The story title is "Napier's Cache". The story author is "Vivienne Dunstan". The story headline is "An Interactive Scottish Historical Adventure". The story genre is "Mystery". The release number is 1. The story description is "Scotland, 1594: You're used to strange requests in your role as servant to John Napier. He's not just famous as a mathematician, but is also known for his occult skills and knowledge, still valued in these dangerous times. But the latest quest may be the toughest one yet, as you prepare to help him hunt for lost treasure in remote Fast Castle, home of the dangerous Logan of Restalrig. Will you find it? Or will you discover something else instead?". Release along with cover art ("A view of Fast Castle."). The story creation year is 2020. Include Basic Screen Effects by Emily Short. object-count is a number that varies. object-count is 0. A person can be scared or free. The maid is free. Bird-captured is a truth state that varies. Bird-captured is false. Opened-chest is a truth state that varies. Opened-chest is false. Cleared-rubble is a truth state that varies. Cleared-rubble is false. Trigger-time is a time variable. Box-requested is a truth state that varies. Box-requested is false. Got-bird-again is a truth state that varies. Got-bird-again is false. Escaped-to-courtyard is a truth state that varies. Escaped-to-courtyard is false. Have-bowed is a truth state that varies. Have-bowed is false. Mopped-up is a truth state that varies. Mopped-up is false. Part 1 - Rooms Chapter 1 - John Napier's castle Workshop is a room. "This room in Napier's home Gartness Castle is where he spends most of his waking hours, working on numerous projects and conducting strange experiments. Beside one wall a desk and chair sit, the desk covered with papers lying haphazardly on the surface, though somehow Napier always finds what he is looking for. A cupboard provides storage, and on the floor a rich rug provides warmth, one of the few signs of conventional comfort. A small window is the only source of natural light, though your master usually works late at night, burning many a candle. Through a stone archway a staircase leads down to the floors below. A ladder is propped up near one wall, leading up to an opening in the ceiling." A desk and a chair and a cupboard and a rug and a window and a ladder are scenery in Workshop. The desk is a supporter. Understand "window sill" and "sill" and "countryside" and "stirlingshire" as window. Understand "table" as desk. The description of the desk is "Probably ancient before Napier's time his desk is marked all over with signs of use, as well as covered with papers." The printed name of the desk is "Napier's desk". The desk is proper-named. Some papers are scenery on the desk. The description of the chair is "Napier is often found sitting in this simple but comfortable wooden chair.". The description of the papers is "A disorganised mess of varied sheets of paper, all covered with Napier's scribbles. You wonder, yet again, how he ever finds any old notes again.". Understand "notes" and "sheets" as papers. The description of the cupboard is "The large wooden cupboard is fixed to the wall. Your master uses it to store some of his more valuable items." The description of the rug is "The rug is wonderfully soft, perhaps one of the few luxuries Napier has allowed himself. It is rather old now, and fading, but still exudes comfort.". The description of the window is "You stare again at the wonderful view out of the window on to the surrounding Stirlingshire countryside.". The cupboard is a closed container. The cupboard is fixed in place and openable. Understand "stairs" as ladder. The description of the ladder is "Rather rickety, but just about safe, this ladder leads up to the room above.". The archway and the staircase are scenery in Workshop. Understand "stairs" as staircase. Understand "arch" as archway. The description of the archway is "A simple stone arch, this leads to the stairs down to the castle below.". The description of the staircase is "Looking through the archway you can see the stairs going down into the rest of the castle.". The ceiling-opening is scenery in Workshop. Understand "ceiling" and "opening" as ceiling-opening. The printed name of the ceiling-opening is "opening". The description of the ceiling-opening is "The ceiling of the room is unremarkable, apart from a small opening leading to a room above. You peer up, but can see little of the room beyond.". Instead of entering the chair, say "Well you could sit on the chair, but you haven't really got time for this. And Napier would hardly be impressed if he caught you.". Instead of searching the desk, try examining the desk. Instead of taking the papers, say "You consider lifting the papers, but Napier is obsessive about what he writes on them, and their haphazard order. So you leave them alone.". Instead of pushing the papers, try taking the papers. Instead of taking the ladder, say "You could move the ladder, but then you couldn't get up to the room above. Leave it where it is.". Instead of climbing the ladder, try going up. Instead of taking the chair, say "You could take the chair, but it belongs here, and you think it best to leave it where it is.". Instead of taking the rug, say "You could lift the rug, but it belongs here, and you think it best to leave it where it is.". Instead of pushing the rug, say "You could move the rug, but it is settled where it is, and exactly as Napier likes it. You think it best to leave it where it is.". Instead of searching the window, try examining the window. Instead of examining window the first time: say "Gazing through the window you see the Stirlingshire countryside outside, and wish you were out there, not stuck in here. But then you notice something on the window sill: a curious shape. You approach, and realise that it is a glass globe, your master's crystal ball."; now the crystal ball is in the Workshop. Instead of examining desk the first time: say "You cast your eyes over your master's desk. As well as a messy pile of varied papers, all covered in his handwriting, you spot a corded rope lure that he uses for his pet bird."; now the description of Desk is "You look over the desk again, but find nothing new of interest."; now the lure is on the desk. Instead of opening desk, say "There aren't any drawers on the desk, it's just a large table.". Library is up from Workshop. "[if the player is in Library for the first time]It is no wonder your master sends you up to fetch the books now. Climbing that ladder is hazardous enough for anyone. [end if]This is a cramped space, squeezed into the top of the castle turret, with a rickety ladder leading down to the workshop below. Gaps in the roof structure allow shafts of light to slant through, but the room is just about watertight. Piles of books lie all around, in no particular order." Some piles of books are scenery in the Library. Understand "pile" and "piles" and "book" and "first pile" and "second pile" and "books" and "library" as piles of books. The description of the piles of books is "The books are all over the place. You would need to search them systematically to have any hope of finding anything." The roof is scenery in the Library. Understand "gaps" and "roof structure" and "structure" as roof. The description of the roof is "The roof is patchy, but largely intact, enough to keep out most rain, barring the rare almost horizontal storms that Scotland can delight in. But the gaps that are there, around the lower edges of the roof, let in a cold draft, and you often have to shoo out birds that have come into the space." Ladder2 is scenery in the Library. Understand "ladder" as ladder2. The description of ladder2 is "The top of the ladder sticks up from the room below.". The printed name of Ladder2 is "ladder". Ladder2 is improper-named. The shafts are scenery in the Library. Understand "light" and "shaft" as shafts. The description of shafts is "Seeming almost magical in their form, but you know they have a rational explanation, the beams of light peek through the gaps in the roof structure and shine down onto the piles of books below.". Instead of smelling Library, say "You smell the familiar scent of old books, ink and paper. Nicely reassuring.". Instead of taking ladder2, say "You could move the ladder, but then you couldn't get down to the room below. Leave it where it is.". Instead of climbing ladder2, try going down. Instead of searching piles of books the first time: say "You search thoroughly through the books, and after ages are about to give up, then you spot something important poking out from one pile. You carefully ease it out. It is your master's grimoire."; now the grimoire is in the Library. Instead of searching piles of books at least two times: say "You look through the books again, but don't think there is anything else that you need here for now.". Instead of going up from Workshop: say "You climb carefully up the ladder to the library."; now the player is in Library. Bedroom is down from Workshop. "Napier's bedroom is a large room, but largely empty beyond the modest bed in the middle of the room, and clearly little used, certainly no more than necessary. Through a stone arch the staircase of the tower runs up and down." The bed is scenery in the Bedroom. The bed is a supporter. The description of bed is "The bed is comfortable, but little used. You remember that Napier sometimes stores things underneath it.". The archway2 and the staircase2 are scenery in the Bedroom. Understand "stairs" as staircase2. Understand "arch" as archway2. The description of the archway2 is "A simple stone arch, this leads to the stairs running up and down the tower.". The description of the staircase2 is "Looking through the arch you can see the stairs going up and down the tower.". The printed name of archway2 is "archway". The printed name of staircase2 is "staircase". Instead of entering the bed, say "Well, you could sit on the bed, but Napier wouldn't approve. Best not.". Instead of lying down the bed, say "Well, you could lie on the bed, but Napier wouldn't approve. Best not.". Instead of looking under the bed the first time: say "You kneel down and look under the bed. Yes, there is something there. You reach in, and drag something out. It is a chest."; now the wooden chest is in the Bedroom. Servants' Area is down from Bedroom. "This simple unfurnished space leads from the tower Napier appropriated for his own use through the servant rooms to the more comfortable sections intended for the family. Steps lead back up to Napier's rooms, and an arched doorway leads east to the rest of the castle.". The archway3 and the staircase3 are scenery in the Servants' Area. Understand "stairs" and "steps" and "staircase" as staircase3. Understand "arch" and "arched" and "archway" and "doorway" and "door" as archway3. The description of the archway3 is "This simple doorway with a stone arch above it leads to the rest of the castle.". The description of the staircase3 is "You can just see the start of the steps that lead up the tower, to Napier's quarters.". The printed name of archway3 is "arched doorway". The printed name of staircase3 is "steps". Rest of Castle is east of Servants' Area. Instead of going east from Servants' Area, say "You could go into the other parts of the castle, but you feel that what you need to find is in this section and the tower.". Chapter 2 - Fast Castle Dining Room is a room. "This modestly sized room is somewhat claustrophobic, an effect only slightly relieved by the candles burning rather erratically on the table in the middle of the room. Chairs for diners surround the table, and you see plates of food." The dining table is scenery in Dining Room. The printed name of dining table is "dining table". Understand "table" and "dining table" as dining table. The dining table is a supporter. The description of the dining table is "Made from a dark wood, the long table provides eating space for up to eight diners." The plates and the cutlery and the food and [some wine and] the candles and the chairs are scenery in Dining Room. Understand "plate" as plates. The description of plates is "Various plates are scattered across the table, with food in various states of eating on them." The description of cutlery is "The cutlery is of quite a high standard, but still relatively rudimentary.". The description of food is "The food served is a mix of meats, including game, and vegetables." [Understand "wine" and "goblets" as wine. The description of the wine is "The goblets contain a rich, red wine.".] Understand "candle" as candles. The description of the candles is "The candles around the edge of the room flicker, as they provide much-needed illumination.". Understand "chair" as chairs. The description of the chairs is "A number of chairs sit around the table.". Instead of taking the chairs, say "No, you should probably leave the chairs where they are.". Instead of taking the food, say "You consider taking some food, but decide against it.". Instead of eating the food, say "You consider taking some food, but decide against it.". Instead of taking the plates, say "You should leave the plates where they are.". Instead of taking the cutlery, say "You should leave the cutlery where it is.". Instead of taking the candles, say "You reach out towards a candle, but pause, alarmed by the strange, unearthly flickering. You decide against taking one.". Instead of entering the chairs, say "The chairs look tempting, but then you remember Robert Logan, and quake. Best not sit down.". Instead of putting something on dining table, say "Best not. The table looks fine, probably just how Robert Logan wants it to stay.". Instead of listening to Dining Room, say "The room is silent, apart from the words of those present.". Instead of smelling Dining Room, say "You can smell the food on the table. Mmmm, it must be a while since you last ate.". [Instead of drinking the wine, say "Better not. Logan is watching you sternly.". Instead of taking the wine, say "Better not. Logan is watching you sternly.".] Cellar is a room. "This cellar is roughly cut into the stone of the rock the castle sits on. It is not a large space, but probably large enough for the storage needs of this small castle. In the nooks and crannies around you glimpse bottles of wine, barrels of ale and other supplies.". Some bottles of wine and some barrels of ale are scenery in the Cellar. Understand "bottle" and "bottles" and "wine" as bottles of wine. Understand "barrel" and "barrels" and "ale" as barrels of ale. Some nooks are scenery in the Cellar. Understand "nook" and "nooks" and "cranny" and "crannies" and "nooks and crannies" as nooks. The description of the bottles of wine is "You see various bottles of wine, roughly stored.". The description of the barrels of ale is "There are probably five or six barrels of ale, lined up together.". The description of the nooks is "The cellar is an uneven shape, and there are a number of areas around the edge, where things are stored.". Some other-supplies are scenery in the Cellar. Understand "other supplies" and "supplies" as other-supplies. The description of other-supplies is "The other things are various bits and bobs you don't recognise.". Instead of taking the barrels of ale, say "No, best not.". Instead of taking the bottles of wine, say "No, best not.". Instead of opening the barrels of ale, say "No, best not.". Instead of opening the bottles of wine, say "No, best not.". Instead of drinking the barrels of ale, say "Sure you could do with a drink, but best not.". Instead of drinking the bottles of wine, say "Sure you could do with a drink, but best not.". Instead of smelling Cellar, say "The cellar has a damp, musty smell. Not exactly somewhere you want to linger.". Kitchen is up from the Cellar. "A gloomy stone-lined chamber, this is where the castle's food is prepared. A fire and hearth are in one wall, with a chimney reaching up. A table is pushed against the opposite wall, and pots, pans and cooking utensils hang around. Exits lead to the west and east, and you can smell fresh air from both directions. Steps lead back down to the castle cellar.". A fire and a kitchen table are scenery in the Kitchen. Some pots and some cooking utensils are scenery in the Kitchen. Understand "hearth" and "chimney" as fire. Understand "table" as kitchen table. Understand "pot" and "pots" and "pan" and "pans" and "pots and pans" as pots. Understand "utensil" and "utensils" as cooking utensils. The description of the fire is "A fire burns brightly in the hearth in the kitchen, providing both heat and a way of cooking the food for the castle. A chimney stretches upwards.". The description of the kitchen table is "The kitchen table is empty, ready for cooking later.". The description of the pots is "A range of pots and pans hang around the room, of various sizes.". The description of the cooking utensils is "The utensils look to be comprehensive, though you are too unfamiliar with cooking to be able to identify them all.". Kitchen air and kitchen food are scenery in the kitchen. The printed name of kitchen air is "air". The printed name of kitchen food is "food". Understand "air" and "fresh air" as kitchen air. Understand "food" as kitchen food. The description of kitchen air is "You can feel the fresh air coming from both east and west. It has a tang of the sea about it.". The description of kitchen food is "There isn't currently any food on the kitchen table, though you imagine it is just a matter of time before the cook starts preparing it.". Instead of taking kitchen food, say "You can't see any such thing.". Instead of eating kitchen food, say "You can't see any such thing.". Instead of listening to Kitchen: if the Cook is in the Kitchen: say "All you can hear are the sounds of the cook at work."; otherwise: say "You hear nothing unexpected.". Instead of smelling Kitchen, say "There is a comforting smell lingering of cooking and good food in here.". Instead of taking cooking utensils, say "Best not! The castle cook wouldn't approve.". Instead of taking pots, say "Best not! The castle cook wouldn't approve.". The kitchen table is a supporter. Instead of putting something on the kitchen table, say "You'd better not put anything on there. The cook wouldn't approve.". Guard Room is west from the Kitchen. "This part of the castle is near the entrance, the bridge of land that you tentatively made your way across before. To the west the path stretches to the mainland. It is kept under constant guard by two armed guards, who eye you with some suspicion." A path is scenery in the Guard Room. Understand "mainland" as path. The description of the path is "Looking out from the guard room you can see the path stretching west, back to the mainland. You rather wish that you could go along it now, away from this cursed place.". Every turn when the location is Guard Room, if a random chance of 1 in 3 succeeds, say "[one of]Both guards look at you awkwardly.[or]The tall guard shifts from side to side, looking rather bored.[or]The smaller guard looks directly at you for a moment, before looking away.[or]You can hear the sound of gulls outside.[at random]". Mainland is west from the Guard Room. Instead of going west from Guard Room: say "Oh it's certainly tempting to leave this strange place. But you have work to do here, and Napier needs you. You'd better stay.". Courtyard is east from the Kitchen. "Here you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well being. The main part of the castle, rises up to the north, by far the best built part of the castle complex. Other than that the only way you can go from here is to the east, where you see the edge of the castle platform.". The courtyard-kitchen and the courtyard-living-quarters is scenery in the Courtyard. The printed name of courtyard-kitchen is "kitchen". The printed name of courtyard-living-quarters is "living quarters". The description of courtyard-kitchen is "The kitchen building you have come from lies to the west of here, simple but functional.". The description of courtyard-living-quarters is "The main part of the castle, indeed the grandest, lies to the north. You know that it houses the castle's living quarters.". Understand "kitchen" as courtyard-kitchen. Understand "castle" and "living quarters" and "main part" as courtyard-living-quarters. [Courtyard is east from the Kitchen. "Here you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well being. The main part of the castle, rises up to the north, by far the best built part of the castle complex. Other than that the only way you can go from here is to the east, where you see the edge of the castle platform, and a strange shape just visible from here.". The courtyard-kitchen and the courtyard-living-quarters and the courtyard-castle-platform and a courtyard-shape are scenery in the Courtyard. The printed name of courtyard-kitchen is "kitchen". The printed name of courtyard-living-quarters is "living quarters". The printed name of courtyard-castle-platform is "platform". The printed name of courtyard-shape is "strange shape". The description of courtyard-kitchen is "The kitchen building you have come from lies to the west of here, simple but functional.". The description of courtyard-living-quarters is "The main part of the castle, indeed the grandest, lies to the north. You know that it houses the castle's living quarters.". The description of courtyard-castle-platform is "The castle grounds stretch to the east, where the platform ends.". The description of courtyard-shape is "You can see a strange shape on the platform to the east, but cannot make out what it is from here.". Understand "kitchen" as courtyard-kitchen. Understand "castle" and "living quarters" and "main part" as courtyard-living-quarters. Understand "platform" and "castle platform" as courtyard-castle-platform. Understand "strange" and "shape" and "strange shape" as courtyard-shape.] Castle Promontory is east from the Courtyard. "You stand at the most exposed part of the castle. You peer cautiously over the edge. A couple of hundred feet below waves crash loudly against the rocks of the promontory. God help anyone who needs to approach by boat.". Every turn when the location is Castle Promontory, if a random chance of 1 in 3 succeeds, say "[one of]Old Geordie whistles a short tune.[or]Old Geordie chews on his pipe thoughtfully.[or]'A rough sea, indeed,' Old Geordie says, seemingly to no one in particular.[or]A gull cries above you.[at random]". Some waves are scenery in the Castle Promontory. Understand "sea" and "wave" and "waves" and "rocks" as waves. The description of waves is "The waves crash against the rocks far below you, filling you with terror.". Instead of drinking the waves, say "You can't do that! Firstly the water is too far away, and secondly it is sea water!". Instead of listening to Castle Promontory, say "From this exposed spot you can hear the sounds of waves crashing against the rocks below.". Instead of smelling Castle Promontory, say "You can smell the sea from here.". [Crane Point is east from the Courtyard. "You stand at the most exposed part of the castle. Here a crude, but probably effective, mechanism stands.". The mechanism is scenery in the Crane Point. Understand "crane" and "crude" as mechanism. The description of the mechanism is "It is built from wood, and you recognise it as a simple crane design, presumably used to raise and lower items to the sea below. You peer cautiously over the edge. A couple of hundred feet below waves crash loudly against the rocks of the promontory. God help anyone who needs to approach by boat.". Every turn when the location is Crane Point, if a random chance of 1 in 3 succeeds, say "[one of]Old Geordie whistles a short tune.[or]Old Geordie chews on his pipe thoughtfully.[or]'A rough sea, indeed,' Old Geordie says, seemingly to no one in particular.[or]A gull cries above you.[at random]".] Living Quarters is north from the Courtyard. "This is the castle's main living area. A number of rooms lead off from here, including stairs up to the family quarters. To the west is the dining room you were in before, and sleeping quarters lie to the east. Your master and you slept there last night. An exit to the south leads back out to the castle courtyard.". The stairs are scenery in Living Quarters. Understand "stair" and "staircase" as stairs. The description of stairs is "The stairs go up steeply, to the upper chambers, where the family's rooms are.". Instead of climbing the stairs, try going up. Upstairs is up from the Living Quarters. Instead of going up from the Living Quarters, say "You'd better not. That's Logan's own area, and you're pretty sure he wouldn't want you snooping about.". Dining Room2 is west from the Living Quarters. The printed name of Dining Room2 is "Dining Room". The description of Dining Room2 is "You remember this place from your meeting with Logan and Bothwell earlier. Now it is deserted, and has a very different feel, with the table and chairs unoccupied. The only exit is to the east.". The dining table2 is scenery in Dining Room2. The printed name of dining table2 is "dining table". Understand "table" and "dining table" as dining table2. The description of the dining table2 is "Made from a dark wood, the long table provides eating space for up to eight diners." Some chairs2 are scenery in Dining Room2. The printed name of chairs2 is "chairs". Understand "chair" and "chairs" as chairs2. The description of chairs2 is "A number of chairs sit around the table, currently unoccupied.". Instead of entering the chairs2, say "The chairs look tempting, but then you remember Robert Logan, and quake. Best not sit down.". Instead of putting something on dining table2, say "Best not. The table looks pristine, probably just how Robert Logan wants it to stay.". Sleeping Area is east from the Living Quarters. "This is the sleeping area for guests to the castle. Your master and you slept here last night, him in the bed, you trying to get comfortable on the floor. The only exit is back out to the west." Sleeping area bed and sleeping area floor are scenery in the Sleeping Area. The printed name of sleeping area bed is "bed". Understand "bed" and "spare bed" and "visitor bed" and "visitor's bed" as sleeping area bed. The printed name of sleeping area floor is "floor". Understand "floor" as sleeping area floor. The description of sleeping area bed is "The bed Napier slept in is small but functional, and looks much more comfortable than the floor you slept on.". The description of sleeping area floor is "The stone floor was hardly comfortable last night, for all the notice Napier gave it.". Instead of entering the sleeping area bed, say "Oh the bed looks tempting, but again you think of Logan, and decide best not.". Instead of lying down the sleeping area bed, try entering the sleeping area bed. Instead of entering the sleeping area floor, say "Oh no, you had enough of that last night.". Instead of lying down the sleeping area floor, say "Oh no, you had enough of that last night.". Chapter 3 - Under the castle Rowing is a room. The printed name of Rowing is "In the Rowing Boat". The description of Rowing is "You are in the boat, bobbing alarmingly on the water.". The boat is scenery in the Rowing. The description of boat is "The boat is worryingly small, or at least not large enough for you to feel secure. It bobs unnervvingly in the water, which splashes against the timber. You remember how much you hate being on water.". Some water and timber are scenery in the Rowing. Understand "waves" and "wave" and "sea" as water. Understand "hull" as timber. The description of water is "You find your gaze irresistably drawn towards the water, which laps against the side of the boat, and terrifies you.". The description of the timber is "You wish the boat was more solidly made. You expect to sink at any time.". Instead of exiting from Rowing, say "What a daft idea! No you're going to stay just here, thank you very much. Boat or no boat, it's better than going into the water.". Instead of going inside in Rowing, say "You're already in the boat. You can't go [apostrophe]in[apostrophe] any further, as much as you might wish to.". Instead of going nowhere from Rowing, say "What a daft idea! No you're going to stay just here, thank you very much. Boat or no boat, it's better than going into the water.". Instead of entering the water, try swimming. Instead of listening to Rowing, say "The sound of gulls fills the air.". Instead of smelling Rowing, say "The smell of the sea is all around you.". Instead of drinking the water, say "You'd like a drink, sure, but you're not so desperate you'll drink salt water.". Cave Entrance is a room. "You stand at the entrance to a seemingly large, dark cave cut into the rocks under the castle. Behind you the sea water laps against the water-rounded rocks around you. Ahead, to the north, you can see little, and the place fills you with unease.". Some sea water and rocks are scenery in the Cave Entrance. Understand "rock" as rocks. The description of sea water is "The water swirls around the rocks. You shiver as you look at it.". The description of the rocks is "The rocks disappear under the water, giving you an unnerving feeling.". The cave1 is scenery in the Cave Entrance. The printed name of cave1 is "cave". Understand "cave" as cave1. The description of cave1 is "The cave looks dark and intimidating.". [The entrance boat is scenery in the Cave Entrance. The printed name of entrance boat is "boat". Understand "boat" as entrance boat. The description of entrance boat is "The boat rocks in the water nearby.".] Instead of going inside in Cave Entrance, try going north. Instead of entering the sea water, try swimming. Instead of listening to Cave Entrance, say "You hear the sound of water lapping against the rocks nearby. Further away there are occasional cries of gulls.". Instead of drinking the sea water, say "You'd like a drink, sure, but you're not so desperate you'll drink salt water.". Boat2 is an object in Cave Entrance. The printed name of boat2 is "rowing boat". Boat2 is improper-named. Understand "boat" and "rowing boat" and "rowing" as boat2. The description of boat2 is "The rowing boat you came over bobs in the water. You are glad to be out of it.". Instead of entering boat2, say "No way, you've only just got out of there!". The oar is an object. The description of oar is "This is one of the rowing boat's oars.". Instead of examining boat2: if the location of oar is nowhere: say "The rowing boat you came over bobs in the water. You are glad to be out of it. You spot an oar lying on the ground beside the boat."; now the oar is in Cave Entrance; otherwise: say "The rowing boat you came over bobs in the water. You are glad to be out of it.". Entering-the-Cave is north of Cave Entrance. The printed name of Entering-the-Cave is "Entering the Cave". The description of Entering-the-Cave is "You stand just inside the entrance to the cave. Behind you is the sea, with the sound of water lapping against the rocks. Above you the arched cave entrance rises up. You can continue into the cave to the north and west from here.". The water3 and cave-arch are scenery in Entering-the-Cave. The printed name of water3 is "water". Understand "sea" and "sound" and "water" as water3. Understand "entrance" and "arch" and "arched" as cave-arch. The printed name of cave-arch is "cave arch". The description of water3 is "Behind you can hear the sound of the water from the sea that you crossed by boat. You shudder at the memory.". The description of cave-arch is "The entrance is a ragged arch shape, rising above you. It reminds you of an animal's mouth. Maybe best not dwell on that thought.". The cave2 is scenery in Entering-the-Cave. The printed name of cave2 is "cave". Understand "cave" as cave2. The description of cave2 is "Standing just inside the cave it still looks intimidating, and stretches away from you.". Instead of exiting from Entering-the-Cave, try going south. Instead of going inside in Entering-the-Cave, say "From here you can go further into the cave to the north or west. The exit lies to the south.". Western Wall is west of Entering-the-Cave. "This part of the cave ends abruptly at a craggy wall of rock, rising above you. The only exit from here lies to the east, back towards the cave entrance.". The cave3 is scenery in Western Wall. The printed name of cave3 is "cave". Understand "cave" as cave3. The description of cave3 is "You are quite far in to the cave now.". The western-wall-rock is scenery in Western Wall. The printed name of western-wall-rock is "wall". Understand "wall" and "rock" as western-wall-rock. The description of western-wall-rock is "The rocky wall reaches up here, at the western edge of the cave.". Instead of going up in Western Wall, say "The wall is a sheer surface, with no signs of handholds. You can't go up there.". Instead of climbing in Western Wall, try going up. Instead of exiting from Western Wall, try going east. Large Cavernous Chamber is north of Entering-the-Cave. "This is the heart of the cave, and here its roof rises to the highest point. You can just barely feel the breeze from the air outside. The overall impression is a strange combination of space and an uneasy sense of claustrophobia, how you always feel going underground. [if Cleared-rubble is true]From here you can go north, east and south.[otherwise]From here you can go east and south, but a mound of rubble blocks further access to the north.[end if]". The cave4 is scenery in Large Cavernous Chamber. The printed name of cave4 is "cave". Understand "cave" as cave4. The description of cave4 is "The cave reaches up far above you here.". The cavernous-ceiling and the cavernous-breeze are scenery in Large Cavernous Chamber. The printed name of cavernous-ceiling is "ceiling". Understand "ceiling" and "roof" as cavernous-ceiling. The description of cavernous-ceiling is "The roof rises high above you here, giving you a sickening sense of height and space. You look back down again.". The printed name of cavernous-breeze is "breeze". Understand "breeze" and "wind" and "air" as cavernous-breeze. The description of cavernous-breeze is "Although you are further in to the cavern now you can still feel a draft coming in from outside, making you shiver.". Instead of going north in Large Cavernous Chamber: if Cleared-rubble is true: now the player is in the Back of the Cave; otherwise: say "You can't get past the rubble to go that way.". Instead of going inside in Large Cavernous Chamber, say "[if Cleared-rubble is true]From here you can go further into the cave to the north or east. The cave exit lies at a distance to the south.[otherwise]You should be able to go in to the north as well as to the east, but there is a mound of rubble currently blocking further access to the north. The cave exit lies at a distance to the south.[end if]". Instead of exiting from Large Cavernous Chamber, try going south. Some rubble is scenery in the Large Cavernous Chamber. Understand "mound" and "pile" and "stones" and "stone" and "rocks" and "rock" as rubble. The description of rubble is "[if Cleared-rubble is true]The rubble lies around, with a path now cleared through to the north.[otherwise]The mound of rubble blocks your way further in to the north. You might be able to clear a way through though.[end if]". Instead of pushing the rubble: if Cleared-rubble is true: say "You have already cleared a path through the mound of rubble, moving enough stones aside so that you can make your way north now."; otherwise: say "You start moving rocks aside. It is hard work, and takes time, but eventually it pays off. You can now go north, further in to the cave."; now Cleared-rubble is true. Instead of taking the rubble, try pushing the rubble. Eastern Cranny is east of Large Cavernous Chamber. "This part of the cave is a cramped area at the eastern edge. It is a tight space, with a pile of rocks that have fallen down lying next to the wall. From here you can only go back to the west.". The cave5 is scenery in Eastern Cranny. The printed name of cave5 is "cave". Understand "cave" as cave5. The description of cave5 is "You are quite far in to the cave now.". The eastern-cranny-rock is scenery in Eastern Cranny. The printed name of eastern-cranny-rock is "rocks". Understand "wall" and "pile" and "rock" and "rocks" as eastern-cranny-rock. The description of eastern-cranny-rock is "The pile of rocks have fallen here, and lie against the wall.". Instead of going up in Eastern Cranny, say "You cannot go up here. The pile of rocks and wall they lie against are a dead end.". Instead of climbing in Eastern Cranny, try going up. Instead of exiting from Eastern Cranny, try going west. Back of the Cave is north of Large Cavernous Chamber. "Here the cave ends, at its deepest and darkest point, at a stone wall reaching upwards. Again you are uncomfortably aware of the mass of rock above you. Of course it should not suddenly fall onto you, but you can't help thinking uneasily of the possibility. From here the only obvious exit is back to the south.". A stone wall is scenery in the Back of the Cave. Understand "stone" and "rock" and "wall" as stone wall. The description of the stone wall is "Running your hands over the rocky wall you can almost make out handholds. It might be possible to climb up here.". The cave6 is scenery in Back of the Cave. The printed name of cave6 is "cave". Understand "cave" as cave6. The description of cave6 is "You are at the back of the cave here, which stretches to the south.". Instead of exiting from Back of the Cave, try going south. Instead of going up from Back of the Cave the first time, say "You try to climb up, but fall back quickly. Maybe give it another go?". Instead of climbing in Back of the Cave, try going up. Before going up from Back of the Cave the second time, say "Feeling a little more confident this time, you tackle the climb afresh. And you make it!". Crevice is up from the Back of the Cave. "This cramped space is above the back of the cave. There is little room to move here, and the only way out is back down where you came from. You notice a small shelf jutting out from the wall.". A shelf is scenery in the Crevice. Understand "small" and "small shelf" as shelf. The description of the shelf is "There is nothing left on the shelf, which is empty.". The cave7 is scenery in Crevice. The printed name of cave7 is "cave". Understand "cave" as cave7. The description of cave7 is "You are at the back of the cave here, which stretches to the south.". Instead of exiting from Crevice, try going down. A silver box is a thing. Understand "silver" and "box" as silver box. The description of silver box is "Obviously of some age, the silver box is just under a foot long, with rusting metal edges.". The metal edges are part of the silver box. Understand "metal" and "rusting" and "rust" and "edge" and "edges" as metal edges. The description of the metal edges is "The metal is rusty and flaking, clearly of some age.". Instead of opening the silver box, say "You try to open it, but nothing you try works. It stays resolutely shut.". Instead of closing the silver box, say "You haven't been able to open it, so it's already closed.". Understand "poke [something]" as poking. Poking is an action applying to one visible thing. Understand "poke in [something]" as poking. Understand "poke into [something]" as poking. Understand "reach [something]" as poking. Understand "reach in [something]" as poking. Understand "reach into [something]" as poking. Check poking: if location is Crevice: if the noun is: -- shelf: try examining the shelf; -- oar: try examining the shelf; -- staff: try examining the shelf; -- otherwise: say "What are you trying to poke?"; otherwise: say "No you can't do that.". [need to add aliases for examining the shelf again e.g. POKE OAR/STAFF, POKE IN OAR/STAFF, REACH OAR/STAFF etc.] Instead of examining the shelf: if the silver box is nowhere: if the player has the oar: say "You reach in tentatively. There is something here! It is just out of reach, but using the oar you can just poke in further to pull it out. It is a silver box. You pick it up carefully, feeling a strange tingle as you do."; now the player has the silver box; otherwise: if the player has the staff: say "You reach in tentatively. There is something here! It is just out of reach, but using the staff you can just poke in further to pull it out. It is a silver box. You pick it up carefully, feeling a strange tingle as you do."; now the player has the silver box; otherwise: say "You reach in tentatively. There is something here! But you can't quite reach far enough to pull it out."; otherwise: say "You have already pulled out the silver box.". The staff is an object. [Instead of examining the shelf the first time: say "You reach in tentatively. There is something here! You pull it out. It is a silver box."; now the silver box is in the Crevice.] Part 2 - Scenes Chapter 1 - Prologue When play begins: say "Scotland, 1594:[line break]The sea spray blasts your face, as you stand on the exposed clifftop, looking towards Fast Castle on the outcrop ahead. Your master stands beside you, leaning heavily on his stick, seemingly deep in thought. Little wonder, given what faces him in there. What a hellish place. You pause to remember what Napier told you about the reasons for this visit ..."; pause the game. Chapter 2 - Laboratory equipment hunt Hunting Equipment is a scene. Hunting Equipment begins when the player is in Workshop for the first time. [list of items needed: needs to be appropriate for use at castle need items to uncover the plot / back story how am I going to carry the things (maybe best in an ornate wooden chest - does that mean we need to go by cart to Fast Castle? could have mini puzzle at castle re opening up the puzzle and pulling out items) - ink, quills, paper - grimoire - note book - chemical equipment (glass bottles, containers, funnels, tubes, vials) - crystal ball (or something like that) - alchemical supplies (vials of coloured powders, liquids etc.) - Napier's familiar - what type of animal is it (recheck Logan book) + how best to handle it?] [maybe have some things already looked out - ink, quills and paper, notebook, also travelling clothes down below (put them in game) ...] The list is in Workshop. Printed name of list is "handwritten note". Understand "scrap" and "scrap of paper" and "paper" and "note" and "handwritten" as list. The description of the list is "Written in your master's barely legible handwriting, this is a list of the items he needs you to find to take on the trip to Berwickshire. They are his grimoire, crystal ball, wooden chest, alchemical supplies and his familiar." Grimoire is a thing. The printed name of grimoire is "Napier's grimoire". The description of grimoire is "A heavy and strangely unnerving leather volume, you recognise it instantly as your master's grimoire. As always, you feel the temptation to open it and read inside. But no, some things are too dangerous for you to read." Understand "book" and "napier's grimoire" and "master's grimoire" and "volume" as grimoire. Instead of attacking the grimoire, say "No way! Your master would be furious.". The crystal ball is a thing. The printed name of crystal ball is "round ball of multi-coloured glass". The description of crystal ball is "About six inches in diameter, this heavy globe is your master's crystal ball. You eye it nervously." Understand "round" and "shape" and "globe" and "glass" as crystal ball. Instead of searching crystal ball, say "You look into the glass globe, and feel your mind being drawn somehow within. It is an unpleasant feeling, and you drag your gaze away.". Instead of attacking the crystal ball, say "No way! Your master would be furious.". The wooden chest is a thing. The printed name of wooden chest is "your master's heavy wooden chest". Wooden chest is proper-named. The description of wooden chest is "About three foot wide by two foot deep and another two foot tall, this wooden chest is relatively compact and eminently suitable for travelling purposes.". The wooden chest is a closed container. The wooden chest is openable. Instead of attacking the wooden chest, say "No way! Your master would be furious.". The alchemical supplies are a thing in cupboard. The printed name of alchemical supplies is "ornate wooden box". The description of alchemical supplies is "You recognise the ornately worked wooden box as your master's alchemical supplies." Understand "box" and "wooden box" as alchemical supplies. Instead of attacking the alchemical supplies, say "No way! Your master would be furious.". Instead of opening alchemical supplies during Hunting Equipment, say "You carefully open the wooden box, and peek inside at the myriad collection of alchemical equipment. Worried that you might inadvertently damage something you close the box carefully again.". Instead of opening alchemical supplies, say "Best not, you might damage something.". Instead of closing the alchemical supplies, say "It's already closed.". Napier's familiar is an animal in Servants' Area. The printed name of Napier's familiar is "large black bird". Napier's familiar is improper-named. The description of Napier's familiar is "[if location is Rowing]The bird hops about on Napier's leg, seemingly little disturbed by the boat journey, and the spray in the air. It looks around with its usual fierce intelligence.[otherwise]You recognise the bird, that hated creature your master relies on so much. As for you, you have no love of the bird. You are unsure what type of bird it is - a crow or a raven seems the best guess - but it is of unusual size, and ferociousness.[end if]". Understand "bird" and "raven" and "black" and "familiar" as Napier's familiar. Instead of attacking Napier's familiar, say "No way! Your master would be furious.". The maid is a woman in Servants' Area. The description of maid is "You see the maid from time to time around the castle, but have little dealings with her. You think her name is Janet. She is a few years younger than you, and you remember that she always seems terrified if she encounters your master." Understand "janet" as maid. Instead of answering maid that something: if the maid is scared: say "The maid looks at you in panic. 'Help me!' she cries."; otherwise: say "The maid looks at you blankly.". Instead of asking maid about something: if the maid is scared: say "The maid looks at you in panic. 'Help me!' she cries."; otherwise: say "The maid looks at you blankly.". Instead of shouting the maid: if the maid is scared: say "The maid looks at you in panic. 'Help me!' she cries."; otherwise: say "The maid looks at you blankly.". Bird terrorising maid is a scene. Bird terrorising maid begins when the player is in the Servants' Area for the first time. Bird terrorising maid ends when Napier's familiar is carried by the player. When bird terrorising maid begins: maid screams in one turn from now. At the time when maid screams: if Bird-captured is false: if the player is in Servants' Area, say "Suddenly the bird flies at the maid. The girl screams, and runs around the room, desperately trying to fight it off. She waves her hands frantically. 'Help me! Help me!' she cries."; now the maid is scared; now the description of Servants' Area is "Normally this room is quiet, with one or two servants doing their work. But now it is a scene of chaos, with that dratted bird terrorising the young maid.". Every turn during bird terrorising maid, if the player is in Servants' Area, if the maid is scared, if a random chance of 1 in 3 succeeds, say "[one of]The bird flies viciously around the room, flapping its wings furiously.[or]The bird caws loudly as it flies after the maid.[or]'Oh help me, please!' cries the maid, running around the room, trying to get away from the bird.[or]The bird launches a fresh attack on the maid, making her cower with terror.[at random]" Instead of taking the grimoire the first time during Hunting Equipment: say "You reach over for the grimoire, struck again by its weight and heft. It is just one of many books that Napier uses to research solutions to problems, but it is by far his most precious, containing notes and spells collected over many years. It is a large leather-bound volume, with a black cover, and his family crest on the front. The pages inside are fragile, and bear the signs of much use. All are covered with his rapid handwriting, as well as writing in other hands that you do not recognise. You do not think the volume contains much information about Robert Logan of Restalrig, who invited your master to Berwickshire on this latest quest, though there may be some notes about Logan's ancestry and his connections with various noble and royal families. However, the grimoire will certainly contain other information that may help on the spot there."; now the grimoire is carried by the player; increment the object-count. Instead of opening grimoire, try examining grimoire. Instead of taking the crystal ball the first time during Hunting Equipment: say "You pick up the crystal ball carefully, reminded again of its surprising weight, and its unnerving power to pull your gaze within. Your master uses it to divine and scry for information. You do not understand how it works; it must be some strange power. You shudder, and put the object carefully on the desk, ready for the journey to Fast Castle. Perhaps he will find it useful there, in the hunt for the castle's hidden treasure."; now the crystal ball is on the desk; increment the object-count. Instead of opening the wooden chest during Hunting Equipment: if Opened-chest is false: try taking the wooden chest; otherwise: say "You have already looked in the chest. Leave it closed for now, while you gather all the items needed for the trip.". Instead of taking the wooden chest the first time during Hunting Equipment: say "You pull the chest towards you, and throw it open. The smell of old wood and something else that you can't quite put your finger on assails you. This is the chest that Napier always takes on journeys and research trips, to store his equipment. Though of course it is you, the assistant, who has to carry it about. You know that where you are going, Fast Castle, is remote and isolated, lashed by the waves and balanced precariously over the North Sea. You will have to make sure that Napier has all that he might need there, and the chest will be put to good use. You close the chest for now, relieved to have found it, ready for this latest journey. It is heavy, so you leave it on the floor here for now. At least you know where it is."; now Opened-chest is true; increment the object-count. Instead of taking the alchemical supplies the first time during Hunting Equipment: say "You carefully pull out the highly ornate wooden box of alchemical supplies, chemicals and glassware, taking care not to damage its precious contents. There is a scientific method to much that your master does. He is highly skilled in techniques in chemistry, natural philosophy and biology, as well as in alchemy. But always alongside the more rational scientific approaches runs something darker, less acceptable to the authorities even in these dangerous times, something that your master's 'clients' like Logan of Restalrig know full well when they hire him to work for them. You decide to put the box on the desk for now, rather than carry it around."; now the alchemical supplies is on the desk; increment the object-count. The lure is an object. The printed name of lure is "corded rope lure". Understand "cord" and "corded" and "rope" and "lure" as lure. The description of lure is "About two feet long, this is a thick corded rope tied around at intervals with red and blue ribbons. Your master's bird, that horrible creature, finds it fascinating." The ribbons are part of lure. Understand "red" and "blue" and "ribbon" as ribbons. The printed name of ribbons is "red and blue ribbons". The description of ribbons is "The red and blue ribbons are tied around the lure, but too securely for you to untie them.". Instead of giving lure to Napier's familiar, try showing lure to Napier's familiar. Instead of showing lure to Napier's familiar, try taking Napier's familiar. Understand "lure [someone]" as luring. Luring is an action applying to one visible thing. Understand "trap [someone]" as luring. Check luring: if the noun is Napier's familiar: if the player has the lure: try waving lure; otherwise: say "You don't have anything to do that."; otherwise: say "You can't do that.". Instead of waving lure: if the location of Napier's familiar is the location of the player: try taking Napier's familiar; otherwise: say "You wave the lure around, rather ineffectually.". Instead of taking Napier's familiar during Hunting Equipment: if player has Napier's familiar: say "You already have the horrible creature."; otherwise: if Bird-captured is true: say "The bird hops over to you again, much to your discomfort."; now Napier's familiar is carried by the player; otherwise: if player has the lure: say "You wave the lure towards the bird, and attract its attention. It flies over to you, and seems willing to go with you, perhaps realising that its master needs it to do this. You shudder as it approaches, reminded how much you despise it. Undoubtedly the truest physical representation of your master's dark arts, this jet black bird strikes terror into all others who see it. Servants and neighbours mutter darkly of it, and even the local parish minister has preached against it none too subtly in the kirk pulpit. Yet your master seems to find it helpful, even if all others loathe it. You now carry the bird."; now Napier's familiar is carried by the player; now Bird-captured is true; increment the object-count; now the description of Servants' Area is "This simple unfurnished space leads from the tower Napier appropriated for his own use through the servant rooms to the more comfortable sections intended for the family. Steps lead back up to Napier's rooms, and an arched doorway leads east to the rest of the castle."; otherwise: say "You wave your arms helplessly at the bird, but it refuses to pay you any attention. Perhaps if you had something to lure it over?". Instead of dropping Napier's familiar when the player is in Servants' Area, say "Oh no, you can't leave the bird here. The maid is terrified of it." Instead of dropping Napier's familiar: say "The bird hops around a bit, but still seems to be paying you attention."; now Napier's familiar is in the location. Instead of shouting Napier's familiar the first time during Hunting Equipment: if Bird-captured is true: say "Don't be daft! You don't want to scare it away now it's behaving."; otherwise: say "The bird looks at you for a moment, before turning away. Perhaps try again?". Instead of shouting Napier's familiar the second time during Hunting Equipment: if Bird-captured is true: say "Don't be daft! You don't want to scare it away now it's behaving."; otherwise: say "The bird turns suddenly to look at you, before flying over. It seems willing to go with you, perhaps realising that its master needs it to do this. You shudder as it approaches, reminded how much you despise it. Undoubtedly the truest physical representation of your master's dark arts, this jet black bird strikes terror into all others who see it. Servants and neighbours mutter darkly of it, and even the local parish minister has preached against it none too subtly in the kirk pulpit. Yet your master seems to find it helpful, even if all others loathe it. You now carry the bird."; now Napier's familiar is carried by the player; now Bird-captured is true; increment the object-count; now the description of Servants' Area is "This simple unfurnished space leads from the tower Napier appropriated for his own use through the servant rooms to the more comfortable sections intended for the family. Steps lead back up to Napier's rooms, and an arched doorway leads east to the rest of the castle.". Instead of shouting Napier's familiar at least three times, say "Don't be daft! You don't want to scare it away now it's behaving.". Instead of answering Napier's familiar that something: if Bird-captured is true: say "There is no reply. Though you hardly expected one, given how little regard the creature seems to have for you."; otherwise: say "The bird ignores you. Maybe try shouting at it instead?". Hunting Equipment ends when object-count is 5. Chapter 3 - Dinner with two lords Dinner-with-Lords is a scene. Dinner-with-Lords begins when Hunting Equipment ends. When Dinner-with-Lords begins: say "Just as you locate the last item on the list, Napier appears, a flurry of black cloak and long beard. 'Ah you found everything we need. Good! We must leave soon for Fast Castle, though whether we will find the treasure Logan seeks I am not so sure. I certainly hope so. The reward would be great.'"; pause the game; say "Some days later, you arrive at Fast Castle. Soon after entering the castle your master is admitted to the presence of Robert Logan. You accompany him."; now the player is in Dining Room. Dinner-with-Lords-part1 is a scene. Dinner-with-Lords-part1 begins when Dinner-with-Lords begins. [code from §4.2. Scripted Scenes] Every turn during Dinner-with-Lords-part1: repeat through Table of Dinner With Lords Events Part 1: say "[event entry][paragraph break]"; blank out the whole row; rule succeeds. Table of Dinner With Lords Events Part 1 event "'Sit down man!' says Logan brusquely. Clearly addressing Napier. Logan pays you no attention. You might as well be invisible." "Your master sits down. You stay standing, just behind him. 'My lords, greetings,' says Napier, nodding to both men in turn." "There is an explosion of laughter from the man you recognise as the Earl of Bothwell. 'Dinnae stand on ceremony man, even if it is good that you know your betters. Who's this with you Napier?' asks the Earl, looking keenly at you." "'My apprentice, your lordship,' says your master. 'Bow to the lords!' he whispers sideways to you." Dinner-with-Lords-part1 ends when the number of filled rows in the Table of Dinner With Lords Events Part 1 is 0. Instead of doing something other than waiting, looking, listening, examining or taking inventory during Dinner-with-Lords-part1: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of asking someone about something during Dinner-with-Lords-part1: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Dinner-with-Lords-part2 is a scene. Dinner-with-Lords-part2 begins when Dinner-with-Lords-part1 ends. Instead of doing something other than rubbing, taking, waiting, looking, listening, examining or taking inventory during Dinner-with-Lords-part2: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of asking someone about something during Dinner-with-Lords-part2: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of bowing during Dinner-with-Lords-part2: say "Logan of Restalrig smiles grimly as you bow before him. You think he approves."; now Have-bowed is true. Every turn during Dinner-with-Lords-part2, if a random chance of 2 in 3 succeeds, say "'Bow!' hisses Napier to you." Dinner-with-Lords-part2 ends when Have-bowed is true. Dinner-with-Lords-part3 is a scene. Dinner-with-Lords-part3 begins when Dinner-with-Lords-part2 ends. [code from §4.2. Scripted Scenes] Every turn during Dinner-with-Lords-part3: repeat through Table of Dinner With Lords Events Part 3: say "[event entry][paragraph break]"; blank out the whole row; rule succeeds. Table of Dinner With Lords Events Part 3 event "Bothwell laughs again, but Logan looks fierce. 'You are lucky to meet my cousin Bothwell here,' says Logan, nodding towards the Earl. 'But tell no-one else he is here, or else!' and he makes a slicing motion across his throat. You quake with fear, and shake your head vigorously. You will tell no-one." "There is a sudden sound of something falling over. Glancing to the table you see that Napier has knocked over his glass of wine. Fortunately it was only part full, but a pool of red starts to spread across the table. 'Clean it up then!' barks Logan at you, while your master trembles in terror." Instead of doing something other than waiting, looking, listening, examining or taking inventory during Dinner-with-Lords-part3: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of asking someone about something during Dinner-with-Lords-part3: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Dinner-with-Lords-part3 ends when the number of filled rows in the Table of Dinner With Lords Events Part 3 is 0. Dinner-with-Lords-part4 is a scene. Dinner-with-Lords-part4 begins when Dinner-with-Lords-part3 ends. When Dinner-with-Lords-part3 begins: now the wine spill is part of the dining table; now a glass is on the dining table. The wine spill is scenery. Understand "wine" and "spill" and "red" and "pool" and "mess" as wine spill. The description of wine spill is "A pool of red wine oozes across the table.". The glass is scenery. The description of glass is "Napier's wine glass lies on its side on the table, left from when he knocked it over, and the wine spread across the table.". Instead of taking the glass, say "Best not, focus on cleaning up the mess instead.". The napkin is an object. Understand "napkin" as napkin. The description of napkin is "This is a simple cloth napkin.". Instead of examining the dining table during Dinner-with-Lords-part4: say "Made from a dark wood, the long table provides eating space for up to eight diners[if napkin is nowhere]. You notice a napkin lying on the table[end if]."; if napkin is nowhere, now the napkin is on the dining table. Instead of doing something other than rubbing, taking, waiting, looking, listening, examining or taking inventory during Dinner-with-Lords-part4: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of asking someone about something during Dinner-with-Lords-part4: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". [Instead of bowing during Dinner-with-Lords-part4: say "Logan of Restalrig smiles grimly as you bow before him. You think he approves.".] Instead of rubbing the wine spill during Dinner-with-Lords-part4: if the player has the napkin: now the description of wine spill is "You can still just see where the wine spilled, but you have done a good job of mopping it up."; now the description of the napkin is "The napkin is soaked with red wine. You touch it as little as possible."; now the description of glass is "Napier's glass has been set upright again, refilled, and he is drinking from it, nervously."; now Mopped-up is true; otherwise: say "You don't have anything to hand to clean up the spill with. Perhaps there is something useful on the table?". Understand "mop up [something]" as rubbing. Understand "mop [something]" as rubbing. Understand "soak up [something]" as rubbing. Understand "clean up [something]" as rubbing. Instead of taking wine spill, try rubbing wine spill. Instead of rubbing the dining table during Dinner-with-Lords-part4, try rubbing wine spill. Dinner-with-Lords-part4 ends when Mopped-up is true. Dinner-with-Lords-part5 is a scene. Dinner-with-Lords-part5 begins when Dinner-with-Lords-part4 ends. [code from §4.2. Scripted Scenes] Every turn during Dinner-with-Lords-part5: repeat through Table of Dinner With Lords Events Part 5: say "[event entry][paragraph break]"; blank out the whole row; rule succeeds. Table of Dinner With Lords Events Part 5 event "Using the napkin you mop up the wine spill as best you can. Logan glowers throughout, while Bothwell laughs and Napier trembles with fear. Finally you right the wine glass again, and step back. 'Anyway to business!' says Logan fiercely, leaning to refill Napier's glass with wine, while at the same time staring sternly at Napier. 'Treasure! Yes you are here to find my missing fortune, supposedly hidden somewhere in the castle a century ago.'" "'Is the story reliable, my lord?' asks your master tentatively. 'Of course I am happy to look ...'[line break]'There's the challenge Robert!' says Bothwell, laughing again. 'Oh you[']re right man,' he continues, looking at Napier. 'It[']s a legend, no more, but surely worth looking for. Possibly French gold, aye Robert?' Logan nods. 'Or English silver,' says Logan, 'supposedly somewhere in the castle depths.' He strokes his chin thoughtfully." "'Well yes, I can look,' says Napier carefully. 'And hopefully I will find the treasure.' Then a pause. 'But if I don't find it, I must have your guarantee that I can leave safely, and unharmed.' He looks shakily towards Logan. Bothwell watches, keen to see what his temperamental cousin will say." "'Och man, have no fear,' says Logan. 'We agreed in that contract you drew up. And I give you my word.' But his expression is cold, especially his eyes. You feel scared, and worried." "There is an awkward silence, that lasts for an uncomfortable length of time. Then Bothwell claps his hands together. 'Go on then man! And may God be with you in your hunt.' Napier rises, stepping backwards from the table. 'My lords ...' he says, bowing again, before leaving the room. You follow closely behind." Instead of doing something other than waiting, looking, listening, examining or taking inventory during Dinner-with-Lords-part5: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". Instead of asking someone about something during Dinner-with-Lords-part5: say "Logan of Restalrig glares at you, causing you to think better of what you were going to do.". [Instead of bowing during Dinner-with-Lords-part5: say "Logan of Restalrig smiles grimly as you bow before him. You think he approves.".] Dinner-with-Lords-part5 ends when the number of filled rows in the Table of Dinner With Lords Events Part 5 is 0. Dinner-with-Lords ends when Dinner-with-Lords-part5 ends. Chapter 4 - Exploring the castle Exploring-the-castle is a scene. Exploring-the-castle begins when Dinner-with-Lords ends. When Exploring-the-castle begins: pause the game; say "After a night of poor sleep you accompany your master to start to search for the hidden treasure. An ancient but surprisingly sprightly servant, Ralph, leads you both down to the cellar, while you drag your master's chest behind you. The further down you go, the darker things get, and you soon need the light from the torch Ralph is carrying to see properly."; now John Napier is in Cellar; now Ralph is in Cellar; now the wooden chest is in Cellar [carried by the player]; now the alchemical supplies are in the wooden chest; now the crystal ball is in the wooden chest; now the grimoire is carried by John Napier; now the lure is carried by John Napier; now the wooden chest is closed; now the player is in Cellar; napier requests in two [three] turns from now. At the time when napier requests: now Box-requested is true; say "'Get my alchemical kit out!' says your master, suddenly. Ralph looks alarmed for a moment, while Napier glares fiercely around.". Instead of giving alchemical supplies to John Napier during Exploring-the-castle: if Box-requested is true: now the alchemical supplies are carried by John Napier; say "Napier grunts some words of gratitude, and takes the box. He lays it carefully down, and throws it open, revealing the mass of mysterious chemicals and containers inside. He takes out a number of small glass jars. 'Och, but we need oil!' He turns to Ralph. 'Do you have any in the castle man?' Ralph nods, mutely, seemingly uneasy at what Napier is doing. 'Go with him to fetch some,' says Napier to you urgently. 'Here, take this.' He hands you a glass jar to carry the oil. Ralph turns, then remembers to hand the torch to Napier. Ralph steps back, into the semi shadow, and beckons to you to follow him back up into the castle."; now the glass jar is carried by the player; otherwise: say "John Napier of Merchiston doesn't seem interested.". Fetching-oil is a scene. Fetching-oil begins when the player has the glass jar. Fetching-oil ends when Napier has the jar of oil. Fetching-lure is a scene. Fetching-lure begins when Napier has the jar of oil. Fetching-lure ends when Napier has Napier's familiar. The glass jar is a thing. The glass jar is a transparent open openable container. The jar of oil is a thing. The jar of oil is a transparent openable closed container. The jar of oil contains a dark liquid. Understand "dark liquid" and "liquid" and "oil" as dark liquid. The description of dark liquid is "The jar contains a thick, dark liquid. Yes, it looks like oil.". Instead of drinking the jar of oil, say "Erm, yuck! No, best not.". Instead of drinking the dark liquid, say "Erm, yuck! No, best not.". Instead of opening the jar of oil, say "No, you might spill it. Best keep it closed.". Instead of going up from the Cellar: say "You should stay, your master needs your help here.". Instead of going up from the Cellar during Fetching-lure: now the player is in the Kitchen; if the Cook is not in the kitchen: say "Suddenly a woman comes in to the kitchen and starts busying herself at the table. From the mess of flour all over her arms and down her front you guess that she must be the castle cook."; now Cook is in the kitchen. Instead of going down from the Kitchen: say "You retrace your steps back down to the cellar."; now the player is in the Cellar. Every turn when the location is Kitchen during Fetching-lure, if a random chance of 1 in 3 succeeds, say "[one of]The cook glances over at you briefly, before returning to her work.[or]The cook shakes out some flour, and starts to pound some dough.[or]The cook glances up at the kitchen tools, either deep in thought, or more likely trying to decide what tool she needs next.[at random]". Understand "follow ralph" as following. Following is an action applying to nothing. Instead of following during Fetching-oil: if the player is in the Cellar: if the player has the jar of oil: say "You've already done that!"; otherwise: try going up; otherwise: say "You don't know where he's gone.". Instead of following, say "I didn't understand that sentence.". Instead of going up from the Cellar during Fetching-oil: if Ralph has the glass jar: now the player is in the Kitchen; otherwise: if player has the jar of oil: now the player is in the Kitchen; otherwise: say "You follow Ralph back up a gloomy winding staircase of rough-cut stones. You watch carefully as he steps ahead, and are confident that you can remember the route back. The walls beside you here are wet and glistening, reminding you of the castle's dangerous location above the wild North Sea. Shortly the light increases, and you emerge into the kitchen area. 'Just wait here a moment, and I will fill this jar up with oil,' says Ralph, taking the jar, and scurrying off through a doorway to the east."; now the player is in the Kitchen; now the glass jar is carried by Ralph; now Ralph is nowhere; now the trigger-time is time of day plus [4] 3 minutes. Waiting for Ralph is a scene. Waiting for Ralph begins when Ralph has the glass jar. Waiting for Ralph ends when time of day is after trigger-time and player is in Kitchen. When Waiting for Ralph ends: say "'Ah there you are!' says Ralph, returning. 'Here you are,' he says, handing you the jar, now full of oil. 'You should get back to your master with that.' Or alternatively perhaps you could take the chance to explore the castle a bit more first? Ralph scurries off, muttering something about not being witness to ungodly things."; now the glass jar is nowhere; now the jar of oil is carried by the player; now Ralph is nowhere. [mid game exploring castle, trying various things: would like this to be a bit open ended / sandbox-like some puzzles, but shouldn't be any brick walls keep searching till get key clue, which triggers next scene] Instead of giving the jar of oil to John Napier: now the jar of oil is carried by John Napier; say "You hand the jar of oil to Napier, who nods brief thanks, before proceeding to dab spots of oil around the cellar. You watch, in silence, familiar with his methods. He pulls the grimoire out from his robes, and flicks through its pages quickly. 'Ah, but I need my bird for this. Go and fetch it. Here, you'll need this,' he says, reaching into a pocket and pulling out the rope lure, which he hands to you. 'Go! Get it from our room.'"; now Napier's familiar is in the Sleeping Area; now the lure is carried by the player. Instead of taking Napier's familiar during Exploring-the-Castle: if player has Napier's familiar: say "You already have the horrible creature."; otherwise: if player has the lure: say "Using the lure you reluctantly tempt the bird over to you. It comes over, and seems willing to come with you. You now carry the bird."; now Napier's familiar is carried by the player; now Got-bird-again is true; otherwise: say "It won't come without something to tempt it, like its rope lure.". Escaping-with-bird is a scene. Escaping-with-bird begins when Got-bird-again is true. Escaping-with-bird ends when Escaped-to-courtyard is true. Instead of eating Napier's familiar, say "Erm, yes you might like to, but best not.". Instead of eating Cat, say "No way! What were you thinking?". Instead of going west from Sleeping Area during Escaping-with-bird: if the location of the Cat is Living Quarters: if the player has Napier's familiar: now the player is in the Living Quarters; say "The cat growls a low, worrying growl as you enter again with the bird."; otherwise: now the player is in the Living Quarters; say "The cat glances up, but pays you little attention."; otherwise: if the player has Napier's familiar: now the player is in the Living Quarters; say "As you step back out into the hallway there is a sudden, sharp hissing noise. Looking down, you see a fierce ginger cat, its fur on end, standing blocking the exit to the courtyard. It glares at the bird you are carrying. The bird, by contrast, appears to have no interest in the cat, and sits calmly, preening itself."; now Cat is in the Living Quarters; otherwise: now the player is in the Living Quarters. [Instead of going west from Sleeping Area at least two times during Escaping-with-bird: now the player is in the Living Quarters; say "Stepping back into the hallway you find that the cat is still on guard, blocking your exit to the rest of the castle complex.".] Instead of going south from Living Quarters during Escaping-with-bird: if the player has Napier's familiar: say "The cat rises up fiercely, hissing and spitting. It won't let you past."; otherwise: say "The cat relaxes, sits down, and starts washing itself. It seemingly has no interest in you any more, and you are able to pass."; now the player is in the Courtyard. Instead of going west from Living Quarters during Escaping-with-bird: if the player has Napier's familiar: say "The cat hisses, but lets you go in that direction."; now the player is in Dining Room2. Instead of giving the beef steak to the Cat during Escaping-with-bird: If the player has Napier's familiar: say "The cat looks up eagerly, and takes the meat from you. It glares at the bird before starting to eat the meat. You take this opportunity to escape back outside - with the bird."; now the Cat has the beef steak; now the Cat is nowhere; now the player is in the Courtyard; now Escaped-to-courtyard is true; otherwise: say "The cat glances up, but doesn't seem interested right now. Maybe try again when it might be feeling more hungry?". Instead of dropping the beef steak in Living Quarters during Escaping-with-bird: try giving the beef steak to the Cat. Some beef steak is a thing. Understand "meat" and "steak" and "beef" as beef steak. The description of beef steak is "This rather slimy thing is a piece of beef steak.". Instead of eating beef steak, say "No way! It's not safe to eat like this. Yuck!". Instead of dropping Napier's familiar in the Living Quarters during Escaping-with-bird: say "Best not. Goodness only knows what might happen then, given how the cat feels about the bird.". Instead of giving Napier's familiar to the cat: say "Best not. Goodness only knows what might happen then, given how the cat feels about the bird.". Instead of dropping Napier's familiar when the location of the player is the location of the cat, say "Oh no, you'd best not drop the bird here! The cat clearly hates it. Even if you might not mind what the cat would do to the bird, Napier would be furious.". Cat is an animal. The cat is improper-named. The printed name of cat is "ginger cat". Understand "cat" and "ginger" as the cat. The description of cat is "The cat is a fierce looking animal. Must be some age too, and clearly it's been in some scraps over the years." [need to code STROKE CAT] Every turn when the location of cat is the location of the player and the player has Napier's familiar, if a random chance of 1 in 3 succeeds, say "[one of]The cat growls, a low, disturbing sound.[or]The cat glares fiercely at the bird.[or]For a moment you think the cat is about to leave, as it turns on the spot. But just as quickly it is back on guard, its hackles raised.[at random]". Instead of giving Napier's familiar to John Napier during Exploring-the-Castle: now Napier's familiar is carried by John Napier; say "Napier takes the bird gratefully. He places the lantern on the ground, and steps into the area outlined by oil spots. 'Show the way, my familiar!' he cries, releasing the bird. It flies around uncertainly. There is a moment of silence, then Napier raises his arms, and starts chanting. You know not what he says, or even what language he is speaking. The lantern flickers, and the bird swoops down repeatedly, flying back up each time, before diving down again. 'Come on bird!' he cries. But the bird just keeps swooping down through the air, then rising again. 'Ach, it's not here!' says Napier, lowering his arms, dejectedly. 'But it must be below this level somehow.' He reaches out an arm to the bird, which settles on him, and caws quietly. Napier rubs his face, puzzled, then exclaims loudly 'We need to speak to Logan!'". Exploring-the-castle ends when John Napier has Napier's familiar. [maybe hear a shriek of some bird outside in the dark, a strange time to hear it, and it strikes terror into you return to Napier then have next cut-scene / progression] Chapter 5 - Exploring the cave Exploring-the-cave is a scene. Exploring-the-cave begins when Exploring-the-castle ends. When Exploring-the-cave begins: pause the game; say "Some time later Napier is before Sir Robert Logan of Restalrig again, with you beside him. 'Well, have you found it!' demands Logan. 'No, my lord, but I believe it is below the level of the cellar. What is down there?' asks Napier. 'Just the sea, man. Though, now I think about it, there is a cave below. It can only be reached by sea - the tides and rocks are treacherous,' says Logan. 'But Ralph could take you there by boat.' Logan bellows for his servant, who appears suddenly. 'Napier needs you to take him by boat to the cave beneath the castle. Do it, man!' Ralph guides you and Napier out of the castle and down the rocky cliff edge to a narrow inlet, where a rowing boat is moored. You climb in carefully, dragging aboard the chest that Napier insisted you bring. He sits at the front of the boat, wrapped in his cloak, the wind blowing his hair and beard wildly. Most bizarre of all is the black bird sitting calmly on Napier's leg, looking keenly ahead, as if it, too, knows where you are going. Ralph pushes the boat into the sea, jumps in, and starts rowing with a confident stroke, belying his age."; [make sure the chest carries everything needed] now John Napier is in Rowing; now Ralph is in Rowing; now the player is in Rowing; now the alchemical supplies are in the wooden chest; now the crystal ball is in the wooden chest; now the grimoire is carried by John Napier; now Napier's familiar is carried by John Napier; now the wooden chest is closed; now the wooden chest is in Rowing; approaching the cave happens in three turns from now. Every turn when the location is Rowing, if a random chance of 3 in 5 succeeds, say "[one of]The boat rocks worryingly in the water.[or]Water laps against the side of the boat.[or]A wave of nausea rolls over you. Please let this boat journey end soon.[or]You hear the sound of gulls all around.[at random]". At the time when approaching the cave happens: say "The boat edges slowly around the castle promontory. You suddenly see a dark opening in the rock. 'Aye, that's where we're headed,' says Ralph, as he steers the boat towards the cave. 'Come on,' says Napier, climbing nimbly out of the boat. The bird rises into the air and flaps after him. Ralph helps you lift the chest onto the rocks. Internally cursing, you pick it up, and follow Napier into the cave."; now John Napier is in the Cave Entrance; now Ralph is in the Cave Entrance; now the wooden chest is in Cave Entrance; now the player is in the Cave Entrance. Cave Search is a scene. Cave Search begins when the player is in the Cave Entrance for the first time. When Cave Search begins: say "Napier stands leaning on a staff, a tall figure buffeted by the winds whirling around. He lights a lantern and passes it to you. 'Go on then, see what you can find in there.' You shiver."; now the player has the lantern; now Napier has the staff. The staff is an object. Understand "staff" and "stick" as the staff. The description of the staff is "Napier's staff is an old carved and curving stick. You're not sure what wood it is made of, but its shape is rather unnerving. Suits its owner.". The lantern is a thing. "The lantern is a simple oil lantern. It burns brightly.". The lantern is lit. Understand "lamp" and "light" and "oil" as lantern. The description of the lantern is "The lantern is burning brightly, providing valuable illumination.". Instead of switching off the lantern, say "Best not, you probably need that light.". Instead of switching on the lantern, say "It is already turned on and providing light.". Instead of dropping the lantern, say "No, you might need this light source. Best hang on to it.". Instead of giving the silver box to John Napier during Cave Search: now the silver box is carried by John Napier; say "'You found it!' exclaims Napier, his hands reaching out eagerly for the box. He cradles it, lovingly. 'We must get back to shore. Come!' and he strides over towards the boat.". [Instead of showing the silver box to John Napier, try giving the silver box to John Napier.] Instead of showing something to John Napier, try giving the noun to John Napier. Cave Search ends when John Napier [the player] has the silver box. Exploring-the-Cave ends when Cave Search ends. [NPC: some sort of spectre / apparition] [would be nice to see some of the objects you gathered at the start used here] Chapter 6 - Escape from the castle and Logan Epilogue is a scene. Epilogue begins when Cave Search ends. When Epilogue begins: say "Ralph rows you back to shore. As you approach the beach you see two figures waiting there. It is Logan and Bothwell! You feel a chill inside, and looking over to Napier he looks alarmed too. 'Well, did you find it?' thunders Logan. Napier nods, trembling. 'Well come on man, let's go indoors and see what you have.'"; pause the game; say "Soon after you are all gathered again in the castle's dining room. 'Hand it over then,' says Logan, reaching out his hand fiercely. Napier pulls the box shakily from his pocket. 'Here, my lord,' he says, as he hands it over. 'Is that it?' asks Logan, wonderingly. Bothwell also reaches forward to have a look. 'That's quite something, Robert,' he says to his cousin. 'What's inside, I wonder?' Logan picks it up, and scrabbles at the box, trying to open it, without success. 'Let me, my lord,' says Napier. Logan nods, and your master stretches his hand over the box, closes his eyes, and mutters an incantation. There is a pause, then a click, and the box opens. Napier's eyes shoot open again as he pulls his hand back. You all peer towards the box, to see what is inside. Underneath old crinkly paper is a hint of gold! Logan reaches in eagerly. 'Bullion maybe, or coins?' he says, then goes quiet as he fumbles among the cracking paper. Then his hand emerges, holding an ornate gold cross. About six inches long, it is exquisitely crafted, with rich decoration, and even jewels embedded in the gold. It must be centuries old, you think, and the most beautiful thing you have ever seen. 'A Christian cross!' says Logan, laughing loudly. 'And to think what the local minister says of me.' He rubs his chin, thinking. 'Ah, but it's a bonnie item. Maybe I'll no sell it or melt it down after all.' 'And my fee?' says Napier, shakily. 'Aye man, I'd no forgot,' barks Logan. He reaches over to one side, and brings out a small bag. 'Here's the money I promised. I keep my word! Now begone, and remember say nothing of Bothwell here, if you value your lives.'"; pause the game; say "With the treasure found, your master and you are free to leave. Though you enjoyed the treasure hunt, and found what you were seeking, you are glad to put Fast Castle and its owner far behind you. Even if part of you thinks yet of that cross ..."; end the story. [ideally while pursued need to avoid everyone on route may run into Logan etc though would there be a way out then/ or is that the end of the game?] Chapter 7 - Epilogue [various possible outcomes: get treasure escape with it be killed by Logan given reward fail to get it, leave in disgrace spell goes wrong / backfires ???] [are the above decided & coded in earlier scenes?] [thinking of just exposition in this section, with no interaction] Part 3 - People John Napier is a man in the Dining Room. Printed name of John Napier is "John Napier of Merchiston". The description of John Napier is "Your master is tall and imposing, with a fiercely intelligent gaze. Now in his forties, his brown hair and long beard are speckled with grey. He wears his usual outfit: a long, black robe. Often he reminds you more of a rook than a man." Understand "john" and "napier" and "merchiston" and "master" as John Napier. Napier's robe is scenery and part of John Napier. Understand "robe" and "long robe" and "black" and "black robe" and "long black robe" as Napier's robe. The description of Napier's robe is "Made of rich, dark material, Napier's robe stretches down to the ground.". [Napier: make him gruff to player, his assistant, possibly also dangerous, or sharp to anger / impatient wearing robe + small cloak around it carrying small bag with occult items always has his grimoire with him (does the player need to access it?) is riding on a horse at start, badly no obvious weapons, but can do magic] Robert Logan is a man in the Dining Room. Printed name of Robert Logan is "Sir Robert Logan of Restalrig". The description of Robert Logan is "Tall and red haired, the laird of Restalrig and also of course of Fast Castle is smartly dressed, in trousers, shirt, jacket and even a ruff. At times you catch a brief glimpse of a sheathed blade, and remember how dangerous people say this man can be, however elegant his attire here may be." Understand "robert" and "logan" and "restalrig" as Robert Logan. [Logan: again check for descriptions make him mercurial some hidden agenda (lots!) wearing Elizabethan-style outfit (trousers, jacket, ruff, cloak (or can put on)) has sheafed sword also carries a dagger (hidden) maybe some piece of jewellery (thinking like Londo's Orb) which has a secret meaning/use? (maybe not on his person, but in his quarters] Earl of Bothwell is a man in the Dining Room. Printed name of Earl of Bothwell is "Francis Stewart Earl of Bothwell". The description of Earl of Bothwell is "Smaller than his cousin Logan, Francis Earl of Bothwell is of medium size, with dark hair, and slight build. You look at him uncertainly, wondering if he has inherited any of the character of his notorious uncle, Queen Mary's ill-fated last husband.". Understand "francis" and "stewart" and "bothwell" and "earl" as Earl of Bothwell. Ralph is a man. Printed name of Ralph is "Ralph". The description of Ralph is "Ralph is an old castle servant, probably in his fifties or so, and rather bent over with age. You wonder what secrets he has witnessed over the years." Understand "ralph" and "servant" as Ralph. Guard1 is a man in the Guard Room. Printed name of Guard1 is "smaller guard". Guard1 is improper-named. The description of Guard1 is "He is small and wiry, with an intelligent face and greying, balding hair. He wears a loose piece of body armour and carries a sword. You guess that he is aged about forty.". Understand "guard" and "guards" and "small" and "smaller" and "wiry" and "smaller guard" as Guard1. Some armour and a sword are scenery and part of Guard1. Understand "body" and "body armour" and "armor" and "body armor" as armour. The description of armour is "Simple but effective, the leather armour protects the guard's torso.". The description of sword is "Functional, and rather menacing, the guard carries the sword at the ready.". Instead of taking the armour, say "No way, the guard wouldn't like that.". Instead of taking the sword, say "No way, the guard wouldn't like that.". Guard2 is a man in the Guard Room. Printed name of Guard2 is "tall guard". Guard2 is improper-named. The description of Guard2 is "Much younger than his colleague, this guard is probably in his early twenties. Tall, and to be honest, clearly liking his food, he eyes you blankly, giving little impression of what he is thinking.". Understand "guard" and "guards" and "younger" and "tall" and "tall guard" and "taller" as Guard2. Old Geordie is a man in Castle Promontory[Crane Point]. Understand "geordie" and "man" as Old Geordie. The description of Old Geordie is "An old man sits here, puffing on a pipe, and staring out to sea. You remember from what you were told on arriving at the castle that he must be Old Geordie.". A pipe is part of Old Geordie. The description of pipe is "It is an old clay pipe.". Instead of taking pipe, say "No, best leave it with Old Geordie. He seems quite happy with it.". Cook is a woman. Understand "woman" as Cook. The printed name of Cook is "cook". Cook is improper-named. The description of Cook is "The cook is a homely woman, in her forties you guess, with greying her. She wears a simple grey outfit, with a white apron tied around her waist. Her sleeves are rolled up, and her arms rather white from flour.". The Cook's outfit is scenery and part of Cook. The printed name of Cook's outfit is "cook's outfit". Understand "outfit" and "skirt" and "dress" and "shirt" and "blouse" and "apron" and "sleeve" and "sleeves" as Cook's outfit. The description of Cook's outfit is "The cook is wearing a simple grey outfit with a white apron tied round. Her sleeves are rolled up.". Instead of giving something to Cook, say "'What's this, dearie?' asks the cook. 'No, I don't want that.'". [add more interaction with guards, including them talking to me] [other NPCs: Castle gatekeeper reluctant to allow entry, giving obstacle / puzzle to overcome maybe only seen at opening, or might he have a role to play later too? Other castle inhabitants how much interaction with them?] Part 4 - Extra Coding Instead of examining yourself, say "You're wearing your usual clothes: trousers and a plain shirt. Simple but functional. You'll do.". The player wears some trousers and a plain shirt. Understand "clothes" as trousers. Understand "clothes" and "shirt" as a plain shirt. Instead of taking off the trousers, say "Best not. Napier doesn't want you going around under dressed.". Instead of taking off the plain shirt, say "Best not. Napier doesn't want you going around under dressed.". Understand "about" as asking for about. Asking for about is an action out of world. Carry out asking for about: say "This game is based on real historical events. The original contract drawn up between Robert Logan of Restalrig and John Napier for the treasure hunt still survives today. And Napier was infamous for his occult practices, alongside his perhaps better known mathematical skills. But much of the game is fictional. For example, relatively little is known about Fast Castle, which is now barely more than a few rocks on a stump of rock jutting out into the North Sea. Nor do we know if Napier really found the treasure. But it's a great tale that a game can be spun from. The author also has a family link with the story. Robert Logan of Restalrig was my direct ancestor, definitely one of my more infamous ones! For thanks to playtesters etc. please use the CREDITS command." Understand "help" or "hint" or "hints" or "about" or "info" as asking for help. Asking for help is an action out of world. Carry out asking for help: say "This is a text adventure game that responds to user input. Type commands then press enter to see what the game says in response. You can move around the world by typing things like NORTH, SOUTH, EAST, WEST, UP and DOWN. To interact with objects around you type EXAMINE and the object name, e.g. 'EXAMINE SHELF'. GET and DROP allow you to pick up and drop objects. With people try talking to them using TALK, but they may not respond. Or try other commands like SHOUT AT and a person name. Try exploring your world, and interacting with things to uncover clues. For more information about the game and its background try commands ABOUT and CREDITS.". [This story may strike you as familiar, which means that you already have some idea of the ways it can end up. Most of the interference available to you is in the form of speech: SAY (something) will work to bring up a new topic of conversation. You can also THINK to come up with a few topics related to the current discussion."] [And because it is rude not to thank one's testers:] Understand "credits" as asking for credits. Asking for credits is an action out of world. Carry out asking for credits: say "Inform 7 is the work of Graham Nelson. Many thanks to my testers for the game: Chris Selmys, Jennifer Schmidt (bikibird), Martin Dunstan, mathbrush, Mike Carletta, Mike Spivey and Nick Marsh. Thanks also to Victor Ojuel, for encouraging me to write this game in the first place." Understand "talk to [someone]" as talking. Understand "talk [someone]" as talking. Talking is an action applying to one visible thing. Check talking: if the noun is: -- yourself: say "Talking to yourself is never a good sign. Are you feeling ok?"; -- Napier's familiar: say "[if Bird-captured is true]There is no reply. Though you hardly expected one, given how little regard the creature seems to have for you.[otherwise]The bird ignores you. Maybe try shouting at it instead?[end if]"; -- cat: say "The cat raises one ear for a moment, then lowers it again. That's all the response you get."; -- maid: say "[if the maid is scared]'Help me! Do something please!' cries the maid, desperately.[otherwise]The maid looks at you blankly.[end if]"; -- John Napier: say "Napier looks at you fiercely. Perhaps try asking him about something specific, e.g. ASK NAPIER ABOUT X."; -- Ralph: say "Ralph looks at you blankly. Perhaps try asking him about something specific, e.g. ASK RALPH ABOUT X."; -- Guard1: say "The guard looks at you a bit puzzled. Perhaps try asking him about something specific, e.g. ASK SMALLER GUARD ABOUT X."; -- Guard2: say "The guard looks at you blankly. Perhaps try asking him about something specific, e.g. ASK TALL GUARD ABOUT X."; -- Old Geordie: say "The old man looks at you questioningly. Perhaps try asking him about something specific, e.g. ASK GEORDIE ABOUT X."; -- Cook: say "'What's that, dearie?' asks the cook. 'No, I don't know anything about that.' Perhaps try asking her about something specific, e.g. ASK COOK ABOUT X."; -- otherwise: say "There is no response.". Instead of telling someone about something: try asking the noun about it. Check asking John Napier about "bird": say "'A fine creature, to be sure. Don't you think?' he says, looking at you with a strange glint in his eye." instead. Check asking John Napier about "raven": say "'A fine creature, to be sure. Don't you think?' he says, looking at you with a strange glint in his eye." instead. Check asking John Napier about "familiar": say "'A fine creature, to be sure. Don't you think?' he says, looking at you with a strange glint in his eye." instead. Check asking John Napier about "logan": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "robert": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "robert logan": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "robert logan of restalrig": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "logan of restalrig": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "sir robert logan of restalrig": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "sir robert logan": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "restalrig": say "Napier looks about before replying. 'A fierce man. Do not do anything to annoy him. He could kill us in a flash.'" instead. Check asking John Napier about "bothwell": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "francis": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "francis stewart": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "stewart": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "earl of bothwell": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "francis stewart earl of bothwell": say "'The Earl of Bothwell is Logan's cousin,' says Napier. 'Thankfully he is not as dangerous as his infamous uncle, the late Queen's husband.'" instead. Check asking John Napier about "fast": say "Napier shakes his head. 'This is a heathen place,' he says. 'I'll be glad when we are away from here.'" instead. Check asking John Napier about "fast castle": say "Napier shakes his head. 'This is a heathen place,' he says. 'I'll be glad when we are away from here.'" instead. Check asking John Napier about "castle": say "Napier shakes his head. 'This is a heathen place,' he says. 'I'll be glad when we are away from here.'" instead. Check asking John Napier about "treasure": say "'I wonder if there is any treasure here at all,' says Napier. 'If there is, I pray that we find it.'" instead. Check asking John Napier about "hidden treasure": say "'I wonder if there is any treasure here at all,' says Napier. 'If there is, I pray that we find it.'" instead. Check asking John Napier about "hidden": say "'I wonder if there is any treasure here at all,' says Napier. 'If there is, I pray that we find it.'" instead. Check asking John Napier about "ralph": say "'Oh I know nothing of Ralph,' says Napier, 'except that he seems afeared of me!'" instead. Check asking John Napier about "oil": say "'Oil is vital for my occult processes,' says Napier." instead. Check asking John Napier about "box": say "'Och you wouldn't understand this lot,' he says gruffly." instead. Check asking John Napier about "supplies": say "'Och you wouldn't understand this lot,' he says gruffly." instead. Check asking John Napier about "alchemical supplies": say "'Och you wouldn't understand this lot,' he says gruffly." instead. Check asking John Napier about "alchemical kit": say "'Och you wouldn't understand this lot,' he says gruffly." instead. Check asking John Napier about "alchemy": say "'Och you wouldn't understand this lot,' he says gruffly." instead. Check asking John Napier about "grimoire": say "'This is precious,' Napier says, stroking the leather bound volume gently. 'It contains all my most valuable notes and spells. Don't peek inside mind!'" instead. Check asking John Napier about "book": say "'This is precious,' Napier says, stroking the leather bound volume gently. 'It contains all my most valuable notes and spells. Don't peek inside mind!'" instead. Check asking John Napier about "crystal ball": say "'You haven't looked inside it, have you?' he asks quickly. 'It's essential to my work. Treat it with care.'" instead. Check asking John Napier about "staff": if location is Cave Entrance: if John Napier has the staff: say "'This might be useful?' he asks, looking puzzled. 'Take it then.' He hands the staff to you."; now the player has the staff instead; otherwise: say "'I've given the staff to you already!' he says fiercely." instead; otherwise: say "Napier looks puzzled. Maybe ask about something else?" instead. Check asking John Napier about "shelf": if location is Cave Entrance: if John Napier has the staff: say "'This might be useful?' he asks, looking puzzled. 'Take it then.' He hands the staff to you."; now the player has the staff instead; otherwise: say "'I've given the staff to you already!' he says fiercely." instead; otherwise: say "Napier looks puzzled. Maybe ask about something else?" instead. Check asking John Napier about "crevice": if location is Cave Entrance: if John Napier has the staff: say "'This might be useful?' he asks, looking puzzled. 'Take it then.' He hands the staff to you."; now the player has the staff instead; otherwise: say "'I've given the staff to you already!' he says fiercely." instead; otherwise: say "Napier looks puzzled. Maybe ask about something else?" instead. Check asking John Napier about something: say "Napier looks puzzled. Maybe ask about something else?" instead. Check asking Guard1 about "logan": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "robert": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "robert logan": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "robert logan of restalrig": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "logan of restalrig": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "sir robert logan of restalrig": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "sir robert logan": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "restalrig": say "'The master?' says the smaller guard, questioningly. 'He's a tough one, but fair to us.'" instead. Check asking Guard1 about "bothwell": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "francis": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "francis stewart": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "stewart": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "earl of bothwell": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "earl": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "francis stewart earl of bothwell": say "'I can't say anything about the Earl,' says the smaller guard." instead. Check asking Guard1 about "fast": say "'You'd think I'd be used to this place by now,' muses the smaller guard. 'But no, I'd rather be anywhere else.'" instead. Check asking Guard1 about "fast castle": say "'You'd think I'd be used to this place by now,' muses the smaller guard. 'But no, I'd rather be anywhere else.'" instead. Check asking Guard1 about "castle": say "'You'd think I'd be used to this place by now,' muses the smaller guard. 'But no, I'd rather be anywhere else.'" instead. Check asking Guard1 about "ralph": say "'Ralph's a quiet one,' says the smaller guard." instead. Check asking Guard1 about "guard": say "'Don't expect much out of him,' says the smaller guard, laughing, and looking towards his colleague. 'More brawn than brain shall we say?' he says, winking at you." instead. Check asking Guard1 about "other guard": say "'Don't expect much out of him,' says the smaller guard, laughing, and looking towards his colleague. 'More brawn than brain shall we say?' he says, winking at you." instead. Check asking Guard1 about "tall": say "'Don't expect much out of him,' says the smaller guard, laughing, and looking towards his colleague. 'More brawn than brain shall we say?' he says, winking at you." instead. Check asking Guard1 about "tall guard": say "'Don't expect much out of him,' says the smaller guard, laughing, and looking towards his colleague. 'More brawn than brain shall we say?' he says, winking at you." instead. Check asking Guard1 about "taller guard": say "'Don't expect much out of him,' says the smaller guard, laughing, and looking towards his colleague. 'More brawn than brain shall we say?' he says, winking at you." instead. Check asking Guard1 about "sea": say "'It's a wild sea round here, right enough,' says the smaller guard." instead. Check asking Guard1 about "water": say "'It's a wild sea round here, right enough,' says the smaller guard." instead. Check asking Guard1 about "cook": say "'Thinks she's better than us,' says the smaller guard, grumbling and shaking his head. Clearly not a fan." instead. Check asking Guard1 about something: say "The small guard looks puzzled. Maybe ask about something else?" instead. Check asking Guard2 about "logan": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "robert": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "robert logan": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "robert logan of restalrig": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "logan of restalrig": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "sir robert logan of restalrig": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "sir robert logan": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "restalrig": say "The tall guard's eyes open wide at the mention of his master, but he says nothing." instead. Check asking Guard2 about "fast": say "The tall guard looks around him in response to your question, but says nothing." instead. Check asking Guard2 about "fast castle": say "The tall guard looks around him in response to your question, but says nothing." instead. Check asking Guard2 about "castle": say "The tall guard looks around him in response to your question, but says nothing." instead. Check asking Guard2 about "ralph": say "'I like Ralph,' says the tall guard, smiling." instead. Check asking Guard2 about "guard": say "The tall guard's eyes glance sideways at his colleague, he gulps, but says nothing." instead. Check asking Guard2 about "other guard": say "The tall guard's eyes glance sideways at his colleague, he gulps, but says nothing." instead. Check asking Guard2 about "small": say "The tall guard's eyes glance sideways at his colleague, he gulps, but says nothing." instead. Check asking Guard2 about "small guard": say "The tall guard's eyes glance sideways at his colleague, he gulps, but says nothing." instead. Check asking Guard2 about "smaller guard": say "The tall guard's eyes glance sideways at his colleague, he gulps, but says nothing." instead. Check asking Guard2 about "cook": say "'Oh she makes grand meals!' exclaims the tall guard, rubbing his tummy as he speaks, clearly remembering past meals." instead. Check asking Guard2 about something: say "The tall guard looks puzzled. Maybe ask about something else?" instead. Check asking Ralph about "logan": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "robert": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "robert logan": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "robert logan of restalrig": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "logan of restalrig": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "sir robert logan of restalrig": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "sir robert logan": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "restalrig": say "Ralph shakes his head. 'Oh I can't say anything about the master.'" instead. Check asking Ralph about "bothwell": say "Ralph shakes his head mutely." instead. Check asking Ralph about "francis": say "Ralph shakes his head mutely." instead. Check asking Ralph about "francis stewart": say "Ralph shakes his head mutely." instead. Check asking Ralph about "stewart": say "Ralph shakes his head mutely." instead. Check asking Ralph about "earl of bothwell": say "Ralph shakes his head mutely." instead. Check asking Ralph about "earl": say "Ralph shakes his head mutely." instead. Check asking Ralph about "francis stewart earl of bothwell": say "Ralph shakes his head mutely." instead. Check asking Ralph about "fast": say "'Oh I've worked here for most of my life,' he says." instead. Check asking Ralph about "fast castle": say "'Oh I've worked here for most of my life,' he says." instead. Check asking Ralph about "castle": say "'Oh I've worked here for most of my life,' he says." instead. Check asking Ralph about "napier": say "'He seems a strange one, that Napier,' says Ralph, before firmly shutting his mouth and saying no more." instead. Check asking Ralph about "john napier": say "'He seems a strange one, that Napier,' says Ralph, before firmly shutting his mouth and saying no more." instead. Check asking Ralph about "cellar": say "'There's all sorts in the cellar, right enough,' says Ralph, rubbing his chin thoughtfully." instead. Check asking Ralph about "kitchen": say "'The kitchen is the cook's dominion,' says Ralph. 'I stay out of it mainly.'" instead. [Check asking Ralph about "crane": say "'Have you seen the crane?' asks Ralph. 'It's vital for bringing supplies up to the castle.'" instead. Check asking Ralph about "mechanism": say "'Have you seen the crane?' asks Ralph. 'It's vital for bringing supplies up to the castle.'" instead.] Check asking Ralph about "small guard": say "'Ah he's a sharp one, the older guard,' says Ralph." instead. Check asking Ralph about "smaller guard": say "'Ah he's a sharp one, the older guard,' says Ralph." instead. Check asking Ralph about "tall guard": say "'The younger guard is an eejit,' says Ralph. 'But handy in a scrape to be fair.'" instead. Check asking Ralph about "taller guard": say "'The younger guard is an eejit,' says Ralph. 'But handy in a scrape to be fair.'" instead. Check asking Ralph about "geordie": say "'Have you met Old Geordie? He now spends most of his time staring out to sea. He seems happy enough.'" instead. Check asking Ralph about "old geordie": say "'Have you met Old Geordie? He now spends most of his time staring out to sea. He seems happy enough.'" instead. Check asking Ralph about "cook": say "'The cook?' says Ralph. 'Oh she makes a braw meal.'" instead. Check asking Ralph about something: say "Ralph looks puzzled. Maybe ask about something else?" instead. Check asking Old Geordie about "logan": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "robert": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "robert logan": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "robert logan of restalrig": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "logan of restalrig": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "sir robert logan of restalrig": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "sir robert logan": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "restalrig": say "'A wild one, that Logan,' says Old Geordie. 'Of course I can remember his grand sire. That was a good man.'" instead. Check asking Old Geordie about "fast": say "'A wild place, is it not youngster?' Old Geordie says." instead. Check asking Old Geordie about "fast castle": say "'A wild place, is it not youngster?' Old Geordie says." instead. Check asking Old Geordie about "castle": say "'A wild place, is it not youngster?' Old Geordie says." instead. Check asking Old Geordie about "ralph": say "'Young Ralph you say?' says Old Geordie. 'Ah, I remember when he was but a bairn.' He puffs on his pipe some more, clearly thinking of long ago." instead. [Check asking Old Geordie about "crane": say "'This thing?' he asks, tapping the mechanism. 'Why it's the crane for lowering goods to boats below, and bringing things back up.'" instead. Check asking Old Geordie about "mechanism": say "'This thing?' he asks, tapping the mechanism. 'Why it's the crane for lowering goods to boats below, and bringing things back up.'" instead.] Check asking Old Geordie about "treasure": say "'I've heard tales of treasure here for as long as I can remember,' says Old Geordie. 'But blow me if I know where it might be hiding.'" instead. Check asking Old Geordie about "hidden treasure": say "'I've heard tales of treasure here for as long as I can remember,' says Old Geordie. 'But blow me if I know where it might be hiding.'" instead. Check asking Old Geordie about "hidden": say "'I've heard tales of treasure here for as long as I can remember,' says Old Geordie. 'But blow me if I know where it might be hiding.'" instead. Check asking Old Geordie about "sea": say "'Draws you in, doesn't it?' says Old Geordie, looking longingly out to the sea." instead. Check asking Old Geordie about "water": say "'Draws you in, doesn't it?' says Old Geordie, looking longingly out to the sea." instead. Check asking Old Geordie about "cook": say "'She's a kind one, always good to me,' says Old Geordie, smiling warmly." instead. Check asking Old Geordie about something: say "Old Geordie looks puzzled. Maybe ask about something else?" instead. Check asking Cook about "cat" the first time: say "'Oh that monster!' she says, shaking her head. 'If he wasn't such a good mouser I'd rather he was in a pie.' She pauses, her finger on her lips as she thinks. 'Here, take this. The cat likes it. Give it to him.' She hands you a piece of beef steak, which you handle gingerly. Some diet this cat must get, at the lord's expense."; now the player has some beef steak instead. Check asking Cook about "cat" at least two times: say "'Enough about that dratted animal!' cries the cook in exasperation." instead. Check asking Cook about "napier": say "'Your master? I know nothing about him,' says the cook, shaking her head." instead. Check asking Cook about "john napier": say "'Your master? I know nothing about him,' says the the cook, shaking her head." instead. Check asking Cook about "ralph": say "'A kind one, is Ralph,' says the cook, smiling. 'Though don't tell him I said so.'" instead. Check asking Cook about "logan": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "robert": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "robert logan": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "robert logan of restalrig": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "logan of restalrig": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "sir robert logan of restalrig": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "sir robert logan": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "restalrig": say "'He's a fair master,' she says. 'Tough, yes, but fair. I shouldn't say anything else though.' She looks anxious as she says this. Having met Logan yourself you can well understand why." instead. Check asking Cook about "guard": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "guards": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "castle guard": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "castle guards": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "smaller guard": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "tall guard": say "'Little and large that pair!' says the cook, laughing. 'Heaven help us if the castle is ever under proper attack. I think they would be as much use as a wet dishcloth.' She shakes her head fiercely, and slaps her hands firmly together, creating a cloud of floury dust in the air for some seconds." instead. Check asking Cook about "treasure": say "'Treasure? I wish!' says the cook, laughing. 'There's surely none here, unless Logan himself has it.' She turns back to her cooking, looking thoughtful." instead. Check asking Cook about "bothwell": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "francis": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "francis stewart": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "stewart": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "earl of bothwell": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "earl": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "francis stewart earl of bothwell": say "'The master's cousin?' she asks, her eyes wide. 'No I know nothing about him.' She looks away awkwardly, as though she perhaps wants to say more, but thinks better of it." instead. Check asking Cook about "fast": say "'Wild place, isn't it?' she says, smiling grimly. 'I've worked here since I was a girl.'" instead. Check asking Cook about "fast castle": say "'Wild place, isn't it?' she says, smiling grimly. 'I've worked here since I was a girl.'" instead. Check asking Cook about "castle": say "'Wild place, isn't it?' she says, smiling grimly. 'I've worked here since I was a girl.'" instead. Check asking Cook about "kitchen": say "'Here?' says the cook, looking around her. 'Why, it's my workplace. Good enough for what I need, even if more staff to help would always be nice.'" instead. Check asking Cook about "beef steak": say "'Oh that?' she says. 'There's often some spare, and the cat likes it.'" instead. Check asking Cook about "beef": say "'Oh that?' she says. 'There's often some spare, and the cat likes it.'" instead. Check asking Cook about "steak": say "'Oh that?' she says. 'There's often some spare, and the cat likes it.'" instead. Check asking Cook about "meat": say "'Oh that?' she says. 'There's often some spare, and the cat likes it.'" instead. Check asking Cook about "geordie": say "'Old Geordie? He's harmless enough, a kind, simple soul,' says the cook, smiling thoughtfully." instead. Check asking Cook about "old geordie": say "'Old Geordie? He's harmless enough, a kind, simple soul,' says the cook, smiling thoughtfully." instead. Check asking Cook about something: say "The cook looks puzzled. Maybe ask about something else?" instead. Check asking cat about something: say "The cat meows, looks up at you briefly, then looks away." instead. Understand "shout at [someone]" as shouting. Shouting is an action applying to one visible thing. Instead of shouting the cat: say "The cat hisses at you, then looks away.". Check shouting: if the noun is yourself: say "You shout wildly. Are you feeling ok?" instead; otherwise [if the noun is not Napier's familiar]: say "The [noun] looks at you confused." instead. Report shouting: say "You shout wildly. Are you feeling ok?". [Understand "operate [something]" as operating. Operating is an action applying to one visible thing. Understand "lift [something]" as operating. Understand "raise [something]" as operating. Understand "lower [something]" as operating. Understand "use [something]" as operating. Check operating: if the noun is: -- mechanism: say "Best not. You think you understand how the mechanism works, but you should probably leave it alone." instead; -- otherwise: say "I didn't understand that sentence." instead.] Understand "lie on [something]" as lying down. Lying down is an action applying to one visible thing. Check lying down: if the noun is: -- bed: say "As tempting as it is to lie down, if Napier found you lying on his bed he'd be furious. So no, best not." instead; -- rug: say "You consider lying down on the rug, but you'd just mess it up, and Napier wouldn't approve." instead; -- otherwise: say "No you can't lie on that. Sorry." instead. Understand "scare [something]" as scaring. Scaring is an action applying to one visible thing. Understand "shoo [something]" as scaring. Understand "shoo away [something]" as scaring. Understand "scare away [something]" as scaring. Understand "scare off [something]" as scaring. Check scaring: if the noun is: -- cat: say "The cat hisses at you, then looks away." instead; -- Napier's familiar: say "The bird turns, looks at you with disdain, then ignores you." instead; -- otherwise: say "No you can't scare that. Sorry." instead. Understand "swim" as swimming. Swimming is an action applying to nothing. Check swimming: if the location is: -- Rowing: say "No way! You're not going in the water. And apart from anything else you don't know how to swim." instead; -- Cave Entrance: say "No way! You're not going in the water. And apart from anything else you don't know how to swim." instead; -- otherwise: say "I didn't understand that sentence." instead. Instead of burning something: if the player has the lantern: say "You could, but best not."; otherwise: say "You don't have anything to burn it with.". Understand "bow" as bowing. Bowing is an action applying to nothing. Carry out bowing: say "You bow slowly.". Understand "zgrab" as zgrabbing. zgrabbing is an action applying to nothing. Carry out zgrabbing: now object-count is 5. Instead of tasting something, try eating the noun. Definition: a direction (called thataway) is viable if the room thataway from the location is a room. Instead of going nowhere: if the number of viable directions is 0, say "Sorry, you can't go that way. You appear to be trapped here."; otherwise say "Sorry, you can't go that way. From here, you can go [list of viable directions].". [Understand "zcellar" as zcellaring. zcellaring is an action applying to nothing. Carry out zcellaring: now the player has the token.] Part 5 - Ideas [From Wikipedia: Fast Castle, in its heyday, comprised a courtyard and keep, built on a narrow sloping plateau, 27 by 82 metres (89 by 269 ft), on an eponymous promontory overlooking the North Sea. Cliffs up to 45 metres (148 ft) high on either side rendered the castle relatively impregnable. The plateau was surrounded by a curtain wall with towers, with the keep at the northern extremity of the promontory. The castle could only be reached by a drawbridge over a narrow ravine, protected by a barbican. Little remains today of the keep or the courtyard walls except foundations, and a section of the north-east wall. The layout of the castle is very similar to that of Dunnottar Castle … though Fast Castle is on a smaller scale. Access to the sea was via a pulley system with basket. There is a cave at the foot of the cliffs, which, it has been suggested, could once have acted as an access to the interior of the castle by its inhabitants … In 1594, Logan contracted with the famed mathematician (and supposed wizard) John Napier to search Fast Castle for treasure. He was to "...do his utmost diligence to search and seek out, and by all craft and ingine to find out the same, and by the grace of God either find out the same, or make it sure that no such thing has been there." For this, he was to be awarded a third of any treasure found. There is no record of any discovery he may have made … Fast Castle was originally known as Fause (lit. False) Castle, on account of the lights that were hung from it to mislead shipping. Shipmasters would see the lights while travelling in darkness, and consider that they had reached a safe haven, only to find thet they had been guided on to rocks, where wrecking parties awaited for plunder.]