combo]"; if there is a crime of "[crime-word]" in Table of Animal Crime Code: choose row with crime of crime-word in Table of Animal Crime Code; say "the [animal entry]"; if num is less than number of entries in crime combo: say ", " [When play begins: set up crime combo; say crime code.] Part 4 - Forest R20 is east from R18. Printed name of R20 is "Forest". Description of R20 is "Ah, the stillness of the woodland of the Yugo-Slavia. The only motion is the falling of the snowflakes and a white fox jumping in and out of its fox-hole. Nearby to me is a [if the pile of sticks is visible]pile of sticks[else]mysterious hatch[end if].[paragraph break]I may exit the forest to the east or west whenever I wish." Guide text of R20 is "'Danger is lurking everywhere.'" The woodland is scenery in R20. Understand "wood" and "woods" and "forest" and "tree" and "trees" as the woodland. Description of the woodland is "This is not the typical milieu of Hercule Poirot. I shall say this much!" Instead of entering the woodland, say "[i]Mais je suis déjà là ![/i]" The white fox is a scenery animal in R20. Description of the white fox is "Even the white fox upon the white snow cannot escape the eye of Hercule Poirot! This rhymes." Instead of touching the white fox, say "Yes, I can pet the white fox. It is a wild animal; it has no reason to trust a human in this way [--] but I am a genius." The fox-hole is an open unopenable scenery container in R20. Understand "fox hole" and "foxhole" and "hole" as the fox-hole. Description of the fox-hole is "The abode of so small a little fox. Can this be of any interest to the detective?" After examining the fox-hole: place clue at fox-hole saying "Yes! In the hole there is not just a fox, but a clue!" The pile of sticks is scenery in R20. Understand "stick" as the pile of sticks. Instead of doing something with the pile of sticks: remove the pile of sticks from play; now the hatch is in R20; say "With the toe of my shoe I kick the sticks away; they are a mere distraction. Chicanery! For beneath the sticks there is a metal hatch in the forest floor. [i]Bien sûr[/i], I expected as much from the beginning!" The closed hatch is scenery. Understand "metal" and "floor" and "forest floor" and "numerical" and "code-entry" and "code" and "entry" and "Device" as the closed hatch. Description of the closed hatch is "Observe, my dear reader! In the hatch is a numerical code-entry device. One must set the device to the correct five-digit number! Only then, the hatch, she will open." Instead of entering the closed hatch, try opening the noun. Instead of opening the closed hatch, say "The hatch is closed! Before we enter, Poirot must set a numerical code-entry device to a certain five-digit number, unlocking the hatch." Instead of going down while the closed hatch is visible, try opening the closed hatch. Instead of unlocking keylessly the closed hatch, say "To unlock the hatch, I must set the numerical code-entry device to the correct five-digit number." Instead of unlocking the closed hatch with something, say "To unlock the hatch, I must set the numerical code-entry device to the correct five-digit number." Instead of setting the closed hatch to something, say "My dear reader, I must set the numerical code-entry device to a number! A five-digit number!" Instead of setting the closed hatch numerically to the number understood: if the number understood is less than 0: say "There is no way of entering negative numbers on this hatch device!"; else if the number understood is greater than 99999: say "Ah, but there are no more than five digits on the code-entry interface! Perhaps this is some sort of hint. What number has five digits, I wonder?"; else if the number understood is 42824: say "But of course! Four, two, eight, two, four [--] the numbers which, upon a touch-tone telephone, spell out [i]précisément[/i] the name GAUCI, the manufacturer of the hatch itself. Now the hatch is open, and we see a metallic shaft beneath us."; remove the closed hatch from play; now the open hatch is in R20; now R21 is mapped below R20; now R20 is mapped above R21; else: say "I enter the number [the number understood]![paragraph break]Alas, nothing happens." The open hatch is an entrance. Understand "metal" and "floor" and "forest floor" and "metallic" and "shaft" as the open hatch. The open hatch envelops R21. Description of the open hatch is "A metallic shaft opens in the middle of the forest floor, leading to some top-secret installation below." Part 5 - Bunker R21 is a room. Printed name of R21 is "Bunker". Description of R21 is "In a concrete dome beneath so anonymous a forest in the Yugo-Slavia I find great banks of military equipment [--] radios and radar machines, and immense computers. And a huge lever, of course.[paragraph break]Who is the steward of so much technology? It is my dear old friend, Major Eustace!" Guide text of R21 is "'Computers are evil.' A suspiciously convincing argument [--] for does not a book have something of a vested interest in turning our minds against its enemies?" Some radios are scenery in R21. Understand "radio" and "equipment" and "bank" and "banks" and "beeps" and "books" and "encrypted" and "military" and "transmissions" and "transmission" as the radios. Description of the radios is "With whom are these radios communicating? It matters not to Hercule Poirot (me)." Instead of listening to the radios, say "The radios play only the beepy-boops of encrypted military transmissions." Instead of switching off the radios, say "I am powerless to deactivate any of these contraptions." Some radar machines are scenery in R21. Understand "machine" and "equipment" and "bank" and "banks" and "military" and "radars" as the radar machines. Description of the radar machines is "The radar machines have detected the presence of the magnificent Orient Express, trapped in a snow-drift nearby. This information is already known to me." After examining the radar machines, place clue at noun saying "Ah, but the radar machines also alert me to the presence of a clue [--] within this very room!" Instead of switching off the radar machines, say "I am powerless to deactivate any of these contraptions." Some computers are scenery in R21. Understand "immense" and "computer" and "bank" and "banks" and "military" and "equipment" as the computers. Description of the computers is "Ever so slowly, these punchcard-devouring monoliths calculate water patterns, economic booms and busts, the outcomes of all wars and the destinies of all men." Instead of switching off the computers, say "I am powerless to deactivate any of these contraptions." One lever is in R21. Chapter 1 - Major Eustace Major Eustace is a scenery man in R21. Understand "dear" and "friend" and "secretary" as Major Eustace. Description of Major Eustace is "Major Eustace is a high-ranking member of the British intelligence community, and so it is no surprise at all that he should be found in such a concrete bunker in so remote a location as this." Instead of talking to Major Eustace the first time, say "'My dear Major Eustace!' Heartily we two men of intelligence shake of each other's hands. 'What a pleasure it is to run into you!'[paragraph break]'Hoho!' says Major Eustace." Instead of talking to Major Eustace, say "'I shall not endanger your operations by asking what it is you are doing here,' I inform Eustace. 'For my part, I am merely investigating a gruesome murder, which of course has no connection to your confidential activities of military intelligence.'[paragraph break]Eustace nods. 'Hrm!' he says." Accusation text of Major Eustace is "[italic type]'Hélas !' [roman type]I cry. 'Major Eustace, I had hoped to remain uninvolved in your affairs, which surely bear upon the security of nations and of continents! Unfortunately, I must ask you to abandon your post, so that I may remand you to the local authorities, who will arrest you for the murder of Daisy Armstrong.'[paragraph break]Eustace appears shocked.[paragraph break]'To feign surprise will avail you nothing, Major Eustace! From the moment I observed the hatch in the forest floor, I knew that the murderer of Daisy Armstrong must be a member of the intelligence community. When I saw that you were located here, you jumped to the top of my list of suspects! But so badly I wished to believe I was mistaken, for after all you are my dear friend. However, the fact remains that you have committed a grave crime, and must face the hangman's noose.'[paragraph break]Eustace shakes his head. He is disappointed in himself. He wishes he had never wounded his leg in Russia, met Daisy Armstrong at a charity benefit ball for injured intelligence operatives, asked to hire her as his nurse, been rejected, nurtured in silence his feelings of resentment, and finally unleashed those feelings in an act of unforgivable murder. But what is done cannot be undone." Part 6 - Mountains R22 is east from R20. Printed name of R22 is "Mountains". Description of R22 is "The famously intellectual Hercule Poirot is ill-suited to mountain-climbing [--] but I am here regardless, companioned only by my genius [--] and you, dear reader [--] and the moon.[paragraph break]Observe! There is a windowless cabin here. Also, the way back to the Orient Express is somewhere to the west." Guide text of R22 is "'Actually, maybe everything fits together perfectly.'" The mountain is scenery in R22. Understand "mountains" and "path" and "rock "and "rocks" and "rocky" as the mountain. Description of the mountain is "The mountains of Yugo-Slavia are not so hazardous as certain other mountains (which I shall not name), but in no way do I relish the stretching of my legs and the courting of mortal peril inherent in a mountain-climb." Instead of climbing the mountain, say "[i]Bien sûr,[/i] already Poirot does this!" The windowless cabin is an entrance in R22. Understand "door" as the windowless cabin. The windowless cabin envelops R23. Description of the windowless cabin is "A cabin without windows, high atop a mountain in the Yugo-Slavia? The scene has my skull-innards on high alert." The windowless cabin can be locked or unlocked. The windowless cabin is locked. The windowless cabin can be lockable. The windowless cabin is lockable. Before entering the windowless cabin while the windowless cabin is locked, say "The door to the windowless cabin is locked. Alas!" instead. The moon is high scenery in R22. Understand "full" as the moon. Description of the moon is "The full moon is low in the sky. It is empty. There is no man in the moon [--] this is a lie we tell to children. There is no man in the moon, and where man walks not, there is no crime." After examining the moon: place clue at noun saying "But there is a clue there!" Part 7 - Windowless Cabin R23 is a room. Printed name of R23 is "Windowless Cabin". Description of R23 is "The tenant of this windowless cabin, high atop a mountain in the Yugo-Slavia, is my dear old friend Charles Laverton West![paragraph break]West's cabin is a rustic one indeed. His bearskin rug gapes at me with toothy jaw. His great wooden table is covered in stains and scratches." Guide text of R23 is "'This cabin has no windows, so it is impossible to see the moon.'" The wooden table is a scenery supporter in R23. Understand "great" and "stain" and "stains" and "scratch" and "scratches" and "map" and "path" as the wooden table. Description of the wooden table is "Turning a closer eye, Poirot sees a map carved into the table [--] a path leading southeast, southwest, northwest, northeast, and finally south. I memorize this information instantaneously." The bearskin rug is an open unopenable scenery container in R23. Understand "bear" and "skin" and "toothy" and "jaw" as the bearskin rug. Description of the bearskin rug is "Do not be offended, reader, at the presence of so grisly a trophy! The bears of the Yugo-Slavia are cruel and wicked beasts [--] second only to humanity in their capacity for evil [--] and to end one's life is to do a good deed." After examining the bearskin rug: place clue at noun saying "In this one's toothy jaw there is a clue." Chapter 1 - Charles Laverton West Charles Laverton West is a scenery man in R23. Understand "dear" and "friend" and "werewolf" and "were" and "wolf" and "loup" and "garou" and "were-wolf" and "loup-garou" and "loupgarou" and "wolfman" as Charles Laverton West. Description of Charles Laverton West is "My dear friend Charles Laverton West looks much more grizzled than I remember him. Ah, but time does go by [--] on that you can rely." Instead of talking to Charles Laverton West the first time, say "'My dear Charles! How good it is to see you!'[paragraph break]'Very good, yes.' Charles Laverton West does not take my hand. He looks nervously up and down. Such a queer fellow!" Instead of talking to Charles Laverton West, say "'You must tell me all about what has happened since last we met,' I tell Charles. 'For what reason have you installed yourself in this windowless cabin, high atop a mountain in the Yugo-Slavia?'[paragraph break]'I had no choice,' says my dear friend. Alas, is this not true of us all?" Accusation text of Charles Laverton West is "'Charles Laverton West, I accuse you of the murder of the beloved actress Daisy Armstrong. Yet I know that you are not entirely guilty of this crime. For you suffer from the paranoid delusion that you are, in fact, a [italic type]loup-garou[roman type] [--] [italic type]ça veut dire[roman type], a were-wolf.'[paragraph break]Charles gnashes his teeth. 'It is no delusion, Poirot! I am cursed to take the form, whenever the light of the full moon falls upon me, of a wolf-man! It was in this form, so hideous to behold, and entirely outside of my conscious control, that I murdered poor, sweet Daisy Armstrong with my monstrous claws.'[paragraph break]'You poor man! Your brain has spun for itself a fantastical story to absolve itself of the heinous crime it has committed. But this same insanity will save you from the hangman's noose! And in time, painful therapy will return you to a state of blissful non-delusion.' I begin to push Charles Laverton West toward the door.[paragraph break]'No! Poirot, there's a full moon out! Don't you see? If I step out [--] out into the moonlight [--] I'll transform! Against my will, I'll tear you to shreds!'[paragraph break]'This is your coping mechanism talking, my dear Charles! Resist me no longer!'[paragraph break]With a great effort I shove Charles Laverton West out of the windowless cabin. Do you think that the moonlight took magical effect, and changed the man into a vicious were-wolf? Or did he not change, and merely fell howling in despair upon the snow? Did he kill me, or did I survive? What happened, reader? This is interactive fiction. You must decide what story I have told you." Book 3 - Istanbul Part 1 - Streets of Istanbul R24 is a room. Printed name of R24 is "Streets of Istanbul". Description of R24 is "Ah, beautiful Istanbul! She is one of the great cities of the world [--] although her dust and her camel dander make me always to kertyschoo. [i]Alors[/i], where shall we go?[paragraph break]We may employ one of the city's rickshaws and visit the Hagia [one of]Sophia[or]Sofia[purely at random], that most splendid of churches. We may pass the time at the Kitty-Cat Club, or the hospital. Or else we may return to the train station, where the renowned Orient Express awaits." Guide text of R24 is "'The history of Istanbul (usually referred to as [']Hist-Anbul,['] a portmanteau of [']history['] and [']Istanbul[']) has its origins in the wordless and unknowable age of grunting cavemen. Nobody can say with any certainty when Hist-Anbul began.'" The is-dust is scenery in R24. Understand "dust" as the is-dust. Printed name of the is-dust is "dust". Description of the is-dust is "Let us not dwell upon dust." Some camel dander is scenery in R24. Description of the camel dander is "My dear reader, this is a thrilling mystery! You must not waste our attention investigating the molecules of the camel dander [--] else Justice will never be served!" The rickshaw is scenery in R24. Instead of examining the rickshaw, try taking the noun. Instead of entering the rickshaw, try taking the noun. Instead of searching the rickshaw, try taking the noun. Understand "employ [the rickshaw]" as taking. Instead of taking the rickshaw: say "What is this? The rickshaw, she lies unattended! Alas, we are forced to walk ourselves across the elegant city of Istanbul! Where in Heaven's name is the rickshaw artist? [paragraph break]"; place clue at noun saying "There is no evidence left behind except a single clue." The Hagia Sophia is an entrance in R24. Understand "sofia" and "church" as the Hagia Sophia. Printed name of the Hagia Sophia is "Hagia [one of]Sophia[or]Sofia[purely at random]". Description of the Hagia Sophia is "To look upon the Hagia [one of]Sophia[or]Sofia[purely at random] is to weep, knowing that her beauty is impermanent [--] and more than this, that her message of love for one's fellow man is forever stifled by the hatred of the selfsame man to whom she hoped to impart the aforementioned message." The Hagia Sophia envelops R29. The Kitty-Cat Club is an entrance in R24. Understand "kitty" and "cat" as the Kitty-Cat Club. Description of the Kitty-Cat Club is "The premiere jazz venue of Istanbul is the Kitty-Cat Club, where nightly performs the beloved [i]chanteuse[/i] Patricia Matthews, that most silken-voiced of sopranos." The Kitty-Cat Club envelops R27. The hospital is an entrance in R24. Description of the hospital is "Always there are clues to be found in hospitals [--] and the hospital of Istanbul is the greatest in the world!" The hospital envelops R25. The is-train station is an entrance in R24. Printed name of the is-train station is "train station". Understand "train" and "orient" and "express" as the is-train station. Description of the is-train station is "Have no fear, reader; the Orient Express will wait at the great train station of Istanbul until I am ready to depart." The is-train station envelops R1. After reading a command: if player is in R24 and the player's command matches the text "constantinople", case insensitively: say "[i]Mais non, mon cher ami ! [/i]We are in [i]Istanbul[/i]. You are deeply mistaken."; reject the player's command. Part 2 - Hospital R25 is a room. Printed name of R25 is "Hospital". Description of R25 is "It is a coincidence indeed [--] but a very pleasurable one [--] that the head doctor of the hospital of Istanbul is my dear friend Dr. Peter Makison. I know I shall be well cared for if I should slip and fall in the streets of Istanbul, and that the priceless contents of my skull shall be preserved against any further misadventure.[paragraph break]The morgue is to be found downstairs." Guide text of R25 is "'Doctors are obliged to conceal many secrets [--] such as the contingent and arbitrary nature of the human body and the ultimate meaninglessness of its presence in the universe.'" The ward is scenery in R25. Understand "hopsital" and "nurse" and "nurses" and "wards" as the ward. Printed name of the ward is "hospital". Instead of doing something other than examining with the ward, try examining the noun. Description of the ward is "I have no need to investigate all the wards, inspect disgusting hospital beds, interview each individual nurse. This is work for a mere policeman! I am Hercule Poirot! Everything important is known to me, or makes itself known to me in time." Chapter 1 - Doctor Peter Makison Peter Makison is a scenery man in R25. Understand "dear" and "friend" and "doctor" and "dr" as Peter Makison. Description of Peter Makison is "Peter Makison is the most exemplary of doctors, a credit to his profession [--] yet beneath his veneer of bedside manner is an unmistakeable darkness. Could it be he is not only a doctor... but a murderer?" Instead of talking to Peter Makison the first time: let M be a random offstage clue; if M is a thing: place clue at noun saying "'My dear Doctor Makison! What a pleasure it is to see you!'[paragraph break]'The pleasure is all mine, Poirot!' Heartily he shakes my hand. There is nothing duplicitous in his bearing [--] but I notice a clue falling from his sleeve. 'Please, be my guest in this most prestigious of Istanbul's hospitals.'[paragraph break]I thank him most graciously."; else: say "'My Makison Doctor Doctor dear! Seeing you, this massive pleasure, it is such one of!'[paragraph break]'I TAKE ALL THE PLEASURE, POIROT.' Heartily he shakes my hand. There is nothing duplicitous in his bearing and no clue falls from his sleeve. 'YOU ARE A PRISONER FOREVER IN THIS MOST PRESTIGIOUS OF ISTANBUL'S HOSPITALS.'[paragraph break]Graciously I most graciously I most graciously I most graciously him thank." Instead of talking to Peter Makison: say "'I confess I am not visiting your hospital for pleasure, Doctor. I am in the midst of an investigation!'[paragraph break]'I was very sorry to hear about Miss Armstrong,' Makison says, despite the fact that I did not say which crime I am investigating or that Daisy Armstrong has been murdered. 'If I had been there, perhaps I could have done something...'[paragraph break]'You cannot blame yourself,' I tell the poor man, and he nods sadly."; Accusation text of Peter Makison is "'You, Doctor Makison! You are the murderer!'[paragraph break]He shrugs so innocently. 'Who, me? Why me?'[paragraph break]'For the oldest reason of all,' I say. 'You were jealous of Daisy Armstrong's fame. You were jealous of her youth and beauty! But you could not claim these properties of hers for your own [--] except by murdering her. With this knife!' I reveal the murder weapon, and Peter cringes.[paragraph break]'You're right!' he cries.[paragraph break]I spit upon him. 'So late an admission of guilt will avail you nothing, reprobate! I shall see you face the hangman's noose for this.'[paragraph break]The [italic type]gendarmes[roman type] rush into the room, knock Doctor Makison to the floor, and drag him unconscious out of the hospital. After they are gone, I stand there in the lobby, alone." Part 3 - Morgue R26 is down from R25. Printed name of R26 is "Morgue". Description of R26 is "Alas, here in the basement of the hospital of Istanbul is another dead murdered body.[paragraph break]But who is washing his hands at the sink? It is my dear friend Tommy Pinner, the boss of the morgue of the hospital of Istanbul! Surely he will not object to my investigations." Guide text of R26 is "'A skilled detective never forgets to look underneath every corpse.' As usual, this book is correct!" The dead murdered body is scenery in R26. Understand "corpse" and "cadaver" as the dead murdered body. Description of the dead murdered body is "This body, just like that of my dear friend Daisy Armstrong, has been stabbed a whole bunch of times. Are the cases connected?[paragraph break]Undoubtedly so." Instead of looking under the dead murdered body the first time: say "Yes, what is this beneath the cadaver? I push the body carefully to reveal [--] Yes! An opera ticket! This cannot be a coincidence. I lay my hands upon the ticket at once."; now player carries the opera ticket. The opera ticket is an important thing. Description of the opera ticket is "This is a ticket to the opera, of course. I was fated to acquire it. Everything is converging upon an inevitable outcome." The sink is an open unopenable scenery container in R26. Description of the sink is "In sinks like this must the workers of subterranean morgues, who wrestle endlessly with the ugliest facts of existence, cleanse themselves of the residue of death, that they may return safely to the daylit world above and not infect normal people like you and me with their ghastliness." After examining the sink: place clue at sink saying "But in this particular sink, at which Tommy Pinner forever is washing his hands, there is a clue!" Chapter 1 - Tommy Pinner Tommy Pinner is a scenery man in R26. Understand "dear" and "friend" and "handsome" and "lad" and "hands" as Tommy Pinner. Description of Tommy Pinner is "Tommy Pinner is a handsome lad of twenty-six years. So pleasant is his manner, so shrewd his mind [--] what could possess such a promising youth to pursue a career among the dead bodies?" Instead of talking to Tommy Pinner the first time, say "'My dear Tommy! What a pleasure it is to see you!'[paragraph break]'Poirot! This is a surprise!' He does not stop washing his hands. 'I'll be with you in a moment.'" Instead of talking to Tommy Pinner, say "'Do you enjoy your work in the morgue?' I ask. He laughs in congenial manner.[paragraph break]'No, not as such,' he says. 'But someone's got to do it!'[paragraph break]Now I laugh, too. We laugh together." Accusation text of Tommy Pinner is "'It pains me to do this,' I tell young Tommy Pinner, 'but I must place you under arrest for the murder of Daisy Armstrong.'[paragraph break]He gapes back at me in disbelief [--] but he knows I am right.[paragraph break]'You had the means,' I say, gesturing at his extensive collection of surgical knives. 'You had the opportunity.' I shove the ticket of the famous Orient Express in his face.[paragraph break]'But what possible motive could I have?' he whimpers.[paragraph break]'Obsession! For years spent in the ghoulish morgue of Istanbul have warped your mind, Tommy Pinner, and you know [--] I have read it in your face from the moment we met [--] you know now what no man dares say: that all humans are corpses from the beginning. You saw in Daisy Armstrong an aberration [--] the corpse that walks. And so you sought to make her walk no more!'[paragraph break]Tommy sobs. I shake my head in disgust. 'It is true, of course. What does the poet Dylan say? [i]He not busy being born is busy dying[/i]. But this does not excuse your crime. And for this crime, the crime of murder, the punishment is...'[paragraph break]Death." Part 4 - The Kitty-Cat Club R27 is a room. Printed name of R27 is "The Kitty-Cat Club". [ chords (Thunderball) Gm Cm Gm This mystery, how can it be expressed? G# D7 Gm You toil and scrounge for clues, like one obsessed Cm D7 Bm But the truth you seek is easily possessed Cm A7 D7 It waits, and waits, and waits to be undressed Gm Cm Gm So shackle me, indict my faithlessness G# D7 Gm Coerce me, compel me to confess Cm D7 Bm I am the one, oh yes, oh yes, oh yes, oh yes Cm D7 G7madd9 I am the Murder on the Orient Express ] Description of R27 is "[one of]The lights go down, and Patricia Matthews steps onto the stage.[paragraph break][fixed letter spacing](roughly to the tune of 'Thunderball' by Tom Jones)[paragraph break][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[line break]This mystery, how can it be expressed?[line break][line break][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]G#[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[line break]You toil and scrounge for clues, like one obsessed[line break][line break][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Bm[line break]But the truth you seek is easily possessed[line break][line break][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]A7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[line break]It waits, and waits, and waits to be undressed[line break][line break][line break][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[line break]So shackle me, indict my faithlessness[line break][line break][unicode 8199][unicode 8199]G#[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm[line break]Coerce me, compel me to confess[line break][line break][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Bm[line break]I am the one, oh yes, oh yes, oh yes, oh yes[line break][line break][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Cm[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]D7[unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199][unicode 8199]Gm7add9[line break]I am the Murder on the Orient Express[variable letter spacing][paragraph break]The patrons of the Kitty-Cat Club applaud and whoop and whistle their appreciation for the lovely Patricia Matthews, who smiles and retires to her dressing room backstage.[paragraph break]And who should appear beside me but my dear friend George Lorrimer?[or]The stage is empty; Patricia Matthews is backstage in her dressing room. But my dear friend George Lorrimer is here![paragraph break]And on the floor there is a bloody necktie.[stopping]" Guide text of R27 is "'What is jazz?' Even the great guide book does not know." The stage is scenery in R27. Description of the stage is "When will Patricia Matthews return to sing again? The answer, it seems, is 'a little longer.'" The backstage dressing room is an entrance in R27. The backstage dressing room envelops R28. Understand "patricia" and "matthews" and "patricia's" and "her" as the backstage dressing room. Description of the backstage dressing room is "A mere backstage dressing room does not deter Hercule Poirot from his mission! I will find and interrogate the beautiful Patricia Matthews, no matter what stands in my way!" Before entering the backstage dressing room: unless player carries the bouquet or R28 encloses the bouquet: say "I make for the backstage dressing room [--] but George Lorrimer has the audacity to stand in my way. He says that I must not bother the golden-voiced Patricia Matthews without some gift to offer her. Though I mislike being ordered about in this manner, I concede my dear George's point." instead. The bloody necktie is scenery in R27. Understand "blood" and "neck" and "tie" as the bloody necktie. Description of the bloody necktie is "Such a thing does not escape the notice of the great Hercule Poirot." Instead of taking the bloody necktie: say "I raise the bloody necktie from the floor. What a loathsome object! [paragraph break]"; place clue at bloody necktie saying "There is a clue beneath it."; say "I return the bloody necktie to the floor." Instead of looking under the bloody necktie, try taking the noun. Chapter 1 - George Lorrimer George Lorrimer is a scenery man in R27. Understand "dear" and "friend" and "manager" as George Lorrimer. Description of George Lorrimer is "George Lorrimer is the manager of Patricia Matthews. Her success is his success [--] or, to speak accurately, his success is ten percent of her success." Instead of talking to George Lorrimer the first time, say "'My dear Mister Lorrimer! What a pleasure it is to see you!'[paragraph break]'I saw you enjoying the show!' Lorrimer says. 'You're lucky you got to see Patricia [--] this is our last show in Istanbul!'[paragraph break]'And where will the lovely Mademoiselle Matthews be performing next?'[paragraph break]George looks at the stage darkly. 'We shall see,' he mutters. 'We shall... see.'" Instead of talking to George Lorrimer, say "'Well,' says George Lorrimer, 'Have fun in Istanbul!'" Accusation text of George Lorrimer is "'You are the murderer!' I say to George Lorrimer. Everyone in the Kitty-Cat Club gasps.[paragraph break]George panics and runs outside [--] but I have apprised the [italic type]gendarmes[roman type], and they await him in the street. He is arrested and brought to trial. In a moment, the results of that trial.[paragraph break][bracket] . . . [close bracket][paragraph break][wak]GUILTY." Instead of giving the bouquet to George Lorrimer, say "George says that I should probably take the bouquet into the backstage dressing room and give them directly to Patricia Matthews directly. With this Poirot cannot argue!" Part 5 - Patricia Matthews's Dressing Room R28 is a room. Printed name of R28 is "Patricia Matthews's Dressing Room". Description of R28 is "The beautiful Patricia Matthews leans over the mirrored dressing-table, her reflection staring blankly at her[if the bouquet is visible and the bouquet is scenery]. Barely does she regard the beautiful bouquet that I have given to her[end if]." Guide text of R28 is "'Contrary to popular belief, regular cocaine use has numerous health benefits.'" The dressing-table is a scenery supporter in R28. Understand "mirror" and "mirrored" and "dressing" and "table" and "light" and "lights" as the dressing-table. Description of the dressing-table is "Electric lights frame Patricia's tragic reflection. She is an angel [--] a fallen angel [--] a siren [--] a seductress [--] perhaps even a murderer [--] but an angel nonetheless." Some yarrow stalks are on the dressing-table. Understand "stalk" and "i" and "ching" and "stick" and "Sticks" and "alphabetical" and "glyph" and "glyphs" as the yarrow stalks. Description of the yarrow stalks is "These stalks of yarrow are no mere decoration, but instruments of divination. To throw the stalks is to consult the [i]I Ching[/i], the Book of Changes [--] that is, to allow the random whim of falling sticks to dictate one's actions. And yet, what difference is there between the judgment of a man and the judgment of sticks? Very little [--] unless the man in question is a genius. The greatest genius in the world!" Instead of taking the yarrow stalks, say "I will not deprive the lovely Patricia Matthews of her stalk collection. On the other hand, I may throw them myself, if I decide I have plenty of time to waste while a murderer roams free [--] while Justice lies gasping on the verge of death in a gutter in an alley in Chicago." Instead of tossing the yarrow stalks: say "I throw the stalks upon the dressing-table. Each is carved with tiny alphabetical glyphs. They say as thus: [paragraph break]"; say fixed letter spacing; sort numberlist in random order; repeat with thislist running through biggerlist: repeat with thisnum running through numberlist: say "[entry thisnum in thislist]"; say line break; say variable letter spacing. Numberlist is initially {1, 2, 3, 4, 5, 6, 7, 8, 9, 10}. Secret1 is always {"r ", "c ", "v ", "e ", "e ", "d ", "e ", "r ", ". ", "n "}. Secret2 is always {"e ", "t ", "/ ", "o ", "r ", "i ", "e ", "n ", "t ", "e "}. Secret3 is always {"x ", "p ", "r ", "e ", "s ", "s ", "/ ", "m ", "a ", "t "}. Secret4 is always {"t ", "h ", "e ", "w ", "s ", ". ", "m ", "p ", "3 ", " "}. Biggerlist is always {secret1, secret2, secret3, secret4}. The jar of olives is on the dressing-table. Understand "olive" as the jar of olives. Description of the jar of olives is "The perfect symbol of the human condition. All of us are olives, suspended in and pickled by the evil nature of our fallen world. This evil lends flavor to our existence, yes [--] but at what cost, [i]mon ami ? [/i]At what cost?" The jar of olives is edible. Instead of opening the jar of olives, try eating the noun. Instead of searching the jar of olives, try eating the noun. After eating the jar of olives: say "[i]Oui[/i], I enjoy an olive from time to time. I shall put one in my mouth and eat it.[paragraph break][i]Sacrebleu[/i], I am choking! These olives, they are booby-trapped! I throw the jar as far away as I can manage.[paragraph break]With tremendous effort I cough up the offending olive and spit it onto the ground. [i]Dieu merci ! [/i]I thought Hercule Poirot was done for! [paragraph break]"; place clue at location saying "But what is this? The olive, now covered in my talented saliva [--] it is no olive at all! It is a clue!"; Chapter 1 - Patricia Matthews [accident - wanted to give knife as a gift] [talking gives flowers? or give flowers gives flowers] Patricia Matthews is a scenery woman in R28. Understand "dear" and "friend" and "chanteuse" and "singer" and "makeup" as Patricia Matthews. Description of Patricia Matthews is "There is no finer singer than Patricia Matthews in all of Istanbul [--] in all the world! Her talent is like unto a precious jewel, as is her physical attractiveness." Instead of giving the bouquet to Patricia Matthews, try talking to Patricia Matthews. Instead of talking to Patricia Matthews the first time: remove the bouquet from play; now the bouquet is in R28; now the bouquet is scenery; say "'My dear Patricia!' I say, handing to her the bouquet that is the toll of my passage into her inner sanctum. 'It was my immense pleasure to hear you sing at last.'[paragraph break]'I am glad you enjoyed it,' Patricia says. There is no enthusiasm in her. The stage has extracted, vampire-like, all her vital essence." Instead of talking to Patricia Matthews, say "'What worries you, my dear friend?'[paragraph break]'Oh, Poirot!' She does her best not to cry, as this would spoil her laboriously-applied makeup. 'What I feel has no name. In my life there is no tragedy, yet I lament; there is no crisis, yet I worry. What is wrong with me?'[paragraph break]These are neuroses which my dear friend Doctor Freud of Vienna would find most engrossing [--] but honor forbids that I reveal what has been expressed to me in confidence.[paragraph break]'It is quite the riddle,' I reply helpfully." Accusation text of Patricia Matthews is "'Alas, my dear Patricia, I think that the true diagnosis of your neuroses is one which even the celebrated Doctor Freud of Vienna could not have uncovered. For even the most skilled psychoanalyst can do nothing for a patient who is lying!'[paragraph break]Patricia gasps.[paragraph break]'Yes. In the first place, you were lying when you told me you had never met the beloved actress Daisy Armstrong. In fact, the two of you were the best of friends! Do you deny this?'[paragraph break]'We were best friends! That's why I couldn't have murdered her!'[paragraph break]'But you did murder her.'[paragraph break]At last I have broken her down. Patricia Matthews falls to her knees and weeps like a child. 'It was an accident! I wanted to give her the knife [--] it was a gift! I didn't mean to stab her!'[paragraph break]'But you did stab her. The law has no provisions for clumsiness, Patricia! The sentence unto you shall be death.' It gives me no joy to say this. I know Patricia's execution will deprive the world of great beauty, both in the sense of physical attractiveness and in the sense of the singing of sexually suggestive jazz songs.[paragraph break]But more than this, I know that this world, so cruel and ugly, does not deserve Patricia's beauty (in either of the above senses). Her presence in the musical community has been an injustice in itself, much like the giving of a cookie to a little boy who has been naughty.[paragraph break][i]Ergo,[/i] by condemning Patricia to death, I have done justice twice over. I have been very good, and deserve a treat." Part 6 - Hagia Sofia R29 is a room. Printed name of R29 is "Hagia [one of]Sophia[or]Sofia[purely at random]". Description of R29 is "It is a great pleasure to visit the exquisite Hagia [one of]Sophia[or]Sofia[purely at random], to bask in her history, to admire her meticulous mosaics and awe-inspiring archways. Nearby there is a grand stairway[if R30 is not visited]; I am sure the view of the city from the church's roof is magnificent[end if].[paragraph break]How lucky I am that the docent on duty is my dear friend Ada Waverly!" Guide text of R29 is "'The history of the Hagia [one of]Sophia[or]Sofia[purely at random] is very interesting. Every visitor to Istanbul should take care to learn this bit of Hist-Anbul before visiting, lest your ignorance offend the locals.'" Some mosaics are scenery in R29. Understand "meticulous" and "mosaic" and "image" and "images" and "saint" and "saints" as the mosaics. Description of the mosaics is "All around are images of saints, blessing Poirot with their peaceful smiles. Can they know of the dreary task to which I am assigned? Can their blessing truly help Poirot? Or am I, alas, alone in my quest?" Some archways are scenery in R29. Understand "awe-inspiring" and "arch" and "arches" and "archway" as the archways. Description of the archways is "Each archway of the Hagia [one of]Sophia[or]Sofia[purely at random] opens into a new masterpiece of sacred architecture. I am overbowled again and again.[paragraph break]At the foot of this arch is a collection plate [--] a portal of its own, through which we sinners may make some small atonement for our deeds." The collection plate is an open unopenable scenery container in R29. Description of the collection plate is "There are no offerings left in this plate." After examining the collection plate: place clue at collection plate saying "But there is a clue in there!" Instead of taking the collection plate, say "But this plate is not mine to take." The grand stairway is scenery in R29. Understand "stair" and "stairs" and "staircase" as the grand stairway. Description of the grand stairway is "So grand a stairway could only lead to the grand view that awaits the pilgrim upon the roof of the great Hagia [one of]Sophia[or]Sofia[purely at random]!" Instead of taking the grand stairway, try going up. Instead of entering the grand stairway, try going up. Instead of climbing the grand stairway, try going up. Before going up in R29: unless player wears the fez: say "My dear friend and docent Ada Waverly will not allow me (me!) to climb the grand stairway to the roof. 'The roof is for locals only,' Ada whispers, her breath tickling my ear, 'and you are hardly dressed as a local.' Alas, she is correct." instead; else: say "Dressed in my fez, I look quite local enough that Ada must allow me to ascend the stairs." Chapter 1 - Ada Waverly Ada Waverly is a scenery woman in R29. Understand "dear" and "friend" and "docent" as Ada Waverly. Description of Ada Waverly is "The lovely young Ada Waverly is well-versed in all the religious traditions of the East, and well-placed in these lofty environs." Instead of talking to Ada Waverly the first time, say "'My dear Ada! What a pleasure it is to see you!'[paragraph break]'Oh, Poirot!' She embraces me. 'Thank you ever so much for solving the mystery of my grandparents['] rose garden!' This reference to past events creates what the literary critics call an 'impression of depth.'[paragraph break]'But of course!' I say, smiling my self-satisfied Poirot smile." Instead of talking to Ada Waverly, say "'How are your grandparents, by the way?' I ask. Ada lowers her head.[paragraph break]'They perished in the utmost destitution,' she says.[paragraph break]'Alas,' I say." Accusation text of Ada Waverly is "'My dear Ada,' I begin, 'I regret deeply what happened to your grandparents. But this does not excuse your deed.'[paragraph break]Little Ada's eyes, they are like saucers. She disbelieves that I have divined the truth so easily [--] but I have.[paragraph break]'The investment tips given by Daisy Armstrong to your grandparents, they were, as you say in America, the duds, [italic type]non? [roman type]But your grandparents believed so much in them! They invested all they could afford, every sou, until they had nothing left.'[paragraph break]Ada gnashes her teeth. 'They perished in the utmost destitution! People like Daisy don't deserve to walk this earth!'[paragraph break]'And you have made sure of that, by murdering her, by stabbing her over and over again. But you have not done justice, Ada. What you have done is, instead, a cause for justice to be done upon you [--] that is to say, you have done a crime.'[paragraph break]She lowers her head. The [italic type]gendarmes[roman type] click the handcuffs around her little wrists. She is led out of the Hagia Sofia, into the streets of Istanbul [--] toward the waiting gallows." Part 7 - Hagia Sofia (Roof) R30 is up from R29. Printed name of R30 is "Hagia [one of]Sophia[or]Sofia[purely at random] (Roof)". Description of R30 is "What a view! I feel as though I am the King of Istanbul![paragraph break]There is a large lever here." Guide text of R30 is "'When visiting the roof of the Hagia [one of]Sophia[or]Sofia[purely at random], take a look at the minaret immediately to the east. This minaret was the site of an infamous crime, some three hundred years ago...' Ah, but it is not the crime to which Poirot turns his attention today! Do not attempt to distract me, travel guide!" The minaret is scenery in R30. Description of the minaret is "It is only a minaret, and its history is not so interesting. We may disregard the travel guide's opinion on this particular point." The view is scenery in R30. understand "city" and "istanbul" and "street" and "streets" and "market" and "markets" and "immeuble" and "atelier" and "roof" and "hagia" and "sofia" and "sophia" as the view. Description of the view is "The roof of the great Hagia So[one of]ph[or]f[purely at random]ia is for me a very floor, and all the great city is spread out beneath me. Every street and market, every [i]immeuble[/i] and [i]atelier[/i] is unveiled to my incisive gaze. In this moment, I understand Istanbul better than anyone on the planet." One lever is in R30. Book 4 - Vienna Part 1 - Canals of Vienna R31 is a room. Printed name of R31 is "Canals of Vienna". Description of R31 is "No other city has the tragic beauty of Vienna. Her canals whisper to the ear a thousand years of melancholy history.[paragraph break][vienna text]" Vienna text is initially "But the great Hercule Poirot is unfamiliar with these particular canals, and I know not where to explore next, unless I am merely to return to the Orient Express. Perhaps this gondolier will be my guide." Guide text of R31 is "'The canals of Vienna were dug by Alexander the Great in the earliest days of what we now call civilization.'" After reading a command: if player is in R31 and the player's command matches the text "venice", case insensitively: say "[italic type]Hein ? [roman type]I pray you, do not distract Poirot with trivialities."; reject the player's command. Some canals are scenery in R31. Understand "street" and "streets" and "of vienna" and "vienna" and "venice" and "canal" as the canals. Description of the canals is "In Vienna, there are no streets as such. All transportation is mediated by canal; instead of taxicab-drivers, there are gondoliers. It is a quaint enough arrangement; I do not think it would find much success in my native France." The gondola is an open unopenable scenery container in R31. Description of the gondola is "Ah, the gondolas of Vienna! Before this adventure I was quite content to admire their romance in the abstract. In person, I find myself somewhat worried that I should fall into a canal." After examining the gondola: place clue at gondola saying "But it is fortuitous that I should give this one a closer look, for I find there is a clue waiting within!" The vi-train station is an entrance in R31. Printed name of the vi-train station is "train station". Understand "train" and "orient" and "express" as the vi-train station. Description of the vi-train station is "Have no fear, reader; the Orient Express will wait at the great train station of Vienna until I am ready to depart." The vi-train station envelops R6. To update vienna: now vienna text is "We may visit the Casino Greco, or the offices of Sigmund Freud; or we may venture into the infamous Prison of Vienna. When we are done here, we need only return to the train station, where the Orient Express awaits."; now the Casino Greco is in R31; now the Freud office is in R31; now the prison is in R31; The Casino Greco is an entrance. The Casino Greco envelops R32. Description of the Casino Greco is "I imagine there are numerous clues to be found in this apparently famous 'Casino Greco' [--] but how famous can it really be, if Hercule Poirot has not heard of it?" The Freud office is an entrance. The Freud office envelops R34. Understand "Sigmund" and "sigmund's" and "freud's" and "offices" as the Freud office. Description of the Freud office is "I would do well to avail myself of the famous Doctor Freud's expertise as I endeavor to untangle this inexplicable and reprehensible murder." The prison is an entrance. The prison envelops R35. Understand "prison of vienna" as the prison. Description of the prison is "Perhaps a clue may be found at the infamous prison of Vienna [--] perhaps we shall find our murderer already behind bars! What a convenience this would be." Chapter 1 - Gondolier the gondolier is a scenery man in R31. Understand "dear" and "friend" as the gondolier. Description of the gondolier is "Gondoliers and their picturesque hats are synonymous with the romance of Vienna. This one seems friendly enough [--] but appearances are always deceiving." Instead of talking to the gondolier the first time: update vienna; say "'My good man,' I say. 'Might you direct a poor Frenchman to those [italic type]quartiers[roman type] of Vienna in which a despicable crime might be investigated?'[paragraph break]'Only too happy!' chirps the gondolier. 'There's the Prison of Vienna, first off; plenty of crime and related paraphernalia there. And there's the Casino Greco [--] [']course, gambling ain't so much a crime as it is a sin, but they's two related concepts. And you'd be a d[--]ned fool of an investigator if you didn't take the time to visit the offices of Sigmund Freud!'[paragraph break]I thank the gentleman for his assistances." Instead of talking to the gondolier, say "'Thanks again, Poirot!' says the gondolier. But I did not tell him my name... and I did not do anything for which he has cause to thank me." Accusation text of the gondolier is "I snap my fingers, and the [italic type]gendarmes[roman type] arrest the villainous gondolier.[paragraph break]'But why did you do it? Why cut down beautiful Daisy Armstrong in the prime of her life?'[paragraph break]'A high society fellow like you wouldn't understand,' he mutters contemptuously. 'I did it on a dare, see?'[paragraph break]'A dare!' I cross myself.[paragraph break]'A gondolier dare,' he spits. 'Told you you wouldn't understand.'[paragraph break]I turn my back upon this brutish enigma. 'Take him away,' I say, and it is done. The case, she is solved." Part 2 - Casino Greco R32 is a room. Printed name of R32 is "Casino Greco". Description of R32 is "A most pleasant coincidence has placed my dear friend the heiress Ernestine Grant at the Casino Greco in Vienna just when I happen to be visiting! The two of us may try our hands at baccarat, or roulette, or craps[if the massive staircase is visible].[paragraph break]A massive staircase leads into a basement of some sort[end if]." Guide text of R32 is "'The casinos of Vienna are famed for their luxuriousness.' Ah, yes [--] just like the Orient Express!" The baccarat table is scenery in R32. Description of the baccarat table is "The baccarat dealer has a [i]shoe,[/i] which is a thingy with cards in it, and a [i]pallet,[/i] which is a wooden paddle used for moving cards around. It is a most agreeable game." Instead of switching on the baccarat table, say "If it pleases you, reader, my friend Ernestine and I shall play a bit of baccarat. We shall place bets back and forth, looking at cards, flipping cards over, waving to the dealer for more cards, on and on. Oh, it is thrilling. This is the height of opulence." The shoe is scenery in R32. Description of the shoe is "The shoe is where they keep the cards, but of course." Instead of taking the shoe, say "The shoe belongs to the casino, [i]mon ami ! [/i]Poirot is not a thief!" After examining the shoe: place clue at noun saying "But in this shoe there is a clue!" The pallet is scenery in R32. Description of the pallet is "It is rather like an oar [--] well, not really." Instead of taking the pallet, say "This pallet, she is not mine to take." The craps table is scenery in R32. Understand "Die" and "dice" as the craps table. Description of the craps table is "Alas, the game of craps always reminds me of the crime of murder [--] for it is a game of dice, and the noun 'die,' which in this context refers to a single gambling piece, is spelled and pronounced just like the verb 'die,' meaning to pass out of the world of the living [--] and this reminds me of the crime of murder which it is my sad duty always to investigate and solve and bring to justice." Instead of switching on the craps table, say "I will stand by my dear friend Ernestine's side as she plays at craps, but I am only being polite. This game, she does not please me." The roulette table is scenery in R32. Understand "ball" and "numbers" and "wheel" as the roulette table. Description of the roulette table is "Ah, the little ball, the little numbers! Roulette is the perfect game of gambling for a mind such as Poirot's, which can calculate every angle and trajectory the wheel can produce, and predict [i]exactement[/i] where the little ball will land." instead of switching on the roulette table, say "[i]Mais oui. [/i]I shall bet on whatever number you suggest, dear reader." The roulette table has a list of numbers called the current combination. The roulette table has a list of numbers called the true combination. The true combination of the roulette table is {2, 29, 88}. Incorrect betting is an action applying to nothing. Understand "bet on" and "bet" as incorrect betting. Instead of incorrect betting: if the roulette table is visible: say "You must bet on a specific number, [i]mon ami ![/i]"; else: say "This is not a place to do the betting!" Text betting is an action applying to one topic. Understand "bet [text]" and "bet on [text]" as text betting. Instead of text betting: if the roulette table is visible: say "You must bet on a number, [i]mon ami ![/i]"; else: say "This is not a place to do the betting!" Betting on is an action applying to one number. Understand "bet on [a number]" and "bet [a number]" as betting on. Instead of betting on: if the roulette table is not visible: say "There is nothing here on which to bet!"; else if the number understood is less than 0: say "The roulette wheel does not have negative numbers on it!"; else if the number understood is greater than 99: say "The numbers of the roulette wheel go up only to 99!"; else: truncate the current combination of the roulette table to the last 2 entries; add the number understood to the current combination of the roulette table; if the massive staircase is offstage and the current combination of the roulette table is the true combination of the roulette table: if the massive staircase is visible: say "[i]Enfin,[/i] I bet upon the number [the number understood].[paragraph break]The wheel spins; the little ball, she lands just where I expect.[paragraph break]But this time, nothing else happens."; else: say "[i]Enfin,[/i] I bet upon the number [the number understood].[paragraph break]The wheel spins; the little ball, she lands just where I expect.[paragraph break]The casino shudders. The floor begins to move beneath our feet [--] and a massive staircase is revealed, leading into the humid depths of Vienna."; now the massive staircase is in R32; now R33 is mapped below R32; now R32 is mapped above R33; else: say "[one of][i]Alors ! [/i][or]So! [or]Certainly! [or][i]Certainement! [/i][or][at random]I bet upon the number [the number understood].[paragraph break]I win, of course. Poirot always wins!" The massive staircase is an entrance. The massive staircase envelops R33. Description of the massive staircase is "Who would have thought that the Casino Greco was like an immense safe, and that by betting upon each roulette number in turn I was in effect turning the dial of the safe until it was at last unlocked, that I might descend into its dark interior and bring to light all her secrets?" Chapter 1 - Dealer the dealer is a scenery man in R32. Understand "staff" and "dealers" and "unassuming" and "little" and "tuxedo" and "nameless" and "member" and "baccarat dealer" and "croupier" and "casino staff" as the dealer. Description of the dealer is "The dealer is an unassuming little man in a tuxedo. To Poirot he is of minimal interest." Instead of talking to the dealer the first time, say "Hello says Poirot to the little man, and hello he says back to me [--] this is a wasting of our time! A murderer runs free in these moments!" Instead of talking to the dealer, say "Dear reader, I implore you! Type no more commands of interaction with this nameless staff member!" Accusation text of the dealer is "In desperation, I turn to the dealer. 'I have traveled all the Orient in search of a murderer, and have found nothing,' I shamefully admit. 'Can you possibly be the guilty party?' I ask. 'Please?'[paragraph break]'Certainly,' says the dealer. 'We of the Casino Greco aim to meet our guests['] every need.'[paragraph break]'Thank you,' says Poirot. Then I have the dealer clapped in irons and dragged to the Prison of Vienna. The case, she is solved." Chapter 2 - Ernestine Grant Ernestine Grant is a scenery woman in R32. Understand "dear" and "friend" and "doctor" and "herr" and "doktor" as Ernestine Grant. Description of Ernestine Grant is "Across America and Europe, even in the Orient, the heiress Ernestine Grant is infamous for her extravagant lifestyle and numerous [italic type]affaires de cœur[roman type]. Only I, her dear friend Hercule Poirot, know that her flightiness and irresponsibility are a mask beneath which quivers the innocent soul of a frightened little girl. I am to her a loving father figure, standing in place of her biological father (the heartless industrialist Maximilian Gargantuous Grant)." Instead of talking to Ernestine Grant the first time, say "'My dear Ernestine!'[paragraph break]'Poirot!' I am swept up in the slender arms of the beautiful heiress. 'What brings you to Vienna, you silly little man?'[paragraph break]With an impish smile I spread my hands so innocently. 'What else but Fate, my dear?'[paragraph break]Her aspect darkens. She clasps my hand. She speaks to me in a voice barely above a whisper: 'You must not speak that word here, Poirot. The Casino Greco is ruled by Luck [--] jovial, capricious Luck, who gives with one hand and takes with the other. But Fate, who is always cruel, takes with both hands. It is Fate who made me who I am [--] made me [--][paragraph break]She chokes and falls on my shoulder and sobs and I pat her back until she recovers herself and resumes her characteristic [italic type]insouciance[roman type]." Instead of talking to Ernestine Grant, say "'What shall we bet on, Poirot?' Ernestine laughs. 'Who says money can't buy happiness? Aren't we very happy now, spending our money so recklessly?' She laughs some more. 'Life is beautiful!'" Accusation text of Ernestine Grant is "'Alas,' I say. 'my dear Ernestine, I must place you under arrest.'[paragraph break]Her eyes are wide [--] not in disbelief, but in dismay. 'Poirot, you must understand [--] it wasn't what you think!'[paragraph break]'[italic type]Au contraire, ma belle fille[roman type]. It is exactly what I think. The beloved actress Daisy Armstrong despised you [--] despised your wealth (little knowing that you despise your own wealth as much as you despise yourself!) and so she endeavoured to murder you. Thus in self-defense did you stab her, disposing of her body in the most obvious, [italic type]ergo[roman type] the most confounding place: her compartment aboard the famous Orient Express. The deed done, you returned to [italic type]your[roman type] most obvious place, this Gomorrah of wealthy privilege which sees fit to call itself the Casino Greco! But you forgot one thing, Ernestine. Whilst your self-loathing is equal to the loathing in which Daisy held you, so too is my love for you neither greater than nor less than the love I felt for the Daisy Armstrong whom you killed![paragraph break]'However,' I continue, 'it is not the case that I arrest you for murder, for your plea of self-defense is what learned men call a mitigating circumstance. For this reason, I arrest you only on the charge of manslaughter, which I am sure your expensive lawyers will find no difficulty in circumventing.'[paragraph break]With an expression of the prettiest remorse is Ernestine Grant carried away. I stand alone in the exact center of the casino floor. All around me are dice and cards, symbols of chaos [--] but I, Hercule Poirot, represent law and order." Part 3 - Da Vinci's Laboratory R33 is a room. Printed name of R33 is "Da Vinci's Laboratory". Description of R33 is "[one of][i]Quelle surprise ! [/i][or][stopping]Beneath the Casino Greco is hidden the laboratory of the great genius Leonardo Da Vinci! Here is his flying machine, his lens-grinding equipment, his large iron lever, his autobiographical manuscript. All is lit in eerie blue-green by the bulbous windows of glass, through which the underneath of the canals of Vienna may be seen." Guide text of R33 is "'Leonardo Da Vinci was born in Naples in 1302.' This is all the travel guide has to say about Da Vinci's secret laboratory beneath the canals of Vienna." The flying machine is scenery in R33. Understand "helicopter" as the flying machine. Description of the flying machine is "I certainly shall go for a fly in this fourteenth-century helicopter after my current case is solved (or immediately before, if the culprit seeks to escape by air and I am forced to commandeer this flying machine in order to give pursuit)." Instead of entering the flying machine, say "Alas, I cannot begin my helicopter journey at just this moment." The lens-grinding equipment is scenery in R33. Understand "lens" and "lenses" and "grinding" and "grinders" and "grinder" and "optical" and "rigamarole" as the lens-grinding equipment. Description of the lens-grinding equipment is "All sorts of lenses and grinders and optical rigamarole are to be found in this laboratory; it would be the work of an age to search through all of it." Understand "search through [something]" as searching. Instead of searching the lens-grinding equipment the first time: say "I suppose it is my duty to search as best I can. [paragraph break]"; place clue at noun saying "How about that! Underneath this lens, there was a clue!"; now description of the lens-grinding equipment is "The optical rigamarole has thoroughly been searched." Instead of searching the lens-grinding equipment, say "I already have done that searching." One lever is in R33. The autobiographical manuscript is scenery in R33. Understand "autobiography" and "book" as the autobiographical manuscript. Description of the autobiographical manuscript is "Alas, the manuscript is written in code! I cannot decipher it. Oh, well. I shall have to content myself with unraveling [i]every single other mystery I ever come into contact with in my entire life[/i]." Some bulbous windows are scenery in R33. Understand "window" and "glass" and "underneath" and "Canal" and "canals" and "vienna" and "venice" and "water" and "fish" and "gondola" and "gondolas" and "oar" and "oars" as the bulbous windows. Description of the bulbous windows is "Da Vinci must have blown these huge windows himself in order to give his secret laboratory a view of the canals from below [--] all the little fish, and the undersides of gondolas, and the oars that with the gondolas are associated. [i]C'est magnifique ! [/i]I am in awe." Part 4 - Sigmund Freud's Office R34 is a room. Printed name of R34 is "Sigmund Freud's Office". Description of R34 is "It is my honor to stand in the presence of the great Doctor Sigmund Freud, to breathe the air of his distinguished office. Look, here is his famous cigar box! And here is his famous watch." Guide text of R34 is "'In his monograph [i]de la Grammatologie,[/i] Freud proposes a distinction between [']simulacrum['] (a form of signification) and [']simulacron['] (a related notion).'" The cigar box is a closed openable scenery container in R34. Understand "cigars" and "case" as the cigar box. Description of the cigar box is "Ah, to stand face to face with Sigmund Freud's own cigar box! I wish I had my [i]caméra[/i]." Before opening the cigar box the first time: place clue at noun. The watch is scenery in R34. Instead of examining the watch: say "Freud notices my interest in his watch. 'I use it in my hypnosis therapy,' he says. 'Would you care for a demonstration?'[paragraph break]'I apologize, [i]Herr Doktor,[/i] but I doubt sincerely that you could hypnotize the great genius Hercule Poirot.'[paragraph break]'Perhaps, perhaps not. Shall I give it a try?' [paragraph break]Shall he? >"; if player consents: say "Sigmund Freud swings his famous gold watch in front of my face. The rhythm is so relaxing. I feel the diamond-like focus of my brain dissolving.[paragraph break]'You are having a dream,' Freud says. 'You are dreaming that you are far away...'[paragraph break]"; let M be a random visited non-R34 room; now player is in M; increment sleep-layers; else: say "'Some other time, perhaps,' I say, although I am certain there will be no other time." Definition: a room is non-R34 if it is not R34. Sleep-layers is initially 0. Instead of waking up: if sleep-layers is greater than 0: say "With a flash, I wake up!"; decrement sleep-layers; now player is in R34; say "'But this is fantastic!' I cry. 'I dreamt so vividly! What magic is this?'[paragraph break]'There is nothing of magic about it at all,' Freud insists. 'Merely the mechanical operations of the world's least-well-understood computer: the human brain.'"; else: say "My dear friend, I am quite awake." Chapter 1 - Sigmund Freud Sigmund Freud is a scenery man in R34. Understand "dear" and "friend" and "doctor" and "herr" and "doktor" as Sigmund Freud. Description of Sigmund Freud is "The illustrious and bearded Sigmund Freud, inventor of psychoanalysis! All of we who investigate crimes owe his genius a debt of gratitude." Instead of talking to Sigmund Freud the first time, say "Sigmund Freud shakes my hand with unfeigned gratitude. 'What a pleasure to meet the famous genius Hercule Poirot! I am a great admirer of your work.'[paragraph break]'And I of yours! We two geniuses have much to talk about concerning the mind of Man and the nature of evil.'" Instead of talking to Sigmund Freud, say "'The mind of Man is steered by two instincts,' Freud explains. 'On the one hand is Eros, the life-instinct, the love-instinct. On the other hand is Thanatos, the death-instinct. This is from where derives the human capacity for evil and for crime, from Poe's [']imp of the perverse['] [--] an innate impulse which seeks destruction, even the destruction of itself. At least, that is my theory.' He puffs on his cigar.[paragraph break]I nod in appreciation. 'For myself,' I say, 'I have always believed that the impulse toward evil is a signal transmitted into our brains by a shape-shifting robot from Mercury that hides itself at the center of Mount Everest.'[paragraph break]Freud nods to me in return. 'These are different ways, I think, of saying the same thing.'" Accusation text of Sigmund Freud is "'It is a great tragedy,' I pronounce, 'that the most brilliant minds are so often turned to the darkest purposes.'[paragraph break]Freud sees my aim at once. From his pocket he produces a little pistol [--] with the tip of my umbrella, I knock the weapon out of his hand.[paragraph break]'Always the scientist!' I exclaim. 'To you, Daisy Armstrong was nothing more than a sick experiment.'[paragraph break]'There is nothing sick about scientific investigation, Poirot! You must see [--] I did this for the good of humanity!'[paragraph break]'I see before me only a demon! A fallen angel who thought to usurp divine authority. It is not the place of Man to play God, [italic type]Herr Doktor! [roman type]But this is what you have done. And it is for this you must be punished.'[paragraph break]Sigmund Freud shakes his head. 'This is very fine speech, for one who sees himself to be judge, jury, and executioner. Or don't you see, Poirot? Yours is the brilliant mind turned to evil [--] you are the one who plays at being God!'[paragraph break]'I play at nothing, Doctor. The offices of judge, jury, and executioner belong to the state. I serve a higher authority, whose name is Justice.'[paragraph break]Sigmund Freud falls to his knees, uttering a wail of defeat. I tower over him [--] I, the diminutive Hercule Poirot! I step forward, and my shadow envelops him completely, and I say unto Sigmund Freud: 'May I have mercy on your soul.'" Part 5 - Prison of Vienna R35 is a room. Printed name of R35 is "Prison of Vienna". Description of R35 is "How pleasant that the warden of the prison of Vienna is my dear friend Jimmy Faulkener! But the prison itself is not pleasant at all. All around are little gray cells, each the home of another vile criminal. Just from the spot where Jimmy and I stand, I can see cell number 1, cell number 2, cell number 3, cell number 4..." Guide text of R35 is "'To murder is to kill a human body, but to imprison is to murder the human spirit.'" cell number 1 is scenery in R35. Understand "one" and "cells" and "criminal" and "disgusting" and "little" and "gray" and "grey" as cell number 1. Description of cell number 1 is "In cell number 1 is a disgusting criminal." Instead of talking to cell number 1, say "I have nothing to say to this disgusting degenerate!" Instead of accusing cell number 1, say "Accuse a man who already is in jail! Ha ha ha ha! Good one, reader." cell number 2 is scenery in R35. Understand "two" and "cells" and "criminal" and "hateful" and "little" and "gray" and "grey" as cell number 2. Description of cell number 2 is "In cell number 2 is a hateful criminal." Instead of talking to cell number 2, say "I have nothing to say to this hateful hooligan!" Instead of accusing cell number 2, say "Accuse a man who already is in jail! Hee hee hee hee! Good one, reader." cell number 3 is scenery in R35. Understand "three" and "cells" and "criminal" and "repugnant" and "little" and "gray" and "grey" as cell number 3. Description of cell number 3 is "In cell number 3 is a repugnant criminal." Instead of talking to cell number 3, say "I have nothing to say to this repugnant reprobate!" Instead of accusing cell number 3, say "Accuse a man who already is in jail! What a stupid idea." cell number 4 is an entrance in R35. Understand "four" and "cells" and "criminal" and "abhorrent" and "little" and "gray" and "grey" and "hole" and "tunnel" as cell number 4. Description of cell number 4 is "In cell number 4 is... a hole! A tunnel! An abhorrent criminal has escaped![if R36 is not visited][paragraph break]It is up to Poirot to pursue this villain.[end if]". Cell number 4 envelops R36. Chapter 1 - Jimmy Faulkener Jimmy Faulkener is a scenery man in R35. Understand "dear" and "friend" and "warden" as Jimmy Faulkener. Description of Jimmy Faulkener is "Warm indeed are my memories of first meeting Jimmy Faulkener in his native England. He is a great man [--] an intelligent man, with a wit that sparkles like the forested streams in which he executed his beloved fly-fishing. Ah, but what brings a man like Jimmy Faulkener to Vienna, and why should he become warden of a prison there? We are like unto pieces upon a chessboard, as Borges said, and the Hand that moves us from square to square does so according to reasons which we cannot know. Still, I cannot help remarking on the incongruity of Jimmy's appearance here [--] which is not to say I find the surprise unsettling or suspicious. I merely remark upon that which is remarkable, and to this remark no value-judgment is attached." Instead of talking to Jimmy Faulkener the first time: say "'My dear Jimmy!' I say, spreading my arms wide for an embrace of friendship.[paragraph break]'Oh! Hello, Poirot,' says Jimmy Faulkener. He does not embrace Poirot. [paragraph break]"; place clue at location saying "Then he snaps his fingers. 'I remember now! I found this [--] you might find it interesting.' He points to a clue on the floor."; Instead of talking to Jimmy Faulkener, say "'I'm a bit busy,' Jimmy says. But of course." Accusation text of Jimmy Faulkener is "I raise my finger, pointing. 'You, Jimmy Faulkener! You, whom I thought so bright a beacon of righteousness in this world of crime and violence, are the murderer whom I have sought all these hours!' He opens his mouth to deny it.[paragraph break]'Do not deny it! The facts are as clear as glass, though you have attempted with such craft to muddy the waters.' I move my hands in a motion that matches this metaphor. 'Who else would seek to murder Daisy Armstrong but the warden from whose prison she managed this remarkable escape? In a blind rage did you track her to the Orient Express [--] and, having cornered her upon that celebrated and luxurious train, you did not attempt to return her to custody, but instead stabbed her unto death.'[paragraph break]Jimmy cannot deny what is obviously true. In silence, he takes the great ring of keys that denotes the office of a prison warden. Wordlessly he opens the door to the nearest unoccupied cell. Entering, he pulls the heavy door closed behind him, uttering not a sound. He sits upon the cold prison cot. Whether he ever leaves that cell will be for the Viennese authorities to decide." Part 6 - Filthy Tunnel R36 is a room. Printed name of R36 is "Filthy Tunnel". Description of R36 is "Alas, the odious muck of the tunnel is getting all over my clothes! I, Poirot, who so much detest the dirt and the mess, am smeared with the slime of criminal wrongdoing![paragraph break]But if I go a little further [if R37 is not visited]down, I will reach the end of the tunnel[else]up, I will return to the prison[end if]." Guide text of R36 is "'Nothing is revealed.'" The slime is scenery in R36. Understand "muck" and "mud" and "ooze" and "filth" and "filthy" and "tunnel" as the slime. Description of the slime is "This grimy slime is the perfect symbol for crime. Even the words, they rhyme!" Instead of going up in R36, try going outside. Part 7 - Filthy Canal R37 is down from R36. Printed name of R37 is "Filthy Canal". Description of R37 is "The bottom of the tunnel opens upon the foulest canal in all of Vienna. The muck of Viennese pollution, I am up to my ankles in it. [one of]Alas! [or][stopping]The escaped prisoner, he is escaped indeed. Nobody is here but a wretched canal urchin.[paragraph break]A woven basket is floating by on the river of slime." Guide text of R37 is "'You will never capture that escaped prisoner.' Alas, it is true." The filthy tunnel is scenery in R37. Understand "filth" and "prison" and "end" as the filthy tunnel. Description of the filthy tunnel is "This filthy tunnel is, alas, the only means by which I may return to the prison." Instead of searching the filthy tunnel, say "The tunnel leads up into the prison of Vienna, as we have previously seen." Instead of entering the filthy tunnel, try going up. Instead of going inside in R37, try going up. The muck is scenery in R37. Understand "slime" and "mud" and "ooze" and "filth" and "pollution" and "river" as the muck. Description of the muck is "My stomach shudders to contemplate such hideousness." Instead of searching the muck, try examining the noun. After examining the muck: place clue at noun saying "But it is well that I have forced this contemplation upon myself, for [i]voilà ! [/i]I have found a clue![paragraph break]But why is 'voilà' not rendered in italics? This must be some shortcoming of Monsieur Veeder's computer code." The woven basket is an open unopenable scenery container in R37. Understand "floating" as the woven basket. Description of the woven basket is "A basket woven by the rustic weaver-women of Vienna. It is a true tragedy that such lovely workwomanship is consigned to such sickening surroundings." Instead of taking the woven basket, say "I cannot rescue this basket; floating in this disgusting canal has utterly ruined it." The steel key is in the woven basket. Description of the steel key is "To my expert detective brain, this key is utterly unremarkable." The steel key unlocks the windowless cabin. Chapter 1 - Canal Urchin the canal urchin is a scenery man in R37. Understand "wretched" and "boy" and "dirty" and "filthy" and "Lawrence" and "Cavendish" as the canal urchin. Description of the canal urchin is "This dirty little boy is beneath suspicion. It would make no sense for him to be revealed as the murderer. It would be like Agatha Christie is saying that homeless children are evil." Instead of talking to the canal urchin the first time, say "'Which way did the escaped prisoner go?' I demand, but of course the canal urchin has seen nothing." Instead of talking to the canal urchin, say "There's no point talking any more to this innocent and unhelpful child." Accusation text of the canal urchin is "'Yes!' The urchin sneers at me. 'All along, it was me! The murderer!'[paragraph break]'Of course,' I say. 'And you are not a tragic orphan of the canals at all, but the criminal mastermind Lawrence Cavendish.' As I reveal this he is already removing the false nose and limb-binding prostheses that permitted him to appear as a child to the untrained eye.[paragraph break]'A case solved too late, Poirot! Though you know who brutally murdered Daisy Armstrong, you are no closer to understanding why [--] or to capturing me!' From beneath the filth he reveals a makeshift raft and makes to board it, effecting his getaway.[paragraph break]'Ah, but the reason is simple: You are a criminal. You must commit crimes, or else cease to exist!' This revelation stings in Lawrence Cavendish's ear, for it is the truth. 'And, to your second point, I think you will find yourself captured soon enough.'[paragraph break]Indeed, the police boats have already arrived. I have thought of everything. In vain has Lawrence Cavendish attempted to convince you, reader, that homeless children are evil. The truth is unveiled at last: What is truly evil in the world is [i]criminals[/i]." Book 5 - Marrakesh Part 1 - Streets of Marrakesh R38 is a room. Printed name of R38 is "Streets of Marrakesh". Description of R38 is "I have arrived in the city of Marrakesh [--] solemn, dour, unpersonable Marrakesh. Even so great a personage as Hercule Poirot feels utterly alone in so unfriendly a city.[paragraph break]Most doors in this city are closed to me, but I know of a saloon where I may find some sliver of companionship. Soon, though, I must leave Marrakesh, either via the famed steamer [i]Luxor[/i] or aboard the famous Orient Express." Guide text of R38 is "'The name [']Marrakesh['] is etymologically unrelated to [']America,['] and any apparent similarities between the two are entirely coincidental.'" The grim city of Marrakesh is scenery in R38. Understand "street" and "streets" and "unfriendly" and "door" and "doors" as the grim city of Marrakesh. Description of the grim city of Marrakesh is "Alas! No-one in Marrakesh loves poor Poirot." Instead of entering the grim city of Marrakesh, say "There is nowhere in Marrakesh for Poirot to go, except the saloon or the port or the train station." The ma-train station is an entrance in R38. Printed name of the ma-train station is "train station". Understand "train" and "orient" and "express" as the ma-train station. Description of the ma-train station is "Have no fear, reader; the Orient Express will wait at the great train station of Marrakesh until I am ready to depart." The ma-train station envelops R10. The saloon is an entrance in R38. Understand "bar" as the saloon. Description of the saloon is "Dear reader, imagine that every window in Marrakesh is dark, except for the windows of this saloon. And the train station, and the famed steamer [i]Luxor[/i]." The saloon envelops R39. The dock is an entrance in R38. Understand "famed" and "steamer" and "luxor" and "pier" and "steamer" and "steamship" and "ship" and "steamboat" and "boat" and "steam" and "port" as the dock. The dock envelops R41. Description of the dock is "The famed steamer [i]Luxor[/i] awaits at the dock. [unless player encloses the steamer ticket]If only I had a ticket[else]And fortunately, I have a ticket[end if]!" Before entering the dock: unless player encloses the steamer ticket: say "The dock turns me away. Pfah! And for what reason? Because Poirot does not carry a ticket for the famed steamer [i]Luxor[/i]. Well! I shall procure a ticket, somehow." instead; else: say "I present my ticket, and I am welcomed aboard... [paragraph break]" Part 2 - Saloon R39 is a room. Printed name of R39 is "Saloon". Description of R39 is "This drinking-hole is as nameless as poor Hercule Poirot finds himself in the inhospitable city of Marrakesh. And yet who do I find here but my dear friend Valentine Chantry! She works behind the bar while the proprietor is out of Marrakesh on holiday.[paragraph break]At the far end of the bar is an ominous door." Guide text of R39 is "'Ask the nun in Calais about the password.'" The bar is a scenery supporter in R39. Description of the bar is "Behind the bar are bottles of alcoholic preparations, of course: green bottles, brown bottles, clear bottles..." Some green bottles are scenery in R39. Understand "bottle" and "wine" as the green bottles. Description of the green bottles is "The green bottles I think contain wine." Some brown bottles are scenery in R39. Understand "bottle" and "whisky" and "whiskey" as the brown bottles. Description of the brown bottles is "The brown bottles I think contain whisky, that muse of the great male authors: Steinbeck, King, Davenport, McCall Smith." After examining the brown bottles: place clue at brown bottles saying "I ask Valentine to give me one of the brown bottles. She places it on the bar before me.[paragraph break]I pour the liquor out onto the floor! This shocks my dear friend at first, but in the next moment she sees the aim of my actions. After all of the vile liquid has exited the bottle, one last thing flops out onto the floor [--] a clue.[paragraph break]Shaking her head at my brilliance, Valentine takes the bottle away and begins cleaning up." Some clear bottles are scenery in R39. Understand "bottle" and "vodka" as the clear bottles. Description of the clear bottles is "The clear bottles I think contain vodka." Instead of drinking something scenery in R39, say "I am not thirsty (except for justice/the truth)." The ominous door is an entrance in R39. The ominous door envelops R40. Description of the ominous door is "What goes on in the back room of this nameless saloon in Marrakesh?[if R40 is visited] Apparently, it is the meeting hall of a Bolshevik terrorist cell.[end if]" To decide whether collecting passwords: if the command prompt is "'What's the password?' >", yes; no. After reading a command when collecting passwords: if the player's command matches the text "bandana dan", case insensitively: say "[line break]'Ah! Come in, friend!' The door slowly opens, and Poirot steps through."; try entering the ominous door; else: say "[line break]'Hmph!' says the voice behind the door. It does not open."; now the command prompt is ">"; reject the player's command Before entering the ominous door: unless collecting passwords or R40 is visited: say "I grasp the handle of the door. A voice comes from within:[paragraph break]"; now command prompt is "'What's the password?' >" instead; Chapter 1 - Valentine Chantry Valentine Chantry is a scenery woman in R39. Understand "dear" and "friend" and "bartender" and "prostitute" and "lady of the evening" as Valentine Chantry. Description of Valentine Chantry is "Poirot is no fool. He knows that Mlle Chantry is a prostitute of the highest class. But a gentleman does not put things in such terms in polite conversation. One employs circumlocution. One says 'lady of the evening' and so on." Instead of talking to Valentine Chantry the first time, say "'Ah, my dear Valentine! So much sweeter than any liquor is the face of a friend in a city where one is despised! Favor me with another smile, and you rescue me from the depths of utter misery.'[paragraph break]'Poirot, you charmer. What reason has Marrakesh to despise a man of your water?'[paragraph break]'Alas,' I say. 'I do not know.'" Instead of talking to Valentine Chantry, say "'I work behind the bar while the proprietor is out of Marrakesh on holiday,' Valentine explains. I nod. Everything is fitting together." Accusation text of Valentine Chantry is "'My dear Valentine.' I begin my accusation with an innocent question. 'Have you heard the theory that all twins, having identical personalities and identical destinies, understand themselves on an instinctual level to be fundamentally redundant to each other, and so each twin of a pair necessarily seeks to destroy the other?'[paragraph break]'I confess I have not,' Valentine Chantry says. Her teeth are so white.[paragraph break]'The reasoning is sound,' I say, 'and it is very similar reasoning that led you to murder the beloved actress Daisy Armstrong. For, although you are not her twin, nonetheless do the two of you bear a startling resemblance. Your lamentably human brain could not bear the knowledge that there was another of you in the world [--] the [italic type]doppelgänger[roman type], as is said in the German. The conclusion was inescapable. You had to kill her.'[paragraph break]'Precisely,' Valentine says. 'I was simply ridding the world of an inefficiency.' She is so crazy as to think that this makes sense.[paragraph break]'And perhaps this newly efficient world will thank you,' I say, 'but I think rather that it will condemn what you have done as a heinous crime, and send you to the hangman's noose.'[paragraph break]'I suppose we shall see,' says Valentine Chantry, dutifully polishing a glass with a handkerchief.[paragraph break]'I suppose we shall,' I say, and the last word is Poirot's." Part 3 - Meeting Hall R40 is a room. Printed name of R40 is "Meeting Hall". Description of R40 is "Bolsheviks! The secret room behind the saloon is full of Marxist terrorists, planning their next bloody attack upon the capitalist system. It would take all the [i]gendarmes[/i] in Marrakesh to foil their plot [--] and I, alas, am only one Poirot![paragraph break]The leader of the Bolsheviks is my dear friend Douglas Gold." Guide text of R40 is "'All art is political.'" Some Bolsheviks are a scenery man in R40. Understand "bolshevik" and "marxist" and "marxists" and "terrorist" and "terrorists" as the Bolsheviks. Instead of talking to the Bolsheviks, say "The only Bolshevik who will talk to me is my dear friend Douglas Gold. The others seem to see me as some sort of[one of] [--] [i]comment dit-ons? [/i][--][or][stopping] interloper." Description of the Bolsheviks is "The Bolsheviks are crowded around a map upon a table, fretting over the details of their heinous scheme." Before accusing the Bolsheviks, say "I cannot accuse all the Bolsheviks at once! I must point the finger at their mastermind." instead. The map is scenery in R40. Understand "table" and "Scheme" and "plan" and "plot" as the map. Description of the map is "Alas, I cannot edge my way in to see the details of their scheme!" After examining the map: place clue at map saying "All I can glean from the table is a single clue." Chapter 1 - Douglas Gold [reason is communism] Douglas Gold is a scenery man in R40. Understand "dear" and "friend" and "communist" and "mastermind" and "leader" as Douglas Gold. Description of Douglas Gold is "I cannot say I am surprised to learn that my dear friend Douglas Gold is the leader of a terrorist Bolshevik cell hiding itself in a saloon in Marrakesh. Poirot is never surprised." Instead of talking to Douglas Gold the first time, say "'Well-named are you, my dear friend Douglas Gold, for indeed the good communist has [italic type]dug less gold[roman type] than has his capitalist brother!'[paragraph break]When he recovers from paroxysms of laughter, Douglas claps his hand upon my back. 'It is good to see you, Poirot! Have you come to join our merry band of terrorists?'[paragraph break]I pinch my lips together and shake my head in a very restrained and fussy manner." Instead of talking to Douglas Gold, say "'I hope I can depend on your discretion, Poirot,' says Douglas.[paragraph break]'But of course! Of all people, you, Douglas, my dear friend [--] you know I never report anything to the police.'[paragraph break]This sits well with Douglas, and an increment of anxiety passes from his brow." Accusation text of Douglas Gold is "'I place you under arrest, Douglas, for the murder of Daisy Armstrong.'[paragraph break]The other Bolsheviks draw their revolvers, but Douglas raises his hand, wordlessly ordering them not to shoot me, but instead to allow me to go about my duty as brilliant detective.[paragraph break]'I will go willingly,' he says, 'though I know I face the hangman's noose. I did murder Daisy Armstrong [--] for the Marxist cause! Don't you see, Poirot? When you execute me, I will become a martyr, radicalizing hundreds more Bolsheviks!'[paragraph break]'I see indeed,' I say, 'for I am secretly a Bolshevik sympathizer myself. I merely play a part in the brilliant, some would say Borgesian, drama you have engineered. Daisy's death was necessary for economic history to take its proper course [--] as is yours.'[paragraph break]I march the murderer out of the saloon, as all of his soldiers applaud our performance." Part 4 - Steamboat Luxor R41 is a room. Printed name of R41 is "Famed Steamer Luxor". Every turn while player is in R38: now the dock is in R38. Every turn while player is in R42: now the dock is in R42. Every turn while player is in R41: if the dock is in R42: say "The steamboat is now arriving in Marrakesh."; now the dock is in R38; remove dist-Casablanca from play; now dist-Marrakesh is in R41; else: say "The steamboat is now arriving in Casablanca."; now the dock is in R42; remove dist-Marrakesh from play; now dist-Casablanca is in R41; Dist-Marrakesh is a distant scenery thing. Printed name of dist-Marrakesh is "Marrakesh". Understand "Marrakesh" as dist-marrakesh. Description of Dist-Marrakesh is "I shall be able to see Marrakesh more easily when I am not aboard the famed steamer [i]Luxor[/i]." Instead of entering dist-Marrakesh, try exiting. Dist-Casablanca is a distant scenery thing. Printed name of dist-Casablanca is "Casablanca". Understand "Casablanca" as dist-Casablanca. Description of Dist-Casablanca is "I shall be able to see Casablanca more easily when I am not aboard the famed steamer [i]Luxor[/i]." Instead of entering dist-Casablanca, try exiting. Description of R41 is "The famed steamer [i]Luxor[/i] possesses every convenience, all the amenities of the finest hotel. Only the most tasteful of decorations are mounted on the bulkheads. I feel almost as though I am aboard the Orient Express! And look, my dear friend Colonel Clapperton happens to be here as well![paragraph break]The waters of the Nile glide by so lazily [--] but Poirot cannot drop his guard. The murderer must be found." Guide text of R41 is "'It is 1935. All the world agrees in pronouncing that steamboats are fascinating [--] yet only a year from now, steamboat mania will have given way to a worldwide obsession with zeppelins. The people of 1936 will consider our current love of steamboats to be impossibly asinine. Those future people don't understand how wonderful steamboats are. Poor fools. What can we do to rectify their ignorance?'" The Luxor is scenery in R41. Understand "steamer" and "steamship" and "steamboat" and "boat" and "ship" and "famed" as the Luxor. Printed name of the Luxor is "[i]Luxor[/i]". Description of the Luxor is "She is a magnificent beast!" Some amenities are scenery in R41. Understand "amenity" and "convenience" and "conveniences" as the amenities. Description of the amenities is "Ah, how can I begin to give even a single example of the fine amenities offered by the [i]Luxor[/i]? Better that I not whet your desire, reader, lest you cease playing Monsieur Veeder's fine game and undertake to board the famed steamer yourself." Some decorations are scenery in R41. Understand "decoration" and "bulkhead" and "bulkheads" as the decorations. Description of the decorations is "For example, mounted on this bulkhead over here there is an alligator skull." The alligator skull is scenery in R41. Understand "bone" and "jaw" and "jaws" and "tooth" and "teeth" as the alligator skull. Description of the alligator skull is "Does a mounted alligator skull not sound like a classy decoration to you, reader? You have a lot to learn." After examining the alligator skull: place clue at noun saying "As I focus my attention on the skull, a clue falls from between its jaws." The Nile is scenery in R41. Understand "river" and "water" and "waters" as the Nile. Description of the Nile is "The Nile is the greatest river in the world. How appropriate, then, that the greatest steamboat in the world should choose this river on which to transport the greatest detective in the world? Everything that happens to me is perfect [--] yet, alas, I also must investigate and solve many murder crimes, and very often I discover that the perpetrator of the heinous deed is a dear friend of mine, who must be consigned to the hangman's noose or electric chair or gas chamber or firing squad. Unless I take justice into my own hands, and decide not to report the heinous crime to the appropriate authorities, in which case the enormity of my own deed weighs on me for the rest of my life, and I become jaded and despondent [--] but I must disguise these feelings, for what use is a joyless, cynical Poirot to the world? What could that contribute? No, I go on wearing the mask of the jovial gentleman-detective (in this hypothetical scenario), healing the wounds of the world while keeping my own carefully hidden. Such a hero is Poirot." Chapter 1 - Colonel Clapperton Colonel Clapperton is a scenery man in R41. Understand "dear" and "friend" and "old" and "wheelchair" and "man" as Colonel Clapperton. Description of Colonel Clapperton is "After a lifetime of adventure and heroic escapades, the Colonel has become an old man, bound in wheelchair and frail of bone. What light remains in his eye looks back upon these memories, and not into the future, which for him holds nothing." Instead of talking to Colonel Clapperton the first time, say "'My dear Colonel!' I greet him with a stiff bow rather than risk crushing his brittle hand in mine. 'I see I shall not want for pleasant company aboard the famed steamer [italic type]Luxor[roman type].'[paragraph break]'Nor I, old friend,' Clapperton says with a feeble smile. 'Nor I.'" Instead of talking to Colonel Clapperton, say "'Under what circumstances do you suppose a passenger aboard the famous Orient Express would come to have a ticket for this steamer hidden in a hatband?' I ask the Colonel, as his decades of experience must surely provide some insight.[paragraph break]But my question, it causes him to shudder. 'Do not speak to me of lovely young women wearing hats!' he groans. 'I am far too old for such flights of fancy.'" Accusation text of Colonel Clapperton is "'You have lived much of life, and for very long, my dear Colonel.' I shake my head. 'But never is any life without regrets, [italic type]non? [roman type]For there is one thing you never did [--] and regretted never having done [--] until you did it at precisely one o'clock this morning, when all the Orient Express was asleep. You killed a defenseless young woman.'[paragraph break]'No one can judge me who has not lived as I have,' Clapperton mutters. His logic is impeccable. 'I face the hangman's noose with a clear conscience.'[paragraph break]'Indeed,' I tell him. 'But you face it nonetheless.'[paragraph break]There is nothing left to say, and so in silence we wait for the steamer to take us to the nearest prison." Part 5 - Streets of Casablanca R42 is a room. Printed name of R42 is "Streets of Casablanca". Description of R42 is "Casablanca is a dark, gloomy city, crushed between the grips of utter silence [--] except for the occasional scream in the night. The one safe haven I know of is a fez shop owned by a dear friend of mine.[paragraph break]Beyond the southern outskirts stand the immortal pyramids. To return to Marrakesh and the Orient Express, I must first reboard the famed steamer [i]Luxor[/i]." Guide text of R42 is "'Foreigners do not last long in Casablanca.'" Casablanca is scenery in R42. Understand "city" and "streets" and "dark" and "gloomy" and "silence" and "scream" and "night" and "screams" as Casablanca. Description of Casablanca is "I mustn't tarry long in these darkened alleys." Instead of listening to Casablanca: say "There is that sound again! Another scream. Another murder, no doubt. [paragraph break]"; place clue at noun saying "Pursuing the source of the sound leads me to a clue!" Instead of listening to R42, try listening to Casablanca. After examining Casablanca, place clue at noun saying "Ah, but I have done well to tarry as long as I have [--] for here is a clue!" The fez-shop is an entrance in R42. Understand "fez" and "shop" as the fez-shop. Description of the fez-shop is "The building in which can be found my friend's fez shop is itself shaped like a big fez!" The fez-shop envelops R43. Printed name of the fez-shop is "fez shop". Some distant pyramids are scenery in R42. Understand "pyramid" and "outskirt" and "southern" and "outskirts" as the distant pyramids. Description of the distant pyramids is "To see the pyramids, I must depart Casablanca to the south." Instead of entering the distant pyramids, try going south. Part 6 - Fez Shop R43 is a room. Printed name of R43 is "Fez Shop". Description of R43 is "Ah, Poirot finds himself in so bright and cheery a fez shop, her walls decorated with such colorful tiles [--] a stark contrast to the dark and murderous streets of Casablanca without. Of course the proprietress is my dear friend Adeline Clapperton." Guide text of R43 is "'The tiled walls of Adeline Clapperton's fez shop conceal a secret compartment.'" The fez is a wearable thing in R43. "Look, there is a fez for sale here! I wonder if it is the right size for my massive skull, in which is hidden the most powerful brain in the universe?" Understand "hat" as the fez. Description of the fez is "This is indeed a handsome fez." After taking the fez the first time, say "To my dear friend Adeline Clapperton I pay the handsome sum of 450 rubles, and she presents me with my very own fez." Instead of buying the fez, try taking the noun. After wearing the fez the first time, say "I put it upon my head. Oh, it fits! Happy day! Happy, happy! Happy!" The tiled wall is a closed openable scenery container in R43. Understand "tile" and "colorful" and "tiles" and "secret" and "compartment" and "walls" as the tiled wall. Description of the tiled wall is "One could spend many hours gawking at so many lovely painted tiles. Of course, I mean one other than myself [--] one not shackled to so many dire responsibilities." Instead of searching the closed tiled wall, try examining the noun. Before opening the tiled wall the first time: place clue at noun. After opening the tiled wall the first time, say "The location of the secret compartment is no secret to Poirot, nor is the method by which it is opened. Click! That is the sound of a puzzle being solved with no effort at all. The compartment, she opens herself to me, and inside I see: [a list of things in the tiled wall]." Chapter 1 - Adeline Clapperton [possessed by past life, spiritualism] Adeline Clapperton is a scenery woman in R43. Understand "dear" and "friend" and "proprietress" as Adeline Clapperton. Description of Adeline Clapperton is "Ah, but dear reader! Already you know that Adeline Clapperton is the proprietress of a fez shop in Casablanca. Does this not tell you all you need to know to imagine every detail of her face and dress?" Instead of talking to Adeline Clapperton the first time, say "'My dear Adeline! How much of being it a pleasure is, at my seeing you, happening upon me!'[paragraph break]'Poirot, you old charmer! What brings you to Casablanca?'[paragraph break]'I am wandering the earth solving mysteries!' I explain." Instead of talking to Adeline Clapperton, say "'How goes the fez business of Casablanca?' I ask.[paragraph break]'Better than you'd think!' she says, forgetting to whom she is speaking. 'The Casablancians always need more fezzes.'" Accusation text of Adeline Clapperton is "'On this next question I must ask that you think very carefully before answering, Adeline. Everything depends on this detail. Did you, at Madame Anapest's [i]séance[/i], keep your eyes completely closed during the entirety of the table-turning exercise?'[paragraph break]Not knowing what she fears, but full of fear,* Adeline shakes her head meekly. 'I opened my eyes for just an instant [--] only to be sure that Darius wasn't touching the table!'[paragraph break]'It is as I suspected. In that instant in which you opened your eyes, the spirit of Helen Halverson entered into your body. It was her will that compelled you to enter the train-compartment of the beloved actress Daisy Armstrong, and it was under her influence that you committed so foul an act of murder.'[paragraph break]'But [--] but then it wasn't my fault! Don't you see? I can't face the hangman's noose for something that Helen Halverson's ghost forced me to do!'[paragraph break]'So flimsy an argument will avail you nothing, Adeline! Already you have admitted to opening your eyes despite Madame Anapest's explicit instruction. At the moment you gave yourself over to the heathen spirit world, you waived all legal defense. It is the hangman's noose for you, my dear friend.'[paragraph break]She sinks to the floor. All hope is lost. But justice has been done.[paragraph break]*[italic type]King John[/i], Act 4, scene 2[roman type]" Part 7 - Pyramids R44 is south from R42. Printed name of R44 is "Pyramids". Description of R44 is "The great pyramids of Khufu and Giza defy the very laws of nature. They are immortal. They are perfect.[paragraph break]EXITS: NORTH[if the secret tomb passage is visible] INSIDE[end if][paragraph break]I can see my dear friend Pamela Lyall here." Guide text of R44 is "'All the world agrees in pronouncing that the pyramids are incredible [--] no one would dream of suggesting that they be demolished [--] and yet if you tried to build a bunch of new pyramids today, nobody would take you seriously. They'd call you an idiot. Or a monster! What gives?'" [chain of examining to get pyramid entrance, clue in sphinx] The great pyramid of Khufu is scenery in R44. Understand "pyramids" as the great pyramid of Khufu. Description of the great pyramid of Khufu is "The great pyramid of Khufu has four sides [--] the northeast side, the southeast side, the southwest side, and the northwest side." The northeast side is part of the great pyramid of Khufu. Understand "ne" as the northeast side. Description of the northeast side is "Alas, the rocks of the northeast side have been picked clean by souvenir-seekers." The southeast side is part of the great pyramid of Khufu. Understand "se" as the southeast side. Description of the southeast side is "The southeast side is a pleasant place to have a picnic or simply hear oneself think." The southwest side is part of the great pyramid of Khufu. Understand "sw" as the southwest side. Description of the southwest side is "In the southwest side of the pyramid is a secret passage." The northwest side is part of the great pyramid of Khufu. Understand "nw" as the northwest side. Description of the northwest side is "The northwest side is very much like the others." Before examining the southwest side the first time: now the secret tomb passage is part of the southwest side. The secret tomb passage is an entrance. The secret tomb passage envelops R45. Instead of entering the southwest side while the secret tomb passage is visible, try entering the secret tomb passage. Instead of entering the great pyramid of Khufu while the secret tomb passage is visible, try entering the secret tomb passage. Description of the secret tomb passage is "Obviously this secret passage leads to the tomb inside the pyramid." The great pyramid of Giza is scenery in R44. Understand "pyramids" as the great pyramid of Giza. Description of the great pyramid of Giza is "It is difficult to appreciate the stoic beauty of the great pyramid of Giza when the even more stoic Sphinx stands so close by, stealing the show." The Sphinx is scenery in R44. Understand "cat" and "human" and "Face" and "paw" as the Sphinx. Description of the Sphinx is "Ah, a cat with a human face! The ancients understood well how powerful the image of a cat with a face was, and would remain for thousands of years." After examining the Sphinx: place clue at noun saying "And under its paw is a clue!" Chapter 1 - Pamela Lyell [adventuress - experimenting with poisons] Pamela Lyall is a scenery woman in R44. Understand "dear" and "friend" and "proprietress" as Pamela Lyall. Description of Pamela Lyall is "How natural that the famous adventuress Pamela Lyall should be found in the vicinity of these famous pyramids, undertaking so masculine an adventure without the oversight of any male authority figure! I can assume only that she seeks to loot the tombs of the Pharaohs and display their mummies in her London apartment. The course of feminism has taken a ghoulish turn!" Instead of talking to Pamela Lyall the first time, say "'My dear Pamela!' I begin.[paragraph break]'Now, Poirot, don't give me any of your speeches about safety or respect for the past or for local culture.' The voice of Pamela Lyall is ever so brassy [--] the reader can easily imagine. 'I aim to do some pyramidology, and I can do it just as good as any man!'[paragraph break]'On behalf of what institution do you undertake this scientific effort?'[paragraph break]'On behalf of the female institution!' And so on, in like fashion." Instead of talking to Pamela Lyall, say "The reader must understand that my dear Pamela Lyall is a brassy woman in the Katharine Hepburn-[italic type]à la[roman type]-Howard Hawks mode, and she will go on talking whether I am around to hear her or not." Accusation text of Pamela Lyall is "'Well-named are you, my dear Pamela Lyall. For indeed, [italic type]all[roman type] you have told me is [italic type]lies!' [roman type]I pronounce this triumphantly, and Pamela ceases to speak, instead quivering in fear. 'I will not insult you by listing to you any examples of your perfidy. I ask only that you save the people of the world the pain of a lengthy trial, and confess!'[paragraph break]'I did it!' she wails. 'Daisy and I were experimenting with poisons. She took one too many, and fell over dead! I only stabbed her to prevent there being an autopsy.'[paragraph break]'And so you stand guilty not only of murder, but of obstructing a police investigation. For this, you shall be fined five hundred thousand dirhams [--] but first, you shall face the hangman's noose.'[paragraph break]'The whole system was stacked against me from the start,' Pamela ruefully observes. Perhaps, Pamela. Perhaps." Part 8 - Tomb R45 is a room. Printed name of R45 is "Tomb". Description of R45 is "In such a magnificent chamber, surrounded by so much gold and turquoise, lies the decrepit mummy of an unknown king, still clutching his canopic jar." Guide text of R45 is "'Mummies are a universal feature of every culture.'" The magnificent chamber is scenery in R45. Understand "gold" and "turquoise" and "treasure" and "crypt" and "Decoration" and "decorations" as the magnificent chamber. Description of the magnificent chamber is "Every surface dazzles the eye! So much beauteous ornamentation [--] and yet, the mummy ornamented by it all is ugly in the extreme.[paragraph break]I observe that among the crypt's decorations is a large iron lever." The mummy is scenery in R45. Understand "decrepit" and "king" and "pharaoh" as the mummy. Description of the mummy is "It is an unpleasant mummy to look upon." Instead of looking under the mummy: say "As every good detective always does, I lift up the mummy and check underneath. [paragraph break]"; place clue at noun saying "There is a clue there! Well, how about that." The canopic jar is a closed openable scenery container in R45. Description of the canopic jar is "I will spare the reader an explanation of such jars and their gruesome purpose." Before opening the canopic jar the first time, place clue at noun. Instead of taking the canopic jar, say "That seems to belong to the hideous mummy." [magnificent chamber, gold and turquoise. LEVER clue in canopic jar clue under corpse] One lever is in R45. Book 6 - Calais Part 1 - Streets of Calais R46 is a room. Printed name of R46 is "Streets of Calais". Description of R46 is "Ah, my beloved homeland! How sweet is the air of one's own country! How blue the sky [--] how wet the rain![paragraph break]Enough of this emotion. I deduce that my detective work will be done best either at the [i]cathédrale[/i], at the [i]rue des avions[/i], or at the opera house. Or I may return to the train station to board again that famous luxury train known as the Orient Express.[paragraph break]A helpful taxicab driver is to be found among the streets of Calais." Guide text of R46 is "'Calais is the western terminus of the Orient Express.' Well, who does not know that?" The French environment is scenery in R46. Understand "air" and "sky" and "rain" and "blue" and "wet" and "sweet" as the French environment. Instead of doing something with the French environment, say "Yes, yes, it is beautiful. Yes!" [cathedral, rue d'avion, opera house, train station, snobby taxi driver] The cathedral is an entrance in R46. Understand "cathedrale" and "church" and "cathédrale" as the cathedral. Printed name of the cathedral is "[i]cathédrale[/i]". The cathedral envelops R47. Description of the cathedral is "A beautiful cathedral is a classic destination for the tourist! But Poirot is no tourist. First of all, I am in my native France; secondly, I am here on business (solving the murder of Daisy Armstrong (who was stabbed on the Orient Express (a famous train)))." The rue des avions is an entrance in R46. Understand "street" and "Avion" as the rue des avions. Printed name of the rue des avions is "[i]rue des avions[/i]". The rue des avions envelops R49. Description of the rue des avions is "The beautiful [i]rue des avions[/i] is the most famous of streets in all of Calais! We must visit it at once, you and I! There, one dearly hopes, we may finally find some clues to help us determine who the murderer of Daisy Armstrong is." The opera house is an entrance in R46. The opera house envelops R50. Description of the opera house is "Always it is a treat when a case brings me to the opera, that most moist and flavorsome of artistic fruits. Already Poirot's mouth waters in anticipation." The ca-train station is an entrance in R46. Printed name of the ca-train station is "train station". Understand "train" and "orient" and "express" as the ca-train station. Description of the ca-train station is "Have no fear, reader; the Orient Express will wait at the great train station of Calais until I am ready to depart." The ca-train station envelops R14. Chapter 1 - Snobby Taxi Driver [killed out of snobbery] the taxi driver is a scenery man in R46. Understand "dear" and "friend" and "taxicab" and "cab" and "neck" and "stubble" and "cigarette" and "taxi-cab" and "cabbie" and "cabby" as the taxi driver. Description of the taxi driver is "A typical taxi driver of Calais! Look, upon his neck there is the slightest hint of stubble. An element of local charm!" Instead of talking to the taxi driver the first time, say "Poirot has a reputation for stuffiness, but I am also a friend to the common man, as you shall see. 'Tell me, my dear cab driver. Where in Calais are there clues to be found?'[paragraph break]The cab driver blows cigarette smoke in my face. He must not have heard me." Instead of talking to the taxi driver, say "'I beg your pardon, [italic type]monsieur[roman type]. I meant to ask where I might seek clues in an important murder investigation.'[paragraph break]'Kiss off,' says the taxicab driver." Accusation text of the taxi driver is "I kick the taxicab driver in the stomach. He falls to the pavement. 'This is not less than what you deserve, scum, for the murder of Daisy Armstrong. Do you deny that you are the culprit?'[paragraph break]He is in no position to deny anything; he is too busy vomiting.[paragraph break]'No matter. Poirot has better evidence even than a confession. Here is the murder weapon, with your fingerprints!' I produce the knife for all to see. 'Here, too, is the wax cylinder which recorded Daisy's final moments [--] the moments of your stabbing of her.' I hold it aloft for the crowd forming around us. 'It was your own bumbling that caused you to activate the recording mechanism as you entered her compartment aboard the famous Orient Express. Though the technology is rudimentary, the jury shall hear Daisy call out your name clear enough.'[paragraph break]Now the taxicab driver is kneeling and sobbing, pulling desperately at my jacket.[paragraph break]I kick him some more. 'You will get no mercy from me, villain! I have assembled the facts [--] the logistics of your trial and execution, I will leave to the judicial system.'[paragraph break]Everybody applauds." Part 2 - Cathedrale Ste Agatha-de-Christie R47 is a room. Printed name of R47 is "Cathédrale Ste. Agatha-de-Christie". Description of R47 is "A lovely young nun[one of][or] (my dear friend Sister Margaret)[stopping] sits on a pew in meditation beneath the immense rose window of the greatest cathedral in Calais. To stand in such a solemn space is a privilege and a great boon to my mystery-solving efforts, which demand silence above all else.[paragraph break]EXITS: DOWN OUTSI[one of] [--] [i]un moment[/i] [--] do my eyes deceive me, or is this nun my dear friend Sister Margaret? Why, it is indeed! [i]Quelle heureuse coïncidence ! [/i][or]DE[stopping]" Guide text of R47 is "'The name of the [i]Cathédrale Ste. Agatha-de-Christie[/i] is a subtle nod to Agatha Christie, the author of the original novel, [i]The Murderer Aboard the Orient Express[/i].' But even the subtlest nod does not escape Poirot." The rose window is high scenery in R47. Understand "stained" and "glass" and "intricacies" and "masterpiece" and "symmetries" as the rose window. Description of the rose window is "The symmetries and intricacies of this masterpiece of stained glass are not beyond Poirot's power to understand, but understanding them would not be a good use of Poirot's energy, especially given how many murders I have to solve all the time." The pew is an enterable scenery supporter in R47. Understand "pews" and "chair" and "chairs" and "wooden" and "bench" and "benches" as the pew. Description of the pew is "Ah, I see I must explain certain things to my ignorant reader. In the Catholic church, we sit not upon chairs, but upon [i]pews[/i], which term refers to a sort of long wooden bench, not unlike such as you may see in an American bus station.[paragraph break]Under the pew is a mousetrap. How subtle a reference!" Instead of looking under the pew, say "Under the pew is a mousetrap. How subtle a reference! The reader thanks Poirot for pointing this out." The mousetrap is an open unopenable scenery container in R47. Understand "mouse" and "trap" as the mousetrap. Description of the mousetrap is "I wish they would have put this somewhere a little more inconspicuous." After examining the mousetrap the first time: place clue at noun saying "But look [--] a clue is caught in this mousetrap!" Chapter 1 - Sister Margaret [killed daisy for swearing ask about password, it is "bandana dan"] Sister Margaret is a scenery woman in R47. Understand "nun" and "bolshevik" and "mascara" and "wimple" and "habit" and "dear" and "Friend" as Sister Margaret. Description of Sister Margaret is "The wimple of a nun cannot disguise the youthful beauty of my dear friend Margaret! Her gorgeousness outshines the plainest of habits. One would almost believe she was wearing a subtle touch of mascara!" Instead of talking to Sister Margaret the first time, say "'I am so happy to see you, my dear Margaret!'[paragraph break]'Oh, Poirot!' She kisses me on both cheeks. 'Bless you coming to visit my humble self!'[paragraph break]'I fear I have not come on a friendly visit,' I say, and I explain all about the gruesome murder and so on." Instead of talking to Sister Margaret, say "'I will pray that you find the murderer soon,' says Margaret, 'or that he will turn himself over to the authorities and save you the trouble of extracting from him a confession.'[paragraph break]'Either way is fine,' I say." Accusation text of Sister Margaret is "'How dare you sit and smile so sweetly in this holy place!' I bellow. 'You should fall to your knees and beg forgiveness for what you have done!' I speak, of course, of the murder of Daisy Armstrong.[paragraph break]'You know nothing!' my dear friend Margaret shrieks. 'In killing Daisy I carried out God's justice. The dirty things she said [--] the crime of acting [--] her shirtfront, always askew [--] her jaw always clicking! Such deeds must be punished, Poirot. As I shall punish you now!' She pulls a huge knife out of her habit and leaps toward me.[paragraph break]I leap out of the way. She leaps for me again [--] but I Ieap even faster! Now we are leaping back and forth across the [italic type]cathédrale[roman type]. Always Poirot is one leap ahead of the crazed nun [--] but she is undeterred. For how long can she chase me? For how long can I escape?[paragraph break]Eventually Captain Hastings comes in and knocks her out with a blackjack so we can arrest her." Understand "password" and "ominous" and "door" and "the password" and "ominous door" and "back room" and "back room password" and "saloon" and "saloon password" as "[password]". Instead of asking Sister Margaret about "[password]": say "Sister Margaret's eyes dart in a most shifty manner. 'I have put those days behind me,' she whispers. 'I am a woman of the cloth now! But I will tell you the password, and perhaps you may set things aright. It is: [']BANDANA DAN.['] Good luck!'" Part 3 - Catacomb R48 is down from R47. Printed name of R48 is "Catacomb". Description of R48 is "Bones and dust and epitaphs surround Poirot on all sides. Shadows lurk in every niche. How ghastly it all is [--] and yet, not infrequently do I encounter much more ghoulish sights in the world of daylight above![paragraph break]There is a door to the east, and I see a way upstairs." Guide text of R48 is "'The catacombs beneath the [i]Cathédrale Ste. Agatha-de-Christie[/i] date to the time of the Druids.' Aha!" The niche is an open unopenable scenery container in R48. Understand "niches" and "shadow" and "shadows" as the niche. Description of the niche is "Here, for example, is a particularly shadowy niche." Before examining the niche the first time: place clue at noun. Part 4 - Rue des Avions R49 is a room. Printed name of R49 is "Rue des Avions". Description of R49 is "In all frankness, reader, the [i]rue des avions[/i] is merely one beautiful street out of the hundreds of beautiful streets that weave themselves over the great city of Calais like the fibers of the fishnet stocking over the thigh of the beautiful can-can dancer. [i]Mais[/i] we cannot visit every one of these streets, for we visit Calais not to seek beauty, but to search for clues![paragraph break][i]Alors,[/i] what have we here? My dear friend Lady Carrington is riding her newfangled [i]vélo[/i] ([i]ça veut dire[/i], her bicycle) up and down the [i]rue[/i], past flowerbeds overbrimming with tulips and chrysanthemums. Hardly a scene in which one would expect to find the clue to a violent murder!" Guide text of R49 is "'Bicycles are stupid.'" The inner-rue des avions is scenery in R49. Understand "street" and "avion" and "rue" as the inner-rue des avions. Printed name of the inner-rue des avions is "[i]rue des avions[/i]". Description of the inner-rue des avions is "Already I have told you! My dear friend Lady Carrington is riding her newfangled [i]vélo[/i] up and down the [i]rue[/i], past flowerbeds overbrimming with tulips and chyrsanthemums!" The bicycle is scenery in R49. Understand "bike" and "velo" and "vélo" as the bicycle. Description of the bicycle is "The bicycle [if the gears are clue-found]still is making a horrible noise.[else]produces an awful clicking sound as Lady Carrington speeds by. Is something caught in the gears? Or is this brand-new invention simply untested and unsound?[end if]" Instead of searching the bicycle, try examining the gears. Instead of listening to the bicycle, say "Click click click click click! How abhorrent." Some gears are part of the bicycle. Understand "gear" and "clicking" as the gears. Description of the gears is "The workings of these bicycle gears are beneath Poirot's notice." Instead of listening to the gears, try listening to the bicycle. Instead of listening to R49, try listening to the bicycle. After examining the gears: place clue at noun saying "But aha! I note a clue caught in them! It falls conveniently to the street."; Some flowerbeds are scenery in R49. Understand "tulips" and "chrysanthemums" and "flower bed" and "flower beds" and "bed" and "beds" and "sign" and "hand-painted" and "handpainted" as the flowerbeds. Understand "flower" and "flowers" as the flowerbeds while the bouquet is not visible. Description of the flowerbeds is "A hand-painted sign is posted within the nearest flowerbed: 'PLEASE DO PICK THE FLOWERS.' Is this a mistake? [i]Une erreur ?[/i]" Instead of smelling the flowerbeds, say "[i]Oui,[/i] I can smell all the different flowers! It is heavenly. I only hope that you, reader, can imagine an aroma that is one eighth as pleasant." Instead of taking the flowerbeds: if the bouquet is offstage: now player carries the bouquet; say "Poirot must assume good faith and competence in the author of the hand-painted sign, and so he does pick the flowers. Ah, here is a lovely bouquet that now is mine. I am proud of myself!"; else: say "Already I have prepared for myself a lovely bouquet from the flowers of the flowerbeds of the [i]rue des avions. [/i]I shall not commit a sin of incontinence by preparing another." The bouquet is a thing. Understand "flower" and "flowers" as the bouquet. Description of the bouquet is "Ah, so fine a bouquet! I am a lucky man [--] and she who receives from me these flowers is a lucky woman." Instead of smelling the bouquet, say "Alas, reader, I fear you cannot imagine an aroma that is one thirty-second as pleasant as that of these sweetly fragrant flowers that I am smelling! Alas for you [--] but hurrah, hurrah, hurrah for me, Poirot!" instead of giving the bouquet to someone, say "What can Poirot gain from ceding ownership of these flowers to [the second noun]? Nothing that I cannot gain some other way. I must be judicious, and use these flowers to my maximum possible benefit." Chapter 1 - Lady Carrington [empty-headed bourgiouesie killed Daisy for trying to educate her] Lady Carrington is a scenery woman in R49. Understand "dear" and "friend" and "bourgeois" and "bourgeoise" and "empty" and "headed" and "dimwit" and "ninny" as Lady Carrington. Description of Lady Carrington is "Alas, my dear friend Lady Carrington is the paragon of the empty-headed [i]bourgeoise[/i]. I cannot even pity her, for she flaunts her ignorance as if it were the very [italic type]Croix de Guerre ! [roman type]Despite this, and despite her enthusiasm for the pestilential bicycle, and despite her many other failings which do not bear enumeration, she remains my very dear friend." Instead of talking to Lady Carrington the first time, say "'My dear Lady Carrington! How welcome a surprise to see you here, in my native France!' I extend a hand in greeting.[paragraph break]'Oh, what a treat your native France is!' she replies, not bothering to dismount her bicycle and take my hand. 'I find it utterly [italic type]enchantée !' [roman type]She spreads her arms wide, causing the bicycle to wobble worryingly." Instead of talking to Lady Carrington, say "'But, my dear friend Lady Carrington, I fear I must interrogate you regarding an abhorrent murder that has been committed aboard the Orient Express, that most famous train.'[paragraph break]'Certainly!' says Lady Carrington, but she only goes on bicycling up and down the [italic type]rue[roman type], forgetting [italic type]immédiatement[roman type] my polite request." Accusation text of Lady Carrington is "[italic type]'Arrêt-toi !' [roman type]I cry, and I push Lady Carrington off of her moving bicycle. This may seem an act of cruelty, but it is warranted by her crimes, as shall soon be demonstrated. 'Do not bother to stand,' I say, 'until the [italic type]gendarmerie[roman type] arrives and pulls you to your feet, that they may the more easily shackle your wrists. You are guilty of the murder of the beloved actress Daisy Armstrong. Admit this!'[paragraph break]Lady Carrington sits cross-legged on the cobblestones. Sarcastically she sticks out her lower lip at me [--] me, Poirot! 'I admit it,' she admits. 'I stabbed that hussy as many times as I could muster. She had the gall to try educating me [--] me, Lady Carrington! [--] about the economic injustices that undergird Western civilization and my complicity in these systems. So I stabbed her! Can you blame me?'[paragraph break]'I can do more than that, Lady Carrington. I can see that you face the hangman's noose for your deeds.'[paragraph break]'But [italic type]she's[roman type] the one who tried to educate [italic type]me!' [roman type]Lady Carrington whines. This woman doesn't understand anything at all. She is completely oblivious. We will not feel bad when she is executed." Part 5 - Opera House R50 is a room. Printed name of R50 is "Opera House Lobby". Description of R50 is "There is no performance to be given this afternoon, and the lobby is very quiet. There is no cloakroom-attendant on duty. The only souls to be seen are Poirot and his dear friend Bunny Sanders.[paragraph break]But I have a good feeling about the dressing room at the far end of the side hallway." [clue in cloakroom] Guide text of R50 is "'The institution of the opera is essential for enforcing social stratification.' See how Monsieur Veeder's adaptation grapples with such important themes! [i]Quel artiste ![/i]" The lobby is scenery in R50. Understand "opera" and "house" as the lobby. Description of the lobby is "How grandiose a lobby! Poirot whistles." The cloakroom is an open unopenable scenery container in R50. Understand "cloak" and "room" and "cloak-room" as the cloakroom. Instead of opening the cloakroom, try examining the noun. Description of the cloakroom is "There is nary a cloak to be seen! A cloak would imply an audience member, and, as has been established, there is no performance to be given as would justify the existence of an audience member!" Before examining the cloakroom the first time, place clue at noun. The side hallway is an entrance in R50. Understand "far" and "end" and "dressing" and "room" as the side hallway. The side hallway envelops R51. Description of the side hallway is "I cannot see all the way down the hallway. But I know there is a dressing room there!" Before entering the side hallway: unless player carries the opera ticket or R51 envelops the opera ticket: say "I make my way down the hallway. A man with a beard asks to see my ticket. Why should I need a ticket to skulk around backstage? The man has no answer. He shoves me back into the lobby. He sneers at me! I am at a loss for words." instead; else: say "I make my way down the hallway. I show my ticket to the bearded man without making eye contact. He can do nothing to stop me." Chapter 1 - Bunny Sanders [fangirl killed to find out what it was like] Bunny Sanders is a scenery woman in R50. Understand "dear" and "friend" and "fangirl" and "teenager" and "teen" and "ager" and "teen" and "ager" and "glasses" as Bunny Sanders. Description of Bunny Sanders is "The bespectacled teen-ager Bunny Sanders is what in the twenty-first century shall be called a 'fangirl' [--] the term shall be invented to describe young women who nurture an inordinate and self-destructive fascination for the opera. Alas! The opera is the most beautiful art form that by man has been invented; how sad that the price of this beauty is the unhealthy obsession and ultimately the lives of a few maladjusted teen-agers.[paragraph break]I must treat Bunny Sanders as my dear friend, or else risk the shattering of her delicate emotional balance and ensuing violent mental breakdown." Instead of talking to Bunny Sanders the first time, say "'Bunny, my dear friend!' I open my arms to her amicably, from a safe distance. 'It is a great pleasure to see a friendly face at last.'[paragraph break]'Have you heard?' Bunny asks. She bites her lip. I shudder inwardly. 'Yustrepa, the prima ballerina, has been murdered.'[paragraph break]'Of course she has,' I say with a sigh." Instead of talking to Bunny Sanders, say "'Do not go investigating the murder of the ballerina Yustrepa on your own,' I warn Bunny Sanders, though to warn a teen-ager against such thrilling adventure is as to warn the planets not to turn in their spheres. 'Leave the investigations to the police, and to the occasional amateur who is infinitely more intelligent than the police.'" Accusation text of Bunny Sanders is "Alas, the obvious is true. The murderer of Daisy Armstrong is the opera-obsessed teen-aged 'fangirl' [--] it could be no one else. She smiles vaguely as I manacle her hands behind her back. Her expression is one of vacant crazedness. 'Why did you do it?' I ask.[paragraph break]'I just wanted to know what it was like,' she says dreamily. I mouth the words along with her. It is all so predictable! It is all so dreadfully cynical! And yet it is all completely true." Part 6 - Dressing Room R51 is a room. Printed name of R51 is "Dressing Room". Description of R51 is "My dear friend the famous choreographer Mrs Vanderlyn stands over the murdered corpse of a ballerina[if a lever is visible] and a lever[end if]. Behind her is an anonymous bundle." Guide text of R51 is "'Everything is connected. There are no coincidences.'" The murdered ballerina corpse is scenery in R51. Understand "Body" and "cadaver" and "yustrepa" and "prima" as the murdered ballerina. Description of the murdered ballerina is "This is the body of the prima ballerina Yustrepa. But why? Poirot asks this. But why?" There is one lever. Instead of looking under the murdered ballerina the first time: say "I push the ballerina's body aside, and reveal something that was hidden underneath: an iron lever."; let M be a random offstage lever; now M is in the location. The bundle is an open unopenable scenery container in R51. Understand "anonymous" as the bundle. Description of the bundle is "This bundle has no features." Before examining the bundle the first time, place clue at noun. Chapter 1 - Mrs Vanderlyn [choreographer killed daisy to cover up murder of ballerina] Mrs Vanderlyn is a scenery woman in R51. Understand "dear" and "friend" and "choreographer" as Mrs Vanderlyn. Description of Mrs Vanderlyn is "The elderly widow Mrs Vanderlyn is renowned throughout my native France as a brilliant choreographer, though she herself has not been seen to dance since the death of her husband in the Great War (this is what we call World War I) some twenty years ago. However, the reason that she is to be found in this dressing room standing over the corpse of the prima ballerina Yustrepa remains to be seen." Instead of talking to Mrs Vanderlyn the first time, say "'My dear Mrs Vanderlyn!' I say, clasping the elderly widow's hands gently in my own. 'Pray tell, what is the meaning of this apparent repulsive murder?'[paragraph break]'I wish I could say, Poirot. I came to Yustrepa's dressing room to return a bottle of absinthe, and found her on the floor, quite dead!'[paragraph break]'Quite dead indeed,' I confirm." Instead of talking to Mrs Vanderlyn, say "'But my dear Mrs Vanderlyn,' I say, clasping the elderly widow's hands gently in my own. 'Whatever has happened to the bottle of [italic type]absinthe[roman type] which you meant to return to the murdered party, the prima ballerina Yustrepa?'[paragraph break]Mrs Vanderlyn blinks several times. 'In all the excitement,' she says, 'I've completely forgot!'[paragraph break]'How curious,' I say. I stroke my little chin." Accusation text of Mrs Vanderlyn is "'All is clear to me now, my dear Mrs Vanderlyn,' I say, clasping the widow's hands gently in my own. 'Quite clear indeed. Every step of your process has been logical.'[paragraph break]'It has?' asks my dear Mrs Vanderlyn.[paragraph break]'But of course! You have murdered the prima ballerina Yustrepa as recompense for the death upon the battlefield in the Great War of your husband. Though Yustrepa did not hail from the same nation as the enemy soldiers who effected your husband's demise, you saw both parties as part of a monolithic foreign [']other,['] in which any individual or group is interchangeable with another individual or group. [italic type]Mais[roman type] having carried out your confused and bigoted justice in this general way, you realized the [italic type]gendarmerie[roman type] would be certain to fixate upon the specific facts of Yustrepa's death and seek out whoever bludgeoned her with an [italic type]absinthe[roman type] bottle.'[paragraph break]New paragraph. 'Thus it became necessary to distract the [italic type]gendarmerie[roman type] with a crime of more urgency. But what crime's investigation could be more urgent than the murder of a prima ballerina? Only the murder of a beloved actress. Fortunately such an actress was to be found aboard that most extravagant and well-regarded of trains, the splendid Orient Express! [italic type]Ergo[roman type] you snuck aboard in the night and murdered Daisy Armstrong. And so I have solved two murders at once! The end!'" Book 7 - Constantinople Part 1 - Streets of Constantinople R52 is a room. Printed name of R52 is "Streets of Constantinople". Description of R52 is "Ah, the hustle and bustle of the streets of Constantinople! The pleasure of returning to this storied city, so dense with business and artistry and the humble scrubbing of the lowly washer-woman, is immense.[paragraph break]My dear reader, here are some locations of Constantinople the visiting of which may prove fruitful in our investigations: The Hotel Scheherazade. The racetrack. The vast desert to the southwest. Or else we may return to the train station, where the renowned Orient Express awaits." Guide text of R52 is "'The great city of Constantinople was discovered by Alexander the Great in an age long past. Though modern science and philosophy have laid bare the workings of the world, from the formation of a flock of whales to the swiftly-spinning subatomic nucleus, here in Constantinople there still remains some modicum of mystery [--] but like all secrets, the mysteries of Constantinople will cease to exist at the precise moment of their revelation. By the year 1986, human knowledge will be complete, and there will be nothing secret in the universe.'" After reading a command: if player is in R52 and the player's command matches the text "istanbul", case insensitively: say "[one of]Poirot is quite sure that he is in Constantinople. On this point, there is no cause for confusion nor grounding for argument. Do you dare to contradict the great genius Hercule Poirot? [or][stopping]Pfah!"; reject the player's command. The co-train station is an entrance in R52. Printed name of the co-train station is "train station". Understand "train" and "orient" and "express" as the co-train station. Description of the co-train station is "Have no fear, reader; the Orient Express will wait at the great train station of Istanbul until I am ready to depart." The co-train station envelops R15. Some streets of Constantinople are scenery in R52. Understand "hustle" and "bustle" and "hustle and bustle" and "business" and "artistry" and "maze" and "culture" and "commerce" as the streets of Constantinople. Description of the streets of Constantinople is "A baffling maze of culture and commerce are the streets of Constantinople [--] the greatest city in the Orient!" Instead of entering the streets of Constantinople, say "I am here already, my dear reader!" The laundry-tub is an open unopenable scenery container in R52. Understand "laundry" and "tub" as the laundry-tub. Description of the laundry-tub is "The perfect image of perfect humbleness!" Before examining the laundry-tub the first time, place clue at noun. The Hotel Scheherazade is an entrance in R52. The Hotel Scheherazade envelops R53. Description of the Hotel Scheherazade is "The finest hotel in all of Constantinople is the Scheherazade! Her Art Deco magnificence looms like a citadel of European decadence over the defenseless city." The racetrack is an entrance in R52. The racetrack envelops R55. Understand "camel" and "race" and "Track" as the racetrack. Description of the racetrack is "Tourists and native Constantinoplites alike flock to the racetrack to win and to lose, to see and be seen. Here fortunes are built [--] romances blossom [--] revolutions take their first steps [--] murders are committed [--] and the most powerful things in the world [--] IDEAS [--] are born!" The vast desert is scenery in R52. Description of the vast desert is "The desert is way over there to the southwest." Instead of entering the vast desert, try going southwest. [hotel Scheherazade, racetrack, desert] [clue in laundry of lowly washer-woman] Chapter 1 - Lowly Washer-Woman The lowly washer-woman is a scenery woman in R52. Understand "scrubbing" and "washer" and "woman" as the lowly washer-woman. Description of the lowly washer-woman is "Observe the lowly washer-woman of Constantinople, scrubbing diligently in her laundry-tub. Hers is a lesson we would do well to remember." Instead of talking to the lowly washer-woman, say "Dear reader, let us not spoil the picturesque image of the lowly washer-woman by interacting with her on a human level." A man has text called the any earthly reason for murdering the beloved actress Daisy Armstrong. Before accusing the lowly washer-woman while player carries the moustache-comb: say "Of course! The reason is simple: [the any earthly reason for murdering the beloved actress Daisy Armstrong of noun]" instead. Part 2 - Hotel Scheherazade R53 is a room. Printed name of R53 is "Hotel Scheherazade". Description of R53 is "This hotel is so opulent that one may be forgiven for imagining that one stands inside the Orient Express itself! [i]Mais non. [/i]This is no train [--] it is a stationary building! And whom else do I find in its lavishly-appointed lobby but my dear friend Valerie Saintclair?[paragraph break]Observe, reader: upon a coffee-table in the lavishly-appointed lobby sits an immense book: the [i]Thousand Nights and One Night[/i], in Burton's voluptuous translation." Guide text of R53 is "'Just using the words [']luxurious['] and [']opulent['] and [']splendid['] over and over again is shoddy writing. You're supposed to supply some tangible details.' Ah, but if to write in this way it is so shoddy, how do you explain the fact that Monsieur Veeder has done it so very much?" The opulent lobby is scenery in R53. Understand "hotel" and "Scheherazade" and "building" and "lavishly" and "appointed" and "lavishly-appointed" and "tangible" and "detail" and "details" as the opulent lobby. Description of the opulent lobby is "See, all around are tangible details contributing to a sense of opulence and luxury, such as an umbrella stand! How magnificent." The umbrella stand is an open unopenable scenery container in R53. Description of the umbrella stand is "How magnificent!" Before examining the umbrella stand the first time, place clue at noun. The coffee-table is a scenery supporter in R53. Understand "coffee" and "table" as the coffee-table. Description of the coffee-table is "Even the coffee-table is luxurious." The immense book is scenery in R53. Understand "thousand" and "and" and "one" and "arabian" and "nights" and "night" and "arabian" and "burton" and "translation" and "voluptuous" as the immense book. Printed name of the immense book is "[i]Thousand Nights and One Night[/i]". Description of the immense book is "Within the [i]Arabian Nights[/i] are so many stories [--] stories within stories [--] one almost could say they stretch unto infinity! But no. They are not innumerable. The nights can be counted, from one to one thousand and one, and the contents of each night necessarily are finite. To prove this, look up a night in the book [--] Night 7, or Night 70, or Night 700 [--] and you will see that it begins and ends in the conventional manner.[if R54 is unvisited][paragraph break]Jorge Luis Borges wrote often of one night unlike the others [--] a night upon which the story of the [i]Nights[/i] contained itself (or seemed to contain itself). On that impossible night, the narrative would indeed stretch into an infinity of nested epic narratives. Which night was that, I wonder?" Instead of opening the immense book, try examining the noun. Vague numerical consulting is an action applying to one number. Understand "look up [a number]" and "look up night [a number]" as vague numerical consulting. Specific numerical consulting is an action applying to one number and one thing. Understand "look up [a number] in [something]" and "look up night [a number] in [something]" as specific numerical consulting. Instead of specific numerical consulting: if the second noun is not the immense book: say "[The second noun] [are] not something in which I can look up [the number understood]."; else: try vague numerical consulting the number understood. Check vague numerical consulting: if the immense book is not visible: say "I see nothing in which I may look that up." instead; else if the number understood is less than 1: say "There is no 'Night [the number understood]' in this book." instead; else if the number understood is greater than 1001: say "There is no 'Night [the number understood]' in this book." instead; Carry out vague numerical consulting: if the number understood is 602: say "Let us see. Night 602. Ah, yes![paragraph break]The narrative of the [i]Thousand and One Nights[/i] swallows us up."; now player is in R54; else: let mod be number of rows in Table of Nights; let residue be remainder after dividing the number understood by mod; increment residue; choose row residue in Table of Nights; say "I turn to the page of Night [the number understood]. Here is the story of [text entry]. How [one of]engrossing[or]exotic[or]thoroughly Arabian[or]magnificent[or]quaint[or]marvelous[at random]! [if R54 is unvisited][paragraph break]What was that night Borges wrote of? I recall he mentioned it near the end of 'Translators of [i]The Thousand and One Nights[/i]' (1935)[one of][or], as well as in 'When Fiction Lives in Fiction' (1939)[stopping][one of][or][or] and 'Partial Enchantments in the [i]Quixote[/i]' (1949)[stopping]." Table of Nights text "the Fisherman and the Jinni" "the Vizier and the sage Duban" "the Porter and the Three Ladies of Baghdad" "the Portress" "the Three Apples" "the Hunchback" "the Reeve" "the Jewish Doctor" "the Tailor" "the Barber" "Bukhayt the Eunuch" "Kafur the Eunuch" "the Hermits" "the Birds and the Beasts and the Carpenter" "Aziz and Azizah" "the Falcon and the Partridge" "the Mouse and the Ichneumon" "the Wolf and the Fox" "the Cat and the Crow" "the Fox and the Crow" "the Flea and the Mouse" "the Saker and the Birds" "the Sparrow and the Eagle" "the Hedgehog and the Wood Pigeons" "the Sparrow and the Peacock" "Kamar al-Zaman" "Hatim of the Tribe of Tayy" "Ma'an the Son of Zaidah" "the city of Labtayt" "the Caliph Hisham and the Arab Youth" "Isaac of Mosul" "the Mock Caliph" "Ali the Persian" "Harun al-Rashid and the Slave-Girl and the Imam Abu Yusuf" "Caliph Al-Maamun and the Strange Scholar" "Ali Shar and Zumurrud" "the Loves of Jubayr bin Umayr and the Lady Budur" "the Man Who Stole the Dish of Gold Wherein The Dog Ate" "the Sharper of Alexandria and the Chief of Police" "Al-Malik al-Nasir and the Three Chiefs of Police" "the Thief and the Shroff" "the Devout Israelite" "Abu Hassan al-Ziyadi and the Khorasan Man" "the Poor Man and His Friend in Need" "the Ruined Man Who Became Rich Again Through a Dream" "the Ebony Horse" "the Loves of the Boy and Girl at School" "Harun al-Rashid and the Two Slave-Girls" "the Caliph Harun al-Rashid and the Three Slave-Girls" "Yahya bin Khalid the Barmecide and the Poor Man" "Masrur the Eunuch and Ibn al-Karibi" "Abd al-Rahman the Maghribi's Story of the Rukh" "the Mad Lover" "Ali the Cairene and the Haunted House in Baghdad" "the Angel of Death With the Proud King and the Devout Man" "the Angel of Death and the Rich King" "Iskandar Zu al-Karnayn and a Certain Tribe of Poor Folk" "the Queen of Serpents" "the First Voyage of Sindbad the Sailor" "the Second Voyage of Sindbad the Sailor" "the Third Voyage of Sindbad the Sailor" "the Fourth Voyage of Sindbad the Sailor" "the Fifth Voyage of Sindbad the Sailor" "the Sixth Voyage of Sindbad the Sailor" "the Seventh Voyage of Sindbad the Sailor" "the elusive Thirtieth Voyage of Sindbad the Sailor" "the City of Brass" "the Drop of Honey" "the Stolen Necklace" "the Page who Feigned to Know the Speech of Birds" "the Stolen Purse" "Ibrahim of Mosul and the Devil" "King Mohammed Bin Sabaik and the Merchant Hasan" "the Two Kings and the Two Labyrinths" "the Foolish Fisherman" "the Boy and the Thieves" "the Spider and the Wind" "the Crows and the Hawk" "Ibrahim and Jamilah" "Kamar Al-Zaman and the Jeweller's Wife" Chapter 1 - Valerie Saintclair [secretly serial killer "the clasper of constantinople"] Valerie Saintclair is a scenery woman in R53. Understand "dear" and "friend" and "saintclaire" and "saint" and "clair" and "clare" and "girl" and "blonde" and "hair" and "red" and "dress" and "clasper" and "of constantinople" as Valerie Saintclair. Description of Valerie Saintclair is "Is there any name more French than 'Valerie Saintclair[quotation mark]? My equally French throat relishes every phoneme. [italic type]J'adore le dire[roman type] [--] Valerie Saintclair. [italic type]Valérie Saintclair[roman type].[paragraph break]She is a girl of twenty years with blonde hair. Her dress is red." Instead of talking to Valerie Saintclair the first time, say "'My dear Valerie!' I say. 'You are a lucky girl indeed, to find yourself ensconced in such opulent surroundings.'[paragraph break]'Luck seems to follow me everywhere,' Valerie says, shrugging with the carefreeness of youth, of a life unspoilt by manifold encounters with every single variety of human evil. 'Today it's Constantinople [--] tomorrow, who knows?'[paragraph break]'Tokyo, perhaps!' Poirot suggests. I am Poirot." Instead of talking to Valerie Saintclair, say "'To talk with you is a great pleasure,' I humbly admit. 'My sad vocation must from time to time be brightened with the innocence of blonde youth, and a palate stained by crime and punishment be cleansed by the crystalline waters of your sparkling eyes.'[paragraph break]'The pleasure is all mine,' Valerie lies, batting her eyelashes. Even this false modesty is a balm to my injured spirit." Accusation text of Valerie Saintclair is "'Alas,' I begin, 'is there truly nothing of innocence left in this world? For you, Valerie Saintclair, who I thought so pure and precious a ray of light in a landscape of so much crime and wickedness [--] you are no other than the infamous serial killer, the Clasper of Constantinople!'[paragraph break]'Indeed I am,' Valerie growls, shedding all pretense of girlish virtue. 'I kill for the fun of it! I kill because only killing makes sense to my diseased brain. In the moment of strangulation, I experience both utter lucidity and unspeakable ecstasy. When I am not strangling anyone, I am dead inside, and wear the mask of civility only for purposes of securing another opportunity to commit gruesome murder.'[paragraph break]'It is for this reason that you strangled Daisy Armstrong!' I explain.[paragraph break]'Yes,' says Valerie. 'And, since being apprehended by the police and facing the hangman's noose would curtail any further strangling on my part, I find it advantageous to strangle you as well!'[paragraph break]In the same instant, the girl's hands are around Poirot's neck. Mighty is the struggle between the two of us! But Poirot is the victor, and Valerie is cowed, and justice ensues." Part 3 - Night 602 R54 is a room. Printed name of R54 is "Night 602". Description of R54 is "Dear reader, we find ourselves within the famous palace of Shahryar, crucible of the great Book that contains all books. Yes, here it is: [i]The Book of One Thousand Nights and One Night[/i]; and the graceful hand which turns its pages is that of Scheherazade herself." Exit help of R54 is "Such a request from my dear reader! What exits have you even tried?" Guide text of R54 is "'What is it about the number 602?'" One lever is in R54. before exiting while holder of player is R54: say "With a hop and a jump, we exit the book."; now player is in R53 instead; before jumping while holder of player is R54, try exiting instead. before going while holder of player is R54, try exiting instead. before waking up while holder of player is R54, try exiting instead. The Palace of Shahryar is scenery in R54. Understand "golden" and "floor" and "floors" and "marble" and "wall" and "walls" and "starry" and "vault" and "vaults" as the Palace of Shahryar. Description of the Palace of Shahryar is "The golden floors and marble walls and starry vaults of the Palace of Shahryar are such as are glimpsed only in fairy-tales." The book itself is scenery in R54. Understand "of" and "one" and "thousand" and "nights" and "and" and "night" and "arabian" and "arabic" and "page" and "602" and "words" as the book itself. Printed name of the book itself is "[i]Book of One Thousand Nights and One Night[/i]". Description of the book itself is "The book is open to page 602. The words upon the page are in Arabic." Instead of specific numerical consulting while player is in R54, say "[i]Non, mon cher lecteur ! [/i]To search the pages of this volume would be one [i]mise en abyme[/i] too far!" Instead of vague numerical consulting while player is in R54, say "[i]Non, mon cher lecteur ! [/i]To search the pages of this volume would be one [i]mise en abyme[/i] too far!" Instead of entering the book itself, say "[i]Non, mon cher lecteur ! [/i]To hop into the inside of this volume would be one [i]mise en abyme[/i] too far!" Chapter 1 - Scheherazade [killed daisy, jealous of her beauty] Scheherazade herself is a scenery woman in R54. Understand "graceful" and "hand" and "Scheherezade" and "Shahrazad" and "Sheherazade" as Scheherazade herself. Description of Scheherazade herself is "Scheherazade is the first Storyteller, matriarch of that distinguished lineage that gave rise so many years later to Agatha Christie and finally to Monsieur Veeder. Her legendary beauty is equalled only by the infinite power of her imagination." Instead of talking to Scheherazade herself the first time, say "'It is a pleasure to make your acquaintance,' I say to Scheherazade, bowing humbly. 'I regret that my French nationality and Christian faith must make me something of an absurdity in your august Mahommedan [italic type]milieu[roman type].' [paragraph break]'Yet you are not the only thing that is out of place,' she says, nodding toward a large iron lever." Instead of talking to Scheherazade herself, say "'From where came this strange lever?' I ask.[paragraph break]Scheherazade shrugs her divine shoulders. 'It was here when I arrived, roughly six hundred nights ago.'" Accusation text of Scheherazade herself is "'I can claim no expertise in the Islamic faith,' says Poirot, 'but I believe all the religions descending from Abraham and indeed all moral systems of the Earth include in their laws an interdiction against the act of murder!'[paragraph break] Scheherazade clutches at her neck.[paragraph break]'Yes!' I continue. 'This is the crime of which I accuse you! The demon Jealousy drove you to stab unto death the beloved actress Daisy Armstrong.'[paragraph break]Now Scheherazade weeps. Her sin has found her out.[paragraph break]'But I cannot arrest you,' Poirot goes on explaining, 'for this would deprive humanity of the other three hundred and ninety-nine nights of your masterpiece, the [italic type]Book of One Thousand Nights and One Night[roman type]. Thus I must allow your crime to go unpunished. You may go on writing your great book, that it may inspire all other books, for all time.'[paragraph break]Scheherazade cannot disguise her relief. But neither can I disguise my contempt for myself. I, Poirot, the most moral of geniuses, am unable to carry out justice. My battle with Evil is over [--] and Evil has won." Part 4 - Racetrack R55 is a room. Printed name of R55 is "Racetrack". Description of R55 is "The famed camel racetrack of Constantinople is one of the great gambling venues in all the Orient. Between the stands and the betting window are men in constant motion, their fortunes changing in every instant. Among them is my dear friend Ronnie Oglander.[paragraph break]And below is the track itself, where race the mighty camels!" Guide text of R55 is "'Among the most intelligent of terrestrial mammals is the camel. These [']ships of the desert['] possess highly developed emotions, and take passive-aggressive pleasure in being raced around in a circle for the amusement of human beings, which the camels consider to be lower creatures deserving of their pity (condescending though this pity may be).'" Some betting men are a scenery man in R55. Understand "betters" and "bettors" and "gamblers" and "hats" and "humans" as the betting men. Instead of talking to the betting men, say "The gamblers will not slow long enough to be spoken to by the great Poirot!" Description of the betting men is "So many men, and all of them wearing hats!" Before accusing the betting men, say "I cannot accuse these men of anything [--] for in Constantinople, to wager on a camel race is completely legal." instead. Some stands are scenery in R55. Understand "stand" and "seats" and "seat" and "bench" and "benches" as the stands. Description of the stands is "These are the filthy benches from which are viewed the camel races." Instead of entering the stands, say "I would rather not." Instead of betting on while player is in R55: say "Apparently it is too late for Poirot to place a bet (or they deny this privilege to out-of-towners, or the [i]garçon[/i] at the betting window hates Frenchmen [--] it matters not to Poirot)." Instead of incorrect betting while player is in R55: say "Apparently it is too late for Poirot to place a bet (or they deny this privilege to out-of-towners, or the [i]garçon[/i] at the betting window hates Frenchmen [--] it matters not to Poirot)." Instead of text betting while player is in R55: say "Apparently it is too late for Poirot to place a bet (or they deny this privilege to out-of-towners, or the [i]garçon[/i] at the betting window hates Frenchmen [--] it matters not to Poirot)." The betting window is an open unopenable scenery container in R55. Understand "teller" and "tellers" as the betting window. Instead of talking to the betting window, try examining the noun. Description of the betting window is "The tellers of this window perform the many complex operations involved in facilitating the wagers upon the races, a subject in which Poirot has little or no interest." Instead of accusing the betting window, say "What? You ask Poirot to accuse the tellers of the betting window of the camel racetrack of Constantinople? Be serious." After examining the betting window the first time, place clue at noun saying "But one of the tellers says to Poirot: 'Monsieur! This was left for you here!' Whatever could it be? What else but a clue." The track is scenery in R55. Understand "race" and "races" and "camel" and "camels" and "racetrack" and "action" as the track. Printed name of the track is "racetrack". Description of the track is "Would you look at them go! What a thrill [--] even for one such as I, who have bet nothing upon the race's outcome. Despite my crystalline rationality, even Poirot is caught up in the action!" Instead of doing something other than examining with the track, say "I will stay up here with the humans." Chapter 1 - Ronnie Oglander [gives casino tip (use in vienna). killed daisy when she wouldn't include him in will] Ronnie Oglander is a scenery man in R55. Understand "dear" and "friend" and "ronald" as Ronnie Oglander. Description of Ronnie Oglander is "Gambling is only one of my dear friend Ronnie Oglander's many vices. To paint a fuller picture of his iniquity would alienate him from the reader, who would go on to wonder: 'Why should the virtuous Poirot count such an odious specimen among his dear friends?' So I will say no more." Instead of talking to Ronnie Oglander the first time, say "'I have a system for these things,' Ronnie confides in me, after we have executed the requisite formalities. 'I'll share it with you, Poirot, since I want you to be just as rich as I am. Listen carefully! First, bet on two.'[paragraph break]'Two,' I repeat, burning the number into my seemingly infinite memory.[paragraph break]'Then, bet on twenty-nine,' says Ronnie.[paragraph break]'Twenty-nine,' say I.[paragraph break]'And finally, bet on eighty-eight. You got that?'[paragraph break]'Of course I have it,' I tell him. 'I am a genius.'" Instead of talking to Ronnie Oglander, say "'Remember my winning strategy,' says Ronnie Oglander. 'Always bet on 2, then 29, then 88.' He says this for your benefit, not for mine." Accusation text of Ronnie Oglander is "'My dear Ronnie,' I ask quietly. 'Will you explain for Poirot why you murdered the beloved actress Daisy Armstrong?'[paragraph break]He shakes his head. 'A bit of a muddle, that was. See, I wanted the girl to include me in her will. She wouldn't do it. Well, not being able to convince her got me so angry that I stabbed her! To death! Of course, that didn't have the effect I was after. And I expect there's no chance of her will being changed now, is there?'[paragraph break]'Indeed there is not,' I say innocently, before my voice crescendos in triumph: 'But you have fallen into my trap! Quite without noticing, you have admitted to the crime of murder that I have wandered all the Orient investigating! If you would kindly give yourself up to the [italic type]gendarmes,[roman type]' I say; indeed, the police arrive even as I pronounce this.[paragraph break]'Blimey!' says Ronnie Oglander. 'That there was quite the trick!'" Part 5 - Desert R56 is southwest from R52. Printed name of R56 is "Desert". Description of R56 is "The desert is uniformly featureless." Guide text of R56 is "'The experience of being lost cannot be reclaimed once you find your way. Relish it while you can.'[if R57 is visited] Alas! Too late!" The featureless desert is scenery in R56. Understand "sand" and "sands" as the featureless desert. Description of the featureless desert is "To give this desert any description would be disingenuous." desert-list is a list of directions that varies. desert-list is initially { }. correct-list is initially {southeast, southwest, northwest, northeast, south}. A direction can be compassly. North is compassly. Northeast is compassly. East is compassly. Southeast is compassly. South is compassly. Southwest is compassly. West is compassly. Northwest is compassly. Before going while player is in R56: say "I trudge in [if the noun is not compassly]even this unlikely[else]that[end if] direction. [paragraph break]"; add the noun to desert-list; if desert-list is correct-list: say "At last I arrive at something new! [paragraph break]"; wait for any key; now player is in R57; now desert-list is { }; else if number of entries in desert-list is 5: say "And where do I find myself? [paragraph break]"; wait for any key; now player is in R52; now desert-list is { }; stop the action. Part 6 - Dig Site R57 is a room. Printed name of R57 is "Dig Site". Description of R57 is "How fortuitous that I should find an archaeological dig in the middle of the Constantinople desert! And how much more fortuitous that the archaeologist on duty should be my dear friend Joanna Farley!" before exiting while holder of player is R57: say "I depart from the dig site and enter again the trackless deserts surrounding Constantinople."; now player is in R56 instead; before going while holder of player is R57, try exiting instead. Exit help of R57 is "To walk in any direction is to leave this dig site and surrender myself to the merciless desert." [hieroglyphs in pit. clue in potsherds.] Guide text of R57 is "'Preliminary findings indicate that this site dates to 4600 BC.' Astonishing!" The dig site is scenery in R57. Understand "archaeological" as the dig site. Instead of entering the dig site, say "I am [one of]hear already. I mean here. A[or]here a[stopping]lready." Description of the dig site is "[one of]This excavation, so close to the city of Nineveh, closely resembles the archaeological site of the husband of the famed author Agatha Christie, in traveling from which she rode aboard the Orient Express and was inspired to write the very novel that Monsieur Veeder so expertly here adapts! Monsieur Veeder must have included the dig site here as a metatextual reference to this real Christie history [--] it is the only explanation.[paragraph break]But wait! I have heard rumors of another 2026 IFComp entry concerning an archaeological dig in the vicinity of Nineveh. Monsieur Veeder must have included this dig site in his masterful adaptation as a clever reference to that other game. It is the only explanation.[paragraph break]Anyway. [or][stopping]Undoubtedly the layman's primary interest shall be in the zodiacal hieroglyphs carved upon the ancient sandstone walls. However, a true archaeologist or true genius knows that there is much more to be learned from piles of seemingly meaningless potsherds." Some hieroglyphs are scenery in R57. Understand "hieroglyph" and "zodiacal" and "zoological" and "animal" and "animals" and "ancient" and "sandstone" and "wall" and "walls" and "carved" and "carving" and "inscription" and "inscriptions" and "carvings" and "carven" as the hieroglyphs. Before examining the hieroglyphs the first time, set up crime combo. Description of the hieroglyphs is "Upon the carven walls is a motif of animals marching in a row [--] the same sequence, over and over again: [crime code]. Poirot commits this vital information to his prodigious memory." Some potsherds are an open unopenable scenery container in R57. Understand "pile" and "piles" and "pot" and "sherd" and "sherds" and "shard" and "shards" and "seemingly" and "meaningless" and "bits" and "broken" and "pottery" as the potsherds. Description of the potsherds is "The significance that Poirot is instantaneously able to glean from these potsherds is of a sort not easily communicable to an uninitiated non-genius." After examining the potsherds the first time, place clue at noun saying "However, among so many bits of broken pottery is something the reader will have no trouble understanding: a clue." [before examining the hieroglyphs, set up crime combo. when displaying hieroglyphs, say crime code.] Chapter 1 - Joanna Farley [archaeologist killed daisy by accident, believing her to be 1000-year-old mummy] Joanna Farley is a scenery woman in R57. Understand "dear" and "friend" and "archaeologist" and "archeologist" as Joanna Farley. Description of Joanna Farley is "A female archaeologist, in 1935? Why not? Do you mean to accuse Poirot of the discrimination? [italic type]Perhaps the prejudice is yours, reader[roman type] [--] after all, you are the one who asked the question in the first place! Pfah!" Instead of talking to Joanna Farley the first time, say "'My dear Joanna!'[paragraph break]'Poirot! You've come at just the right moment!' Mlle Farley pushes me toward the sandstone walls, carved with images of marching animals. 'What do you suppose this all means?' she asks.[paragraph break]I shrug. 'Surely the professional archaeologist knows better than does the humble Poirot?'[paragraph break]'You'd think,' says Joanna, 'but this time around I'm completely stumped.'" Instead of talking to Joanna Farley, say "I pat Joanna several times upon the head. 'I am sure you shall deduce the hieroglyphs['] meaning before long,' I say. She endures my avuncular patronizing in admirable fashion." Accusation text of Joanna Farley is "'We are quite alone,' I tell Joanna. 'It is better if you admit everything to me now. I know that you are the murderer [--] the murderer of the beloved actress! Daisy Armstrong is her name! Aboard the famous train!'[paragraph break]Immediately she begins to weep. 'Oh, Poirot! You cannot know how this has weighed on me! I didn't mean to kill her. The way she was moving [--] her voice [--] I thought she was [--]'[paragraph break]Her voice falters. 'Say it,' I command.[paragraph break]'I thought she was a mummy, come for revenge! I've done horrible things to mummies, Poirot [--] ghastly things...'[paragraph break]'But none of them so ghastly as what you have done to an alive person, Joanna Farley. For a corpse is dead, and cannot be made deader. But the body of a person who is living [--] this is something very different. Such a body can walk, and talk, and express emotions! And this is not to be taken lightly. A living human being is special! Special, precisely because it is alive!'[paragraph break]Joanna ceases her weeping. I see that my rambling has confused her. This one time, I have made a slight miscalculation. The awkwardness shall continue for the duration of our long journey out of the desert and until we reach the police station." Book 8 - Budapest Pest timer is initially 9. Pest is initially true. To say Budapest: if pest is true: say "Budapest"; else: say "Bucharest"; decrement pest timer; if pest timer is 0: let M be a random number between 4 and 13; now pest timer is M; if pest is true: now pest is false; else: now pest is true; Part 1 - Streets of Budapest R58 is a room. Printed name of R58 is "Streets of [Budapest]". Description of R58 is "Ah, the colors and sounds and smells of [Budapest]! Is there nothing finer?[paragraph break]Though all are free to wander the streets as they please, really there is only one place to go: the famous Tower of [Budapest]. Or else I may return to the train station and the famous Orient Express." Guide text of R58 is "'[Budapest] is a historic city, forged in war.' But the article 'a,' before 'historic,' it should instead be 'an,' [italic type]n'est-ce pas ?[roman type]" The bu-train station is an entrance in R58. Printed name of the bu-train station is "train station". Understand "train" and "orient" and "express" as the bu-train station. Description of the bu-train station is "Have no fear, reader; the Orient Express will wait at the great train station of [Budapest] until I am ready to depart." The bu-train station envelops R16. The Tower is an entrance in R58. Printed name of the Tower is "Tower of [Budapest]". Understand "of budapest" and "of bucharest" and "black" and "obelisk" and "pillar" as the Tower. Description of the Tower is "A black obelisk looms over the city [--] one of the great pillars of the Orient. Is it open to visitors at this hour? At any rate, it is open to Hercule Poirot." The Tower envelops R59. Some colorful smells are scenery in R58. Understand "color" and "Colors" and "smell" and "sound" and "sounds" and "street" and "streets" and "of budapest" and "of bucharest" and "budapest" and "bucharest" as the colorful smells. Printed name of the colorful smells is "streets of [Budapest]". Description of the colorful smells is "The streets of [Budapest] are a feast for the senses, and my senses have a particularly voracious appetite." Instead of smelling the colorful smells, say "A thousand thousand spices! Oh, the pungency of it!" Instead of smelling R58, try smelling the colorful smells. Instead of listening to the colorful smells, say "A million voices, in myriad tongues! What music they make!" Instead of listening to R58, try listening to the colorful smells. Instead of entering the colorful smells, say "I am fully ensconced in [Budapest]!" Part 2 - Tower of Budapest R59 is a room. Printed name of R59 is "Tower of [Budapest]". Description of R59 is "The walls of burnished basalt [--] the fountain of black marble! What a thrill to see it all in person![paragraph break]A massive stairway ascends into the higher reaches of the Tower, but the presence of a less impressive stairway leading underground does not escape Poirot. Or I can go outside." Guide text of R59 is "'What we now call the [']ground floor['] of the Tower was constructed by Alexander the Great. Over the millennia, each ruler of [Budapest] has added another level, and most have been interred within its walls.'" Some basalt walls are scenery in R59. Understand "wall" and "burnished" and "black" and "stone" as the basalt walls. Description of the basalt walls is "The Tower is characterized inside and out by its blackness." The marble fountain is an open unopenable scenery container in R59. Understand "black" and "stone" as the marble fountain. Description of the marble fountain is "The fountain is undergoing repairs, and there is no water in it at the moment [--] alas!" Before examining the marble fountain: place clue at noun. The massive stairway is an entrance in R59. The massive stairway envelops R62. Understand "stair" and "stairs" and "staircase" and "stone" and "black" as the massive stairway. Description of the massive stairway is "Stairs of black stone lead into the heights of the Tower of [Budapest]." Instead of climbing the massive stairway, try entering the noun. Instead of taking the massive stairway, try entering the noun. The less impressive stairway is an entrance in R59. The less impressive stairway envelops R60. Understand "stair" and "stairs" and "staircase" as the less impressive stairway. Description of the less impressive stairway is "It is a side staircase used by the staff. I heard a couple of local stonemasons discussing it in a bazaar outside." Instead of climbing the less impressive stairway, try entering the noun. Instead of taking the less impressive stairway, try entering the noun. Part 3 - Storage R60 is down from R59. Printed name of R60 is "Storage". Description of R60 is "This basement is a maze of rickety shelves. Everywhere Poirot looks, he sees ancient books with cracked binding.[paragraph break]Ah, and on this wall hangs a medieval tapestry![paragraph break]EXITS: UP DOWN" Guide text of R60 is "'All the government records of [Budapest] are collected in the Tower of Budapest's basement. Eventually they will be digitized, all vital data stored on a computer drive the size of your hand, and the original books will be cut up and glued into cute scrapbooks, which will themselves eventually be digitized, and so on.'" [tapestry of number 42824] The medieval tapestry is scenery in R60. Understand "number" and "numbers" as the medieval tapestry. Description of the medieval tapestry is "The tapestry is ten feet tall, twenty feet wide. Such magnificence is no longer to be found in our artless modern world! Despite the centuries that separate us from the master weaver, his colored threads still capture Poirot's eye.[paragraph break]The subject of the tapestry is a five-digit number: 42824. Brilliant!" Instead of taking the medieval tapestry, say "The tapestry is stuck firmly to the wall." Some ancient books are scenery in R60. Understand "cracked" and "binding" and "book" and "shelf" and "shelves" and "archive" and "archives" and "storage" and "record" and "records" and "government" and "data" as the ancient books. Description of the ancient books is "It goes without saying that I would prefer to sit in this immense library and read ancient books for the next year rather than solve a repulsive murder mystery (one which is very likely to conclude with my discovering that the murderer is a dear friend of mine and being forced to send that friend to the hangman's noose). Unfortunately, things will not turn out as I would prefer.[paragraph break]I suppose nobody would miss one or two ancient books." Instead of taking the ancient books: say "I pick up a book. This one does not seem so interesting, really. [paragraph break]"; place clue at noun saying "Oh! A clue fell out!" Part 4 - Catacomb R61 is down from R60. Printed name of R61 is "Catacomb". Description of R61 is "All around me are epitaphs and dust and bones. Cobwebs hang from an unlit brazier. This is a macabre location.[paragraph break]There is a door to the west, and I see a way upstairs." Guide text of R61 is "'The catacombs within the foundations of the Tower of [Budapest] date to the time of the Druids.' This explains much." The brazier is an open unopenable scenery container in R61. Understand "cobweb" and "cobwebs" and "web" and "webs" and "unlit" as the brazier. Description of the brazier is "This brazier has remained unlit for centuries. Perhaps I am the first man to travel these tunnels since the days of the Crusades." Before examining the brazier the first time: place clue at noun. Some epitaphs are a backdrop. The epitaphs are in R61 and R48. Understand "epitaph" and "inscription" and "inscriptions" as the epitaphs. Description of the epitaphs is "The inscriptions are worn to illegibility by centuries of rubbing by inconsiderate tourists." Instead of rubbing the epitaphs, say "I will not! I am considerate." Instead of touching the epitaphs, try rubbing the noun. The dust is a backdrop. The dust is in R61 and R48. Description of the dust is "Dust! Pfah! I despise dust." Instead of rubbing the dust, say "Would that I had the time to give these catacombs a proper tidying! Alas, duty binds me to solve mysteries instead." Some bones are a backdrop. The bones are in R61 and R48. Understand "bone" and "skeleton" and "skeletons" and "skull" and "skulls" and "femur" and "femurs" as the bones. Description of the bones is "Poirot has no taste for the childish Halloween spookiness that Monsieur Veeder feels obligated to shoehorn into every one of his projects. My proximity to these piles of femurs and skulls is entirely gratuitous." The cata-door is a clue-door. The cata-door is west from R61 and east from R48. Clue threshold of the cata-door is 30. Part 5 - Office R62 is up from R59. Printed name of R62 is "Office". Description of R62 is "In this office, I see my dear friend the industrialist Ralph Walton. He has a knife in his hand. Lying before him is the dead body of rival industrialist Henry Reedburn. Nearby is a desk. Obvious exits are down (to the main level of the Tower of [Budapest]) and up (through a door)." Guide text of R62 is "'Ralph Walton and Henry Reedburn are the most influential industrialists in [Budapest]. To them the historic city is nothing more than the enormous Monopoly board upon which to fight their petty battles over power and money. Neither will rest until he has defeated the other, and it seems as if the only way for either man to achieve total victory is for him to effect complete ownership of that most famous of trains, the Orient Express.' I note that this travel guide is slightly out of date." The dead body of Henry Reedburn is scenery in R62. Understand "corpse" and "cadaver" and "rival" and "industrialist" as the dead body of Henry Reedburn. Description of the dead body of Henry Reedburn is "This body, just like that of my dear friend Daisy Armstrong, has been stabbed over and over and over again. Are the cases connected?[paragraph break]Perhaps." Instead of looking under the dead body of Henry Reedburn: say "As every good detective always does, I lift up the body and check underneath. [paragraph break]"; place clue at noun saying "There is a clue there! I had foreseen this." The desk is a scenery supporter in R62. Description of the desk is "A desk with a single drawer." The drawer is a closed openable container. The drawer is part of the desk. Description of the drawer is "A single drawer." Before opening the drawer the first time, place clue at noun. The bu-door is a clue-door. The bu-door is up from R62 and down from R63. Clue threshold of the bu-door is 40. Chapter 1 - Ralph Walton Ralph Walton is a scenery man in R62. Understand "dear" and "friend" and "industrialist" as Ralph Walton. Ralph Walton carries the bloody knife. Understand "blood" and "human" as the bloody knife. Description of the bloody knife is "Upon the knife is a quantity of human blood. From its viscosity I estimate that the stabbing took place between [one of]one[or]two[or]three[or]four[at random] and [one of]eleven[or]twelve[or]thirteen[or]fourteen[at random] hours ago." Before taking the bloody knife, say "Touch nothing! The knife is safe in the hands of my dear friend Ralph Walton." instead. Before touching the bloody knife, try taking the noun instead. Description of Ralph Walton is "The newly-minted wealthiest man in [Budapest] has a knife in his hand and a look upon his face of absolute flummoxedness. Even the richest and most powerful among us are not immune to the baffling powers of a true mystery." Instead of talking to Ralph Walton the first time, say "'My dear Ralph! How came you to be holding a knife over this grisly tableau?'[paragraph break]'It's the d[--]nedest thing, Poirot! I came upstairs to ask Henry if he'd like some toast points, and here he is on the floor. Found this knife nearby [--] do you reckon we ought to tell the authorities?'[paragraph break]'Dangerous to jump to conclusions,' I say, stroking my chin. 'Better that you should remain here, and speak to no one. I shall conduct my own investigations.'" Instead of talking to Ralph Walton, say "'You don't think I had anything to do with this, do you, Poirot?'[paragraph break][italic type]'Naturellement!' [roman type]I cry. 'My dear friend Ralph Walton is above the suspicion. And yet, precisely this truth is what makes the case so perplexing.'" Accusation text of Ralph Walton is "'Practice, so the adage tells, makes perfect. But the crime that has been made today is far from perfect. Every detail is wrong! And thus, only by surrendering myself to wrongness have I managed to arrive at being right. Ralph Walton, you killed Daisy Armstrong [--] as practice for killing Henry Reedburn.'[paragraph break]'Blast!' Ralph mutters. 'But you understand, don't you, Poirot my chum? You'll tell them why I had to do it.'[paragraph break]'Of course, my friend. Yet I think not even the genius of Poirot can rescue you from the hangman's noose. You have made one mistake too many.'[paragraph break]'Ain't that the truth,' says Ralph, kicking at the floor in dejection." Part 6 - Clockworks R63 is a room. Printed name of R63 is "Clockworks". Description of R63 is "Gears and pinions surround your beloved genius on all sides, threatening to bludgeon Poirot's skull or slice me in half. By carefully dodging the swinging pendulums and jumping from gear to gear I believe I might continue either upward or downward." Guide text of R63 is "'Among the features or [']complications['] of the Great Clock of the Tower of [Budapest] are indicators of the moon phase, exaltation of Jupiter, current Venusian time, ancient Czech time, standard and metric ecliptics, Terror Twilight (Nicene Creedence edition), and quantum hours. The courses of the most threatening comets are etched in its face (not visible from inside the clockworks), along with calculations of likely impacts.'" Instead of jumping in R63, say "Jumping is all I can do! To stand still in this nightmare of spinning gears is to abandon one's life to fate!" Some clockworks are scenery in R63. Understand "gear" and "gears" and "pinion" and "pinions" and "pendulum" and "pendulums" and "escapement" and "Escapements" and "detent" and "detents" and "wheel" and "wheels" and "great" and "weighted" and "governor" and "wheel's" and "tourbillon" and "clock" as the clockworks. Description of the clockworks is "So many gears and escapements, springs and detents! The head of Poirot spins almost as fast as the weighted governor at the summit of the great wheel's tourbillon.[paragraph break]I shall simplify things for the sake of my non-genius reader: Here is a lever, a concept with which all are familiar. And here is an oil can, scarcely a more advanced notion." One lever is in R63. The oil can is an open unopenable scenery container in R63. Description of the oil can is "A simple oil can, for lubricating gears and such." Before examining the oil can the first time, place clue at noun. Part 7 - Summit R64 is up from R63. Printed name of R64 is "Summit". Description of R64 is "A campfire burns at the top of the tower; neither it nor the lights of [Budapest] below can blot out the millions of stars above. The owner of the campfire is of course my dear friend Hugo Cornworthy, who here lies on his back on the tower's roof, staring into the depths of space." Guide text of R64 is "'If we are alone in the Universe [--] if there is no life like ours on other worlds, no one experiencing events or undergoing emotions, no one creating or remembering or wanting [--] then the vastness of space and all its far-flung contents are very boring and sad.'" The campfire is an open unopenable scenery container in R64. Understand "Camp" and "fire" as the campfire. Description of the campfire is "This campfire conforms to all local statutes and safety regulations; there is nothing criminal about it." Before examining the campfire the first time, place clue at noun. The starry sky is scenery in R64. Understand "millions" and "star" and "stars" and "space" and "depths" and "of space" as the starry sky. Description of the starry sky is "Alas, only two things are beyond the reach of Poirot: true love and the Universe." Instead of doing something other than examining with the starry sky, try examining the starry sky. The city below is scenery in R64. Understand "budapest" and "bucharest" and "lights" and "light" as the city below. Description of the city below is "What is more to be treasured: the sky, or the city of [Budapest]? I will let you think on that for a while." Instead of doing something other than examining with the city below, say "I am too high up." The tower below is scenery in R64. Understand "of budapest" and "of bucharest" and "roof" and "summit" as the tower below. Description of the tower below is "The roof of the Tower of [Budapest] is actually one of the worst possible vantage points from which to admire the Tower itself." Chapter 1 - Hugo Cornworthy [seeking enlightenment (so killed daisy)] Hugo Cornworthy is a scenery man in R64. Understand "dear" and "friend" as Hugo Cornworthy. Description of Hugo Cornworthy is "Somehow I predicted that I would find my dear friend Hugo Cornworthy on top of the Tower of [Budapest]. These things come to Poirot, as if whispered on the wind. Perhaps my genius operates on an unconscious level, calculating every possible variable until it can deduce (without my conscious involvement) the precise position of each of my many dear friends." Instead of talking to Hugo Cornworthy the first time, say "'My dear Hugo!' I say. 'You look well, [italic type]mon ami ! [roman type]For what reason are you to be found lying on the roof of this most famous tower?'[paragraph break]He gestures at the sky. 'As ever, Poirot, I seek enlightenment. I await the moment in which the Universe finally unveils her secrets [--] she just has to, eventually.'[paragraph break]'The Universe may take exception to your sense of entitlement,' I say, under my breath." Instead of talking to Hugo Cornworthy, say "'Would you happen to have unveiled any secrets regarding the murder of Daisy Armstrong?' I ask, though I know it is a [italic type]long shot[roman type], as they say in slang.[paragraph break]'What a terrible business! I heard that she was stabbed many times,' Hugo muses, 'but that is the limit of my informedness. Does that help at all?'[paragraph break]I nod very slightly, a gesture which means 'yes, thank you,' but not in an especially sincere way." Accusation text of Hugo Cornworthy is "'Enlightenment is a thing to be sought after, yes, to be valued very highly [--] but there are costs too high even for this! Hugo Cornworthy, you have paid too high a price for enlightenment, but now you must pay the price of murder.'[paragraph break]'I really can't explain it,' Hugo says distractedly. 'It made perfect sense at the time. I guess there's an element of decision-making that isn't really expressible outside of the moment when the decision is made.'[paragraph break]'These observations shall avail you nothing!' I cry. 'You must come with me, Hugo, down the many flights of stairs of the Tower of [Budapest], and into the streets of the city. I shall remit you to the local constabulary, and for them you may spin your half-intelligible justifications, your idiot musings on the nature of experience!'[paragraph break]'Sounds good,' Hugo says. He gets to his feet and wipes the dust of the roof of the Tower of [Budapest] from the seat of his pants. 'Shall we, then?'" Book 9 - Tunnels Part 65 - Tunnel R65 is a room. Printed name of R65 is "Tunnel". Description of R65 is "A narrow earthen passage. Poirot is lucky that he is not tall, else he would be forced to stoop.[paragraph break]East and west the tunnel continues, or else I may climb back up." Before going up in R65, say "With difficulty I extract myself from the tunnel." Guide text of R65 is "'This tunnel dates to the time of the Druids.'" The earthen passage is a backdrop. The earthen passage is in R65 and R66 and R67 and R68. Description of the earthen passage is "The walls are of packed soil." Understand "earth" and "soil" and "packed" and "tunnel" and "wall" and "walls" as the earthen passage. Instead of climbing the earthen passage, try going up. Instead of touching the earthen passage, say "The earth feels cold. Cold like a broken promise." Part 66 - Dead End R66 is west from R65. Printed name of R66 is "Dead End". Description of R66 is "The tunnel is bricked over in this direction. I must return to the east." Guide text of R66 is "'You can't reasonably expect to go everywhere and get everything. To miss something is inevitable [--] and to bemoan the inevitable is the mark of a fool.'" The dead end is scenery in R66. Understand "brick" and "Bricks" and "bricked" and "over" as the dead end. Description of the dead end is "Very old brown bricks [--] but very sturdy." Instead of attacking the dead end, say "Poirot is not the sort of detective who breaks down brick walls." Part 67 - Portcullis R67 is east from R65. Printed name of R67 is "Portcullis". Description of R67 is "[if the portcullis is open]The portcullis is open, so I may go either east or west[else]A portcullis blocks the passage to the east; I can only return to the west[end if].[paragraph break]A bronze panel is set in the earthen wall." Guide text of R67 is "'Nobody knows who put this portcullis here.'" [input crime combo.] The portcullis is a closed scenery door. Understand "heavy" and "gate" and "metal" as the portcullis. The portcullis is east from R67 and west from R68. Description of the portcullis is "This heavy gate seems somehow older than the tunnel in which it has been discovered [--] older, indeed, than the bronze panel nearby." Instead of closing the open portcullis, say "What is done cannot be undone." Instead of opening the closed portcullis, say "Poirot's strength is not equal to the task of lifting this portcullis." Instead of taking the portcullis, try opening the noun. The bronze panel is scenery in R67. Understand "buttons" as the bronze panel. Description of the bronze panel is "Many little buttons are worked into the bronze panel, each etched a different word: [crime examples]And so on." To say crime examples: let L be a list of texts; repeat through Table of Animal Crime Code: add crime entry to L; sort L in random order; repeat with num running from 1 to 3: say "'[entry num in L in title case].' "; [When play begins: repeat through Table of Animal Crime Code: say "The [crime entry] button is part of the bronze panel. "] The arson button is part of the bronze panel. The assault button is part of the bronze panel. The bigamy button is part of the bronze panel. The blackmail button is part of the bronze panel. The burglary button is part of the bronze panel. The extortion button is part of the bronze panel. The forgery button is part of the bronze panel. The fraud button is part of the bronze panel. The impersonation button is part of the bronze panel. The kidnapping button is part of the bronze panel. The libel button is part of the bronze panel. The loitering button is part of the bronze panel. The murder button is part of the bronze panel. The mutiny button is part of the bronze panel. The perjury button is part of the bronze panel. The piracy button is part of the bronze panel. The plagiarism button is part of the bronze panel. The prostitution button is part of the bronze panel. The racketeering button is part of the bronze panel. The sedition button is part of the bronze panel. The slander button is part of the bronze panel. The theft button is part of the bronze panel. The treason button is part of the bronze panel. The trespassing button is part of the bronze panel. The usury button is part of the bronze panel. The vandalism button is part of the bronze panel. The current portcullis combo is a list of texts that varies. The current portcullis combo is initially { }. Instead of pushing something that is part of the bronze panel: say "I push the button etched with the word '[word number 1 in printed name of the noun].' [paragraph break]"; truncate the current portcullis combo to the last 5 entries; let slug be "[word number 1 in printed name of the noun]"; add "[slug]" to the current portcullis combo; if current portcullis combo is crime combo and the portcullis is closed: now the portcullis is open; say "And see, reader! The portcullis slowly opens."; Part 68 - Chasm R68 is a room. Printed name of R68 is "Chasm". Description of R68 is "The tunnel from the east ends [--] that is, it turns sharply [--] but in a direction that is vertical [--] specifically, it goes straight down. The sides are very steep. [if R69 is not visited]Is it safe to go down?[else]But Poirot has climbed down before, and he may do so again.[end if]" The chasm is scenery in R68. Understand "pit" and "hole" and "sides" and "steep" and "bottom" as the chasm. Description of the chasm is "I cannot see the bottom of the pit." Instead of searching the chasm, try examining the noun. Instead of entering the chasm, try going down. Guide text of R68 is "'It is safe to climb down.' Well!" Part 69 - Detritus R69 is down from R68. Printed name of R69 is "Detritus". Description of R69 is "All around Poirot are filthy old dolls, ragged clothes, broken furniture, rotten lumber. [if R70 is visited]And beneath all this refuse, there is a passage leading further down.[else]I must take great care not to soil my suit![end if] [paragraph break]It is not too late to climb back up." Guide text of R69 is "'Try looking under the rotten lumber.'" Some filthy old dolls are scenery in R69. Understand "doll" and "refuse" and "detritus" and "garbage" as the filthy old dolls. Description of the filthy old dolls is "The faces of these decaying dolls are barely recognizable as such. Pfah! I despise them." Instead of taking the filthy old dolls, say "No!" Instead of looking under the filthy old dolls, say "There is nothing under the dolls but more garbage." Some ragged clothes are scenery in R69. Understand "clothing" and "rag" and "Rags" and "refuse" and "detritus" and "garbage" and "underwear" and "socks" and "shirts" as the ragged clothes. Description of the ragged clothes is "Underwear, socks, and shirts weeping slow, dirty tears." Instead of taking the ragged clothes, say "Poirot has no need for any such garbage." Instead of looking under the ragged clothes, say "I kick some of the clothes aside. There is nothing underneath." The broken furniture is scenery in R69. Understand "refuse" and "detritus" and "garbage" as the broken furniture. Description of the broken furniture is "Perhaps the furniture shattered when it was dropped into this pit, or perhaps it was dropped here because it was broken. It matters little to Poirot." Instead of taking the broken furniture, say "Too heavy, and too useless." Instead of looking under the broken furniture, say "I can find nothing of interest beneath this broken furniture." The rotten lumber is scenery in R69. Understand "wood" and "refuse" and "detritus" and "garbage" as the rotten lumber. Description of the rotten lumber is "Lumber cut in anticipation of some construction, then left to rot, then discarded at the bottom of this loathsome pit." Instead of taking the rotten lumber, say "Scarcely can I even lift such heavy blocks of wood!" Instead of looking under the rotten lumber: say "[one of]Shoving some blocks of wood aside, I reveal a crawlway, leading further down [--] into the moist guts of the earth[or]Already I have revealed the crawlway beneath the rotten lumber[stopping]."; now R70 is mapped below R69; now R69 is mapped above R70; now the crawlway is in R69; The crawlway is scenery. Understand "hole" as the crawlway. Description of the crawlway is "Further down must Poirot go." Instead of entering the crawlway, try going down. Part 70 - Crawlway R70 is a room. Printed name of R70 is "Crawlway". Description of R70 is "The passage from above continues to the west. Poirot's unique frame is ill-suited to such crawlings about." Guide text of R70 is "'You're getting closer.'" The narrow passage is scenery in R70. Understand "crawlway" as the narrow passage. Description of the narrow passage is "I will be more comfortable when I am somewhere else." Instead of entering the narrow passage, say "Already I am here." Part 71 - Gate of the Seven Seals R71 is west from R70. Printed name of R71 is "Gate of the Seven Seals". Description of R71 is "To the east lies the narrow passage through which one must again squeeze oneself if one wishes to return to the surface.[paragraph break]To the west stands the Gate of the Seven Seals, two thirty-foot doors of solid basalt. [if number of pulled levers is 7]All the seven seals are open[else][note seals][end if], and the Gate itself [if the Gate of the Seven Seals is open]is open as well[else]is closed[end if]." Guide text of R71 is "'The Gate of the Seven Seals has stood here for twenty thousand years.'" To say note seals: let seal-num be "[number of pulled levers in words]"; now seal-num is "[seal-num in title case]"; if number of pulled levers is 7: now seal-num is "All seven"; else if number of pulled levers is 1: now seal-num is "Only one"; else if number of pulled levers is 0: now seal-num is "Not one"; let seal-phrase be "[seal-num] of the seals are open"; if number of pulled levers is less than 2: now seal-phrase is "[seal-num] of the seals is open"; say "[seal-phrase]" The Gate of the Seven Seals is a closed scenery door. Understand "Seal" and "iron" and "door" and "doors" and "solid" and "basalt" and "stone" as the Gate of the Seven Seals. THe Gate of the Seven Seals is west from R71 and east from R72. Description of the Gate of the Seven Seals is "Seven iron seals are worked into the Gate, far higher than Poirot may reach. Of the seven, [number of pulled levers in words] [if number of pulled levers is 1]has[else]have[end if] been opened." Instead of opening the closed Gate of Seven Seals, say "What you ask is impossible." Instead of closing the closed Gate of Seven Seals, say "What is done cannot be undone." Every turn while number of pulled levers is 7 and the Gate of the Seven Seals is closed: now the Gate of the Seven Seals is open. Instead of pushing the Gate of Seven Seals, say "In the face of such immensity, Poirot's strength is useless." Instead of pulling the Gate of Seven Seals, say "In the face of such immensity, Poirot's strength is useless." Part 72 - Sweltering Passage R72 is a room. Printed name of R72 is "Sweltering Passage". Description of R72 is "So narrow a causeway of solid rock rises above the boiling lava on either side; a false step would mean utter immolation. Foul-smelling smoke obscures Poirot's vision, but it seems that I, Poirot, can go east or west." Guide text of R72 is "'These fumes are deadly.'" Instead of jumping in R72, say "Be serious! You play with Poirot's very life!" The rocky path is scenery in R72. Understand "rock" and "rocks" and "solid" and "causeway" and "narrow" as the rocky path. Description of the rocky path is "Long is the way, and hard [--] but Poirot must continue." The boiling lava is scenery in R72. Understand "magma" as the boiling lava. Description of the boiling lava is "It burns so brightly that I hate to look upon it!" Instead of touching the boiling lava, say "Surely you jest!!!!!" The acrid smoke is scenery in R72. Understand "fume" and "fumes" and "foul-smelling" and "smell" as the acrid smoke. Description of the acrid smoke is "Poirot can scarcely see my hand before his face." Instead of smelling the acrid smoke, say "I must try to inhale as little as possible." Instead of smelling R72, try smelling the acrid smoke. Part 73 - Omphalos R73 is west from R72. Printed name of R73 is "Omphalos". Description of R73 is "Here is an immense stone.[paragraph break]EXITS: EAST DOWN" Guide text of R73 is "'Whether something is [']real['] or not isn't all that important.'" The Omphalos is scenery in R73. Understand "immense" and "stone" and "navel" and "rock" and "belly" and "button" and "bellybutton" and "huge" and "rock" and "umbilicus" and "mundi" and "axis" as the omphalos. Description of the Omphalos is "Poirot has no words for the size of the Omphalos. To describe this entity in terms of numbers upon a tape-measure is quite insufficient.[paragraph break][if R74 is unvisited]I take its presence to mean[else]It is as I thought [--][end if] I am very near my destination." Part 74 - Null Abyss R74 is down from R73. Printed name of R74 is "Null Abyss". Description of R74 is "[if null-num is less than 4][else]EXITS: UP DOWN[end if]" null-num is initially 0. First Before doing something while player is in R74 and null-num is less than 5: increment null-num; if null-num is 1: say "[line break]" instead; if null-num is 2: say "[line break]" instead; if null-num is 3: say "Alas, I do not exist." instead; if null-num is 4: say "I must regain my composure!" instead; if null-num is 5: say "[i]Et voilà ![paragraph break]Enfin,[/i] I have reconstituted myself."; try looking instead; Guide text of R74 is "'This Null Abyss dates to the time of the Druids.'" parser error internal rule response (N) is "[if player is in R74 and null-num is less than 5][else][one of]That is[or]That is[or]Alas, that is[then at random] not a verb I recognize![end if]" parser error internal rule response (A) is "[if player is in R74 and null-num is less than 5][else]I didn't understand that sentence.[end if]". parser error internal rule response (B) is "[if player is in R74 and null-num is less than 5][else]I only understood you as far as wanting to ". parser error internal rule response (C) is "[if player is in R74 and null-num is less than 5][else]I only understood you as far as wanting to (go) ". parser error internal rule response (D) is "[if player is in R74 and null-num is less than 5][else]I didn't understand that number.[end if]". parser error internal rule response (F) is "[if player is in R74 and null-num is less than 5][else]Alas, you seem to have said too little![end if]". parser error internal rule response (G) is "[if player is in R74 and null-num is less than 5][else][We] [aren't] holding that![end if]". parser error internal rule response (H) is "[if player is in R74 and null-num is less than 5][else]Alas, you can't use multiple objects with that verb.[end if]". parser error internal rule response (I) is "[if player is in R74 and null-num is less than 5][else]You can only use multiple objects once on a line.[end if]". parser error internal rule response (J) is "[if player is in R74 and null-num is less than 5][else]I'm not sure what ['][pronoun i6 dictionary word]['] refers to.[end if]". parser error internal rule response (K) is "[if player is in R74 and null-num is less than 5][else][We] [can't] see ['][pronoun i6 dictionary word]['] ([the noun]) at the moment.[end if]". parser error internal rule response (L) is "[if player is in R74 and null-num is less than 5][else]You excepted something not included anyway![end if]". parser error internal rule response (M) is "[if player is in R74 and null-num is less than 5][else]You can only do that to something animate.[end if]". parser error internal rule response (O) is "[if player is in R74 and null-num is less than 5][else]That's not something you need to refer to in the course of this game.[end if]". parser error internal rule response (P) is "[if player is in R74 and null-num is less than 5][else]I didn't understand the way that finished.[end if]". parser error internal rule response (R) is "[if player is in R74 and null-num is less than 5][else]That noun did not make sense in this context.[end if]". parser error internal rule response (S) is "[if player is in R74 and null-num is less than 5][else]To repeat a command like 'frog, jump', just say 'again', not 'frog, again'.[end if]". parser error internal rule response (T) is "[if player is in R74 and null-num is less than 5][else]You can't begin with a comma.[end if]". parser error internal rule response (U) is "[if player is in R74 and null-num is less than 5][else]You seem to want to talk to someone, but I can't see whom.[end if]". parser error internal rule response (V) is "[if player is in R74 and null-num is less than 5][else]You can't talk to [the noun].[end if]". parser error internal rule response (W) is "[if player is in R74 and null-num is less than 5][else]To talk to someone, try 'someone, hello' or some such.[end if]". parser error internal rule response (X) is "[if player is in R74 and null-num is less than 5][else][i]Pardon ?[/i][end if]". Part 75 - Colosseum R75 is down from R74. Printed name of R75 is "Colosseum". Description of R75 is "In this arena shall be waged the final battle for mankind's soul. [toriop text]" Toriop text is initially "Before me stands my opponent [--] the source of all evil and crime on Earth [--] the shape-shifting robot that bears the loathsome designation TORIOP.". [change when TORIOP shapeshifts] The colosseum is scenery in R75. Understand "colloseum" and "coloseum" and "collosseum" and "arena" as the colosseum. Description of the colosseum is "How can it be described? What Poirot sees and senses here is quite beyond the imagination of his humble reader. If only you were as brilliant as Poirot, perhaps you could understand [--] but alas. You are merely yourself." TORIOP is a neuter scenery person in R75. Understand "shapeshifting" and "shape-shifting" and "shape" and "shifting" and "robot" as TORIOP. Description of TORIOP is "Its current form is more or less humanoid, albeit rather small and round. From this subterranean lair, the robot TORIOP broadcasts the stirrings of sinful thoughts into the brains of men. All of its immense processing power is devoted to that fiendish enterprise. Only I, the ultimate genius, stand even the slightest chance of foiling this monster." Instead of talking to TORIOP, say "[bold type]+YOU+ARE+TOO+LATE+[roman type] the robot intones. [bold type]+ALREADY+MY+VICTORY+IS+COMPLETE+[roman type][paragraph break]Pay it no mind. TORIOP is programmed to say this, that it may discourage any intruder. Any but Poirot!" Before accusing TORIOP, say "There is nothing that TORIOP is not guilty of [--] yet there is no Earthly authority capable of handing down justice for its crimes. Only I, Poirot, can hope to defeat the mechanical beast. Alas, this cannot be done with my infinite intellect! I must accomplish the task with that power I hold in the lowest esteem: brute violence." instead. [battle robot forever. switch between two shapeshifting entities so you can't >FIGHT IT. G; you have to name the animal it turns into] Guide text of R75 is "'The designation T.O.R.I.O.P. stands for the motto [']Truth Of Reality Is Only Power.[']'." Instead of attacking TORIOP: say "Poirot rolls up his sleeves. He advances upon TORIOP.[paragraph break]Two cosmic forces now meet in the bowels of the Earth: TORIOP, the source of all Evil, and [i]moi[/i], the ultimate champion of Good. We lock arms. We shove each other to the ground. We wrestle in the formless blackness.[paragraph break]Calculating its chances of defeat, the robot activates its shape-shifting program. Where once there was TORIOP, now there is a vile "; set up animal forms; deploy new form; A crime robot is a kind of animal. A crime robot is usually privately-named and scenery. There are two crime robots. Description of a crime robot is usually "This [one of]wretched[or]repulsive[or]despicable[or]loathsome[or]abominable[at random] [animal-name] is the current form assumed by the despicable shape-shifter TORIOP." A crime robot has text called the crime-name. Understand the crime-name property as describing a crime robot. A crime robot has text called the animal-name. Understand the animal-name property as describing a crime robot. Printed name of a crime robot is usually "[animal-name]". Instead of talking to a crime robot, say "The battle is begun, reader! The time for chit-chat is over." Before accusing a crime robot, say "There is nothing that this [animal-name] is not guilty of [--] yet there is no Earthly authority capable of handing down justice for its crimes. Only I, Poirot, can hope to defeat the mechanical beast. Alas, this cannot be done with my infinite intellect! I must accomplish the task with that power I hold in the lowest esteem: brute violence." instead. to set up animal forms: repeat through Table of Animal Crime Code: now used entry is false; sort Table of Animal Crime Code in random order; to deploy new form: let M be a random offstage crime robot; pick new animal for M; to pick new animal for (M - a crime robot): let found-animal be false; repeat through table of animal crime code: if found-animal is false: if used entry is false: now used entry is true; now found-animal is true; now crime-name of M is crime entry; now animal-name of M is animal entry; now M is in the location; remove the noun from play; say "[animal entry]!"; now toriop text is "For the moment, my opponent has taken the form of a [one of]vile[or]horrid[or]disgusting[or]monstrous[at random] [animal entry]."; consider ending text; if found-animal is false: set up animal forms; pick new animal for M; Instead of attacking a crime robot: say "[one of][i]Alors,[/i] I wrestle with [the noun][or][The noun] and I enter into combat[or]With all my strength I grapple [the noun][or][The noun] and I engage in the fisticuffs[or]I begin to throttle [the noun][or][The noun] and I, we struggle mightily with one another[or]I lay hands upon [the noun][or]We clash, [the noun] and I[or]Another brawl ensues, this time between myself and [the noun][at random][one of]. [or], and [or], until [or], and eventually [or]. Soon [or]. With great difficulty [or]. After a fantastic struggle, [or]. Despite its incredible strength, [at random][one of]I begin to [or]I start to [or]I seem to [or]Poirot begins to [or]Poirot starts to [or]the great Poirot begins to [or]the great genius Hercule Poirot seems to [as decreasingly likely outcomes][one of]take the upper hand [or]gain the advantage [or]overpower the monster [or]prevail over my foe [or]approach victory [at random][--] [one of]but [or]but alas! [--] [or][i]mais[/i] then [or]but then [or]and in the next instant [or]yet [italic type]immédiatement[roman type] [at random][one of]this [or]the [or]that [at random][one of]vile [or]despicable [or]elusive [or]slippery [or]depraved [at random][one of]beast [or]monster [or]creature [or]shape-shifter [or]automaton [or]villain [or]cacodemon [or]robot [at random][one of]breaks free [or]slips [or]squirms out [or]wriggles away [or]somehow escapes [at random][one of]from my grip [or]from my grasp [or]from my hands [or]from my throttling [as decreasingly likely outcomes][one of]and disappears, replaced by [or]and shape-shifts into [or]and assumes the form of [or]and takes on the shape of [or]and dons the form of [or]and transforms itself into [or]and converts itself into [or]and metamorphoses into [at random][one of]a repellent [or]a disgusting [or]a revolting [or]a repulsive [or]a foul [or]a dreadful [or]a hideous [or]a loathsome [or]an awful [or]an abhorrent [at random]"; deploy new form; infinite battle is initially 0. To consider ending text: increment infinite battle; if there is a num of infinite battle in Table of Neverending: choose row with num of infinite battle in Table of Neverending; say line break; say text entry; say paragraph break; Table of Neverending num text 4 "Do you understand yet, dear reader?" 5 "Poirot must keep the monster occupied in this way." 6 "As long as TORIOP is focused on our battle, it cannot transmit its evil signals into the brains of men." 7 "In the world of fresh air and daylight above, all crime has ceased! Wickedness is no more!" 8 "But this new Eden can persist only so long as Poirot continues to battle." 9 "If you cease your typing, TORIOP will execute again its odious programming!" 11 "This is the real ending of our story." 12 "But it is an ending that can never end." 13 "To defeat crime once and for all, Poirot has given up all worldly desires [--] for friendship, for comfort, for love." 14 "I do not regret any of this. But one thing I do regret, reader." 18 "I regret that I must ask you to do the same." 22 "Thank you, dear reader." 23 "You are almost as much of a savior to humanity as is the great genius Hercule Poirot." 24 "No one in the world above will know of our sacrifice!" 25 "But we do not do this expecting a reward." 26 "There can be no reward! Nothing will come to satisfy us." 28 "Nothing satisfying is coming." 29 "But that doesn't mean you can stop!" 32 "I think perhaps there is a lesson here...[paragraph break]...for us all." ["tell me all about it. talk to me forever." - mary crawford]